无常•日常 罗永进摄影展

无常•日常 罗永进摄影展

主 办:广州 扉艺廊
协 办:上海 全摄影
策 展:樊 林
艺术总监:叶 敏
展览时间:2009年5月20日至2009年6月20日
展览地点:广州扉艺廊(农林下路5号亿达大厦-1楼)

Extraordinary•Ordinary The photograph exhibition by Luo Yongjin

Sponsor:Fei Gallery, Guangzhou
Co-sponsor:Ofoto Gallery, Shanghai
Curator:Fan Lin
Art Director:Michelle Yip
Exhibition period:May 20th, 2009 to June 20th, 2009
Exhibition Venue:Fei Gallery, G Floor, Estate Plaza, No.5, Nong Lin Xia Road, Guangzhou

被罗永进的眼睛意识到的那些物件都宁静地呈现着个性的一面,与关于各自的“出身”、“境遇”和“命运”的暗示联系在一起,给我们指明个性与共性的并存,其实也引发每个人对自身命运的反观。那些各得其所的物件,无论是作为崇拜的偶像或者阳光下的白菜,面对时光的那份灵魂的安然坦荡才是真正的常态。
Through Luo Yongjin’s eyes, we are made conscious of the unique nature of each object gently emerging. Suggestions of the relationship between these objects’ historical backgrounds, circumstances and destinies remind us of the co-existence of individual and public natures. In fact, these suggestions lead us to contrast our own destinies in the light of this co-existence. These objects in their proper place, whether they be venerated idols or cabbages in the sunshine, demonstrate that facing time, with the spirit of peace and magnanimity is the truly natural state of affairs.





前言:
Foreword
无常•日常
樊林
十几年来,作为摄影家的罗永进主要是以对不同类型的建筑的表达确立自己在当代艺术中的地位的,《新民居》、《新衙门》、《加油站》、《城景》等系列共同建构了一种可靠的现实与图像的视觉连接,他的观察本身以及作品处理方式也因为一种含蓄的尖锐而获得肯定。这些图像的被阐释、被书写因而成为对大时代进行文化反省的例证。
同样是镜头背后的眼睛,在拍摄“宏大”题材的同时,也留意到日月照临的范围之中,那些极为普通的物件。在我看来,这是罗永进为人们的视觉感受提交的另一种重要的类型。他的镜头让广阔世界里平凡庸常的物件自然而然地表露个性和气质,这种“给予性”,让它们发散出自身充满尊严的光。如果说那些关于建筑的描述中态度的坚决、明晰里透着深深的宿命感,“异物”在本质上也是一致的。
《异物》系列几乎涵盖了艺术家的行踪足迹,应属于为了某些类型而行走、找寻的过程中遇到暗示出另外的一些与内心的精神、气质有契合的“物”的时候,怀着对“物”的智慧的尊敬,交代出俗物的庄严。罗永进的镜头借助透过现实场景洒落下来的天光敏锐地诱惑出物的核心,那是与我们内心深处的某些东西具有一致的内核,像是睁开一只善的眼,天地间品类繁多、千差万别的万物,在这样的注视中平等无异。
选择黑白摄影,恐怕出于对五光十色的逃离,避免五色乱目,罗永进的一心不乱使得物件的形与性都更接近本真。物件的日常性并不被艺术家以时下流行的解构方式刻意否定、消解掉,反而在凝望关注中获得了强化。日常性之中凸现出真正的世事无常……画面既不刻意附和概念的追求,也并非隐藏机锋,只是光影、尘埃、水波令人顿见清净自性,这些图像毫无烟火之气,流露出浓烈的慈悲心,所谓“善心观善境界”,正是如此。其实非学力能到,当属慧人遇境,即便道出。
被罗永进的眼睛意识到的那些物件都宁静地呈现着个性的一面,与关于各自的“出身”、“境遇”和“命运”的暗示联系在一起,给我们指明个性与共性的并存,其实也引发每个人对自身命运的反观。那些各得其所的物件,无论是作为崇拜的偶像或者阳光下的白菜,面对时光的那份灵魂的安然坦荡才是真正的常态。
这个时代,我们的灵肉几近散诸尘劳,坏诸欲壑,物自言,“异物”自言,合而为一,成为刺激我们麻木、无趣感官的画面。在向善之中,获得无比欣喜。


Extraordinary• Ordinary

Through his work relating to different styles of architecture over the last ten years, the photographer Luo Yongjin has established his position in the field of contemporary art. His series’, including New Residence, New Government Building, Gas Station and Cityscape, collectively forge a reliable visual link between the image and reality. His work is recognized by his direct targeting of underlying implications through his observation and method of working. The interpretation and description of the world provided within these images is a leading example of the cultural introspection embarked upon within this era.

Whilst photographing a vast compass of subject-matter, with this same precision, the eye behind the lens carefully remains within the remit of illuminating life through exceedingly ordinary objects. From my point of view, this is another key characteristic of the subjects Luo Yongjin leads people to experience visually. His lens naturally reveals the individuality and ambience of our vast world’s commonplace everyday objects. His sympathetic treatment of subject-matter allows the light of these objects’ dignity to radiate. One might suggest that the clear and resolute attitude imbuing Luo Yongjin’s visual descriptions of architecture, displays a deeply penetrating sense of fate. Otherness, in its essence, remains consistent with this.

The series Otherness almost encompasses the artist’s footsteps over the years. Whilst this series belongs to a particular style, in the process of exploration, the artist comes across objects which suggest additional forms of inner spirituality, a sense of ‘otherness’. The reverence for the wisdom of this ‘otherness’ informs the existence of these objects. Luo Yongjin’s lens, with the aid of the natural light shed upon the actual scene, brings out the beauty at the core of the object. This inner beauty is in accordance with the beauty of the soul lying deeply within us. This opens our eyes to the goodness of the many kinds of object in the world, in their infinite variety, and through these eyes, we discover their equality.

Regarding the choice of black-and-white photography, I feel that the departure from the brilliance of colour prevents the eye becoming dazzled and confused. Luo Yongjin’s clarity of intent allows a greater connection with the innate form and essence of the object. The everyday nature of the object is not at all deliberately negated or unravelled through the process of deconstruction currently in vogue. On the contrary, as the focus of attention, the nature of the object is intensified. In the midst of the everyday emerges what is genuinely extraordinary……. the image does not deliberately pursue a consistent concept and does not conceal a hidden statement. Thus people suddenly apprehend the pure essence of the light, the dust and the rippling water. These images, without the least fabrication, reveal strong compassion, a view of the world through rose-tinted spectacles, this is the way it is. This goodness cannot be learned, it is an instinct met with in the company of enlightened people.

Through Luo Yongjin’s eyes, we are made conscious of the unique nature of each object gently emerging. Suggestions of the relationship between these objects’ historical backgrounds, circumstances and destinies remind us of the co-existence of individual and public natures. In fact, these suggestions lead us to contrast our own destinies in the light of this co-existence. These objects in their proper place, whether they be venerated idols or cabbages in the sunshine, demonstrate that facing time, with the spirit of peace and magnanimity is the truly natural state of affairs.

In this age, where our minds and bodies are almost divided through toil and the pursuit of illicit desires, the unification of the objects’ self-expression and their expression of their otherness, provokes our numbed and under-stimulated senses. In the pursuit of goodness, we can gain incomparable joy.

By Fan Lin
28th April 2009
Translated by Nicola Kielty

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