消失的地平线——徐喆个人摄影展

消失的地平线——徐喆个人摄影展
策展人:樊林
主办:扉艺廊
协办:全摄影画廊
开幕:2011年9月3日 星期六下午4点
展期:9.3-9.23,2011
地址:广州市农林下路五号亿达大厦G层 扉艺廊 (地铁一号线东山口站C出口)
电话/Tel: 020-37688830/37688781
网址/Website:www.feigallery.com

Lost Horizon
Curator: Fan Lin
Organizor:FEI Gallery
Coopertator:OFOTO Gallery
Opening: 4 p.m., Sat.,3rd, Sep.,2011
Duration: 9.3-9.23,2011
Address: Fei Gallery, G Floor, Estate Plaza, No.5, Nonglin Xia Road, GZ
Contact: 020-3768 8781/3768 8830
Email: feigallery@163.com
Website: www.feigallery.com


从本质上看徐喆的创作,即有乔治•奥威尔的影响,也有卡尔维诺的影响,但他都以不依照的方式进行了特殊的弱化,直到那些属于徐喆的语汇浮现出来。这时候,颠倒更加直接、强烈地等同于否定。


消失的地平线
樊 林

“消失的地平线”系列作品的原典是《动物农场》!这个令人兴奋、躁动的事实在画面以布景和角色的方式出现时,就迅速地确立了我感受徐喆的方式。
要知道,“乔治•奥威尔(George Orwell)”在我的阅读词汇表中属于找寻同伴的暗号一类。《一九八四》种在内心多年,已然参天大树;更多的时候,当我嗅到某些隐藏着的质疑、悲伤的宿命感,就喜欢以《动物农场》来试探那些可能本质上一致的对象;新近译过来的《上来透口气》代表着奥威尔文字形象的另一面,怀旧、幽默,但依然保持着奥威尔独特的敏锐和哀伤,同样成为与某些人对接的话题。第一眼见到徐喆的“消失的地平线”,熟悉的“味道”扑面而来,我的喜悦可想而知。
然而,当作者表示自己并非如我一般阅读奥威尔多遍,原典仅仅是画面的线索之一,我开始警惕并修正自己的角度,发现徐喆具有一种与众不同的本领,我愿意将这种能力概括为他的“擅长弱化”。
一方面,他承认自己受贝拉•塔尔(Béla Tarr)电影美学与乔治•奥威尔《动物农场》的启示,另一方面——也是更重要——的事实在于:他迅速抛出了个人创作的线索,令人信服地看到故事本身其实已经消解在场景中。系列作品的结构、每一个画面的具体呈现均不顺应《动物农场》的故事发展,抽离现实依据,却与本质的荒谬、恐怖、否定如出一辙。
这样的贴近本质的能力几年前已经开始贯穿在徐喆的创作中。他曾经完成过一件装置作品,以电路板和其他电子零件构成的“啄木鸟”在温情地发出它的声响,徐喆利用了新技术、新媒介时代的叙事方式怀想关于童年的记忆。他不是文学青年,但是他在创作中想到过余华的《兄弟》里的少年搂着电线竿聆听电流声的细节。这些阅读——无论文字或者图像方面——令徐喆在结束法国的求学之后,单刀直入地以一种独特的个人方式开始了他的叙事。
在弱化他人影响的同时,徐喆开始强化自己的方式,“消失的地平线”应该属于比较清晰的一个结点。
用纪实摄影的方式虚构一个令人信服的地理环境,用相机“记录”下其中正在发生的情境。当虚构的画面以想象、记忆片断性地组合或者叠加,每一个观者得到的将是关于荒谬的最强烈的叙述。这正是徐喆想强调的:世界应该颠倒过来看,才会更加清楚。颠倒过来看世界的,最著名的有德国新表现主义者乔治•巴塞利兹,以倒置形象描绘人物,在画布上肆意而狂放的倒置肖像成为他的代表性方式。巴塞利兹的叙事方式不属于现实主义的提炼,他提供的是充满怪异乖张情绪的现代人的写照。“新表现主义”在叙事方式上,继承了表现主义的个人化特质,更进一步导向了反传统审美标准的立场,并渐渐呈现出坚定的姿态。某种意义上讲,徐喆正在进行的也是这样的一件事情,尽管他的表达并非图像上的颠倒处理。
以摄影为创作手段的艺术家必定遭遇地域特征的问题,这与相机镜头的第一功能——捕捉对象——具有天生的关联,当然这里“地域特征”所指比较大而化之,即场景、人种、文化等等。即便是在人为环境中创作的影像,人们也倾向于从辨认这些特征开始欣赏作品。徐喆的强烈在于:无论是对象的特征还是方式上的特征,仿佛都不在他的考虑之中。因此,他有一部分场景的处理是添加了一些我们能够感受到的时代特征,得以与奥威尔在精神上产生神奇的契合。
从本质上看徐喆的创作,即有乔治•奥威尔的影响,也有卡尔维诺的影响,但他都以不依照的方式进行了特殊的弱化,直到那些属于徐喆的语汇浮现出来。这时候,颠倒更加直接、强烈地等同于否定。
Essentially in Xu Zhe’s works, we can find influences from both George Orwell and Italo Calvino, but he doesn’t follow their ways. Instead, he specially weakens their touches till his own style emerges. At this point, reverse is so direct that it strongly equals to negative.



Lost Horizon
Fan Lin

‘Lost Horizon’ originates from ‘Animal Farm’! This excitement and restlessness pictured itself in the forms of settings and roles, soon determines my way to appreciate Xu Zhe’s works.
In my vocabulary, ‘George Orwell’ belongs to certain codes needed when I am looking for comrades. ‘1984’ planted deep in my heart for years, has grown into a towering tree. Mostly when I smell an indistinct sad and doubtful foreordination, I would detect the possible accordant with ‘Animal Farm’; the newly translated ‘Coming up for Air’ represents another side of Orwell’s verbal image, which is nostalgic and humorous but still maintains Orwell’s characteristic acuity and grief. That has also become the topic that links certain people up. At the first sight of Xu Zhe’s ‘Lost Horizon’, a familiar ‘smell’ surged and I was overwhelmed by joy.
However, when the author said that he hadn’t read Orwell’s works as many as I had and the original was only one clue of the photographs, I began to be vigilant and correct my point of view. Then I found Xu Zhe has a distinctive talent which I would like to summarize as ‘weakening’.
On one hand, he admits that he is inspired by Béla Tarr's movie aesthetics and George Orwell's novel 'Animal Farm'; on the other hand and more important, he quickly reveals the clue of his creation, which convinces people that the story itself has been dissolved in the scenes. Neither the structure of the series nor the composition of a single photo follows the plot of ‘Animal Farm’. Although divorced from reality, the series is essentially as absurd, horrible and negative as the story.
This capacity of approaching the essence has run through Xu Zhe’s works for many years. He once made an installation of a ‘woodpecker’ composed by circuit boards and other gears which peck in a tender sound. Xu Zhe, with the expressions of the new technology and new medium time, yearns for childhood memory. He’s not a literary youth but in his work, he recalls one detail in Yu Hua’s ‘Brothers’ that a teenager holds a telegraph pole listening to the sound of the current. No matter word or image, these readings help Xu Zhe start narration straight to the point in an individual way after his study in France.
While weakening others’ influences, Xu Zhe begins strengthening his own style. ‘Lost Horizon’ shall be regarded as a prominent land mark.
Xu Zhe fabricates a convincing geographical environment with documentary photography and 'records' the happenings with the camera. As fictive pictures are combined and overlapped by imaginary and memorial fragments, what each audience receives is the most intense expression of absurdity. The world shall be more evident when seen in reverse. This is exactly what Xu Zhe wants to emphasize. Among those who see the world in reverse, German Neo-Expressionist Georg Baselitz is the most famous for upside-down images. The characteristic style of his painting is to recklessly invert portraits on canvases. Portraying the eccentric emotions of the modern people, Baselitz’s expression doesn’t belong to any extraction of realism. The Neo-Expressionism adopts the individual style from the Expressionism in ways of expression, further leads to the position against the traditional aesthetic standards and gradually shows a firm attitude. In some way, Xu Zhe has been carrying on the same thing despite that the images are not upside-down.
The artists working with cameras are bound to encounter the problems of geographic locations, which is naturally connected with the fist function of a camera lens: capturing an object. Of course, the ‘geographic locations’ cover a wide range of features including scenes, races and cultures, etc. Even when looking at photographs created in an artificial environment, people tend to start appreciating the works from recognizing these features. Xu Zhe seems not to take any feature into account no matter from object or method. This is why his works feel intense. Therefore, he adds some acquainted features of our time in some scenes so as to mentally and magically accord with Orwell.
Essentially in Xu Zhe’s works, we can find influences from both George Orwell and Italo Calvino, but he doesn’t follow their ways. Instead, he specially weakens their touches till his own style emerges. At this point, reverse is so direct that it strongly equals to negative.

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