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2015-08-14 14:29
邹盛武 阿尔山大峡谷 A er Grand Canyon 2011 Gelatin Silver 17.2x22.4cm 策展人：姜纬 展期：2015年9月5号- 11月16日 开幕时间：周六，9月 5日下午3:00到7:00………… 上海—C14画廊荣幸推出“L'esthétique美学”群展，呈现艺术家的最新系列艺术作品。开幕酒会于2015年9月5日（星期六）下午3:00到7:00在C14画廊举办，艺术家付羽，路泞，邹盛武，魏来，卢恒，马永强，张玉明和策展人姜纬莅临。 “就人类学的意义而言，我再重复一遍，人首先是一种美学的生物，其次才是伦理的生物。” 这是约瑟夫·布罗茨基1987年接受诺贝尔文学奖时演讲中的一句话。基于他的个人经历，这句话，对于他，对于我们，都有着意味深长的内涵，也正是展览命名为《美学》的理由之一。
路泞 梨花村2 Lihua Village2 2014 Gelatin Silver 19.5×19.3cm 《美学》展出的是摄影作品，所谓“作品”，并非指一个摄影师拍出来的所有东西，作品是指在美学目的中，一段长时间工作所获致的成就。长时间不仅是指年月日，也是指酝酿、学习、考量、转折和尝试。了不起的作品通常不因为想标榜了不起而拍摄，作品有自身更可贵的具体理由和目标。某种程度上讲，真正的作品不存在于其确定的形式，而存在于一连串试图逼近它的努力。 这样的努力，显现于摄影师及其作品，就是人与世界相互关联的具体性，其旨趣足以定义什么是摄影、为何摄影、怎样去摄影。付羽、路泞、邹盛武、魏来、卢恒、马永强、张玉明对于传统经典摄影的尊从和借鉴，既取决于重新开启的历史语境，比如对线性历史观的反思，同时也是传统经典摄影所提供的各种表达和美学形式，依然能够对我们的感官与视觉经验进行有效的整理和建构。美学不是空洞干枯的理论，不是装腔作势的矫饰，而关乎摄影师的情感和信念，关乎摄影的自主性、合理性和可能性。 在摄影的创作、传播、观看和解读中，对实用工具功能的过度索求，往往使得我们把摄影之美忽略了。摄影的形式，本身就可以是内容，而对形式的解读，往往是艰巨的任务，只有深入形式的“深处”，以及了解何以摄影师赋予作品这样的“深处”，我们才能领悟作品里真正的微妙之处。他们的尊从和借鉴，并不盲目和机械，而具有深远的目标，途中有时还会绕过简单的、已伸手可取的成果，视之为不当的诱引和障碍好像尤利西斯听塞壬的歌声，所以，我一直把他们的实践视为主动的选择，视为重新出发。
魏来 麦德龙超市的傍晚 Supermarket at nightfall Gelatin Silver 19.6x19.6cm 在笛卡尔梦想给科学寻找根基的时候，这一过程实际已具有了审美的特征。里尔克的作品以其人生体验为主题，描绘了自身与外界环境的融合，也始终带有强烈的审美印记。人们需要对此进行视察与分析，看其究竟属于主观臆想，还是确实如此，但无论何时何地，一旦离开了美学思维，人们将很难找到更好的出路。审美蕴蓄着自由和创造，其强烈持久的内趋动因的作用与渗透，使得审美成为理性与感性的交叉点和结合点，并承担起与社会存在不断加剧的异化现象相对立的职责，就如同理查德·舒斯特曼在其《生活即审美》中深刻指出的：“在一个其它各个方面都是冷冰冰的物质主义和法则规定的世界里，审美成了一个自由、美和理想意义的孤岛，它不但是最高愉快的惟一所在，而且是精神皈依和超越的一种方式。”付羽、路泞、邹盛武、魏来、卢恒、马永强和张玉明摄影作品的美学价值，就确立在如此范畴之中。 站在我的角度看，“成为另一些人”，不是因为付羽、路泞、邹盛武、魏来、卢恒、马永强和张玉明太不寻常——在当下，不寻常的反而最寻常，因为不寻常本来就会从众里跳出来进入我们眼中；毋宁是他们内心深处仅有的、那一点点微小的、不愿意被席卷的声音，很有可能会被整并入时代的大合唱里去，而我要做的，是尽力把他们的声音过滤出来、分离出来，不让时代的解释中止它们。还记得博尔赫斯叮嘱的吗？要像一个作家那样写，而不要像一个时代那样写。 要像一个摄影师那样拍照片，而不要像一个时代那样拍照片。
张玉明 废车部件 Wasted Car Parts 2015 Gelatin Silver 26.9x26.5cm C14画廊位于原法租界中心地带，紧邻现上海图书馆，成立于2013年。C14画廊致力于携手国内外一流的摄影机构、艺术家、策展人、评论家和收藏家，创造精良的学术和展览环境氛围。更多信息请访问：www.C14gallery.com. 如果您需要相关作品和艺术家信息，或约见，请联络C14画廊：+86-21 6422 7120；info@C14gallery.com. C14 Gallery is pleased to present the exhibition “Lesthétique”. The exhibition will take place from 3pm to 7pm Saturday 5 September 2015 in the presence of Fu Yu, Lu Ning, Zou Shengwu, Wei Lai, Lu Heng, Ma Yongqiang and Zhang Yuming and the curator of the exhibition Jiang Wei. “Anthropologically speaking, I repeat, human beings are first of all a type of creature of aesthetics and then of morals. I cite from the speech that Joseph Brodsky gave when he accepted the Nobel Prize for Literature in 1987”. This sentence is based on his personal experiences and is deeply meaningful for him and for us. It is also the main reason for which the exhibition is titled ‘Aesthetic’. ‘Aesthetic’ presents photographic works, and the discussion about “a body of work”, we do not refer to everything that a photographer has photographed. One’s works are what he achieved out of a long period of practice in the aim of aesthetics. Such long period of time does not only refer to years, months and days but also to preparations, studies, evaluations, transactions and attempts. Great works are generally not created aiming to be great, as works exist for their own precious reasonings and aims. To some extent, the real work does not exist in its specific form, but in a series of efforts which attempt to approach it. Such efforts appear in photographers and their works as the specificity that connects human beings and the world and defines what photography is, why to photograph and how to photograph. Fu Yu, Lu Ning, Zou Shengwu, Wei Lai, Lu Heng, Ma Yongqiang and Zhang Yuming respect and learn from traditional classic photography, which result not only from the re-opened historical context such as the reflect on the linear perspectives of the history, but also from the fact that the expressions and aesthetic forms that traditional classic photography offers still efficiently organize and construct our senses and visual experiences. The aesthetic is not void theories, nor pretentious affectation, on the contrary, it is about the emotion and faith of photographers, about the autonomy, legitimacy and possibilities of photography.
马永强 鱼干 Dried Fish 2013 Gelatin Silver 19.3x16.7cm 明胶银盐纸基印相 In the creation, distribution, perception and interpretation of photography, the excessive quest for the functions of tools often blinds us from the beauty of photography. The form of photography itself could be the content, and the interpretation of the form is often a difficult task. Only if we could dive deeply into the bottom of the form and understand how did the photographer get there, that we could truly understand the sophistication of the work. They respect and learn instead of being sightless and mechanic. They have profound goals and they sometimes look over the simple and reachable achievements that they come across, taking them as improper lure and obstacles, like Ulysses listening to the songs of the mermaid. Therefore I always take their practices as active choices and resumption.While René Descartes dreamt to find the basis of science, the process of it is practically characterized by patterns of aesthetics. Rilke’s works are themed of his life experiences and describe the fusion of self and the external environment, carrying intense aesthetic marks. People need to observe and analyze in order to figure out if it is out of their subjective imaginations or it actually is so. However, it is very unlikely that people would find better outlets without aesthetic thinking, whenever and wherever they are. Aesthetic nurtures freedom and creation, and the effect and penetration of its powerful and lasting internal drive make aesthetics the intersection and the joint between rationality and sensibility and assume the responsibilities to oppose themselves to the growing presence of alienation in the societies, just as Richard Shusterman profoundly explained in his book “Pragmatist Aesthetics: Living Beauty, Rethinking Art” — ‘In a world full of cold materialism and rules in every aspect, aesthetics become an island of freedom, beauty and idealism. It is both the sole highest pleasant existence and a way to convert and surpass spiritually’. The aesthetic values of the photographic works of Fu Yu, Lu Ning, Zou Shengwu, Wei Lai, Lu Heng, Ma Yongqiang and Zhang Yuming are affirmed in such context.
From my point of view, Fu Yu, Lu Ning, Zou Shengwu, Wei Lai, Lu Heng, Ma Yongqiang and Zhang Yuming “are becoming the others” not because they are way too unusual— for at the moment, being unusual is the most usual thing, as the unusualness stands out by itself; but instead, it is the tiny tiny voice deep in their hearts, unwilling to be swept out, which could be easily incorporated in the chorus of the era. What I have to do is to try my best to filter their voices, isolate them in order to avoid them being suspended by the explanations of the era. Remember what Borges tried to remind us of? To write like a writer, and do not write like an era. Take photos like a photographer, not like an era. C14 Gallery was founded in 2013 and is ideally situated in the heart of the French Concession of Shanghai, next to the Shanghai Library. We are dedicated to work with top domestic and foreign photography institutions, artists, curators, critics, and collectors and we strive to create an excellent atmosphere for academics and exhibitions. For more information, please visit our website: www.C14gallery.com. For further information concerning the artworks and the artists, please do not hesitate to contact us — tel: +86-21 6422 7120 / email: info@C14gallery.com |
来源：墙报展览预告
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