2016中国创意摄影年鉴
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盲盲自述:
3月26日,我的国内首个个展在天津考拉画廊顺利开幕,展览以我自2009年至今8年创作周期为线索,表现我个人结合自身经验的图像创作实践,以及对于社会身份等一系列问题的持续思考。
我的策展人江雪饕为我的个展取名为“图像剧本”,这个名字是策展人江雪饕对我的作品的初次感受,也是深入研究后的最终理解。我曾从事戏剧表演长达十年,这期间,我开始对艺术产生浓厚的兴趣,从一无所知到渐渐进入自己的创作状态,我花了很长的时间去实验,完善,在未来的创作中,我依旧相信我会用一种实验性的创作方式去创作我的艺术作品,无论涉及到哪种种类的艺术,我都会依靠自身的直觉去融入我的作品,不断挖掘,不断完善。
摄影其实是我创作艺术作品的一种工具,我并没有太过于在意摄影作品本身的层次或呈现标准,而是更注重创作过程中我所经历及积累的一切,创作是愉快而激动人心的,往往不到最后一刻我无法猜测出我所要表达的含义最终将何以呈现,在创作的过程中,我总是天马行空的发挥我的想象,将现实与幻想巧妙的融为一体是我希望并善于的,而最终所呈现的结果更是需要观者运用自身的想象力去理解作品,投入作品中。
关于最新作品《无名悲剧》
这是一个长达一年的拍摄计划,为此我特意买了一个方便随身携带的相机,没有注重过多的摄影技巧和画面语言的阐述,只希望用最简单的功能记录下让我动容的时刻。这其实是一个电影剧本,或许在观看的时候稍显凌乱和天马行空,这正是我需要用观众的下意识及想象力来填补画面空白的回馈,我浓缩了一切表达在这短短的几十张照片中,完成了我的悲剧。
关于作品《大游戏家》
我认为我是一个自娱自乐型的艺术创作者,而大游戏家正是我为自己塑造的角色。大多数人或多或少都有过孤独的时刻,而我的孤独如此的庞大和脆弱,正如画面中的女孩,她的所有玩伴都是虚无缥缈的,我认为只有正视自己内心的孤独,就能跨越孤独,且享受孤独。
关于作品《我割破了一个诡异的梦》
这是一个相对荒诞的系列,在创作过程中我犹如做了一场酣畅淋漓的梦一般,在现实和梦境中来回游离穿梭。这个角色其实象征着许多人真实的生活状态,习惯活在一个自我创造的虚拟空间中,用不同的面具来面对不同的人,而眼睛是我们感受世界最直观的通道,我们用了那么多双眼睛来窥探他人和环境,却少有一双眼睛用来直面自己的内心。
江雪饕 点评:
在当下的当代艺术语境里,绝大数人都在开拓“新领域”,探索当代艺术的边界,以至于绝大数作品都呈现出跨领域的学术氛围,比如社会学、人类学、新科技甚至玄学等。第一次见到艺术家盲盲的作品是在几年前,到如今也算是对她的创作经历比较了解。我对盲盲作品的最大感触就是她创作的“临界点”,所谓的“临界点”就是她没有在无休止的开拓所谓的跨学科的当代艺术“新领域”,而是在尝试探索“艺术”跟“非艺术(生活常识状态)”的微妙临界点。到底什么作品算是艺术作品?而什么作品不算是艺术作品?
盲盲2009年的第一组作品《无题》在创作时候艺术家自身甚至没有把这次经历当成是一次严肃的艺术创作,当盲盲一个人架起三脚架按下快门自拍的一瞬间她自身情感涌动,潸然泪下。从此《无题》这组作品在网上流传开,成为了当时很多青年书写自己情感的配图,大多数观众以为是某电影里的剧照。并没有以为这四张照片是完整的一组作品。这可能就是盲盲作品的微妙之处,初见并没有太抽象难懂的视觉形象,也不是绝大多数观念摄影师的反常识、非传统经验的创作手法。从2009年到2015年的六年创作时期里,盲盲的所有作品都是用自拍的形式完成的,图像里面的主角都是她自己,完成了一次次的“角色塑造”。
2015年到2016年创作的最新一组作品《无名悲剧》是盲盲第一次放弃了自身形象出现在作品中,而是用她的第一视角来搜索日常里的普通图像去完成“剧本”创作,整件作品由80张照片组成。2016年3月26日由我策展的“图像剧本”盲盲个展在中国天津考拉艺术空间开幕,展览精选了盲盲32副摄影类的作品,4副绘画作品跟一件互动式装置作品。
盲盲|图像剧本
Mang Mang|Image Script
策展人:江雪饕
Curator:J.X.T
Opening Reception/开幕酒会:2016/3/26 3:00pm
On View/展览日期:3/26-4/16
天津市和平区台儿庄路26号(泰安道壹号院A8)考拉空间
Koala Space,No.26,Tai’erzhuang Road,Heping District,Tianjin,China
Mang Mang|Image Script
Koala Space is honored to announce the upcoming exhibition “Image Script” on March 26, 2016. This will be the premiere solo exhibition of Mang Mang’s works at home on the mainland of China. Over the course of 8 years (from 2009-present) Mang Mang pursued subtle lines of approach leading us through her images and creative process to explore her personal experiences facing social situations and the problem of identity, all the while tackling rigid lines of thinking and reflection along the way.
“Image Script”, a title created by the curator Jiang Xuetao, springs from his initial reaction to her work. After a decade of theatrical performance, Mang Mang fashioned herself as the protagonist of all her art pieces from 2009 to 2014. In these pieces, she takes on different “roles” within each image and finished creation. The Anonymous Tragedy, started in 2015, is the first production where Mang Mang did not appear as the main character of her work.
“This project was intended to last for one year of continuous photography. So I bought a portable camera. Pursuing a rigid and raw style of photography, my aim was to just record the moment without much consideration for photographic technique or the intended statement of the image. I just wanted to capture the emotion of that moment that grabbed me. It’s really just a screenplay. It might seem somewhat messy or unrestrained at times, but that’s the intended purpose. I wanted to leave space for the audience to fill in the blanks with their imagination, as we tell the story together. And so here the images that make up The Nameless Tragedy. (Artist Statement).
Mang Mang (originally named Zhao Bingbin) comes from Shenzhen, China where she was born in 1987. She studied at the Shanghai Theatre Academy where she graduated in 2009. After graduation, she has actively pursued her vocation and passion as an artist. She lives and works in Shenzhen and Shanghai.
2015 MY TREAT AT EXHIBITION (Beijing, China)
2015 WUHE ART EXHIBITION (Shanghai, China)
2014 MOCK FASHION ART EXHIBITION (Shanghai, China)
2013 LOFT PHOTOGRAPHIC DESIGN ART EXHIBITION (Hangzhou, China)
2012 DE MANG MANG ART EXHIBITION (Lyon, France)
2012 NICEPHORE ART EXHITITION Artistic Show (France)
投稿须知,请务必仔细阅读:
事情是这样的:
2015年6月1日儿童节,我收到了一封让我激动不已的邮件,邮件内容是这样的:
半人间你们好
我了解到你们是一个艺术创作分享交流的平台,很感兴趣。所以问一问你们是否有在线下实现个别方案的想法。
Arc Space是一个艺术空间,可以提供给艺术家一间屋子进行创作和展示。当然如果我们能够和你们平台有更广泛、更有趣的合作将更好!我把空间简介发给你们一份。如果可以,我想我们最早7月就可以实现一次线下的展览。
感谢你们拨冗阅读邮件!
祝好!并希望合作愉快!
Arc Space创始人Jerome
我激动的立刻回复了一封邮件给Jerome,邮件内容是这样的:
Jerome你好:
非常高兴收到你的邮件,我先自我介绍一下,我叫盲盲,我是一个独立的艺术家,半人间是我自己创办的一个微信公众平台,并且全部由我一个人去编辑完成的。我最初创办半人间的初衷是我一直致力于普及大众艺术,推动老百姓创作,因为我本身是一个艺术创作人,所以我非常的了解艺术创作带给我的好处,所以我办了这个公众平台,希望它的诞生能够让更多生活中远离艺术却又向往艺术的老百姓可以参与创作,分享创作。
大致来说,半人间是我的个人行为,我非常激动半人间得到你的关注,并且我坚信我的这个行为是可以推动老百姓热爱创作,参与创作的。
我对Arc Space并不了解,你的介绍也比较简单,可否给我更多的信息,例如场馆的实体照片,以及你们的理念,恕我直言,我并不了解你们是否是一个盈利机构,在做艺术展的同时是否涉及到盈利,或者可参展的前提等等,希望得到更多的资讯。
期待您的回复。
祝好
盲盲
接下来,我和Jerome开始了更多更细致的交谈,我们彼此了解了ArcSpace以及半人间的创办理念。
“ArcSpace在普通的居民楼里,是一个独立非盈利性质的展览空间。不过,我也在寻求合理的可以养活空间的方法。然而这种方法不能以牺牲展览质量为代价。
我们所策划的展览倾向于为艺术家提供一次实验的机会。这不同于以商业模式运行的市场导向型的空间。而又由于在居民楼里,它也希望普通人参与到展览中。另外,我们希望展览能尽可能地拥有深度与价值。能够在环境中生效,而不是简单的表面消费。”
接着我们在微信中交谈了更多,达成了基本的共识。过了几天Jerome给我发来了一封让我彻夜失眠的邮件,邮件的内容是这样的:
盲盲~
我这几天看了你个人和半人间推送的作品。我有一个初步的想法~觉得发微信的话,语句难免松散而不够严肃 因此写信给你了。
我觉得你和半人间的朋友们的创作都极其敏锐。这种敏锐给我一种幻象(也许是批判意义上的,也许不是,我现在难以定义它)。我觉得你们都在创作中遇到了自我,并在对自身问题的反复确认中构建着一种诗学。我丝毫不觉得这些影像是我们当下所处的景观中的一个简单的拓本。它们极其独立而陌生,但最终它们也难逃被消费的宿命。这是悖论,我姑且不去谈它罢。
我想到可以每日做一个你和半人间的创作者们的个展。其他空间刚刚做过了类似的项目。但我觉得这种形式太无聊了。即便是一天的展览,但它仍然是一个极度标准化的展览。这种情况下,艺术家有什么意义呢?他们依然还是像小丑,做些东西给别人看。作品一旦脱离作者,便死掉了,等着观者评判。观者和艺术家都被动了。展览太静态。
我想我们是否可以“生成”一个展览,或者我们赋予艺术家主动性,赋予艺术家选择的权利,让一个艺术家和所有的艺术家、和整个环境产生互动。对于观者来说,我们不在展览最初预设好他们会看到的死的、固定的场景。我希望他们看到艺术家们在绞尽脑汁生成一个展览(同时这个展览也是大家共同的作品)的过程。
因此我的方案将为你以及半人间的全部艺术家开辟6周的时间。这6周里,我将把除办公区域外全部的空间包括厕所 厨房 客厅 阳台 室外 提供给大家使用。在这6周里,每一个艺术家自主选择时间,自愿地、随意地在任何区域内布置自己的展览,或完成其他方式的作品。
有点像坐公交车车,展览开始是个空车,然后大家不断上车,最后也许很拥挤,也许不拥挤,都不要紧。那是艺术家们自己决定的。我们将试验完全民主的可能。也许当作品集中在空间的某一处,对于后来才到的艺术家有些不公平。我想这种情况下,一个具有实验精神的艺术家是可以把不利条件转化的。这些作品共生,但又拥有各自独立的东西在。每一个小区域都是一次个展。展览总在发生变化,这对于观众来说是个有趣的经验。
如此构想,最后落到你的平台名字“半人间”。我想在这样一个打破展厅、打破传统展览制度,相对艺术自治的系统里,我们正在塑造一个异构的人间。
我将把开放的区域标示给参展艺术家,对于外地的艺术家不方便来京的情况下,他可以在网上选好位置,由他安排在北京的朋友来布置他的作品。同时,我们马上进行的艺术项目将把一个展厅伪装成咖啡店,这个屋子会有放映、沙龙、讨论,当然这个空间完全对咱们的展览开放。如此一来,展览项目之间的重叠又碰撞出了新的意义。
现在,我们来搭一个剧场,让我们自己和半人间的创作者们都来进行演出。这不是排练好的,而是即兴的。但我不确定其他创作者是否会接受如此荒谬的展览方法,或者他们是否愿意进行这样的游戏(实验)。这不是一个经典性的、塑造艺术家的展览,它是一个进程,一种生活政治,同时是大家的与众不同的交流与狂欢。所以需要你问问他们咯~
写到这里,我愈发觉得表达得不好。肯定还有疏忽和不周之处,还望指出。我也在此诚挚邀请盲盲你和你的半人间一起参与到这场实验里。
晚安!祝好!
jerome
15-06-16
随后我们在QQ中仔细的探讨了如何完成这次展览,我们的交谈内容大致是这样的:
盲 13:49:16
我是这样想的,因为毕竟咱们都是面向大众的,你们要做的也是服务大众,半人间要做的也是服务大众,既然都是服务大众,我想我们就应该公开!
我是想着要不要把我们的想法都公布出来,让大家都知道我们的真实操作!
J 13:50:16
比如呢~具体怎么做~
盲 13:51:10
包括你给我写的那封信,包括我们现在的谈话记录,我觉得是很真实的想法,又要把这些想法实现出来,就可以完全透明的公开,从我们的想法,到一步步的实施。
J 13:52:36
然后他们感兴趣的话 会自然而然地参与其中?
盲 13:52:57
是的,我就是这个意思,哪怕做为一个观众,他们也可以给我们最直接最真实的反馈!
你邮件中的想法,其实更多的是需要创作者与环境的互动,与观众的互动,也是与自己作品的互动,这个需要创作者自己去完成的,不是别人能帮助完成的,所以我们的公开,也可以让他们更直面的了解到我们的理念,以及他们需要做到的状态,然后他们也好去权衡一下,你觉得呢?
J 13:56:04
因为不同于一般的展览 这里毕竟需要艺术家很积极地参与进来
而且要面对的也不是传统意义上的展厅
对对对 你刚说的是我的意思
就是来“做”展览
盲 13:57:05
我其实很激动的,比自己得到展览机会还要激动,毕竟我能为半人间真正的做点事情了,所以我会很积极的跟进!要做,就做到最好!
J 13:57:11
不是做“展览”
盲 13:57:28
对!“做”展览,不是做“展览”。
J 13:59:56
我们正在筹办一个 独立空间2015 的活动 大概有北京10多家空间 然后到时候向公众统一开放 我希望把这个计划作为当期的展览。
就是一个周末我们所有空间统一开放 统一做一些活动 但具体到不同的空间 有各自的展览
盲 14:08:13
我知道你们那里其实空间不大的,如果只是单纯的上墙展,还是可以多展几个人的,但是如果涉及到创作者本身的互动或者行为,就要好好的规划一下场地的安排了,所以也要看我们最后选择了哪些作品,然后结合场地的安排,说实话,我觉得如果第一次做的好的话,以后还是有合作的可能嘛,不一定就这一次了,对不,哈哈哈哈。。。
INTERVIEW BY JC GONZO
Amidst the hustle and bustle of ShenZhen, one of China’s busiest ports, Mang Mang crafts sharp studio portraits embodying many facets of her own psyche. For Mang, an image can’t be too stylized for intimacy. She is unafraid to cut, re-arrange, blur, and distort otherwise straight-forward photographs of herself to better represent a concept. Unlike the material excess of Sherman—an undeniable inspiration—Mang’s prop choices are minimal and singular. Innocuous household items morph into emotionally charged fetishes and their relative harmlessness become a point of contention.
While often turning the camera on herself, Mang is open to photographing others. As for the male figure she occasionally presents, “He was my fiancé, but we separated in the end.” Born Zhao Bing Bin, “Mang” means “blind,” a choice to “remind myself not only to rely on my eyes, but to use the heart to see the world.” As a born-and-raised local of ShenZhen, Mang has only recently returned after spending most of her teens in Shanghai. The following interview was conducted in Chinese and translated by an assistant of Mang's.
What brought you to Shen Zhen? Does the city lifestyle affect your creative process?
I was born in Shenzhen, and left my hometown when I was 13. I would never imagine I’d return after 15 years and get used to the life here. I still go back to Shanghai frequently. The creative environment doesn’t have much change compared to Shanghai. I still haven't got a studio. All I have is a clean white wall. But I have a whole new and fresh city. I believe the change in this city can bring me many inspirations. I may find a better scene, since everything is unknown.
If you could live anywhere else in the world where would it be?
I would live in Iceland. Without a reason, it is just an instinct.
To me, your work conveys themes of identity, travel, and sometimes violence. What spurs or instigates a photographic series for you? What concepts do you like to play with?
Personally, I think my work is hidden with strong "love," this love can come from the viewer to interpret. Even if my work is filled with violence, gore, psychosis, metamorphosis, and beauty, they all connect to "love." Most of the time when I get inspiration something touches my heart, such as a movie, a person, a story, a sentence, an action or a dream. These things give me an embryo, an initial prototype. Before shooting I wouldn't do much planning or setting. I do my creative work through experiments and attempts. I love the joy of the unknown.
Your work seems aesthetically clean with lots of open space, sharp edges, and distinct color choices. Does this imagery reflect your lifestyle?
This question embarrasses me. Except for some pieces, I do specifically need a clean, open, sharp composition and view point. Some work is limited by the shooting conditions, it can't compare to the effect in my mind. I can only work in a limited environment to get close to my idea. If I had more funding, assistance and every resource I need, I think I’d spend time on a larger photographic series. Anyway, this situation doesn't bother me. Perhaps it is a way God will guide me to wisdom. You are right, it does reflect my lifestyle.
Can you talk about the clothing choices and fashion you present in your photographs?
Most of the time when I shoot, I hope I wear no clothes. Meanwhile, I am a conservative Chinese person, which bothers me. Sometimes during shooting, I feel the presence of clothes makes the work not pure enough. It can't reach the power I want to present. Yet, I can't completely get rid of some of the ideological shackles, which makes for a weird scene. Eventually I found it to be appropriate. It is a unique visual language that belongs to me. Some commentators think that my work could be more exposed or should have more visual impact, which might be more international. But I believe my works should not be explicit for exposure’s sake. I think my work should go beyond surface-level impact.
Are you influenced most by literature, cinema, music, art, or life?
I can put it this way... I receive outside influence but I’m not influenced by the outside. My work, my personality, and even my emotion can be changed by a movie, a song, a painting, a novel or anything else. But I filter and process them in my own unique way, this chemical change in me is quite special and makes me interesting.
What is the oddest or most surprising feedback you’ve received from your work?
Disgust, nausea, horror, empty-hearted, stimulating, crying, sick, uncomfortable, etc. These weird words are my favorite comments."
http://whitefungus.com/mang-mang
Starting out in theatre as a teen, Zhao Bing Bin dedicated a decade to performance before transitioning into self-portrait photography. Now 25, her role in front of her camera has taken center stage as she has quickly become one of Shanghai’s top young artists to follow.
Zhao Bing Bin, who chose the moniker “Mang” (Blind) to display her work under, focuses on the intimate being recreated in sterile conditions. Mang will manipulate the most minute of details in her studio set-ups allowing us to explicitly see aspects of her private life. Her identity presents itself as a sort of cross between the personal, diarist sense of Nan Goldin or Francesca Woodman and the self-iconization and role-playing of Cindy Sherman.
Mang’s exceptional sense of design and simple beauty makes for an irresistible body of work, catching the eyes of photo and art bloggers all over the world. I shot Mang a few questions via e-mail. Disclaimer – I am posting the interview in its original Chinese and its translation via Google.
01: Are these characters you embody real or fictional aspects of yourself?
My self-portraiture is strictly divided in two, an emotional catharsis which is simply my record. Many observe their surroundings, but I observe them as individuals with emotions in flux. My persona is a visual language represented in the photos. The other is fulfilling a variety of roles – images of autistic children, abandoned wildernesses, inflatable dolls often pop in my mind… Or when I want a sister, I play the sister. Playing the role I imagined is very interesting and enriching. Sometimes when I’m finished I’ll be reluctant to play her again.
02: Why did you leave theater for photography?
I love the theatre, to express yourself on stage. I loved to create a variety of roles and regard it to roles in daily life. I’ve always been a performer, but I lack the time. If I could freeze, it would be perfect. People would know more about me than myself. So I picked up a camera and can act anytime now, as long as the inspiration is fresh.
03: Does living in Shanghai influence your work?
Shanghai is too impulsive and noisy for me. Most of my work is very introverted and private, even with a sense of exclusion at times. This is very much me, like I live in the greater Shanghai environment. In Shanghai I’m weak and young, it’s better to feel lonely and humble. This is what I need.
04: Any other art forms you are exploring?
I like painting, although I draw bad. I still like to.
05: Which artists inspire you?
I have this bad habit… I remember photos that are so exciting I can’t breathe, but I can never remember the name of the photographer. One I do remember, which gives me hope, is Cindy Sherman.
Mang actively updates her site with new work. Keep posted at her website, viewable in English by clicking the top left-hand corner.
http://theendofbeing.com/2012/07/20/mang-mang-exclusive-interview-with-shanghai-photographer/