大众摄影

罗书杭个展——独自叩门

2020-7-20 GF

 

当传统与现代碰撞,当自然与人世融合,总会产生无与伦比的张力与魅力。艺术家罗书杭的个展——独自叩门带给我们的,正是这样一段关于身体空间的叙事之旅。

 

本次展览将拟于8月1日至8月30日在三影堂厦门摄影艺术中心展出。展览作品一共18幅,共有4个系列的作品,以宣纸、灯箱、视频装置和影像投影的方式展出。

 

罗书杭,出生于1997年,毕业于暨南大学戏剧影视导演系,2015年参加阮义忠摄影工作坊。对罗书杭而言,摄影的迷人之处在于时光,以及潜藏在既定时间里的不确定性。

 

在创作时,罗书杭整理了近年拍摄的胶片,试图将它们融入到中国的传统山水画当中,并借此构建一个由现实材料堆砌重组而成的“我之世界”。在自然山水与普通人世的交融中,将时间的褶皱铺展开来,传达一次跨越时空的对话。

 

 

 

 

 

罗书杭个展——独自叩⻔ 
主办:三影堂厦门摄影艺术中心


艺术家:罗书杭

策展人:肖瑞昀


展期:2020年8月1日 - 8月30日

开幕时间:2020年8月1日 15:30


地点:厦门市集美区杏林湾商务营运中心2号裙楼301(从连接1号楼、2号楼之间的大平台进入)

 

前言

 

文/肖瑞昀

 

从《独自叩门》到《开门见山》,罗书杭展开的是一段关于身体空间的叙事之旅。 《开门见山》让绘画图像与影像之间产生了互文,甚至是一种跨越时间和空间的对话。这样一种互文方式,形同传统绘画中的“题跋”。“题跋”的出现标志着画作的另外一个转变,从单一的图像,转变为图像和文本共同构成的一个卷轴。1 如果将一幅卷轴看作一个整体,历代的藏家对画作进行的题跋,便包含了跨越时间的文本内容。

罗书杭的创作某种程度可以视为另一种题跋的方式,同样是后来者对前人画作的注解。只是题跋的内容不是以文学及书法,而是影像;也不是在原本作品的画面之外,而是嵌入到了画面之中。 因此,原本的语境被化解了。在传统的山水画中,自然景象与人物融为一体,而且通常是一些文人雅士。罗书杭作品中出现的却是再普通不过的人:买菜的阿姨、做工的师傅、穿着睡衣的男子、站在山头的女学生……这些融入其中的现实影像,重新构建了一个语境,让传统与当代形成一种极具张力的矛盾。

罗书杭的另外几组作品都表现了基于真实之物的虚幻之感:《下沉》是抽离日常经验之后的物体样貌,《青苔》则展示所见之景的重合。展览的整体呈现是一种宁静的氛围,那是传统绘画元素以及宣纸材料带来一种幽微的质感,以及展览透过一个立轴的动态视频,放置的那一轮若影若现的明月。然而,当细细观赏这些作品,总有一个画面成为观看者的“刺点”2 ,甚至转化成为某种不确定的情绪。在视频作品《灰尘》中,观者似乎化身为宇宙中的尘埃,这种不安感伴随着现场声音越加强烈。

摄影记录的是时间的切片,罗书杭的作品则将时间的褶皱铺展开来。 “独自叩门”,欢迎到门内此间漫游、驻足及观赏。

 

注:

1 巫鸿《重屏——中国绘画中的媒材与再现》

2 罗兰·巴特《明室》

 

关于艺术家

罗书杭,出生于1997年,湖南长沙人。2015年参加阮义忠摄影工作坊。
2020年毕业于暨南大学影视系,获学士学位。作品主要集中在图像、影像创作,执导电影曾入围第25届ifva独立短片及影像媒体比赛评审推荐单元。

 

Luo Shuhang Solo Exhibition ——  Outside The Door

 

 

Artist:Luo Shuhang

Curator:Xiao Ruiyun

 

Organizer: Three Shadows Xiamen Photography Art Centre

 

Duration:  Aug 1, 2020– Aug 30, 2020

 

Opening:2020年8月1日 15:30

 

Venue: No. 301, Building 2, Xinglinwan Business Center, Jimei District, Xiamen

 

 

 

 

Preface

 

Text/ Xiao Ruiyun

 

From Outside the Door to Once Upon a Land, Luo Shuhang ventured into a narrative journey concerning body and space.

 

In his work, Once Upon a Land, there is intertextuality between the painting and the image, and even a dialogue that transcends space and time. Such kind of  intertextuality is similar to the "colophons" in traditional paintings. The appearance of colophons demonstrates an important transformation of the painting: it no longer purely  consists of pictorial images but integrates visual and textual portions in a single scroll. 1 If a single scroll is considered as a whole, the colophons on the paintings added by the collectors in the past include texts that traverse time. 

 

To some extent, Luo’s work can be regarded as another form of the colophon, which is also a commentary made by the later generations on the paintings of their ancestors. The difference, however, is that the content of the colophons is not literature or calligraphy, but image; also, the colophons are not outside of the original work but embedded within. 

Therefore, the original context is resolved. In the traditional landscape paintings, nature and figures are very well integrated, and usually those figures represent the literati. Nevertheless, what appears in Luo’s work are ordinary people: women buying groceries, masters working, men in pajamas, female students standing on the top of the hill, etc. These realistic figures blend into the original paintings, reconstruct the context, and form a tension between the traditional and the contemporary. 

Luo’s other series of work all demonstrate the illusion that derives from things in reality: Sink shows the appearance of objects after stripping away from daily experience, and Moss shows the overlap of things we see. The overall presentation of the exhibition is immersed in a tranquil atmosphere, which is a subtle texture brought by the elements in traditional paintings and materials like Xuan paper. The ethereal moon demonstrated in the video on a vertical axis also contributes to the tranquility of this exhibition. However, when viewing these works carefully, there is always a frame that could turn to be the “punctum”2 for the viewers, and it could even transform into some kind of uncertain emotion. In his video work, Dust, the viewer seems to be transformed into dust in the universe, and this sense of uneasiness is accompanied and augmented by the sound on the scene.

The art of photography records the slices of time, and Luo’s work spreads out the folds of time. People Outside the Door, welcome in, and please enjoy.

 

Note:

1 Wu Hung, The Double Screen: Medium and Representation in Chinese Painting

2 Roland Barthes, Camera Lucida: Reflections on Photography

 

 

 

 

Artist Biography

 

Luo Shuhang was born in Changsha, Hunan Province in 1997. He was selected for Ruan Yizhong Photography Workshop in 2015. Luo obtained a Bachelor’s degree in Film Production at Jinan University. Luo's works focus on image and video creation. A short film he directed was shortlisted for the Jury Recommendation, the 25th ifva award, 2020 Hong Kong Arts Center.

 

《开门见山》系列

 


 

 

 

 

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