DENG PO JEN ꀶ ⽈ ➋
昿鋷涸牝犷
չ儘僽⹛涸搂䕎넓⪶⻋兞暟刿鶜♶姺鹎պ
Message from Father, " Time is an invisible drive that shapes endlessly what we see."
Preface
Through the visual extension created by artists, we’ve found the new realm beyond pure photography. Since I have known Deng eight years ago, he has been exploring this city in his own ways, freely and unrestrainedly, with that consistent spirit of his all this while. Those who keep creating new works and trying new things bravely, regardless of how busy they are with their jobs, are the truly blessed and happy ones. Deng for example, is such a free spirit to me. He always does his best and never quits when it comes to both his professional photojournalism at work and his experimental photography in private. His works deliver the feelings of science fiction, classiness, wonders, dreams, bizarreness, altogether creating a tremendous versatility, encouraging the viewers to appreciate beyond the norms of art theories. Whenever he comes to me with his artwork all excited, I somehow feel like talking about his works with him, even though I’m not a person who likes giving opinions on other people’s artwork. Back in the 70s and 80s, I saw and attended many grand art events in Europe, America, and Japan. Now looking back, I have observed that since 2000, the Taiwanese and Asian artists have been inevitably influenced by those in the previous generations. Therefore, one cannot really say such a style as Deng’s, one that combines a painting-like element into the photography, to be something entirely new and novel. After all, we all are influenced inadvertently by the art produced in the past. Style is an artist’s self-dialogue, for many, a tormenting struggle. Yet, Deng is always truthful to his instinct, processing what he observes with modern eyes and media effortlessly. Also, he finds new possibilities and ideas in his earlier works. That is sub-consciousness; that is the evidence of experience. Like a contemporary poem, it’s fully contagious. Through the visual extension created by artists, we’ve found the new realm beyond pure photography. In Deng’s world, there are literature, music, classic paintings, even Ravel, Chagall, and Bach. The city is presented to our eyes with shattered, liberated, cheerful, reserved, nostalgic and positive images, which we all now can see.
推薦 序
透過藝術家製造的視覺延伸，我們找到純攝影之外的可能
䖰Ⱄ䎃钢陏➮ⵌ植㖈ꀶ㶩鿪笞䭰♧顐涸礶牟 ♶倬麉娜㖈➮荈䧮涸戔扵涸㙹䋑ⱎꦖ
腋㖈籗䘑䊨⡲⚥䭰糵ⶾ⡲♶㹳䙲㎲鑑倞隶⻋涸➃僽䖎䎋犷涸
ꀶ㶩㼩䧮⢵铞㽠僽⦐荈歋涸➃♶锸僽䊨⡲涸㜡㼬伢䕧䧴猙걆㚖涸㻜뀿ⶾ⡲鿪⸂⟃饬♶佞唳䖰➮涸⡲ ㅷ腋䠮ⵌ猰䎑〢Ⱙ끇㣼㣆㞯䒶鑠♧肆㛜毕饱⢵涸鞮㺢䚍雊䧮ꤑ傂㹁涸谁遯锸鶤⢵妇颣鸮䧮鸏 垺♶㋐姹窍ⴽ➃⡲ㅷ溏岁涸➃嫦殹➮䌟衽⡲ㅷ莇尣尣涸⢵䪪䧮䧮⛳♶濼䙦랃涸籏腋ㄤ➮糒糵❜锓♴
䧮㖈 7080 䎃➿㖈姘崎繡㕜傈劥鋅麕⛳莅麕鏪㢵谁遯渿✲㔐걧溏 2000 䎃⟃䖕涸〵抓❏崎涮植 谁遯㹻䖎ꨈ♶「䎙➿䕧갠䧮䖎ꨈ铞ꀶ㶩鸏珏傂⫹粭殥⿶⫹伢䕧涸괐呔僽倞ⶾ涸겳㔔捀䧮⦛籏剚㖈搂䠑 ⚥鄄麕涸谁遯惐崩䨾䕧갠
괐呔僽谁遯㹻涸荈䧮鴄阮㼩鏪㢵➃⢵铞僽摛攛⡎➮⽿腋㔐娝湬錏荈㖈㖒⟃植➿涸滚⯕㯯勞贖椚錚㻌 ⵌ涸植韍欩荛㖈莍⡲酭䪪ⵌ倞涸〳腋齡㽠僽悴䠑陏㽠僽剎竤竤麕 ⫹♧껷倞鑘噲㺢庪厪⸂ 鷴麕谁遯㹻醢鸤涸鋕錏䒂⠽䧮⦛䪪ⵌ秫伢䕧⛓㢫涸〳腋
ꀶ㶩涸⚆歲酭剤俒㷸갉坿〢Ⱙ粭殥欩荛僽䬘㪮晋㢚⽓晋䊼ㆁ˘˘ 㙹䋑鄄灶烱涸
荈歋涸
罜䧮⦛鿪溏鋅✫
䘰坿涸
わ襵涸
䧃䙂涸
坿錚涸ツ植㖈䧮⦛
Preface
People do not possess the ability of remembering everything forever. So we started to take photos, in order to remember a moment permanently. However, the miscellaneous aspects of life simply cannot fit into what a single picture can narrate. Photography is capable of snatching the image of any moment, but it’s a shame that it can’t record completely the flowing time and space. Sometimes, what an image is lacking is that specific fold, that specific damage, to symbolize the wounds of the hearts; what it needs is a tinge of tea scent, a couple of Acacia confusa tree leaves to convey the nostalgia for hometown; or even, some shredded and then re-combined pieces to represent the fresh start of life.
自序 ➃
尝剤麕湡♶䘎涸劥걆
捀✫宕黇殆䙂厥⦐殹♴ 䧮⦛㨥伢䕧 搭罜欰崞涸⼪窣蠝筱⛓⚥
㢵涸僽酤♶鹎♧䓹湱秶涸佦✲
伢䕧ꧪ〳⟃仑《⟤♧儘ⵠ涸䕧⫹ ⽿〳䞼搂岁私ꏗ㸤侮崩⹛涸儘瑠 剤涸儘⦬䕧⫹䧴鏪鼩妁緄♧麥䫔汚♧❉灶䴦 ⢵韍䗚Ⰹ䗱涸丘鄭⫊
銴♧ꤏ蘢껻䎙晚湱䙼埠衞 ⢵⫄麨䙼ꀀ涸䞕䠑 刿䧴罏
銴♧❉䶰ꤑ㼟烱晚ꅾ倞穉ざ ⢵韍䗚ꅾ倞㉬玑涸➃欰
٥昿鋷涸牝犷 ꀶ㿋屎 Message from Father Deng Shan-He ٥䲀讄䎸 鿓薊耫 Preface Quo Ying-Sheng ٥荈䎸 Preface Deng Po-Jen
٥㾝㔐䥊酭涸渌䷱贖 Unfold the Creases of Memories
٥惐憈涸鎹䥊 穅剚涮꩔ 䧮瘞䖊㸐䌟⢵涸⥌䜂 A piece of damp memory will eventually go moldy. I wait for the message that it ’ll bring. ٥ 1995 ٥ 2015
٥㖈〵⻍鱲魨麂鋅눴 In Taipei, I turned around and saw a Fish ٥鋕箁涸굳遤 The Flight of Vision
٥窍➛傈涸摳抡 To the Fireworks Today
٥齡㣔䧮㢫㣖瑠假遤 Travel in Outer Space ٥㼩鑨 Dialogue ꀶ⽈➋ Y 畎⯕ㄤ Den Po-Jen x Chang Kuang-Ho ꀶ⽈➋ Y ゟ㣔畎 Den Po-Jen x Wu Tien-Chang ٥㼠俒 Essays 桬㷸㻞 Wang Hsieh-Ning 勛笞蜹 Li Wei-Ching
Unfold the Creases of Memories
Seeing is not believing, what matters is whether something can be remembered or not. Like a fossil with a unique look you discovered by coincidence. In our vast memory, the parts that hold more folds store more stories. When something is repeated more often, the memory of it is more powerful to surge through time. Like when Father used to take us to the river to play every ordinary afternoon. I picked a piece of rock from the water, which I believe to be the entrance to a story.
展開回憶裡的皺摺處
滚鋅♶捀䤊腋鄄➃鎹䖤涸䩞僽剤⸂涸阮亙
⫹僽⻋瀖剤衽栬暶涸䕎頗㖈♧⦐⩑搭鄄⡹䳷瑭 ⡹铞鎹䥊⚥馊僽⯏怏渌䷱涸㖒倰馊腋⮭询佦✲ ꅾ醳馊㢵妄涸馊Ⱘ⪔瑭鷴儘涸腋⸂
⫹僽嫦♧妄齡䎂ⳝ涸♴⼯時時䌟䧮⦛屎鼹梖 䧮书饱宐⚥涸瀖걧湱⥌㸐⛳僽佦✲涸Ⰵ〡
A piece of damp memory will eventually go moldy. I wait for the message that it’ll bring.
“’I would like a seat by the window.” you said. You always say that upon entering a dining place or café. It’s your choice to look out of the window, and it’s your destiny too. Like a restless child, you look forward to the chance of going out, Only when you pick up a leaf, or touch a mottled wall can you feel the genuine weight of time.
潮濕的記憶 終會發霉 我等待它帶來的信息
չ䧮⦛㗂璭鼹涸⡙㶩պ⡹铞 嫦妄饥鹎♧㹻䏅⡹籏僽鸏랃铞
溏ぢ璭㢫僽⡹涸鼇乵⛳僽⡹涸ㄐ麌
⫹⦐♶㸞⟨涸㷛㶩⡹瘞䖊衽ⴀ梖涸齡ⵠ 〫剤殹腋䭫饱♧晚衞㶩鍸ⵌ齡俤꼸涸晘 ⡹䩞䠮ⵌ儘溫铇涸ꅾꆀ
莅Ⱖ铞⡹䧗莍♶㥶铞僽㼟♧ⴗ䨾鋅刿倞
⡹♶격鰋僒ꟗ♳滚璭㢫涸⚆歲䭰糵暽䒸衽⡹ ⡹湱⥌儘瑠颭✮✲暟莅눃⸂
蠝暟鿪剤〳腋㔔捀䧮⦛涸♧⦐滚牟♶勁
Instead of describing you to be nostalgic, you’re more about renewing everything you’ve seen. You don’t shut your eyes easily, continually being guided by the world outside of the window. You believe that time and space endow things with charms and enchantment. Everything could become immortal simply because of a glance we give.
影像的初衷 չ 䧮 䪾 嫦 ♧ 䓹 佞 㖈 敚 ⯕ ♴ ➫ 稣 畮 鑬 㔐 䟝 饱 殹 儘
涸 䖎 㢵 ✲ ♶ 犝 䘎 ✫ 儘 涸 㶸 㖈 㸤 尐 嵶 㖈 䖃
✲ ⚥պ շ 嗃 歊 姻 屛 㼭 ⫄ 鎹 ո ⯕ ⛕ 植 䊨 ⡲ 㹔
䎃 涸 ⡲ ㅷ 植 㖈 㔐 걧 ⱄ 溏 㽠 ⫹ 䖰 莍 剅 卺 䬄 㾦 酭 涮 植 涸 罉 䏁 晚 ♧ 垺 ꧪ 僽 莍 ⡲ ⡎ 㔔 ✲ ꥬ 㢵 䎃 䩞 ꅾ鋅㣔傈⯏怏끇㋐
剤 儘 ⦬ 䧮 䪪 ♶ ⵌ 䬝 伢 ⹛ 堥 ♶ 濼 䬝 伢 僽 捀 ✫ ➊ 랃 ⡎ 嫦 嫦 籏 僽 㖈 䭾 ♴ 䘰 䖕 䗱 ⚥ 籏 剚 䖤 ⵌ 瘸 呪 䬝
撑 僽 䎋 犷 涸 㽍 Ⱖ 僽 涮 植 ⾲ ⢵ 荈 䊹 ♧ 湬 饥 㖈 ず ♧ 哭 騟♳
⽓㒇私䙂荈䊹剎竤饥麕
1995 The Initial Intention of Photography
“ I s c r u t i n i ze d e a c h p i c t u r e u n d e r t h e l i g h t , remembering so many things that happened then. That made me totally forget about time, and fully immersed in my memories.” Ueda Shoji, “Small Biography”. (IDEAfried Studio, 2012) Now looking back at the works produced in 1995, like discovering an old roll of film in an antique book shelf drawer and bringing that to daylight after all these years, it fills me with surprise and joy, even though that piece of work is dated. Now and then I lose the motivation for photography, not knowing what I do this for. But, every time I press the shutter button, my heart will get the answer somehow. Taking photos makes one happy, especially while I realized that I’ve been staying on the same track. Click! To remember the roads I’ve walked.
2015 This island is filled with emotions and the meaning of drifting. The reality is like a giant kaleidoscope, unfolding parallel universes between each destiny. I even saw myself from the past for a very brief moment. Along the road, I encountered and then separated with the people photographed, we each going back to our own journey and wandering.
2015 鸏⦐䃋䉞⯏怏✫䞕筱鼩剤嵥⹛涸䠑纏 植㻜⫹♧⦐㣐涸蠝蔅瘳
㖈ㄐ麌⛓㾝♧⦐⦐䎂遤㸙㸿
䧮欩荛㖈♧⦐澖溏ⵌ✫麕涸荈䊹 㖈騟♳䧮莅鄄伢罏湱麂⿶ⴕꨆぐ荈恠麉
In Taipei, I turned around and saw a Fish
I went back to yesterday, right before it started to rain. I’m a fish swimming in this not-yet broken world. The overflowing emotions from the people in the city penetrate through my body. The plastic bag flying from a tall building’s corner supports an entire pier. Wait for me while I stop and rest on the back ridge of the city.
在台北，轉身遇見魚
馜㖈♴ꨎ⛓䧮㔐ⵌ僴㣔
⨞♧ꦷ눴䝑麉㖈㼿劢灶烱涸⚆歲 㙹䋑➃怏形涸䞕筱 瑭麕䧮涸魨넓
䧮㔐걧溏鋅㣐䐠♧錬굳饱涸㝖芣郍 丑✫♧䏠焺걧
䖊䧮⨢ꬒ㖈㙹䋑涸胝腥
The Flight of Vision
“How do we write down the words we say now, on the flashy and frippery color paintings from the old times? How do we depict ourselves on them?” ― writer, Ye-Si. At times I find meanings and values to be illusory. Rather, the sun today, and the soil under our feet are what I deem the simplest and most trust worthy. I do not wish to attend one of those grand parades. Instead, I only want to search for traces of hope from the gaps between people among the crowds. I want to discover the true and real changes of things, from a twisted and disfigured mirror.
視線的飛行
չ䧮⦛㥶⡦㖈䖃僓⤺鞴涸䕙㕬♳
㻨 ⴀ 姽 ⵠ 涸 鑨 㥶 ⡦
㖈㸐⦛⚥䲾粭䧮⦛պ⡲㹻 ⛳倛 剤儘⦬䧮錏䖤䠑纏莅⭆⧩僽贡䎑涸 ➛㣔涸㣖ꤿ艁♴涸㕼㖒
⿾罜僽剓㋲秫涸剓⧩䖤⥌⟤涸 䧮♶격莅齡渿㣐涸麉遤
〫僽䟝䖰➃纈涸簧ꥵ⚥㼦䪪䋞劆涸汚騋
䖰♧䪌刼涸ꖏ䱳程溫溫ⴗⴗ涸兞暟隶鼄
To the Fireworks Today
With time as your longitude, and space as your latitude, you’ve been continuously experimenting on your distances with everything. Thanks to paint brushes, rotten fruit gets the chance to be reborn, thus awakening the instinct of dreaming. “The earth is round, just like an orange.” You said. When the earth revolves around the sun, you follow the traces of life’s fermentation, with no intention to keep anything. A simple brush stroke for today, and then looking out of the window, you are ready to embark on another adventure.
給今日的煙火
⟃儘捀竤瑠捀箰
㖈䇩倞涸⚆歲酭㻜뀿莅✲暟涸騅ꨆ
臱㡏涸卓㻜㖈殥瘘♴ꅾ欰䌟⢵⨞㣆涸劥腋 剤儘⦬⡹涸㋲秫雊魨鼹涸➃鿪끇鏄
չ㖒椕僽㕩涸㽠⫹堚㶩♧垺պ⡹铞 殹㖒椕粕衽㣖ꤿ麌遤
⡹屡衽欰崞涮ꃋ涸鮨騋 ♶䠑㕬殆⡞➊랃
秫礩捀➛傈殥♳♧瘘搭䖕劆ぢ璭㢫 彋⪔㾝〥♧㜥ⱎꦖ
Travel in Outer Space
Now I’m the only one who’s left. I looked down at the piece of paper thirty centimeters away from me, which shows what I’ve breathed in, paths that I’ve walked on, things that I’ve gone through. Whether they actually took place or repainted by me, they all are the marks of life.
那天我去外太空旅行
植㖈ⶦ䧮♧⦐➃✫騅ꨆ Ⱇⴕ⛓㢫
⥟鋕秶♳䧮ㄎ麕涸䧮饥麕涸䧮竤뀿麕涸
♶锸僽溫㻜涮欰䧴僽䧮ꅾ倞殥♳涸鿪僽欰崞涸鎹贫
Dialogue
Chang Kuang-Ho Deng Po-Jen Wu Tien-Chang
對話
ꀶ⽈➋
畎⯕ㄤ ゟ㣔畎
伢䕧㹻 畎⯕ㄤ
攝影從來就不應該只是攝影
ꀶ罉䌌錏䖤鸏❉倞⡲䙦랃垺 畎⡹鸏妄涸⡲ㅷ騈⟃♶♧垺✫粭殥䚍䖎넞 ꀶꧪ搭ⶾ⡲䩛岁⚥輑Ⰵ♶ず涸⯋稇䧮鼩僽溏⡲僽伢䕧⡲ㅷ♶盘麕玑⚥⸈✫粭殥㻜暟䭨顦剓䖕鼩僽䖤 鷴麕湱堥缺䬝殆♴侮⦐殥圓䧭䨾⟃䧮䩞錏䖤鼩僽伢䕧 畎伢䕧䖰⢵㽠♶䥰鑪〫僽伢䕧㥶卓䑞纏涸欽չ䕧⫹ⶾ⡲պ⢵溏鸏❉⡲ㅷ涮㾝䧭植㖈涸垺㶩僽䖎荈搭涸 㽍Ⱖ僽殹䧮⦛贖㖈♧⦐➃➃鿪剚䬝撑㋐姹䬝撑涸儘➿伢䕧䌌刿♶䥰鑪⤂ꣳ荈䊹 ꀶ㔔捀僽㖈倞耂㯯넓䊨⡲䖎㢵✲䞕鼩僽雊䧮䟝ⵌ佟屛⫹僽ⶾ⡲酭䌢ⴀ植涸披蒀㣔瑠⟂➃搂⸂䊨⡲儘 䬝涸匌銯䊺竤㣁私㻜♶倬ⶾ⡲Ⱖ㻜僽窍荈䊹堥剚䫉涮窍䗱䣆诔
畎䖰⡹涸⡲ㅷ⚥〳⟃溏ⴀ鸏럊䖰植㻜⚥䬄ꨆ䕱䖁僽膨ꨆ伢䕧涸㹒デ饥ぢ♧⦐倞涸㞯歲伢䕧꧌そ珖շ儘 ˙ꃋ 嫢 ո䒸➃耢䟝㾝植⡹㼩倴䒂Ꟁ殥酭儘䠮涸⟱㕬䖰⡹涸⡲ㅷ⚥腋幀ⵠ䠮「ⵌⶾ⡲僽⢵荈欰 崞䠮䚍⚂䫉䞕雊䧮䟝饱䊼暶剎㥶姽欰⹛涸䕎㺂⥤〣չ⥤〣㽠僽殹♴僽♧⦐䊫㦫涸澖剤㥶♧ꦷ 襟迤⨢㖈匉㶩涸鼹箔պ⥤〣剤갚䖒剤佦✲⡹涸䕧⫹䭨顦⛳僽闍宠涸鯱♶僽䕧⫹齅鱀罜僽㔐娝鋕 錏涸✽⹛窍錚滞瑠涮植涮ꃋ涸馱伢䕧剤儘⛳僽䯆秫礩涸⫹♧ꦷ襟迤⨢㖈匉箔鸏Ⱖ⚥涸鑘䠑 䊺竤駈㣁♶갭Ⱖ➮鎊铃 ꀶ䧮⽫韍㥪幀㖈㷸儘伢䕧谁遯 ⴕ稇䲾⽿〫剤 ⴕ 畎⡎騈ず劍涸㷸欰湱鯱饱⢵⡹㖈ⶾ⡲♳僽ꬌ䌢钢溫涸♧⡙ ꀶ植㖈㔐걧溏錏䖤㷸欰儘劍涸ⶾ⡲⸂䖎䓽尝剤「ⵌ㣖㢵伢䕧涸寄厪罜僽湬錏䒭㖒ⶾ⡲ 畎伢䕧剤涰涰珏溏⡹涸匌銯剚剤珏粭殥涸馱䖎倞늫錚罏〳⟃㖈殥⚥涮䳸䟝⫹
ꀶㆁ鼩鎹䖤䙂剅儘ⴽ➃鿪♶濼麥䧮㖈⨞➊랃䧮⛳⯏怏毠䞨僽䝡涸铭䌟窍䧮㥪㢵㉬涮齡儘⦬罉䌌✫ ♧չ伢䕧谁遯պ僽䧮剓㋐姹涸铭㔔捀〳⟃䱺鍸ⵌ㕜㢫涸㣐䌌⫹ André KertészJerry Uelsmann 涸⡲ㅷ錚䙂瘞鿪雊䧮㣐滚歲 畎僽⯓ⴽ㛂衽倴ⴽ➃剚♶剚铞荈䊹♶僽谁遯胝兞殹荈䊹幀幀鄄♧⟝✲䒸尝鳵岁♶⨞㸐涸儘⦬㽠 僽♧珏㣔欰㽠僽ㄐ䧮䌢錏䖤剚饥鸏哭騟涸➃㽠剚饥♶欽䟝㣖㢵䢩䢩稡琎♴⢵㽠剚饥ⴀ倰ぢ欴欰 괐呔 畎⡹涸⡲ㅷㄤ䧮♧湬㖈䙼罌涸չ尝剤湱堥涸伢䕧պ剤❉湱⡂⛓贖䧮⦛ず垺攨䠦㻜뀿♶ず涸ⶾ⡲倰岁䩧
伢䕧谁遯涸〳腋䚍㖈䧮荈䊹涸⡲ㅷ⚥䧮殆♴✫䖎㢵〳⟃莅儘瑠⛓㢫涸錚滞㼩锓涸瑠⡲ㅷ⚥⯏怏✫ 㣖㢵⩑搭䧮♶竤䠑㖒⟤Ⱖ㖈ぐ珏儘瑠橇㞯♴⨞ぐ䒭ぐ垺涸䱺鍸莅隶⻋㔔姽⡲ㅷ♳䌢鋅剤ꆚ㶰 ꆐ㖈 晘♳錚溏 겝俲芣䌟涸顦汚瘘涸鎹ꏗ欩荛䘞㻜㖒ツ植醢⡲麕玑⚥鄄钢捀僽ꨈ⟃䱾ⵖ涸榡氜⢿㥶披 㞔넍럊䭸⽫ⵉ⫊瘞瘞鸏♧❉匌銯㽠⫹僽伢䕧ⶍⶍ涮僈儘嫦妄곏䕧♧䓹梯槵晝撑晚鿪僽♧妄倞涸 ⡲ㅷ嫦♧妄鿪⯏怏䩛䊨涸馱莅䮋䨞伢䕧涸չ⯕պ㽠ꦡ询㖈齡酭䚓♶䖤棵꧉僈䩞剚铞〫剤伢䕧ⶍ 涮僈涸侸⼧䎃伢䕧䩞剤⯕ 溏⡂鰋논鑘䠑涸ⶾ⡲⡹Ⱖ㻜䮋䨞衽伢䕧ⶾ⡲涸麕玑䖰⫄窡涸չ䯲䯝♧⦐澖պ 䒂Ꟁ荛չ❜毕♶ず涸 儘莅瑠պ ♧䓹䕧⫹⚥⺫わ✫莅鄄伢罏湱麂涸䗳搭⟃⿻ⶾ⡲罏⽰莇鑣ꅼ涸⩑搭鸏垺涸ⶾ⡲䩛岁ぢ 伢䕧涸儘䮋䨞ぢ伢䕧涸劥颶䮋䨞㖈⡹涸⚆歲酭溫㻜ⵌ䏁腋♶腋鄄醳醢♶ꅾ銴⡹㖈䠑涸僽荈䊹腋 ♶腋莅Ⱖ⚥涮植⯕㥶卓䕧⫹剤♧㣔剚嶋鸚♶ⱄ腋➿剐䧮⦛涸꧱滚⥃殆♧ⴗ齡谁遯㹻䖤⟃鷴麕 伢䕧荈⚺錚溏涸礶牟䢀䏞䩞僽剓〳顜涸
鎹ꏗ侮椚桬㷸㻞
Photographer
/
Chang Kuang-Ho
Photography should never be just photography. Deng What do you think about my latest series, professor? Chang Your works this time are unlike the ones you made before. They are high in painting contents. Although there were many other elements added to it, to me those works are ultimately photography. Deng As many paintings or real-object collages were put onto them, the pictures are taken by cameras at the end of the day, which is what created the entire structure for the images. That’s why I still define the works to be photography. Chang Photography should never be just photography. Generally speaking from the term “image creationâ€?, how these pictures have developed and evolved to the way they are now is simply natural. Especially living in a time when everyone can take pictures and are fond of doing so, a photographer shouldn’t limit him/ herself. Deng Influenced by my job in the press media, many things remind me of politics, which is like the grey sky that often appears in my works. I feel powerless before it. The things I take pictures of during work are too realistic. Constantly creating is a chance for me to express myself and comfort my soul. Chang I can feel that from your works. Those pictures are like the declaration of your liberation and detachment from reality, from documentary photography, into a new realm of creation. The name of the series, A Twist of Time, provokes people’s thoughts, and shows your attempt to extend the sense of time in those pictures. Your artwork makes people deeply realize creation comes from life, sentimental and lyrical. This reminds me of how (Roland) Barthes once described haiku: “The haiku is the short form which best represents the present. It is tangible, particular‌like a fly perching on the edge of a glass.â€? The haiku has rhythm and stories, so do your collages. They don’t pursue the graphic logic, but rather the visual interaction with the viewers, giving them the space to find out the fun of time fermentation. Photography sometimes can be pure, like a fly perching on the edge of a glass. The poetry in there is portrayed by the picture itself, needing no other words or languages to explain. Deng I remember it so clearly. In school, my grade in photography art was 95 points, yet I got only 78 in sketch. Chang But, compared with your peers in school, you were a very diligent student when it came to creating. Deng Looking back, I found that when you are a student, the creativity is powerful. Because it hadn’t been polluted by too much photo taking, it was still instinctive. Chang Photography is very versatile. Looking at your work of art, we find the joy of painting, which is fresh and new. The audience can totally release their imagination with your pictures.
Deng Ha! I remember as a student, no one knew what I was doing exactly. Even I myself had so much doubt. It was your class that inspired me. At that time, you started a class called “Photography Artâ€?, which turned out to be my favorite class, as it exposed me to many of the great photographers in the world outside of Taiwan. Take AndrĂŠ KertĂŠsz, Jerry Uelsmann for example, their works, ideas and concepts really opened up my eyes. Chang Exactly. Let’s not care about whether people say you are not from an artistic background. When you find yourself so attracted and drawn to something to an extent that you cannot just sit still and not do anything about it any longer, then you have your destiny, your calling. I always think people who can walk down this path can do it anyway. There is no need to think too much. As you accumulate experiences along the way gradually, you’ll find your path clearer, and you’ll develop your own style. There is something about your work that is similar to “photography without camerasâ€?, the concept that I’ve thinking about. We both love to experiment with the methods of creating, exploring the undiscovered possibilities of photography art. In my works, I create a lot of space to converse with my audience in any time and space. My works are full of too many things accidental. I always carelessly let my pictures undergo all sorts of changes or exposures in different environments and time. As a result, my pictures can often be seen with nail holes (for being nailed to the walls), paint, marks of tapes, and traces of writing. Even the uncontrollable flaws during the process of making, like dust, stains, fingerprints and scratches were honestly demonstrated in my works. It’s like when photography was first invented, whenever a glass photo was developed, there was a brand new work. Each time the production was filled with the joy and challenge of hand making. The “auraâ€? of photography is hidden in there. No wonder (Walter) Benjamin once said that only in the first few decades after the invention of photography was there an aura existing in photography. Easy and poetic as the works seem to be, you actually challenged the usual process of making pictures. Instead of capturing one single moment in the traditional way, you overlap multiple time and space onto a photo, allowing it to contain the inevitability of the encounters with the subjects; and the incidental that the creator improvises and interprets. A method such as this declares a challenge to the essence of photography and the time concept of photography. In your world, it’s not important if reality can be replicated. What matters to you is whether you can take part in it, and find the aura or not. If one day all the images are going to fade away, not being able to preserve everything for our eyes, then what’s most precious is the attitude and spirit of an artist viewing the world through his/her independent and autonomous perspective.
5SBOTDSJCFE BOE FEJUFE CZ /JOH 8BOH
谁遯㹻 ゟ㣔畎
我們都透過創作去留住那些我們捨不得的、放不下的 齡㣔♴⼯㢫꧱彰屎㜉鼹䬺鏞ゟ罉䌌涸⡞㹻䧮⦛傍ⵌ✫㖈屎㜉鼹儚ザ儚涸㣐堀Ⱇ騟屎宐灶烱涸ꨣ ♧⦐䖎繡⡎♶㸞⟨涸⼯䖕瘞䖊莅ゟ罉䌌ⴗ煔ㄤ䪡鐱⡲ㅷ⫹僽괐ꨎ涸㻞ꬆ 䧮䬝♴Ⱇ騟倾涸ꅿ蔅ㄤ㝤뒪氭꽢罜麕涸鮦㶩雊ꅿ蔅ꦑ괐䴸刾溏饱⢵⮛꧉⽿腛䓳♳垜陪遺雊䧮⦛갫⤑䌟 ♳➮稡琎✫㥪䎙㣔劢걆《涸⺫醚溏⢵ゟ罉䌌〳腋僽㣖㼠岤㖈荈䊹涸䊨⡲⚆歲酭♶㖈䠑⥌⟝剤尝剤걆《刿 ♶剚㖈䠑䧮⦛剎㖈㣐椚㕜ꥹ伢䕧眏湱麂䖕鰳儻欰涸䧮㽠⚺⹛鼝秉罉䌌㹻䬺鏞䩧仠⚛锞渤⛓✲ꧪ搭罉䌌䖎 晊剽涸瘸䥰
殥㹻莅伢䕧㹻
ゟ䧮䖎㥪㣼䧮㖈㣐椚㕜ꥹ伢䕧眏溏ⵌ⡹涸⡲ㅷ錏䖤⡹涸伢䕧⡲ㅷꬌ䌢Ⱘ剤粭殥䚍罜⚂⛳䊺竤瑳灶湱秶 涸鯺넓邍㟞⸈✫♶ず勞颶涸聞椚捀➊랃♶✝腛騗麕㽠⨞䧭㣐㽯㼄醳ざ㯯勞涸⡲ㅷ湬䱺㽠➝ Ⰵ殹➿谁遯䧴䧭捀♧⡙殥㹻罜♶「ꣳ倴伢䕧涸嚌䙂 ꀶ僽⥌⟓ゅ䧮錏䖤鷴麕湱堥㼟邍涸勞颶聞椚ⱄ缺䬝♧妄ⱄꅾ倞㑑㟯鱒ⴀ䧭䎂涸湱秶㔐娝伢䕧僽䧮 剓湬錏涸邍麨倰䒭䧴鏪悴䠑陏⚥䧮鼩僽鋕荈䊹僽伢䕧䌌ゅㆁ剤♧珏䟝չ乩剤պ䕧⫹涸⟱㕬㥪⫹䬝 ♴⢵✫㽠僽䧮涸♧垺 ゟ⡹⾲㨥殥稣眏䖎㢵ⱄ缺䬝♶剚雊⡹ MPTU 䱈⥌䜂㌨ ꀶ♶剚⿾罜刿腋鞮㺢䕧⫹㔔捀缺䬝〳⟃诔歋䩧⯕㼟邍涸聞椚鼩⾲䧭䕧⫹涸⥌䜂⫄麨颶域⾲㨥涸伢䕧 劥颶伢䕧僽䧮欽⢵椚鍑䧮溏ⵌ⚆歲涸倰岁齡鵜⛖僽♧珏⥌⟓ ゟ雙䧮㋐姹⡹铞涸⥌⟓⡎谁遯銴剤礶彋䏞䩞遤溫姻涸繡㷸♶僽⩑涮涸銴剤⥌䙂㛚䭰銴娝 秝ⴀ荈䊹涸匌銯⢵䪪ⴀ⡹涸⥌⟓僽➊랃 ꀶ䧮尝剤椚歋铞溫涸㽠僽♧肆湬錏鷴麕缺䬝〳⟃邍植ⴀ䧮剓䟝銴涸ⵠ䠑䩧갥⯕騥敚⥃殆ꤥ䕧ツ 植齡❉醳ざ㯯勞涸用넓䠮 ゟ劥颶♳䧮嫲鯱⫹僽殥㹻伢䕧涸⯕㽠⫹僽䧮涸殥瘘䨾剤涸兞暟㽠⫹䧮涸殥䋒䧮䥰鑪僽嫲♧菛伢䕧㹻刿 ꅾ鋕圓㕬ㄤ蒀䕙殗界䧮涸귢䧭僽粭殥〷濼麥圓㕬⢵荈倴怏駈殥♳涸鋕錏麌⹛⫹僽䧮鸏䌴շ潥㶩䷬ 䋀ո䭸㹻⚥㹐䑼涸晘 ⴽ➃剚㉏䧮չ鸏僽溫㻜伢䕧㌨պ䠑䭸澖䭾♴䘰㸤䧭涸伢䕧✲㻜♳鸏 僽ꨶ舡ざ䧭涸䧮锞濼そ涸伢䕧䌌䍲䧮䬝✫秉♬Ⱄ⼧䓹♶ず涸㽷鿈搭䖕䧮㼟剓㥪涸㽷鿈礶彋㼟➮⦛ⱄ 簧ざ㸤䧭涸殹搭♶駈涸㖒倰䧮䗳갭⟃ꨶ舡粭㕬涸倰䒭酢駈鸏殹搭僽伢䕧〫僽欽殥㹻涸錚럊➝ Ⰵ 伢䕧 ꀶ锞㉏䝡䙦랃♶湬䱺欽殥涸 ゟㆁㆁ剤〫僽䧮錏䖤欽殥涸嫲鯱緄⛘儘➿䚍殗界恠Ꟁ涸粭殥〷㖈鋕錏♳䊺竤䖎ꨈ瑳灶✫㥪♶㺂僒䬺 ꨶ舡⛓颟鋕錏谁遯⿶㢵✫倞涸〳腋䚍ㄤⶾ鸤䚍侸⡙䕧⫹剚꿋➃㣐㹻剚⟃捀鸏澖僽剎竤涮欰㶸㖈麕 䕧⫹捀չ➃պ㶸㖈㫎㭊⚆歲䲿⣘⩝阮矦㋲涸铞粭殥僽植㖈鹎遤䒭罜伢䕧僽麕䒭㔔捀䭾♴䘰涸齡 儘㽠娦✫ꨶ舡雊չ⼪ⴕ⛓♧猲պ涸澖搂ꣳ䒂黶✫雊伢䕧剤✫⥜侮涸瑠㽠㥶ず粭殥♧垺 ꀶゟ罉䌌䝡僽や剚錏䖤鷴麕ꨶ舡涸ⶾ⡲剚窍✮➃麕䏞ⱺⲈ尝剤䞕䠮涸影䏞 ゟ㼩䧮⛳僽鸏垺⿾䙼儻劍䧮涸ⶾ⡲♧騟♴⢵僽竤麕ꨶ舡峤狲ⴀ⢵涸㽠僽㔔捀乩䫵麕✫鸏䎙䎃⿈⧂✫ 猰䪮䩞欴欰ⴀ植㖈չ♧ꖏⵌ䏁պ♶ⶩ䱺搂暶佪涸ꏗ⫹⡲ㅷ錏䖤ꨶ舡㣖ⱺⲈ⡹溏傈劥眏湡չ馄秹隶隶隶պ 㔐娝䩛䊨麥Ⱘ⫄窡䱖怵♶ⶩ䱺涸植㛄 MJWF 猗剤儘⦬䖎㣼㦫㋅⚓䱈ꨶ舡鸏珏鷠ぢ䙼罌⿾罜刿鹎姿 佪卓刿㥪䕱䖁⛳䲿⣘✫䧮⦛♧麥⿾䙼莅㻤鋕殹➿猰䪮俒僈涸➃俒堥ⵖ ⡎銴㥶⡦歲㹁➊랃僽鹎姿䧴➊랃僽䖕鷎⨢忲 ꀶ ゟ蕰⡹涸⡲ㅷ僽佦䠑竤麕缺䬝㒷䖃鵦㔐伢䕧殹ⴲ涸䝿⹛㛚䭰伢䕧颶域劥颶涸⥌⟓繡䠮㽠剚剤䗳搭䚍 齡㽠僽䖃鹎姿涸齡肆焷⥌㽠僽䪪ⵌ⡹ⶾ⡲涸倰岁ㄤ礶彋䏞㽠剚鶈殯倴⫄窡伢䕧齡珏荈錏濼Ⱖ搭 濼䨾⟃搭չ佦䠑涸繡㷸պ㽠剚荈搭駵ⴀ⢵
诔歋䰎刿✫鍑荈䊹
ゟⰦ㻜䧮⦛鿪鷴麕ⶾ⡲殆⡞齡❉䧮⦛䰎♶䖤涸佞♶♴涸䧮涸⡲ㅷ僽殆䧗僽갉㺂㹄㖈涸鼍撑⡹涸䩛 岁嫲鯱㢵⯋⫹僽♧眝眝⮛繡涸䕧⫹侕俒⡹乲䌢䬄韍涸麉ꨆ♶幢兠涸繡㷸儘罜⫹僽猰䎑㼭铞䪾㔐䥊 儘瑠亡㠺㖈♧⦐䎂酭걧剤㥪䎙⦐⡹㥪䎙⦐䧮繡䖤䖎刈僳 ゟ⡹濼麥㌨⡹涸⮛럊僽⡲ㅷ併䠮䏞넞緄럊㽠僽⡲ㅷ㣖㢵✫ ꀶ蕲疮僽㌨˘˘ ゟ⡹⡲ㅷꆀ䖎㢵剤럊葻蛻♶뢶Ⱖ⛳♶⛘ꬌ䌢⮛猗涸⡲ㅷ〫僽⡹♶격䰎䧮錏䖤⡹〳⟃ⱄ㓂蕙㼩䖊荈 䊹ⱄ李♧럊ⱄꅾ倞睨鼇ⴀ荈䊹涸⡲ㅷ䰎♶䰎ⵅꤑ䱈♶欩怏䠑涸⡲ㅷ ꀶ尐랿Ⱖ㻜䧮䊺竤㣔➃❜䨞㥪♧ꤏ㶩✫ ゟㆁㆁ˘˘⡹鼩♶㣁礶箻銴尐慈銴㥪♳⸈㥪涸⡲ㅷ䩞䭭ⴀ⢵⡲ㅷ銴彋焷䚍涸銴幀䙼擿䣂涸 ꀶ䧮剤儘⦬剚䖎搋䣂銴㥶⡦䭭ⴀ䗱⚥涸剓㥪⡲ㅷ ゟ⡹♶僽尝剤䖎㥪涸⡲ㅷ僽䰎♶䖤չ⚓պ尝㥪㥪睨鼇⡲ㅷ〳⟃㼱⡎銴幀ⵠ礶彋礶矦⸈♳彋焷ⱄ ⸈♳儘➿䚍䩞剚隶䧭♧㹻⛓鎊 ゟ⯓䖰植剤⡲ㅷ麕懏ⵅꤑ䱈✳ⴕ⛓♧秉䮋ⴀ荈䊹剓㋐姹涸♲⼧䓹ⱄꅾ倞ⴕ겳搭䖕ⱄ䙼罌荈䊹捀➊랃㋐ 姹ⴕ區Ⱖ嫦䓹涸䊴殯䚍ㄤⰟず䚍䖰⚥Ⳗ翹荈䊹⥌䙂䪪ⴀ荈䊹涸栬暶䚍 ꀶ䧮⛳錏䖤䧮㣖䚊倴ⶾ⡲✫錏䖤㋐姹涸⡲ㅷ䖎㢵䰎♶䖤ⵅ恸恸涸˘˘儘⛉✫⡲ㅷ頗괐呔㽠隶 䧭剤럊꧹✥⡎♧湬猥䭰衽ⶾ⡲攨䞕⦝僽溫涸 ゟ剤ⶾ鸤⸂剤ⶾ⡲涸攨䞕僽㥪✲ザ⡎僽⛳銴䭰糵䙼罌谁遯䕎罜♳銴䙦랃隶䧭㣐滞涸铃鎊䕎罜♴ ⟂➃䠮⹛罜♶僽〫窍蜹薊植㖈䖎㢵ⶾ⡲罏僽ꬒ锸鶤罜緄⛘鋕錏繡䠮竤뀿䧮♶犝銴㉏չ谁遯㹻涸ⶾ 鸤⸂㖈ㆭպ㥶卓銴殹㣐ㄳ㽠锞㔐ⵌ鋕錏⯏怏孵 ゟ⢵⡹⯓鼇鼇㸤䖕䧮⢵䍲⡹睨鼇搭䖕䧮⦛ⱄ⢵嫲㼩⡹⯓♶銴闍鶤雊䧮Ⲉꬆ⯓缺麕鿈溏麕♧麒 䧮錏䖤♶㣁㥪㽠ⵅ佞ⵌչ#BEպ涸须俲㣰♶銴䰎♶䖤㋅⡹♶銴溏䧮鸏垺䧮⛳銴䌢䌢㻤鋕荈䊹涸ⶾ⡲ 䌢䌢䪾涮䟝涸圓䙼♶倬竤麕虋㕬垸亼♶倬㖒⥜姻㖈礶鹎⚥⥃䭰ⱎꦖ䚍ㄤ劢⢵䚍㣐苠㻜뀿㼭䗱宠阮 㖈谁遯酭宕黇剚剤➃䖃饥涮僈倞涸䧮⦛䥰鑪銴ⱎꦖ⨞齡⦐䪾儘➿ⷔ涸➃ ꀶ羳竤麕恠Ꟁ涸儘ⵅ麕㥪䎙鰶穡卓鼩㥪莅ゟ罉䌌䮋涸ꅾ毕䚍鼩怏넞涸湱⡂䏞剤Ⱄ䧭植㖈⡲ㅷ㖈 鋕錏♳侮넓䚍ㄤ䓽䏞涼䓽㢵✫논✫♧〡孵 չ㼭ꀶ㣔蒀冝✫ⵌ✫欽귭儘䧮⦛く궤ゅպ
♴✫垜ゟ罉䌌鱲魨桧䚍麕✫遳˘˘ 㽠㖈翝㣔䮋鼇⡲ㅷ⚥麕✫♧⦐♴⼯ゟ罉䌌⫹⡙罣䗱涸鰳儘罜蕲〡㭊䗱儘罜넞ⴕ頺嫦♧〣鑨鿪㾝植 ➮㼩倴谁遯ⶾ⡲涸攨䞕ㄤ㛚䭰竤麕ゟ罉䌌䮋鼇麕涸⡲ㅷ卓搭礶箻搂锸䖰侮넓䚍䧴鋕錏䓽䏞鿪刿礶彋刿罣 ➃㼦⛳聃✫ゟ罉䌌礶ꡬⰅ椚涸ⴕ區ㄤ繡㷸涸儘➿礶牟 䖰㔐劆劍鏪荈䊹
㥪涸⡲ㅷ♧䓹㽠㣁✫ꅾ銴涸僽✫鍑荈䊹匌銯䖰荈䊹魨♳⢵ 䧮鸏䩞✫鍑銴殹♧⡙谁遯㹻䧮鼩饥㖈♧哭恠恠涸Ꟁ騟
鎹ꏗ侮椚桬㷸㻞
Artist
/
Wu Tien-Chang
We’re all just trying to preserve things we cannot let go through creation. That afternoon we went to visit Mr. Wu at his house on the river bank of Waishuangxi. We arrived early, so we wandered around first. The bridge, the main road, the river, the broken clouds. It was a beautiful but restless afternoon. The time waiting for Mr. Wu to talk about and comment on the artworks is like the calm before a storm. I took photos of the wild flowers and graffiti along the road. The flowers swayed in the wind as the cars sped by, looking elegant yet fragile. Before we went up the stairs to Mr. Wu’s unit, the security guard had us take all the packages uncollected for days to him. It seemed like Mr. Wu was too occupied in his work to pay attention to the packages. I assumed he wouldn’t even notice that we’ve met each other once in Dali International Photography Exhibition (DIPE). Being his junior, I decided I should take the initiative to visit Mr. Wu at his house and ask him for opinions on the artworks, which he gladly said yes. The Painter and the Photographer Wu I’ve seen your works in DIPE, and I saw how painting like they are, and how much they have broken through and gone beyond the normal surface of the photo material, creating new textures by adding different materials. Therefore, I wonder why you don’t just carry the whole idea through, changing your photos into big-size, multi-material pictures, and join the field of modern art or become a painter, without the limitations from the concept of photography? Deng I suppose it’s my religion. I like to retake pictures of the material texture of a surface with my camera, and print it out as a photo with an inkjet printer. Returning to photography is my most instinctive way of expressing myself. Perhaps I still deem myself a photographer subconsciously. Ha! I always have this desire to “possess� images, as if photographing them would make those images mine. Wu Your original pictures contain a lot of details. Won’t retaking photos of them take away those details?
Deng No! On the contrary, doing so enriches the images even more because during the process of photo retake, you can utilize the lighting to restore the graphic information from just being a surface texture. This is my very simple and primitive nature regarding photography. Photography is my way of seeing the world. It’s almost a religion. Wu (Thumb up) I like how you call it a religion. But it does take precision in making art. True aesthetics is not spontaneous. It requires faith, persistence, locating your own style, and finding out what your religion is. Deng I don’t have reasons. What I have, to be frank, is intuition. Through retaking photos, I can get the results I want the most. I intentionally use the overhead light, bounced flash, and shadow reservation technique, methods that can create the multi-material three-dimensional effect. Wu Basically, I’m more like a painter. Photography lighting is like my paint brush, with the scenery and objects as my canvas. Compared with other photographers, I suppose I emphasize more on the composition and hues of a picture. After all, I was cultivated by the history of painting, so I know the success of a composition on an image comes from the visual movement being completed. Take my work for an instance, Blind Men Feel the Walls (meaning the walls in a living room). People always ask me whether that is real photography, meaning the normal photo you’ll come up with once you press the shutter button. In fact, that picture is computer-generated. I asked a renowned photographer to take about
seventy to eighty pictures of the different parts of the subjects and models, and then I selected the best parts to put and stich together with careful precision to form a whole picture. Of course, there were some small parts missing here and there, so I filled them up with digital painting. At the end of the day, this is photography. It’s just I’m making them with the view point of a painter. Deng Some people once asked why you don’t just paint instead of using photos?
Wu Haha! I have. But somehow I think painting lacks the modernity. After all, after the long history of painting, it’s hard to surpass what’s already been achieved before. Thanks to computers now, visual art can expect new possibilities and creativities. Digital images can trick people’s eyes, making them believe that moment in the picture actually took place. Images serve “humans� as false evidence to prove they exist in this Saha world. To put it simply, painting is the present that is happening; photography is the past, since the split second you press the shutter button, that moment is past and dead. Computers extend that one thousandth of a second indefinitely, allowing photography room to revise and repair, like paintings. Deng Sir, do you think artwork produced by or with the aid of computers would make people feel cold or emotionless? Wu Yes! I have thought about it too. In the later stage of my artistic career, my works have all been touched by computers. I had done it so much that I began to grow tired of technology, which is the reason why I instead started to produce one shot, non-edit, and non-effect video works. Computers are too cold. The Japanese live show, Masquerade, is a great example. That show goes back to hand-made props and one shot of performance, without any cut or edit to the videos. Sometimes things work in an interesting way. Getting rid of computers, and thinking in a reversed way actually make you move forward and create better works. This seems to be a case for us to contemplate and review modern technology’s meaning. Deng But how does one define what is moving forward and what is left behind?
Wu If the reason why you retake those photos is to search that initial passion and excitement you had when you first started out, then you’re moving forward. When you insist on the essence of your belief, beauty will be bound to come through. Once you find your own creative ways and precision and you believe that, your works are entirely different from traditional photography. The self-awareness, the consciousness and the understanding will urge the “purposeful beauty� to surface naturally. Letting Go Helps One Know Oneself More Wu Actually we’re all just trying to preserve things we cannot let go through creation. My works’ themes are the nostalgia. They are the pictures of the deceased, to make us feel as if they were still alive. Your methods are more versatile. Your works are like beautiful, elegant graphic essays. You are the master of abstraction and vagueness. Even sometimes they are like fictional novels, pressing memories, time and space into one flat surface, where there are many of you, and many of me. It’s ambiguously beautiful. Wu Your artwork has a lot of merits. But you know what? The defect of your works is that there are too many of them.
Deng (With a frail laugh) Is it?
Wu The standard of your creation is not consistent. There isn’t a lack of good ones, it’s just that you are too unwilling to give up on some. I suggest you be harsher to yourself, crueler, and filter out the unwanted photos all over again. Are you or are you not willing to leave out the less than dissatisfactory works? Deng (After a silence) I have, as a matter of fact, been struggling for quite some time.
Wu Haha! You haven’t been focused and refining your works enough. Only the best out of the best should be presented. The selection has to be right on the bull’s eyes. They’ve got to be well-thought. Deng Sometimes I feel anxious about how to bring out the best ones in my heart.
Wu It’s not that you don’t have great works to give, it’s that you have been reluctant to “discard�. An artist doesn’t have to produce a lot of works, but they have to be profound and precise. Simplification, precision and the reflection of the times are the elements that makes an artist stand out and iconic. Wu Let’s start from what we have here, deleting them by half. You pick out about 30 of your most favorite pictures. Then, you ask yourself why you like them so much, meanwhile analyzing the differences and similarities between each of them. In doing so, you condense your faith and find out your own location and uniqueness. Deng I also think I’m in too much haste to create, and I’m so fond of so many of my works that I can’t get myself to leave some out. Gradually, the styles and looks of my creation became a little messy. But it’s true I still hold my passion for creating. Wu Having the motivation and the passion to create is a good thing. Still, the artist has to use the brain continuously, thinking about how to transform the metaphysical art for only the elites, to physical common language to touch everyone’s hearts. Many art creations nowadays provide no visually aesthetic experiences, but are full of empty words and harangue. I couldn’t help but question: “Where in the world has artists’ creation gone?� If you want to be a big shot, please come back and work on the visual (full of strength)! Wu Come on, let’s do it. You pick first, and then I’ll pick them myself too. Finally, we check each other’s choices. Don’t reveal or explain anything first. Let me go examine each picture one by one and all over calmly. If I find anyone not good enough, I’ll put it in the “bad� file. Don’t be soft on yourself. The reason why I’m doing this is I do this to myself as well. I need to examine my creation a lot, testing my ideas with sketches again and again, so that I can continue progressing, and never lose my dare and vision for the future (bold experiments, careful verifications). In the field of art, there will always be people moving on and inventing something new. We should be one those epoch making artists. Deng Yes! After a long period of time, and a few rounds of eliminating the works, I’m glad the pictures I picked were quite close to what Mr. Wu has chosen. Eighty percent of them are the same. Now, the series of my works are stronger in coherence and density (with a relief).
“Deng! It’s getting dark. Time for dinner. Let’s get something to eat!” said Mr. Wu before he went downstairs, turned around, and crossed the street casually.
This afternoon was spent on talking and choosing the pictures. Mr. Wu is like a patient senior, sometimes eager to give all his well-meaning advice, and sometimes raising his voice in his speech. Everything he said clearly shows how much passion and persistence he holds for art creation. After the Mr. Wu’s selection, my series now does look more purified. As far as unity and visual intensity are concerned, they have become more precise and intriguing. I also benefited from Mr. Wu’s insightful analysis and his attitude toward aesthetics.
Self-expectations From Looking Back It only takes one good piece of work. It’s crucial to know yourself, because what you make all comes from yourself. I finally realized that I still have a long way to go on the way to being an artist.
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Essays
Wang Hsieh-Ning
Li Wei-Ching
專文 桬㷸㻞 勛笞蜹
谁俒䊨⡲罏 桬㷸㻞
世界是他眼睛所及的一切，從發霉的果到城市的街 痧♧妄鋅ⵌꀶ罉䌌僽♧⡙㥪剦⿼䌟衽➮⢵鳵Ⱇ㹔䪪䧮䧮⦛殹儘姻䘑衽䬝♧䓹莻〵撑撖䟛銴䙦랃䬝䩞腋雊殥
剤馱饱⢵罉䌌蔅✫♲猲錚㻌✫橇㞯欽䎙〣鑨䭸䳸〵♳㣐㹻涸⹛⡲ㄤ⡙縨剓䖕锞䔞ꏈ楪涸㥏㷛㼟坿陗䖃 ♳㥅⸂♧⚓殥㽠鸏垺⢵✫莻〵⫹僽⢵✫♧ꤏ괐坿陗僽굳饱涸蔅檫䬝✫♧侮⦐傍♳㣐㹻穅倴佞논涸 疮✫荛➛䧮ㄤず✲➠♶儘䲿饱齡䓹撑晚剤㢵㥪
㖈䕧⫹涸⚆歲酭嫲饱伢䕧㹻䧮錏䖤罉䌌刿⫹僽㼬怵饥鵜➮涸䬝伢⚺겗窍✮䭸⟂㸞䱖➮䗱⚥涸兞欰 崞銴鸏珏窍✮ “action” 涸➃鸏⦐ “action” ⛳♶鋅䖤僽Ⱘ넓涸♧珏⹛⡲䧴遤捀罜僽♧珏㼩倴鷆宠繡涸庯
劆齡珏չ♶欥⫦〫倴姽䭰糵㛜毕պ涸朜䢀㽠⫹鸏劥伢䕧꧌酭涸⡲ㅷ嫦䓹䕧⫹ⶾ⡲鿪⺫わ✫㾵㾵毕毕涸
ぐ珏չ鷆⸈պ衞㶩逕瘘烱㾗눴㠺⯘⸂겝俲㽠僽➮涸 “action” 剤✫➮⦛殥䩞㖈澖溫姻剤✫뇺 ⴀ♧劥⟃չ儘ꃋ嫢պ捀⚺겗涸伢䕧꧌僽罉䌌饥ぢ荈䊹Ⰹ䗱涸♧㜥㹒デ邍僈荈䊹♶〫僽㖈䬝撑罜僽鹎♧
姿涸䮋䨞儘腋䌟⢵涸䨡ⷜ〳腋鷴麕♶ず㯯勞涸⼿⸔ぢ䗱幀贖涸괐兞㾝♧㜥䱳㼦罉䌌⨞✲䞕僽䖎湬 錏涸鎹䖤剤妄괤괐麕䖕騟鼹鿪僽㛜琎衽涸埠单衆衞➮书饱♧媯㣰畾呠涸㼭单♳걧鼩剤堚秋涸卓书 㔐꼛♳䧭✫殹㣔♧㜥崞⹛涸鸤兞㼩罉䌌⢵铞勞俲籏僽⢵荈㢫걧涸⚆歲〫剤㻜ꥹ饥麕㽠鵜錚㻌欩荛 书䭫㔐䩞腋涮植鸏❉勞俲涸〳腋䚍
⚆歲僽➮滚漌䨾⿻涸♧ⴗ䖰涮꩔涸卓ⵌ㙹䋑涸遳⡎ず儘⚆歲⛳僽䨾剤溏♶ⵌ涸鷴麕ⶾ⡲鎯箻荈䊹⥃
剤⨞㣆涸腋⸂管㼬ⴀ涸儘瑠⡂⧺⡂溫錚罏♶ⱄ焷㹁荈䊹溏ⵌ涸僽➊랃罜僽⻋捀♧珏儘罜慮捙儘罜帝謮涸
䠮「箣箣涸ぢ䧮⦛銔⢵⨞㣆涸䲿僽⯓剤㼩欰崞넞䏞涸錚㻌莅넓뀿姻㥶넞遤⨴铞չ剤♧⟝✲♶〳䧃毠 齡㽠僽欰ㄐ崞欰欰涸荈䊹⟃⿻溫㻜㶸㖈涸⚆歲♶僽⯓剤⚆歲錚罜僽⯓幢ꄁ錚㻌⚆歲錚㻤荈䊹պ
缺շ儘٥ꃋ嫢ո䧮⦛剚⯓竤麕♧晚涮꩔涸屜愯歋♧䓹䓹涮꩔涸䎑敚晚缺䬝罜䧭㾝植伢䕧㹻妝⫄麨儘
䠮涸⟱㕬捀✫䖤ⵌ鸏傂㣼䎑ꦡ兎ず儘⽿螠뜩䒸➃耢䟝涸䕧⫹伢䕧㹻격⨞⦐瘞䖊涸➃⟤꩔俤荈歋 訬䒂躮䖊儘堥䧭擿➮㼟䱰佐儘涸⡲ㅷ妇搭䳷끇㋐♶锸僽涮꩔涸䎑敚晚䧴僽俤꼸涸晘竤䌢鿪 僽罉䌌㋐姹䱰꧌涸稇勞蕰㼟罉䌌嫲亼⨞♧⡙ DJ 鸏❉稇勞⫹僽 DJ 涸㛇劥 sample ——齡❉竤Ⱙ涸偒䖒➮ 剚欽鸏❉偒䖒莅荈䊹涸伢䕧⡲ㅷꅾ倞穉ざ䭨顦䧭捀♧껷倞涸隶㤉蕰欽鸏垺涸錬䏞⢵妇颣鸏劥伢䕧꧌齡
랃䖰ㆭ酭⯓缺鿪搂㧏尝剤溫姻涸儘갫䎸㔔捀伢䕧㹻傍䊺幋ざ✫㢵⯋涸儘瑠䧮⦛〫銴殹⡙鰋논涸麉罏 恠姿Ⱖ⚥⤑㥪
䱺糵㖈涮꩔屜愯䖕涸僽♧禺ꡠ倴㹻ꀀ㾓匌涸䕧⫹齡僽➮㷸欰儘劍涸⡲ㅷ殹儘㽠䊺竤㨥㻜뀿♶ず涸ⶾ⡲
䩛岁㽍Ⱖ僽ꅾ醳刕⯕涸䪮䊫鑑衽輑ざ♶ず涸㜥兞䢩䢩涸䖃♴缺䧮⦛剚溏ⵌ遳걧➃纈넞垜Ⱇ騟
喀卌埠衞눴歊ꅿ넞㿋鸏鿪僽伢䕧㹻涸駈騋歋䊨⡲欰崞䨾鋅涸♧ⴗ❜籽罜䧭䧮暶ⴽ㋐姹齡❉㖈
㙹䋑酭康⹛涸눴㣐㢵僽㖈披蒀鶵憓涸胝兞♴康✫ⴀ⢵齡僽罉䌌⡲ㅷ⚥竤䌢剤涸礶牟ⱄ䙦랃垺♶㥪涸儘➿
♴籏剤♧❉⟂➃ꦿ鬪涸鋕錬雊䧮⦛끇㣼涸涮植鼩剤〥♧珏〳腋㽠⫹齡荈㖈涸눴鏪㢵鼩䌟剤䩛䊨䠮⟂ ➃䟝饱㼭儘⦬涸⡲⽰⢪鸏垺涸留溫ㄤ儘♴孵䜂㥶姽呔呔♶Ⰵ➮⦛⽿腋䝑搭涸竤麕䧮⦛欩荛ちⴀ䎙⦐㏜ 疮涸岙岙䧮恸恸僈涯㖈劥颶♳伢䕧㹻涸耷顑♶㖈ⶾ鸤罜僽䳷ꪫデ鏰䧮⦛溫㻜➊랃⟃⿻〳⟃䙦랃馄馊 溫㻜㖈㼦宠刿㥪涸欰崞殹♴➮♶㎒䜂罜僽䭰糵ぢ
շ儘٥ꃋ嫢ո⚥剤⦐㼭ⴽⱁ “1995” 佐ꏗ罉䌌殹䎃涸殗噠醢⡲⡲ㅷ䖰⚥䊺竤涮植罉䌌♧湬⟃⢵攨䠦鷴麕 暟⟝⢵侃✲涸箁程㼂暶櫖䩛ꐹ淼ꭑ暟⟝酤衽涸僽鷗♶ⴀ⢵涸㼭➃暟ㄤ伢䕧꧌⚥〥♧⦐㋲⯋ “2015”
䜡䜡ㄎ䥰 “2015” ⚥涸⡲ㅷ僽罉䌌䊨⡲儘䬝涸剤畹鼇儘㋡뇀涸偫䍜剤 SARS 儘搋䣂涸滚牟剤籏窡䏎갥 畮교䙐涸㕜偫剤麉遤⟿⚥♶㸞涸姿⠄⡹欩荛〳⟃涮植 “1995” 酭涸㼂暶櫖ㄤ淼ꭑ酭걧涸㼭➃暟麕✫⼧ 䎃鼩㖈齡酆㣼㦫涸僽鸏❉䭨顦ⴀ⢵涸㜥兞溏⡂贡䎑⽿鿪僽⢵荈溫㻜涸欰崞莅竤뀿
剤❉➃㔐ⵌ麕僽捀✫刿䖃遤罉䌌涸儘錚⫹僽♧⦐搂ꣳ涸鶬㕖麕涮欰涸➛㣔➠〳腋㔐ⵌ䧮⦛滚 诔衽䮕䱡䬄㾦涸幀贖➮䪪ⵌ莅劢⢵鸮穡涸䱺럊㼩罉䌌⢵铞䬝撑僽欰崞欰崞僽捀✫製꧌鎹䥊涸籏ㄤ罜 ⶾ⡲僽雊➮㖈鸏哭騟♳⥃䭰溫䷛涸㈔♧倰岁
Art Manager
/
Wang Hsieh-Ning
The world is everything that his eyes can reach, from moldy fruits to city streets. The first time I met Mr. Deng was when a good friend of mine brought him to my office. I was busy taking stage pictures, struggling to get a really good, interesting one. After Mr. Deng only spent three seconds observing the surroundings, he gave a few instructions to the people on stage on how to pose, asked the girl playing the piano to fling the music score sheets hard up to the air. Then I got what I wanted, a good picture. It was as if a gust of wind blew onto the stage, and the score sheets are like flying petals. People finally became relaxed and were smiling after that whole morning of shooting. Till now, my colleague and I still talk about how awesome that picture is once in a while. In the world of images, I think of Mr. Deng more as a director than a photographer. He walks towards and gets close to his subjects, gives instructions, and arranges what he pictures in his mind. I think in life, we need more people like Mr. Deng, people who make “actions”. They don’t necessarily have to mean actual physical actions or behavior, but the yearnings and pursuits for beauty. I’m talking about the state of not being contented with the existing situation and to keep on pursuing more and layering up. Just like in this photo album, every single picture has those layers and layers of “extras”. The leaves, the scraps of crayons, the fish, the Acrylics are his “actions”. Thanks to them, the images are given souls. Publishing this photo album with the theme named A Twist of Time is Mr. Deng’s declaration of him walking toward his heart, saying it’s not just taking photos, but taking extra miles to find out the dramatic possibilities that time might bring; utilizing all sorts of materials to explore the depth within his heart and soul. The way Mr. Deng does things is very intuitive. I remember one time after a typhoon hit Taiwan, the road sides were covered with fallen twigs and leaves. He picked up an oleander twig, with the oranges fruits still attached on top. That day the twig was immediately part of the landscape of an activity. For Mr. Deng, materials come from the outside world. Only when you actually go out there, look at things closely, and take them back will you discover the possibilities of those materials. The world is everything that his eyes can reach, from moldy fruits to city streets. However, there are also parts of the world that he can’t see. Through creation, one trains oneself to maintain the ability to dream. The time and space composed in this album are both true and false, or somewhere in between, leaving the audience not sure about what they are seeing, but surely aware of these sensations, at times intensive, other times subtle, slowly coming toward them. Before you have the ability to dream, you have to attentively observe and experience life. It’s like what Gao Xingjiang once said: “There’s one thing that is beyond all doubt, and that is life, the living self, and the real, existing world. You don’t have the world view first. With a clear head, you observe the world and yourself first.” When you open the album, A Twist of Time, you’ll be going through a moldy swamp first, which is actually the effect created by retaking photos of moldy back-projection slides. This shows the photographer’s intention to express the sense of time in the artwork. In order to attain these magical, obscure, yet luxuriant and provocative images, the photographer was patient and willing to wait. He waited for the mold to freely spread over and erode the slides. And when the time was right, he unveiled the results that gathered time with surprise and glee.
Whether it be moldy slides or mottled walls, they are often the sort of materials Mr. Deng likes to collect. If you compare Mr. Deng to a DJ, these materials are like his basic samples─those classic tunes─that he puts together, assembles or reshuffles with his photos, finally to form a new piece of music. If you appreciate this photo album with this point of view, then it would not matter which page you start. There is no the right order of time, because the photographer has already mixed together miscellaneous time and space. All we have to do is just relax and wander in the world this album presents. After the swamp pictures are a series of Mr. Deng’s hometown, Pingtung. Those pictures were taken back when he was a student. By that time Mr. Deng was already experimenting with different shooting methods, especially the double exposure technique, which was for combining two images into one photo. As you turn the pages, you will see the streets, crowds of people, high rises, main roads, forests, leaves, fish, fields, and mountains. These are all the traces of this photographer, extracted from what he sees in work and life. I particularly enjoy those swimming fish in the city, most of whom are swimming out of a grey, misty background. That is the spirit that often appears in his artwork: however harsh times are, there are always exciting ways of seeing things, making us realize with wonder that there are still other possibilities, just like those fish. Many of the fish even look hand-made, like what we made in our art classes as kids. Even though their childishness and innocence are such a contrast to the world nowadays, they still swim past us in a carefree manner, even blowing some mocking bubbles. I started to figure that essentially a photographer’s task is not creating but revealing, telling us what the truth is, and how truth can be surpassed. In the quest and pursuit of a better life, he never sighs. He moves on. In A Twist of Time, there is another small album attached called “1995”, collecting Mr. Deng’s works as a student. From that album you can see the traces showing that the creator has loved telling stories through objects, like plastic bottles, watches and leather shoes all this while. Inside those objects are those little people who cannot escape, echoing one of the chapters in this series, 2015. The photos in 2015 are taken by Mr. Deng during work, including the banners in an election campaign, the fearful anxious eyes during SARS period, the national flag on top of the Presidential Palace, and the insecure marches in a protest. You can even find that the little people in those plastic bottles and leather shoes in 1995 are still there after ten years. Amazingly enough, as illusory as these scenes made by collages may seem, they are in fact the realistic pictures of lives and experiences. Some people look back to move forward. The concept of time that Mr. Deng presents is like an infinite loop; what happened before might still come back to us today. By digging deeply into the far end of a drawer, he found the conjunctive points linking to the future. For Mr. Deng, photography is life, living is for collecting and gathering memories, and creation is his only way to stay true and honest along the way.
⡲㹻谁鐱㹻 勛笞蜹
創作這件事情能夠在生命中注入能量 剤㥪䎙䎃涸儘ꀶ⽈➋僽䧮㖈㜡爢涸ず✲嫦妄㖈鳵Ⱇ✲ꨶ舡贖椚✲涸儘⦬剚鋅ⵌ䰞䰞걧녋涸➮籏僽 崞⸂⯏尬㖒饥麕⢵ⴕ❧➮嫦㣔贖椚倞耂䬝伢ⴀ⢵涸䧭卓剤倞耂伢䕧涸Ⰹ㺂⛳剤➮鹎啟䬝伢嶋顥儘㼿涸撑 晚齡⟨攨䘺莅䫏Ⰵ雊➃⽫韍幀ⵠ暶ⴽ僽齡媯劍䎂㯯넓涸饥ぢ⟃⿻竤斊䊺竤ⵌ✫䒭䗏莅鱲㘗涸䢃✥⡎
➮涸莇㥅莅䫏Ⰵ⟂➃䠮⹛䖕⢵䧮濼麥➮ꤑ✫䊨⡲⟃㢫荈䊹⛳琎噲㖒鹎遤ⶾ⡲嫦妄涮㾝ⴀ倞涸⡲ㅷ禺 ➮籏僽莇넞ꅷ捙㖒铞衽荈䊹涸倞ⶾ䠑䧴罏䭭ⴀꨶ舡㽠雊⡹溏➮⿶⨞ⴀ✫ㆭ❉倞⡲ㅷ
➮涸遤玑籏僽䖎稡剤儘⦬⛳〳⟃鋅ⵌ➮涸茁♳䱦衽氕⧂⡎僽➮涸滚牟溏饱⢵齡垺⯏怏庯劆䕱䖁ⶾ⡲鸏⟝ ✲䞕腋㣁㖈欰ㄐ⚥岤Ⰵ腋ꆀ雊➮籏僽剤➊랃㖈倰銴庯劆莅劍䖊涸邍䞕 鸏垺涸ꀶ⽈➋雊➃錏䖤姹㋐莅妲⢆ 䎂㜡秶涸伢䕧鎹罏㖈✳⼧⚆私劣涸剓䖕鵜✳⼧䎃䧭捀鍑㓂䖕ⶾ鸤〵抓私㻜伢䕧괐惐涸⚺⸂⛓♧➮⦛ꤑ
✫鎹ꏗ齡媯儘傈괐饱ꨣ弉涸爢剚ⷜ捙隶鼄⚛莅爢剚麌⹛㖈鏪㢵㾵崩ㄎ䥰僽〵抓娜〷♳ꨈ⟃䬀徧涸䧭籑 罜㖈♧⛰⛰ӧ䎃➿⚥劍⟃䖕♶㼱麕䖃⟃私㻜䧴㜡㼬捀⚺涸伢䕧䊨⡲罏㖈殹儘谁㠢涸惐崩伢䕧⡲捀繡遯
ⶾ⡲涸㯯勞⛓♧⛳䫏Ⰵ✫鸏岚ⶾ⡲♳涸䱳程䨾閗伢䕧⡲捀繡遯ⶾ⡲涸㯯勞⛓♧⚺銴僽殹儘㖈谁㠢崞鬪涸 鏪㢵殹➿谁遯㹻䫏Ⰵ伢䕧酤縨伢䕧⸈⟃粭殥䚍涸ⱄ鸤贖椚殹儘崩遤⟃չ伢䕧繡遯⻋䧴繡遯伢䕧⻋պ鸏珏 岌岌涸铞岁䕎㺂㖈㹁纏♳鸏垺涸铞岁湱殹磧祴垸祎⡎伢䕧莅繡遯㖈ⶾ⡲歲ꣳ♳涸垸祎馊歲僽♧⦐곏衽
涸植韍䳖〣鑨铞伢䕧♶ⱄ僽麕䖃㋲栬⟃撑晚殥鏰铞佦✲伢䕧㼩谁遯㹻⢵铞♧㥶屘䕙宐䕙㠺⯘⸂
ꨶ箁 粚䋒 敚盘˘˘僽谁遯㹻䭭⢵⡲捀涸滞㢵勞俲⛓♧㼩伢䕧歲⢵铞僽♧㣐也暶ⴽ僽私㻜伢䕧ⴀ魨 㼟伢䕧⡲捀娜〷植㜥欰ㄐ植㻜涮鎊罏涸䊨⡲罏㼩倴伢䕧涸椚鍑剤䖎㣐涸湚
♶㼱伢䕧鎹罏㖈ⶾ⡲♳⛳剎竤㎲鑑㼟粭殥䚍䩛岁䌟Ⰵ䬝撑⛳鋅ⵌ♶㼱➃㎲鑑䕧⫹酤縨涸ⶾ⡲ 㖈ꀶ⽈➋涸䕧⫹⡲ㅷ⚥〳⟃鋅ⵌ➮⨋㥪⟃伢䕧⸈Ⰵ⦐➃䫉䞕䒭粭殥贖椚涸괐呔⛕溏莅伢䕧繡遯⻋涸邍植僽
♧垺涸♶麕➫稣錚㻌胝䖕涸ⶾ⡲⹛堥莅涮䟝蕰⟃⛰ӧ䎃➿繡遯伢䕧涸惐崩⢵增鋕Ⱖ㻜ꀶ⽈➋♶腋⟃鸏 ⦐腠窄⢵娝겳ꀶ⽈➋㨥涮㾝鸏겳涸ⶾ⡲Ⱖ㻜䊺竤㖈鸏⦐괐惐麕䖕僽㖈✳⼧♧⚆私䖕㨥涸罜➮涸䙼 罌莅ⶾ⡲䠑㕬⛳ꬌ㛇倴䙼罌私㻜伢䕧䧴㜡㼬伢䕧涸涮㾝僽や荆⤂ꣳ䧴Ⱖ➮䕎䒭涸岤Ⰵ⢵溁䙼刿⫹僽ⴀ荈
ⶾ⡲罏劥腋涸➝Ⰵ⟃⿻侸⡙伢䕧莇饱䖕伢䕧㖈䪮遯♳涸壋꣮⡜䖰㣐滞ⵌ㼠噠罏兜麒㖈伢䕧⛓䖕竤歋
ぐ珏鮿넓涸䖕醢粭殥⛇荛倴㕬俒剅㻨䧭捀欰崞⚥邍麨䨾䙼䨾䠮涸⚺銴㘗䢀ꀶ⽈➋⡂⛖♧饱姿㽠騥麕⛰ӧ
䎃➿齡岚伢䕧騟箁涸䱣䩟湬䱺鹎Ⰵ✫侸⡙儘➿涸眏㤉莅欰崞偒䖒⛓⚥ ⽰兞涸䫉䞕涸䧃莍涸䠮儘涸殥⚥ꦑ儘〳鋅涸㣐ꆀ䭨顦贖椚Ⱖ㻜⛳僽ꀶ⽈➋㼩倴⚆歲涸椚鍑鋕錬 晚媯稣烱姘繡❏ぐ㖒涸ⶩ䕧留䎃莅劢⢵倞莅莍㣰꤫倞耂儘✲莅㣆⚥㣼䟝䞕䠮莅䪡鐱Ⱟ剤涸♧⦐ 殥䕱䖁䪭鯺✫㣐ꆀ鎝䜂⽿⿶〳⟃鿪䋑麉⥊涸鰋䘰⽫韍♧⟃嚌䭍♧⦐殥䕱䖁㾵㾵毕毕㖒⺫わ✫ぐ珏⦐➃
鎹䥊涸冝贫ず儘⽿⿶곏䖤侎罜䎂僒⫹僽〧〧窛窛㖒♶倬鏰铞⡎⚛♶彋⪔㼩錚滞鹎遤㠺鶗䚍涸翕聃鼝锞 鸏僽鸏⦐儘➿䚍呔涸僦撑✫⡹ⴕ♶幢嘽鸏僽➮滚⚥涸植㻜㔐䥊涸侃✲爢纈㯯넓涸嵳峕䧴罏僽鸏⦐儘
➿Ⱖ㻜♶銴⡹ⴕⴽ傍㽠㼟鸏❉鿪窡秝䧭捀♧䓹笪♧⦐殥♧㕬俒⛇荛倴♧⦐倬〣鿪㖈酭걧⛳〳 ⟃湱䘎
ꀶ⽈➋涸粭殥伢䕧⿾僦涸♶僽♳⚆私䖕⼧䎃齡㤛䓽炽欩荛植㖈溏饱⢵矦湬ㅶ⫊涸騟箁䙼罌➮涸ⶾ⡲䠑㕬 邍植䩛岁䕱䖁劢竤「蕲㖒湬䱺鹎Ⰵ✫姽儘姽ⵠ㗞桧㾝植➮欰崞鮨騋⚥♧馫馫儘瑠假遤莅䗱䙼麉饥㖈✳ӧ ♧♧䎃շ鼍㣟 ˙ 儘 Le Temps Perduո殥ⱁ剓䖕♧갤⡲ㅷ➮㼟俤꼸罉晘留䎃䖃✲輑Ⰵ撑晚磌逕瘘 㠺⯘⸂莅䭨顦㽠㹒デ✫➮荛➛涸ⶾ⡲锅䚍
剤❉撑晚僽➮㖈倞耂伢䕧涸騟玑㤕岚⚥欩荛僽㖈鮦Ⰹ䵻ⵌ♧⦐⽰㼟䬓䱈涸㣔堀4"34 聒贉涸〵⻍瑠㙹蠝 螠涸✳䩛ꨶ㐼䏅괤괐㢹涸遤➃♳棵涸➃惐假遤涸堥牱莅遳錬涸㋲鮦➮搂䠑ꆚ㼩鸏❉匌銯涮㾝ⴀ禺鷆
髠䧴爢剚佟屛䚍涸䢀䏞⛳♶暶㖒莦湏皿鎙ぐ珏䭨顦⯋稇涸ꡠ耢䧴㼩撑⟃遤䪡ⴼ➮⟃㷛留菛涸滚漌懳錒麕 鸏❉徿Ⰵ滚砡剎雊➮欴欰䞕䠑䧴갭荳㋗㎒涸儘ⵠ⚛嬗搂毠䣂㖒㼟鸏❉⽫韍荈歋荈㖈欩荛騥鬪䒭㖒꧌ꐘ㖈荈䊹 鋕笪芙♳➮涸䩛粭ꤑ✫繡遯䚍涸期䟝莅圓䙼剤儘刿⫹䌟剤俒㶶䚍涸騥鬪䚍溍䪡⸈鏽䧴䴺跗罜♶濼僽や ⴀ倴ⵠ䠑➮⿶䨔倬鸏❉滞㢵䕧⫹痘贫涸爢剚䚍莅儘瑠ꡠ耢ꤑ䕧⫹ꠗ隡♳涸䭸嶍䚍幋䧭♧佅㼭㢹刼
㖈鸏❉禺⚥剤♧㤛⡲ㅷ僽ꀶ⽈➋⟃涮꩔䎑敚晚⡲稇勞⸈⟃锅蒀♳蒀毕⟃䕧⫹涸⡲ㅷ俤럊佞㣐䖕㥶㸙㸿 僤椕籗蔅衆衞㺢剤粭殥鹠馱莅馄植㻜䠑馱鸏❉⡲ㅷ鿪僽ꀶ⽈➋蔅䗱⸂㛆귢꩔晚⚛♧䓹䓹➫稣㖒㖈敚
盳♳锅蒀㖈ꨶ舡♳⥜姻涸䧭卓鸏⦐禺僽ꀶ⽈➋倞鹎䎙㤛⡲ㅷ⚥㖈錚䙂♳Ⱖ㻜溫姻剓顦鵜♳⚆私ꡠ倴粭 殥䚍伢䕧겳㘗涸ㆹ㷸䢀䏞
搭罜鸏僽ꀶ⽈➋✫鸏僽䕧⫹涸姽儘姽ⵠ✫鸏僽♧껷鿪剚䚍涸偒䖒鸏僽♧⦐ꀀ勠莍㔐䥊莅㢫㣖瑠假遤ず儘 涮欰搂갭ꆂ幢⛳ⴕ♶幢僽植㻜鼩僽㣆㞯涸姹䘰✫鸏僽♧㜥➛傈涸摳抡䗱僽騥⹛涸ꀶ⽈➋涸澢㶰僦⫹衽 齡抡蔅攨⸂㔋㼙秼굳罜齡⤑僽✫
Writer
/
Art Critic Li Wei-Ching
Creation seems to be able to instill vitality into life. Deng Po-Jen had been one of my colleagues in the newspaper office for years. When I sat in front of my computer working I’d see him, with that curly hair, walking towards me energetically sharing with me the news photos he came up with every day. The pictures included news photos and those shot in studio for fashion consumption use. His passion and dedication are impressive. And you find his enthusiasm even more preciously touching when you see the entire print media industry has frightfully started to decline or transform to a different kind of form. It was only after a while that I knew he’s been actively creating outside his work. Every time he comes up with a new series of works, he’d be all excited talking about his creation, or bringing out his laptop to show you his latest works. His itinerary is always full, as you can see there’s fatigue showing on his face sometimes. However, those eyes, although tired, are burning with yearning and expectation, suggesting creation seems to be able to instill vitality into life, giving a man something to look forward to or long for. A person such as Teng Po-Jen, delights you and impresses you. During the last twenty years of the twentieth century, which is the period before and after the abolishment of Martial Law in Taiwan, the photo journalists of print media are one of the main contributors to Taiwan’s documentary photography tide. Not only did they record the drastic, storm-raging social changes during that time, they also took concerted actions with the social movements then at many levels—a remarkably unforgettable achievement in Taiwan history. Since the mid-1990s, many of the journalists who used to report and document news stories, had also joined this tide emerging in the arts circle, which used photography as one of the mediums and tools for art creation. How photography is used as one of the mediums for art creation is, according to the active artists in art circle back then, combining camera equipment and photography along with editing the photos by painting. We used to call it either “photographic art” or “artistic photography”, with the terms being very indefinite. It’s true that such naming is quite coarse and vague, but it is the vagueness of the line between photography and art that significantly marks this form of art. That is to say, photography is no longer merely about telling a story with one single picture like before. Photos are now, for artists, no different than tools like greasepaint, watercolor, acrylic, electric wires, aida fabrics, light tubes…etc. They all are the materials used by artists. This revolution was a big shock to the photography field. Especially for those who were dedicated to documentary photography, who consider photography to be a spokesman for real historic moments and reality in life, it was a concept too shocking to digest. Yet, a number of photo journalists did try to introduce painting elements into photos. The attempts of graphic installation when creating could be seen a lot as well. In Deng Po-Jen’s art works, you can see he tends to add a touch of personal lyrical painting. When you first look at it, it’d seem like artistic photography. However, if you see the creative motive behind his works, as well as from the perspective of the 90s artistic photography tide, Deng Po-Jen doesn’t belong to that category. By the
time Deng Po-Jen started creating in this style in the twenty first century, the tide had already ended. Judging from his way of thinking and creative motives, he doesn’t create in the new style out of worry about whether the documentary photography and coverage photography have arrived at a bottleneck or not. The reason he adapted this new way of creating photos is more of his instinctive transformation, and not from outside factors. Ever since photography was digitalized, the skill level required for photo shooting is no longer high. Now, with the post editing, painting, putting on words from all kinds of software and apps, photography has become one of the main means to express what people think and feel in life for both amateur and professional photographers. Deng PoJen seems to have skipped that struggling phase of photography development in the 90s right at his beginning, straight into the life, rhythm and tempo of the digital era. Whether using situational sceneries, being lyrical, nostalgic, or sentimental about time, his images contain a great amount of collages everywhere. It’s actually the perspective Teng Po-Jen sees and comprehends the world in: fragmented, divided into pieces, silhouettes he snatches from Europe and America, childhood and the future, old and new, current events and fantasies, sensibility and criticism. His pictures contain tons of information but at the same time, they somehow give the impression of the artist being a city wanderer who cannot care less. Each one of his art work holds layers and layers of the secret signals of personal memories. Meanwhile, however, they seem to be entirely open and easily accessible to everyone; as if the pictures keep nagging and telling their stories over and over. But as a matter of fact, they don’t intend to force the audience to listen. This is the reflection of this era we’re living in: you can’t tell whether the images are the reality in his eyes, or him narrating his memories, or the vast ocean of the social media. In fact, the times we’re living in doesn’t want you to tell anything apart anymore. Things have been already integrated into one web, one image, one picture with texts, or even one sentence. It’s all in there, forgotten or not. Deng Po-Jen’s style in his painting photography doesn’t follow that forceful—almost sad, reminiscent—kind of tone that dominated the last ten years of 20th century. His creative motive, ways of expressing seem to have entered this moment right now without suffering in the middle, showing without any reservation all the traces of his life, the places he’s been to, the things he’s been pondering over. In the last page of the picture album he published in 2011, Le Temps Perdu, he brought the mottled walls, his childhood into the pictures, together with crayons, acrylic, and collages, which declared his creating style thus far. Some of the pictures were taken while he was on the road taking pictures for work; sometimes he was even still in the car, when he snatched a shot of a bridge ready to be torn down. There are also the sky of Taipei when SARS was prevailing, a second-hand electronic store in Wanhua district, the pedestrians on a typhoon night, the crowd of people rushing to work, the ticket to an airplane and a bicycle on a corner of street. He never intends to create follow-up series or develop any social political attitude, nor does he ever try to calculate the relations or contrast between each element on his pictures. Through his childlike eyes, he absorbs all the images he comes upon, images that stir up his feelings or leave him in awe, and then, without any hesitation, collects and stores all the images onto his retinas in free or even leaping order. Except the aesthetic wildness and thinking in his hand painting, at times it’s more like a jump headnote, a note or an act of mischief. I do not know if it’s intentional but
he also cut loose the social themes, the time and space relations from those graphic signs, getting them rid of referential quality, mixing everything in to a serenade. In this series, there is a set of pictures using moldy slides as the material, which Deng Po-Jen colored and then put on top of the images. When the moldy spots were magnified, they become like planets in the universe, blossoming flowers and fallen leaves, full of the delight of painting and the pleasure of surrealism. Deng PoJen actually cultivated those molds on each slide with much effort, and carefully colored the slides on a lightbox one by one. Finally he revised those pictures in the computer to create the results that we see today. This series among his other latest works is in fact what’s conceptually closest to the philosophy towards artistic photography in the last century. However, this is Deng Po-Jen; this is the image at this moment; this is a cosmopolitan melody; this is the joy of the old memory in a countryside with the adventure in outer space happening simultaneously, with absolutely no need and no way to differentiate between realities and dreams. This is a show of fireworks today, with the heart beating and thumping, with Deng Po-Jen’s pupils reflecting the spectacular and extravagant sparks of the fireworks. This is it.
ꀶ⽈➋
Deng Po-Jen ꀶ⽈➋ 䎃ⴀ欰倴荩抓㾓匌隡㼭㷸儘涸厥♧妄㹻停假麉時時䭭窍➮湱堥䬝♴痧♧䓹撑晚尣峤ⴀ⢵
䖕 㔔 捀 時 時 涸 ♧ 〣չ ⡹ 䬝 䖤 嫲 ⡹ 〈 〈 㥪 պ 䖰 姽 敎 饱 ➮ 㼩 伢 䕧 涸 ㋐ 㥪 湡 䖰 ✲ 㯯 넓 䊨 ⡲ 莅 伢 䕧 來 㷸 ず 儘 ➮ ⛳ 攨 邪 倴 儘 㼿 私 㻜 伢 䕧 ꡠ 䗱 㕼 㖒 ➃ 莅 㙹 䋑 涸 陾 겗 䕧 ⫹ ⶾ ⡲ 僽 ➮ 莅 ⚆ 歲 彘 鸒 涸 倰 䒭 鋕 伢 䕧 捀痧✳欰ㄐ
䠦⨞㣆涸➮㼟䎂ⳝ涸➃✲暟⻋捀♧䌴䌴䠮䚍㥶鑘涸殥⡲ㅷツ植♧珏暶婌涸颶㖒莅影䏞♧晚衞㶩 ♧ ⡙ 丑 ⪑ 涸 㥏 㷛 ♧ ⦐ ꬆ 姺 涸 ꗻ 鿪 ⫹ ♧ ⦐ ⦐ 涸 欰 崞 箁 程 䫈 䧴 ⶾ ⡲ 罏 殆 ♴ 涸 䎙 麥 騟 䖜 饥 鵜 ♧ 溏 㼟 涮 植 傈䌢劥魨㽠僽⦐㣆㞯暟䳖僤獵 㷸娜
⚆倞㣐㷸㕬俒⫄久冸侸⡙ⴀ晝灇瑖䨾焚㡦 竤娜
2012.03~ 鴻➛ 㕜用荩抓猰䪮㣐㷸䊨㉂噠鏤鎙禺Ⱟ⟤闍䌌 2003~ 鴻➛
⚥㕜儘㜡伢䕧⚥䗱伢䕧鎹罏
⦐㾝
2016.01 չ儘 ˙ ꃋ嫢伢䕧꧌倞剅涮邍冸⡲ㅷ㾝պ歊㕨㙹䋑괐呔剅䏅〵⻍
2011.02 չ鼍㣟 ˙ 儘伢䕧꧌倞剅涮邍冸⡲ㅷ㾝պJAMEI CHEN˙DIALOGUE〵⻍
2006.04 չ㣼麂 ˙ ⵞ럊 ˙ 荩⻍ˌ仗湚㖈溫㻜ㄤ贡䎑⛓պ〵抓㕜ꥹ鋕錏谁遯⚥䗱TIVAC〵⻍ 2003.04 չ溏鋅 ˙ 溏♶鋅պ昽㡦谁䐤〵⻍ 2000.07 չ鰋ㄎպ〵⻍谁䐤〵⻍ 耢㾝
2015.11 չꠗ隡 ˙ 㙹䋑ˌ⚥螠伢䕧谁遯❜崩㷸剚剚㆞耢㾝պ䚻儈谁䐤〵⻍ 2015.09 չ2015 ⚥㕜䎂麶㕜ꥹ伢䕧㣐㾝պ㿋銯䎂麶 2015.08 չ2015 痧Ⱉ㾂㣐椚㕜ꥹ䕧剚պꨣ⽂㣐椚
2015.05 չFAS 2015 犷晋䷒尪㕜ꥹ谁遯⽈錒剚պ㺯莓蒕뜩ꂋ䏅〵⻍
2014.11 չⳖ滓娔剢ˌ〵⻍䒊㙹 130 鹋䎃伢䕧暶㾝պ〵⻍䋑用爢剚來肬긭 2014.08 չ痧♬㾂⚥㕜⾲欰䢀㕜ꥹ伢䕧㣐㾝պ顜䊝
2014.05 չ䞕蒀䞕ˌ〵抓➃넓谁遯伢䕧㣐㾝պ螠㿋 1914 俒ⶾ㕨⼦〵⻍
2014.05 չ⻍〵Ⱄ簖䋑谁遯㹻耢㾝ˌջ嵥欰 ˙ 㣆谁ռպ〵⻍䋑用爢剚來肬긭瘞 2013.11 չ2013 〵⻍伢䕧眏պ螠㿋 1914 俒ⶾ㕨⼦〵⻍
2013.10 չ2013 껷㾂⻍❩㕜ꥹ伢䕧ヰպ798 谁遯⼦⻍❩
2013.09 չTaipei Art Photo Show 2013 台⻍谁遯伢䕧⽈錒剚պ蔅⽈昰蒈긭〵⻍ 2013.09 չ2013 ⚥㕜䎂麶㕜ꥹ伢䕧㣐㾝պ㿋銯䎂麶 2013.08 չ2013 痧❀㾂㣐椚㕜ꥹ䕧剚պꨣ⽂㣐椚
2013.01 չ⻍〵Ⱄ簖䋑谁遯㹻耢㾝ˌջ㙹ꀀ ˙ 㿋嵳 ˙ 鎹䥊ռպ〵⻍䋑用爢剚來肬긭瘞 2012.12 չ㻜植ˌ伢䕧倞Ⱙ询պ〵⻍䋑用繡遯긭
2012.12 չ2012 〵⻍伢䕧眏պ螠㿋 1914 俒ⶾ㕨⼦〵⻍
2011.12 չPHOTO TAIPEIպ〵⻍伢䕧莅侸⡙䕧⫹谁遯⽈錒剚牟傢궤䏅〵⻍ 2011.03 չ儘➿⛓滚〵抓涰䎃魨䕧պ〵⻍䋑用繡遯긭
2011.01 չ〵抓倞⚆➿伢䕧㾝պ〵⻍殹➿谁遯긭 MOCA Studio
2010.11 չ⻍〵Ⱄ簖䋑谁遯㹻耢㾝ˌջ蔅荈搭笃欰崞ռպ〵⻍䋑用爢剚來肬긭瘞 2010.10 չ2010 ⚥㕜䎂麶㕜ꥹ伢䕧㣐㾝պ㿋銯䎂麶
2010.05 չⰍ䁘倞耂㯯넓溏⚆⽈ˌ忩〵Ⰽ㖒倞耂伢䕧㾝պ匌倰僈棟♳嵳 2009.12 չPHOTO TAIPEIպ〵⻍伢䕧莅侸⡙䕧⫹谁遯⽈錒剚Ⱉ犷涽㹨㣐궤䏅〵⻍ 2002.09 չ欰ㄐ汚騋ˌ921 㖒ꅾ䒊♲鹋䎃䕧⫹㾝պ〵䊣鶬㾝
2000.01 չ1999 㣐㖒⹛ˌ921 ꧌꧌㣐㖒私ꏗ伢䕧꧌պ伢䕧㾝铇ㅷ剅䏅侚⽂䏅〵⻍ 1998.03 չ〵抓涰㣐伢䕧耢㾝պ㕜昿私䙂긭〵⻍ 瘼㾝
2015 ⚥螠伢䕧谁遯❜崩㷸剚շꠗ隡 ˙ 㙹䋑ո剚㆞耢㾝瘼㾝➃ 2013 〵⻍伢䕧眏倞ꌴ㾝瘼㾝➃ 2012 〵⻍伢䕧眏倞ꌴ㾝瘼㾝➃ 栽栁
2015 䎃〵嵳倞耂伢䕧㣐飓չ〵嵳ꅾ㣐倞耂겳պչ〵嵳➃暟倞耂겳պ⮛ 2012 䎃痧✳㾂չ䖛聱ⱺ匉պ㕜伢䕧㣐飓Ⱙ询⡲ㅷ栁껷栁 2010 䎃〵嵳倞耂伢䕧㣐飓չ〵嵳欰崞字⤺倞耂겳պ穉撑⮛
2006 䎃㕜㹻㖒椚㕜ꥹ伢䕧㣐飓〵抓⼦鼇䬫飓〵抓僦⫹俒⻋籏剚栁 Ⱙ询莅酢⸔
2015 俒⻋鿈谁遯ꋓ遤Ⱙ询
2015 չ2015 痧Ⱉ㾂㣐椚㕜ꥹ䕧剚պ猙➃Ⱙ询
2013 չTaipei Art Photo Show 2013 〵⻍谁遯伢䕧⽈錒剚պ猙➃Ⱙ询 2013 չ2013 痧❀㾂㣐椚㕜ꥹ䕧剚պ猙➃Ⱙ询 2012 嵄寐呸ꀀ䖛聱ⱺ伢䕧⽈暟긭Ⱙ询
2011 չ鼍㣟 ˙ 儘պ禺〵⻍䋑用繡遯긭Ⱙ询
2010 2010 䎃〵⻍䋑佟䏎俒⻋㽷 99 䎃䏞痧✳劍谁俒酢⸔ ⴀ晝
2016 շ儘 ˙ ꃋ嫢 A Twist of Timeոꀶ⽈➋〵⻍
2011 շ鼍㣟 ˙ 儘 Le Temps Perduո♲⛨䕧⫹〵⻍
ꀶ⽈➋
Deng Po-Jen Deng Po-Jen was born in Pingdong, Taiwan, 1969. He took his first photo during a family trip when he was still an elementary school boy. His father said to him, “You did a better job than your uncle,” and photography has become his passion for life ever since. He currently works as a photojournalist and teaches photography. Besides, He has a great passion on fashion photography and documentary photography, fascinated by dynamics of people, city and environment. Creating photographic works is his way to communicate with the world. To Deng, Photography is his second life. An avid dreamer, he is good at turning ordinary city corners into extraordinary poetic images, full of textures and touches of warmness. In front of his lenses, no matter his target is a leaf, a girl with an umbrella in hand, a clock that stops, they are all perceived as clues in our lives, or the traces photographer left for the viewers. When we get closer, we realize that every-day-life is a dream, ready to change and flow at every instant.
Education
MA, Department of Graphic Communication and Digital Publishing, Shih Hsin University
Experience 2012.03 ∼ now Instructor, Department of Industrial and Commercial Design, NTUST 2003 ∼ now
Photojournalist, China Times
Solo Exhibition 2016.01 2011.02 2006.04
a Twist of Time-Release Presentation and exhibition,Garden City Publishers, Taipei
Le Temps Perdu-Release Presentation and exhibition,JAMEI CHEN˙DIALOGUE, Taipei
Adventure˙Punctum˙Taipei: Swinging between reality and Imagination, Taiwan International Visual Art Center (TIVAC)
2003.04
To See, Not to See, Jazz Photo Gallery, Taipei.
2000.07
Breathe Light, Taipei Gallery, Taipei.
Group Exhibition 2016.01
Message of the City: Group Exhibition from The Society Photographic Aesthetic Chinese, Fujifilm Taiwan Gallery, Taipei
2015.09
China Pingyao International Photography Festival 2015, Pingyao, China
2015.08
6th Dali International Photography Festival, Dali, Yunnan, China
2015.05
Formosa Art Show 2015, Humble House Taipei
2014.11
Gazing the Time—Taipei City 130 anniversary Photo Exhibition , Taipei City Arts Promotion Office
2014.08
7th PhotoChina Original International Photographic Exhibition, Guizhou, China
2014.05
Erotic, Beauty, Emotion Taiwan Body-Photography Exhibition, Huashan 1914 Creative Park,Taipei
2014.05
Floating lives, Dreamy Arts Exhibitions of Taipei County Artists, Taipei City Arts Promotion Office
2013.11
Taipei Photography Festival 2013, Huashan 1914 Creative Park,Taipei
2013.10
1st Beijing Photo Biennial, 798 Art Zone, Beijing
2013.09
Taipei Art Photo Show 2013, EXPO Park, Taipei
2013.09
China Pingyao International Photography Festival 2013, Pingyao, China
2013.08 2013.01 2012.12 2012.12
5th Dali International Photography Festival, Dali, Yunnan, China
City&Country, Mountain&Sea, Memory Exhibitions of Taipei County Artists, Taipei City Arts Promotion Office Reality˙Representation: New acquisition of photography, Taipei FineArts Museum Taipei Photography Festival 2012, Huashan 1914 Creative Park, Taipei
2011.12
PHOTO TAIPEI 2011, San Want Hotel Taipei
2011.03
Eye of the Times – Centennial Images of Taiwan, Taipei Fine Arts Museum
2011.01
Taiwan New Generation Photo Exhibition, MOCA Studio at Museum of Contemporary Art, Taipei
2010.11 2010.11
Flowers, Nature, Green Life Exhibitions of Taipei County Artists, Taipei Cultural Center China Pingyao International Photography Festival 2010, Pingyao, China.
2010.05
China and Taiwan’s Media Impression of Expo 2010, The Oriental Pearl TV Tower, Shanghai
2009.12
PHOTO TAIPEI 2009, The Westin Taipei
2002.09
921 Earthquake: the 3rd Anniversary Photo Exhibition, Taiwan Tour , 921 Post-disaster Reconstruction Committee, Taipei.
2000.01
Remembering 921 Earthquake, Anniversary Photo Exhibition, Eslite Bookstore, Dunnan Branch, Taipei.
1998
A Century of Taiwan Photography, Sun-yat Sen Memorial Hall, Taipei.
Curating 2015
Message of the City: Group Exhibition from The Society Photographic Aesthetic Chinese, Fujifilm Taiwan Gallery, Taipei
2013
Young Artist Zone, Taipei Photography Festival 2012
2012
Young Artist Zone, Taipei Photography Festival 2013
Honors 2015
Award of Excellence, TAI HAI Press Photo Contest
2012
First Prize, Category of Collection, 2nd Xu XiaoBing Photo Competition
2010
Award of Excellence, TAI HAI Press Photo Contest
2006
Taiwan Image Cultural Award, Taiwan Region, National Geographic Society’s International Photography Contest
2015
Collected by ArtBank, Ministry of Culture
2015
Private Collection, 6th Dali International Photography Festival
2013
Private Collection , Taipei Art Photo Show 2013
2013
Private Collection, 5th Dali International Photography Festival
2012
Collected by Xu XiaoBing Photo Museum, Tongxiang, Zhejiang Province
Collection and Funding 2011
Le Temps Perdu series, Collected by Taipei Fine Arts Museum
2010
Awarded Arts Funding from the Department of Cultural Affair, Taipei
Publication 2016 2011
շA Twist of Timeո, Deng Po-Jen, Taipei
շLe Temps Perduո, Triple Film House, Taipei
特別感謝 Special Thanks To
鿓薊耫ゟ㣔畎넞䘋㼤畎⯕ㄤ䓹襟匡勛笞蜹齶牏脒嘥䒂䐁 導僻葻랔㶩僈⡦竤岲桬㷸㻞卌僒襮꤫僱犘⸈螩頥卌幑犷
詓鯺囙ス葻黇 齶㕜䃕꼛用纈卌た꾚剚螠꤫謶꤫㷎併 Ⰽꦷ罉贅䑞デ鏤鎙剤ꣳⰗ♲⛨䕧⫹✲䨾
Quo Ying-Sheng, Wu Tian-Zhang, Gao Zhi-Zun, Zhang Gwang-He, Li Wei-Jing Qiu Zu-Yin, Yang Yen-Kang, Shen Zhao-Liang, Hwan Zi-Ming, He Jing-Tai, Wang Hsieh-Ning, Lin Yi-Zhen, Chen Chun-Lu, Garfield, Lin Tian-Fu, Jiang ZaiRong, Lu Liang-Yuan Qiu Guo-Jun, Ma Li-Qun ,Lin Hou-Chun, Quan Hui-Hwa, Chen Wei, Jamei-Chen, Two-Tiger Advertising Agency, Triple Film House
剓䖕䠮闒랿랿佅䭰䧮涸Ⰹ➃勛ꆄ榫ㄤ䷛䠦涸㹻➃
This book is dedicated to my wife Li Jin-Ying who has always been the most supportive, and to my beloved family
Printed in a Limited Edition
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Artist│ Deng Po-Jen Editorial Team│ Deng Po-Jen, Wang Hsieh-Ning, Lin Yi-Chen Text Editor│ Wang Hsieh-Ning Executive Editor│ Li Jin-Ying Graphic Designer│ Lin Yi-Chen English Translator│ Xu Fang Publisher│ Deng Po-Jen Printing│ Chia Hsin Printing Ltd. Distributor│ Garden City Publishers ISBN│ 978-957-43-3118-5 First Edition│ January 2016 All rights reserved. No part of this publication maybe reproduced or transmitted in any form without prior permission in writing from Deng Po-Jen
㕜㹻㕬剅긭ⴀ晝ㅷ갸遤管湡 CIP 须俲 儘٥ꃋ嫢 ꀶ⽈➋⡲ 荩⻍䋑 ꀶ⽈➋ 2016.01 Ⱇⴕ
ISBN 978-957-43-3118-5 礶酤 伢䕧꧌ 957.9
104027329