展覽

EXHIBITION

白川個(gè)展——

虎的迷途

策展人：李子健

藝術(shù)總監(jiān)：滕青云

主辦：三影堂廈門攝影藝術(shù)中心

展期：2023.09.23 - 10.29（周一閉館）

地址：廈門市集美區(qū)杏林灣營運(yùn)中心2號樓裙樓三層

● Please scroll down for English

我們可能多少都有過類似的經(jīng)歷，在某一個(gè)瞬間忽然感受到熟悉的事物變得無比陌生：聚會上的歡聲笑語變成了無意義的噪音，熟悉的親友仿佛成為外人；在相冊中看到意料之外的合影，仿佛自己的記憶是一場騙局; 或者在夢里，意識到自己獨(dú)立于自己的夢境。這些“局外人”的時(shí)刻，好像在提醒著我們，由我們熟悉的規(guī)則和理性所構(gòu)成世界仿佛被我們自身所拒絕。

選自《始于愛情，終于疫情》系列

This Animal Year Series

白川的這一系列作品《始于愛情，終于疫情》拍攝了12年，最初選擇虎頭面具的原因也很簡單，虎就是他的屬相。這個(gè)兇煞的老虎面具陪伴著他經(jīng)歷家庭變故，見證家鄉(xiāng)的變化和事業(yè)的發(fā)展，以及目睹無數(shù)瑣碎的日常片段。展覽的主體即是由這一系列照片組成的記憶長廊，沒有具體的時(shí)間和人物線索，就像我們突然陷入回憶時(shí)那般，過往的時(shí)刻隨機(jī)地涌現(xiàn)。

選自《始于愛情，終于疫情》系列

This Animal Year Series

選自《始于愛情，終于疫情》系列

This Animal Year Series

在這些照片里，虎頭多數(shù)由他佩戴，有時(shí)也會是拍攝現(xiàn)場中的別人，虎頭面具遮蔽了一切表情，無論是在何種情境，兇狠的虎頭人總是莫名地盯著鏡頭，時(shí)而舉起手槍對向自己。這無疑成為了這一系列照片中持續(xù)的刺點(diǎn)，將那些僅屬于私人的時(shí)刻，沉悶的社會儀式和悲痛的情緒統(tǒng)統(tǒng)否定。

我們在照片中看到的，是一種令人驚奇的熟悉的陌生感。家庭合影，聚會照片，旅行留念，這些在這個(gè)時(shí)代的我們都大量擁有的照片，在白川的演繹下變得陌生。照片中的帶著虎頭的人似乎獨(dú)立于照片的時(shí)空以外，仿佛一個(gè)闖入的外人，拒斥著規(guī)則和慣習(xí)，或是隱藏著被攝者的情緒。從這個(gè)角度而言，我在白川作品里看到的，是他對那些在他生命中不可捉摸的客體或遭遇的迷戀，并以攝影的方式，去喚起他們的積極回應(yīng)。

選自《始于愛情，終于疫情》系列

This Animal Year Series

選自《始于愛情，終于疫情》系列

This Animal Year Series

“我們已經(jīng)四分五裂，因而不能要求外人融合于此，更不能追纏他們，而是將他們迎入怪怖之中，因?yàn)檫@種怪怖既屬于他們又屬于我們?！笨死锼沟偻拊凇段覀冏陨淼耐馊恕分性ヂ逡恋碌恼撌鋈ッ枋鲋黧w與外人遭遇時(shí)的異樣感受，這種陌生的感受并非是因遭遇外人，而是從根本上，來自于我們自身內(nèi)部，那些隱秘的，我們對于自身的陌生。在白川跨越一旬的攝影迷途中，他呈現(xiàn)即是如此的遭遇，那些在陌生和稔熟之間，迷人的刺點(diǎn)。

● 文/李子健

藝術(shù)家

白 川

白川，攝影師。

展覽：5PRCITY, United Nude Miami,邁阿密，美國（2010）；The Sixth International Month of Photography in Moscow: Photobiennale 2006，莫斯科，俄羅斯（2006）；個(gè)人展覽《愛你比海深》，第二屆連州國際攝影年展，連州（2006）；個(gè)人展覽《許竹》、《通道》，第一屆連州國際攝影年展，連州（2005）。

Bai Chuan's Solo Exhibition -

Tiger, the Uncanny

Curator:Li Zijian

Art Director:Teng Qingyun

Organiser:Three Shadows Xiamen Photography Art Centre

Duration:Sep 23, 2023 - Oct 29, 2023

Venue:3rd Floor of Building 2, Xinglinwan Business Centre, Jimei District, Xiamen

We have all experienced moments where the familiar suddenly transforms into an overwhelming sense of uncanny strangeness. Laughter and merriment at parties can become meaningless noise, close friends and loved ones appear as strangers, and unexpected group photos in an album make one question the authenticity of his or her memories. These moments of feeling like an outsider are reminders that the world, constructed by the rules and rationale we are accustomed to, is somehow rejecting us.

選自《始于愛情，終于疫情》系列

This Animal Year Series

Over the course of 12 years, Bai Chuan created his series "This Animal Year". His initial choice of the tiger mask was quite simple – the tiger is his Chinese zodiac sign. This foreboding tiger mask accompanied him through the ups and downs of life, witnessing family upheavals, changes in his hometown, career developments, and countless mundane moments in daily life. The core of this exhibition is a memory corridor comprised of this series of photographs, devoid of specific timestamps or character clues. It's akin to suddenly getting lost in memories, with moments from the past randomly flooding in.

選自《始于愛情，終于疫情》系列

This Animal Year Series

選自《始于愛情，終于疫情》系列

This Animal Year Series

In these photos, most often, it's Bai Chuan himself donning the tiger mask, while at times, others are in the midst of a photo shoot. The tiger mask obscures all facial expressions, and no matter the context, the fierce tiger-headed figure always gazes numbly into the camera, sometimes even pointing a gun towards herself or himself. Undoubtedly, this constant element has become a punctum throughout the series, negating the private moments, somber social rituals, and poignant emotions. What we see in these photos is a strangely familiar yet surprising sense of uncanny strangeness. Family portraits, party snapshots, travel souvenirs – the photos that many of us possess abundantly in this era all become unfamiliar under Bai Chuan's interpretation. The tiger-headed individuals in the photos seem detached from the time and space within the images, almost like intruders rejecting norms and customs, or concealing the emotions of those being photographed. From this perspective, what I discern in Bai Chuan's work is his fascination with objects or encounters that elude his grasp in life, and his endeavor to evoke their positive responses through photography.

選自《始于愛情，終于疫情》系列

This Animal Year Series

"Freud brings us the courage to call ourselves disintegrated in order not to integrate foreigners and even less so to hunt them down, but rather to welcome them to that uncanny strangeness, which is as much theirs as it is ours." As Julia Kristeva quote Freud in "Strangers to Ourselves" when the subject encounters strangers, the feeling of strangeness doesn't stem from the encounter with others but fundamentally arises from within ourselves, from those concealed aspects of ourselves that remain unfamiliar. Throughout Bai Chuan's decade-long photographic journey, he indeed presents the encounters of this nature - those punctum between the unfamiliar and the familiar.

（點(diǎn)擊可跳轉(zhuǎn)至線上藝術(shù)商城）

藝術(shù)維C，一家融自媒體、藝術(shù)策展、藝術(shù)收藏的新型藝術(shù)平臺。專注搭建藝術(shù)家與大眾之間的橋梁，挖掘孵化具有創(chuàng)新精神的藝術(shù)家，培養(yǎng)新時(shí)代藏家，目前已擁有全網(wǎng)百萬精準(zhǔn)高質(zhì)量用戶，旗下藝術(shù)品均來自國內(nèi)一線美院專家權(quán)威認(rèn)證。

抖音 小紅書 微博 ｜C小姐生活美學(xué)