2012年7月27日-8月27日

香格納畫廊H空間 (上海市普陀區(qū)莫干山路50號(hào)18號(hào)樓 200060)

每天下午1點(diǎn)到下午6點(diǎn)免費(fèi)入場(chǎng)

“UK NOW藝述英國(guó)”回應(yīng)攝影愛好者的青睞，再次與您走入光與影的世界，以中、英攝影師不同的視角與技法，帶您邂逅每一份感動(dòng)。此次，聯(lián)合上海香格納畫廊與英國(guó)利物浦OPEN EYE畫廊，邀請(qǐng)來(lái)自英國(guó)西北部與來(lái)自上海地區(qū)的各三位攝影藝術(shù)家，為觀眾們奉上“光、影、形”高超的演繹技藝，用鏡頭重新刻畫熟悉的情境，探索攝影師與日常生活中錯(cuò)覺(jué)之間的關(guān)系。在“藝述英國(guó)”的引領(lǐng)下，本次展出不只是一場(chǎng)視覺(jué)盛宴，更是一次穿越時(shí)光的精彩旅行。

在《影子的一課》中，六位攝影大師將一展鏡頭操控能力，他們從六個(gè)緯度，挑戰(zhàn)您的視覺(jué)神經(jīng)，為您展現(xiàn)各個(gè)時(shí)代、不同國(guó)度的人文精神?，F(xiàn)在，奉上他們的代表之作，邀您一睹為快。

大衛(wèi)?雅克David Jacques的創(chuàng)作探索了事實(shí)與虛構(gòu)歷史、敘事的相互作用。作品《北加拿大——英之電》（2009-10）由171件立體視覺(jué)圖片構(gòu)成，呈現(xiàn)的是后工業(yè)時(shí)代的風(fēng)景。該技術(shù)發(fā)明于19世紀(jì)30年代，是3D影像的早期形式。雅克在立體照片中表現(xiàn)的工業(yè)建筑響應(yīng)了20世紀(jì)頗具影響力的工業(yè)建筑攝影師伯恩?貝歇夫婦的方式，通過(guò)老式的光學(xué)媒介引起對(duì)現(xiàn)代攝影實(shí)踐的反思。

塔比瑟?朱薩Tabitha Jussa的新作《船街的人》（2012）記錄了位于北利物浦的一處被廢棄的烏托邦社會(huì)主義建筑開發(fā)地。作品場(chǎng)景中的建筑建于1912年，由三座獨(dú)立部分組成，全景蔚為壯觀。上世紀(jì)60年代，社區(qū)的居民紛紛遷出。當(dāng)建筑保護(hù)官員與開發(fā)商為了房屋的未來(lái)命運(yùn)爭(zhēng)得面紅耳赤，一紙保護(hù)文書也無(wú)力阻止其年久失修的境遇。藝術(shù)家對(duì)于《船街的人》的場(chǎng)景進(jìn)行了事無(wú)巨細(xì)的記錄，并以數(shù)碼方式合成五十件獨(dú)立負(fù)像，創(chuàng)造了不可思議的建筑景觀——即一種高度的現(xiàn)實(shí)主義。

大衛(wèi)?彭尼David Penny的新作《荷蘭繪畫》（2012）系列由構(gòu)筑精巧的雕塑組成。他在一家舊貨商店中淘得一本藝術(shù)復(fù)制品書籍，然后將拍照的書頁(yè)作為材料。他將藝術(shù)品展示在有色玻璃后方，紙張經(jīng)過(guò)幾次形變和重構(gòu)，表現(xiàn)出攝影的轉(zhuǎn)換功能及其與藝術(shù)歷史的關(guān)系。

梁玥的作品《諸多續(xù): 夏秋亂》（2011）是她近兩年最主要的攝影式記錄片（這里的“片”指照片，這與梁玥的記錄式影片是兩種緊密相連又完全相反的表現(xiàn)形式）。這些攝影帶著藝術(shù)家的“有色眼鏡”，看似并不直接寫實(shí)與記錄，而恰恰成為生活里被隱匿的最寫實(shí)的情緒，看似平靜淡然，實(shí)則躲藏了真相的暗涌。藝術(shù)家自詡不確定這些是否真能被人理解，就如同活著的人不能在每時(shí)每刻都清晰感受到世界的存在一樣，而取決于用來(lái)觀察世界的靈魂本身。

范石三的作品《兩個(gè)我們》（2009-）是藝術(shù)家從2009年開始為獨(dú)生子女拍攝的肖像。藝術(shù)家運(yùn)用兩次曝光技術(shù)展示了人物和他們的鏡像并存于同一空間的狀態(tài)。作品中的人物隱隱透著孤獨(dú)與寂寞，看似展現(xiàn)于同一畫面中卻又無(wú)法互相交流。

滿異的作品《浪》（2006-2011）是對(duì)長(zhǎng)江流域周邊風(fēng)物與印象的追溯。遵循著自然規(guī)律，長(zhǎng)江一路向東匯入東海，一些細(xì)節(jié)不甚分明，在黑暗中若隱若現(xiàn)，喚起了一種怪誕的疏離與不安。滿異對(duì)光影與景深實(shí)驗(yàn)性的運(yùn)用所創(chuàng)造的虛幻空間充滿了懸念且難以界定，不過(guò)顯然是江南氣質(zhì)投射在作者內(nèi)心的風(fēng)景。

您是否已被攝影家的拍攝手法震撼？欲知攝影師更多新鮮靈感、沉醉人心的影像，“藝述英國(guó)”邀您親臨展覽現(xiàn)場(chǎng)，直面大師風(fēng)采。

A Lecture Upon The Shadow – Images from Chinese and British Artists

27 July to 27 August, 2012 1 to 6 p.m. FREE

Venue: ShanghART H Space, Bldg 18, 50 Moganshan Rd., Shanghai

This exhibition brings together new work by six emerging photographic artists from the UK and China – three from the UK’s North West and three from Shanghai. Using different approaches, the artists play with light, shadow and form to re-imagine familiar situations, exploring photography’s relationship to illusion and the everyday.

The six exhibiting artists are: David Jacques (Liverpool); Tabitha Jussa (Liverpool); David Penny (Manchester); Fan Shi San (Shanghai); Man Yi (Shanghai) and Liang Yue (Shanghai).

A Lecture Upon The Shadow is curated by Patrick Henry (Director) and Karen Newman (Curator) from Open Eye Gallery and Lorenz Helbling (Director, ShanghART) and Ling Min (Director of International Projects, University of the Arts, Shanghai).

THE ARTISTS

David Jacques’ work explores history, narrative and the interplay between fact and fiction. North Canada – English Electric(2009-10) consists of 171 stereoscopic images of post-industrial landscapes. Invented in the 1830s, stereoscopy was an early form of 3D imaging. Jacques' stereoscopic images of industrial structures echo the photography of the highly influential 20th century industrial photographers Bernd and Hilla Becher, prompting a re-thinking of modern photographic practice through the eyes of an obsolete optical medium.

Tabitha Jussa’s new work Eldon Grove (2012) documents the site of an abandoned utopian social housing development in North Liverpool. Built in 1912, Eldon Grove is an imposing site consisting of three separate buildings. The community was moved out in the 1960s and, despite a preservation order, the building has been allowed to fall into a state of disrepair while conservation officers and developers struggle to agree on its future. Jussa’s meticulous documentation of Eldon Grove involves 50 individual negative images, digitally composited to create an impossible view of the buildings – a heightened realism.

David Penny’s new series of work Dutch Paintings (2012) has been created through a process of constructing intricate sculptures from the pages of a reproduction art book (which Penny found in a junk shop) and then photographing them. Presented behind coloured glass, these art-objects have undergone a number of deformations and reconstructions, highlighting photography’s transformational ability and its relationship to the history of art.

Liang Yue’s new photographs taken in deteriorating lighting conditions capture frozen moments of everyday life. By subtly manipulating her images, Liang Yue enhances the effects of natural and artificial light on the camera lens and the surface of the image, creating imaginary scenes caught somewhere between twilight and darkness.

Fan Shi San’s project Two of Us (2009 -) explores the identity formation of people born in China since the introduction of the one child policy (a population control measure that applies to married, urban couples, in place since 1978). Constructing images of young people together with their imaginary reflections, the works are suggestive of separation and loneliness, as the two characters in the images never seem to be able to communicate.

Man Yi’s Memory of Water (2006 - 2010) traces details of a landscape surrounding the Yangtze River as it follows its natural course through the Yangtze region and into the East China Sea. Details are barely visible, caught in darkness, evoking a strange sense of detachment and unease. Man Yi’s experiments with light and depth of field create illusory spaces that are full of suspense and difficult to define.

（來(lái)源：英國(guó)使館文化教育處，編輯 Helen）