Texts
阿尔勒日记D1
2023-07-08
![IMG_7861](https://xyphotography.org/wp-content/uploads/2023/07/IMG_7861-2-768x1024.jpg 768w, https://xyphotography.org/wp-content/uploads/2023/07/IMG_7861-2-1170x1560.jpg)
2023年七月五日(周三)
(行程:周一中午从里昂出发,三小时后火车到达阿维农,距离阿尔勒38公里。住在阿维农,因为阿尔勒摄影节期间的住宿只剩天价。阿维农到阿尔勒火车约每小时一班,15分钟到达,是相对理想的通勤。安顿住宿之后已是下午四五点,就顺便在阿维农好好逛了一圈。这城市有沧桑的历史感,非常有魅力。周二有zoom会议就留在阿维农远程工作,傍晚在城里散步。周三开始去阿尔勒看摄影展。)
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1. Eric Tabuchi and Nelly Monnier: Grey Sun
关于法国乡村的地理探究式的摄影项目,一个宏大的、企图涵盖一切的、不失优美和幽默的工程。它的巨无不至和系统性同时兼顾了观赏感和资料性。这个规模适合我未来想拍的长江,但若没有大型资助我不大可能会做这种百科全书式的图像呈现。
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2.《Fume, Root, Seed》- Isadora Romero
关于种子、种植和农业传统。这个主题我也经常关注。
摄影本身不是重点,这位艺术家做了很多年相关的题目。
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3. 一些印象:
(1) 一位法国女性主义农妇的四十年《Le Soleil passe a l’embranchement》- Iris Millot
人物生活型的主题,也是一个我比较喜欢的角度,同时包含:生活感、时间感、乡村。
(2)《Caribbean dreams》- Samantha Box
最打动我的是种植红光下的植物那一张,对应着文字里的一句话:“Plants, local to the Caribbean and ‘alien’ to the United States, are grown under artificial lights – stand-ins for immigrant populations, they adopt strategies that are crucial for survival in foreign lands.”
(3) 《Home》- Md Fazla Rabbi Fatiq
作者写这些照片是新冠期间在家拍出来的。抽象,有显微镜下看物体的感觉,颜色鲜艳。
(4) Photobook: beyond mountains
在dummy book shortlisted books里面我发现了这本书,日本作者林田真季。我暗暗佩服她做出一本800(?)页厚书的勇气——这可能也是因为她做了很多调查积累了很多资料所具有的底气。这本书是关于发生在日本的illegal dumping,一个社会和环境交汇的问题,又跟现代社会的个人生活和资本主义社会的过度消费等等有关系。在现场因为人很多很挤,书底又是粘/钉在桌子上,我没有来得及把书仔细看一遍。
(5) 其它:
– Photobook: Hun。虽然厚但是很多空白页和插画,章节划分内容,内容很个人(母女关系),文字用第一人称/信件来呈现,节奏跳跃,整个设计就是在鼓励人不停翻下去的一本书。
– Bookshop: Below Poverty Line。在书店里偶然翻到,因为是法文版我完全没看懂文字(连标题都是后来查了才明白的)。在没有读懂文字仅仅看图的情况下的印象:设计了一个简单又直观的框架(在报纸上面摆放东西),然后全球各国的报纸、物件都放进去玩这个游戏,挺有话题性。
– 同一天内巧遇Bernard Plossu两次,先是咖啡馆,然后是路边(上月在马德里也碰巧见过两次)。第二次他跟我眨了眨眼睛,我向他挥了挥手。
– 紫色的袋子,商店里的大姐叫它:茄子包。
宁的内心世界
2023-06-28
在马德里参加photoespana的感想
2023-06-08
![000000050001](https://xyphotography.org/wp-content/uploads/2023/06/000000050001-768x765.jpg 768w, https://xyphotography.org/wp-content/uploads/2023/06/000000050001-1170x1165.jpg)
第一次参加photoespana,活动多,人多,展览多,对于我来说首当其冲的是见了世面。见到了摄影书背后的人,见到了展览背后的策展者,见到了同是刚刚出道的摄影人。听了很多关于摄影项目和出版摄影书背后的分享。这世界分A面和B面,能把磁带翻到B面是很珍贵的。然后,这次通过portofolio review以及跟不同的摄影师私下聊天,我也获得了别人对我带去的作品的观感,虽然对于这些(方向有时是相反的)建议,我还在慢慢消化中,但这个体验的确是突破了之前我自己一个人做摄影的界限。另外很重要的一点是,在跟人讨论的过程中,我也更明确自己在艺术摄影方面的内心追求是什么。对我来说,这个初心是极其重要的,如果哪一天它变了,那我就不再需要艺术摄影。
我觉得摄影是一个很适合我和这个世界相处的艺术形式。当今世界不缺照片,人人都有相机,人人都在每时每刻拍照(我看到网上的一个数据说instagram平均每天就有九千五百万(95 million)张新上传的照片)。当我意识到这一点之后,我感到非常解脱:这个世界不需要我这个个体去多照任何一张照片——反过来说,如果我要照的话,每一张照片都是为我自己而照的。为我自己照相,可能是为了记录或分享,可能是为了某种审美,可能是为了表达抽象的感觉,也可能是为了捕捉一种巧合和关系……在这里我可以自己跟自己玩获得很多乐趣。相机天生具有捕捉具象的功能性,照片本身有“被看见”的属性,机器也具有物质性和一定程度的可控性/不可控性,这些“实”的工具跟“虚”——抽象的内心感受——会产生某种化学反应式的交融,这让我感到非常的自然顺畅。
前几天一位年轻的南非女孩对我说,摄影是她的一面镜子去反映内心。另一位在韩国的朋友也说,他摄影不是为了创造什么新的东西,而是要通过摄影去了解人生和自己。通过摄影能遇到跟自己心境类似的人,这也让我高兴。百分之九十的艺术摄影人都不靠做艺术谋生,我也对摄影师/艺术家的身份和圈层毫无兴趣。任何由人所组成的圈子都是概率性的且由某种生硬的具有历史惯性和偏见的机制操控的,我无意另寻赛道去做运动员。重要的是我在这里遇到了很多认真诚实地探索自己内心的个体。在摄影这个热带雨林里,我可以自由地去追求智慧,还能看到别的追求智慧的人。没有哪两片叶子是相同的,这是一个让我感到力量的森林。
[Counterintuitive]
2023-05-12
![cover](https://xyphotography.org/wp-content/uploads/2023/05/C0000-768x1084.png 768w, https://xyphotography.org/wp-content/uploads/2023/05/C0000.png)
In this book, I present a collection of photographs taken between 2021 and 2023 in South and North Holland, Zeeland, England, Seoul, and various locations in New Zealand. The purpose of this visual journey is to explore the blurred boundaries between human constructs and nature.
During this quest, I was struck by the extent to which what we perceive as natural is actually the result of significant human intervention. For example, the pastoral image of cows grazing on green pastures beside traditional barns that we frequently encounter on meat packaging is far removed from the reality of modern Dutch cattle farms. These farms are now equipped with robots and automated systems for large-scale livestock management, and the remaining farm-like buildings are often repurposed into restaurants and event venues (Bedir et al., 2023).
The counterintuitiveness of nature being enabled by enormous efforts based on human idealisations also lies in the very existence of gardens. In city gardens, flower seedlings are pre-cultivated in horticulture greenhouses and brought into the site when they are ready to bloom. After my own practice of growing vegetables in the allotment garden, I realised that the vast majority of my gardening tasks are dedicated to preventing nature from growing plants (such as nettles and horsetails) and preventing slugs, mice, or birds from eating away my pre-mature crops. If it is up for strict scrutiny, gardens are exactly the products of human constructs against nature. Even for large conservation projects in which landscapes are protected from human activities, the very definition of what makes an ecosystem pristine is the end result of human idealisations and a series of ecological design choices (Marris, 2013).
Despite the human dominance of our constructed world, nature continues to make its presence felt. Even in the most urbanised of spaces, traces of nature abound: lights, wind, weeds sprouting from a crack in the pavement, house plants sitting on windowsills, and cherry blossoms falling onto the motor road. In fact, our human eyes are so used to seeing natural elements in a city that we almost no longer notice them.
The photographs in this book are an attempt to show this intricate interplay between the human-made and the natural. With an approach that tries to capture the in-betweenness among landscapes and artefacts, I hope these images could provoke visceral reactions and reflections of “false connections”. Or, perhaps we should come to the conclusion that the connections are not false after all.
References:
Bedir, M., Groen, L., Kuijpers, M., Sanz, V. M., & Verzier, M. O. (Eds.). (2023). Automated landscapes. Nieuwe Instituut. https://automated-landscapes.hetnieuweinstituut.nl/en/publication-automated-land- scapes
Marris, E. (2013). Rambunctious garden: saving nature in a post-wild world. Bloomsbury Publishing.
Excerpts from the book:
女摄影师群像008:Kyunghee Lee 李京姫
2023-05-02
![297efcf9542cff609ee98d0737465e40-thumb](https://xyphotography.org/wp-content/uploads/2023/05/297efcf9542cff609ee98d0737465e40-thumb.jpg 768w, https://xyphotography.org/wp-content/uploads/2023/05/297efcf9542cff609ee98d0737465e40-thumb.jpg)
李京姫是韩国釜山人,网上能找到的个人资料极少。她本科在釜山大学学的是药学,后来读了艺术博士。