大众摄影

梦露/门罗 影展作品介绍

2018-10-11 大木神

尚8集团尚巴美术馆 Shang Ba Art Gallery

梦露/门罗

Monroe/Monroe

2018.10.19-2018.11.20

 

参展艺术家(姓氏排序)

Participant Artists (Alphabetically)

 

安娜·艾伦斯坦     Anna Ehrenstein (德国/Germany)

郭盈光                 Guo Yingguang(中国/China)

廖逸君                 Liao Yijun (中国/China)

吕近月                 Lv Jiatong (中国 / China)

米亚·奥迪奥         Miia Autio(芬兰 / Finland)

普洛米·巴苏         Poulomi Basu(印度/India)

 

            策展人 Curator

            何伊宁 HE Yining

 

a. 策展综述 Curatorial Statement

 

       上世纪40年代,法国思想家西蒙娜·德·波伏娃(Simone de Beauvoir)在《第二性》中所揭示出的,“女人不是天生的,而是后天形成的。任何生理的、心理的、经济的命运都界定不了女人在社会内部所具有的形象,是整个文明设计出这种介于男性和被去势者之间的,被称为女性的中介产物。” 门罗(Monroe),作为一个来自苏格兰高地的姓氏,在不同语境下,被中文翻译为两种截然不同的,带有强烈性别化的汉字:梦露/门罗,分别指向美国好莱坞明星玛丽莲·梦露(Marilyn Monroe)和美国第五任总统詹姆斯·门罗(James Monroe),间接回应了波伏娃笔下有关“女性”身份塑造的神话。

 

       “梦露/门罗:女性议题与摄影叙事”关注近期国内外艺术家针对性别议题所展开的摄影实践,旨在考察在特定社会和历史语境下,艺术家们在能说与不能言说的边缘,创造自身的表达方式的可能性。该项目重点立足于当代摄影与女性主义文化的连结,以集展览、论坛、研究和公众活动的形式呈现。

 

其中,同名展览“梦露/门罗”将通过6位摄影实践者的作品,来展现个体对女性在成长、家庭和社会生活中,对于性别差异所引发的不同议题的深入思考。这些作品建立在将身体作为性别对象的后现代主义认知的基础之上,或幽默诙谐、或冷静透彻地挑战了人们对女性身份在复杂社会和文化认知中的固有认同。

 

在展览进行的同时,项目将邀请活跃在这一领域内的策展人、学者、艺术家等嘉宾,通过围绕展览所设计的学术论坛、讲座和公众活动来发掘摄影在提出和回应相关议题时的重要意义,同时在更广泛的语境下梳理中外女性摄影的历史与进程。

 

In the 1940s, French philosopher Simone de Beauvoir wrote in The Second Sex that “one is not born, but rather becomes, a woman. No biological, psychological, or economic fate determines the figure that the human female presents in society: it is civilization as a whole that produces this creature, intermediate between male and eunuch, which is described as feminine.”[1] “Monroe”, a surname of Scottish origin, has been translated into completely different and highly gendered Chinese characters in different contexts: Meng Lu (梦露) in the case of Hollywood star Marilyn Monroe, and Men Luo (门罗) in the case of James Monroe, the fifth president of the United States.[2] This phenomenon indirectly responds to the myth of femininity revealed in de Beauvoir’s book.

 

“Monroe/Monroe” focuses on recent creative practices in photography and related media by artists around the world on topics concerning women and gender. The exhibition aims to investigate, in certain social and historical contexts, possibilities for artists to create their own expressions between the speakable and the unspeakable. The project is grounded in the connection between contemporary photography and feminist culture, and will be presented as a combination of exhibition, forum, research and public events.

 

The exhibition of the same title, “Monroe/Monroe”, will explore different issues caused by gender differentiation in the upbringing, family life and social life of women through the works of 6 photographers. The works showcased in the exhibition start from the postmodern perspective that sees the body as an object of gender and go on to challenge, humorously or methodically, stereotypical identities of women within the scope of complicated social and cultural perceptions. 

 

During the exhibition, we will invite a number of curators, scholars and artists active in the field to participate in academic forums, talks and public events, which are not only designed to help us explore the important significance of photography in raising and responding to related issues, but also to examine the history and development of women’s photography around the world in a broader context.

 

 

 

 

 

b. 艺术家及项目 Artists and Projects

 

安娜·艾伦斯坦 Anna Ehrenstein (德国)

《口红与美德的故事》/Tales of Lipstick and Virtue

 

郭盈光 Guo Yingguang(中国)

《那个人是你吗?》/Is That You?

 

廖逸君 Liao Yijun (中国)

《实验性关系》/Experimental Relationship

 

吕近月  Lu Jinyue  (中国)

《失落的连结》 / The Lost Bond

 

米亚·奥迪奥      Miia Autio(芬兰)

《白化小姐》/Miss Albino

 

普洛米·巴苏     Poulomi Basu(印度)

《一场放逐的仪式》/ A Ritual of Exile

 

c. 策展人介绍 About the Curator

何伊宁(1986),摄影史学者、策展人。毕业于伦敦艺术大学伦敦传媒学院,新闻与纪实摄影硕士学位。2010年开始从事摄影及艺术、人文类专题、专栏写作,策展,摄影类图书编写及翻译等工作。她关注实践者使用摄影作为一种出入艺术自由的媒介,在回应和提出与历史和当下相关的社会议题时的有效性、多样性和跨学科性。何伊宁目前的学术研究多在艺术史、文化研究和其他跨学科框架下展开,方向包括“文化认知与摄影表征:1960年之后的英国摄影”、中英风景摄影比较研究等。

 

其策划的展览曾先后在国内及欧洲的博物馆、美术馆、艺术空间和摄影节展出,包括“来自中国的50本当代摄影书”(2015,英国Format国际摄影节)、“虚构叙事的转向”(2016,集美阿尔勒国际摄影节)、“港口与影像:行动中的中国港城影像计划”(2017,中国港口博物馆)等。出版物包括《英国摄影教室》《港口与影像》等;译著有《摄影与旅行》《艺术与摄影》(待出版)、《场所视角:风景摄影的理论与实践》(待出版)等等。

   

何伊宁于2014年年初创办Go East Project,旨在通过博客、展览、以及出版等方式向西方推广中国当代摄影,并帮助年轻摄影师搭建国际化的摄影平台,探索摄影的无限可能 。自2016年起担任Brownie Art Photography艺术顾问。

HE Yining (born. 1986) is an independent writer and curator based in Tianjin, China.

 

Yining is a graduate of the London College of Communication with an MA in Photojournalism and Documentary Photography. She also holds a BA degree in English Literature.

 

She is working closely with museums, galleries, and other institutions in China and across Europe. Her current research focuses on the cultural identity and photography representation in England, contemporary Chinese landscape photography and contemporary photography publishing in China. Since 2010 she has been a regular contributor to many art and photography publications including Chinese Photography, The Modern Weekly, Rayarts Center, Art World, ArtForum China among many others. She is also editor-in-chief of Coastline Series (China National Art Photography Publishing House), which address issues of photography education.

 

Yining initiated the Go East Project (www.goeastblog.com) in 2014, which aims at introducing contemporary Chinese photography to the West, supporting young talents to establish a local photography platform of an international scope, and exploring the infinite possibilities of photography.

 

d. 展览作品介绍 Work Statements

 

安娜·艾伦斯坦 Anna Ehrenstein (德国)

《口红与美德的故事》/Tales of Lipstick and Virtue

 

摄影、录像、装置, 2017

 Photography, Video and Installation, 2017


   真实性一直是社会上广泛讨论的核心问题。伴随着新现象的出现,如虚假新闻、替代事实和即时在线控制的可能性,它继续变得越来越重要。然而,我们对真实存在或真实物体的定义以及我们对两者之间关系的理解往往会有所不同,尽管我们有着全球联系,但这往往符合文化和地理差异。这部多学科作品的摄影元素包括阿尔巴尼亚的肖像画和工作室外品牌仿制品和假冒奢侈品的具象赝品。它们是我们所说的模仿品、赝品或盗版品。在当代社会,假的定义是怎样的?人们与这些物体互动的原因是什么?是否可以根据它们的重要性来判断它们,或者模仿是否会将它们局限于一个肤浅的伪奢侈品世界?

 

      “模仿”一词的字典定义;这是对珍贵材料的(劣质)伪造。考虑到仿制品可能是在同一家工厂、用同样的方法、用同样的材料生产的,只有标签决定了原件或复印件。在这种情况下,当只有一家公司或国家决定授权哪一个物体并以更高的价格出售时,与未经授权的物体接触的行为是否会比与许可的物体接触的行为更真实,以取悦不太关心消费者的资本主义机器?

 

       尼采写道:“几乎每个人的职业,甚至艺术家的职业,都是从虚伪开始的,从外部模仿,复制最有效的东西。“原创作品和模仿作品之间的界限总是不稳定的,甚至可能像自然和技巧的分离一样过时。

 

       作为一名出生和成长于德国的阿尔巴尼亚裔年轻女性,对代表性和自我形象以及他们的文化差异的思考一直在我的生活中发挥着重要作用。由于我永远不会真正成为德国或阿尔巴尼亚社会的一部分,我发现我的声音处于观察者的元位置。特别是在阿尔巴尼亚的后共产主义背景下,视觉和性自决以及女性特质是否增强了全球年轻妇女的权能,这一问题在这一工作中发挥了关键作用。共产主义者对“必要性”的呼吁和女权主义者对“自然性”的呼吁与人类对实验、自我表达和猜测的渴望形成对比。既然我们都是多方面影响的产物,是什么让我们和我们相关的对象变得真实?

 

Authenticity has always been a central question in discussions concerning society. It is continuing to gain importance with the emergence of new phenomena such as fake news, alternative facts and instant online control possibilities. However, our definition of an authentic being or an authentic object and our understanding of how the two relate to each other tend to differ, often in line with cultural and geographical variance despite our global connections.The photographic element of this multidisciplinary work consists of portraits in Albania and figurative fake-stills of brand imitations and counterfeit luxury out of the studio. They are what we call an imitation, a fake or a bootleg. How is a fake defined in contemporary society? And what reasons do people have to interact with these objects? Can they be judged by their materiality or does there presence as imitations confine them to a shallow world of the pseudo-luxury?

 

The dictionary definition of the word 'imitation' states; it is a (inferior) forgery of a precious material. Given that the imitation may be produced in the same factory, by the same methods, using the same material, only the label determines what is the original or the copy. In that case, when only a corporation or the state decide which object to authorize and sell for a tremendously higher amount of money - would not the action of engaging with the unauthorized object be more authentic than with the licensed object to please a capitalistic machinery that does not care too much about the consumer?

 

“The profession of almost every man, even that of the artist, begins with hypocrisy,” Nietzsche writes, “with an imitation from without, with a copying of what is most effective.” The boundaries between an original and an imitation are invariably fluid and may even be as obsolete as the separation of nature and artifice.

 

As a young woman, born and raised in Germany with Albanian origin, reflection on representation and self image and their cultural differences have always played a major role in my life. Due to the fact that I will never genuinely be part of either German or the Albanian society, I found my voice in the meta-position of an observer. The question of whether or not, especially in the post-communistic context of Albania, visual and sexual self-determination as well as femininity are empowering young women globally plays a key role in this body of work. The communist cry for 'necessity' and the feminist cry for 'naturalness' contrast with the human desire for experimentation, self- expression and speculation. Since we are all products of a multi-faceted mesh of influences, what is it that makes us and the objects we are related to authentic?

 

安娜·埃伦斯坦从事跨学科艺术实践,强调研究和调解。她利用摄影、录像、装置或雕塑来反映高低文化及其社会经济和政治构成的交叉和差异。由于她自己的跨文化经历,在德国出生和长大的阿尔巴尼亚血统和遗产现实以及对与移民相关的视觉文化和流散性叙事的思考成为了她的主要关注点。她研究了摄影和媒体艺术,目前开始了渐进后的研究,同时在国际上展出,例如在巴黎的中央广场、洛杉矶的摄影月、佛罗伦萨的马兰戈尼基金会或阿尔勒的摄影会议。即将到来的个人表演包括参加瑞典的Landskrona Fotofesival和克罗地亚的organce Vida Festival,以及德国Lothringer Halle 13附近的团体表演和教育项目。在作为艺术调解员的实践中,她优先考虑与各种社会团体合作,例如作为第十届柏林当代艺术双年展的一部分,或者在柏林的青年艺术中心。

 

Anna Ehrenstein works in transdisciplinary artistic practice with an emphasize on research and mediation. She is using photography, video, installation or sculpture to reverberate the intersections and divergences of high and low cultures and their socio-economic and political constitutions. Born and raised in Germany with Albanian blood and heritage realities and reflections around migration-related visual culture and diasporic narrations form her main focus due to her own intercultural experiences. She studied photography and media art and currently started post-gradual studies, while exhibiting internationally for example at the Centquatre in Paris, the Month of Photography in Los Angeles, the Fondazione Marangoni in Florence or the Rencontres de la Photography in Arles. Upcoming solo shows include participation at the Landskrona Fotofesival in Sweden and the Organ Vida Festival in Croatia as well as a group show and educational projects around Lothringer Halle 13 in Germany. In her practice as an art mediator she priorities working with varied social groups for example as part of the 10th Berlin Biennale for Contemporary Art or within the Young Arts Neukölln Art Center in Berlin.

 

 

 

郭盈光 Guo Yingguang(中国)

《那个人是你吗?》/Is that you?

 

摄影、录像、手书文本,2018-进行中

 Photography, video and handwriting on the walls 2018-On going

 

《顺从的幸福》系列中的相亲公园视频在网上被大量转发之后,郭盈光快速地变成了公众的焦点,随之而来的,许多男人通过各种途径联系到艺术家。通过社交软件与这些陌生男人接触之后,“那个人是你吗?”是这些陌生男人都会问她的一个问题。同时,“他们是谁”、“他们为什么要联系她?”等一系列问题也被艺术家提出。在全新的系列中,艺术家利用有限的碎片式信息加入了自己的想象,试图去拼凑出这些陌生男人的“形象”。

 

Since the video of Guo Yingguang’ performance at the matchmaking corner from her previous series “The Bliss of Conformity” went viral online, the artist has become the center of public attention, and a lot of men have contacted her through various means since then. After communicating with some of these strangers on social media, Guo realizes that “is that you?” is a question every one of them would ask, and she also has her own questions in return, such as “who are these people?” and “why did they reach out to me?”. In her new series, the artists tries to piece together the “image” of these men with limited fragments of information and her own imagination.

 

郭盈光(b.1983)本科就读于中国传媒大学,曾经为China Daily,Globaltimes,Reuters等主流媒体担任摄影记者。于2016年获得伦敦艺术大学传媒学院摄影硕士学位,BROWNIE签约艺术家。她以多媒介创作手法,摄影为主并结合版画、手工书、影像、行为艺术等形式。作品曾获2017年获集美·阿尔勒-Madame Figaro女性摄影师奖以及发现奖提名并在2018年受官方邀请参加法国阿尔勒国际摄影节。

 

Guo Yingguang (born 1983) began her photographic career with Reuters, China Daily, and other media groups. Moving on to the artistic world, her creations revolve around social problems in contemporary China: women on the shelf, arranged marriages, and pseudo-intimacy between the husbands and wives who are the victims of such marriages. She uses image creation to express emotions that connect to her past. Her combination of photography and printmaking aims for melancholia, delicacy, and abstraction.

 

廖逸君 Liao Yijun (中国)

《实验性关系》/Experimental Relationship

摄影, 2007-进行中

Photography, 2007-On going

 

      作为女性,我曾经以为我只能爱上一个我崇拜的人,比我更加成熟,年纪稍大,一个保护者,一个良师益友。然后我遇见了我现在的男友,小我五岁的MORO。我理所当然的情侣关系彻底颠倒了。我变成了那个有更多权威和影响力的人。当我把这段新恋情告诉我一个男性朋友后,他说“你怎么可以像我们挑选女友一样选男友呢?!”我想他真是说到点子上了,这正是这段关系的重点,为什么不能呢?

 

然后我就开始认真思考起这段关系的意义,并且用照片做起了实验。在这系列照片中,我探索新的可能的关系形式。Moro 让我认识到,男女关系并不需要是那种固定模式。由于每个人的不同情况,任何两个人结合都会产生不一样的关系。即使这种关系和我们一般习惯的男主女附的关系不同,也同样可以存在,并且有它的优势。做这个实验的目的是打破固有的模式,以达到新的平衡点。我在照片中也表达了我在男女恋爱关系中的挫折感,无法找心心相印的感觉,隔离感和疏离感。由于我的男友是日本人,而我是一个中国人,这组照片也描述了一种爱恨交织的情感。

 

As a woman brought up in China, I used to think I could only love someone who is older and more mature than me, who can be my protector and mentor. Then I met my current boyfriend, Moro. Since he is 5 years younger than me, I felt that whole concept of relationships changed, all the way around. I became the person who has more authority & power. One of my male friends even questioned how I could choose a boyfriend the way a man would choose a girlfriend. And I thought, "Damn right. That’s exactly what I’m doing, & why not!"

 

I started to experiment with this relationship. I would set up all kinds of situations for Moro and I to perform in the photos. My photos explore the alternative possibilities of heterosexual relationships. They question what is the norm of heterosexual relationships. What will happen if man & woman exchange their roles of sex & roles of power. Because my boyfriend is Japanese, and I am Chinese, this project also describes a love and hate relationship.

 

This project is an ongoing project which grows with our real relationship but is never meant to be a documentation.

 

廖逸君出生/成长于上海,是一位现居布鲁克林的艺术家。她的摄影作品已在世界各地展出,其中包括深圳何香凝美术馆,上海鲲鲤国际影廊,纽约阿拉里奥画廊、纽约JEN BEKMAN 画廊、台北非常庙画廊,首尔KIPS 摄影画廊,德国北方艺术展,平遥国际摄影节、连州国际摄影节、丽水摄影节等。

 

至今赢得的奖项包括纽约艺术基金会奖金,纽约En Foco 新作品大奖,加拿大MAGENTA 出版社的Flash Forward 奖,伍德斯托克摄影中心的2009 当代摄影奖,JEN BEKMAN 画廊的2008HEY, HOT SHOT 奖等。她曾被2009 年纽约摄影节提名纽约摄影奖,入围意大利第十届ITS(国际人才支持)摄影奖。

 

她曾参加曼哈顿下城艺术协会艺术家工作室项目和纽约摄影俱乐部参与暗房工作室,纽约州伍德斯托克摄影中心项目做艺术家居住项目。廖逸君毕业于孟菲斯大学艺术摄影硕士学位。

 

 

 

Born and raised in Shanghai, China, Pixy Liao is an artist currently resides in Brooklyn.

She is a recipient of NYFA Fellowship in photography, En Foco's New Works Fellowship and LensCulture Exposure Awards, etc,. She has done artist residencies at University of Arts London, Pioneer Works, Light Work, Lower Manhattan Cultural Council, Center for Photography at Woodstock, and Camera Club of New York.

Liao’s photographs have been exhibited internationally, including He Xiangning Art Museum (China),  Museum of Sex (NY), Asia Society (Houston), Flower Gallery (NY), Leo Xu Projects (China), Metro Pictures (NY), First Draft Gallery (Sydney) etc,.

Liao holds an MFA in photography from University of Memphis.

 

 

吕近月   Lu Jiatong

《失落的连结》 / The Lost Bond

 

摄影、录像、文本,2017

Photography, video, text, 2017

 

[I]消逝记忆

[II]口述历史

[III]无对白

 

我的作品主要探索从我出生到现在,与母亲之间复杂且矛盾的情感关系。作品始于我与母亲的第一封信,在信中母亲第一次跟我提及在我刚出生不久就将我送走的无奈与不舍,同时谈及被迫将我送走的特殊历史背景。在与母亲信件交流的同时,我采访了一些跟我年纪相仿,处境类似的人,在这个过程中我渐渐地认识到我与母亲之间不可调节的矛盾,从某种意义上讲,可以看作是中国50年代父母与80年代儿女之间矛盾的缩影。通过对比我与母亲各自不同的成长环境,我终于明白,在我悲伤于母亲从未看到那个真实的我的同时,我又何曾看到真实的她。

 

创作的过程,影像依附文字而产生,继而打破文字的局限而成立。在我与母亲这段关系的探索中,我试图用符号式的影像解构单线记忆与语言的缰束,并且将我和母亲以个体形式从母女关系中抽离,回归到最基本人与人的关系,人与社会的关系,重新审视个体成长在家庭和社会中的被动性以及疏离本质。

[I]The missing memory

[II] Retelling history

[III] No dialogue

 

I focus on the relationship between my mother and me, exploring the complicated and contradictory emotional connection that we have shared, from birth till now. My work began with the first letter my mother wrote to me, in which she mentioned that she was helpless and unwillingly sent me away after I was born, and the situation was closely related to the historical problems associated with Chinese social background. I interviewed people of similar age with similar situations realizing that the basic conflict between my mother and me, in fact, can be seen as a microcosm of the conflicts between Chinese parents from the 1950s and their children from the 1980s. By comparing different relationships between my mother’s and my own experiences of growing up, I finally understood that when I immerse myself in the grief over the fact that my mother never sees the real me, I now realize that I never see the real her exactly.

 

In the process of creating this piece, the production of images relied on the words, yet it was completed as it broke the words’ limitation. In the exploration of the relationship between my mother and me, I tried to use symbolic images to dissolve the confinement of the single-sided memory and languages, extract my mother and me as forms of individual from a mother-and-daughter relationship, return to the fundamentals of personal and social relationships, and review the passivity and the isolation that pertains to individual development in the scope of family and society.

 


吕近月,出生于1988年。摄影师,艺术家,现居纽约。其作品主要关注童年经验对个人成长的影响以及探讨中国社会背景下的家庭情感关系。

 

Jiatong (Zoe) Lu was born in 1988. She is a mixed media artist and photographer based in New York. Her work focuses primarily on the influence of childhood experiences on personal growth and explores the emotional connection in a family based on Chinese social background.

米亚·奥迪奥      Miia Autio(芬兰)

《白化小姐》/Miss Albino

 

录像,11分55秒, 2016

video, 11:55 min. 2016

 

 

        在坦桑尼亚,每1429个初生儿中就有一个白化病患者,比任何其他国家都多得多。由于人们相信白化病患者的特定身体部位能释放魔法,白化病患者们被迫害,杀死和肢解。身患遗传疾病的人总是被社会遗弃。

 

       为了唤起社会关注、保障白化病患者的权益、提升他们的才能并鼓励他们展示自己,第一届“白化小姐”比赛在2015年11月27日的 Dar Es salaam举办。

 

In Tanzania albinos represent one in every 1429 births. A much higher number than in any other country. Based on the belief that certain body parts of albinos can transmit magical powers, people with albinism have been persecuted, killed and dismembered. People affected with a genetic disorder are often seen as outcasts in the society.

 

To give awareness to the communities, to honor the rights of people with albinism and to promote their talent and to courage them to show their abilities Miss Albino contest was held for the first time in Dar Es salaam on 27th of November 2015.

 

 

米亚·奥迪奥是一名摄影师和以镜头为主要创作媒介的艺术家。她热衷于表现社会事件,以介入观者和作品互动的方式创造新知与理解。在她的作品中,她着重处理身份、异国差异和观者的主题。

 

Mia Autio is photographer and lens-based media artist who is interested in presenting societal issues in a way that knowledge and understanding is born through the interaction between the viewer and the work. In her works she deals with the themes of identity, foreignness and viewership.

 

普洛米·巴苏       Poulomi Basu(印度/India)

《一场放逐的仪式》/ A Ritual of Exile

 

虚拟现实影片、照片、投影、声音片段和采访,2017

VR films, photographs, projections, sound scapes and interviews, 2017

      《鲜血诉说:一场放逐的仪式》是一件跨媒介作品,调查了尼泊尔存在的针对女性日常暴力侵害的前因后果。

 

       这些故事不是那些被动受害者们的故事。《鲜血诉说》是一次关于放逐、孤独及以勇气面对极端逆境的冥思。这些女性站了出来,分享她们的故事,打破月经禁忌。她们对这个项目的参与是一种微妙的抗议形式。由此而产生的作品则证明了他们的复原力。

通过对新旧技术的融合,巴苏试图解读纪录片实践中固有的权力倾斜,将她的研究主体重新定义为合作者,让她们参与自身历史的书写。她们有更大的影响力,她们的声音将作为独立的、个体的对象被倾听,如西方的MeToo运动中发出的声音一样平等。

 

      《鲜血诉说》由三部虚拟现实影片、照片、投影、声音片段和采访组成,目的是揭开女性经历的沉默而羞耻的面纱,将月经期的放逐与更广泛的关于日常性别暴力的对话联系起来。《鲜血诉说》不仅是为了传达信息,更是为了让观众沉浸于一个不可见的世界中,让他们看见这种行为的不公。

 

       这种暴力行为的本源在于女性经血的不洁。被隐藏、没有报道和未解决,这些妇女无法接触到。这种暴力宿居于印度教传统的幌子下,以“放逐”的形式,使月经笼罩在神秘和禁忌之中,这是一种使女性感到屈辱进而屈从的武器。这个故事的核心是尼泊尔的Chaupadi仪式,在这个仪式中,女孩和妇女被迫在简陋的棚屋里忍受流放,其中许多人在月经期间几乎生存得不如动物。Chaupadi交织于错综复杂的虐待和父权网络中,与童婚和儿童寡妇问题相关。这是对妇女最残酷和最有辱人格的侵犯人权行为之一。在这一经期放逐期间,妇女经常被虐待、被蛇咬、强奸甚至谋杀。

 

Blood Speaks: A Ritual of Exile is a trans-media project that investigates the causes and the consequences of normalized violence against women in Nepal.

 

These stories are not those of passive victims. Blood Speaks is a meditation on exile, isolation and courage in the face of extreme adversity. The women have come forward to share their stories and break menstrual taboos. Their participation in the project is a subtle form of dissent and protest. The resulting work it is a testament to their resilience.

 

Through her combination of old and new technologies Basu looks to read-dress the power imbalance inherent in documentary practice, reframing her subjects as collaborators, making them participants in their own histories. They have greater agency and emerge as distinct and individual voices to be heard with as much equality as the western voices of the MeToo movement.

 

Blood Speaks comprises of three VR films, photographs, projections, sound scapes and interviews in order to crack open the veil of silence and shame experienced by women, linking menstrual exile to wider conversations concerning normalized gender-based violence. Blood Speaks doesn’t seek to just inform, it seeks to immerse audiences in a hidden world, making them bear witness to the injustice of this practice.

 

The origin of this violence is the impurity of a woman’s menstrual blood. Hidden, under reported and unresolved, these women are untouchable. Perpetrated under the guise of Hindu tradition, this violence takes the form of ‘exiles’ which keeps menstruation shrouded in mystery and taboo, a weapon to shame women into subservience. Central to this story is the ritual of Chaupadi in Nepal in which girls and women are forced to endure an exile in rudimentary shelters, many barely sufficient for animals, while they are menstruating. Chaupadi sits within an intricate web of abuse and patriarchy, interrelated with issues of child marriage and child widows. This is one of the most brutal and degrading human rights violations to women. During this menstrual exile women are often abused, bitten by snakes, raped and even murdered.

 

普洛米·巴苏是一名故事讲述者、艺术家和活动家。她的名字听起来像“跟我来”再加上字母“P”。她在印度加尔各答由母亲抚养长大,在这座城市丰富的影像历史中找到了早期灵感。普洛米17岁时,她父亲突然去世,母亲告诉她,一旦学业完成就离开家,这样就能追寻自己的梦想,过上一种广阔而有选择的生活。

从那以后,普洛米更喜欢无拘无束的道路。她睡在旷野无云的天空下,凝视着一百万颗星星,从寻找一支正好击中现代印度全球野心之核心的游击队的故事,到那些在美国土地上的最后的坚硬前哨阿拉斯加上艰苦谋生的分裂家庭。一次又一次,她发现自己处于那些悄悄挑战他们所生活世界里普遍存在的正统观念的普通人之中:武装冲突中的农村妇女,一个ISIS中失去儿子的母亲的痛苦,以及一个近乎失明的孩子对光明的渴望。

 

 

普洛米永远敬畏那些身处绝境的人,那些弯着腰却未被打倒的人所表现出的复原力。普洛米的作品以记录妇女在孤立社区和冲突地区的作用而闻名,更普遍的是倡导妇女权利。由于普洛米致力于将月经问题以及隐藏的、日常形式的对妇女的暴力侵害行为列入国际议程,她于2017年1月被半岛电视台邀请成为其节目《Stream》测试版神秘节目的嘉宾。

2015年12月,她与“Nirbhaya derhi”强奸受害者的父母讨论了她的社会活动倡议,“印度的强奸问题项目”。2016年1月,在联合国青年创变者会议上,普洛米谈到了可持续发展的社会影响,特别提到了她的长期项目“一场放逐的仪式”,以及她与非政府组织“水的援助”和“成为女孩”运动的合作,该运动利用这一材料筹集了200万英镑。

普洛米和希拉里·克林顿一起被refinery 29评为“来自世界各地给出最佳建议的了不起的女性”之一。普洛米是第七期导师计划的一员。她常驻于印度新德里和英国伦敦之间。她报道了亚洲、欧洲和美国的问题。她也是另一个摄影节的联合创始人和导演,这个摄影节通过向人们展示摄影作品和培养新观众来实现摄影民主化。普洛米是2017年人类摄影博物馆奖的评审团成员。普洛米还在哥伦比亚新闻学院接受了“危机地区报道”敌对管理培训,并得到了Rory Peck信托基金的资助。

Poulomi Basu is a storyteller, artist and activist. Her name sounds like ‘follow me’ with a ‘P’. She was raised by her mother in Calcutta, India and found early inspiration in the city’s rich cinematic history. After her father’s sudden death when Poulomi was 17, her mother told her to leave home as soon as her studies were complete so that she may follow her dreams and live a life of breadth and choices that was denied to her.

 

Since then, Poulomi prefers the path less trodden. She has slept in the wilderness under a cloudless sky staring at a million stars in search of a guerrilla army whose story strikes right at the very heart of modern India’s global ambitions, through to divided families eking out an Alaskan existence on the last rocky outpost of American soil. Time and again, she has found herself amongst ordinary people who quietly challenge the prevailing orthodoxies of the world in which they live: rural women in armed conflict, a mother's pain for a son lost to ISIS, to the wonder of a near blind child reaching for the light. 

 

Poulomi is forever in awe of the resilience shown by those in extraordinary circumstance, by those who are bent but not broken.

Poulomi’s work has become known for documenting the role of women in isolated communities and conflict zones and more generally for advocating for the rights of women. As a result of Poulomi’s work in putting this issue of menstruation and hidden and normalised forms of violence against women on the international agenda she was invited in January 2017 by Al-Jazeera to be a guest on The Mystery of Mensuration edition of their programme The Stream. 

 

In December 2015, she shared a platform with the parents of the Nirbhaya Delhi rape victim talking about her social activist initiative, The Rape in India Project. And, in January 2016 at the UN Young Changemakers Conclave, Poulomi spoke on the social impact of sustainable development with specific reference to her long-term project A Ritual of Exile and her collaboration with NGO Water Aid and their To Be A Girl campaign, which raised £2 million, using this material.   

 

Poulomi was featured alongside Hilary Clinton as one of the one of the 'Amazing women from around the world giving their best advice' by Refinery29. Poulomi was part of the VII Mentor Program. She is based between New Delhi, India and London, UK. She has covered issues across Asia, Europe and America. She is co-founder and director of Just Another Photo Festival, a festival that democratizes photography by taking photography to the people and forging new audiences. Poulomi is on the jury for the Photographic Museum of Humanity Grant 2017 Next Generation Prize. Poulomi has also undertaken the 'Reporting in Crisis Zones' hostile management training at Columbia School of Journalism, kindly supported with a bursary from the Rory Peck Trust.

 

e. 相关活动

 

2018年10月19日,周五14:30

开幕圆桌论坛

 

徐浩(艺术家、上海摄影艺术中心 “另一种讲述的方式”展览策展人)   

《英国女性摄影的方法关注和美学塑造》

 

马骥(摄影师,前《GQ中国》视觉总监)《从男性凝视到女性凝视——当代时尚摄影的新趋势》

 

李佳(泰康空间策展人)《在国家与男性之间——浅析新中国妇女摄影的几个案例》

 

**Event Calendar**

 

October 19, 2018 (Friday) 14:30

Opening Roundtable

 

Xu Hao (artist, curator of “Another Way of Telling” at the Shanghai Center of Photography)

British Women’s Photography: Methods and Aesthetics

 

Ma Ji (photographer, former visual director of GQ China)

From the Male Gaze to the Female Gaze—New Trends in Contemporary Fashion Photography

 

Li Jia (Curator at Tai Kang Space)

Between the Nation and Men—A Brief Case Study of Women’s Photography in the PRC

 

2018年10月27日,周六14:30

新闻人专场论坛

 

丛妍 (自由摄影师)

《记录、介入和行动:关于报道女性议题的思考》

 

李亚楠(报道摄影师,“信号”小组成员)

     《面纱之下》

 

王婷舒(路透社图片编辑)

     《我和国内外14位以摄影为生的女性聊了聊》

 

杨深来(澎湃新闻湃客运营总监)

     《如懿传和女权群》

 

 

October 27, 2018 (Saturday) 14:30

Journalists’ Forum

 

Cong Yan (freelance photographer)

Documentation, Intervention and Action: Reporting on Issues Concerning Women

 

Li Yanan (photojournalist, member of the “Signal” Group)

Behind the Veil

 

Wang Tingshu(Picture Editor, Reuters Beijing Bureau)

I talked with 14 Women from around the World who Take Photos for a Living

 

Yang Shenlai (Operation Director of Sparker Content Platform of the Paper.cn)

Ruyi's Royal Love in the Palace and Feminist Groups

 

 

 

 

 

 

 

 

2018年11月3日,周六14:30

艺术家对话

 

郭盈光(艺术家)

吕近月(艺术家)

 

2018年11月10日,周六14:30

戏剧论坛

 

借由戏剧的形式,探讨女性话题的延伸,给参与者带来浸没式的多层次体验。戏剧工作坊会以互动的方式,邀请参与者以自身的经历与观展的体验为出发点,在专业人士的指导下,分享自己的所思、扮演别人的角色、感受彼此的联结。让我们在不同的生命故事里探索,一起经历一场别样的体验与旅程。

 

November 3, 2018 (Saturday) 14:30

Artists’ Talks

 

Guo Yingguang (artist)

Lv Jiatong (artist)

 

November 10, 2018 (Saturday) 14:30

 

Drama Forum

 

As an extension of the exploration of issues concerning women, our interactive drama workshop offers the audience a multi-layered experience of immersion. Starting from their own experience of life and of the current exhibition, participants will be invited to feel their connection with others by sharing their thoughts and playing the roles of other people under professional guidance. Let us embark on an unusual journey to explore and experience different lives!

 

f. 场馆介绍

 

尚8国际广告产业园尚巴美术馆是一家综合型的展览空间,尚巴美术馆致力于探索当代视觉艺术与女性主题之间的广泛连接, 扶持青年策展人和艺术家的研究和创作。过往展出包括张庭群“出迷宫记”、司马源“觉知Awareness”、“想象的印记”版画群展、 2017北京国际摄影周分展“不关心人类”摄影展以及米拉·米特“生命·积赞”等。

 

f. About the Venue

 

Shang Ba Art Gallery is a multifunctional exhibition space within the Shang 8 International AD Park. It aims to explore the general connection between contemporary visual arts and topics related to women and to support young curators and artists in their research and creative practices. Past exhibitions include “Zhang Tingqun: Out of Labyrinth”, “Sima Yuan: Awareness”, “Imprints of Imagination” (group exhibition), “Human Being is Nothing” (Photo Beijing 2017) and “Mirjana Mit Stojkovic: La joie de vivre”.

 

g. 临时研究中心

 

 在项目进展期间设立围绕女性与影像为主题的小型图书馆, 供观众和学者研究和阅读。

 

g. Pop-up Research Centre

 

During the progress of the project, a small library focusing on women and photography will be set up for the audience.

 

 

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