ART.ZIP issue 8 by Jingchen Liu

古思特简约的力量

古思特是劳斯莱斯的精髓所在，是最纯正的劳斯莱斯血统，精益求精的技术和V12发动机提供从容惬意的驾驶体验；同时，整洁的车内空间呵护着每一位乘客，简约也许难以企及，但永远值得尝试。

熱點話題

HOT TOPIC 010

022

005 Michael Landy: Saints Alive

013 Propaganda: Power and Persuasion

019 Walk through British Art

007 Chagall: Modern Master

015 Alternative Guide to the Universe

021 Royal Academy of Arts Summer

邁克爾·蘭迪：聖者永生

夏加爾：現代大師

009 Serpentine Gallery Pavilion 2013 蛇形畫廊臨時展館2013

宣傳：影響力與說服力

另類宇宙指南

漫步于英倫藝術

Exhibition 2013

英國皇家美術學院夏季展2013

017 Art Everywhere

023 Master Drawings

藝術隨處見

大師素描

011 Lowry and the Painting of Modern Life 洛瑞與現代生活繪畫

固定專欄

EXCLUSIVE COLUMN 109

129

105

On Photography

121

On the Theater and Photography

109

Photography Archaeology

129

Performance Art

118

When Memories Being Regained

133

Note on the 55th Venice Biennale

《論攝影》

攝影考古學

始於記憶的重拾

關於戲劇與攝影

行為藝術

第五十五屆威尼斯雙年展札記

每期專題

SPECIAL FEATURE 031

095 025

Beyond the Lens

085

Acting against One Kind of Fate

027

Living·Shooting

091

Photographers’ Gallery

031

Introductions to Photography Masters

097

Sprüth Magers London

059

Interviews of Photographers

管中窺影

生活·攝影

攝影大師介紹

攝影師訪談

對一種宿命的扮演

攝影師畫廊

Sprüth Magers倫敦畫廊

ISSUE 08 2013

ART.ZIP

ISSN 2050-4152

Publisher 出版人

Liu Chunfen 劉春芬 Editor-in-chief 主編 Harry Liu 劉競晨

Executive Editor 執行編輯 Michelle Yu 余小悅

Guest Editor 特邀編輯 Rachel Peng 彭瑞球 Wei Bo 魏博 Editor 編輯

Marshall Dusha， Mo Ming 莫名

Olivia Xiao 肖蘭 Contributor 撰稿人

Fang Zhiling 方志凌

Hsueh I Chun 薛伊君 Li Bowen 李博文 Translator 翻譯

Jessica Chen 陳婷，Syndi Huang 黃煥欣， Shoran Jiang 姜嘯然，Yu Chang 于暢， Johnell 簡內

IT Project Manager IT主管 Ace Xie 謝達明

Media Officer 媒體主管 Iris Shih 施孟慧

Creative Director 創意總監

Li Ye 李燁, Ye Xianghui 葉向輝 Art Director 藝術指導

Gao Xiaodan 高曉丹, Wu Nan 武楠 Managing Director 運營總監 Shi Yuese 石約瑟

Visual Design 視覺設計 Bulletpin Studio

Thanks to 鳴謝

Art Fund 英國藝術基金會

Arts Council England 英格蘭藝術委員會

Ashmolean Museum 阿什莫林博物館 Barbican Centre 倫敦巴比肯藝術中心 British Library 大英圖書館

David Roberts Art Foundation 戴維·羅伯茨藝術基金

Frieze Art Fair Frieze 藝術博覽會

Frieze Foundaion Frieze 基金會

Hampstead Theatre 漢普斯特德劇院

Hayward Gallery 海沃德畫廊

Jerwood Foundation 傑伍德基金會

Magnum Photos 瑪格南圖片社

National Portrait Gallery 英國國家肖像畫廊

NUOART NUO藝術空間

Royal Acadamy of Art 皇家藝術學院 Serpentine Gallery 蛇形畫廊

Sprüth Magers Berlin London Sprüth Magers柏林倫敦畫廊 Tate 泰特美術館

The Design Museum 英國設計博物館

V&A Museum 維多利亞和阿爾伯特博物館 Wellcome Trust 維康信託基金會

Whitechapel Art Gallery 倫敦白教堂藝術畫廊 Address 雜誌社地址

39 York Road, Elizabeth House, SE1 7NQ, London, UK Website：www.artzip.org

EDITOR’S NOTE 主編寄語

In the less than 200 years since the invention of photographic technology, photography has become an

indispensable part of our lives and work, profoundly altering our lives and perspective of viewing the world. Nowadays, with the advance of technology, photographic equipment can be quite easily accessed, and the marriage of smart phones and digital cameras already achieves the myth of universal camera possession available to everyone. When people become used to the convenience of technology, when the camera can be reduced to a multitasking pocket-sized object, the magic of being able to reconcile those two contradictory concepts, the instant and the eternal, is reduced to commonplace.

Since the day of its invention, photography was destined to change the course of visual arts. For over a

century, the irreplaceable functionality and breathtaking expression of the photograph have been leading

enormous amounts of people to explore and think, and its impact on and destruction of the traditional art system has constructed the base of our current visual experience.

In this issue of ARTZIP, we will, through the introduction of photographers and their works, present our readers with the development of photography in the course of art and culture, the current developing

situation of related contemporary British photography, and invite every one of you readers to explore the fundamental meaning of photography with us.

自從攝影術發明以來，在不到200年的時間裏，“攝影”已經成為了我們生活和工作中必不可少的一部份，它深刻地改變了我們的生活，改變了我們觀察世界的視角。時至當下，隨著科技的日新月異，攝影器材已經變得唾手可得，智能手機與數碼相機的聯姻，更是實現了“相機”全民普及的神話。像很多偉大的發明一樣，當我們習慣了它的存在和沉溺於其帶給我們便捷的同時，人們漸漸忘卻了“攝影”本質屬性中那份充滿魅力的神秘和詭異﹣﹣一種將“瞬間”和“永恆”兩個矛盾概念相調和的魔法。攝影術出現的那一天，它便註定要改變視覺藝術的進程。一個多世紀以來，其不可替代的功能性，攝人心魄的表現力引領無數人去探索和思考，他對傳統藝術系統的衝擊和破壞，建構了我們當下視覺體驗的基座。這期雜誌，我們將以攝影師和他們的作品為出發點，為大家展示“攝影”在藝術文化領域的發展歷程，以及當下英國“攝影”相關領域的發展現狀，并邀請各位看官與我們一同探討“攝影”這一名詞的本質概念。 HARRY LIU 劉競晨

Editor-in-chief 主編

Michael Landy: Saints Alive 邁克爾·蘭迪：聖者永生 Tips

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NATIONAL GALLERY 英國國家畫廊

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展覽場地：National Galler y 英國國家畫廊展覽時間：23.5.2013 – 24.11.2013 更多信息：www.nationalgaller y.org.uk

Installation View

This summer, the National Gallery’s Sunley Room comes alive with an

exhibition of vibrant kinetic sculptures created by artist Michael Landy

who was born in London in 1963 and attended Goldsmiths College and

became known as the generation of the YBAs (Young British Artists). Inspired by works in the Gallery’s collection, Michael Landy: Saints Alive is the

culmination of Landy’s position as the Gallery’s current Rootstein Hopkins Associate Artist in residence.

Landy’s imagination has been captured by images of saints in the collection; the colourful and detailed portrayal of their lives, their attributes, and stories of their single-mindedness and strength have provided powerful stimuli for

Landy’s work. Towering over visitors, the seven large-scale sculptures swivel and turn, in movements that evoke the drama of each saint’s life. Saints

Apollonia, Catherine, Francis, Jerome, Thomas – and an additional sculpture that takes a number of saints as its inspiration – fill the Sunley Room

alongside collages on paper that show the creative process on which Landy embarked to arrive at the kinetic sculptures.

The large-scale sculptures are formed of re-imagined fragments of National Gallery paintings cast in fibreglass, painted and assembled with the

surprising addition of metal cogs, wheels, defunct fan belts and motors that Landy has accumulated from junkyards, car boot sales and flea markets. Saint Apollonia, 2013，Mixed media，282 x 76 x 86 cm Michael Landy, courtesy of the Thomas Dane Gallery, London © Michael Landy, courtesy of the Thomas Dane Gallery, London / Photo: The National Gallery, London

Landy has reworked the two-dimensional images into energetic three-

dimensional pieces, creating elements hidden from view in the original

paintings, such as a saint’s back or the fullness of folds of drapery. Keen to

involve visitors and to facilitate interaction with the works, Landy has devised foot pedal mechanisms that crank the works to life.

今年夏天，英國國家畫廊的崇利展廳因為當代藝術家邁克爾·蘭迪創作的活動雕塑而變得活力四射。邁克爾·蘭迪于1963年生於倫敦，畢業於戈德史密斯藝術學院，是被稱為YBA的一代英國年輕藝術家中的一員。《邁克爾·蘭迪：聖者永生》展出的作品靈感來源自英國國家畫廊的館藏作品，此次展覽也將國家畫廊的藝術家駐館項目推向了高潮。國家畫廊收藏的眾多關於“聖徒”的作品大大的激發了蘭迪的想像力；作品中對聖徒們生活細節豐富多彩的描繪，以及作品中講述的關於賢聖們矢志不渝且充滿人性正能量的故事強烈地激起了蘭迪的創作慾望。展現在觀眾面前的，是七座大型的雕塑，不停地旋轉和扭動著，巨大的器械發出的聲響喚起人們對每位聖徒生前偉績的回想。聖徒阿波羅尼亞（Apollonia），凱瑟琳（Catherine），弗朗西斯（Francis），托馬斯（Thomas），杰羅姆（Jerome），還有另外一件綜合了好幾位聖徒靈感的活動雕塑組成了展覽的主要部份，旁邊展廳陳列的紙上拼貼作品展示了蘭迪創作這些活動雕塑的思考和發展過程。此次展出的活動雕塑外殼是使用玻璃纖維製作的，其表面噴塗了根據國家畫廊藏品而重新構思的片段，內部則是令人驚異的機械結構，齒輪，拆解風扇，電機，傳送帶等組成了作品的核心﹣﹣這些零件都是蘭迪從垃圾堆，跳蚤市場等地方收集來的。蘭迪將二維的繪畫重新創作成為三維的雕塑，富有創造力的補充了各種細節，為了讓觀眾更多地與作品互動，他還為雕塑增加了控制活動開關的腳踏板使整个雕塑活了起来。

Michael Landy as St Jerome, 2012. © Michael Landy, courtesy of the Thomas Dane Gallery, London / Photo: The National Gallery, London

Chagall: Modern Master 夏加爾：現代大師 TEXT BY 文字提供 x ART.ZIP

IMAGES COURTESY OF 圖片提供 x

TATE LIVERPOOL 泰特利物浦美術館

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展覽場地：Tate Liverpool 泰特利物浦美術館展覽時間：8.6.2013 – 6.10.2013 更多信息：www.tate.org.uk

Marc Chagall (1887–1985) is one of the best known and most loved artists of

the last century. Chagall: Modern Master is the first major exhibition of the

Russian painter’s work in the UK for over fifteen years and reveals a radically different artist to the one often-presented in art history. The exhibition

showcases Chagall as a passionate visionary and pioneer of the avant-garde, who combined his own response to the art movements of the day with an open display of affection for his native Russia and Hasidic Jewish heritage.

The exhibition brings together more than seventy paintings and drawings

from major institutions and private collections across the world. The works

will be presented in a broadly chronological order, with thematic groupings charting Chagall’s encounters with avant-garde artistic movements,

highlighting how he combined these new pictorial languages with his own imaginative and fantastical motifs to create his innovative and expressive works.

Chagall: Modern Master begins with Chagall’s emergence as an artist in

his native Vitebsk, in present-day Belarus, and his subsequent training in St

Petersburg. It goes on to examine the three crucial years spent in Paris (1911–

14), where he explored his personal relationship to the emerging avant-garde

movements of Cubism and Orphism in paintings such as Half Past Three (The

Poet) 1911 and Paris Through the Window 1913. The exhibition brings to

light how Chagall responded to the traumas of war and religious persecution following a return to his native Russia at the outbreak of the First World War,

creating the emotional and often illogical paintings that would go on to form Music, 1920， Tempera, gouache and opaque white on canvas 213 x 104 cm State Tretyakov Gallery, Moscow © ADAGP Paris and DACS, London 2013

the core of his art for the remainder of his life. The eight years Chagall was

forced to spend in Russia before he could return to Paris were marked by a ferocious rate of artistic production and the consolidation of his signature

painterly style – demonstrated in the exhibition by major works of the period including Anywhere out of the World 1915 and Promenade 1917–18.

馬克·夏加爾（1887–1985）是上個世紀最為知名和受人愛戴

的圖像結合起來並創造出極具創新和富有感染力的作品。

的藝術家之一。《夏加爾：現代大師》是這位俄羅斯畫家15 I and the Village, 1911 Oil on canvas， 1921 x 1514 mm © ADAGP Paris and DACS, London 2013 Photo © SCALA, Florence

年來在英國第一次大型展覽，同藝術史中經常被呈現的面貌

《夏加爾：現代大師》以藝術家在其故鄉維捷布斯克（現白

有所不同，這個展覽展現了夏加爾作為藝術家的更多側面，

俄羅斯）和在聖彼得堡的學習為開篇，然後介紹了他1911到

他是一位充滿激情和富有遠見的先鋒藝術家，將自己的藝術

1914年在巴黎度過的關鍵性的三年，在這里他開始探索立

創作與當時的前衛藝術運動相結合，他的藝術創作毫不掩飾

體主義和奧費主義這些當時的前衛藝術運動與他自身繪畫

他對自己猶太後裔身份的認同，以及對祖國俄羅斯的熱愛。

創作的關係。此外，展覽還揭示了第一次世界大戰爆發后，回到俄羅斯的夏加爾是如何迴應戰爭和宗教迫害對他造成

展覽彙集了超過70件繪畫作品，這些作品來自遍及全球主

的創傷﹣﹣他開始創作充滿感情的，經常是毫無邏輯的繪畫，

要的藝術機構和私人收藏。展覽以時間為線索，按照夏加

後來這些漸漸成了他後半生藝術創作的核心。在被迫滯留

爾與不同藝術思潮之間的碰撞與影響來劃分主題，呈現了

俄羅斯的八年，被認為是夏加爾創作的高峰時期，他創作了

他是怎樣將新的繪畫語言與自己天馬行空的想像和夢幻般

大量個人風格鮮明的作品。

Serpentine Gallery Pavilion 2013 蛇形畫廊臨時展館2013

TEXT BY 文字提供 x ART.ZIP

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SERPENTINE GALLERY 倫敦蛇形畫廊

Sou Fujimoto House NA, 2011  Tokyo,Japan  Designed by Sou Fujimoto Architects © Iwan Baan

The Serpentine Gallery Pavilion 2013 is designed by multi awardwinning Japanese architect Sou Fujimoto. He is the thirteenth and, at 41, the youngest architect to accept the invitation to design a temporary structure for the Serpentine Gallery. The

most ambitious architectural programme of its kind worldwide,

the Serpentine’s annual Pavilion commission is one of the

most anticipated events on the cultural calendar.

Widely acknowledged as one of the most important architects

coming to prominence worldwide, Sou Fujimoto is the leading

light of an exciting generation of architects who are re-inventing our relationship with the built environment. Inspired by organic structures, such as the forest, Fujimoto’s signature buildings

inhabit a space between nature and artificiality. Fujimoto has completed the majority of his buildings in Japan, such as the

Musashino Art Museum and Library at Musashino Art University. Occupying some 357 square-metres of lawn in front of the

Serpentine Gallery, Sou Fujimoto’s delicate, latticed structure of 20mm steel poles has a lightweight and semi-transparent

appearance that allows it to blend, cloud-like, into the landscape against the classical backdrop of the Gallery’s colonnaded East Sou Fujimoto House N, 2008 Oita, Japan  Designed by Sou Fujimoto Architects © Iwan Baan

wing. Designed as a flexible, multi-purpose social space, visitors will be encouraged to enter and interact with the Pavilion in

different ways throughout its four-month tenure in London’s Kensington Gardens.

屢獲殊榮的日本建築師藤本壯介（Sou

Fujimoto）主持

設計了今年的蛇形畫廊臨時展館，他是第13位接受蛇形畫廊臨時展館委託項目的設計師，41歲的藤本也是歷届受邀參與此項目里最年輕的建築師。蛇形畫廊年度臨時展館項目是全世界建築界最為不同凡響的設計項目，也是每年最值得期待的文化事件之一。藤本壯介被廣泛認為是未來最為重要的建築設計師，他代表了一批令人振奮的建築設計師，他們正在重新定義人类與建築環境之間的關係。藤本的設計靈感來自于像森林這樣的自然結構，他標誌性的建築設計是將居住空間置於自然與人造景觀之中。藤本的大部份建築作品都在日本，如武藏野美術館和武藏野藝術大學圖書館等。

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在蛇形畫廊前面，藤本運用20毫米粗的鋼條建構了一個精緻的框架建築，其如云朵一般的半透明結構與畫廊東翼的古典風格的風景相映成趣。這個靈活且多功能的設計構成了一個公共社交空間，在夏天的四個月時間里，遊客可以通過不同的方式與這個空間進行互動。

Serpentine Gallery Pavilion 2013  Designed by Sou Fujimoto Concept Sketch  © Sou Fujimoto Architects

展覽場地：Serpentine Galler y 倫敦蛇形畫廊展覽時間：8.6.2013 – 20.10.2013 更多信息：www.serpentinegaller y.org

Lowry and the Painting of Modern Life 洛瑞與現代生活繪畫

TEXT BY 文字提供 x ART.ZIP

IMAGES COURTESY OF 圖片提供 x TATE BRITAIN 泰特英國美術館

Piccadilly Circus, London 1960 Private Collection © The Estate of LS Lowery © Christie’s Images Limited/ The Bridgeman Art Library

A little known painting by LS Lowry (1887-1976) sheds new light on works included in Lowry and the Painting of Modern Life,

a major exhibition of urban landscapes by the artist at Tate Britain from 26 June. The exhibition is the first to be held by a public institution in London since the artist’s death in 1976.

Tate has discovered an unnamed painting, which depicts a

crowded town square set against Lowry’s distinctive backdrop of industrial Salford, that it is an earlier version of two works

featured in the exhibition: Our Town 1941 and A Town Square

1928. The latter was exhibited in Paris and reproduced in a

biographical French dictionary of contemporary artists in 1931.

Lowry’s inclusion in this publication highlights his status in France as a notable British artist who at the time was exhibiting more frequently in Paris than in London. The newly established link

between the unrecorded work and the later versions dramatises

how frequently Lowry revisited, refined and developed favourite scenes over many years.

The Fever Van 1935 Walker Art Gallery (Liverpoor, UK)

The exhibition of over 90 works, it demonstrates Lowry’s

uniqueness as a modern British artist who recognised what the industrial revolution had made of the world and devoted his

career to this rich and varied subject matter. Without Lowry’s

Industrial Landscape 1955 Tate © The estate of L.S. Lowery Photo: Tate Photography

pictures of football and cricket matches, protest marches, funfairs, evictions, arguments, prayer meetings, accidents and workers

going to and from the mill, Britain would lack an account in paint of the experiences of the working class in the 20th century.

6月26日，泰特英國美術館的新展《洛瑞與現代生活繪畫》展出了洛瑞（LS

Exhibition highlights include Ancoats Hospital Outpatients

創作重新認識的序幕。此次展覽是在1976年洛瑞去世以後，第一次在倫敦由

Hall 1952, painted in the early years of the NHS, shown beside an earlier street scene, The Cripples 1949, which shows those

disabled by war and illness. Images of London, to which Lowry

was a regular visitor, include Piccadilly Circus, London 1960.

Lowry）關於現代城市景觀的作品，其中一件鮮為人知的作品開啓了對他的公共藝術機構為其舉辦的大型展覽。泰特美術館研究發現，一幅根據洛瑞所在的工業城市索爾福德而繪製的，描繪了擁擠城市廣場的無名畫作，其實是另外兩幅洛瑞作品《我們的小鎮（Our Town 1941）》和《小鎮廣場（A Town Square 1928）》的早期版本。後者曾經在巴黎展出過，並在1931年被收入到一本法國當代藝術家辭典當中。辭典當中描述洛瑞是一位傑出的英國藝術家，當時他在法國巴黎參展的次數要多於倫敦。通過新發現的洛瑞無名畫作和後期版本之間戲劇化的關聯，可以發現他是如何經常地重新審視、完善和發展其多年來一直鍾愛的創作場景的。展覽展出了超過90幅作品，呈現了洛瑞作為一名現代英國藝術家的獨特性，他將自己的職業藝術生涯投身於一個豐富多彩的主題：探討工業革命對我們

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的世界產生了什麼樣的影響。如果沒有洛瑞對題材廣泛且具有時代性的藝術創作，可能英國將會非常缺少關於20世紀工人階級生活經驗的繪畫作品。

展覽場地：Tate Britain 泰特英國美術館

展覽的主要作品包括《安考斯特醫院門診大廳（Ancoats Hospital Outpatients

展覽時間：26.6.2013 – 20.10.2013

Hall 1952）》，描繪了英國全國免費醫療早期的面貌，《殘疾人（The Cripples

更多信息：www.tate.org.uk

1949）》描繪了那些因為戰爭和疾病導致殘疾的人，展覽中還有很多關於倫敦的作品，如《倫敦皮卡迪利廣場（Piccadilly Circus, London 1960）》。

Propaganda: Power and Persuasion 宣傳：影響力與說服力

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The British Library is delighted to present a major new

大英圖書館推出了他們新一季的大型展覽來探討“國

in the ancient world up until the present day. With

的古代起源到呈現這個名詞在當下所代表的內涵和外

exhibition examining state propaganda, from its origins over 200 exhibits on display, ranging from chilling Nazi propaganda to modern day ephemera such as bank

notes, badges and even tweets which permeate our

everyday lives, Propaganda: Power and Persuasion is

the first exhibition to gather such a significant range of

international state propaganda in one room, looking at its rationales, methods and effectiveness.

家宣傳（state propaganda）”的概念，追溯“宣傳”一詞延。展覽展出了超過200件展品，其中包括噤若寒蟬的納粹宣傳到現代曇花一現的鈔票、徽章，還有滲透到我們生活方方面面的“推特”“微博”等社交媒體。《宣傳：影響力與說服力》是第一個在如此廣泛範圍內探討國家宣傳的展覽，研究它的基本原理、方法論以及評估它的實施效果。

The White-Haired Girl. A Chinese film poster from 1950. Image: British Library

I want You for U.S. army. c.1917. Loan courtesy of Anthony d’Offay, London

Franklin Roosevelt’s message to young people (illustrated with Hitler mask and skull) O.W.I. (Office of War Information, United States) USF. 4, 1942 © Crown copyright

Curated by Jude England and Ian Cooke, curators of Social Science at the British Library, the exhibition explores the different ways in which the state has used propaganda to influence the thoughts

and feelings of a nation, whether the message it carries creates an

enemy, generates feelings of national pride or promotes a healthy lifestyle, and questions how propaganda is changing in a digital age and where it will go next.

Jude England, Head of Social Sciences at the British Library, says: “We want visitors to consider the role of propaganda in their

own lives today, as well as look at the state’s use of propaganda

throughout history. That’s why, as well as displaying iconic pieces of propaganda from the Library’s collections, such as posters

from both World Wars, the Cold War and Vietnam, we’ll also be

focusing on more surprising examples, such as the 2012 Olympics

此次展覽是由大英圖書館社會科學策展人裘德·英格蘭（Jude

a word like ‘propaganda’”.

的宣傳手段來達到影響一個國家人民思想和感情的目的，探討了國家宣傳

and even Twitter – things you wouldn’t necessarily associate with

The last section of the exhibition looks at propaganda in the 21st century and features a data-driven installation, Chorus. Chorus

examines how ideas and opinions spread via Twitter today, where

England）

和伊恩·庫克（Ian Cooke）策劃的，展覽揭示了不同國家如何通過運用不同所承載的信息是否會樹立敵對勢力，是否會促進公眾產生民族自豪感或者是否對促進健康的生活方式產生積極作用等問題，展覽還提出了在數字時代，宣傳將如何演進以及未來發展趨勢等疑問。

everybody can be a source of influential content. In minimalist

大英圖書館社會科學策展人裘德．英格蘭表示：“我們希望觀眾通過展覽能

Chorus renders a picture of contemporary propagandistic

所進行的‘宣傳’。正因為如此，我們才會從大英圖書館的收藏中挑選具有代

typographic animations and using only original Twitter messages,

patterns and their complex choreographies.

夠思考‘宣傳’在我們日常生活中扮演的角色，並且反思我們的國家在歷史上表性的物品進行展示，比如兩次大戰、冷戰及越南戰爭時期的海報，而且我們還選取了很多看似令人驚訝的樣本來展示，比如2012年倫敦奧運會，甚至

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是‘推特’﹣﹣這些往往很難讓人與‘宣傳’扯上關係的現象和事件。” 展覽的最後一個部份是著眼於21世紀的‘宣傳’，這部份的亮點是一個叫做

展覽場地：British Librar y 大英圖書館

《合唱》的數據驅動的裝置作品。《合唱》這件作品探討了意見和想法在當

展覽時間：17.5.2013 – 17.9.2013

下是如何通過社交媒體來傳播的，在網絡上，任何人都可以成為一個發佈

更多信息：www.bl.uk

有影響力內容的信息源。在運用簡約排版的動畫及原始社交媒體信息的前提下，《合唱》呈現了一幅當代的紛繁複雜的信息傳播模式圖。

Alternative Guide to the Universe 另類宇宙指南

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This major Hayward summer show is a guide to an artistic landscape that

stretches to the far horizons of imaginative experience. A collection of inventive and beautiful pieces, Alternative Guide to

the Universe is a rare opportunity to

discover works from self-taught artists and architects, fringe physicists; dreamers and visionary engineers, all of whom seek to reinvent the world we live in.

Alternative Guide to the Universe

focuses on individuals who develop their ideas and practices outside of official

institutions and established disciplines. Eccentric and inspiring, their work

ingeniously departs from accepted ways

of thinking in order to re-imagine the rules of culture and science. Spanning a wide range of forms and materials, it includes epic paintings of alternative calendars

as well as obsessively detailed drawings of the human nervous system; scientific

charts and fantastical engineering plans;

functioning robots and blueprints for cities of the future and the evolution of human consciousness.

Lee Godie Lee and Cameo on a chair... (early to mid 1970s) © the artist Courtesy Richard and Ellen Sandor Family Collection

Alfred Jensen Twelve Events in a Dual Universe (1978) Installation view ‘Alternative Guide to the Universe’, Hayward Gallery 2013 Photo：Harry Liu

Taken together, the speculative visions in

Alternative Guide to the Universe rival the

wildest inventions of science fiction - with the difference that these artists actually believe in

the validity and veracity of all that they describe

and propose. Whether speculating on mysteries

of time and space or charting the unseen energy flows of our bodies and minds, their imaginative

creations invite the viewer into a universe where ingenuity trumps received wisdom.

此次海沃德畫廊的夏季展呈現了一幕獨特的藝術景觀，它將引導觀眾們進行一次延伸到想像力邊緣的經驗之旅。《另類太空指南》是一個奇異發明和美麗事物的集合，此次展覽是一個千載難逢的機會，去發現那些自學成才的藝術家和設計師、邊緣物理學家、夢想家和富有遠見的工程師們是如何重新定義我們所處的世界。《另類太空指南》關注於那些不隸屬與任何機構的、不墨守陳規的個體，他們獨立發展和實踐自己的想法。他們的作品是怪異的，更是具有啟發性的，他們的創作巧妙地擺脫了約定俗成的思維方式，得以重新思考和架構既有的文化和科學的法則。展覽展出的作品囊括了廣泛的材質和創作形式，例如史詩般的另類日曆式的油畫；描繪了極致精細的人體神經系統的詳盡圖紙；科學圖表和幻想工程的計劃方案；未來城市的藍圖和機器人以及對於人類意識進化的暢想等等。 Rammellzee Color Letter Racer Set (c.1988) and White Letter Racer Set (c.1991) Installation view ‘Alternative Guide to the Universe’, Hayward Gallery 2013 © Estate of Carmela Zagari Rammellzee Photo: Linda Nylind

《另類宇宙指南》中展出的作品可以與最為天馬行空的科幻小說中的想像相媲美，不同的是參展藝術家們是真心實意的相信他們的描述和設想是符合邏輯并切實可行的。無論是對於時間空間奧秘的揣測還是對於我們心靈和肉體間無形能量流的繪製，藝術家們充滿想像力的創作將觀者帶入一個充滿真正智慧的宇宙。

Tips Installation view. Photo：Harry Liu

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展覽場地：Hay ward Galler y 海沃德畫廊展覽時間：11.6.2013–26.8.2013 更多信息：www.southbankcentre.co.uk

Art Everywhere 藝術隨處見

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Members of the public can choose great British artworks to

be part of the world’s largest art exhibition Art Everywhere, on view on streets around the UK this summer, by selecting their favorite work from a list published on 21 June on artweverywhere.org.uk.

The long list of remarkable British artworks, dating from

mediaeval to the contemporary, is online until 10 July for the

public to choose from. The dates of artworks range from c1340 - 2012 and include well-known works such as John Constable’s

Salisbury Cathedral in the Meadows, J.M.W. Turner’s The Fighting Temeraire, John Millias’s Ophelia and Francis Bacon’s Head VI. The list includes major artists such as William Blake,

Barbara Hepworth, Tracey Emin, Sarah Lucas, Damien Hirst, as well as lesser-known artists spanning the centuries.

To produce the list, members of a selection panel were invited to each put forward 50 artworks that they felt were important and were both from a public collection and by a British artist.

The list was edited to just over 100 artworks to ensure there was a balanced range of artists, subjects and periods.

《藝術隨處見》將會是一個全世界最大的展覽項目，人們通過網站推選出他們最喜歡的英國藝術作品，而今年夏天這些被選出的作品將在英國各地的大街小巷里展示。6月21日，候選作品名單將會公佈在 artweverywhere.org.uk網站上。 Francis Bacon, Head VI, 1949 Arts Council Collection

截止到7月10日，一系列標誌性的英國著名藝術作品的名錄和圖片將會被放到網站上供公眾來投票，作品創作的年代跨度很大，包括了從中世紀到當代各階段的重要作品（1340﹣2012），其中包括約翰·康斯特布爾（John Constable）的《索爾茲伯里大教堂（Salisbury Cathedral in the

Michael Craig-Martin Inhale (Yellow), 2002 Manchester Art Gallery

Meadows）》，J.M.W.特納（J.M.W. Turner）的《無畏號戰艦（The Fighting Temeraire）》，約翰·米萊斯（John Millias）的《奧菲莉亞（Ophelia）》以及弗朗西斯·培根（Francis Bacon）的《頭像之六（Head VI）》。

The public can choose their favorite works by ‘liking’ them and

sharing them through Facebook. Reproductions of the some of

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the most popular works – fifty in all – go on view on billboard sites across the UK for two weeks.

Many leading artists support the project, including Damien Hirst

who said: “Art is for everyone, and everyone who has access to it

展覽場地：On streets around the UK 遍佈英國各處展覽時間：10.8.2013–25.8.2013 更多信息：ar tever y where.org.uk

will benefit from it. This project is amazing and gives the public

a voice and an opportunity to choose what they want to see on their streets.”

這份作品清單里包括了很多知名的藝術家如威廉·布萊克（William Blake），芭芭拉·赫普沃斯（Barbara Hepworth），翠西·艾敏（Tracey Emin），莎拉·盧卡斯（Sarah Lucas），達明·赫斯特（Damien Hirst），以及一些在跨越了幾個世紀時間裏都鮮為人知的藝術家。評選委員會的成員各自給出50件他們認為重要的藝術作品，從這些作品中，權衡作品的時代、主題和藝術家等各種要素，最終整理出100多件候選作品向公眾公佈。所有人都可以通過自己的喜愛來挑選他們認為優秀的藝術作品，并通過社交網絡分享他們的選擇。其中最受公眾喜愛的前50幅作品將會被繪制在遍佈英國各地的廣告牌進行兩週的展覽。很多知名藝術家都支持了這個項目，其中達明·赫斯特表示：“藝術是大眾的，每個接觸藝術的人都可以從中受益，這個項目非常棒，它讓每個人都可以發出自己的聲音來選擇他們喜歡的藝術作品。”

John William Waterhouse Hylas and the Nymphs, 1896 Manchester City Galleries

Lucian Freud, Man’s Head (Self Portrait I), 1963, Whitworth Art Gallery

Walk through British Art 漫步于英倫藝術 TEXT BY 文字提供 x ART.ZIP

IMAGES COURTESY OF 圖片提供 x TATE BRITAIN 泰特英國美術館

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展覽場地：Tate Britain 泰特英國美術館展覽時間：14.5.2013 更多信息：www.tate.org.uk

Francis Bacon. Three Studies for Figures at the Base of a Crucifixion c. 1944 © Tate

From 14 May, visitors can experience the national collection of British art British School 17th Century. The Cholmondeley Ladies c.1600-10 © Tate

in a continuous chronological display – a walk through time from the

1500s to the present day. Walk through British Art will comprise around 500 artworks over a newly configured sequence of over 20 galleries.

The displays include works by major artists such as Francis Bacon, John Constable, William Hogarth, Thomas Gainsborough, George Stubbs,

J.M.W. Turner, Gwen John, Stanley Spencer, L.S. Lowry, John Everett Millais, Bridget Riley, Damien Hirst, David Hockney, and Rachel Whiteread.

The new chronological approach offers a fresh perspective highlighting surprising juxtapositions of art created within a few years of each other but rarely associated. The frolicking female nudes of Alma Tadema’s A

Favourite Custom 1909, the epitome of Victorian revivalism, are seen next to Walter Sickert’s gritty modernist icon La Hollandaise 1906.

Often separated when hung by movement or genre, the chronological presentation allows a more neutral view of the range of art being produced at any one historical moment to emerge.

今年5月14日，泰特英國美術館將推出一個新的展覽，將英國藝術按照編年史的體例進行呈現，觀眾可以在這里欣賞從16世紀至今的英國藝術作品。《漫步于英倫藝術》重新規划了超過20間展廳的陳列方式，展出了約500件藝術作品。展覽陳列的作品包括很多重要的藝術家，包括弗朗西斯·培根（Francis Bacon），約翰·康斯特布爾（John Constable），J.M.W.特納（J.M.W.Turner），L.S.洛瑞（L.S. Lowry），大衛·霍克尼（David Hockney），達明·赫斯特（Damien Hirst），瑞秋·懷特瑞（Rachel Whiteread）等等。按編年體例來規劃陳列展覽作品的方式為觀眾提供了一個全新的欣賞藝術的視角，這也凸顯了不同藝術家在同一時期內，在互不關聯的情況下進行藝術創作所表現出的令人驚訝的時代特徵和各自鮮明的藝術取向。比如創作于1909年的阿爾瑪·塔德瑪（Alma Tadema）的《洗浴風俗（A Favourite Custom 1909）》是一幅維多利亞時代復古主義的作品，而它旁邊的就是風格迥異的創作於1906年沃爾特·西柯爾特（Walter Sickert）創作的標誌性的現代派作品《荷蘭人（La Hollandaise）》。與按照流派或藝術運動陳列方式不同，按照時間順序的策展方式不僅能為觀眾提供一種更為中立的觀展經驗，而且可以呈現各個藝術運動在不同歷史時刻的發展狀態。

Royal Academy of Arts Summer Exhibition 2013 英國皇家美術學院夏季展2013 TEXT BY 文字提供 x ART.ZIP

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ROYAL ACADEMY OF ARTS 英國皇家美術學院

Installation view. Photo：Harry Liu

Now in its 245th year, the Summer Exhibition continues to be the

world’s largest open submission contemporary art show, providing a platform for both emerging and established artists to showcase

their work to an international audience. The majority of the works

will be for sale, offering visitors an opportunity to purchase original artwork by the artists selected for the show. The diverse media will

include painting, sculpture, photography, printmaking, architecture and film. Marking the start of London’s summer cultural season, the Summer Exhibition will present a snapshot of living artists today

and provide a unique experience for visitors to view and buy art. The works of art will be carefully selected by a committee of

ten Royal Academicians and with the guidance of the two lead coordinators, the galleries will exhibit over 1,000 exceptional

artworks, many of which will go on public display for the first time. 今年是皇家美術學院成立245年，此次《皇家美院夏季展》繼續成為世界上最大的開放式提名制當代藝術展，為新晉的和已經成名的藝術家提供一個平臺，向國際範圍內的觀眾展示他們的作品。展覽中大部份的作品將被出售，這為廣大觀眾提供了一個購買經過精挑細選的原創藝術作品的機會。參展的藝術形式包括繪畫，雕塑，攝影，版畫，建築和電影。夏季展的開幕標誌著倫敦夏季文化季的開始，展覽將呈現當下藝術發展的一個快照，為觀眾欣賞和購買藝術品提供一個獨特的經驗。展覽中展出的藝術作品都是經過皇家美院的評審委員會精挑細選的，展覽將展出超過1000件獨特的藝術作品，其中很多都是第一次和公眾見面。

This year the Summer Exhibition will have a

room dedicated to portraiture, which will include photography and works on paper, along with new works by Frank Auerbach, Tom Phillips,

Michael Craig-Martin and Alex Katz. This focus will acknowledge the historic role that portraiture has

played at the Royal Academy’s Summer Exhibition and the enduring importance of this genre within artistic practice today.

Christopher Le Brun, President of the Royal

Academy of Arts says, “One of the founding principles of the Academy was to ‘mount an annual exhibition open to all artists of

distinguished merit’ to finance the training of

young artists in the RA Schools. This has been held every year without interruption since 1769. The

Royal Academy receives no public funding so each

purchase made at the Summer Exhibition directly contributes to maintaining our free art school.”

Installation view. Photo：Harry Liu

Julian Opie Maria Teresa 1, 2011 Inkjet on Canvas 192 x 119.6 cm ©Julian Opie and Lisson Gallery

今年的夏季展將為肖像作品特設一個展廳，其中包括攝影和紙上作品，包括由弗蘭克·奧爾巴赫（Frank

Auerbach），湯姆·菲利普斯

（Tom Phillips），邁克爾·克雷格 - 馬丁（Michael Craig-Martin）以及亞歷克斯卡茨（Alex Katz）的新作品。這次的肖像展廳的設立不僅標誌著肖像作品在皇家美院夏季展上扮演的歷史角色，同時也強調了肖像創作在當下藝術實踐中的重要性。皇家美院主席克里斯托弗·勒布倫（Christopher Le Brun）表示：“皇家美院的初創原則之一便是‘承辦年度的展覽，展示所有藝術家的傑出創作’以籌集資金來支持和培養在皇家美院學習和進修的年輕藝術家。從1769年至今，這一傳統從未間斷。皇家美院的運營費用並不是由任何公共資金支持的，所以每次在夏季展購買藝術品其實都是對於我們運營這個免費藝術學院的幫助。”

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展覽場地：Royal Academy of Ar ts 英國皇家美術學院展覽時間：10.6.2013 – 18.8.2013 更多信息：www.royalacademy.org.uk

Master Drawings 大師素描

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ASHMOLEAN MUSEUM 阿什莫林博物館

Samuel Palmer (1805–1881) Self-Portrait Black and white chalks on buff paper 291 x 229 mm

Michelangelo Buonarroti (1475–1564) The Ideal Head Red chalk on off-white paper 205 x 165 mm

The Ashmolean announces one of its major summer exhibitions,

Master Drawings, as part of the celebrations to mark the

founding of the Museum in 1683. The exhibition, drawn from one of the world’s greatest collections of works on paper, will display

a selection of the Ashmolean’s treasures of western art including works by Michelangelo and Raphael; Dürer and the artists of

the Northern Renaissance; through the centuries to Rubens and Rembrandt; Turner, Degas and Pissarro; up to Gwen John and David Hockney.

Master Drawings will survey drawings of all types - figure studies, composition sketches, landscapes and portraits. Michelangelo will be represented by a study for the Sistine ceiling. Raphael will be

represented by a series of studies ranging from one of his earliest works - a figure of the kneeling Magdalen delicately outlined

in silverpoint- to one his last studies, the powerful and famous

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image of the hands and the heads of two apostles, drawn shortly before his death in 1520. The history of landscape drawing will

be explored from its beginnings with Dürer’s View of the Cembra Valley made in 1494; to watercolour sketches made by JMW

Turner from opposite ends of his career. The seventeenth century will be represented in drawings by Rembrandt and Rubens;

展覽場地：Ashmolean Museum 阿什莫林博物館展覽時間：25.5.2013 – 18.8.2013 更多信息：www.ashmolean.org

Guercino; and Claude Lorrain. The story will continue through the

英國阿什莫林博物館開始了他們夏季的主展《大師素描》，這個展覽也是

draughtsmen: Watteau, Boucher, Fragonard, Tiepolo, Goya, Ingres,

上作品收藏，呈現了博物館珍藏的西方藝術大師的精品，包括米開朗基羅

following centuries with studies by several of Europe’s greatest Degas and Cézanne.

Dr Jon Whiteley, Senior Curator of European Art at the Ashmolean, says, “Drawings provide a unique insight into artists’ thoughts and working methods. Visitors to this exhibition will have the chance to take in works of the greatest quality, drawn by some of the most famous artists in the history of western art.”

慶祝其建館330週年活動的一部份。此次展覽展出了世界上最偉大的紙（Michelangelo）、拉斐爾（Raphael）、丟勒（Dürer）和一部份文藝復興北方畫派的作品，而且時間跨度很廣，從百年前的魯本斯（Rubens）、倫勃朗（Rembrandt）; 特納（Turner）, 德加（Degas）和畢沙羅（Pissarro）到現代的格溫·約翰（Gwen John）和大衛·霍克尼（David Hockney）。《大師素描》涵蓋了各種素描形式，造型、速寫、風景和肖像。米開朗基羅的作品是其關於西斯廷教堂穹頂壁畫的草稿；拉斐爾的作品是從其早期到晚期一系列的草稿，包括他1520年去世之前不久繪製的著名的兩個使徒的手和頭部特寫；關於風景畫的歷史，展覽從丟勒的作品開始一直到特納晚年的水彩速寫為結點；關於17世紀的繪畫則由倫勃朗、魯本斯、爾奇諾（Guercino）和克勞德·洛蘭（Claude

Lorrain）的作品來擔綱；展覽還

通過歐洲最偉大畫家們的作品來展現了接下來幾個世紀的繪畫歷程，其 Rembrandt van Rijn (1606–1669) Head Study of an Old Man (detail shown above) Pen and brush with brown ink over black and red chalks 275 x 193 mm

中包括華托（Watteau），布歇（Boucher），弗拉戈納爾（Fragonard），提埃波羅（Tiepolo），戈雅（Goya），安格爾（Ingres），德加（Degas）和塞尚（Cézanne）。阿什莫林博物館歐洲藝術高級策展人喬恩·惠特利博士（Dr Jon Whiteley）表示：“繪畫提供了一個獨特的了解和洞察藝術家思想和工作的方法。觀眾來觀看這個展覽將會有機會欣賞到西方藝術史中眾多藝術大師的傑出畫作。”

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ZINE

BEYOND THE LENS 管中窺影

What is the exact meaning of photography? Is it a “grab the moment” action,

“ 攝影 ” 究竟是一個什麼樣的概念？是一個關於 “ 抓取瞬

of self-expression, or simply a collection of captured images? It is probably a

術創作的手段？亦或是一種自我表達的方式？更或者

or a tool to record every phase of life, or a means of artistic creation, or a way

question with various answers from a variety of people. But in spite of the fact that the camera is so popular nowadays, not every one is willing to take up the title of being a photographer. Then can we assume such a proposition, since the possession of camera does not necessarily mean one becomes a

photographer, that not all photograph taking belongs to photography? From that question, different answers can be drawn, as a result of different logic.

We are not going to discuss the issue of logic, though every reader can come

up with whatever points of view that are come to mind. This issue feature will unfold from photographers to a world of photography that is filled with both photographic works and the stories of photographers, with our depiction to open the door of a broader photographic world behind each photograph

to be studied. We are striving, within our limited content space, to introduce our readers to aspects of the relevant photographic development, in review of photographic history, the current status, and the future prospects. I hope

through the feature of this issue, you will get the understanding of the concept

development of photography for the change of our cultural and artistic life, and be inspired to consider and review the fundamental meaning of photography.

間 ” 的動作？還是一個紀錄生活點滴的工具？是一種藝僅僅是“ 攝取影像 ” 所包含的集合？我想對於不同的人，答案也會是豐富多樣的，不過，即使是照相機如此普及的今天，也並不是每個人都可以或者願意揹負起 “ 攝影師 ” 的頭銜的，既然擁有相機並不代表就成為了 “ 攝影師 ”，那是不是我們可以臆斷這樣一個命題：“ 並不是所有的拍照都是攝影。”？按照不同的邏輯我們可以得出關於這個命題真偽不同的答案，誠然，我們接下來要討論的問題並不是關於邏輯的，各位看官也儘可以自己給出自己的看法。這期的專題，我們將以攝影師為切入點來進入一個攝影的世界，這裡不僅僅有作品，也有攝影師的故事，通過我們的紀錄打開一扇窺探照片背後廣闊攝影世界的窗子，我們也儘可能的在有限的篇幅當中為大家介紹攝影發展的相關的方方面面，回顧歷史，描述當下，展望未來。希望這期的專題能讓大家了解 “ 攝影 ” 概念的發展對我們的文化和藝術生活帶來的變革，也希望在大家心中喚起對 “ 攝影 ” 本源概念的思考和審視。

Humphrey Spender, People on bench, 1937/38, © Bolton Council, from the Collection of Bolton Library and Museum Services, Courtesy of the Mass Observation Archive

LIVING SHOOTING The living circumstance of British photographers

生活·攝影

——英國攝影師生存現狀

TEXT BY 撰文 x WEI BO 魏博 TRANSLATED BY 翻譯 x SYNDI HUANG 黃煥欣

Wei Bo and Rachel Peng, founders of IM Studio, set up their own photography studio in London five years ago. Throughout the years of striving to establish themselves in the London photography industry, they gained a profound understanding of the photography field. As the contributing editors for this issue, they will share the development of photography and the present status and the future prospects of the photography industry from the perspective of photography professionals. 魏博（Wei Bo）、彭瑞球（Rachel Peng）在倫敦創辦了他們自己的攝影工作室IM Studio，5年來，在倫敦攝影界的不懈打拼也讓他們對攝影有了更深入的了解，此次作為ART.ZIP 的特約編輯，他們將和大家分享作為攝影從業人員對攝影發展和當下攝影產業現狀的看法，以及對攝影行業未來的展望。

As photographers living and working in London, we have

作為在倫敦工作生活的攝影師，我們這些年來

years. While managing our studio, we have the chance to meet

工作室的過程當中，接觸了很多形形色色的攝

been being engaged in commercial photography for all these various photographers and photography related agencies and organizations. And ART.ZIP is providing such a great

opportunity for us to talk about the development and current status of the photography industry, and the circumstance of current British photographers.

I was studying fine arts and found great interest in technology

and photography. Approximately ten years ago, when I was still

studying at university, it was a time when photography mingled

with technology, and the start of its rapid development. As I have long been interested in both art and photography, I went to university to study photography at a professional level.

After graduation, I did not start a photography career straight away, but engaged in an office work, which I quickly quit.

Eventually I got back to what I really loved, photography. In the UK, there are mainly two ways to start a photography career.

One is to be an assistant of established photographers to learn relevant knowledge and gain work experience; the other is to start as a freelance photographer. Neither of them is an easy choice. One has to fight to fulfil the dream, and at the same

time to find the way to make ends meet. We are quite fortunate to know a lot of fashion professionals while working, who gave me my first job, and set me on the right foot in the industry since then.

In my opinion, photography is supposed to be a career with

actual functionality. But with the development of technology, it is very easy for people to get the images or photographs they want. Therefore, the demand for images and the number of

photographers are unbalanced. The number of photographers has greatly exceeded the demand. So I think it is a great

opportunity now to discuss contemporary photography and the industry, to explore the difference of “photography” and “photograph taking”.

In this issue, we will introduce some outstanding photographers and their works to let everyone get an initial general

understanding of the historical development of photography. We also take this opportunity to express our respect to those great masters. Then follows interviews with a selection of

highly representative British photographers, who represent

the decently quiet side of contemporary British photography. Different from many of those photographers who establish themselves through the alike celebrity promotions, the

photographers we interview here are the ones only dedicated

一直在從事商業攝影，在經營我們自己的攝影影師以及攝影相關的機構和組織，這次正好能有這麼一個機會通過AR T. ZIP這個平台來和大家聊一聊攝影產業的發展和現狀，以及當下英國攝影師的生存狀態。我以前是學美術的，自己對科技和攝影都非常感興趣，當我上大學的時候也就是差不多十年前，正是攝影技術與數碼科技相結合并開始飛速發展的時期，由於我一直對藝術與科技的結合非常感興趣，於是便在大學階段選擇了攻讀攝影專業。後來，畢業以後其實我并沒有直接開始做攝影，而是從事了別的行業，不過很快我就決定放棄朝九晚五的辦公室生活，做回我自己喜歡的攝影。在英國，開始攝影師生涯一般有兩種方式，一種是給其他的從業攝影師做助理，學習相關的產業知識和積累工作經驗；另外一種就是直接開始做自由攝影師，這兩種都是非常辛苦的，一方面要堅持自己的理想，同時也要想辦法支付自己的生活費用。我們算是比較幸運的，由於工作的關係，結識了很多時裝界的人士，從他們那裡我接到了第一單的生意，從此也就正式進入了這個行業。在我看來，攝影本來應該是一個職業，一個具有實際功能的職業，但隨著科技的發展，人們可以非常容易的獲得他們所想要的圖片或者照片，所以在對圖片的需求量和攝影師數量之間的配比已經失衡，攝影師的數量已經大大超過了需求量，因此我覺得現在也是一個非常好的時機來描繪一下當下攝影和攝影產業的一個狀態，來探討一下“攝影”與“拍照”之間概念的不同。在這期專題裡面，我們先是給大家展示了在攝影史上一些傑出攝影師和他們的作品，讓大家對攝影的發展歷程有個直觀和概括的了解，當然也是藉此機會對大師們表達我們的敬意，後面我們挑選并採訪了幾個極富代表性的英國攝影師，他們展現了當下英國攝影非常沉靜的一面，因為當下很多攝影師都是通過像炒作明星一樣的套路來包裝自己，與他們不同，我們採訪的這幾位攝影師都是在業界兢兢業業的工作，不屑於獲得虛名卻著力于做好自己本職的一群攝影人。在我看來，這樣的攝影師可能以後會越

來越少，因為更多的目光都會被吸引到那些光環閃耀的明星“ 攝影師 ” 那裡去了。我覺得很有必要來分享這些真正在做 “攝影 ”工作的從業者的故事，來還原這個行業的本質屬性。 “造星” 式的攝影師推廣策略其實無可厚非，不同攝影師可以選擇不同的營銷手段，只不過通過大眾媒體對各種攝影產生的照片或者圖像的解讀，會對公眾產生潛移默化的影響，這些影響帶來的問題是值得我們考量的。此外，對於當下，隨著互聯網的發展和數碼設備的普及，攝影作為一個工種已經不再有以前那麼重要的地位了，甚至可以說，作為一項工作，攝影已經走向末路了。我們覺得在不遠的未來，攝影師會以一種不同的形式出現，比如攝影師將會成為一批自媒體的代表，圖片和影像只是其中的一個環節，明確的觀念性和整體的經營才是未來決定一個攝影師成敗的關鍵，到那個時候，攝影

themselves to their works, not in favour of fame. I assume

in the future there will probably be fewer and fewer of such photographers, as more and more attention will be drawn to those easily noticeable celebrity photographers. Thus it is necessary to share the stories of these fundamental

photography devotees, to restore the essence of this industry. The promotional strategy of being celebrity photographers can

be understandable, as different photographers choose different means to promote themselves. However, the interpretations of

photographic images and photos by the mass media can insert an unconscious impact on the public. The problems as a result of their influence are worth concern. In addition, the present

development of the Internet and the popularity of digital devices, photography considered as a job is no longer as significant as it used to be, or rather, it has reached its end.

We feel that in the near future, photographers will appear

in a different form. For instance, photography will become a

self-representative medium, where photographs and images are just playing one aspect, and the key to succeed lies in

a defined concept and overall management. By that time,

the identity of the photographer will change dramatically. On the other hand, photography has been more and is

becoming more a means of artistic expression, or a way of

self-expression. When “photography” is mentioned, the first

impression is related to a category or a medium of arts, such as painting and sculpture, rather than a kind of work. In a sense,

practical photography has been dead, but as a visual art form of expression, it remains full of vitality.

師的身份會發生巨大的轉變。另一方面來看，攝影正在越來越多的成為一種藝術的表現手段，或者說自我表達的一種渠道，以後提起“攝影”，大家第一反應到的應該是一個像油畫或者雕塑一樣的藝術門類或者介質，而不太會聯想到一種工作。某種意義上來說，實用攝影已經死掉了，但作為視覺藝術的表達方式，它依然充滿生命力。

IMAGE COURTESY OF SOMERSET HOUSE

ERWIN BLUMENFELD 歐文·布盧門菲爾德

Lisa Fonssagrives on the Eiffel Tower, 1939, Paris

Erwin Blumenfeld (1897 – 1969) is regarded as one of the most influential photographers of

the twentieth century. An experimenter and innovator, he produced an extensive body of work

throughout his career including black and white nudes, celebrity portraiture, advertising campaigns and his renowned fashion photography. He took more covers for Vogue than any photographer

before or since and his art photography was for a long time overshadowed by his commercial work. Erwin Bluemenfeld’s life was an extraordinary one, from a tailor apprentice to owner of leather shop,

and ultimately he became the most-wanted fashion photographer. He broke all the rules and created his own language of photography, leaving us thousands of striking images and videos, although his artistic creation still remains to be recognized. Bluemenfeld pushed the boundaries in his art and in

his life. He died in 1969, in a deliberate attempt to induce a heart attack, because he had repeatedly run up and down the steps in Rome. It is said that he could not bear his aging self.

歐文· 布盧門菲爾德（18 97﹣19 69）是二十世紀最有影響力的攝影師之一。他是攝影領域的實驗者和創新者，他的整個職業生涯中創作了大量的題材廣泛的作品，包括黑白的裸體人物、名人肖像、商業廣告以及他著名的時尚攝影。他是為《時尚》雜誌拍攝封面最多的攝影師，他在商業攝影作品上的成功在很長一段時間里遮蔽了他自己藝術攝影作品的光彩。歐文· 布盧門菲爾德的一生就是一部傳奇，從一個裁縫學徒到皮草店的小店主，再到日後成為當時最為聲名顯赫的攝影師，他的一生跌宕起伏，亂象環生，他打破了關於攝影技術那些約定俗成的規則，破壞一切不需墨守的陳規，創造出驚豔的圖像。關於他的死也是極富戲劇性的，很多人認為他是因為受夠了自己的衰老而故意進行強烈運動誘使心髒病發作而自殺。

Spring Fashion 1953 for Vogue ©The Estate of Erwin

Grace Kelly 1955 for Cosmopolitan ©The Estate of Erwin Blumenfeld

“I was an amateur-I am an amateur-and I intend to stay an amateur. To me an amateur photographer is one who is in love with taking pictures, a free soul who can photograph what he likes and who likes what he photographs. By that definition I am an amateur, so that is the definition that I accept. Currently I am absorbed in magazine and advertising illustration, and I remain as true an amateur than I was at ten. The wonder that the camera can really reproduce anything shown to it still astounds me; and I am strongly determined to show the lens a more exciting, dramatic and beautiful way of presenting life.”

Venetian Blind Woman 1943

“我以前是一名業餘攝影師，我現在也是業餘的，我打算一直做一名業餘攝影師。對我來說，一名業餘攝影師就是喜歡拍照片的人，一個可以拍攝他喜歡的人和事物的自由的靈魂。基於這個定義，我是一名業餘攝影師。雖然我現在為雜誌和廣告插畫而工作，但我認為我還是像我十歲那時候一樣，是一位業餘攝影師。照相機能夠精確重現事物的能力依舊令我震撼，我強烈的希望用鏡頭來更精彩、更戲劇化和更為美麗地展示生活。”

Tips

小貼示

Blumenfeld Studio: New York 1941-1960

Support for the Red Cross, for the cover of American Vogue March 1945 ©The Estate of Erwin Blumenfeld

歐文 •佈盧門費爾德工作室：紐約 1941 ﹣1960 展覽場地：S omer set H ou se 薩默賽特宮展覽時間：2 3 .5 .2 0 1 3﹣ 1 .9.2 0 1 3 更多信息：www.somer seth ou se.or g.u k

HENRI CARTIER -BRESSON

亨利·卡蒂爾－佈列松

Henri Cartier-Bresson | France. Paris. Place de l’Europe. Gare Saint Lazare 1932 © Henri Cartier-Bresson/Magnum Photos

Born 1908 in France, Seine-et-Marne, Henri Cartier-Bresson developed a strong fascination with painting early on, and

particularly with Surrealism. He was considered to be the father of modern photojournalism and an early adopter of 35mm

format, and the master of candid photography. He has influenced generations of photographers who followed. Also, he is the one of the founders of the Magnum Photos.

He explained his approach to photography in these terms, ‘”For

“To take a photograph is to align the head, the eye and the heart. It’s a way of life. ” “拍攝，是將頭、眼還有心協調一致的過程，這是一種生活方式。”

me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms,

questions and decides simultaneously. It is by economy of means that one arrives at simplicity of expression.”

Cartier-Bresson was a photographer who hated to be

photographed and treasured his privacy above all. Photographs

of Cartier-Bresson do exist, but they are scant. When he accepted an honorary degree from Oxford University in 1975, he held a paper in front of his face to avoid being photographed.

亨利 · 卡蒂爾－佈列松，19 0 8 年生於法國塞納馬恩省，少年時熱愛繪畫，尤其熱衷於超現實主義繪畫。他被認為是現代紀實攝影之父，他是最早開始使用 3 5 毫米膠片進行創作的先驅，也是街頭抓拍攝影大師。他的理論和實踐影響了後世無數的攝影人。而且，他還是瑪格南圖片社的創辦人之一。他是這麼定義他的攝影的 : “ 對我來說，相機就像是我的速寫本，一個直覺的和即興的工具，一個提問和決定同時進行的 ‘ 直覺大師 ’。它是一種簡單快捷的表達方式。” 佈列松是一位不喜歡被拍照的攝影師，他珍視自己的隱私高於一切，關於他的相片確實存在，不過非常少見。當他1975 年接受牛津大學榮譽學位的時候，他在自己面前舉了一張紙遮擋自己，以免被拍照。

“In photography, the smallest thing can be a great subject. The little human detail can become a leitmotiv.” “在攝影中，最小的事物可以是最偉大的題材，人類微小的細節可以成為一個史詩般的主旨。”

Henri Cartier-Bresson. Juvisy, France. 1938. © Henri CartierBresson/Magnum Photos Henri Cartier-Bresson, “Brussels, Belgium”, 1932. © Henri CartierBresson/Magnum Photos

Shanghai, 1948  © Henri Cartier-Bresson/ Magnum Photos

“Constant new discoveries in chemistry and optics are widening considerably

“在化學和光學領域的新發現極大地拓展了我們的認

ourselves, but there is a whole group of fetishes which have developed on the

的能力，但是也出現了一批僅僅迷戀于攝影技術的屌

our field of action. It is up to us to apply them to our technique, to improve

subject of technique. Technique is important only insofar as you must master it

in order to communicate what you see... The camera for us is a tool, not a pretty mechanical toy. In the precise functioning of the mechanical object perhaps there is an unconscious compensation for the anxieties and uncertainties of

daily endeavor. In any case, people think far too much about techniques and not enough about seeing.”

知領域，我們將這些發現運用於攝影，用來提高我們絲。技術是很重要的，你必須掌握它才能傳達你所看到的景象……照相機對我們來說是一個工具，而不是一個漂亮的機器玩具。在運轉精確的設備背後，可能蘊含的是一種無意識的對日常生活中焦慮和不確定性的慰藉。任何情況下，人們都過於關注技術，而忽略了觀看。”

YOUSUF KARSH

Winston Churchill, 1941

優素福·卡什 Yousuf Karsh (1908-2002) is one of the masters of 20th

century photography. His body of work includes portraits

of statesmen, artists, musicians, authors, scientists, and men and women of accomplishment. His extraordinary and

unique portfolio presents the viewer with an intimate and compassionate view of humanity.

優素福•卡什（1908-2002）是上個世紀的一位肖像攝影大師。他的作品包括政治家、藝術家、音樂家、作家、科學家還有那些成就卓越的男人和女人們。他非凡獨特的作品展示給觀眾們一種親切的富有人情味的人文景觀。

“My chief joy is to photograph the great in heart, in mind, and in spirit, whether they be famous or humble.” “我的樂趣來自於拍攝偉大的心靈、偉大的頭腦和偉大的靈魂，不論他們是著名的或者是卑微的。”

Albert Einstein, 1948 Audrey Hepburn, 1956

The Roaring Lion Yousuf Karsh’s most famous work is the portrait of the British wartime Prime Minister Winston Churchill.

Churchill marched into the room scowling, “regarding my

camera as he might regard the German enemy.” His expression suited Karsh perfectly, but the cigar stuck between his teeth

seemed incompatible with such a solemn and formal occasion.

“Instinctively, I removed the cigar. At this the Churchillian scowl deepened, the head was thrust forward belligerently, and the hand placed on the hip in an attitude of anger.”

The image captured Churchill and the Britain of the time perfectly — defiant and unconquerable. Churchill later said to him, “You

can even make a roaring lion stand still to be photographed.” As such, Karsh titled the photograph, The Roaring Lion.

However, Karsh’s favourite photograph was the one taken

immediately after this one where Churchill’s mood had lightened considerably and is shown much in the same pose, but smiling. It was announced on 26 April 2013 by the Bank of England that the

Andy Warhol, 1979

more well-known image would be used on the new £5 note, to be issued in 2016.

咆哮的獅子優素福 •卡什的成名作，就是在19 41年二戰初期拍攝的英國戰時首相邱

“Photography is, to me, more than a means of expression,

more than my particular prefession – it is a way of life. And if I were asked to choose one word which holds the key to my

work I would select ‘light’ – for light is my language, and it is

international, readily understood by any person of any race.”

吉爾（Winston Churchill 1874-1965）的肖像。當時邱吉爾在加拿大演

“攝影對我來說不僅僅是一種表達方式，也不僅僅是我的專業，它是我的生

說，爭取國際支援英國的參戰，完結後卡什有兩分鐘拍照的時間。邱吉爾

活方式。如果有人要讓我選一個詞語來概括我的工作，我會選‘光’這個字，光

一向不喜鏡頭再加上壞心情，卡什感到他對待照相機「就好像對待納粹

是我的語言，他是國際通用的，能夠被任何地方任何種族的人快速理解。”

黨」一樣；他拍照時直覺地把邱吉爾嘴巴咬住的雪茄拿掉，完成了這張怒目而視的肖像。這張肖像營造了邱吉爾挑釁的性格，短小的身軀卻有種百折不撓的氣燄，這張照片大大振奮了當時尚在跟德國單打獨鬥的英國民眾，成為當時流通最廣的肖像照片，成為一種權力圖像的極至。卡什把這幀照片命名為《咆哮的雄獅》（The Roaring Lion）。卡什聲名大噪，以後的歲月拍過不少名人，權傾一時的政治人物也不少，其中包括戴高樂、艾森豪威爾、卡斯特羅等等，大概是因為他有制作這種令人信服的英雄圖像的能耐。

“Within every man and woman a secret is hidden, and as a

photographer it is my task to reveal it if I can. The revelation, if

it comes at all, will come in a small fraction of a second with an unconscious gesture, a gleam of the eye, a brief lifting of the mask that all humans wear to conceal their innermost selves from the world. In that fleeting interval of opportunity the photographer must act or lose his prize.”

在拍攝了這張作品以後，卡什在邱吉爾情緒緩和以後又為他拍攝了一張

“每個人都有自己的秘密，作為一個攝影師，我會盡我所能揭示和發覺

相同姿勢的肖像，只不過這樣是面帶微笑的，作為攝影師，卡什更喜歡這

它。無意間的手勢、眼睛的一瞥、臉頰輕微的抬起這些小動作都揭示了人

張。2013年4月26日，英格蘭銀行宣佈選用了那張更為知名的作品作為2016

們識圖掩飾內心深處的自我。作為攝影師，我必須抓住稍縱即逝的機會

年發行的新版五英鎊紙幣的頭像。

去捕捉。”

JAN SAUDEK 強·索德克

Jan Saudek (b. 13 May 1935 in Prague, Czechoslovakia) is a

強•索德克是一位全球知名的捷克藝術攝影

been born in Prague, he lived through the horrors of deportation

名猶太人，他經歷了恐怖的第二次世界大戰和

world-famous Czech art photographer, he was Jewish and having during World War II. On returning to Prague he was forced to

Cow - Lovers 2004

work in secret, hidden in a cellar, where he developed dreams and fantasies whilst living under a rather grey and pragmatic

dictatorship. In his exclusion this “underground man” created an

art of dreams, beautifully sad and light: erotic in the most spirited and interesting way. The works of Saudek, are as fascinating

and mysterious as Prague itself. A pillar of twentieth century

photographic history. Saudek currently lives and works in Prague.

師，1935年，他出生於捷克首都布拉格。作為一滅絕人寰的反猶大屠殺。後來回到布拉格以後，他被迫在自己的地下室中秘密工作，在布拉格專制時期，他在這裡展開了他對生活的幻想。他對自己“地下人”的現狀不屑一顧，他創造出夢幻、美麗的悲傷還有對情色最為意氣風發的表現形式。索德克的作品與布拉格一樣迷人而神秘，他是20 世紀攝影史上的一座豐碑。現在索德克依舊在布拉格生活和工作。

Saudek images explore dreams more than reality, although strongly characterized

by bloody subjects always expressed by

the person drawn, and by the use of hand coloured images.

His photography has been a celebration of characteristics of human nature since the seventies: human beings, woman, father, mother, lovers and babies and

adolescents. The passing of time, birth and death. In the eighties, a series

of antithetical elements entered his

imagination: love and hate, beauty and ugliness, youth and old age.

索德克的作品的特點是展現夢幻比現實更為豐富多彩，他的強烈風格來自於拍攝對象的重口味和手繪的水彩風格。從上世紀70年代以來，他的攝影一直歌頌人性：人類、女人、父親、母親、愛人、嬰兒和青少年。時間的流逝、降生和死亡。上世紀 8 0 年代，他開始關注一些對立的元素，愛與恨、美與醜、年輕與衰老。

“I have no way of portraying the lives of others. I portray my own.” “我沒法描繪別人的人生和生命，我只能塑造我自己的。”

“I believe all artists, if they are not lying to themselves, must believe that the best part of their work, or even their life, is in front of them. To look only to the past and to say ‘those were the best years, when I was young’ is to say that in the future there is nothing.” “我相信所有的藝術家，如果他們沒有欺騙自己，一定要相信自己，他們最好的作品，或者是人生，就在他們面前。如果看看過去，然後說‘我年輕時，那是最好的時光’，那麼難道未來的時光就那麼一文不值麼？”

Rejoice 1993

2 Big 4 U 1981

JOEL-PETER WITKIN

喬爾 - 彼得·威肯

Joel-Peter Witkin (born 1939) is an American photographer who lives in

Albuquerque, New Mexico. His work often deals with such themes as death, corpses (and sometimes dismembered portions thereof), and various

outsiders such as dwarves, transsexuals, hermaphrodites, and physically

deformed people. Witkin’s complex tableaux often recall religious episodes or classical paintings. Witkin’s work with corpses is created primarily in Mexico, where there are fewer restrictions in the handling of dead bodies. After

taking his photographs, Witkin puts them through an extensive development process. He uses a hands-on chemical development method, often bleaching his prints, toning them, or scratching the negative.

Witkin’s work extends beyond the theme of death thought, with pieces

using amateur models in a studio setting. His models are either beautiful

or deformed, with his photographs presenting each model fully to explore themes ranging from the mundane to the erotic.

Joel-Peter Witkin’s photograph “Sanitarium” inspired the final presentation

of Alexander McQueen’s Spring/Summer 2001 collection based on avian

imagery, the walls of another box within the faux psychiatric ward collapsed to reveal a startling tableau vivant: a reclining, masked nude breathing through a tube and surrounded by fluttering moths.

“I wanted my photographs to be as powerful as the last thing a person sees and remembers before death. ” “ 我希望我的攝影作品能夠足夠有力，就像人們臨死前對這個世界的最後一次回眸。” 喬爾-彼得•威肯（生於1939）是一位美國攝影師，現居住於美國新墨西哥州阿爾伯克基。他的作品經常以死亡和屍體作為主體，包括了各種形形色色的人物，侏儒、變性人、雌雄同體以及肢體畸形的人。威肯作品中紛繁複雜的場面經常借用西方古典油畫和宗教故事插畫中的構圖。威肯的工作主要是在新墨西哥州進行的，因為這裡對處理屍體的限制更為寬鬆。在他拍攝完成后，他會對作品做進一步的處理，比如通過手工的方式漂白、刮刻底片或照片。威肯的作品不僅僅是關於死亡的思考，他也創作了在攝影棚內拍攝非專業模特的作品，這些模特的外形不一而足，有的美若天仙，有的醜陋無比，他通過攝影的手段呈現了每一位被拍攝人物的性格，探索了各類不同的主題。威肯的作品影響了很多當代藝術家和設計師，其中他的攝影作品 “ 療養院（ S a n i t a r i u m ）” 就曾經啟發了英國時裝設計師亞歷山大 • 麥昆（ A l e x a n d e r McQueen）的靈感，其2001年春夏季服裝中的禽類造型、和倒塌的精神病病房以及讓人驚異的場景﹣﹣蒙面的通過管子呼吸的裸體人物、飛舞環繞的飛蛾，都來自對威肯作品的借鑑。

Gods of Earth & Heaven, LA, 1988

“It happened on a Sunday when my mother was

“ 那件事發生在一個星期日，我的

of the tenement where we lived. We were going

們從樓梯下來走到走廊的時候，我

escorting my twin brother and me down the steps to church. While walking down the hallway to the entrance of the building, we heard an incredible

crash mixed with screaming and cries for help. The

accident involved three cars, all with families in them. Somehow, in the confusion, I was no longer holding my mother’s hand. At the place where I stood at the curb, I could see something rolling from one of the

overturned cars. It stopped at the curb where I stood. It was the head of a little girl. I bent down to touch

the face, to speak to it -- but before I could touch it someone carried me away”.

母親和弟弟一起出門去教堂，當我們聽到了一聲令人難以置信的撞擊聲，夾雜著哭喊和求助聲。那場車禍中三輛汽車相撞，每輛車裡都有一家子人。在混亂中，不知怎的，我沒有牽著媽媽的手。我站在路邊，我看到一個什麼東西從一輛掀翻的汽車裡滾了出來，它滾到我站的地方，那是一顆小女孩兒的頭顱。我彎下腰，打算去撫摸那張臉，和她說說話，不過，還沒等我碰到它，我就被人抱走了。”

The Raft of G.W. Bush, 2006

HIROSHI SUGIMOTO 杉本博司

Black Sea/Ozuluce Japan, Heisei period, 1991

“People have been reading photography as a true document, at the same time they are now getting suspicious. I am basically an honest person, so I let the camera capture whatever it captures...whether you believe it or not is up to you; it’s not my responsibility, blame my camera, not me.”

杉本博司1948年生於日本東京，1970年求學于美國洛杉磯，現在他工作生活于紐約和東京。杉本最為人們熟知的作品是那些具有標誌性的關於廣闊無垠的大海、老式劇院、自然歷史景觀、蠟像和佛教雕塑的作品。這些系列的攝影探討關於拍攝與時間之間關係的問題，同時也是對“什麼是現實”這樣本質而又神秘莫測、不可言喻的問題的探索。他的作品聚焦于生命的短暫以及生命與死亡之間的衝突。近年來，杉本的創作風格越來越堅實，同時也更為注重抽象的表達。他打破了和超越了攝影的幻覺，來抓取在攝影所架構的理想空間內轉瞬即逝

“人們往往認為攝影作品是一種真正的文獻，但同時，人們也越來越感到懷疑。基本上，我算是一個誠實的人，所以我讓相機捕捉那些進入它鏡頭的一切事物……不管你相信與否，是否相信取決於你，這不是我的責任，要怪就怪我的相機，別怪我。”

的瞬間。在他的建築（Architecture, 1997-2002 ）系列作品中，他不是用相機來拍攝現代主義的建築，也不是用來展現和闡明建築的細節，杉本用模糊的影像來抓取建築在人們心中的投影。杉本所採用的 8＊10 規格的大畫幅相機創作，並且採用超長時間曝光的技術，這都表現了他擁有很高的技術能力，而更重要的，他的作品也在觀念和哲學層面獲得了極高的聲望。

Hiroshi Sugimoto was born in Tokyo in 1948. In 1970 he moved to Los

Angeles and studied photography at the Art Center College of Design.

He lives in New York and Tokyo. He is best known for his highly stylized

photographic series of seascapes, movie theaters, natural history dioramas, waxworks and Buddhist sculptures. These series provoke fundamental questions about the relationship of photography and time, as well as

exploring the mysterious and ineffable nature of reality. His work also focuses on transience of life, and the conflict between life and death.

In recent years, Sugimoto’s work has become increasingly concrete at the same time as it has become notably more abstract. It has broken out of,

or beyond, photographic illusion to touch the moment of an ideal space rendered in photography. In his Architecture series (1997-2002), rather

than photographing key modernist buildings to elucidate their lines and

volumes, Sugimoto blurred the image in an effort to capture not the buildings themselves but mental images of them.

Sugimoto’s use of an 8 × 10 large-format camera and extremely long

exposures have garnered Sugimoto a reputation as a photographer of the highest technical ability. He is equally acclaimed for the conceptual and philosophical aspects of his work.

Hyena-Jackal-Vulture, 1976. Private collection Courtesy of the artist Cabot Street Cinema, Massachusetts, 1978. Private collection, Courtesy of Yoshii Gallery, New York

Annie Leibovitz’s witty, powerful portraits

have been appearing on magazine covers for more than twenty-five years. In that

time she has become one of the world’s

most celebrated photographers. Beginning

with her legendary work for Rolling Stone,

and continuing through her long affiliation with Vanity Fair and Vogue, she has

established herself as an astute observer of American popular culture.

Leibovitz had a close romantic

relationship with noted writer and essayist Susan Sontag. They met in 1989, when

both had already established notability in

their careers. Leibovitz has suggested that Sontag mentored her and constructively criticized her work.

安妮•萊博維茨的肖像攝影作品充滿機智，極具張力，在超過2 5年的時間裡，她的肖像作品出現在各大雜誌的封面，在那段日子裡，她是全世界最為知名的攝影師之一。她傳奇一般的職業生涯開始於《滾石（Rolling Stone）》雜誌，其後很長一段時間她為《名利場（Vanity Fair）》和《時尚（Vogue）》工作，漸漸地她成為了美國流行文化的敏銳的觀察者。萊博維茨與著名作家蘇珊 • 桑塔格（ S u s a n Sontag）有著浪漫而親密的關係，從1989年相遇直到2004年桑塔格去世，她們一直都彼此支持。對萊博維茨來說，桑塔格在生活和創作上的指導和鞭策深深的影響了她。

ANNIE LEIBOVITZ 安妮·萊博維茨

John Lennon and Yoko Ono, 1980 Angelina Jolie & Maddox, Vanity Fair 2005

John Lennon 1980 On December 8, 1980, Leibovitz had a photo shoot with John Lennon for Rolling Stone, promising him that he would make the cover. She

had initially tried to get a picture with just Lennon alone, which is what Rolling Stone wanted, but Lennon insisted that both he and Yoko Ono be on the cover. Leibovitz then tried to re-create something like the kissing scene from the Double Fantasy album cover, a picture that

she loved. She had John remove his clothes and curl up next to Yoko. Leibovitz recalls, “You couldn’t help but feel that he was cold and he

looked like he was clinging on to her. I think it was amazing to look at the first Polaroid and they were both very excited. John said, ‘You’ve captured our relationship exactly. Promise me it’ll be on the cover.’ “

Leibovitz was the last person to professionally photograph Lennon—he was shot and killed five hours later.

《約翰•列儂 1980》 1980年12月8日，萊博維茨為《滾石》雜誌的封面拍攝拍攝約翰•列儂。本來雜誌只要求拍攝列儂的獨照，但列儂堅持要和小野洋子一起上封面。萊博維茨很喜歡《雙重幻想（Double

Fantasy）》這張專輯的封面，因此打算藉此機會打算重

現一個親密的現場感覺，她讓列儂脫去衣服，爬在小野洋子身邊。萊博維茨回憶說：“你不禁覺得他感到寒冷，看上去列儂正抓著或抱著她，第一張立拍得的效果真的讓我們很震撼。約翰說 ‘你的照片極其精准的捕捉了我們之間的感覺，答應我，讓它上封面。’”戲劇性的是，萊博維茨成為了最後一個為列儂拍照得專業攝影師，這次拍攝結束后5個小時，列儂便被他的狂熱粉絲槍殺了。

Mikhail Baryshnikov y Rob Besserer. Georgia, 1990

“I personally made a decision many years ago that I wanted to

“很久之前，我就決定我打算作為一位肖像攝影

couldn’t be a journalist because I like to take a side, to have an

願意以一個旁觀者的身份帶著觀點和意見來拍

crawl into portraiture because it had a lot of latitude. I realized I opinion and a point a view; I liked to step across the imaginary

boundary of the objective view that the journalist is supposed to have and be involved.”

“Those who want to be serious photographers, you’re really

師，因為肖像攝影有很多個維度。我認識到我攝，也正是因此，我覺得我不能成為一名紀實攝影師。紀實攝影往往要求攝影師從一個客觀的角度來記錄發生的實情，而我更願意跨越現實與想像的邊界來創作。”

going to have to edit your work. You’re going to have to

“對於那些想成為真正嚴肅攝影師的人們，要認

shoot, shoot, shoot. To stop and look at your work is the most

在從事的事情，千萬不要就是拍、拍、拍，你最重

understand what you’re doing. You’re going to have to not just important thing you can do.”

真編輯你們的作品。你們要深刻的理解你們正要的事情是停下來仔細斟酌和思考你的作品。”

“You have trust in what you think. If you splinter yourself and try to please everyone, you can’t. I don’t think I would have lasted this long if I’d listened to anyone. You have to listen somewhat and then put that to the side and know that what you do matters.”

“你必須堅信你的想法。如果你把自己割裂開來，想要取悅所有人，那是不可能的。我要是什麼人的意見都採納，我想我不會堅持我的工作到現在。你要學會傾聽，然後把他們放到一邊，你要清楚什麼是真正重要的。”

Cate Blanchet (Catherine Elise Blanchett), 2004

ERWIN OLAF

歐文·奧拉夫

Dutch Erwin Olaf (born in 1959) is one of

攝影師歐文•奧拉夫1959生於荷蘭，他是當下全

international photography scene thanks to

師。他將極具個人風格的創作手段和作品風格

the most esteemed representatives of the his particularly recognizable style that has

become his signature regardless of the variety

投射與廣泛的題材和攝影對象。

of subjects he has worked with.

歐文• 奧拉夫的攝影將不能言說和被忽視的東

Erwin Olaf’s art implicitly visualises the

的最大特點是，將社會事件、禁忌、資產階級習

unspoken, the overlooked, that which

Paradise Portraits, 2001

球攝影界最受推崇也是最具代表性的一位攝影

typically resists easy documentation. Olaf’s

trademark is to address social issues, taboos and bourgeois conventions within the

framework of a highly stylised and cunning

西低調地形象化，而絕非簡單的記錄。奧拉夫俗以鮮明的風格和巧妙的模式展現在圖片中。他以異常敏銳的審美直覺將主題隱藏起來，使觀者在最初看到他作品系列時被隱瞞過去，然而到最後，他不同尋常的風格一定會對觀者在視覺和情感上造成戲劇化的衝擊。他注重背景

mode of imagery. With the aid of his razorsharp aesthetic intuition, Olaf purposely conceals his themes so that the viewer unconsciously and initially accepts the

concealment found in his photo series.

Yet in the end, his unconventional style

never fails to deliver dramatic visual and emotional impact. By providing scenic and striking design, along with the

utmost perfect composition in his typical, immaculate ‘OWN’ style, combined

with his passion for conceiving flawless

scenarios, he vividly captures the essence of contemporary life.

With regard to the differences between

commissioned and artistic work, Erwin is

very grateful to the clients and magazines he collaborated with as they have always given him ample freedom and the

opportunity to experiment and have the necessary funds for his own personal

projects. To Olaf, commercial and artistic projects influence and feed each other.

“I want to create my own world, I don’t want to follow reality, because I like to dream my own life”.   “我要創造我自己的世界，我不想重複所謂的 ‘ 現實 ’，因為我喜歡編織自己的夢幻。” 和光線的設計以及超乎完美的構圖，熱愛構思嚴謹的情節，他以自己獨一無二、完美乾淨的手段生動地捕捉了現代生活的本質。對於藝術作品和商業委託之間的差異，歐文非常感謝那些與他合作的客戶和雜誌，他們總是給他足夠的自由和空間去試驗，並且為他個人的創作項目提供必要的資金支持，對他而言，商業與藝術項目是互相依賴、互相影響的。

Royal Blood, Di, 2000

“What I would like to achieve is to create

“我想創造的就是一秒鐘的情緒，而

Royal Blood, Jackie O, 2000

period, so when you look it is a world created only in one bit of a second, one minute before, one

品，他們都是被創造出來的在一秒鐘

Chessmen, 1987-1988

emotions in one bit of a second, not in a longer

minute after, it was completely different and that is what I really love about photography, that you

lie with your camera... I love personally that in my view I see a world that is perfect, and next to it there is mess and chaos”.

不是長時間的，所以你看到我的作以內的世界，一分鐘前或者一分鐘后是完全不同的世界，這也是我喜歡攝影的原因，你可以用你的相機說謊……我自己非常喜歡這種感覺，我相機中的世界是完美的，而畫面之外的是混亂和嘈雜。”

TIM WALKER 蒂姆·沃克

Tim Walker (born 1970) is a British fashion

“Fantasy isn’t something I put into the pictures;

“Your aim as a photographer is to

is one of the most visually exciting and

But it’s about being an honest photographer;

means something. Portraits aren’t

photographer, lives in London. Tim Walker influential fashion photographers working today. Staging and romantic motifs

characterise his style. Extravagant in scale

I don’t try and inject them with a sense of play. a photograph is as much of a mirror of the

get a picture of that person that

fantasies; they need to tell a truth.”

photographer as it is the subject.”

“作為一名攝影師，你的目標是得到一

and ambition and instantly recognisable

“我不想將幻覺放入我的作品，我不會嘗試帶著娛樂性的

張圖片，一張附有內涵的關於被拍攝者

photographs dazzle with life, colour and

把幻覺注入我的作品，作為一名真誠的攝影師，照片不

的圖像。肖像本身是沒有吸引力的，除

僅是拍攝物體的映像，同時也是攝影師的鏡子。”

非他們能講出真實的故事。”

for their eye-opening originality, Walker’s humour.

Walker has a very specific take on fashion photography. His work is theatrical,

bordering on surrealist and incredibly

romantic. Every fantastical scene is created with props, and all the meticulously

crafted tableaux existed at some point. Walker strives to create his pictures

within what he calls “the parameters of the impossible” – something has to be

physically, rather than digitally, possible

for the picture to register with the viewer. 蒂姆 •沃克生於1970 年，是一位英國時尚攝影師，工作生活于英國倫敦。蒂姆•沃克現在已經成為視覺領域最令人興奮和最具影響力的時尚攝影師之一。通過舞台佈景一般進行策劃的場景和浪漫的氣質是他的創作風格，大規模的場景和雄心勃勃的氣勢打造了他獨樹一幟的個人風格，讓人眼前一亮，沃克的作品用絢麗的色彩和幽默感來詮釋生活。沃克的時尚攝影非常與衆不同，他的作品舞台感十足，具有令人難以置信的浪漫氣質和超現實主義風格。每一次拍攝都是精心的通過道具與場景的巧妙安排來建構一個夢幻的景觀。沃克是要在他的攝影中創造“ 不可能 ”的場景，必須是真槍實彈地，而不是用後期特效加工的，可以被觀眾所辨識的那種真實。

Olga Sherer & Alice Gibb by Tim Walker for Vogue Italia January 2008

Giles S/S 2011 Photo by Tim Walker Model: Coco Rocha. © Tim Walker / Art + Commerce

“Fashion photography allowed me to explore dreams and fantasy, and that’s what I love about it.” “時尚攝影可以讓我去探索夢幻和想像的邊界，這正是我為什麼這麼喜歡我的工作。” The Dress/Lamp Tree Northumberland, England, 2002 Alexander Lee McQueen with Skull, London, UK, 2009 by Tim Walker

INTERVIEW WITH

GARY OMBLER 採訪蓋瑞·歐博爾 INTERVIEWED BY 採訪 x RACHEL PENG 彭瑞球

TEXT EDITED AND TRANSLATED BY x JESSICA CHEN 陳婷

IMAGE COURTESY OF 圖片提供 x GARY OMBLER 蓋瑞·歐博爾

Gary Ombler Working photographer specializing in commercial and publication industry, published subjects including armory at the Tower of London, original vehicles of James Bond, and wild animals etc.

ART.ZIP: How did you become interested in photography in the first place?

GO: It started as a hobby really. I bought an

Olympus OM-4. It was just a typical manual camera, and just started taking snaps and really enjoyed

it. So I thought ‘oh, part time I’ll do GCE, which in

those days called O Level and took that. And from then on I took an A Level.

ART.ZIP: So that was from school?

GO: Beyond school. I was in my middle twenties

when I started. So it became an interest so I did an

A Level and thought I may go further with this. I got myself a degree course in London and started from there really.

ART.ZIP: So have you had any influences from artists?

GO: I was really interested, especially in the earlier days, I used to avidly read and buy books about

certain photographers. You know the typical were Ansel Adams, I loved these. He had a series of

books called The Negatives, The Camera and then

there was all about dark room, these peaceful black and white pictures and how you create the Zone System etc. I became a little bit inspired by that. And then of course people like Edward Weston and then kind of stylized nude photos, images

and fruit and stuff. And then of course, I got more

interested in still life stuff and I love Irving Penn. Till

this day I still think he is the greatest photographer.

蓋瑞·歐博爾在商業攝影與出版界打拼近30年的資深攝影師，曾拍攝包括珍藏於倫敦塔的古董盔甲，007全部電影原版車輛與攻擊性野生動物等。

He did many things. He did fashion. He did all sorts of genres. But he always seems so cutting-edge,

especially he kind of really just started after the war. He was developing still life stuff before anybody really got into that genre in the way that he did.

ART.ZIP: Did you try out any of these methods like darkroom editing?

ART.ZIP：你是怎麼開始對攝影產生興趣的？

GO: 剛開始只是愛好而已。我買了部奧林巴斯OM-4相機，一部很普通的手動相機，然後就開始喜歡上了拍照，決定去上普通教育文憑的課程（GCE O-Level）,之後又讀了普通教育文憑高級程度證書（A-Level）.

GO: Yes I was really into the darkroom. I even have

ART.ZIP：所以說是從學校讀書的時候開始的嗎？

to convert a little toilet and put it on little toilet

的課程（A-Level）覺得會有利於以後的發展。我在倫敦讀了一個攝影學位課程，從此就開

a little printer at home, an enlarger which I used seat, do printing. So we’re talking about pre-

GO: 在那之後。我是20多歲的時候開始接觸攝影，由於很感興趣，又去讀了高等程度證書始從事攝影工作。

digital day, so it was no other option. You know black and white has always

been an enjoyable thing. And of course when I went to university, again we had large darkroom so we always were working in there, and do black and

ART.ZIP：你有沒有受到其他藝術家的影響？

GO: 早期的時候我很熱衷於買一些攝影家的著作來讀，例

如安塞爾·亞當斯（Ansel Adams）的作品，包括他的技術

white. Of course we do color negative, and we do transparency but black and

革新三部曲《照相機》、《底片》和《沖印》。我也讀了關

chemicals and suddenly an image appears then it’s a quite exciting moment.

都給了我一些啟發。當然還有愛德華·韋斯頓（ Edward

white was always such an exciting thing, especially when you just put in the

It’s something I suppose, in some ways I miss it but we do the same thing in the digital way now. It’s a cleaner way now. We still got control, creative control. ART.ZIP: Photoshop is just like darkroom.

GO: Absolutely. I see it as a tool. Everything is a tool. The end results are what

counts, how you get there. There’s different ways to get there. The point is, the end result is what counts. So that’s my view.

ART.ZIP: What are your views on commercial photography and fine arts or artistic?

GO: I’m a commercial photographer but I think you’ve got a basis for both.

And in actual fact, I think quite often as personal work, that doesn’t come to

the realms of fine art photography. I think there’s an overlap. I think, the thing about fine art photography often is that gives you a more creative thought

process. And I think the thing (is) with commercial photography most of the

於他的區域曝光理論，以及有關暗房和黑白照片的內容，

Weston），那些裸體肖像、水果之類的作品。之後我開始

對靜物拍攝產生了興趣。我喜歡歐文·佩恩（Irving Penn）

，直到今天我依然認為他是最偉大的攝影師。他涉足的領域很廣，包括時尚攝影以及其他攝影流派等等。佩恩是在二戰後才開始從事攝影工作的，但他的作品風格新銳，其獨特的靜物拍攝風格是前所未有的。 ART.ZIP：你有沒有嘗試過類似暗房製作的攝影技巧？

GO: 有的，我曾一度對暗房很著迷。我在家裡也有打印機和擴大器那些設備，還把衛生間進行了改裝。因為當時還沒有數碼相機，也只能這麼做。我一直都很喜歡黑白照片。大學的時候，學校有比較大的暗房，我們都會去那裡製作黑白照片，當然也有彩色負片、透明片等等，不過我從來都對黑白照片很感興趣，尤其是把化學製劑加進去，片刻後一張圖像忽然顯現出來，還一刻總是讓人興奮。我很

time you are quite restrained by the clients, by the cost or whatever. If you

have time to do things yourself, you’ll do things you really want to try out to

experiment with it. Ironically when I used to do advertising photography, quite

懷念過去這種製作方式，不過現在有了數碼技術，原理沒有變，只不過現在處理的方式更乾淨並可以發揮創造力。

often clients would be more interested in looking at personal work than they

AR T. ZIP：其實，現在的p hotos hop 圖像處理軟件就類

are the potentials of you as a photographer because quite often commercially,

GO: 沒錯，這跟其他設備一樣，都是工具。關鍵是最終製作

would at commercial work. So it was a way of them looking at what they think

you don’t always push yourself to the limit in some ways otherwise you do. But the creative process is always restrained by the brief.

ART.ZIP: Do you think that’s still the case now, like they look at your personal work?

GO: I haven’t done advertising for quite a while now because I’ve established

that I do stuff in publishing. It’s not often the case anymore. Often people just

look at the website. They got a link they heard about me and they go on to the website. They have a quick look at the work. So I’ve never really had face-to-

face contacts with clients until I actually got a job. I still think it is important to

try and bring new things into your work and also to try out new ideas. It’s very important as a photographer. I don’t think you should stand still. I don’t think

any photographer will ever say that they are completely happy at what they do. They are always aspiring to do something better and to find out new processes,

似過去的暗房。

出怎樣的照片，至於採取什麼樣的方法，我覺得併不重要。 ART.ZIP：你怎麼看待商業攝影和藝術攝影？

GO: 我自己就是商業攝影師，但我覺得有必要對兩個領域都有所了解。事實上，我在個人創作上投入的精力更多，那不屬於藝術攝影的範疇。商業攝影和藝術攝影是有交集的。相比較而言，藝術攝影留給攝影師發揮創造力的空間更大。商業攝影則具有較大的約束性，因為需要考慮到客戶要求、投入成本等因素。如果單純是個人創作，就可以去大膽嘗試。然而我做廣告攝影時發現，客戶在選擇攝影師時，反而更想看個人作品，因為這些作品才是真正個人能力和潛力的體現。廣告攝影通常制約了攝影師的發揮，創造力往往被特定需求限制住了。

whatever that means.

ART.ZIP：他們現在還是會看你的個人作品嗎？

ART.ZIP: Do you have any big projects coming up now?

事出版業攝影。現在客戶更傾向於通過網絡鏈接直接去

GO: I’ve got a fairly big project I started to work on at the moment. I’m

going to the USA next week and I’ll be there for a month, a combination of different projects but primarily I’m doing a transport book, which involves photographing trains which is a kind of update from something from ten

years ago. In those days it was done on 5×4 film, now of course it’s all digital. So I’m going to be photographing various trains in the States. And we are

GO: 我很久沒有做廣告攝影了，因為我已經表示過只想從瀏覽攝影師的網站，對其作品有個大致了解。我通常都是接到工作之後才第一次見到客戶。我認為，作為一名攝影師，非常關鍵的一點是要不斷去創新、去嘗試，不能停滯不前。沒有攝影師會覺得自己已經做得完美了，他們總希望能不斷提升能力，尋找新的突破。

writing on some other projects at the same time just to save cost. We are also

ART.ZIP：目前你有沒有在做一些大的項目？

going to be a lot of work, a lot of traveling. But this is the climate now. People

需要做。最主要的一個項目是為一本關於交通工具的書拍

photographing for a history book. I’m also photographing a gun book. So it’s are trying to save money so we’ve combined three books at the same time

to cut the cost down. But at the same time, it’s going to be a very interesting thing to do. For example, on Friday I’m photographing the Javelin, which is

the high-speed train runs from Ashford to London. So we would be allowed

to have complete access to the train including photographing inside it, even underneath it. It’s going to be a very interesting project. Commercially, again

we are constrained by time and cost. We have a day to do this train, what we

call a virtual tour which is photographing as much as possible inside and out. We’ve got one day only on that. And then, you know, you have to draw the

line. So you always have to prepare another plan, bad weather, at the moment ironically the light being very strong. The sun could be very harsh. You always could have problems with shadows. You have the lights to try cut back the

shadow and stuff inside. So you always have to think about secondary lighting and stuff as well. It will be a challenge but I’m prepared for that now. ART.ZIP: You’ve photographed guns before. GO: Yes, lots of times.

GO: 有的，我下週要去美國工作一個月，有幾個不同的項目攝各種火車，對十年前的內容進行更新。那時拍攝用的還是5×4膠片，現在全部是數碼技術了。我會在美國拍攝不同的火車。為了節省開支，我們同時也在做其他的幾個項目，包括為一本歷史書拍攝，我自己還接手了另一個項目，一本關於槍支的書。所以接下來任務比較重，要跑很多地方。這也已經成為當前的趨勢，大家都在盡量縮減成本，我們也是為減少開支，才決定三個項目同做。不過，這樣的工作還是很有趣的。比如，週五我會去拍攝往返於倫敦和肯特郡阿什福德名為標槍（Javelin）的高速火車。我們可以去這列火車車廂內任何地方拍攝，甚至可以在火車下面拍，我覺得會很有意思。同樣，由於時間和資金有限，我們只有一天的拍攝時間。我們打算製作關於這列火車的“視覺之旅”，所以需要盡可能拍到火車內外的每個細節，並且要在一天內完成。因此要做好兩手準備，考慮到天氣等因素的影響。最近天氣很好，但也意味日光很強，陰影就會成為問題，這就需要補光來消除陰影，這一點不可忽略。總之，這次會很有挑戰性，但我已經做好了準備。

ART.ZIP: And armors, wild animals...interesting story.

GO: Yeah. The armors were quite incredible. We photographed Henry VIII

armors for an exhibition at the Tower of London. And that’s the first time they

ART.ZIP：你之前拍過槍支是嗎？ GO: 是的，不止一次。

photographed for 20 years. So to photograph in the towers is a massive job. It

ART. ZIP：還有拍攝過盔甲、野生動物是吧？我想那應該

was quite extraordinary. The tourists were walking past, peering and looking

GO: 是的，當時是為倫敦塔的一個照片展拍攝的。那些亨

may take over half of the white tower and basically turn it into a studio. That over to see what was going on. That was challenging. There’s no lift. There’s nothing to take stuff up there. We spent two weeks there. The other end of

the spectrum is when you are photographing wild animals, but in a controlled environment. It was quite a challenging thing. There are people who have the

collections of trained animals, which are used be photographed. Of course they are still very dangerous animals. So you basically work inside a big round cage. You set all the lighting, and when the animal comes in, you go outside the

cage and you shoot through a hole or a hatch. So the lighting has to be right,

everything has to be set up. When you start working with the animal, that’s it.

The cost is quite high for using the animal so you can’t go back and do a second

是很有趣的經歷。

利八世的盔甲太不可思議了，這也是它們20年來第一次被拍攝。在倫敦塔拍照是一項巨大的工程，需要把大部分的白塔圍起來改成攝影工作室，確實是不同凡響。路過的遊客都會好奇地觀望，這也給我們的工作帶來難度。另外，倫敦塔內沒有電梯，所有設備都要搬上去。我們當時在那里工作了兩個星期。拍攝野生動物則是截然不同的經歷，雖然在安全的環境下工作，也還是有挑戰性的。野生動物十分危險，我需要在一個巨大的圓籠里佈光，然後當那隻動物走進籠子的時候，就到外面透過一個小孔或者窗口來拍照。所以一定要提前做好佈光等準備工作，一旦開始給

take. So everything has to be really sorted out beforehand. Mostly, as many things, photography is about preparation. You always have to plan ahead. ART.ZIP: What are your views on the current climate of photography?

GO: It’s obviously a difficult climate. I’ve been lucky the last couple of years,

very fortunate to be working regularly but I know a lot of photographers think it’s going to get tougher. I think in the future, photographers are going to

have to be a bit more adaptable, and perhaps if they haven’t already. Not just being a still photographer, running into video, perhaps CGI. So you become a multimedia expert rather just a photographer. I think for some, I don’t say

that for all. Because there are some really specialist photographer out there who will still be the top of their game in a particular field, which they don’t

have to go and expand their horizons. But I think for general photographers,

I think you will have to be more of a multimedia expert I suppose, rather than just sticking with still photography. Because for obvious reasons, it’s really

accessible now and it seems to me that clients are now not willing to pay the

money. But photographers need to sustain a living. Obviously it’s a big investment for

a photographer, equipment-wise and stuff. But you know, especially with all those

web stuff now, for clients it seems that

they want to have it done very cheaply. ART.ZIP: Do you think that’s a good thing or bad thing?

GO: Personally I don’t think it’s a good thing. I think the problem is, you can

dumb down the standards. I think that is the problem because I think you’ve got

to maintain the standard. If you believe in what you are doing, you are fairly good

at what you do, I think you don’t want to dumb down your standards. You have

to stick it out. Otherwise, you know, you

just want to survive. It’s a big investment

involved. It won’t work just one particular

small camera. You’ve got the light, you’ve got so many things that are part of it.

You won’t survive on 5 or 10 pounds per

photograph. So it’s a tough environment. ART.ZIP: Do you think this profession will still exist?

GO: I think it will. Sometimes things come

back. For example, I have noticed that CGI, although it’s been prevalent for the last

couple of years, there are reactions against it. Now seen some of the kind of the major players place in photography, commercial

動物拍照，就不可以改動了，因為拍攝野生動物的花費是非常高的，不可能重來，只能提前做好準備。跟許多工作一樣，攝影也是要做大量的準備工作，必須提前計劃好。 ART.ZIP：你對目前行業現狀有怎樣的看法？

GO: 顯然目前整個行業陷入困境。過去幾年，我很幸運一直都能找到項目做。但我認為以後會越來越難。攝影師需要有更強的適應能力，不能滿足現狀，要不斷學習例如電腦合成圖像等新的技術，努力成為一個多媒體專家，而不僅僅是一名攝影師。不過我的這個建議並不是針對所有人的，因為的確有些專業攝影師在自己特定的領域成績斐然，不需要另闢他徑。但對其他攝影師來說，成為多媒體專家就很有必要了，只拍攝靜物是不夠的。原因很簡單，由於普及程度高，現在客戶已經不願花錢請攝影師了，但攝影師還是要維持生計的，而且各種攝影器材也是一筆不小的投入。然而互聯網的出現也使客戶想要盡量壓縮成本。 ART.ZIP：你怎麼看這個問題呢？

GO: 我個人覺得這是好事。但問題是這樣一來攝影的門檻就降低了，我認為還是有必要保持高門檻的。對於自己堅信的事情，在做出一定成績之後，誰都不想降低標準，而是要堅持到底。否則，做這份工作就只是為了維持生計而已。從事攝影意味著很大的資金投入，並不是一部小相機就夠了，還需要照明等其他設備，如果每張圖片只賣5英鎊或10英鎊，那肯定是不夠的。所以說，行業現狀還是不容樂觀。 ART.ZIP：你認為攝像師這份職業還會存在嗎？

GO: 存在是肯定的，有時被取代的東西是可以再度時興的。舉例來說，最近幾年一度盛行的電腦合成圖像技術，如今也有了反對聲音。目前，一些業界知名機構開始重新嘗試使用黑白膠卷的幹板相機，比如英國的廣告攝影業就已經在這麼做了。著名的攝像師提夫·亨特（Tif Hunter）經常會帶著一部老式乾板相機，去不同的集市，拍攝出非常精美的黑白水果照片。所以說，市場或許會作出反應。儘管如此，我覺得像產品特寫、汽車攝影、電腦合成圖像等等這樣的領域還是會保持現狀，不會再回到傳統攝影的階段。總的來說，整個行業還是困難重重。就像我剛才提到的，攝影師的個人發展方向要稍微做一些調整，可以選擇電腦合成圖像領域，也可以選擇視頻方面的工作。畢竟攝影已不再局限於平面媒體，包括iPad在內的各種移動終端設備的出現，使相片可以以動態的形式呈現。未來還會有各種流行一時的趨勢，但不管怎樣，我深信攝影師這份職業會繼續存在的，人們還是會希望看到好的圖片。 ART.ZIP：怎麼拍照並不重要。

GO: 是的。關鍵是圖片帶給人怎樣的感覺，只要能吸引人就可以，至於是膠卷還是數碼相機都無關緊要。

photography in the UK for example, are starting experiment with black-and-

ART.ZIP：你覺得大學期間的學習對你的幫助大嗎？

example, who used to be very well known, he still is, doing big campaigns,

我有些失望，我原本期待可以學到很多實際操作技巧，但課

white fog plate cameras -- cameras with black-and-white film. Tif Hunter for

going around various markets photographing fruits using an old turn of the

century plate camera, producing beautiful black-and-white images. So maybe

GO: 在這個問題是我的態度可能比較負面。大學的課程讓程更側重理論，對於圖像構成的理解，所以覺得沒有達到我的期望值。不過我在大學結識了很多業界各個領域的朋

there’s a reaction. But at the same time, I think there are areas which will

友，這也促使了我選擇攝影這份職業。在學校的學習並不

still with labels on brands, car photography, now CGI probably will forever stay

更多的業務知識。當然也有人願意了解相關背景知識以及

definitely never go back to being photographic. For example, these packshot

like that. So it’s a tough environment. But as I said before, I think photographers just have to kind of develop in a slightly different direction, be it CGI or be it

video. As we are now see photography not just on printed form, we see it on

iPad, we see it on various devices, it does enable you to have a look at the other things like moving images etc. There will be some fads. But I think obviously photographers will be here to stay in some form without a doubt because people want to see that. People do still get excited by images. ART.ZIP: It doesn’t matter how you capture the images.

GO: It doesn’t matter. Again, it’s about what people feel about the image. If it’s done through film, if it’s done digitally, whatever, if it inspires or captivates an audience then obviously it worked.

ART.ZIP: You studied photography at university, what do you think you’ve gained from the course?

GO: I might be a little bit cynical here. My course was not what I expected. I

expected a lot technical kind of support, technical know how. It was more about understanding how images are constructed. I think for that side, I was a little

bit disappointed. I suppose, overall I met people, I’ve made friends with people who worked in various parts of the industry. Maybe that enabled me to have

a career of photography. I don’t say it’s the right path for everybody, because I think quite often people will be better off sometimes assisting a very good

photographer, learning the ropes that way. For some people, they want that

kind of background, you know, to look into images, to look into art and to read it. We did things, which for a lot of people, might not need to be commercial

photographer we went into the realms of semiotics, into psychoanalysis. It was things you could not necessary relate to mainstream photography. The theory. But it wasn’t so much of a practical course. I have to do that myself and then I

left university. I did assisting which for me was the real kind way of learning the process. Sometimes it’s difficult to say what is it or how has it influenced me.

Obviously some of the obvious side being part of it, but you just can’t take that part away and say that is how effective it was. It’s very difficult to analyse. ART.ZIP: So how did you start your first photography job?

GO: I got a job with someone I knew. I worked in the studio, doing the usual

stuff, making cups of tea, being nice to people, buying the lunch, bringing and

getting lunch in, arranging and all that, loading film bags, cleaning and stuff, set

up lighting, and then I free-lanced as well in assisting for various photographers. So you start to watch and learn the process over time. And also through that,

you actually make contacts. Because what’s very good about when you assist,

you actually start to get in touch with younger designers and who one day will

become art directors so it’s a very very good way of creating contacts. And also

一定適合每個人，有些人也許通過做攝影師助理，能學到如何去欣賞藝術和攝影作品等等。我們當時課程的設置還涉及到符號學、精神分析學等理論，這些或許與主流攝影學沒有聯繫。由於課程的實用性不是很強，我當時只能靠自學。畢業之後我去做了攝影助理，那時才真正開始學習拍攝。很難解釋究竟是什麼對我產生了影響。不可否認的是，我或多或少都從這些經歷中受益，但很難具體分析。 ART.ZIP：你是如何得到第一份攝影工作的？

GO: 一個我認識的人給了我第一份工作。我在攝影工作室

have access to equipment. Because not being an assistant, it would be very difficult to

做些普通的活，端茶倒水、買午餐、做清潔、佈

weekends. You would have access and free film processing from the film lapse because

師做過助理，慢慢學會了通過觀察來學習攝影技

buy a lot of stuff. When you work for someone, you will let you use the equipment at

that was part of the deal with assistant as well. So it really helps. So it’s a good way. I’m al ways positive about assisting.

ART.ZIP: You’ve traveled a lot. How do you think traveling has benefited you?

GO: I think, the main thing about traveling, when you do it as a job rather as tourist,

you actually get the inside of the country. For example, I was in Miami in May. We were working with the fire brigade, the fire division. And it kind of made me realize how

incredibly hard that job really is and how difficult it is. What they do not only they going out for fires, they are actually on call all the time for the ambulance service so they

always do medical stuff all the time. I met one of the guys, he’s from Little Havana, which

光等等。之後做過自由攝影師，也為其他的攝影巧。這些工作也幫助我積累了一定的人脈，因為做攝影助理可以有機會認識些年輕的設計師，他們未來會成為藝術總監，所以這是很好的建立人際網絡的機會。另外，做助理還可以使用攝影器材，否則是很難買到大量的設備的。而作為助理，週末就可以藉用這些器材，或者可以自己在工作室處理膠卷，這些都是助理應有的待遇。所以我一向很支持做攝影助理的工作，會從中受益很多。

is like the Cuban area of Miami where nobody speaks English, it’s all Spanish. And he just

ART. ZIP：你經常去各地出差，你覺得這對你有

coffee. You really feel you got the inside of a place. I think that’s the big difference.

GO: 在我看來，旅遊和出差最大的區別在於，如

said, “Come on let’s go I’ll take you around because I’m from here.” We had little Cuban Because as you do it when you walk around with your cameras as tourists you don’t

什麼幫助嗎？

果是去工作，你能夠深入了解這個國家。記得今

really know much about that country. As soon as

年5月，我在邁阿密與當地的消防隊一起工作，

everybody on a somewhat equal basis. You just get

時待命，不但要去火災現場，還經常負責醫療急

you do it as a job, you are actually working with

to see and do things you’ve never thought about. For that, I got to say, that’s the most wonderful thing about traveling.

讓我意識了到這份工作的辛苦。消防隊員要隨救車的各種服務。我認識了其中一個消防隊員，他來自邁阿密小哈瓦那地區，也就是古巴移民聚集地。那裡的居民講西班牙語，沒有人懂英

ART.ZIP: I think if you didn’t do

文。這個消防隊員對我說：“我帶你去逛逛吧，我對

Tower of London etc.

正走進當地居民生活的感覺。這與觀光旅遊有很

photography, you don’t get to go into the GO: Exactly. You just see and do things

extraordinary at the same time. I’ve been

very lucky. I’ve been taken to see incredible

things as a photographer I still feel privileged about. It just enables you to see that side of

那一帶比較熟。”我們一起喝了古巴咖啡，我有種真大區別。只是拿著相機到處逛街、拍照，是無法真正了解一個國家的。如果是去工作，就有機會與當地人共事，去陌生的地方，做你從沒想過的事。我認為這是出差最吸引我的地方。

the country from a really different point of

ART. ZIP：如果不是因為攝影，你也不會有機會去

holiday to before. But when you see it from

GO: 沒錯。有幸的是攝影工作讓我開闊了視野，豐

view. It could be somewhere you’ve been on a person’s working point of view, it’s a very different place.

ART.ZIP: Do you think that influenced your work?

倫敦塔里面拍照吧？

富了閱歷。這份工作讓我大開眼界，我認為自己是很幸運的，能夠從不同的角度去了解一個國家。如果曾去過那裡旅遊，作為攝影師故地重遊，就會有它截然不同的一面。

GO: That’s difficult to say. For me, because

ART.ZIP：這對你的工作有沒有影響呢？

in saying that, when you go to a place like

這些經歷是否影響了我的工作。每次去類似美國

the kind of work I do, I can’t say it has. But

the States, I’m always among the American

GO: 這很難講。由於我工作性質的原因，我不確定這樣的國家，我都要與當地攝影師合作。但一有空

photographers. When I am out and about in the States, I’m always trying to take

photographs of things I think are very iconic about America. When I got a little bit

of time to take some snaps or whatever. Perhaps yes, but on a day-to-day basis, no. We did a big James Bond poster board, which is a photograph collection of all

James Bond posters. There’s a big warehouse in North London, they’ve got the

biggest collection of James Bond posters in the world. And from then on we are planning to do another book, which is all the kind of original props from James Bond movies. So we went down over to Watford where they store the James

Bond cars. And they opened up the garage and behold was the original Rolls-

Royce Phantom from Goldfinger. And they took it out, we were like, “wow, this is all so exciting to see this” and asked is there any chance to take it out. They said,

“oh yes.” So we all got into the Rolls-Royce and drove it around. And that was just amazing and after that there was the DBS in Casino Royale, “would you take for a

spin in that?” “ok, we’ll go for a spin in that one.” It was just absolutely fantastic for

somebody likes James Bond. It was a great experience. I loved it. I suppose, one of the many experiences in a lifetime. Really enjoyed it.

暇時間，我會拍幾張最有代表性的照片。也許你說的對，但這不會影響到我日常工作安排。我們曾做過一個 0 07電影海報的圖片展，在倫敦北部的一個倉庫裡，那裡有全世界最大最全的 0 07電影海報收藏。從那之後，我們開始計劃為一本關於 0 07電影道具的書進行拍攝。我們去了 0 07電影邦德座駕的儲藏地點沃爾福德。車庫門一開，展現在我們眼前的就是那部出自0 07《金手指》的原版勞斯萊斯幻影。工作人員把車開出來，我們當時很興奮，就問能不能試駕，他們同意了。於是我們開著那部勞斯萊斯兜了一圈，實在太不可思議了。看到《皇家賭場》中那部阿斯頓馬丁DBS時，他們問：“要不要也試試這部？”我們當然願意，然後又試駕了那部DBS。對於007影迷來說，真的是難忘的經歷，我很開心，應該說那是我人生中最難忘的經歷之一吧。

INTERVIEW WITH

IMAGE COURTESY OF 圖片提供 x SUE ATKINSON蘇·阿特金森

TEXT EDITED AND TRANSLATED BY 文字整理及翻譯 x JESSICA CHEN 陳婷

INTERVIEWED BY 採訪 x RACHEL PENG 彭瑞球

SUE ATKINSON 採訪蘇·阿特金森

ART.ZIP: So tell me a little bit about how you got into photography.

Sue Atkinson

SA: Well, I was always interested in painting and fine art.

Focusing on food photography, Sue’s client list includes most major food brands and retailers in the United Kingdom. Graduate from Royal College of Art in theoretical studies of Photography, and now is precise on how she sets up her work.

school, I left school at 16 because I want to go to further

And I felt, right from when I was quite young that this is

sort of the area I want to move into the most- English and Art- that would be my subject. And when I actually left

education college, because that was the only opportunity I had to take the art subject further. I actually had a

space in my timetable. My best friend said she’s studying

photography. I thought that sounds fantastic because I’ve never realized that you could actually study photography. So that was a great opportunity to start looking at it. And funny enough that was actually where I met Mike who was my photography tutor. He had a particularly good

way of analyzing and talking about images, which I think,

made me more interested in it as a subject more than just painting and art. So actually I went with the art interests,

with the intention of doing art and history. When I finished my O Level, A-Level in photography, I went on to do an

art foundation course. I just found that I was getting more and more involved with photography. It was much more

sort of a spontaneous way of making an image, but it was still very expressive in the way of working. So I thought

that was probably the best way to move ahead in terms of my career. So instead of going off to do art and art history and teaching art, I decided to go off to photography.

There weren’t any degree courses in those days, so the

only course that was open to me was then PCL, which is now Westminster University. There was a part-time day release course- one day a week, part time day release

professional photography. So I studied that for three years and I worked in between times. I did a little bit of working

with Mike in the studio- he had a studio then- and I did a little bit of teaching

蘇·阿特金森專業領域於食物攝影，客戶包括英國大多數食品製造商與銷售商。碩士畢業於皇家藝術學院攝影理論專業，如今更加能夠準確地定位自己的攝影手法。

as well. I actually was just teaching O-Level photography so I got more and more involved in it. While I was at PCL, I met two people who were very

influential. One of them was my tutor Peter Carey who was an advertising

photographer, very successful advertising photographer, very focused, quite frightening sort of person. But he really was committed to photography. And you felt that if you could actually do something to please him, then

you could do something. I remember one day I heard him talking to one of the other students about food photography. And he was saying ‘no I don’t

think you should be a food photographer.’ And I thought, ‘that’s interesting.’ I’ve never thought of being a food photographer, I think maybe that’s what I’d like to do. But I’d spent weeks in the studio with a set of sherry glasses trying to get the lighting right. And I just couldn’t get on with these very

sort of finite objects that needed lighting in a particular way. I just felt, I want

something more exciting, something more organic would interest me more. I didn’t want to photograph people either. I was quite nervous in a way. I felt working with objects might be easier than working with people. I was very

ART.ZIP：能介紹一下你是怎樣開始接觸攝影的嗎？

很深的人。一個是我的導師彼特·卡裡（Peter

SA: 我一直對繪畫和美術很感興趣。我從小就覺得文學和藝術是我以後

功的廣告攝影師，做事很專注，獻身攝影事業，也有點讓人畏懼。能得到

想從事的領域。我16歲離開了學校，當時想去繼續教育學院讀文科，因

他的肯定，你會覺得是對自己實力的認可。記得有一次我聽到他在對另

為那是我唯一學文科的機會。所以，我就有了一段空暇時間。我的好朋友

外一個學生說：“ 我不建議你去做美食攝影師。” 我當時很感興趣，之前

她去學攝影。我想那很好啊，我以前從來沒想到攝影也可以當作一門課

從來沒有想過當美食攝影師，當時覺得或許可以試試。我記得連續幾週

程來學習。當時確實是很好的一個機會。巧合的是，正是在那裡我遇到

在工作室裡拍攝一組雪利酒杯，嘗試解決佈光的問題。這樣的拍攝對光

了我的攝影老師邁克（Mike），他對圖片的分析、認識非常獨特，正是他

線有特殊的要求，我感覺拍攝有生命的物體或許會更有意思。我又不想

激發了我對攝影這個專業的興趣。而其實，本來是去學美術和歷史的。

拍人像，會很不自在。那時的我認為拍物品應該比拍模特容易一些，其

在結束了攝影課程 O - L e v e l（普通程度考試）和 A - L e v e l（高級程度考

實這樣想是錯誤的。導師彼特啟發了我，開始拍攝各種美食，同時也會

試）之後，我又去讀了預科班，漸漸地對攝影的接觸越來越多。攝影這種

做其他的事情。我的另一位導師瑪格麗特·哈珀（Margaret

創造圖像的方式比較隨性，但仍然很有表現力，所以我覺得攝影可能是

系主任，也是一位攝影歷史學家，她鼓勵我研究攝影史。瑪格麗特曾經

最適合我的職業。我因此放棄了藝術、歷史而選擇了攝影。當時並沒有

是位很出色的商業攝影師，當時在英國還沒有關於商業攝影史的學術作

很多攝影的學位課程，唯一有設這個專業的學校就是PCL，也就是現在

品。這給我提供了另外一個機會，也使我找到了可以替代繪畫和美術史

的威斯敏斯特大學（Universit y of Westminster）。我參加了一個在職

的另外兩個方向，即攝影和攝影史。這兩個領域都蘊藏著機遇。

攻讀的攝影課程，每週上一天課，為期3年，期間我一邊工作一邊學習。我曾在邁克的工作室工作過，也教了一段時間的O -Level課程，我對攝影的接觸也越來越多。在威斯敏斯特大學學習時，我遇到了兩位對我影響

ART.ZIP：那你同時有在工作嗎？

Carey），他是一位非常成

Harper）是

SA: 是的。我學習了三年職業資格考試（PQE）課程，之後幾年一直在教

wrong. So I met Peter and he really inspired me to work on food projects. Obviously I had to do a lot of other things but that was something that came to mind. And then my tutor who was the

Dean of the university, Margaret Harper, she was a very successful photo historian. She inspired me to do research into the history of photography because she’d been successful commercial

photographer in her own right and there was nothing that ever has been written about the history of commercial photography in Britain. So that seemed another opportunity, in a way I got the two sorts of replacement things for the painting and art

history. I found I could turn to photography and the history of photography and they had further opportunities available.

ART.ZIP: So did you do that at the same time as working?

SA: I did. Yes. I did all of my studying, 3 years on the PQE course - Professional Qualifying Exam at the end of it. When I finished

that, I actually taught for several years, I mean that was one thing

get me great opportunity to do because there weren’t that many great qualifications in photography then. And the courses in

O-Level and A-Level photography were just starting out there

weren’t many people teach them so I did that for a while. Then I decided I should take the research further. First of all, I started

trying to work with an independent organization actually to do

my PhD. And it just didn’t work out with teaching so I registered with the Royal College of Art. And I did an MA there. Also while I

was teaching I did all part time and doing some photography at the same time.

ART.ZIP: Which course did you do then?

SA: It was called Cultural History, it was an MA in Cultural History.

And when I finished that, I went on to do PhD in the department of Humanities. It was studying the interval year, The Formative Years of British advertising photography during the 1920s and

書。那是非常難得的機會，因為當時攝影專業的資格認證很少，攝影專業的O -Level和A-Level考試也是剛起步，教師資源匱乏，所以我也教了相當一段時間。之後，我決定繼續做研究。我試圖通過跟一家獨資機構合作來攻讀博士學位，但由於還在教書的原因，最終沒能實現。於是我就去了皇家藝術學院讀碩士，兼職教書的同時，繼續從事攝影工作。 ART.ZIP：當時讀的是什麼專業？

SA：讀的是文化歷史。之後我又去人文學院讀了博士學位，學習的是20 世紀20 -30年代英國廣告攝影的形成期。這為我的工作打下了良好的基礎。我從來沒想過只做學術研究，雖然我很喜歡教書，也發表過文章、作調研、開講座，但我很快意識到自己並不想進入學術界，而是更喜歡實際操作。 ART.ZIP：那你現在還有涉及到學術研究嗎？

SA: 沒有了。很久之前在考陶德藝術學院開了次講座。我開講座總是會緊

30s. That’s always giving me a nice grounding for my work. I’ve never really

felt I could move fully into the academic world. The little bit of teaching that

I did was great, but I really soon realized that I didn’t want to be an academic although I have written a number of articles and I’ve done some research,

I’ve given lectures on my work but no I really much prefer actually just being briefed before getting on with it.

ART.ZIP: So do you do any academic work now?

SA: Not at the moment. I think the last lecture I gave actually was at the

張，還是比較適合安安靜靜做事。

give lectures. I’m much happier just doing something quietly.

ART.ZIP：想必你的工作也對講座有些幫助吧？

ART.ZIP: I guess your work helped your lecturing as well?

次在柯達就開過類似講座。或許未來我會考慮出書，但目

Courtauld Institute but that was a long time ago. I just find it nerve-racking to

SA: Yes, I have actually given a couple of talks about my work. I think I’ve given a Kodak one. Maybe writing is something I would like to do in another stage but not just now. It’s very time consuming.

ART.ZIP: So you prefer photography at the moment.

SA：是的，甚至有些講座的內容都是關於我工作的，有一前還沒有這個想法，太花費時間了。 ART.ZIP：所以你現在還是想繼續攝影是嗎？ SA：對。

SA: Yes. I do.

ART. ZIP：你覺得自己有沒有受到過其他藝術家或攝影師

ART.ZIP: So have you had some influences from artists, photographers or

SA: 有很多攝影師是我很欣賞的。如果說影響我的話，我很早

anyone else?

SA: There are a lot of photographers whose work I admire a lot. But I think

probably in terms of influence, more of broad influence of painting, one of

the photographers I always liked and I discovered in the early days was called Karl Blossfeldt, the German photographer of plant. I think you can see that influence quite clearly in my personal work.

I suppose if you are studying art history as well as the history of photography,

I love the classic painters, the chiaroscuro of the old masters and Rembrandt’s work. From them I sort of always am checking the effect of any light

source. And with my work although very often lighting has to be obviously

constructed, but I’m always trying to make sure it has an integrity so its always coming from one light source, and that it’s working with continuity and not being something that is so obviously constructed. I just enjoy looking at

painters work, just for the pleasure of it. And also because it has a very much

的影響？

之前了解到一位名叫卡爾·博羅斯費萊德特（Karl Blossfeldt）的德國植物攝影家，我一直很喜歡他的作品，相信你也可以從我的攝影作品中看到他的風格。談到影響，可能由於學習藝術史或攝影史的緣故，我喜歡那些經典的繪畫名家，喜歡明暗對照法，以及荷蘭畫家倫勃朗的作品。從那之後，我自己在工作的時候總會檢查光源的效果。對於我的作品來說，通常情況下都需要佈光，但我都會試著保持拍攝對象的完整性，確定光源只有一個，從而保持連貫性，把人為因素的影響減到最低。我喜歡看畫家的作品，因為繪畫就是對個人感受的一種表達方式，總能讓我感到振奮。我比較喜歡一些小眾化英國畫家，比如斯丹利·斯班瑟（Stanley Spencer），可能不是很多人知道他。不知道你是否看過他的作品。

of a means of personal expression which is just so invigorating and I like sort

SA：巧合的是，他住在一個名叫庫克漢（Cookham）的小

think is very little known. I don’t know if you have come across him.

繪畫風格比較詭異，有點超現實的感覺，把超現實主義和

of slightly offbeat, sort of British painter like Stanley Spencer who’s somebody I

He was actually based in Cookham which is a little village quite near where I

live which is actually coincidental. But he painted right until the 50s and 60s.

He had a very quirky, sort of surreal style, a mix of surrealism and social realism

in a way. It just really appeals to me. I like looking at different people’s work just because it reminds me of that it’s good to put your own interpretation into

things. I suppose in terms of a broad body of work, I’m most influenced by the modern period, particularly the 20s and 30s because it was such an exciting

村莊，離我很近。他一直到50、60年代都還在創作。他的社會現實主義結合在了一起。我很喜歡他的作品。我喜歡看不同畫家的作品，因為可以加入自己的理解，這一點很有幫助。從作品大致風格來講，我覺得對我影響最大的還是現代畫派，尤其是20至30年代期間，這段時期攝影也漸漸開始自立門戶，人們開始用全新的角度去觀察物品。回顧這些作品，我感覺當時的藝術家們在這些物品中發掘出一種從未有過的純真、質樸，我覺得非常吸引人。

period of people sort of breaking away and photography started to come into

ART. ZIP：你對商業攝影和藝術攝影有什麼看法？你覺得

they’ve never had done before really. I still found that, somehow looking back

SA : 沒有什麼共同點。這取決於你選擇處理的方式。可惜的

its own right. People started looking at objects in their own right, in a way

兩者之間有沒有共同點？

at those images, perhaps because they were looking at things for

是，無論是商業攝影和藝術攝影，都存在一些質量較差的作品，但這也無法

stimulating. Quite broad.

在的一個問題就是每人都擁有數碼相機，而越是對攝影了解的少，就越以

the first time that have a freshness of innocence that I find quite

ART.ZIP: What are your views on commercial photography

and fine art photography? Do you think there is a similarity? Connection?

SA: Not really. It depends on how you approach things. I think

there are an awful lot of bad photography around, both fine art photography and commercial photography, which is a great

shame. But I suppose it’s fairly inevitable. I’m sure it’s not been

helped by the rising digital photography. I think commercially,

one of the problems is that because everybody has got a camera, the less they know about photography, the more they think

they know that they can take a picture. So that is a big problem. I think unfortunately to some extent, a lot of fine art photography has been sort of hijacked by pseudo-political leftwing ideology

which I think is also rather stop people from looking at the actual vocabulary of photography in terms of, it’s such an expressive

避免。數碼攝影技術的發展更是將這一問題惡化。對於商業攝影來說，存為自己懂得拍照，這是個很嚴重的問題。可惜的是，藝術攝影也多多少少受到那些偽政治左派思想的操縱，這就導致了攝影不再被人們以純技術的角度來欣賞。由於攝影極富表現力，巧妙運用可以表達十分豐富的內容。藝術攝影受到這些思想的操縱，實在令人惋惜。商業攝影還存在修片過度的問題。整個圖片製作的過程有太多人參與，因而很難保證圖片的完整性。不過我認為目的不同，創作手法也就不同，但都可以帶給人成就感。想做攝影師，首先就要想清楚為什麼選擇這個行業的。我其實很喜歡按照廣告工作簡報去拍攝的那種挑戰和刺激。我覺得可以繼續做我的攝影工作。幸運的是，我的這份工作對資金、材料、模特等方面的要求與部分人相比並不是很高。我的助手中，有些人打算從事商業攝影，但最終還是決定不適合。曾經有過一位泰國的攝影師兼職做我的助手，她很優秀，在威斯敏斯特大學讀了碩士。聽她說現在已經回國了，在曼谷大學電影攝影系擔任副院長。她能力很強，也表示過不會去做商業攝影，因為約束太多。所以我覺得，目標不同，選擇的道路就不同。 ART.ZIP：你目前在做什麼項目？

SA: 我在做兩個很有趣的項目，一個是與法國麥當勞的合作，另一個項目

medium and actually if beautifully handled that

realized it just wasn’t for them. Once the assistant I had, she’s from Thailand,

shame, a lot of it was hijacked. But with commercial

while she was working for me part-time. She said she’d gone back and she’s

they can say so much. So I think that’s a bit of a

photography, I think there are problems we now have so much retouching, and we have so many

other people involved in the photography process,

it’s really hard to keep the integrity of an image. But having said that, I think they are different means

she’s a really talented photographer. She did her MA in Westminster University the Vice Dean of the university in Bangkok, Vice Dean of the photography in film but she still wants to keep photography for her in personal. She doesn’t ever want to do commercial. She’s very capable. Because she thinks it’s too

much of a compromise. So I think there are different means to different ends.

to different ends. I think they can be both pretty

ART.ZIP: Do you have any projects going on at the moment?

photography you have to make up your mind

McDonald’s France. The other one is for a big advertising campaign, which will

satisfying. But I think when you start a career in

why you are doing photography. I actually really enjoy the challenge and stimulation of working to commercial brief. I feel like I can still do my

photography. Fortunately, this sort of personal work

I do is not too demanding in terms of cost, materials, models and things, which obviously would be for some people. I have some assistants who started

wanting to be commercial photographers but they

SA: I do have two really exciting projects actually. One of them is for

be out anytime now. I thought it’s going to be June but I think it’s probably July. I don’t know they seem to shift the days. And the other one is a big

advertising campaign, McCain’s, which is in the UK. And that will be out in

autumn. They are both very interesting and both demanded very sort of close attention to detail, very specific, working closely to… I can’t really say more

than that. On personal level, I’m working on a series of very close up, sort of

fairly organic things. They are all sort of a flat plain. So they are looking more or

less like surface textures both in landscape and also natural things in the studio and food as well.

ART.ZIP: I see live flowers. Have you been photographing them?

SA: Yes I have. They are really fascinating.

Quite often I think people come to the studio and they can see my pots of dead flowers all over the place. They are just amazing. When you put light through them, they are just

completely different. They come alive in a completely different way.

是拍攝一個大型廣告系列活動，大概7月份就要推出了。我原本以為是 6月，現在看來他們改了時間。第二個項目是與英國麥肯恩（McCain）公司合作的大型廣告系列，計劃會在秋季推出。這兩個項目都很有意思，也都要求對細節的高度重視。在個人工作方面，我正在做一個近距離攝影系列，拍攝出來的照片看上去有點像自然或者室內各種生命體的表面結構。 AR T. ZIP：我看到你這裡有花。你平時也有拍攝這些嗎？

SA: 是的。這些花很吸引人。來到我的工作室的人經常可以看到這裡到處是一盆盆枯萎的花。我覺得花真的很奇妙，打光之後就又變得鮮活起來，呈現出完全不同的樣子。

ART.ZIP: What are your views in currently climate in the industry?

SA: I think I’ve probably touched on that to some extent. I

do think that digital has been good in terms of the way of

working. But I think it’s been very detrimental to photography in terms of the fact that it is so quick and accessible. I think it can lead to very sloppy, lazy ways of working, which means

they actually take a lot away from the integrity of photograph image. To me a photograph should be about understanding light, it should involve an element of time and space. It’s just so easy to just take a picture, which is just a representation of something. And to somebody else who knows nothing,

they just see it. It’s just that. They can’t see anything further

beyond that. They don’t see any depth. But I think it’s up to

us all, the photographers, to really concentrate on they can show we understand and the tools we have available and

actually keep on working to produce good image. One of the things that worries me is, the more people become involved in the process, the less control we have. As I was saying,

with retouching, I think it’s difficult to actually know what’s happening to an image once it leaves the studio. So I think

we’ve all got to try working towards having control over that and assuming control and making sure what people do with

our pictures afterwards. So we can look at it and see before it’s published, see if that actually makes sense.

ART.ZIP: What do you think of the new techniques like 3D

photography? Do you think that changes the definition of photography?

SA: I don’t know much about 3D photography but I think it could be a very interesting field and there are quite a lot of

new technologies which I’m not involved with which I think could be very exciting. It’s a matter of making sure that the

people with the understanding of imagery actually work with

the technology, and the people with the technological knowhow don’t take over from the visual people. That’s probably the most important thing.

ART.ZIP: What do you see photography in the future?

SA: It’s a very difficult one. I’m really hoping to see it. I’m hoping people will be able to be more personally and individually creative. In my own field, which

is comparatively narrow, I think it has become more important for us to have individual identity. When I first started, there always have been trends and styles in food photography when I first began it was nouvelle cuisine. We

had to photograph everything very sharp, short depth of field, it was very demanding with large format cameras and small apertures working with

Polaroid. It was as much about technical side as it could be really. You know

how later more trends came along but daylight has sort of become another big

trend which I think again has been something which has meant photographers have a lot to learn about lighting. I think we all need to define our own

identities so when people want somebody to do a brief,

ART.ZIP：你對目前攝影行業有什麼樣的看法呢？

styles available. I always used to worry about trying to find

碼技術的確實起到了積極的推動，使得攝影得到了普及，

there are a lot of different photographers with different

a particular style but actually, what’s interesting, I actually

stood right next to Mike, my business partner literally next to him in the landscape, both pointing our cameras in the

SA: 這個問題我剛才也談到了一點。對於工作方式來說，數同時也變得更方便快捷。但這也助長了懶惰、散漫的工作態度，拍攝出來的相片也就失去了完整性。我認為，一張相片要能夠反映出攝像師對光線、時間和空間的理解。僅僅

same direction. And we came up with completely different

拍一張相片很容易，就是對實物的呈現，別人在相片中也

what’s inside and just try and make most of that. And then

己的理解，利用我們掌握的技術和工具，繼續拍出好的照

images. So you realized that you just have to stick with

hopefully, those of us who got a creative way of seeing

things and who got something to say about the subject

matter will actually be able to have the freedom to move

forward and then use the technology that’s available to our disposal really. I think it’s just important not to be led too much by technology.

ART.ZIP: It’s important in doing anything. SA: Yeah, not to let it be the master.

ART.ZIP: You talked about your studying at your

photography course. Do you think you’ve learned your

無法看出更深刻的內容。這就需要攝像師通過圖片傳達自片。我擔心的一點是，由於越來越多的人參與到圖片製作過程中，攝影師能掌控的就越來越少，比如後期修圖。所以說一旦相片離開了攝影工作室，就很難知道會有怎樣的變動了。我認為攝影師要保證對照片的掌控，對後期製作要知根知底，在發表前確認變動是否合情合理。 ART.ZIP：你怎麼看3D攝影技術呢？你認為新技術會顛覆攝影的概念嗎？

SA: 我對3D技術不太了解，但我認為這是個很有趣的領域。我對很多新技術都沒有涉及。在我看來，關鍵是確保懂得拍攝的人要學習掌握新技術，同時又不會被技術人員代替。

techniques in O-Levels or universities?

ART.ZIP：你認為攝影的未來會是怎樣？

a lot. It was quite solid grounding. I don’t know how it

積極創新。我自己的領域相對較窄，我認為有自己獨特的個

SA: When I did the O-Level and A-Level I did learn quite compares with now.

SA: So with regard to degree courses, I actually feel the course I did was very good. It was good because we

actually learned a lot about lighting. We actually had a

fantastic photographer who went to Annenberg. He came from Germany in the 1920s. He had the most brilliant understanding of lighting. He would stop the whole

production line in the factory at night at a factory to get

incredible dramatic effects. You wouldn’t probably be able to do it now. But he really understood what he was doing with light, in a very complicated way. I wouldn’t want to

work like that but I’ve learned a lot from him. I learned a lot

from my professional photography tutor because he would

actually set his briefs which were professional briefs and that was really useful. And we did do very strong science studies so we understood exactly what

was happening when we exposed the film and we process the film. And also

SA: 這個問題很難回答。我希望能看到未來，希望人們會更性很重要。最初接觸攝影的時候，我是拍攝新派料理的。那時，美食攝影行業總是會有各種趨勢和風格，在清晰度、淺景深等方面要求很高，用大片幅相機和小光圈的寶麗來相機拍攝更是難上加難，對技術的要求非常高。此後又出現了更多趨勢，比如日光的採用，這意味著攝像師要對採光要不斷學習。攝像師需要有自己的特色，所以當人們有不同的需求時，會有風格各異的攝像師供他們選擇。我總擔心找不到獨特的拍攝風格，但記得有一次我和邁克（Mike）站在同一個位置，從同一個角度拍攝出來的兩張照片卻截然不同。所以，不用刻意，只要相信自己的直覺，盡量把它發揮出來就夠了。但願我們中間那些有創造力和獨特見解的攝影師，能夠有足夠的自由繼續創作，並對新技術加以利用，但不要對技術過度依賴。 ART.ZIP：這一點對任何事來說都很重要。 SA: 是的，不要完全受技術的掌控。

the business study side was very good. So I think the professional course was

ART. ZIP：你提到之前學過的攝影課程，你的攝影技術是

people want to be photographers – certainly not commercial photographers.

SA: 我確實通過O-Level 和A-Level學到了很多，打下了基

useful. I don’t get this feeling that BA courses are anywhere near as useful if

ART.ZIP: No it doesn’t really help. I think it teaches you theoretical or history

在O-Level或者大學課程中學到的嗎？礎，但很難跟現在比較。

side of it. You have to learn everything yourself.

SA: 對於學位課程，我感覺還是非常有幫助的。尤其是在採

lot of people actually assist, they work permanently with other photographers

的時候離開德國來到這裡。他對採光有著最獨到的見解。

SA: Absolutely. And I think most of what I have learned-from doing it myself- a as assistants. You are probably familiar with that. And I think it would come

光方面學到很多。當時有位很優秀的攝影師，他在20年代他甚至會為了拍出更生動的效果，可以在夜晚去工廠停掉

that way but I didn’t. I worked with Mike, and he became very

一整條生產線。現在估計不能這麼做了，但他確實很懂

involved in photographic education but he was very frustrated

採用他的方法，但我確實從他那裡學到了很多。另外，

involved with teaching. He actually felt exactly the same. He was with it and with the way that it was going. He could talk for

hours about that. But I really found the students that I had, the assistant from photography degree, just not know a lot about photography which is just not fair, is it?

ART.ZIP: No, don’t know what you’ve paid for. SA: Exactly.

得如何利用光源，他的處理方式很複雜，我也許不會我的攝影導師也讓我受益匪淺，他做的專業簡介非常有用。這些課程還包括了大量的科學知識的講解，從而幫助了我們理解處理、曝光膠卷的過程。課程中商業部分的內容設置得很合理，我覺得攝影專業課程還是很有幫助的。但對於想成為攝影師的人來說，可能本科教育相對而言就沒有那麼實用，尤其是那些想從事商業攝影的人。

ART.ZIP: What do you think is special about food photography?

AR T. ZIP：是的，在這方面本科課程用處不大，能學

attention to detail.

SA: 沒錯。我主要就是靠的自學。很多人選擇去做攝影

SA: It demands an awful lot of patience and an awful lot of

ART.ZIP: How do you think it’s different from photography in other objects?

SA: It’s got a life of its own. It depends on what sort of object it is. ART.ZIP: Like a clock.

SA: I have a big problem with organic and inorganic things. I kind of really relate to organic things. I don’t know what it is about.

到的只是理論知識和攝影歷史，具體還是要靠自學。

助理，這你可能也了解。我沒有選擇這麼做，我當時與邁克合作，他在教書上投入了很多精力。邁克跟我看法相同，雖然一直在教攝影課程，但他自己卻對此類課程的設置和未來發展表示十分不滿。我曾經的幾個學生助理都是攝影專業畢業，但我感覺他們對攝影並不太了解，這其實不太公平，你說對嗎？ ART.ZIP：是的，不知道投入的學費到底值不值得。

Obviously there are some things I like and can photograph.

SA: 對。

trying to capture again the natural qualities, things that change

ART.ZIP：你認為美食攝影的特殊之處在哪裡？

Sometimes I do have to as well. I think there’s something about and things that have their own individual character. I think you have to be sympathetic to that. And you have to draw out that

SA: 美食攝影要求攝影師必須有耐心，注重細節。

character rather than impose your feelings on it, which I think

A R T. Z I P：與其他領域的攝影相比，又有什麼不同

object.

SA: 它有自己獨特的標準。不過還是要看具體拍攝什麼

you probably have to with an inanimate object or manufactured

I think probably the way in which you light it varies enormously.

呢？

物品。

There are two different ways that I tend to work. One of them is

ART.ZIP：比如一個鐘錶？

That is a very popular trend of my own work for daylight and

是什麼原因。當然，有些無生命的物品我也喜歡拍，有

the very much the more natural way of working, using daylight. that’s very sympathetic to certain sorts of things. But also

sometimes you need to really concentrate on producing the

lighting, which is very specific to given product. People want

exactly a particular feeling and so that was working with very

control lights. But it always has to be about the subject matter.

SA: 我總是偏向於拍攝有生命的物體，我也解釋不清楚時候別無選擇，但我還是更喜歡捕捉物體最自然的那一面，因為它會發生變化，並且是獨一無二的。這需要攝影師去感知這種特性，提煉其本質，而不像拍無生命的物體那樣，要把自己的感受強加上去。

Also because I feel it’s a natural thing, I do always try to involve

此外，佈光方法也是截然不同的。通常我會採取兩

of deliberate accident. There always has to be a sort of respect

現，但並不是拍攝任何物體都適合用日光，有時候也

a sort of element of the informal, the accidental and the sort

for the fact that nothing in nature is perfect. I was working with

種做法。一是利用日光，這一點在我的作品中可以體需要製造各種光源，具體要根據拍攝的對象來判斷。

Christopher Lloyd who was a gardener. But he’s dead now. When walking

要根據客戶的具體要求來控制光線，拍出他們想要的效果。我

he’d say ‘just always remember nothing in nature is perfect.’ I think that’s

麼是天生完美的。我曾經跟克里斯托弗·洛伊德（Christopher

around his garden, whenever we were choosing plant to photograph,

something very important to me in my work. It’s being sympathetic to

the natural qualities. I think in terms of looking at the composition, I can’t

help but always sort of fall back on the Golden Section and the Fibonacci

sequence. I suppose that’s my natural enthusiasm for things, those natural forms and there are things that just have a resonance for me that I like to work with those things. And that’s what you have with food rather than manufactured things.

總會有意識地去製造出一種不經意的感覺。因為畢竟沒有什 Lloyd）共事過，他是位已過世的園藝家。每當我們在他的花園裡挑選植物拍攝時，他總會說：“記住，大自然中的一切都是不完美的。”這一點對我的工作來說至關重要，即感知生命體自身的特質。另一方面，在構圖的時候我會參照黃金分割法和斐波納契數列。或許是因為我對拍攝天然無修飾的物體比較感興趣，感覺能夠找到一種共鳴，所以我選擇做美食攝影師，而不是拍攝人造的物品。

INTERVIEW WITH

MARCIN PIOSIK AT LEVAVO 3D PRINTING STUDIO

採訪 LEVAVO 3D打印工作室馬辛·派爾西克 NTERVIEWED BY 採訪 x RACHEL PENG 彭瑞球

TEXT EDITED AND TRANSLATED BY 文字整理及翻譯 x JESSICA CHEN 陳婷 IMAGE COURTESY OF 圖片提供 x MARCIN PIOSIK 馬辛·派爾西克

ART.ZIP: Tell me a little about yourself.

MP: I have a background in IT and networking,

Marcin Piosik Marcin Piosik is one of the founders of Levavo 3D studio, pioneering the advanced 3D printing technology into the UK market.

after coming across the techniques in 3D printing

2 years ago I have decided to start this studio with my brother.

ART.ZIP: Why did you choose this method to start a studio?

MP: First of all, itâ&#x20AC;&#x2122;s cool. Like a photographic studio

but the end result is a small 3D figure. We explored many ways we could work with the printer, at first I scanned everything I could and out of curiosity, I made a scan of my brother. From there I thought

this would be a good way we can relate 3D printing to commercial use. After research we decided to put this into business.

ART.ZIP: How do you think 3D printing in relations to Photography?

MP: Both are recreating visual images. Like when

photography first came out, it was difficult for domestic

access, but people are starting to relate it to themselves. A client came in and asked me to print a replacement

leg for her animal; it’s not yet possible at my studio. They don’t quite understand it yet, but are starting to become willing to make it relevant to their lives.

ART.ZIP: Do you think it will replace Photography? MP: My mother replaced all the family photographs

on the shelf with family figures! But I don’t think it will replace photography in the way that photography will go extinct, only it’s just a different approach to documenting image.

ART.ZIP: Where do you think the future of 3D printing will be?

MP: The possibilities are infinite, NASA is looking to

print food, the medics are already printing body parts;

therefore I think 3D prints will affect all of us from every

aspect. I have had an artist client asking me to scan and copy his sculpture, so that he will keep the scanned file himself for future reference, I guess this will affect the way art pieces will be sold as well.

ART.ZIP: 介紹一下你自己吧。

馬辛·派爾西克

MP: 我的專業背景是IT信息技術和網絡工程，兩年前接觸了3D技術後

馬辛·派爾西克是Levavo 3D打印工作室的創辦者，將最新的三維立體打印技術帶入英國市場的先驅人物。

樣，但是我們最終的成品是一個小小的3D人像模型。我們用打印機進

我和哥哥決定開自己的工作室。 ART.ZIP: 你為什麼會選擇這種技術來辦工作室呢？

MP: 首先，我覺得3D技術真的很酷。我們工作室看起來像攝影工作室一行各項實驗，最初我會掃瞄所有我能找到的東西，當這種初始的好奇慢慢失去之後，我把我哥哥掃瞄了一次，從而發現這是一個很好地把3D打印結合商業用途的方式。在做了一些基本調查以後我們就正式開業了。 ART.ZIP: 你覺得3D打印技術與攝影有什麼關聯呢？

MP: 兩者都是視覺圖像的重現。像攝影剛誕生的時候，很難普及到家

用，但人們會開始把它與自身聯繫起來。一位客人曾經讓我為他的寵物打印義肢；雖然在我工作室還不能實現。儘管顧客還不太明白3D 打印技術，但是他們已經願意把它融入到自身生活當中去。 ART.ZIP: 你認為3D打印技術會取替攝影嗎？

MP: 我媽媽把家裡的家庭合照都換成家庭人像模型了！但是我並不認為3D打印技術會取代攝影並使之消逝，它只是另一種方法來記錄影像而已。 ART.ZIP: 你對3D打印的前景有什麼看法嗎？

MP: 它的可能性是無限的，NASA開始考慮用它來打印食物，醫生已經用它來打印身體的某些部分，因此我認為3D打印會從各種方面影響人類社會。我有一位客戶是藝術家，他就讓我掃瞄和複製他的雕塑，這樣他就可以保存掃瞄件以便日後備查，我想這會影響藝術品被消費的方式吧。

ACTING AGAINST ONE KIND OF 對一種 FATE 宿命的扮演

Part I

TEXT BY 撰文 x FANG ZHILING 方志凌

TRANSLATED BY 翻譯 x JOHNELL 簡內

IMAGE COURTESY OF 圖片提供 x CHEN NONG 陳農

One “cock head man” who is wearing armor- somewhat like

the Pleiades, one of the Twentyeight Mansions, only is short of royal crown which star monarch should have, while is added a

blast of rustic taste from “grass stage troupe” – he arms akimbo, stands unexpectedly in the interchange between battlements

and white marble railing on Meridian Gate. There are Tiananmen Gate Tower, a Square between Tiananmen and the Meridian

Gate, and visitors sparsely on the Square, as well as a big round

sun somewhat bleak in mist. All of them constitute “his” (or “its”) grand and rather fantasy background.

This piece of photo appears in some absurd, was taken by

photographer Chen Nong in 2004~2005, and was included

in his Forbidden City series. This work uses an overlooking perspective, there are two visual focuses on the quadrate

picture: battlements, railings, which together with the standing akimbo “cock head man” into one large slice form a relatively independent foreground, focus on the “cock head” of the

character - this is also the visual center of the view picture

photo - but the perspective focus of the scene is the Tiananmen gate center at a distance, therefore, the Tiananmen appears to

value system of ideologicalization - these are just used as an

existing historical background – in fact that the work focuses on really the unexpected and absurd “cock head man”: who is “he” (or “it”)? What does “he” (or “it”) (or think) do in our society?

一

一個身穿甲胄的“雞頭人”——有些像二十八宿中的昴日雞，卻少了星君應有的冠冕，多了一股“草台戲班”的土腥味兒——雙手叉腰，突兀地站在午門上城垛與漢白玉欄桿的交匯處。天安門城樓，天安門與午門之間的廣場，廣場上疏疏落落的遊人，以及一輪大大的、在霧靄中顯得有些慘淡的圓日，構成“他”（或“它”）宏大而又頗為夢幻的背景。這幅多少有些荒誕的照片，出自攝影家陳農20 0 4 年到20 05年間拍攝的《故宮》系列。作品採用俯視的視角，方形的畫面上有兩個視覺焦點：城垛、欄杆和叉腰站立的“雞頭人”連成一片，形成相對獨立的前景，焦點集中在人物的 “ 雞頭”上— — 這也是整幅照片的視覺中心 — — 但景物的透視焦點卻在遠處天安門的城門中央，因此，儘管天安門看起來不過是濃濃霧靄中的一道虛虛的淡影，但地面上所有的景物（廣場，廣場上低矮的房屋、樹木、人群，午門伸出的側翼，甚至是連成一片的前景）都在向它匯聚。可以看出，在兩個焦點之間有一種緊張的心理關係：一方面，“雞頭人” 置身於以天安門為中心的引力系統之中，這是“他”（或“它”）無法抗拒的；另一方面，在“他”（或“它”）張大的喙、火焰般的怒冠、或驚或怒的眼瞳、和竭力支撐的身姿中，分明流露出一種近乎絕望卻並不屈服抗爭意志。

be nothing but a streak of virtual pale shadow in a thick mist,

濃重的霧靄，慘淡的太陽，以天安門為中心的引力系統，突兀、荒誕的形

square, side wings outstretched from the Meridian Gate, and the

個公共詞彙的敏感時期，又是由一系列有著敏感的社會隱喻的視覺元素

but all scenes (square, low houses, trees and the crowd on the

contiguous foreground in the form of a slice) on the ground are gathered to it. It can be seen a tense psychological relationship

between the two focuses: on one hand, the “cock head man” is in the attractive force system with Tiananmen Square as the center, but “he” (or “it”) can not resist this; the other hand, “he” (or “it”)

shows clearly an almost desperate protest will without yielding in

象，絕望而又激情的抗爭姿態……這樣一幅創作於“政治波普”正成為一構成的作品，大概很容易被人劃入那類業已濫觴的政治化、符號化的社會批判藝術的範疇。但陳農的《故宮06》顯然不是對意識形態化的社會價值系統的追問— —這些只是作為一種時代背景而存在— —作品真正的焦點是那個突兀、荒誕“ 雞頭人”：“他 ”（或 “ 它 ”）是誰？在我們的社會裡，“他”（或“它”）在（或想）幹什麼？

the wide mouth, fiery anger crown, or scared or angry eye pupil, and trying to support posture.

There are thick mist, bleak sun, unexpected and absurd image, protest gesture of despair and passion in the attractive force

system with Tiananmen Square as the center ...... such a piece of

work was created in “Political Pop” which is becoming a common vocabulary for sensitive period, also consists of a series of visual elements with sensitive social metaphor, is classified probably

very easy in that category which belongs to the beginning of the political and symbolic social criticism art. However Chen Nong’s

Forbidden City 06 is obviously not questioning for the social

Fobidden city 06 Photography Handcolored 2004-2005

Part II It is different from contemporary paintings which can be

a “performance” - hence, the “cock head man” either reveals

the photograph with sense of unique reality tells us, the cock

consequences from straight expression.

concocted arbitrarily a variety of non-realistic visual illusion,

head and armor of the “cock head man” are artificial props, “he”

frankly his true emotion, or need not scruple the various possible

is not a monster, but is one man who hides his true face in a

The “cock head man” is wearing a crude and cheap stage

determine the identity of the actor, but the absurd combination

the Forbidden City 06, Chen Nong used the artificial dyed

special “appearance of an actor”. Although it is impossible to of this “appearance of an actor” and daily situation with

obvious social metaphor not only suggests the spirit conflict between the character and the social environment, but also

is the necessary buffer of people’s nervous and intense inner

experience - in the dual identities of the “real me” and the “actor”, the natural expression of the true emotion is transformed into

costume, but gives a unique color effect for the photo - in

color and repaired color technologies on the black and white

photographs. It was a popular exquisite polished skill in photo studios in twenty or thirty years ago. Until now, many Chinese

families also preserve this kind of “photochrome”. However, it is very different from the rigorous and careful polished effects of

this old photo, Chen Nong’s colored method often has freehand

painting-like rough, interest and charm - summons in common

Fobidden city 04 Photography Handcolored 2004-2005

a kind of era atmosphere which is rapidly vanishing. Because, “grass stage troupes” around villages and towns were just an

important characterization of Chinese mass culture in twenty or thirty years ago.

Upriver of Three Gorges Photography Handcolored 2006

While the characters’ faces are presented clearly in the

Forbidden City 02, Forbidden City 07 and other works. There are the cheap clothing in paper costumes, awkward posture, naive, perplexed and lost farm children’s faces - they are not

the trained theatric actors, further are not “a bunch of angels”, look really like temporary supporting roles in the “grass stage troupe” - their identities seem very awkward in this particular

scenario of the Forbidden City: they are not the master, unlike the hired labors, can not be the invited performers, or even leisurely

tourists; the kind of naive expression is full of confusion and loss, also is far from the mettlesome and handsome temperament

“armor” implied. Perhaps, here, are armor and wings a metaphor for already lost dreams? Are confusion and embarrassment

their chilled reality? In any case, Chen Nong’s Forbidden City

series are obviously different from that kind of conceptual art of mainstream values of deconstruction as the purport, they are clearly trying to present a survival reality of the “socially vulnerable groups” characterized by these farm children.

二

與可以隨意臆造出種種非現實的視覺幻象的當代繪畫不同，照片特有的真實感告訴我們，“雞頭人”的雞頭、甲胄都是人工製作的道具，“他”不是什麼怪物，而是一個將自己的真實面孔隱藏在特殊“扮相”中的人。雖然無法確定扮演者的身份，但在這副“扮相”與具有明顯的社會隱喻的日常情境的荒誕組合中，不僅暗示出人物與社會環境之間的精神衝突，同時，它也是人物緊張、激烈的內心體驗必要的緩衝— —在“真我”與“扮演者”的雙重身份中，真情的自然流露被轉化為一種“表演”——於是，“雞頭人”既可以率意地表露真實的情感，又無須顧忌直抒胸臆可能引發的種種後果。 “雞頭人”粗陋、廉價的戲裝，還與照片獨特的色彩效果——在《故宮06》中，陳農採用了在黑白照片上人工染色的修色技術。在二三十年前，它是流行於照相館的一種精緻的潤色技巧。直到現在，許多中國家庭還保存有這種“彩色照片”。不過，與這種老照片嚴謹、工細的潤色效果不同，陳農的染色往往有著寫意畫般的粗獷意趣— —共同召喚出一種正在急劇消逝的時代氛圍。因為，在二三十年前，遍及鄉鎮的“草台戲班”正是中國大眾文化的重要表徵。而在《故宮02》、《故宮07》等作品中，人物的面孔被清晰地呈示出來。紙質戲裝裡的廉價服裝，笨拙的身姿，憨樸、迷茫、失落的農家子女的面孔— —她們不是訓練有素的戲劇演員，更不是“一堆天使”，倒像是“草台戲班”裡的臨時配角— —在故宮這個特定的場景中，她們的身份顯得很尷尬：不是主人，不像僱傭的勞工，不會是受邀而來的表演者，甚至也不是悠閒的遊客；那種憨樸的、滿是迷茫與失落的神情，也與“甲胄”暗示的英姿勃發的氣質相去甚遠。或許，在這裡，甲胄與翅膀隱喻的是一種早已失落的夢想？迷茫與尷尬才是她們冷硬的現實？無論如何，陳農的《故宮》系列顯然與那種以解構主流價值觀念為主旨的觀念藝術有很大的區別，它們顯然試圖呈現這些農家子女所表徵的“社會弱勢群體”的一種生存現實。

Part III Chen Nong’s photographical works are the well-designed achievement. He

deliberates carefully the work theme,

designs the basic visual structure, selects a specific props, finds the appropriate

model, etc. before shooting; additionally he also stains on the black and white photographs, each group of photos

require the corresponding basic tone, and each photo also needs different

color variations, after the completion of

shooting. Final effect of the photo is often an integration of absurd visual situations, malposed time-space relationship,

nightmarish color atmosphere and solemn scene feeling. Obviously,

regardless of creation method, image

structure, inherent concept and metaphor, Chen Nong’s works should be regarded as

representative can not get rid of social dilemma - his unique visual language

stems from his unique experience to this social problem which already becomes commonplace: misplaced characters,

overlapped identities and warped sense of time and space construct a cross-era

historical perspective; nightmare painting with an official realism is full of color

atmosphere with snarled relationship,

implies the inherent tension between a

kind of social fate can never get rid of and an optimistic progressive era language; then deep poetic care eventually

condenses on the wholeheartedly concern to the harsh reality after

combination of absurd image structure and solemn documentary feature;

furthermore that blast of bitter rustic

flavor mixed in the post-modern visual imagery reflects more the artist’s keen insight to a kind of “era truth”.

a very typical conceptual photography.

From the Forbidden City series

But it seems these photos do not give the

reality to the Mask series surveying

presenting and questioning on a social

very “contemporary” visual impression.

on the rural industry filled with decline

contemporary photographic works, they

emerging vividly on the never changed

On the one hand, compared with most look like also leaving a lot of realistic

atmosphere, Three Gorges series

fate of the bottom of society, then Yellow

tail: character expression, movement

River and Lotus Pond series tracing

on too much visual characteristics of

and then Apsaras series playing ...... on

and basic visual scene seem to rely

documentary photography, dyeing

style and narrative intonation of photos seem also to associate inextricably with a Chinese-style realistic painting. On

the other hand, these photos seem to have a kind of uncomfortable rustic

taste – a common bitter flavor of “new

documentary photography” in the 1980s - all of which look like to be avoided

strongly by all kinds of contemporary photography.

However Chen Nong does not more

concern obviously “contemporaneity” of

works, but a disturbing social reality –the bottom of society with the farmer as

on the history of protesting this fate, fatalistic vain effort of contemporary

trying to get rid of this fate, Chen Nong’s works reflect not only beyond the grim and bitter image showing the depth of thought from the “new documentary photography” of the social reality of a representation, but also the elite

attitude with a strong social rebellious

mood and dispelled mainstream values, and contemporary photography with

condescending wise intonation - a deeper social care and more lasting self evolution potential in a continuous concern

on seemingly commonplace social

reality - relative to those contemporary photography with more timeliness.

三

陳農的攝影作品都是精心設計的結果。拍攝之前要仔細推敲作品的主題，設計基本的視覺結構，選擇特定的道具，尋找相應的模特等等；拍照完成以後還要在黑白照片上染色，每一組照片都需要與之相應的色彩基調，每一幅照片又需要各不相同的色彩變化。照片最終的效果往往是荒誕的視覺情境、錯位的時空關係、夢魘般的色彩氛圍、以及一種冷峻的現場感的綜合。顯然，無論是就製作方法、圖像結構、還是內在的觀念隱喻而言，陳農的作品都算得上是很典型的觀念攝影。但這些照片給人的直觀印像似乎並不很“當代”。一方面，與大多數當代攝影作品相比，它們似乎還留有許多現實主義的尾巴：人物表情、動作以及基本的視覺場景似乎都過多依賴於紀實攝影的視覺特徵，照片的染色風格和敘事語調也似乎總與某種中國式的現實主義繪畫有著千絲萬縷的聯繫。另一方面，這些照片似乎都有一種讓人不舒服的土腥味兒— —一種常見於八十年代的“新紀實攝影”的苦澀氣息— —所有這些，似乎都是形形色色的當代攝影所極力迴避的。但陳農更關心的顯然不是作品的 “當代性”，而是一種令人不安的社會現實— —以農民為代表的社會底層無法擺脫社會困境— —獨特的視覺語言源於他對這種早已淪為老生常談的社會問題的獨特體驗：人物錯置、重疊的身份和恍如隔世的時空感，建構了一種跨時代的歷史視角；夢魘般的、卻又與一種官方化的現實主義繪畫有著糾纏不清的關係的色彩氛圍，隱含著一種從來不曾擺脫的社會宿命與一種樂觀、進步的時代話語之間的內在張力；荒誕的圖像結構與冷峻的紀實特徵的結合，則將深沉的詩性關照最終凝結在對殘酷現實的傾情關注；而混雜在後現代的視覺表象裡的那股苦澀的農民氣息，更體現出藝術家對一種“時代本相”的敏銳洞察。從《故宮》系列對一種社會現實的呈現與追問，到《面具》系列對瀰漫著衰敗氣息的鄉村行業的審視，《三峽》系列對社會底層從來不曾改變過的宿命的逼現，再到《黃河》與《荷塘》系列對抗爭這種宿命的歷史追溯，再到《飛天》系列對當代人試圖擺脫這種宿命的虛妄努力的扮演……在對一種看似老生常談的社會現實的連續關注中，陳農的作品不僅體現出超越於以嚴峻、苦澀的形象呈現一種表象化的社會真實的“新紀實攝影”的思想深度，也體現出相對於那些更具時效性的當代攝影——有著強烈的社會叛逆情緒、消解主流價值觀念的精英姿態、以及高人一等的睿智語調的當代攝影——更深切的社會關懷和更持久的自我演化潛力。

Downriver of Three Gorges Photography Handcolored 2006 Yellow River Photography Handcolored 2007-2008

PHOTOGRAPHERS’ GALLERY

—INTERVIE WITH BRETT ROGERS 攝影師畫廊

—專訪布雷特·羅傑斯 TEXT EDITED AND TRANSLATED BY 文字整理及翻譯 x MICHELLE YU 余小悅 IMAGE COURTESY OF 圖片提供 x PHOTOGRAPHERS’ GALLERY

ART.ZIP: Your background is Art History, and then further study photography, is it? Why photography is so special for you?

BR: When I began my academic career in Australia in the 1970s, there were no places to study the history or theory of photography – even when I arrived in

Britain to do my MA at the Courtauld Institute of Art in 1980, I still was not able to

focus on photography; it is really only in the last decade that the academic study of photography as part of art history has become available as an option for students.

Director: Brett Rogers Photo: Harry Liu The Photographers’ Gallery at 16- 18 Ramillies Street 2012 © Kate Elliott Courtesy The Photographers’ Gallery

Photography has been very special to me since my adolescence. As I grew up in

Australia I felt the importance of the medium as a carrier of meaning perhaps more acutely because of the tyranny of distance.

ART.ZIP：你之前讀的是藝術史，然後專攻攝影是嗎？攝影對你來說有什麼特別之處嗎？

BR：20世紀70年代的時候我在澳大利亞開展我的學術研究，當時並沒有任何院校能提供攝影史或攝影理論這樣的相關學科，即使到了80年代，我在英國考陶德藝術學院讀碩士的時候也沒有，所以在當時的環境下我還沒有途徑專門研究攝影；直到過去十年，攝影才成為藝術史的一部分被納入學術課程。從少年時起我就覺得攝影很特別，可能因為我在澳大利亞長大，那種距離的束縛讓我特別能夠理解攝影作為意義載體的重要性。 ART. ZIP：相機現在變得隨手可得了，每一個人都能拍照片，你覺得攝影對大眾文化產生了什麼樣的影響呢？好的和壞的又各有什麼呢？

BR：拍照手機的出現讓所有人都認為自己就是攝影師，這樣有積極的一面但也不能排除消極的影

ART.ZIP: Camera nowadays is much

more affordable than the past, everyone could take pictures, what would you say

photography’s effect on mass culture? Good ones and bad ones?

BR: The evolution of the camera phone

which has led to everyone believing they

are a photographer has had positive as well

as negative outcomes – clearly the fact that photography has become democratized so

that nearly everyone has access to a camera (rather than a small elite who previously could afford the expensive cameras

and cost of printing) is a good thing. It enables people to develop their visual

awareness of the world and experiment in interesting ways in the production of images. On the other hand, it has also

resulted in a tsunami of images which are

never going to be stored, saved properly or printed. Some critics feel that this surfeit of images neutralizes their visual impact and emotional force and leads to compassion

fatigue. There is no doubt that the impact of the network image and web 2.0 has led to a reassessment of the way in which personal subjectivity may be changing as a result of

participation in the global image economy and what level and kind of engagement now constitute its value and meaning.

ART.ZIP: What would you see the future or

trend of photography? Is it becoming much prosperous or have gone downhill?

BR: If this question concerns trends within

the commercial market, then yes compared

to the 1970/80s, photographers who operate within the contemporary art market are

響。首先很明顯的，攝影變得民主化了，幾乎所有人都可以擁有一台相機－－而不像以前那樣只有一小部分的精英才能負擔得起昂貴的相機和沖洗照片－－這是好的方面。這有助於人們發展視覺上對世界的認知，利用各種有趣的方式來製作圖像。但另一方面，這種海量的圖像沖擊導致照片沒有被合理地保存，保管或沖洗。有些評論家認為這種過量的圖片生產減弱了它們應有的視覺和情感沖擊，最終導致人們視覺疲勞和熱情不再。不可質疑的是，網絡圖像的影響和WEB2.0時代讓我們不得不重新

definitely more prosperous than they have ever been – e.g. Jeff

Elmar Ludwig The Dreamland Amusement Park, Margate © John Hinde Collection / John Hinde Ltd

Wall, Andreas Gursky, Cindy Sherman. “Straight’ photographers have also benefitted from the rise in art market interest in the

medium – thanks also to the promotional strategies of specialist

galleries e.g. Fraenkel, Greenberg, Hamiltons and the emergence of photofairs such as Paris Photo.

For the majority of young and emerging photographers, getting a foothold within the market remains highly competitive and

評估個人主體性的變化，因為參與全球性圖像經濟的程度及方式直接影

very hard – many struggle to find representation especially

響了主體性的價值與意義。

specializing solely in photography, and find they need to pursue

ART. ZIP：你認為攝影的未來方向是什麼呢？現今攝影算是越來越繁榮

their work.

B R：如果從商業市場前景來說的話，那麼答案是肯定的，相比於七、八

in London where there are very few commercial galleries

other ends (teaching, editorial work etc) to earn a living from

ART.ZIP: You have engaged in photography for a long time,

any interesting stories about photography to share? Any views on photography have changed?

BR: Photography has changed enormously in the 40 years I

have been involved – there is now a fundamental awareness of the importance of photography’s critical role within the world – I see it almost as ‘wallpaper’ that links nearly everything of

great importance together in our understanding of the world. Photography changes everything.

呢，還是有點走下坡呢？

十年代，攝影師在當代藝術市場上肯定比以前要好很多，譬如潔夫 ·沃爾（JEFF WALL），安德瑞思·古斯奇(ANDREAS GURSKY)，辛蒂·雪曼 (CINDY

SHERMAN)。

“如實攝影（STRAIGHT

PHOTOGRAPHY）”的

攝影師也同樣因為這種媒介在藝術市場的興起而受益，還有多得各種攝影畫廊的宣傳策略吧，像法蘭克爾畫廊（FRAENKEL 沃德·格林博格畫廊（HOWARD 廊（HAMILTONS

GREENBERG

GALLERY），豪

GALLERY），漢密頓斯畫

GALLERY）等，還有就是像巴黎攝影博覽會（PARIS

PHOTO）這類攝影博覽會的出現也促使攝影產業蓬勃發展。對於大部分年輕和新生代攝影師，在市場上能站一席之地還是非常難的，

ART.ZIP: How would you define a good photographic work?

很多人都在爭取找畫廊代理，尤其是在倫敦，很少商業畫廊會

offers repeated viewing, that operates on more than one level, which is

自己，譬如教學、編輯工作等等。

BR: That’s nearly impossible to define – but for me it is a work that multilayered and retains a degree of ambiguity.

ART.ZIP: The Photographers’ Gallery was founded in 1971, what’s the intention of the establishment? What are the changes during these

42 years? What is the future direction of the gallery? Could you name some programs?

BR: When it was founded in 1971, the main intention was to promote

photography as an art form. At that time most people only understood

photography as a mass media tool of communication rather than a vehicle

只做攝影作品代理，所以攝影師們都需要幹別的工作來養活

ART. ZIP：你已經從事攝影工作這麼多年了，這些年來你對攝

影的看法和與過去有發生什麼大的變化嗎？有什麼有趣的故事可以分享嗎？

BR：在我從事攝影的過去40年裡，攝影確實發生了天翻地覆的變化，現在人們終於從根本上意識到攝影對世界產生的重要作用，我會把它比作像“壁紙”，它把我們認識世界的每樣重要事物都連接在一起。攝影改變了一切。

for creative expression. Through our 40 years the Gallery has endeavored to

ART.ZIP：你如何定義一件好的攝影作品？

– not just as in its applied or functional form (advertising, fashion), but its

讓你重複地觀看，並提供多種解讀的可能性，能保持一種開放

promote an understanding of photography’s use across an expanded field capacity to be operate outside the frame and alongside other media such as drawing, sculpture, collage and as an integral part of contemporary art.

ART.ZIP: The Gallery has been through two years redevelopment (20102012), apart from more spacious space and well-designed interior to

control the light, will it go to a new direction or any new programmes have been added?

BR: We are delighted the Gallery has had a chance to create a purpose–

built new space in which to provide both artists and the public the spaces required to show and appreciate photography in the 21st century. Our

future intentions are to build on the new location and take photography out into the street by developing a public realm programme in Ramillies Street to attract a new audience off Oxford Street.

ART.ZIP: The Gallery’s annual photography prize is in its 17th year, what

BR：這個幾乎無法定義，但是對我來說，一件好的攝影作品能性討論的就是一件好作品。 ART. ZIP：畫廊在1971年成立，當時創始人建立畫廊的初衷是什麼呢？經過42年的發展，現在畫廊的立意與最初有發生什麼樣的改變呢？畫廊未來發展的方向是什麼呢？能推薦一些項目嗎？

BR：畫廊在1971年成立，當年的主要目的就是促進攝影作為一種藝術形式來發展。當時很多人都只把攝影看作一種大眾媒介溝通的工具，而不是創意表達的手法。 40年來畫廊已經通過不懈努力使得攝影的使用在更廣泛的領域得到認同，不僅僅是其應用或功能形式上，例如廣告攝影、時尚攝影，而是攝影的應用不再局限於鏡頭內外，並且與其他媒介相結合，譬如繪畫、雕塑、拼貼，攝影真正成為當代藝術一個不可分割的部分。

is your judging standard? Any changes through these years? What is the

ART. ZIP：畫廊經歷了兩年的重建（2010 -2012），除了空間

the winner receive?

展新方向呢？增加了什麼新項目嗎？

difference from other photography awards? What kind of support will

BR: The Deutsche Börse Prize is now in its 7th year – the previous 10 years were supported by Citibank. There have been 2 changes over the past 17

years – we reduced the number of candidates from 5 to 4 in 2006 and also broadened the prize to include publications as well as exhibitions. The

difference from other prizes is that the criteria for the winner (who receives £30,000) is the individual who has made the most significant contribution

to photography over the past 12 months – it is not a lifetime achievement award; nor is it based around any one particular theme.

ART.ZIP: We notice that you have education programs, what are they?

BR: We have a wide range of education programmes designed to meet the needs of everyone from enthusiasts with little knowledge of the medium to those professionals who are academically or vocationally involved in

photography – everything from practical skills development and workshops (Stumped/The Social), artists panel to Masterclasses and our Key Speakers

series. We also have a separate series of educational events aimed at young people, families and children.

擴展到三層和特殊設計來控制室內光線以外，畫廊有什麼發

BR：我們很高興畫廊有機會建成一個為藝術家和大眾使用而特別打造的新空間，給大家展示和欣賞21世紀的攝影。我們未來的規劃是要在這個新據點把攝影帶到街頭，在拉米利斯大街（RAMILLIES STREET）發展公共項目吸引牛津街上的新觀眾。 ART.ZIP：畫廊的年度攝影獎已經進行了17年了，你們的評判

標準有發生什麼變化嗎？和其他攝影獎項有什麼不同嗎？獲獎者會受到怎樣的支持和幫助呢？

BR：德意志攝影獎（THE DEUTSCHE BÖRSE PRIZE）已經邁進第七個年頭了，在此之前10年的年度攝影獎是由花旗銀行（CITIBANK）所支持。過去17年間我們經歷了兩個重要的變化，我們在2006年把5位候選人名額改為4位，而加大了獎勵的力度，包括為得獎者出版圖冊和舉辦展覽。這個獎項與別的攝影獎的不同之處就是得獎者的評判標準：在過去12個月內對攝影作出重大貢獻的個人－－得獎者將會得到30 0 0 0鎊的獎勵－－這不是一個終生成就獎，也不是關於任何主題的獎項。

Humphrey Spender Parliamentary by-election – Children hanging around outside, 1937/38 © Bolton Council, from the Collection of Bolton Library and Museum Services Courtesy of the Humphrey Spender Archive

ART.ZIP: How would you say the Gallery’s

ART. ZIP：我留意到你們會有一些關於攝影的教育項

BR: The Gallery is the only publicly funded specialist

B R：我們設立了有各種類型的教育項目來滿足大家

significance and distinctiveness?

gallery for photography in London so provides those interested in learning more about the

medium to see, explore and enjoy photography through a varied range of exhibitions, events

and workshops. Our reputation for high quality,

innovation, access and showing the best-known

newcomers in the world of photography are cited

目，都有哪些呢？

的需求，從只對攝影有一點了解的攝影愛好者，到從事學術研究或從事攝影工作的專業人員，所有從實際操作技巧、工作坊（STUMPED／THE

SOCIAL項目）

，藝術家小組，大師講座，到我們的主講師系列（KE Y SPEAKERS）。我們也有單獨的系列教育活動來針對年輕人、家庭和兒童這些群體。

by our audience as the reasons they visit.

AR T. ZIP：對於推動攝影的發展，你們是如何定位自

ART.ZIP: What kind of projects or programmes

BR：畫廊是倫敦唯一一家由公共資金支持、只專注於

that show your support to emerging

photographers? Could you tell us about the FreshFace+WildEyed programme and Folio

Forum? Or any others you would recommend? BR: Supporting emerging artists is a critical part of both our education and exhibition

己在攝影界的重要性和獨特性？

攝影的畫廊，我們為那些有興趣學習更多關於攝影這種媒介的人提供各式各樣的展覽、活動和工作坊，讓他們發掘、探索和享受攝影。來訪畫廊的觀眾表示，畫廊以高質、創新、及大膽展示新生代攝影師作品而使他們慕名前來。

programme – FFWE is designed to offer support

A R T. Z I P：對於支持新生代攝影師你們有什麼具體

one year and are beginning to identify the lack

FOLIO FORUM嗎？

to graduates who have been out of college for

of critical engagement as a barrier to the further development of their practice. In addition to offering an exhibition to 22-25 artists at the

gallery each summer, 6 artists are then offered an opportunity to participate in a one year intense mentoring programme.

Folio Forum (recently retitled STUMPED) and The Social which focuses on a vocational issue (using social media/writing funding application) also

provides practical advice in an informal context (free of charge) to artists 4-5 times per year.

的項目呢？能說說 FR E SH FACE+W ILD E Y E D 項目和

B R：支持新生代藝術家是我們教育和展覽項目裡非常重要的一環，FF W E－－FR E SHFACE+W ID EE Y ED 是為畢業一年的學生提供支持的項目，因為畢業以後他們很可能錯過一些重要的專業參與，而這些缺失為他們進一步發展造成了嚴重的障礙。因此，除了每年夏天給22-25歲的藝術家在畫廊進行展覽的機會以外，其中被挑選的六位藝術家還有機會參與為期一年的有針對性的指導項目 FOLIO FORUM (最近被改名為STUMPED) 和THE SOCIAL項目著重於職業發展問題（譬如如何利用社交媒體，如何申請基金援助等），每年進行4 -5 次免費給藝術家提供實際操作建議的活動。

INTERVIEW WITH

ANDREAS GEGNER FROM SPRÜTH MAGERS LONDON 與Sprüth Magers畫廊總監安德烈亞斯·蓋勒的對談 TEXT EDITED AND TRANSLATED BY 文字整理及翻譯 x MICHELLE YU 余小悅 IMAGE COURTESY OF 圖片提供 x SPRÜTH MAGERS BERLIN LONDON

Andreas Gegner Photo Harry Liu

ROY: IN HIS TWENTIES; LOS ANGELES, CALIFORNIA; 50 DOLLARS, 1990-92 by Philip-Lorca diCorcia Courtesy of the artist, David Zwirner and Sprüth Magers Berlin London.

ART.ZIP: Can you give us a brief introduction of the gallery, its founding,

Monika founded the gallery in Cologne in 1983.

distinguish from others?

contemporary art, as well as the centre for postwar

development, and the gallerists. As a private gallery, how would you

AG: As you can see from the name of the gallery—Sprüth Magers London,

owned by two individuals, Monika Sprüth and Philomene Magers. We operate our galleries in two cities, Berlin and London. Monika and Philomene are two female art dealers, which is quite unusual in the art world, and they created

one of the most powerful gallery internationally. Founding of the gallery dates back to 1983—so this year we are celebrating our 30th anniversary. At that

time Monika opened the gallery alone by herself, with Andreas Schulze as the opening show. Andreas Schulze is probably one of the least known artists of our gallery but Monika is very supportive for his career, because she found

Schulze’s work interesting and unique in style and language. She once said to me, she would not stop the gallery before Andreas Schulze gets recognition. And I would say this loyalty makes our gallery different from others, and we would come to that later.

At that time Cologne was very important city for

art. Yet most galleries in Cologne at that time were driven by men: male gallerists, male artists, male

collectors. Monika decided to open a gallery to give female artists an adequate platform to exhibit their

art. She never considered herself a feminist gallerist, she just wanted to present female artists. From

early on, Babara Kruger and Cindy Sherman were

exhibited. She also exhibited Andreas Gursky. There was great diversity in her early programme, and all artists she picked were creating unique work.

In 1993, Philomene Magers opened her gallery, also

in Cologne. In order to prolong her mother’s legacy,

SML Gallery Frontview

ART.ZIP: 能給我們簡單介紹一下畫廊的發展嗎，成立和畫廊

主？作為一個私人畫廊，你們與別的畫廊有什麼不一樣的地方呢？

AG：從畫廊名字——SPRÜTH

MAGERS

LONDON──可

以看到畫廊由兩人創立，分別是莫妮卡·斯普魯斯（MONIKA SPRÜTH）和菲洛米娜·馬格斯（PHILOMENE MAGERS）。我們在柏林和倫敦都有畫廊。莫妮卡和菲洛米娜是兩位女藝術商人，這在藝術界是很少見的，她們創立的SPRÜTH MAGERS畫廊被譽為國際上最優秀的畫廊之一。追溯到畫廊成立之際要到1983年──今年是我們畫廊成立30年──當時莫妮卡獨自一人開辦畫廊，而安德瑞思·舒爾茲（ANDREAS SCHULZE）則作為開館展覽藝術家。比起其他響當當的名字，舒爾茲可能是名氣最小的一位。但是莫妮卡仍然非常支持他，因為她認為舒爾茲的作品非常有趣，風格及語言都是獨樹一幟的。莫妮卡曾經對我說過，舒爾茲在獲得認可前她都不會結束畫

Philomene represented canonical post-

war figures including Donald Judd, Robert Morris, Dan Flavin and so on.

In 1998, Monika and Philomene decided

to merge the two galleries., That became Sprüth Magers Gallery. Sprüth Magers

expanded further with a gallery space

in Munich and a London gallery in 2003, located on Berkeley Street in Mayfair.

In 2008, we opened a gallery in Berlin

and shut the two exhibition spaces in Cologne and Munich, because Berlin becomes one of the most important

places for contemporary art internationally,

competing with New York and London, yet

we keep office in Cologne still. And we moved the Gallery London to Grafton

Street since 2007. So now we only operate two gallery spaces, one in Berlin and one in London. Our programme of today still keeps balance between male and female artists, continues to give same weight to female artists presentation. And we would not on purpose emphasis on German artists.

ART.ZIP: Just now you mentioned loyalty as the feature of the Gallery, would you talk more about it?

AG: As a commercial gallery, of course we have to generate money to keep the

gallery going. However the way we trade and the way we operate are all based

on loyalty, which I mentioned earlier. We work with artists for very long time, 20 or 30 years, even when they are not deemed as successful or their work is not

of the current taste, we keep loyal to them. We don’t consider them as our cash

廊。所以我會說忠誠是我們畫廊與別家畫廊不一樣的地方，我們稍後可以再詳細談。莫妮卡於1983年在科隆創辦畫廊，當時科隆是當代藝術的中心城市，也是戰後藝術的聚集地。但是很多科隆的畫廊都是男性為主導，男性畫廊主，男性藝術家，男性藏家，所以莫妮卡決定要開辦畫廊讓女性藝術家有一席之地來展現她們的藝術。莫妮卡從來沒有覺得自己是女權主義畫廊主，她只是純粹想要把女性藝術家展現給大家。所以在她很早的企劃裡就有芭芭拉·克魯格（BABARA

KRUGER），辛蒂·雪曼（CINDY

SHERMAN）等女性藝術家的展覽。她還在很早的時候就為安德瑞思·古斯奇（ANDREAS GURSKY）辦展。總而言之，你可以看到她早期企劃裡藝術家的多樣性，所有藝術家都在創作自

cow, we believe their artistic value and endeavor. We want to support them,

己獨特的、新穎的作品。

works, we still give them exhibitions, to give them necessary platform. When

1993年菲洛米娜也在科隆開辦了自己的畫廊。為了更好地繼

even though we have been through the period of many years that don’t sell in the boom years of arts market, say 2003 to 2008, many galleries started to

sign up young artists who graduated from arts school. They were signed up by galleries and given exhibitions, but the galleries would chop them if their work

did not make an immediate success. We never did that. For us, starting to work with an artist is a very serious commitment, it is a long term commitment. So

we would sign up artists that we are very sure about what he/she needs from

our programme, what he/she adds to our programme. We are very committed to working with them. Anybody works at the Gallery could make suggestions,

but Monika and Philomene make the final decision. They would meet the artist, chat with him/her to see what the artist really wants, to check if he/she has

similar belief with us, ultimately we are here to help the artist. Then the artist could focus on the work without thinking of survival. The Gallery would put artist first and set ourselves as a supporting structure.

承家族事業，菲洛米娜代理了赫赫有名的戰後藝術家，包括當諾德·吉瓦德（DONALD

JUDD），羅伯特·莫里斯（ROBERT

MORRIS），丹·弗拉文（DAN FLAVIN）等等。莫妮卡和菲洛米娜在1998年決定把兩家畫廊合併成一家，自此就有了SPRÜTH MAGERS畫廊。2003年畫廊在慕尼黑創立了分畫廊，倫敦伯克利大街上也有了分部。 2008年我們又在柏林開了新的畫廊空間，而科隆和慕尼黑兩地的畫廊空間就關閉了，因為柏林成為了國際上當代藝術最重要的城市，可與紐約和倫敦媲美，而科隆也保留了辦公室。倫敦畫廊在 2007年的時候從伯克利大街搬到了格拉弗頓大街。所以至今我們有兩個畫廊空間，一個在柏林，一個在倫敦。我們現在的企劃仍然注重保持男女藝術家比例的平衡，仍然給女性藝術

Monika Sprüth & Philomene Magers. ©Dagmar Schwelle

Untitled Film Still 56 1980 by Cindy Sherman Courtesy of the artist, Metro Pictures and Sprueth Magers Berlin London.

ART.ZIP: Do you foresee any future trends in art?

家一樣的關注和重視。而且我們並沒有刻意強調德國藝術家。

gallery, but I don’t think I can single out an individual trend. I can’t

ART.ZIP: 剛才你提到忠誠是你們畫廊的主要特色，能再詳細說說嗎？

and same importance.

於忠誠來進行交易而操作的，之前我也提及過。我們和藝術家合作的時間都很

AG: We do have many photographic and video works at our

see one dominating trend, every art form gets same attention

ART.ZIP: Is the Gallery a bit focused on photographic works?

AG: Looking at the artists presented by the Gallery, a lot of them,

AG: 作為一個商業畫廊，當然我們必須賺錢來維持畫廊的運營。但是我們是基長，20年，30年都很常見。就算他們沒有成名或他們的作品不是當今的品味，我們都會忠於我們的藝術家。我們不會把他們看作是我們的搖錢樹，我們相信他們的藝術價值和努力，我們會支持他們，就算多年都沒有賣出一張作品，

not 50%, but many, use photography as medium, but very few

我們仍然會給最大的幫助，為他們舉辦展覽讓他們有必要的平台來展示作品。

forward photographers, like Philip-Lorca Dicorcia, create the

很多剛畢業的年輕藝術家，一旦發現他們沒有馬上獲得成功就會立刻跟他們

artists would consider themselves as photographers. More

picture with a camera, just like a painter creates a picture with

2003年到2008年可以說是藝術市場蓬勃發展的時期，很多畫廊一下子簽下來解約。我們從來不會這麼做，要開始與藝術家工作是一項重要的承諾，所以我

brush and colour. They won’t consider themselves as photographers. They

create pictures by using camera as a

tool, for example, Thomas Demand, he

fully depends on the camera, but he’s a

sculptor. He creates an object with copper and paper, and then takes a picture as

an ultimate result. He knows everything about photography, how to handle a

camera, but it is not the main issue. The

camera only transcends his thinking and

practice; he’s really coming form another point. Another artist like Andreas Gursky, he is more educated in photography,

but he crossed the boundaries and used photography to create something new. He introduced a gate to photography

that almost unseen before. He composes images with camera using painterly

approach, to create a super image. He

creates over natural images, you could

see from the pictures that from different points, one photograph looking up, one looking to centre, one looking down.

He creates pictures that beyond camera and our own eyes, it’s a different way of seeing, and that’s why he stands

out from others. Another artist in our

programme—Cindy Sherman—uses

camera in a different approach, it’s more like a conceptual idea. She handled the camera to take her portrait, but more importantly, she is trying to generate

female image representation, how female and woman look in Hollywood movies,

or in her untitled series, how rich women present themselves in a portrait. She is trying to recreate the images, so she is

using another different approach to work

with camera. In all, there are a lot of artists

using camera to create their work, but the Gallery does not focus on photography. ART.ZIP: In an art market as young

as that in China, still many collectors find photography art suspicious.

To them, its nature as a form of art

that can be massively produced and

easily duplicated makes it inferior to

Lola 2004 from Pole Dancers Series by Philip-Lorca diCorcia Courtesy of the artist, David Zwirner and Sprüth Magers Berlin London.

traditional mediums, such as painting. Does the gallery, on the other

們必須非常確定藝術家想要什麼，需要什麼，還有他／她能帶給

sold differently from other works that are still considered “unique”? Is

幫助。在畫廊工作的任何人都可以提議簽藝術家，但最後的決定

hand, treat photography somehow differently? Are they managed or it some sort of a trouble when it comes to young market, such as the

我們什麼新活力。我們會竭盡所能與他們工作給予合適的支持和權還是在莫妮卡和菲洛米妮手上。她們會與藝術家見面，認真地

Chinese market?

了解藝術家想要什麼，確定他／她與我們畫廊有相同的信念，然

from Getty Image, you can download them and then ultimately reproduce

壓力而專注於自己的藝術創作中去。我們畫廊是把藝術家放在第

AG: First of all, the distribution of photography is very different; pictures

millions of times, but photographs shown in the gallery are handled in a different way. We will make sure there would be very limited prints, and

後我們才會決定簽約和支持他們。然後藝術家就可以拋開生存的一位，然後把自己作為一個支持結構而存在。

this limitation makes artistic photography different from photography

ART.ZIP: 你覺得未來的藝術形式會走向哪個方向呢？

would guarantee only certain amount of prints are available, not more

列出一個趨勢。沒有一種藝術形式是主流，對我們來說，任何藝術

found on Getty Image. When you buy photography from a gallery, we than these. By having the certificate you will get the one photograph

produced and marketed, this is the same issue with painting. If the painter

AG: 我們有相當一部分攝影和攝像作品，但是我不認為我們單獨形式都應獲得同樣的關注。

is talented he can reproduce the same painting, but it is always different.

ART.ZIP: 畫廊的作品會不會偏向攝影為主？

with the production of painting. It took European audience a long long

會把自己看作是攝影師。更多前衛攝影師，像菲利普·洛卡·迪可西

By the way of introducing limited edition, photography could compete

time to appreciate photography as a serious art form, and to collect it. As early as 1990s, when photography had this massive boom, people felt a

little uncomfortable about it. Then they found photography in museums and galleries and people started to realize it as an art form just the same

as painting and sculpture. Yet commercial photography has other ways of making and ways of handling. In Germany and other European countries they have very strong copyright protection, China has a different idea of what the original can be, what the copied can be, maybe copied is

like a new original, they have different understandings about copyright. In all, photography is a good for young collectors to start collecting,

because it’s cheaper, of lower price and more accessible. When looking at a painting, one needs to think, there may be a barrier that ‘I don’t know

much about painting, sculpture and etc.’ However when people look at a

photograph, everybody think they are experts, they think they understand it immediately, which is nice in a way people have the same ease with

other medium of art. In photography they feel more at home, so it became a perfect art form for people to collect, before moving on to collect other things.

ART.ZIP: Do artists in the gallery occasionally accept commercial

commissions, such as for an advertisement? If so, do you handle the artist and the works differently?

AG: We deal with and handle these people’s artistic output, but they have their own operative structure. If they got commission [on their own], we would not get involved. They have their own separate second source of income. Say Philip-Lorca Dicorcia, if he is doing commissions for a

magazine, those images are usually not handled and sold as artworks.

Photography is democratic medium. Sometimes the magazine would

contact us because they don’t know how to deal with the artist, and then we will introduce them to the artist, nothing like a share or commercial interest would come up.

ART.ZIP: Although Sprüth Magers is a private gallery, it is sensed that it

AG: 畫廊代理的許多藝術家都用攝影作為媒介，但是很少一部分爾（PHILIP-LORCA DICORCIA），運用相機創作圖像，就像畫家用畫筆和顏料創作圖像一樣。他們不認為自己是攝影師，他們只是把相機當作一種工具。譬如湯姆斯·迪曼(THOMAS DEMAND)，和完全依靠相機，但其實他是雕塑家，他通常用銅和紙來創作，然後用相機把作品拍下來作為最後成品。他知道如何使用相機，但是技術並不是他的關注點。相機只是傳達他思想和實踐的一個工具。另外一些藝術家，像安德瑞思·古斯奇(ANDREAS GURSKY)，他接受過更多關於攝影的教育，但是他拓展了攝影的領域，運用攝影來呈現之前從未被看見的景觀。他利用相機來畫圖，創作一幅幅超級圖像，超自然景觀，你可以看到圖片由多個角度進行拍攝和觀看。有些朝上，有些朝中心，有些朝下，他創作的圖像是相機和我們肉眼無法一次看清楚的，他創建了一套獨特的觀看方式，那也是為什麼他能出眾的原因。我們還有另外一位藝術家，辛迪· 雪兒曼（CINDY SHERMAN）則是從另一個方面運用相機，更接近抽象概念一些。她用相機來拍攝肖像，但更重要的是她用相機來生產女性形象表徵，在好萊塢電影裡女性形象，或者她的無題系列裡，富家女人是如何在肖像裡表現自己的。雪兒曼嘗試用相機重現女性形象。總的來說，畫廊很多藝術家相機來創作，但我們並不專注在攝影作品上。

ART.ZIP: 像中國這樣年輕的藝術市場，很多藏家對攝影藝術作品

持懷疑的態度。對他們來說，攝影能被大量生產和復制，似乎比傳

統媒介，如繪畫，要低一級。你們畫廊是怎麼操作攝影作品的呢？他們的獨特性產生什麼樣的變化嗎？在售賣藝術品時會遇到怎樣的問題呢？

AG: 首先，攝影作品的分發途徑不一樣。從GETTY IMAGE下載的照片可以被複製上百萬次，但畫廊操作攝影作品則是另外一套方式。我們會確保照片只有限定數量的，而這種限定性就使攝影作品與GETTY上的照片不一樣。我們保證只有限定數量被製作和出售，一張都不會多。我們還會提供證書，所以你買的攝影作品是唯一被製作和流通於市場的，這與繪畫作品是一樣的。如果畫家有能力也可以複製相同的作品，但每張其實都是不一樣的。所以限量生產照片和繪畫作品的生產是一樣有競爭力的。歐洲的觀眾也

is very friendly to the public, welcoming

AG: They must think about it seriously.

用了好長好長一段時間才把攝影當作嚴肅的

What is the policy and attitude towards

can be very lonely and you must be very

攝影的大量生產讓人們覺得很不適應，直到

and encouraging the public to visit. general public?

AG: You see we have big windows! I know some galleries show their attitudes to

the London audiences, it depends from

gallery to gallery. Some of them set up the gallery at 2nd floor, one must press the

buzzer for entry, which set some barriers to keep general audience out, for they

may want to build privacy and secret. But we have a big window, we have an open

door, everybody could come in, look and enjoy.

ART.ZIP: How do you balance the relation between the gallery and the artists?

AG: I think we work like partners. If they

have different directions, if the artist is too successful that the Gallery can’t deal with it anymore, then they would be officially

taken. We know how to handle this case, sometimes the gallery is very successful,

sometimes even the gallery dumps artists, or an artist changes to another gallery.

It is a tough choice to be an artist. You committed. Check with yourself if you really want to go there because you

will have a hard time. The second thing is, go and see as much art as you can,

justify your own position, reestablish your own way in context of other art being

produced. Go to see as many exhibitions

as you can, be active part of the network. At some points, being an artist is a lonely profession. No one else will help you,

unless you are Damien Hirst and someone

there is lots to do; partying, drinking,

overwhelming, practicing, developing

your own language skill, find a way to be apart from others, to make clear about what concept you want to tell.

觸到。觀看畫作的時候人們還可能會覺得有障礙，覺得自己不懂怎麼看畫；但是人們看照快就能看懂，從這方面來說是好的，讓人們更自在一些，所以它是很好的藝術收藏形式，然

ART.ZIP:畫廊的藝術家可以接商業委託嗎？例如廣告？你們又是怎麼處理的呢？

AG: 我們只處理藝術家的藝術出品，他們也有自己的操作結構。如果他們有商業委託，我們是不會插手的。他們有獨立的，其他的收入來源我們都不會幹預。譬如菲利普·洛卡·迪可西爾 DICORCIA），如果他為雜誌

雜誌會先聯繫我們，因為他們不知道怎麼和藝術家打交道。我們會給他們介紹藝術家，但是我們不會收取任何的提成或得到任何商業利益。

ART.ZIP: SPRÜTH MAGERS是私人畫廊，但讓

gallery only interested in the money and

公眾覺得很友善，也鼓勵公眾來參觀。你們對

considers this as starting point for the

公眾有什麼政策或持什麼態度呢？

gallery, I think it would not succeed. There

AG: 我知道很多畫廊都與大眾保持一定的距

are secondary market dealers who sell

離，譬如把畫廊設立在二樓，來訪者得按門鈴

works, try and look after the artists, that’s

become artists?

最好選擇，因為價格相對便宜而且更容易接

處理和出售。攝影是一種民主的媒介。有時候

the artists. Do their best for the artist. If

give to those students who want to

一個理解。總的來說，攝影是年輕藏家入門的

做委託項目，那些圖片也不會被當成藝術品來

gallery should be serious, committed to

ART.ZIP: What suggestions would you

就是一個新的原創，反正中國有自己對版權的

（PHILIP-LORCA

both partners and possibilities open,

relation between the artist and the gallery.

什麼是原創，什麼是盜版的看法，或者複製的

後慢慢地再去收藏別的藝術品。

community. Work, work, work! Be active,

and ended the partnership. We leave

Find a comfortable way of working

強的版權保護法，中國可能有另外一套關於

each other out, so try to become part of a

say goodbye, to take consequences

parents, or do they want to make money.

來操作的。在德國，或者其他歐洲國家都有很

自在地欣賞其他藝術媒介。攝影對人們來說更

go further, in a community artists help

not work anymore, then they have to

do they want, do they want to be their

雕塑一樣。而商業攝影則是用另外一套方式

things. Larger networks can help you to

together. If their relationship doesn’t

themselves, and try to find out what

攝影作為一種藝術形式而存在，就像繪畫和

片的時候都覺得自己是專家，他們認為自己很

on your own, you have to go through the

artist develop at the same rate, they grow

but I think people should be honest of

在各大博物館和畫廊看到以後才開始意識到

is working for you. Otherwise you are all

But the ideal case is both the gallery and

another possibilities of running a gallery,

藝術形式來欣賞和收藏。早到20世界90年代，

才能入內參觀。這樣就為大眾設立了一些屏

Installation view, The Vivisector. Courtesy of Sprüth Magers Berlin London

障，或許是畫廊想保留一些隱私得緣故吧。但是我們畫廊有巨大的櫥窗，隨時開放讓大家入內參觀和欣賞藝術品。 ART.ZIP: 你們是怎麼平衡畫廊與藝術家之間的關係的？

AG: 我們就像伴侶一樣吧。如果他們需要向不同方向發展，或者藝術家太成功了我們畫廊不再具備操作的條件，那麼我們就會終止合

作關係。有些畫廊變成功了就開始拋棄一些原來的藝術家，或者藝術家轉到別的畫廊。理想狀態是畫廊與藝術家一起成長。如果兩者無法再合作了，也就不要再勉強。我們對合作方都持非常開放的態度，畫廊也需要對藝術家負責，讓藝術家得到最好的發展。如果只是以賺錢為目的而開畫廊的話，我不認為畫廊會成功。市場上還有一些二線的藝術交易方也會幫藝術家賣作品。這也是另外一種運營方式。我認為只要人們對自己和對對方誠實，想清楚是想要成為藝術家的父母呢還是只是純粹為了賺錢。要找到一種讓雙方都感到舒服的方式就好了。

ART.ZIP: 你會給想成為藝術家的學生一些什麼建議呢？

AG: 他們必須想清楚了是否要成為藝術家，因為成為藝術家是一個很艱難的抉擇。藝術家會很孤獨，需要竭盡全力，所以必須要問清楚自己是不是真的想成為藝術家，因為你將面對非常多的困難。其次，走出門看盡量多的藝術，調整自己的定位，不斷重建自己的藝術方式，看盡可能多的展覽，活躍於藝術圈中。某種程度來說，藝術家是非常寂寞的職業，沒有人可以幫你，你必須自己克服各種困難。廣闊的交際圈可以讓你走得更遠，在圈子裡藝術家都會互相幫忙，所以要成為群體的一分子。創作，努力地進行各種創作，要積極地參與，聚會，實驗，創造自己的語言，找到一個與別人不一樣的自己，弄清楚自己想要傳達什麼概念。

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MAKE ART WHILE MAKING LOVE

ON PHOTOGRAPHY 《論攝影》 TEXT BY 撰文 MO MING 莫名

TRANSLATED BY 翻譯 SYNDI HUANG 黃煥欣

On Photography, by Susan Sontag caused a sensation and aroused ex-

蘇珊·桑塔格(Susan

cal writing about the discussions of the fundamental problem of pho-

動一時，時至今日，這本討論攝影本源問題的

tensive discussions in 1977 when it was first published. To date, this criti-

tography has been translated into various languages and published in many editions. It has become the photography bible for photographers and intellectuals throughout the world.

Sontag)的《論攝影》出版

于1977年，當時這本書引起了廣泛的討論，轟批評著作已經被翻譯成多種文字，並多次再版，成為世界各地攝影人和文化人所必備的經典著作。

In spite of the title of On Photography, it is a non-professional photog-

雖然叫《論攝影》，但這本書並不是一本專業的

photographs. It is a book as big as a hand, no thicker than half of the

甚至全書連一張配圖都沒有。就是這麼一本巴

raphy book with little photographic terminology, and even without any thumb and barely as heavy as two eggs, blandly printed with simple and frugal design, and worshipped by countless people as a classic masterpiece of work.

Susan Sontag, the book’s author, is regarded as one of the most significant writers in the United States in the past forty years. In the cul-

tural sector, she, along with Simone de Beauvoir and Hannah Arendt, is known as the most outstanding female intellectual in the contemporary Western world.

攝影書籍，整本書中也沒有用到幾個攝影術語，掌大小，一根手指厚，兩個雞蛋重的小冊子，平淡無奇的印刷和紙張，儉樸或者說是簡陋的裝幀構成了這本被無數人視為經典的傳世之作。本書的作者蘇珊·桑塔格是美國過去40年間最為重要的作家之一，在文化界她與西蒙·波伏娃（Simone

Beauvoir）、漢娜·阿倫特（Han-

nah Arendt）並稱為西方當代最傑出的女性知識份子。她通過個人的行動與親身的體驗來介入我們的社會，通過她個人的價值判斷來發出

She, through her own personal initiative and experience, intervenes in

自己獨立的聲音，2004年，她與世長辭，她用

dependent voice. In 2004, the world witnessed her death, where she

的文字和聲音都是出自她的“良心”，而這種“良

our society. Through personal value judgement, she makes her own in-

used her words and actions expressing her own creed----all her words

and voice are from her conscience, which is not out of her being a writer, but simply because of being a living person.

In On Photography, Susan Sontag takes a philosophical, sober, and thorough look at photography, to dissect the seemingly familiar photog-

raphy through a broad perspective of sociology and history, while she questions, from the voice of a living human being, what is real, what is

the human dream of dependence, and what makes us filled with decep-

tion and indifference. Susan, with her metaphoric harsh words, sharply reveals the subconscious of our buried malicious nature. Through sol-

emn and orderly rigorous words between the lines, her emotionless sarcasm and irony often makes readers spark further consideration and

她的文字和行動闡釋了她自己的信條﹣﹣她所有心”並不是出於她作家的職業，而僅僅是因為她是一個活著的人。《論攝影》中，蘇珊·桑塔格以一位哲學家冷靜和嚴謹來審視攝影，通過社會學和歷史的寬廣視角來解剖我們看似熟悉的攝影，而同時，她又以一個活生生的人的聲音來不斷的提出疑問，什麼是真實，什麼是人類夢寐中的依賴，而又是什麼讓我們變得樂於自欺欺人和冷酷無情？蘇珊用她充滿隱喻而又刻薄的文字一針見血的揭示著我們潛意識里埋沒于心底的惡意或本性，在莊重穩健，嚴謹有序的字裡行間，她不露聲色的挖苦與諷刺往往令讀者不禁捫心

self-examination.

自問，躬身反省。

The book, with its discussion of the relationship between photography

這本書討論了攝影與藝術的關係，提出了攝影

liberation and development of arts to accelerate the transformation and

展，加速了傳統藝術向觀念領域的轉型和拓

and art, suggests photography not only destroys but also spawns a new expansion of traditional arts to conceptual arts. In addition, Susan also evaluates the meaning of photography, the problem between photog-

raphy and war, and other severe subject matters. The book contains a microcosm of the great soul, but without any noticeable sign of the de-

piction from the author. It is not a book to reflect any single person, but a book attracted with words of human glory.

不僅摧毀了更是解放和催生了新的藝術的發展，此外，蘇珊也探討了關於攝影的意義、攝影與戰爭等嚴肅的問題，我們可以說書中蘊含了作者偉大靈魂的縮影，卻極難看出作者任何著力于其本身的言語，這本書不代表任何人，融于其間并讓它光彩奪目的是字句間所飽含的人性的光輝。

A way of certifying experience, taking photographs is also a way of refusing it--by limiting experience to a search for the photogenic, by converting experience into an image, a souvenir.

攝影是驗證我們體驗與經歷的手段，同時也是摧毀我們已有經驗的方式。攝影通過刻意的對拍攝對象的挑選，通過轉化，將經驗變成一張圖像，一個紀念品。

Taking photographs has set up a chronic voyeuristic relation to the world, which levels the meaning of all events.

“ 拍照 ” 是以一種慢性偷窺的心態來看待我們的世界，它消除了世間所有事物之間的意義與差別。

A photograph is both a pseudo-presence and a token of absence. 一張照片既是一種虛假的在場證明，也是不在場的標誌。

That most logical of nineteenth-century aesthetes, Mallarmé, said that everything in the world exists in order to end in a book. Today everything exists to end in a photograph.

十九世紀最有邏輯的美學家馬拉美說，世界上的一切事物都將終結于書本。今天，一切的事物，都將終結於攝影。

To photograph people is to violate them, by seeing them as they never see themselves, by having knowledge of them that they can never have; it turns people into objects that can be symbolically possessed. Just as a camera is a sublimation of the gun, to photograph someone is a subliminal murder a soft murder, appropriate to a sad, frightened time.

對人們拍照就如對他們施暴一樣，你看到他們從不曾看到的自己，獲得他們從不曾獲得的體驗，拍攝將人們和他們生活變為了可以被象徵性佔有的符號。照相機其實就是升級版的槍炮，給別人拍照就如同潛意識的謀殺一樣，一種軟性的謀殺，讓人覺得悲傷，令人不寒而慄。

Needing to have reality confirmed and experience enhanced by photographs is an aesthetic consumerism to which everyone is now addicted. Industrial societies turn their citizens into image-junkies; it is the most irresistible form of mental pollution. 對攝影的熱衷，是由於人們沉溺於追尋一種能夠更清晰和完美地佐證經驗和歷史的表現手段。工業化社會將生活其中的人們變成了消費圖像毒品的癮君子，照片已經成了為了防不勝防的精神污染源。

Life is not about significant details, illuminated a flash, fixed forever. Photographs are.

攝影作品講求顯著精緻的細節，鎂光燈的不停閃爍，永遠定格的瞬間。但是，這些並不是生活本身。

攝 PHOTOGRAPHY EDITED BY 採訪整理 HARRY LIU 劉競晨

TRANSLATED BY 翻譯 SYNDI HUANG 黃煥欣

IMAGE COURTESY OF THE ARTIST 圖片提供 WANG GUOFENG 王國鋒

影考古

學

ARCHAEOLOGY

北朝鮮2012

Through creating huge panoramic colorful photographs, the artist Wang

藝術家王國鋒的攝影作品是通過巨幅的全景彩色照片

tural product: the politically identified and exceptionally spectacular buildings,

種標識化的奇異壯觀的大型政治建築，這些建築和景觀

Guofeng presents, under the socialist ideology of the 20th century, a global culwhich reflect and condense the human social system patterns, and the ‘collective unconsciousness’ of the centralized system. Wang Guofeng combines both

documentary photography and expressive painting, not only to make his enormous photographic works leave a strong visual impact and shock to viewers, but also to enrich their readability and narrative with rich and exquisite details.

來呈現20世紀全球社會主義意識形態下的文化產物：一濃縮和體現了人類社會制度的模式化，以及集權體制下的“集體無意識”。王國鋒將攝影的紀實性與繪畫的表現力相結合，使得他的巨幅作品不僅給觀者強烈的視覺衝擊和震撼，同時其細膩豐富的細節也增加了作品的可讀性和故事性。

As an artist, in 2001, Wang Guofeng was invited by the North Korean govern-

作為一個藝術家，王國鋒在2011年受到朝鮮政府的邀請

series of works North Korea 2012. For the shooting, Wang Guofeng employed

系列作品《北朝鮮2012》。王國鋒將大畫幅相機及高清數

ment to Pyongyang for work, an unusual opportunity that triggered his latest the large format camera and high definition digital technology, while con-

ducting unique techniques in postproduction to create gigantic photographic

works, giving global viewers a striking opportunity to sneak a peek in great details at the real life scenes happening in North Korea.

前往平壤進行工作，這個難得的契機催生了他最新的一碼技術運用於其前期的拍攝，然後通過他獨特的後期處理工藝而創作出巨大的攝影作品，這給了全球觀眾一個千載難逢的機會來如此細緻和清晰的觀看當下發生在朝鮮的一幕幕“景觀”。

In this issue, we have the great honor to interview Wang Guofeng, where

本期雜誌我們有幸採訪了藝術家王國鋒，觀眾也可以通

of works.

點點滴滴。

readers can learn more about the artist and the details of creating his series

過我們的採訪了解更多的關於他，關於此組作品創作的

AN INTERVIEW WITH WANG GUOFENG 與藝術家王國鋒的對話

ART.ZIP: When did you begin to focus on monumental architectures?

ART.ZIP：您是什麼時候開始關注紀念碑式建築的？

WG: In fact when I was a young boy, I was always wondering why the ancient build-

WG：其實我在很小的時候就在思考古代建築和身邊的建築為

buildings from different periods were so different. I was too young to keep pursuing

意識到這種差異，不可能思考的很深。這樣的問題一直困擾了我

ings I had learnt were very different from the ones surrounding me, and why the

the answer, and the only impression left in my mind is the great difference. These

impressions bothered me for many years, and I was able to begin recognizing and understanding them as time goes by. China Utopia serves as one of the answers

that I have found, and I am very glad that I was invited to share my answer in the Second Seoul International Media Art Biennale 2002.

ART.ZIP: What is your understanding of the architectures constructed in accord

什麼不一樣，為什麼不同時代的建築會有所差異，但那時候只是

很多年，隨著年齡和知識的增長，也就對這個問題有了理解與認識。在2002年我參加的在韓國舉辦的第二屆漢城國際媒體藝術雙年展上我展出了錄像作品《中國·烏托邦》就涉及到了這些建築問題。 ART.ZIP: 您是如何理解這些社會主義意識形態化的建築？

with socialist ideology?

WG：在人類文明中，沒有任何東西能像建築一樣清晰地展示出

WG: There is no match for architectures that clearly show the contrast between

明與智慧，同時也包含著更多人性的東西。尤其那些具有紀念

order and chaos of human world. Any splendid architecture does not only reveal human wisdom and the civilization itself, but also embody humanity. This is espe-

cially true of monumental architecture. For instance, the Pyramids in Egypt, the Greek Parthenon, the Roman Pantheon and Coliseum, and the Medieval Gothic

churches, traditional Chinese architectures, etc. I am always deeply moved by

無序與有序之間的對比。輝煌的建築背後不僅展示著人類的文

碑意義的建築更是如此。比如西方古代建築：古埃及金字塔、希臘帕臺農神廟、羅馬萬神廟、鬥獸場、以及中世紀的哥特式教堂，也包括中國的古建築等等。建築的崇高、莊嚴以及建築工藝的高超，無時無刻不讓我們為之感動。我站在這些建築面前，有時說不出話來，那種感覺，你好像忘了這是供人居住的東西，建築在

those majesty, stateliness and intricacy. When I stand in front of these kinds of ar-

這個時候已經超出了簡單的生存的需要。它似乎有了自己的靈魂。所

chitectures, I become speechless; the feeling makes me forget that this is some-

以建築作為我的作品題材，是我個人潛意識中的願望。其實權力、壯

needs for surviving. Architecture has its soul. Therefore, I chose architectures as my

人的自豪感、人對萬有引力的勝利和追求權力的意志都呈現出看得

thing provided for us to live in. For me, architectures have already surpassed simple subject, and I am definitely obsessive about their beauty. Actually, power, glory

and being magnificent are always the themes of architecture. Nietzsche Friedrich

used to say, “In architecture, the pride of man, his triumph over gravitation, his will

to power assume a visible form. Architecture is a sort of oratory of power by means of forms.”

ART.ZIP: It seems quite a mysterious and rare opportunity to do a photo shooting in North Korea. What motivates you to come up with such a creation plan there?

WG: Since 2005, I have been concerned and continuing to photograph buildings of global socialist ideology under the influence of the former Soviet Union’s political form in the mid 20th century, where North Korea is an important part of the shooting plan. North Korea is generally known as a closed socialist country, where

it is very difficult for a foreigner to be allowed to take photographs there. I have

spent more than three years in applying for the permission and communicating

觀、榮耀、記憶和身份是建築永恆的主題。尼采有一句話：“在建築中，見的形態。建築是一種權力的雄辯術。” ART.ZIP：此次去朝鮮創作和拍攝在很多人眼中是非常神秘而且難得的機會，能不能給我們介紹一下促成此次朝鮮之行的前因後果？

WG：從2005年以來，我一直在關注並持續拍攝上個世紀中葉受到前蘇聯的政治模式影響的全球社會主義國家的意識形態建築，其中朝鮮是我拍攝計劃的一個重要部分，我們都知道朝鮮是一個沒有開放的社會主義國家，如果一個外國人想到那裡拍照是非常困難的事情，所以在之前我與朝鮮政府的有關部門進行過三年多的申請和溝通，一直沒有得到允許,最後通過了一個比較特殊的渠道，得到了朝鮮中央政府的特別批准才得以實現這個拍攝計劃。所以,這個機會非常難得。據陪同我工作的朝鮮對外文化聯絡委員會的工作人員講，他們建國以來，第一次批准一個外國藝術家，使用這樣專業的設備和進行這麼多內容拍攝。

with the relevant North Korean government departments, but without any suc-

ART.ZIP：對於西方人來說，朝鮮是一個極為神秘莫測的地方，大眾

North Korean central government to achieve this particular shooting plan. There-

有趣或者獨特的經歷，可不可以講一兩個小故事和讀者們分享？

cess. Eventually, through a rather special means, my request was approved by the fore, this is an exceptional opportunity. According to the accompanying North

Korea Foreign Cultural Relations Committee staff, it is the first time that a foreign

對於朝鮮的了解也是極少的，您這次在朝鮮的工作當中有沒有什麼

WG：由於非常複雜的原因，朝鮮一直以來還處於一種閉關鎖國的狀

artist is permitted to use such professional equipment and conduct so much content for a photo shooting.

ART.ZIP: For Westerners, North Korea is a very mysterious place, which is little known by the public. Have you come across any inter-

esting or unique experience when working there? Would you share one or two stories with our readers?

WG: Due to very complex reasons, North Korea has been remaining

in a state of seclusion, where foreigners are very restrictedly limited to gain access into the country, and the local people are also restricted to

leave the country. When working in North Korea, I was accompanied

by five different departments personnel to assist my work. Every subject matter I intended to take photographs of has to get the prior ap-

proval of the North Korean government, while those with no approval are absolutely not allowed to photograph. There impresses me most that North Korean people are all very passionate about their leader. My

first arrival in North Korea is at noon on March 12, 2011. Immediately after I got off the plane, the staff drove me to the Mansudae Grand

Monument in the city centre of Pyongyang as to send flowers to the bronze statue of former North Korean president Kim II Sung. There al-

ways come a lot of people (including school children and kindergarten

children) in front of the statue for presenting flowers and mourning. Their love for their leader is genuinely sincere from their heart. The other thing also quite impresses me is that all the North Korean people

北朝鮮2012局部

possess a very high level of happiness. When I talked to the accompanying

態，外國人不能隨便進入，本國的百姓更不能隨便走出國門，我在朝

and they reckoned themselves as the happiest people in the world. That is a

作。我所拍攝的內容也是事先經過朝鮮政府審批過的，沒有審批過

staff, every one of them felt very fortunate and proud to live in such a country, place you will find the people’s senses of values are astonishingly alike.

ART.ZIP: As Chinese, we probably hold quite different points of views from

westerners concerning issues towards North Korea, because many of us have already got through the same experience that a lot of North Koreans are experiencing right now. So we are likely to grow in the psychological level a lot of collisions and resonance toward this country. How have you

been feeling while working there? For instance, have it reminded you of a

鮮工作時，他們有來自五個不同部門的工作人員陪同和協助我的工的內容絕對不允許拍攝。在那裡給我印象最深就是每一個朝鮮人都非常熱愛他們的領袖，我第一次到朝鮮是2011年3月12日的中午，一下飛機，他們的工作人員就開車把我帶到了位於平壤市中心的萬壽台給金日成主席的銅像獻花，在那里永遠會看到有很多人（包括小學生和幼兒園的小朋友）來到銅像前獻花、默哀。他們對領袖的熱愛是發自內心的。另外一點讓我感受很深的就是所有的朝鮮人內心的幸福指數非常高，我與陪同我的工作人員聊天，他們每一個人都表示生活在這樣的一個國度裡感覺非常的幸運和自豪，他們認為自

certain period of time in China, or have you ever had the feeling of being

己是全世界最幸福的人，在那裡你會感受到人們的價值觀是驚人

WG: This is a very interesting question. Same as you said, North Korea’s current

ART.ZIP：作為一個中國人在看待朝鮮的時候的感受是和西方人截

the regimes of China and North Korea are remaining fundamentally identical.

所以在心理層面上更會產生很多的碰撞和共鳴，因此能不能聊一聊

transferred to a different time of being?

status quo is just the same as China has experienced in the past. Until today,

When I first landed in that country, the feeling of dislocation all of a sudden

occurred me. All the scenes in front of me seemed to bring me back to childhood. Everything was very familiar but also strange at the same time. It is a too

的一致。

然不同的，由於我們也曾經經歷過很多朝鮮現在正在經歷的事情，您對朝鮮這次的創作和工作有什麼樣的感觸，比如說會不會回想起中國的某個時刻，或者說會不會經常會產生時空穿梭一樣的感覺？

complex feeling to describe with words. Overall, I was very much thrilled.

WG：這是一個非常有意思的問題，正如你所說的一樣，朝鮮今天

ART.ZIP: In view of many of your works since 2008, Moscow, Beijing and

的本質依然是一致的。我第一次到朝鮮一下飛機，忽然就有一種

other places are ‘once’ socialistic. In comparison among Russia, China and

North Korea, these past or present socialist countries, North Korea’s current

的現狀，正是中國過去所經歷的一切，直至今天中國和朝鮮政體

時空錯位的感覺，眼前所呈現的各種景象彷彿一下子把我帶回到了童年，看到的一切既熟悉又陌生，這種複雜的感覺無法用語

status may be different from the other socialist countries. What is the influence of the work creation in North Korea on your creating and thinking?

WG: Right, I have taken photographs of large iconic socialist political constructions of the former Soviet Union, Eastern Europe, China, North Korea and other countries. Considering these buildings from the perspective of world history, the former Soviet Union as the nascent socialist country in the early last cen-

言描述，讓我興奮不已。 ART.ZIP：看到您08年以來的很多作品，莫斯科，北京等地方都是“曾

經”的社會主義國家，對比來看，俄羅斯，中國，朝鮮，這些國家都是

或曾經是社會主義國家，但朝鮮當下狀態可能與其他社會主義國家不盡相同的，此次關於朝鮮的作品對您的創作和思考有什麼影響？

tury, directly and indirectly planted a Soviet-style socialist output with its po-

WG：是的，在之前我拍攝了前蘇聯、東歐、中國以及朝鮮等國家的

other countries. That Soviet model style can be seen as a political, economic,

史的角度來看，前蘇聯在上世紀初作為新生的社會主義國家，以它

litical and military superiority to Eastern Europe, Asia, Latin America and some

cultural, and even foreign relations system equivalent to the standard socialist system. Thereafter, a power socialist body of nations was formed throughout the world, where North Korea was being part of it. With the disintegration of

the Soviet Union in the 1990s and the end of half a century of Cold War, the entire socialist body of nations basically ceased to exist. And in the present North

Korea, both the political system and social pattern still have not changed since

then, which make the country specimen of the past socialist doctrine legacy. This photo shooting in North Korea gets me thinking more of the impact of a political system and social pattern on shaping personal spiritual thoughts.

大型的標誌性的社會主義政治建築，那麼作為這些建築，從世界歷政治和軍事上的優勢直接或間接地向東歐、亞洲、及拉美等一些國

家進行了一種蘇聯模式的社會主義輸出。這種蘇聯模式可以說是政治、經濟、文化甚至對外關係體制等同於標準的社會主義制度。在整個世界格局中形成了一個強大的社會主義陣營，朝鮮也是這個社會主義陣營的成員之一。隨著上個世紀90年代蘇聯解體，持續了半個世紀的冷戰結束，整個的社會主義陣營基本不復存在，那麼今天的朝鮮，無論是政治體制還是社會形態都依然沒有改變，成為曾經的社會主義模式的遺留標本。通過對朝鮮的拍攝讓我思考更多的是政治制度、社會模式對個人的精神和思想的塑造。

ART.ZIP: Will you have any new creative project in the near future?

ART.ZIP：在不遠的未來，您有沒有什麼新的創作計劃？

WG: I have always been finding a lot of interest in social issues. Beside the

WG：我一直對具有社會性的問題有著濃厚的興趣，接下來除了對朝

creation works concerning conflicts against other countries and regions.

衝突的國家和地區進行我的創作。

continuous focus and photo shooting of North Korea, I might conduct more

鮮的持續關注和拍攝以外，我可能會去關注和針對其它一些有矛盾

Pop Art Design

22 Oct 2013–9 Feb 2014 An explosive new exhibition featuring work by over 70 trailblazing artists and designers barbican.org.uk Supported by

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An exhibition of Vitra Design Museum, Weil am Rhein, in cooperation with Louisiana Museum of Modern Art, Humlebæk and Moderna Museet, Stockholm.

Artworks: Evelyne Axell, Ice Cream 1, 1964 © ADAGP, Paris and DACS, London 2013. George Nelson Associates, Inc. (Irving Harper), Marshmallow, sofa, 1956, Collection Vitra Design Museum. Drocco & Mello, Cactus, 1972, Gufram

WHEN MEMORIES BEING REGAINED 始於記憶的重拾

Those sky, those places, those people, those things, those feelings

at those time being were so naturally existing that never did I ever

TEXT AND IMAGE BY 圖文提供 SYNDI HUANG 黃煥欣

bear a second thought about their existence at those moments. Through the passage of time, memories are being refreshed and

replaced over and over again. Once randomly clicking into those long-forgotten image folders, all those memories are once again

being picked up from one photo to another. Never had I ever thought those sky and those places can turn out to be so aesthet-

ically beautiful; the encounters with strangers can be so enjoyably

曾經的那些天空，那些地方，那些人，那些事，那些感覺，在那時

the heart; so much brave confidence is needed to embark on a

記憶一次次地被刷新替換，忽然點進那些早被遺忘的照片文件

delightful; being with family and friends can reach so deep down

journey on my own; the having been long denied my self can be

worth so much respect; those photographs having been taken for granted carry so many precious moments in the past.

Before, photograph taking was taken so much for granted that I

was merely accustomed to assume that to take photograph was

那刻都是那麽地被認為是理所當然，不假思索的。時間流逝，夾，再一次拾起曾經的那些畫面，原來那些天空那些地方是那麽的美，原來與陌生人的相遇可以是那麽的可愛，原來親友的相伴是那麽的溫馨，原來一個人的旅程是需要那麽大的勇氣，原來曾經被否定的自己也可以是那麽的賞心悅目，原來被認為理所當然的照片承載著那麽多珍貴的過去。

a supplement to travelling. The more I travelled, the more photos

從前一直都未曾認真細致地去看待攝影，習以為常地認為每去

be left behind.

數的照片，卻僅限儲存罷了，久久地被封存著。

were taken, just for the sake of taking photos which deemed to

一個地方就得照些照片做紀念。走著走著，照著照著，儲存了無

When photography is being taken seriously, of the instant cap-

當開始在意攝影，那一個個瞬間色彩，角度，面容的捕捉，那些

moments, taking photographs is no longer a supplement, but the

生成去渴望認知世界，找尋生活有趣的角度，與可愛的陌生人

tures of those colours, angles, and faces, of those heart beating

priority of journeys that drives the desire to perceive the world,

to explore more inspiring angles of life, to encounter with more

令心跳猛然加速的觸動，拍照便不再是旅程的附屬品，漸漸衍相遇的驅動力。

lovely strangers around the world.

只願，慢慢的，走更多的路，拍下更多美好的那些人，那些事，那

Only to hope, step by step, to keep on exploring, to carry on cap-

之時，能夠會心一笑，便足已。

turing those sky, those places, those people, those things, and those my selves. When the day comes my growing too old to walk or to think, I only wish to still be able to bear a smile when memories being regained. Then that will be life, fulfilled.

些自己。哪天老得走不動了，腦子也不好使了，願再次重拾記憶

ON THE THEATER & PHOTOGRAPHY INTERVIEW WITH DR. JOEL ANDERSON

關於戲劇與攝影採訪喬爾 · 安德森博士

Dr. Joel Anderson has taught at Central School of Speech and Dra-

喬爾·安德森博士從2007年以來開始在倫

the Université Paris VIII and Queen Mary, University of London. He

第八大學、瑪麗皇後學院、倫敦大學等地

ma in London since 2007. His doctoral studies were undertaken at EDITED BY 採訪整理 MICHELLE YU 余小悅 TRANSLATED BY 翻譯 CHEN TING 陳婷

has worked extensively with the Paris Theatre of the Oppressed,

including projects in Brazil, Burundi, and Morocco, and a current project in Jordan. Recent research includes an examination of the

relationships between theatre and the photographic image and work on the urban environment.

敦中央演講與戲劇學院任教，他曾在巴黎進行博士後研究。他曾經在法國、巴西、布隆迪、約旦以及摩洛哥從事劇場相關的研究項目。安德森博士目前關注的領域是考量劇場與攝影圖像及城市環境之間的關係和相互影響。

ART.ZIP: How did you begin the study of theatre photography?

ART.ZIP：你最初是怎樣開始從事戲劇攝影工作的？有沒有特別

JA: I first got fascinated with theatre photography when I realised the

JA：我對戲劇攝影產生興趣，是因為了解到這一領域內容豐富

What topics are you specially interested in?

感興趣的題材？

wide range of different practices that can come under this heading. I

多樣。我一直很喜歡戲劇和攝影。記得有一次去布拉德福德參觀

life. I recall that it was during a visit to the National Media Museum

識到，攝影中的姿勢擺造、佈景等概念都是來源於戲劇。

have been interested in theatre and in photography for most of my (in those days called the National Museum of Photography, Film and

Television), in Bradford, that I started to think about the ways in which

some of the notions we associate with photography (posing, staging, etc.) come from theatre.

ART.ZIP: Could you tell us more about theatre photography? Its his-

國家傳媒博物館（當時叫國家攝影電影電視博物館），我開始意

ART.ZIP：能否多介紹一下戲劇攝影？比如它的歷史、發展、現狀

以及未來趨勢等等？

JA：戲劇攝影其實是個比較模糊的概念，它涵蓋的形式非常廣

泛。最早的戲劇攝影作品是在攝影發展初級階段就已出現，即演

tory, development, status quo, and trend in the future?

員的工作室肖像照，屬於公民肖像的一種。圖片的主題為戲劇演

JA: It is a very vague term, really, and there are lots of very different

來完整地顯示他們扮演的角色。演員肖像照漸漸融合了場景、戲

practices that might be called ‘theatre photography’. The earliest

theatre photographs come very early in the history of photography, and were studio portraits of actors, which were - in a sense - merely

examples of the genre of the civic portrait (with actors among those

員，他們與其他工作人員一起出現在照片中，並配上相應的道具服、道具等戲劇元素，因此照片呈現的是演員所扮演的角色，有時也會是他們從未演過的角色。直到19世紀末，戲劇的舞台照才開始出現。20世紀初期，演員會以個人或合照的形式，在舞台上保持靜止姿勢以便讓攝影師來拍攝，像是表演戲劇之餘的一

professionals being the subject of a photograph, showing them

個環節，這一做法沿襲至今。法國表演藝術系教授尚托·美耶·普

progressively incorporated elements from plays: scenery, cos-

這種為攝影師預留時間拍劇照的做法，有時會導致兩位來自不

in their role complete with tools of the trade). But actor portraits

tumes, props. Actors were thus shown playing a role, although not always a role they themselves had ever played in the theatre.

Photographs were not take on the theatre stage until the late

19th Century. In the early 20th Century, a convention, which still exists today, was to photograph actors holding still poses, individually or in groups - a kind of secondary staging of the play, for

the benefit of the photographer. In her book, which remains one of the only volumes about theatre photography Chantal Meyer-

Plantureux describes how this practice of the photo-call would

同機構的攝影師，拍出完全相同的照片。但這一做法對於攝影師來說是很有必要的，否則無法拍出清晰銳利的照片，因為當時的鏡頭拍攝光敏材料或動態效果還不夠理想，加上劇院裡光線太暗，難度就更大。不過還要考慮的思想觀念的因素，不同時期和社會環境下所要求的照片也是大不相同的。 ART.ZIP：戲劇攝影都包括哪些類別呢？其各自的主要作用又是什麼？

sometimes produce two identical images, but taken by different

JA：像我之前提到的，早期的戲劇攝影是以人物肖像的形式存

was, of course, a necessity for a photographer seeking to make

時甚至可以設計或重新製造出一個新的場景。這類戲劇攝影留

photographers working for different agencies. The photo-call

a clear and coherent image - the photosensitive materials and

lenses of the time were not able to ‘freeze’ action, especially in

the darkness of a theatre. But the practice should also be understood ideologically, as corresponding to what kinds of image were required at a certain point and in a certain society.

ART.ZIP: Are there any specific categories of theatre photography? What are the main functions?

JA: I have mentioned early theatre photography, which is por-

在。之後出現了舞台劇照，將劇中某個場景固定住進行拍攝，有

給攝影師或導演很大程度的藝術自由，目的是創作出效果誇張的圖片，而不是對劇目如實地呈現。正如演員肖像一樣，戲劇攝影也經常被看作是攝影學的分支，因而在戲劇攝影中，會融入記錄片或報告文學的模式和審美標準。在這種情況下，戲劇攝影的拍攝是在劇目上演的過程中完成的。當然，一般不會是對公眾演出的時候。此時的攝影師就如同一位路人，捕捉舞台上的瞬間。同時，要在雜亂無序的表演中尋找“決定性瞬間”，這一概念是攝影家亨利·卡蒂爾·佈列松（Henri-Cartier Bresson）提出的。但目前據我所知，戲劇攝影中還沒有一種處於主導地位的流派。

traiture. There is also the ‘staged’ or photo-call photo, which im-

談到戲劇攝影的作用，我認為不同時期的戲劇攝影，其角色和作

style allows a great deal of freedom for whoever is making the

記錄，例如戲劇資料庫、文獻等，用來籌集公眾或私人資助，或

mobilises, sets up, or even invents a scene from the play. This image (the director or the photographer), and the idea of giv-

ing a ‘faithful’ rendition of the play seems less important than

creating a ‘dramatic’ image. As with the actor portraits, theatre

photography often can be understood as a sub-genre of photo-

用也有差異。當代攝影的主要功能是對戲劇劇目進行推廣或者者作為教育與調研圖片資料。此外，還可以用作新聞圖片或劇評配圖，不過此類攝影都是由一小部分專業戲劇攝影師來完成的。

值得一提的是表演攝影。它與戲劇攝影息息相關，但也有所不

graphic practices. There are thus examples of theatre photog-

同。無論是二十世紀50年代、70年代、90年代還是過去十年，攝

indeed its aesthetic. In this mode, theatre photography is often

方面。對於表演來說，已經發生的場景無法重複，並且只有在場

raphy that embrace the documentarist/reportage modality and taken ‘live’ (although rarely during an actual public performance), and the photographer behaves like a street photographer, capSingin’ In The Rain

托羅斯（Chantal Meyer-Plantureux）女士在她的著作中介紹說，

turing whatever happens, as it happens, seeking to find in the chaotic flow of the performance a ‘decisive moment’ (the term

is of course from Cartier-Bresson). There is no dominant style of theatre photography at the moment, as far as I know.

As for the function of theatre photography, it really depends

which theatre photography we’re talking about, and the role and function does change a great deal over time. Contemporary theatre photography is concerned either with prophesying a

play (so marketing, publicity), or with remembering it (so theatre archives, or documentation, which is often created to support a request for funding from public or private sources; there is also a use within education and research for photo archives). Press

影與表演藝術總有著某種聯繫，同時兩者之間也存在不一致的的人才可以看得到。相比之下，顯然攝影具有截然相反的特徵。攝影是利用技術進行內容再現和公眾傳播。據我所知，瓦爾特· 本雅明（Walter Benjamin）從未寫過關於戲劇攝影學的著作，但他認為戲劇與攝影是相對立的：戲劇強調對此時此刻的展現，而攝影則相反，突出的是展示價值。同一時期，雅克·德里達（Jacques Derrida）創作了《檔案熱：弗洛伊德學派印象》（Archive Fever: A Freudian Impression），眾多表演學學者對記錄表演藝術的方式、目的以及必要性產生極大興趣。當時人們關注的一個問題是，以一張圖片這樣的記錄形式，怎可能代表整場表演呢？這種思想不但帶有拜物教的性質，而且從政治的角度來看，是質疑表演這門藝術在媒體中和媒體之外的角色。對表演的記錄也涉及到法律問題，比如美國攝影家當娜·安·麥阿當斯(Dona Ann McAdams)在20世紀90年代初，拍攝了四位藝術家的演出，但那些照片卻險些成為了惡劣政治環境的證據。

photography obviously has a place, too, and theatre reviews are often

accompanied by images (usually taken by one of a fairly small circle of professional theatre photographers).

It is worth mentioning performance photography, which is obviously closely linked to theatre photography, although one can identify

some differences. There has always been a link between photography and performance art, be it in the 1950s, the 1970s, the 1990s, or in

the last decade. And there has always been, alongside this affinity a suggestion of incompatibility: if performance is concerned with unre-

peatable events, and with events that are seen by those present, there

很多表演藝術攝影的審美標準與報告文學相符，此類圖片通常具有黑白、失焦、粒狀等特徵，或者作為對過去事件的證實。與表演攝影學相對的是攝影表演藝術。區別簡言之就在於，它是創造以攝影為形式的藝術品，而非對表演進行記錄。例如美國攝影家辛蒂·雪曼（Cindy Sherman）的作品就屬於這一類別。還有意大利藝術家曼努埃爾·法申（Manuel Vason）創作的強烈震撼的表演攝影作品，他專門與那些現場表演又不想被記錄下來的藝術家合作，共同創作一幅圖像，這是一個合作的過程。這與我之前提到19世紀的演員肖像作品在形式上確有可比之處，即攝影師和模特共同合作來創作一張圖片。

is clearly a possible contradiction with photography, as a technology

我認為，這種捕捉圖像與創作圖像之間的對立關係，是理解戲劇

knowledge at least) writes about theatre photography, but he seems

意義重大。

of reproduction and mass distribution. Walter Benjamin never (to my to place theatre and photography in op-

攝影的關鍵。這種對立關係在攝影學出現之前已經存在，至今仍

position: theatre is concerned with the hic et nunc, and photography is where cult value gives way to exhibition value.

Around the same time that Jacques Der-

rida was writing about Archive Fever: A

Freudian Impression, a number of perfor-

mance scholars became very interested in the question of whether, how, and

why performance can be documented. At that point, one question was about

how a piece of documentation (so, a

photograph) might stand in for the performance itself (this is the idea of fetish-

ism), and this was a political question about performance’s place in or outside

the sphere of the media. The documenting of performance also has legal impli-

cations, as seen in the case of four artists

whose work had been photographed by Dona Ann McAdams in the USA in the early 1990s - the photographs became

potential evidence in a hostile political environment. Much performance art photography corresponds to the aesthetic of

reportage, and images are often black and white, blurry, grainy, or otherwise attesting to their being representations of something that took

Einstein on the Beach, Field Dance - l to r Anne Lewis, Katherine Fisher and Caitlin Scranton - copyright Lucie Jansch

place. There is, however, another side to performance photography,

另外，戲劇攝影還具有某些特定的用途，我對此也很感興趣。一

ing photography of performance). This kind of photography creates

示不斷創新的過程。此前我曾在《2008表演藝術文摘》上發表過

which we might call photography as performance (the other work bephotographic artworks, rather than documenting a live performance (although the distinction is actually far from simple). Examples of this

might include the work of Cindy Sherman. The striking performance

photography of Manuel Vason, who is particularly associated with art-

直以來都有少數幾家公司會僱用攝影師拍攝彩排過程，用於展一篇關於蘇菲·莫克蘇（Sophie Moscoso）的文章：《淺談戲劇攝影、攝影劇場與靜物》。莫克蘇是法國舞台劇導演亞莉安·莫虛金（Ariane Mnouchkine）在Th_.A_Ni_Nbtre du Soleil的助理，她拍攝的作品就是用作檢查細節、記錄彩排過程、提醒導演和演

ists operating in what is called ‘live art’ does not seek to document a

員之前的道具或表演動作等。德國戲劇家貝爾托·布萊希特（Ber-

ate an image, it is a collective process(‘collaboration’ is the word the

了被稱之為“模版書”的材料，包括文字、圖片等內容。有了這些

in the 19th Century actor portraits I have described: photographer and

細微之處改成自己的舞台風格。

live performance, but rather Manuel works with the performer to crephotographer uses). The modality is actually comparable to that used sitter work together to create an image...

I think this opposition between capturing images and composing im-

ages is key to understanding theatre photography; it is an opposition that predates photography, but is still important today.

Another area that interests me is theatre photography with a precise

tolt Brecht）在他的作品中融入了大量的攝影元素，他詳細記錄檔案，他能夠重新改編一齣戲劇，同時將演員動作編排和手勢等

ART.ZIP：在你看來，什麼是好的戲劇攝影作品？應包含哪些特

定元素（如服裝、舞台設計、角色之類）？戲劇攝影的過程中會遇到什麼困難？你能舉一兩個作品作為例子？或你能列舉出一些重要的/有影響力的戲劇攝影師？

JA：什麼是好的戲劇攝影作品，我說了不算。但我認為，其獨特

function within the working process. This is quite rare, but there are, or

之處或許再一次讓我想起“逼真度”這個概念：一張照片可以很

to photograph rehearsals and shows as part of the iterative processes

確實，一張照片對真實場景的體現程度和它本身的藝術價值有

have been in the past, a few companies that employ a photographer of creation. I have previously written about the work of Sophie Moscoso (‘Theatrical photography, photographic theatre and the still’, in

逼真，可以看似是一個作品，但是，照片本身可能不是特別有趣。可能是成反比的。

About Performance 2008), who was director Ariane Mnouchkine’s as-

在任何情況下，一張照片都不可能包羅萬象，舞台的全景照通常

to check details, to keep a record of that company’s (long) rehearsal

間，但照片卻是固定的。在光線方面，同樣的問題也存在。眼睛可

sistant at the Le Théâtre du Soleil, and whose photographs were used

是單調乏味的。眼睛可以在看見全景的同時遊走於每個要素之

process, and to remind the director and sometimes the actor of previ-

以快速適應光線強度，眼睛和大腦協同處理混合光影。但是，攝

deal of use of photography in his work: he created detailed documents

目前存在一些多重曝光的合成方式），所以總會傾向於某個要

show to be restaged with all of the nuance of physical configurations

上還是美學上。即便是用了最新的技術，舞台仍不是一個容易拍

ous choices of costume or of gesture). Bertolt Brecht made a great (called ‘modelbooks’) with text and photographs that would allow a of actors and gesture required in his theatre style.

ART.ZIP: How do you define a good theatre photographic work? Any particular elements should be included, like costumes, stage

design, characters and etc.? Any difficulties in doing theatre photography? Could you pick one or two works as examples? Or would

影師只可以用一個曝光度和一個光圈設定來拍一張照片（當然，素。這牽扯到了戲劇攝影過程中一些巨大的難關，不論是在技術照的地方，無論是昏暗的光線、攝影師准入許可、還是視線等原因。但正如帕翠斯·帕維斯（Patrice

Pavis）所說，舞台是“鏡頭的

寵兒”，所以有時還是值得一拍的。劇院是受限區域，所以通常情況下不允許在劇院內拍攝。（確實，現在上哪拍照遇到的限制都越來越大。）

you name any significant/influential theatre photographers?

有許多戲劇攝影師我可以列舉出來。過去一個半世紀，他們鏡頭

JA: It’s not up to me! I think the interesting distinction might once

羅的查爾斯·德比羅（Charles Deburau as Pierrot）”，依然非常驚

again summon this idea of fidelity: surely a photograph might offer

a good likeness, might look like a production, but such a photograph might not in itself be particularly interesting. Indeed, it is possible there might be a negative correlation between how representative a photograph is of a particular theatre work and its aesthetic value.

It is impossible to include everything in a photograph, in any case, and

photographs of the whole stage are usually quite dull and flat; where-

as the eye can move between elements while also seeing the whole, a photograph is fixed. The same problem applies in terms of light: the

eye can adjust very quickly to lighting levels, and the eye and brain work together to deal with mixed lighting. Photographs can only be taken at one exposure and with one aperture setting (well, there are obviously composite forms of photography that combine multiple

exposures.), so one element will always be privileged. This touches

下的影像也是精彩紛呈。納達（Nadar）的肖像作品，“扮演皮埃艷。華爾特·本雅明（Walter Benjamin）說（再次引用他的話）：早期的照片，尤其是達蓋爾銀版照（daguerrotypes），都因為曝光時間過長而存在光暈現象。他形容那是正在不斷的完善中，這些肖像畫證明了這點。埃蒂安·貝特朗·維爾（Etienne Bertrand Weill）拍下了非凡的舞台照片，特別是啞劇。我最近也觀賞了安格斯·麥比恩（Angus McBean）的作品。麥比恩繪畫風格般的攝影手法與後來取代它的那種報告文學的手法截然不同，這並沒有給這位攝影師帶來太多的讚譽。但是，這是一種勇敢的嘗試：試著去創造出與戲劇作品一樣有戲劇效果的畫面，我認為這值得我們重新審視。我也觀賞了東歐大量的上世紀中葉的戲劇攝影作品，特別是匈牙利和捷克斯洛伐克的作品，似乎認為舞台是正式試驗的基礎。我目前在研究中國的戲劇攝影作品，我特別對榮榮的作品感興趣。我也一直在觀賞瑪提恩·法蘭克（Martine Franck）的作品，他去年不幸過世了。法蘭克最出名的可能是她街景和旅行的攝影作品（她和她丈夫都是瑪格南圖片社的成

on some huge difficulties with doing theatre photography, technical

員）。但她同時也是太陽劇院（Le Théâtre du Soleil）的攝影師，

places to work, with poor lighting, issues of physical access, sight-lines,

照。有些照片用古典畫的手法體現了奢華的場景和服裝，其他則

and artistic. Even if recent technology is used, theatres remain difficult

etc. But theatre is - as Patrice Pavis has put it ‘photogenic’, so it’s some-

times worthwhile. Theatres are also restricted spaces, and it is usually forbidden to take photographs in a theatre (indeed, it is increasingly forbidden to take photographs anywhere.).

There are many theatre photographers I could name, and there is a

very varied collection of images taken over the last century-and-a-half.

從該公司誕生起，直至她生命結束。她為該公司的許多作品拍過是演員排練時或準備上台時的肖像畫。在活動攝影方面，當娜· 安·麥阿當斯（Dona Ann McAdams）有許多非同凡響的作品。而在英國，雨果·格蘭迪寧（Hugo Glendinning）也有許多作品，從舞台照片，到與Forced

Entertainment合作的更具實驗性質的

照片。伊文·肯克爾（Ivan Kyncl，卒於2005年左右），也創作過許多關於英國舞台的迷人照片。

Nadar’s portraits of Charles Deburau as Pierrot remain astonishing -

Walter Benjamin (to quote from him again) suggests that early photographs, specifically daguerrotypes, had an ‘aura’ because of their long exposures - he describes them growing, and these portraits I think at-

test to that. Etienne Bertrand Weill produced extraordinary images

of theatre, and particularly of mime. I have recently been looking at the theatre work of Angus McBean. McBean’s pictorialist approach to photographing theatre is the opposite of the reportage style that replaced it, and it never gained the photographer much acclaim. It is however, an engaging attempt to create images that are as dramatic

as the productions themselves, and I think is worthy of new attention. I have also been looking at examples from the large volume of mid-

century theatre photography from eastern Europe, particularly Hungary and Czechoslovakia, which seems to draw on theatre as the basis

for impressive formal experiments. I am currently researching Chinese theatre and performance photography, and am currently particularly interested in the work of Rong Rong. I have also been looking at the work of Martine Franck, who sadly died last year. Franck is probably

best known for her street and travel photography (she was a member

along with her husband, of the Magnum Photos). But she was also a photographer at the Le Théâtre du Soleil from its foundation until her

death, and took images of the company’s productions. Some of these show the sumptuous sets and costumes of the Soleil in the style of

classical paintings, others are intimate portraits of actors in rehearsal,

or preparing to go onstage. In terms of performance photography, there is a great deal of extraordinary work by Dona Ann McAdams.

In terms of Britain, the work of Hugo Glendinning ranges from stage photographs to much more experimental work with Forced Entertainment. Ivan Kyncl, who died in the mid-2000s, produced some compelling images from the British stage.

ART.ZIP: What do you think of the differences or similarities between theatre photography and other photography?

JA: Theatre photography is probably best understood as a minor, mar-

ginal form of photography. There are very few professional theatre

photographers, and there are relatively few outlets for theatre photographs to be disseminated. I change perspectives a lot as to whether

theatre photography is actually all that different from other forms of

Yvonne Meier in “The Shining” in 1993. Photo by Donna Ann McAdams

photography. Certainly, there are specific questions, risks, and rewards, but I currently don’t make a clear distinction. The difference is on the viewer side - how a photograph is viewed shapes what it means.

I do think theatre photography remains interesting, however. And it has a bearing on wider questions about photography, and indeed be-

yond. For example, theatre photography is relevant in examining a phenomenon like the photographs documenting torture and abuse at Abu Ghraib by US military police. As Victor Burgin has pointed out,

ART.ZIP：你認為戲劇攝影和其他攝影有什麼異同？

JA：主流觀點可能認為戲劇攝影是一種相對小眾的，次要的攝

影形式。而專業戲劇攝影師的人數非常少，供戲劇攝影作品傳播的渠道也不多。至於戲劇攝影是否真的與其他攝影完全不同，我

也經常改變看法。這行業的確存在一些疑問、風險和回報，但目前，我認為它與其它攝影沒什麼明顯區別。區別在於觀眾怎麼去看。一張照片的意義取決於觀眾怎麼去看。

these images made a mockery of the postmodernist resistance to ide-

但我認為戲劇攝影還是相當有趣的。它不僅與圍繞攝影更廣泛的

cal - tableaux vivant, staged for the camera.

錄“美軍虐囚”這一現象發揮著一定作用。正如維克多·博格恩（Vic-

as of photographic truth. But these snapshots were also highly theatri-

ART.ZIP: What books would you recommend if we want to know more about theatre photography?

JA: There are very few books about theatre photography. Books on

theatre, although they draw on theatre photographs (although, at least in Britain, they do this quite minimally - the CNRS ─ Centre na-

討論息息相關，甚至超越這個範疇。比如，戲劇攝影在審視照片記 tor Burgin）指出那樣，這些照片嘲笑了後現代主義者對照片真相的抵觸。但這些快照也非常具有舞台效果：十分逼真和入鏡。 ART.ZIP：如果我們想了解關於戲劇攝影的更多信息，你會推薦什麼書？

JA：關於戲劇攝影的書非常少。關於舞台戲劇的書，雖然也有

tional de la recherché scientifique in France does a more sustained

提到戲劇攝影，但鮮有深入探討這個話題（至少在英國這方面

and there is little or no mention of theatre photography in most works

national de la recherché scientifique）卻為推動戲劇攝影而作

promotion of theatre photography), rarely engage with the subject,

on photography. Again, theatre photography is quite a minority and marginal affair.

Chantal Meyer-Plantureux’s 1992 book La Photographie de Théâtre

的工作非常有限，但法國的國家科學研究中心（CNRS─Centre 出了更為持久的努力），而在大多數攝影書籍裡面，提到戲劇攝影的也非常少，甚至沒有。所以，我說戲劇攝影是小眾的、次要的攝影形式。

ou la memoire de l’ephemere (in French)

尚托·美耶·普托羅斯那部1992

number of articles on everything from the

的記憶（La Photographie de

remains the most substantial. There are a actor portrait to performance documentation.

Rebecca Schneider’s latest book

contains a section on the relationship be-

tween theatre and photography. There are some good books of theatre photographs: I would recommend works by Martine Franck, Nicolas Treatt. Some works have

considered the theatricality of photography, for example Max Kozloff’s The Theatre

of the Face. I would also (with some reservations!) recommend my own book, Thea-

tre & Photography, which will be published

next year.

年的著作《戲劇攝影與短暫 Théâtre ou la memoire de l’ephemere）》（法語版本）仍是最有分量的一本書。裡面有多篇文章詳細地闡述了戲劇攝影，從演員特寫到演出經過。瑞貝卡·舒內德（Rebecca Schneider）最新的書也有專門闡述舞台和攝影關係的一小段篇章。另外還有一些不錯的書籍，我會推薦馬迪恩·法蘭克（Martine Franck）和尼古拉斯·特瑞特（Nicolas Treatt）的書。有些書已思考過了攝影的戲劇化效果，比如馬可西·科茲洛夫（Max Kozloff）的書《戲劇之臉（The Theatre of the Face）》。我同時也推薦我自己的書《舞台與攝影（Theatre & Photography）》，

Within This Dust，Smallpetitklein

這本書將在明年出版。

PERFORMANCE

ART 行為藝術

TEXT BY 撰文 LI BOWEN 李博文

Marina Abramovic & Ulay, Rest Energy, 1980

Zhang Huan, To Add One Meter to an Anonymous Mountain, 1995

The history of performance art, from its birth among the futurists, to

行為藝術的歷史——從未來主義、達達主義、超現實主義以及

Klein, Joseph Beuys, Yoko Ono, Zhang Huan, Ma Liuming, and to, ‘fi-

術、羅伯特·莫里斯（Robert Morris）、伊夫·克萊因（Yves Klein）、

Dadaism, Surrealism and Tristan Tzara, John Cage, Robert Morris, Yves

nally’, its recent, alleged death, compels this form of art to resolutely defy definition and boundary.

For about a century, performance art goes through a myriad of fields,

特里斯坦·查拉（Tristan Tzara）、約翰·凱基（John Cage）、觀念藝約瑟夫·博伊斯（Joseph Beuys）、小野洋子（Yoko Ono）、張洹、馬六明，以及，“最終”，這種藝術形式最近的死亡——強迫這種藝術形式絕決地蔑視定義以及界限。

and that of the theatre is one that performance art relentlessly en-

近一個世紀以來，行為藝術闖入闖出於無數領域，而劇場藝術自

in the theatre, because firstly the performer is the artist himself/her-

但是行為藝術得以與劇場藝術相區別，因為表演者就是藝術家

gages with. But performance art is to be differed from that witnessed

self, first and foremost, and is not a character. All that is required by

theatre also becomes expendable, be it the proscenium, the script, the rehearsal, or the fourth wall.

然是其中一個與行為藝術最為緊密地聯繫在一起的藝術領域。本身，而不是什麼自身之外的、由幻覺所承認的角色。“藝術家在場”。所有被劇場所要求的事物都變得可有可無，無論是舞台、劇本、排練或是那第四堵牆。

Performance art negotiates with all available mediums for break-

行為藝術與所有媒介交流，以不斷完成突破。自形成以來，行

performance art hijacks the boundaries of visual art with it. However

麼地怪異，行為藝術一直被積極地想像為一種充滿著未知性

throughs. From its inception – that is both shaky and marvelous –

alien it had been to the field, it is recognized positively as a medium

that is charged with unpredictability, as a force that is able to bring

out the unknown from within. From within – from within the field, and from within the body. This home-coming perhaps is no less substantial than that made by Descartes. This body that was abandoned, after

a revolution of the machine leaving a world of despair behind at the Fin de siècle, is awakened once again.

This body that has ever since been lifted to an unmatchable height

after the body of Jesus – as told by Jean-Luc Nancy – is really yet the only certainty regarding performance art. A simplest – and extremely problematic because of its simplicity – way to define performance art:

為藝術便劫持著視覺藝術的邊界。無論它對這種類而言是多的媒介，一種能夠從自身內部拉扯出不可知未來的力量。從自

a work of art involving a body. But one can already anticipate with ex-

身內部——從視覺藝術的內部，也從身體的內部。對於當下的

those who do performance art, says RoseLee Goldberg in her seminal,

被遺棄了的身體，在機械革命於世紀末帶來絕望的時候，再次

citement another breakthrough from this definition. “Impatient”, are canonical history of performance art. Artists embrace this form, treat

it as a condition of possibility to rebel against traditional medium,

人來說，這個回歸可能與笛卡爾的縮減式回歸一般重要。這個被喚醒了。

painting and sculpture; to refuse being absorbed by commodifica-

這個被提拔到無可比擬高度的身體——或許僅低於耶穌那至

add to the flame of politics; and most generally and fundamentally, to

行為藝術唯一一件可以確認的事物。一個最簡單的——也因為

tion; to question and deconstruct the myth of gender; to ridicule and refresh the idea and the reality of art.

To paraphrase a question raised by one privileged, aged theatre di-

rectrice, in a talk in a certain Chinese Opera Academy in Beijing: is eating feces on a street of London performance art? It is to her a rhetorical question, certainly. But today, or even then, about seven years

ago, one can seriously offer a positive answer. If it is in the intent of the artist (who is transformed in that moment of faith to be an artist,

even if he/she is not named such), if he/she treats this act as an act of

高的身體，如讓·呂克·南希（Jean-Luc

Nancy）所說——或許是

它的簡單性而值得被質疑——定義行為藝術的方法：一個由身體完成的、關於身體的藝術。但我們已經可以開始興奮地期待對這個定義的超越。藝術史學者羅斯李·哥德堡（RoseLee Goldberg）在她的經典行為藝術史著作中，形容那些進行行為藝術的人們為“不耐煩的”。藝術家們擁抱這種形式，視其為反抗傳統媒介——繪畫、雕塑等——的可能性；以其來拒絕商品化的誘惑；以其來質問以及解構性別的神話；以其來譏笑並投入進政治的火焰之中；並，最根本地，刷新藝術的理念及現實。

a performance art, then yes, it could be a performance art. One can

一位德高望重的女戲劇導演曾在北京一所最高等戲曲學院的

of this inquiry – which could be still rather popular, one imagine – is

說，這當然只是一個修辭性的問題。但是，在今天，或就算在七年

almost be certain it is already history. After all, what is problematic

講座中提出：在倫敦的大街上吃屎，難道是行為藝術嗎？對她來

前，我們可以嚴肅地給出一個正面的答案。如果藝術家是這樣想像它的行為的（通過完成這個想像以及行為，這個人將轉變成一位藝術家，無論它是不是從來就是“藝術家”），如果它把這個行為視作行為藝術，那，是的，這可以是一個行為藝術。我們幾乎可 Marina Abramovic & Jay-Z, Picasso Baby, 2013

以想像曾經有人完成過這個事件。無論如何，這個問題——我們可以想像這個問題仍然是受歡迎的——困境是兩面的：屎的可惡被提拔到一個前所未有的高度；屎是如其他事物一般外化於人的身體的。所以這個行為的描述可以被轉化為：在公共空間

such a twofold: feces as unmatchably disgusting; feces as alien from the body generally, as any other matter. So the action can be reduced

to: doing something extremely disgusting and simultaneously making oneself suffer in a public sphere. What could enlighten this inquiry

從事一件極其噁心的行為，並讓自己成為這行為的唯一受害者。多米尼特拉·波特（Dominique Laporte）的偉大的著作《屎的歷史（History of Shit/Histoire de la merde）》其中對屎和身體的關係的重新評估能夠讓這個問題獲得新生。

pertaining to performance art, is a reevaluation of feces as what is es-

在承認了無數次高等藝術與大眾文化結合的嘗試之後，或許宣

treatise Histoire de la merde.

及Jay-Z（Hip-Hop音樂之王，百萬富翁）的合作為表演藝術之死

sential to human body, as Dominique Laporte did in his marvelous

After acknowledging the countless attempts to bridge ‘high art’ with popular culture, perhaps it is yet too early to call the performance made by Marina Abramović (the grandmother of performance art)

and Jay-Z (the king of Hip-Hop music, billionaire) the death of performance art. It is rumoured that for six hours, Jay-Z rapped at Abramović,

with only her gaze in return. Occasionally they danced, in a rather em-

稱瑪麗娜·阿布拉莫維奇（Marina Abramović，行為藝術教母）以略顯魯莽。據稱，Jay-Z對著阿布拉莫維奇完成了長達六個小時的說唱，而作為回應，後者給予前者以凝視。他們偶爾一起蹩腳地跳舞。我們並不是要為任何人做辯護，然而這樣的事情有人做過，未來肯定還會有人這樣做。我們可以想像，行為藝術真正的死亡將比這事件更具毀滅性，將帶領別的什麼更龐大的事物走向死亡。

barrassing way. In defence of no one: it has been done before, and it

最終，觀望的人們等來一段十分鐘的視頻，這視頻看起來更像

death of performance art will be incredibly more catastrophic, and

頻中——這也的確是《Picasso

will be done again before long. Also, it is tempting to suspect that the that it will entail a death of something greater than itself.

Eventually, what is presented is a 10 minutes video that resembles

音樂錄影帶而不是行為藝術的記錄影像。在這個官方製作的視 Baby》一曲的音樂錄像帶——

我們看到阿布拉莫維奇並不是唯一在場的藝術家。喬治·康多（George

Condo），羅斯李·哥德堡（RoseLee

Goldberg）以及

巴勃羅 · 畢加索（Pablo Picasso）的孫女戴安娜·威德瑪耶·畢加索

to a great extent music video proper than a documentation of per-

（Diana Widmaier Picasso）也在場（艾麗西·亞薩克拉莫妮（Ali-

a music video of the song Picasso Baby – that Abramović is not the

觀眾——第二級觀眾，那些目睹了這個事件的轉變的人們——

formance art. And it is shown in the official video – which is indeed only artist involved. George Condo, RoseLee Goldberg and Diana Widmaier Picasso were there as well, among many others (here goes the

cia Eler）的精彩文章的標題：“藝術家不在場，但那品牌在場”）。應當失望，而他們中的一部分的確非常失望；然而，或許我們能

夠嘗試超越那簡單的控訴，並嘗試重新考慮行為藝術：行為藝

title of Alicia Eler’s wonderful article on Hyperallegic: “The Artist Is Not

術是什麼（身體？）？音樂錄像帶是什麼（最少兩個身體？）？為什

who sees the evolution of the event from rumors to fragments then

術或Hip-Hop音樂錄像帶中出現過嗎？）？如果這個行為（“藝術”

Present But the Brand Sure Is”). Audience – secondary audience, those to more rumors and eventually a perfectly produced video – should

be disappointed, and a number of they are; but perhaps, one can at-

tempt thinking beyond the simple accusation, and come to a rethinking of performance art: what makes a performance art (body?)? What

makes a music video (at least two bodies)? What makes audience of performance art smile excitedly, as they all did in the video (is there

ever any smile as such in performance art or in Hip-Hop music video)? What if the performance (the emission of ‘art’ in the phrase is on the

verge of revealing something significant) was documented in the fashion most performance art enjoys? And, can one still have faith in performance art, as a form of art that in a painful way pertains to some of the most urgent issues, such as our relationship with our own bodies, and others’?

麼這視頻中的人們帶著這樣的笑容（這樣的笑容在任何行為藝兩字的消失似乎在揭示某些重要的事實的邊緣）被慣常的行為藝術記錄方式記錄呢？最終，我們能不能仍然信仰行為藝術，這種痛苦地凝視緊迫問題——我們與自我身體的關係，以及這與他人身體的關係——的藝術形式？

NOTE ON THE 55 VENICE BIENNALE TH

TEXT AND IMAGE BY 圖文提供 HSUEH I CHUN 薛伊君

第五十五屆威尼斯雙年展札記

The internationally acclaimed art event- the 55th Venice Biennale has opened to the public from 1st of June to 24th of November. Since

1998, the Art and Architecture Biennales have been not merely ex-

hibitions organised by national pavilions. In addition to pavilions, it

兩年一度的藝術盛典《第五十五屆威尼斯雙年展》在六月一日

appointed by la Biennale di Venezia. Massimiliano Gioni, as a curator

起，這“藝術暨建築雙年展”即不再僅僅由各個國家展覽館所包

now also showcases International Exhibition organised by a curator

至十一月二十四日在水都威尼斯沸沸揚揚的展開了。自1998年

this year, sets the theme as ‘The Encyclopedic Palace’. The idea was

攬，改為除了國家展覽館之外，還有由主辦單位所指定的策展

filed with the U.S Patent Office in 1955. In his design, he wanted to

miliano Gioni）所設定的主題是“百科宮殿”（The Encyclopedic

inspired from the model which Italian-American artist Marino Auriti build a seven hundred-meter-tall building, which could house all the world’s knowledge. Even though the plan was not carried out at the

end, there have been numerous writers, scientists and artists pursuing the same dream of exploring the unknown fields throughout his-

tory. The curator has used paintings, sculptures, read-made objects to make us reflect on where the boundary is between images and reality

in this era of overloaded information, which is overwhelmed by huge number of images. After we understand the truth, will there be any room left for dream and imagination?

人所規劃的“國際主題展覽”。此屆策展人馬希米利阿諾（MassiPalace）。這個構想源自於1955年一位義裔美國藝術家馬里諾（Marino

Auriti）向美國專利局提出一個美術館設計的專利申

請。在他的設計中，這座七百米高的美術館模型將會蘊藏全世界的知識。縱然最終這項計畫沒有付諸實行，但是歷經多少時代，史上的文學家、科學家、藝術家等等都抱持著同樣的嚮往，對於未知的部分有著熱切的追求與探索。策展人希望透過繪畫、雕塑、現成物等讓我們反思在資訊充斥的時代，我們所追求的知識似乎被數量龐大的影像支配著，這些圖像與真實的界線在哪？我們了解到所有的真實之後，夢想與幻想還有存在的空間嗎？

This year the International Exhibition and National Pavilions are locat-

此屆雙年展的國際展覽及國家館主要在基阿迪尼（Giardini）的

among these, 10 are exhibiting for the first time, which includes Ba-

行，國家館部分共有八十八個國家參展，其中有十個國家是第一

ed in Giardini and Arsenale. There are 88 countries participating and hamas, Kuwait, Maldives, Republic of Ivory Coast. As for International

Exhibition, the artworks are contributed by 150 artists coming from 37 countries. In addition to these two main sites, many of the national

museums from all over the world are exhibiting their artists or hold-

ing art activities in the city of Venice. When you follow the map to go through these exhibitions, you will also feast your eye on Venice’s unique humanities and customs.

British artists have gained lots of exposure in the 55th Venice Biennale. On the way to Giardini, you can see Marc Quinn’s inflatable edition of

中央展覽館（Central

Pavilion）和阿賽奈爾（Arsenale）兩區舉

次參與，例如巴哈馬、科威特、馬爾地夫、象牙海岸等國。國際展覽部分的作品包含來自37個國家共150多位藝術家。除了兩個主要展覽區域，許多來自世界國際都市的國家美術館也在威尼斯大街小巷推出特別展覽或是相關藝術活動，當你按圖索驥的將威尼斯雙年展大大小小的展覽館都走過一回時，也不知不覺的飽覽了威尼斯的人文風情。

Alison Lapper Pregnant on the coast. Artist himself described it as ‘a

展覽內容部分，英國藝術家在此屆有許多的曝光。在前往展場的

Pavilion, you will not miss Sarah Lucas’ bronze sculpture, which repre-

森·拉博尔（Alison Lapper）為靈感，巨大的充氣雕塑《懷孕的艾

monument to the resilience of the human spirit’. Then in the Central

sents the tension between lust and sex powerfully. The watercolour

works by Aleister Crowley and Frieda Harris are filled with symbols and myths, just like each Tarot foretelling your destiny. In the British Pavilion, the exhibition was created by Jeremy Deller. He used par-

ticular events or objects from the past (e.g. ‘Small Faces’- six thousand year-old hand axes borrowed from Museum of London), present (e.g.

‘The Sandringham Estate, Norfolk, UK’-Prince Harry and friends were

investigated for shooting rare birds hen harrier), imagined incidents (e.g. ‘We sit starving amidst our gold’- a towering Victorian designer and activist William Morris hurls Roman Abramovich’s 377-inch su-

peryacht into the lagoon). In the time of recession, artist seems to

zoom up these events to question the idea behind the political and

economic system. The theme ‘English Magic’ sounds pretty ironic

since under money and power, we seem to forget the reason of the existence of the system, as a six thousand year-old hand axe becoming merely an expressionless ‘Small Faces’.

途中，你會看到雕塑家馬克·昆（Marc Quinn）以殘疾藝術家艾莉莉森（Alison Lapper Pregnant）》矗立河岸，對於藝術家而言，這是一個代表“人類不屈不撓的適應精神的紀念碑”。在中央展覽館，你不會錯過莎拉 · 盧卡斯(Sarah Lucas)那象徵人類性與慾望糾結的青銅雕塑。阿雷斯特(Aleister Crowley)及弗烈薘(Frieda Harris)的水彩畫佈滿畫面的符號及神話，像是一張張塔羅牌般的預言出未來的命運和方向。英國國家館此次為英國藝術家傑瑞米（Jeremy Deller）操刀，藉由過去的物件（自倫敦博物館外借有六千多年歷史的手斧）、當代的歷史事件（如2007年10月哈利王子及友人因涉及獵殺保育類禽類鷂受到調查），歷史與當代的想像結合事件（已逝的英國維多利亞時代設計師及社會運動者威廉·莫里斯（William Morris）以巨人之姿將俄國石油大亨阿布拉莫維奇（Roman Abramovich）377英呎的遊艇丟入河中）。在全球經濟仍舊低迷的今日，藝術家放大這些事件，來質問整個政治及經濟制度，諷刺地將主題定為“英國魔術”，似乎在金錢及權力之下，我們已遺忘了所有制度的存在原因，像是六千年的手斧在現在看來只是一張張面無表情的臉龐？

China Pavilion is situated in Arsenale as Italy and many others. The

中國展覽館與義大利等國展覽館位於阿賽奈爾，本屆展覽館的

artists’ works. The majority is digital installation, which includes He

的作品。大部分為數位裝置作品，包括何雲昌的互動參與作品

theme of this year is ‘ Transfiguration’, which displays seven Chinese

主題設為《變位》（Transfiguration）。展覽館展出7位中國藝術家

Yunchang’s ‘ The Water of Venice’, Hu Yaolin’s ‘ Thing-in-Itself ’and

《威尼斯的海水》，胡曜麟的裝置藝術作品《物自體》，及繆曉春

Yong has used 1,500 clear bricks to build up a wall of knowledge of

人之稱的舒勇裝置藝術作品《古歌磚》，由1500塊透明磚搭起當

Miao Xiaochun’s ‘Out of nothing’. China’s first environment artist Shu

most up-to-date vocabulary. Tong Hongsheng’s ‘Objects’ focus on

的數字三維視頻《無中生有》、《無始無終》。有中國環保藝術第一代最流行的詞彙；童紅生的繪畫《器物系列》以佛教的法器為焦

Buddhist ceremonies; Wang Qingsong’s photography ‘Follow Me’ re-

點；王慶松的攝影作品《跟他學》、《讀書》反應中國教育學習中的

help but getting lost in piles of books. The year 2013 marks the twen-

威尼斯雙年展第二十周年，在這二十年之中，中國在經濟、文化

flects the blind obedience in the education system, where you can’t

tieth anniversary of the participation of contemporary Chinese artists at the Venice Biennale. During these two decades, there’s a huge

growth in China’s economy, culture and art. ‘ Transfiguration’ does not

only imply a change in economy, the culture has also been carried away by this powerful current. We can understand that this is a journey, not yet a destination. Artists are like the general public, looking for new position and recognition at the international stage.

Among all the other National Pavilions, it is interesting to see that French Pavilion has swapped with German Pavilion this year. Therefore when you enter ‘German Pavilion’, it is actually the French exhibition. Aristis Anri Sala has spreads out ‘Ravel Ravel Unravel’ in three

rooms. The music seems to be a puzzle, it is the artwork which provides us the clue to unravel Ravel’s Piano Concerto for the Left Hand in

D Major. Whereas in the ‘French Pavilion’, the content is much richer. Curator Susanne Gaensheimer has invited four artists from four different countries-China, Germany, South Africa and India-to contribute in

the exhibition. Ai Weiwei uses 886 pieces of the wooden chairs to cre-

ate an arch reaching the ceiling. The artwork itself like knowledge is completed by accumulation, so is this international art exhibition. The

most impressive exhibition I have seen this year is Sarah Sze’s creation

‘Triple Point’ for American Pavilion. She has amassed huge quantity of

mixed media to construct a model of the universe. However, in this spacious universe, we have found it is actually composed of the most

delicate, memorial or fragile objects which we see everywhere in our daily life. Perhaps the nature of life itself has always remained simple

and pure, even though it is surrounded by this material and knowledge overload world which we have lost control.

盲從，人看似遺失在偌大的書堆之中無法自拔。此屆為中國參與和藝術交流方面有迅速的成長。“變位”不僅僅是個經濟狀況上的改變，思想與文化也被這股洪流帶著走，我們明白這是一個階段，還不是終點。藝術家及普羅大眾一樣，在世界的舞台上找尋新的定位及認同。在眾多國家館之中，有趣的是今年法國館與德國館彼此互換了場地。因此走進了“德國館”之後，實際上是到了法國館。由藝術家安利（Anri Sala）的影像裝置及關於指法技巧分解散布在三個展間，如主題“拉威爾拉威爾拆解”（Ravel Ravel Unravel）。音樂成為一道謎題，藝術提供了一絲線索為我們拆解拉威爾為左手樂隊所做的D大調鋼琴協奏曲。相較起來，法國館內容豐富許多，策展人蘇姍娜（Susanne

Gaensheimer）邀請來自中國、德

國、南非及印度四位當代藝術家貢獻他們的作品。艾未未以他熟悉的媒材木椅，在886張直達天頂的堆疊中，藝術如同知識，是一種累積，這國際雙年展也是藉由跨國合作才能完成這一次次空前絕後的藝術饗宴。令我最感到驚豔的則是由藝術家莎拉（Sarah Sze）為美國館所做的《三相點》（Triple Point），這也是個人認為與此屆展覽主題強烈呼應的藝術作品之一。藝術家使用大量的綜合媒材建構出一個宇宙模型，但是在宇宙的框架下，我們看到生活最細微抑或最動人抑或最脆弱的物體。或許在這物質和知識愈益豐富甚至超乎我們能夠掌握的世界，生命的本質卻始終如一。

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