In The Name of Truth - Contemporary Photography exhibition 以實相之名 - 當代藝術攝影展
In The Name of Truth - Contemporary Photography exhibition 以實相之名 - 當代藝術攝影展
Location:
Singing Waves Gallery L3, Run Run Shaw Creative Media Centre
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Opening Reception / 開幕酒會:
6:30pm - 8/3/2019

Exhibition Period /
展期:
9-29/3/2019
每日 11am-7pm daily

Symposia /
研討會: (Conducted in Cantonese)

1. Landscape and Beyond
地景以後
Dustin Shum + Lau Chi Chung + Phil Shek + Siu Wai Hang
岑允逸 + 劉智聰 + 石明輝 + 蕭偉恒
10/3/2019
2pm-3:30pm


2. Photography and Philosophy
攝影與哲學 
Li Sai + Yim Chun Pong (Member of Corrupt the youth) + Phil Shek + Siu Wai Hang
李四 + 嚴震邦 (好青年荼毒室成員)" + 石明輝 + 蕭偉恒
17/3/2019
2pm-3:30pm


A new practice has to position itself against existing terms. Photography was still considered a new medium at the end of the nineteenth century, a time when Pictorialism was alongside Impressionist painting as the dominating current. Practitioners of photography, especially those in art photography, inclined to see photography as painting’s auxiliary. Contemporary photography only began when it was rid of painting and became autonomous. In photography’s defense, Alfred Stieglitz, the pioneer of modern photography once said: “Photographers must learn not to be ashamed to have their photographs look like photographs.” It was since then photography started standing in its own feet. It started anew as a visual language in service of what can be seen.

Today, more than a century later, photography has ceased to live under the shadow of other media. It is now an idiosyncratic gesture. It seeks not only to represent, but more important, to join the external world with photography. Despite their different thematic engagement, photographers Phil Shek and Siu Wai Hang both demonstrate photography as it is––and the essence that marks its being.

The artists have been voices in the discussion of photography’s nature and its mirroring of reality. Siu’s work is calm with a humanistic touch, offering a window to conditions of our time; while Shek’s carries with it an attitude that parts viewers from the self. Their works converse, converge, and at times drift apart.

新事物必會依附現存物從而找到自身的定位。十九世紀末攝影仍是新媒體,畫意攝影與同時期的印像派繪畫並行,可見使用攝影的人(特別是藝術攝影)屬意將攝影被視為繪畫的補充。而當代攝影的啟蒙,就是當攝影脫離附屬於繪畫,成為獨立戶。而現代 攝影先驅Alfred Stieglitz曾為攝影辯護,他說道:「攝影師不應以照片看似景照而感到羞愧。」。從那時期開始,攝影正式走上自身的道路,沒有他者可參考,一切讓人從新認識,開拓了從屬實相為基礎的視覺基調。

如此,當代攝影已發展了逾百年,或多或少也全然地擺脫了其他媒介的影子,建立其獨有的特質。這不只是表像的再現,更多的是如何把外在世界與拍攝者連結起來。石明輝與蕭偉恒雖然創作議題不盡相同,卻在其作品中展現攝影性,是當代攝影所能表現的,又會是攝影之所以是攝影的彰顯。

兩位藝術家在過去一直有進行有關於攝影本質與及作為現實反照的媒介討論。蕭偉恒作品冷靜地表露其人文關懷,深處卻讓人感到溫度 。石明輝自我隨性的影像,背後卻是叫人忘記自身存在 。從二人的作品中可看見或多或少的對話,有的同符合契,有的貌合神離。



Organized by /
主辦:
School of Creative Media, City University of Hong Kong

Sponsored by /
贊助:
WMA
JCCAC
YU+CO