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YANCHANGJIANG

颜长江博客

 
 
 

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广东梅县人,1968年生于湖北省秭归县 1990年毕业于武汉大学新闻系 现居广州,从事摄影工作 2003年获平遥摄影大展中国当代摄影师大奖铜奖,2011获连州国际摄影大展评委会特别奖(与肖萱安合作) 曾于平遥、汉城、连州、东京、巴黎、重庆、上海、伯尔尼、广州、休斯敦等地作过展出 展出作品为:〈三峡〉、〈夜间动物园〉、〈纸人〉 主要著作:〈广东大裂变〉〈最后的三峡〉〈纸人〉〈三峡日志》

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传说中的《中国风景》的最新进展  

2010-05-16 11:22:22|  分类: 默认分类 |  标签: |举报 |字号 订阅

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       传说中的《中国风景》的最新进展 - 颜长江 - YANCHANGJIANG丘 纪事

中国风景摄影展,好象正在变成一个传说。这是一个准备时间极长的展览。大约就在秋季。现在的最新进展是,我们又吃了一回,作品汇集了一下。还有几位的也快来了。先放上去几个定下来了的,各一张。他们让我信心倍增。比如蒙老的,是当年的摆拍,就那么四五张,张张都好,作品成型度很高,首次披露呵,可以又将这外景摆拍类型的观念摄影历史又推前几十年,能吓倒人。罗的丘的许的,我凭良心说,也是他们成名以来最好的。

        尤其让人振奋的是,是杰出的学者高政轩,终于在伦敦他的书房里,忍辱负重将我的展览前言译成了英语,于是等待许久的许培武可以将年初的台历,合订成一本真正的画册(不含日历那面)。限量仅三十本,实在珍贵。我很期待,因为其印刷水平获得一致好评。展览时,我们还会有另一本宏伟些的画册,还要请杂志社出别册,如果画廊展出,画廊也应另搞一本。一个展览搞这样复杂,我也没经历过。这就是传说中的纯粹啊.

传说中的《中国风景》的最新进展 - 颜长江 - YANCHANGJIANG 蒙敏生 广州风景

传说中的《中国风景》的最新进展 - 颜长江 - YANCHANGJIANG杨格亮 迷濛

传说中的《中国风景》的最新进展 - 颜长江 - YANCHANGJIANG罗凯星 暂无题

传说中的《中国风景》的最新进展 - 颜长江 - YANCHANGJIANG颜长江 神州

                       And Now, Let Us Take a Serious Look at Chinese Landscape.

In ancient china, landscape had various synonyms and implications. It could be synonymous to nature, meaning – in the most literal way of understanding – an enjoyable scenery. It could be a spatial metaphor – a metaphorical place/space denoting one’s living in reclusion. Landscape nowadays is, however, no longer literally or metaphorically a place for reclusion. As shown in Geliang Yang’s photography, even in a remote canyon, wires and cables stretch in the air. Though Peacocks do still live in the forest, they live in artificial nets in the forest. In a larger scale, as embodied in Peiwu Xu’s “Pearl River New Town” and “Nansha”, the landscape is generic and prosaic, rather than figurative and poetic. It is our contention that while nature has been exhausted, landscape is the only thing left. Take a good look at Chinese landscape, then, has become the highest priority. Landscape is a modern term. It is also a serious concept. By the way, the term “scenery” in this context is useless. The term “landscape” is hence meant to be adopted here as a way to convey our aim to seriously scrutinize contemporary China.

 

Landscape denotes many things in China. The term “landscape” per se is ipso facto used in many ways as well. It might be a “no man zone”; or people in photos; might be panoramic; or disjecta membra. In sum, Chinese landscape, with its thousands year history, in this context suddenly acquires its multiple meanings, deployed, utilized, and manipulated uncritically by different people. Amongst them, nevertheless, there are still some photographers devoting themselves on problematizing and contextualizing this self-evident Chinese landscape by utilizing what are at hand.

 

Because of their commitments and convictions, these photographers, just like crows with their fluttering wings, might be unwelcome. They are nonetheless necessary – what they are doing is just like an infant who one day the parents would find it starting to take a look at itself in the mirror. This is the sign of the beginning to have the concept of “ego”. These photographers want to take a good look at their Motherland. They want to know how she looks like. They want to know how she has undergone broken and reborn.

 

Therefore, these photographers’ works are endowed with the meaning of salvation, rather than the romantic ethos of the Chinese landscape in ancient China. The message they convey is more about “a new beginning”. What the photography exhibition “Chinese Landscape” emphasizes, first, and for the most, is an attitude: seriousness. We expect people come to see this exhibition seriously and we do this exhibition seriously. Given this, the photographs in this exhibition can be classified into two categories. The first is idealist, such as Qiu’s sleepwalker-like conversation with reality, and Kaixing Luo’s imaginative exile in his segmented landscape. The second is objectivist, such as Changjiang Yan’s typological documentation of urban environment in recent years, and Ning Lu’s literal snatches of everyday lives. Of course, evaluations and visual aesthetics are in a way embedded in these two categories.

 

From Yangming Wang’s aphorism which urges us to spend a long time looking at a clump of bamboos or stones, in order to acquire “the extension of innate knowledge”, to Bai Lee’s poetry, “Who’d gaze at me, and me at whom, and never tire? No one but thee, the Hill at Jing Pavilion,” the visuality in China has formed its tradition. And this is the very tradition that these photographers inherit. Without understanding this tradition, one is incapable of comprehending the critical issues in China. Nowadays, the landscape in China has been twisted, to the extent that it has formed a new landscape. Its convergent disjecta membra are metamorphosing rapidly. It contains codes and Proverbs of the past and the future. It is the very right moment to have this exhibition. And now, let us take a serious look at Chinese landscape

 

 

 

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