2017 | 摄影
栏目:以往展览 发布时间:2017-07-07
2017.7.8 - 2017.9.8 | 林舒个展“摄影”



开幕:2017年7月8日下午三点

展期:2017年7月8日至9月8日

地点:三影堂厦门摄影艺术中心 +3画廊



莱茵河,安德列亚斯·古斯基,1999


画这些摄影名作,我是当做摄影作品来做的,很明显是关于绘画和摄影的关系,这样的关系从摄影一出现就无法摆脱,对我个人而言也是纠缠太久,可以说是我第二在意的关于摄影的问题。我也做过一些尝试,从《鸩》隐约与中国传统绘画的关系到直接在照片上手工上色和绘画,后来也尝试过在现成的图像上绘画,但是更偏向于绘画。



爸爸、妈妈和孩子们,植田正治


今年我放弃了这些实验,最初只是想简单的用绘画去临摹摄影,尽可能的放松与克制自己的绘画技巧,把所有的重点放在照片之上,从而更深入去了解一幅伟大的作品的每一个细节,这种观察的方式完全不同于普通的观看。说回绘画与摄影对我造成的纠结,使我一定要在二者间分出胜负。从现实到摄影,从摄影到绘画,再从绘画到成为了现实的摄影。一幅根据照片完成的画(几乎已经成为了一种传统的方式)似乎从来都是一幅画,但是通过临摹这些摄影名作,画“摄影”成为了可能的事情,这些名作强大的阻挡在了被拍摄的物象的面前,深深地印入每一个对摄影和摄影史有所了解的人的脑子里,使绘画无法穿透摄影而直达这些对象,我终于可以明确无疑的看到一幅照片。摄影在这里是占了上风了,绘画成为了摄影的替代品而不是相反,只是我没有想到竟然是绘画打败了绘画,你也可以称我为是一个摄影的卧底。


文 / 林舒



对谈:得一以宁——汪贤俊×林舒 谈摄影与绘画

时间:2017年7月8日下午四点

地点:厦门集美区杏林湾营运中心2号楼301

          三影堂图书馆



我们十分有幸,邀请到南京艺术学院美术学博士、中国集美大学艺术学院的 汪贤俊 教授,与艺术家林舒,一起对谈摄影与绘画的关系。汪贤俊教授的博士论文,为《影像的冲击:早期摄影对绘画的影响》,而林舒所探讨,是绘画对摄影的影响。老子说,“反者道之动也”,希望这种相待而看的目光,让我们对艺术有更清明的观照。









Erotos,荒木经惟,1993


When painting these works, I considered famous photographic pieces so it is clearly about the relationship between painting and photography. This relationship has been unshakeable since the emergence of photography and it's pestered me as individually for a long time—you could say it's my second biggest issue with photography. I've made some attempts, from the faint inkling of Chinese traditional painting in the piece Zhen, to directly applying color by hand to the surface of photographs; I later experimented with drawing on ready-made images but I've always been more partial to painting. 


This year I quit all these experiments, initially thinking I would simply use ink painting to copy photography and attempt as much as possible to relax and restrain my painting technique. By placing all the focus on the photograph, I could more deeply understand every detail of a masterpiece. This type of observational methodology is completely different from conventional viewing. Returning to my entanglement with painting and photography, I definitely wanted to parse out victory and defeat between the two. Reality to photography, photography to painting, painting becoming real photography. Paintings based entirely upon photography always seems to be more like drawings. But by directly copying these famous photographic works, drawing “photography” became a real possibility—these formidable renowned works which obstruct the face of photographed phenomena, deeply imprinted in the minds of everyone with an understanding of photography and photographic history—render painting unable to penetrate photography and reach the subject directly. In this, I was finally able to clearly, undoubtedly see a photograph. Photography occupies the advantageous position, painting becomes its substitute and not its opposite. Herein, to my surprise, painting defeats painting, and you can call me a photographic double agent. 


Lin Shu

 


艺术家简历



林舒

出生于福建,现居北京,自由摄影师,《ALTERTRUE》杂志创办人。

 

个展

2013:

《鸩》  法国巴黎

2011:

林舒《鸩》写真展  日本东京

2010:

第六届连州国际摄影年展 《鸩》  广东连州

 

群展

2016:

隐逸的灵境 TABULA RASA  北京

2015 :

FORMAT国际摄影节“来自中国的50本当代摄影画册2009-2014” 英国伦敦

谷仓当代影像馆驻地计划  兰州

2014:

浮世相-新摄影大篷车计划  北京

2013:

北京国际摄影周  北京

2012:

大理国际影会“亚洲先锋摄影师成长计划”  云南大理

2011:

一重影事  广东深圳

草场地摄影季24小时北京  北京

CHINA FOTO  日本东京

2010:

TORA TORA TORA 中国新锐影像展  北京

2009:

《临点-年轻摄影家眼中的中国》2009年度三影堂摄影奖作品展 北京

2006:

平遥摄影节 “簇”六人展  山西平遥

 

出版

《大象·fotoyard》 中国美术学院出版社  2006.12

《中国摄影新锐25》顾铮  浙江摄影出版社  2010.01

《鸩》个人写真集  日本东京禅画廊  2011.10

《鼩鼱》假杂志  2015.11

 

收藏

何香凝美术馆  2011.07

日本东京禅画廊  2011.10


上一篇: 2017 | 温度
下一篇: 2017 | 借花献佛