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展览名称 Title: 被动的仪式—杉本博司摄影作品A Ritual of Exposures - Hiroshi Sugimoto

艺术家 Artist: 杉本博司Hiroshi Sugimoto

策展人 Curator: Je Young Professionals(文/Christina;译/Xin;校稿/Santino;设计/Fannie)

展览时间 Duration : 2017.8.02 - 2017.9.10(11:00-18:00,17:30停止入场,周一闭馆)

主办方 Host: 杜若云章画廊 Je Fine Art Gallery Shanghai

展览地址 Venue: 上海市徐汇区永嘉路498号  498 Yong Jia Road, Shanghai 

入场费Admission | 30 RMB(周二-周五) 35 RMB(周末) 268 RMB(会员-购票即日起,一年免费观看画廊所有展览)

【备注:此展览禁止12岁以下儿童观展,谢谢。】

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“仪式是纯净的行为,没有意义或目的。”

——题记

生命就像一场被动的仪式。

就像光,毫不留情地刺痛你的双眼,你却虔诚地把它当作希望。

就像大海,时常波澜壮阔,惊涛骇浪,你却总对它最初的风平浪静、寂静沉郁着迷。

就像自然博物馆的标本,曾经动若脱兔,而今满眼须臾。

就像舍利罐,曾经行走天涯,天地为家,而今居于一匣,供人瞻仰。

就像散场的电影,曲终人散,满幕白光,却也总有人长久驻留。

……

他把这一场场被动的仪式记录了下来,因为他害怕最后的仪式也会消失不见。

他只想复古,哪怕时人不断前进,他也毫不在意。因为前进也可能是倒退。

他不断游走在毁灭与幸存的边缘,他明白也许只有摄影这近乎巫术的记录,才会为世间一切的脆弱涂上一层蜡,尽管“世间”这个被人类创造出来最强有力的词汇,总有一天也会被毁灭……而时间才是唯一的主宰。

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杉本博司,著名日本摄影师。出生于1948年二战刚结束的东京。

儿时周遭很多建筑都被战火摧毁,而他父亲的楼房侥幸得以保留;他年少时在东京学习德国哲学社会学等,到了加利福尼亚,才发现他曾经梦寐以求的生活模式和思想在那儿早已被人遗弃,与他们格格不入,身边充斥着禅学和佛学;9.11空袭他身处纽约中心,见证了世贸大楼的瞬间坍塌;60年代波普艺术运动告终,各种新兴艺术流派层出不穷,充满希望的艺术家们却也陷入了更大的迷惑,身居纽约艺术圈的他,也是其中一员……也许正是因为这种种经历,才让他明白在每一个时刻下,仪式的重要性。他需要用自己敏感的内心记录下这些绝对的被动。

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仪式感的践行人

《海景》

杉本博司的作品不仅是摄影,是艺术品,更是一个人生命的见证和反思。《海景》系列一个个不同的海天画面,氤氲绵长,那是他二十年坚持的仪式。

他说:“这差不多快成为我终生的事业。之所以对海景感兴趣,还是与我幼儿时期的记忆有关。我能想起的最初记忆,就是海景。”

人总是尝试着忘却某些记忆,它们慢慢流逝褪色,然而总有些记忆永远鲜活生动。“记忆是一件不可肆意的事情:你不会记得昨天发生了什么,但是你却可以清晰地回忆起儿童的瞬间。”于是当我们看到杉本博司的的海,我们再一次被动地感到一种莫名的情绪涌上心头,不管是孩子,还是老人。因为那片海不正是和人类诞生时看到的一模一样吗?

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复原的仪式

纵览杉本博司的作品系列,不难看出他对过去的情结,对事物萌生状态时的迷恋。于是他想去复原。

《剧院》

他流连于废弃的剧院,打开快门,让相机记录屏幕上的一切,直至终结。于是相机被动地成为了电影的见证者,电影被动地呈现在了画面上,人们曾被这电影感动,而影院则又被人们抛弃……

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《自然博物馆》

他说,纪实摄影师们被送到原始的环境,去记录大自然的一切。于是森林中的生灵和动物以模型的方式被放置在了自然博物馆,被人们参观欣赏,随意拍摄照片。而有趣的是,这人造的模型和标本,却在他的相机下,显得那么真实。他驻扎在博物馆,长时间地拍摄。 于是这些早已告别人世的动物,被他以间接的方式还原, 眼神里不再写满空洞,而是最初看到摄影师时的惊恐。

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《建筑》

他也是一位建筑师,却说:“建筑物是建筑的坟墓”。因为一旦开始施工,便象征着对最初模型的不断妥协和远离。那些永垂不朽的宏伟建筑物,被迷上了一层层雾,幻化成幽影,因为那才是最接近建筑最初的样子。

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“相机虽会记录,但没有记忆。”杉本博司的摄影作品是被动的,因为他经历的人生是被动的,看到的事物是被动的。

他的摄影是艺术品。

他的艺术作品是一场仪式,终生的仪式。

而我们每一个人也被他这场冷静而毫无生气的仪式深深震撼。

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简介

时间、历史、宇宙;自然、生命、死亡,这些都是“神”(Zeist)在世间表演的“仪式”。杉本博司,带着他的相机,足迹跨越四十年光阴的世界各地,纪录下了天地人间的这些“仪式”。本次杜若云章画廊举办的杉本博司个展“被动的仪式”,聚集了他跨越时间空间最重要的几大摄影系列,包括海景、影院、自然博物馆、偏光色、金铜器和时尚系列。在这些系列中,清一色的黑白色调拍下不同经纬线上永恒的天际线,静止的电影画面记录下消逝的时间,栩栩如生的动物场景却述说着死亡的悖论,人类创造的文明在他的镜头下也只变成历史的惊鸿一瞥。

“Hiroshi Sugimoto′s ritual is a series of exposures, untampered and driven by a higher spirit. “ 

—the Epigraph

In his works, to live is to experience a ritual…

Of light exposed, often mistakenly taken as the sign of hope but sometimes too dazzling for the eye to see;

Of sea exposed, unavoidably tempestuous but still charms many with her fleeting caprice;

Of a diorama exposed, however alive and kicking once, now a lifeless piece;

Of a pot exposed, once handled and touched, now enclosed in the exhibition cabinet; 

Of a film exposed, when over, has her last audience too loyal to leave.  

Sugimoto is an observer, an interpreter and a philosopher of this ritual of exposures. He fears the fleetingness of these moments. 

In a time when many look to the future, he looks back in time. He looks for inspirations in the past, searching for the traces of history because for him a retreat could be another advance. 

His works are negotiations between destruction and survival, between life and death. He understands that photography, although deemed to be a faithful recorder of reality, has the power to deceive the eye and to coat the frailty. “Civilisation” is a powerful word of human invention, but it will eventually cease to exist under the last judgement of Time. 

Hiroshi Sugimoto, a famous Japanese photographer, was born in Tokyo in 1948, not long after the war. A birth after countless deaths. 

Many buildings fell into pieces but his father′s house remained. A survival among utter ruins. 

He studied Western philosophy and Marxist Economics in Tokyo but was immersed in the Oriental philosophy of Zen and Buddhism when he moved to California. An outsider from within. 

He was in New York during 9/11 and therefore witnessed the collapse of World Trade Centre. A destruction during the boom. 

The 60s saw the end of Pop Art Movement but the eruption of various new movements. In this environment, rising artists were lost and confused. Struggles in a melting pot. 

Luckily, he arose above the mundane to the metaphysical, exposing Time, History and Universe; Nature, Life and Death with his camera. In a secular world, his sensibility turned his art of photography into a ritual of exposure, untampered and driven by a higher spirit. 

The Practitioner of the Ritual

Seascapes

Sugimoto′s work is not only a photograph but also an art which witnesses and reflects on time and life. Seascape series is an ongoing ritual performed by Sugimoto over a time span of twenty years. Places shift and time elapses but the horizon stays in his seascapes. 

He said, “It is becoming my lifelong career. My interest in seascape sprang from my childhood memories. The very first memory I have is a seascape.” 

People always try to forget certain memories. Some do fade with time but others stay fresh as a daisy. “Memories are beyond control – you might not remember what happened yesterday but you could easily recall moments from childhood.” Therefore, when we look at Sugimoto′s seascapes, regardless of age, we are overflowed with ungoverned emotions which could be traced back to the Genesis. Has the sea even changed since the time of the first people? 

The Ritual of Revivals

Theatres 

He lingers in the abandoned theatres, fixes the shutter open and only closes it when the film ends. Thus, the camera becomes the witness of time. A narrative in a single frame – such an affecting narrative but its carrier abandoned. 

Dioramas

He said, “To make these dioramas, many photographers have been sent to the spot. And then came back here. Then the three-dimensional dioramas were made.” The dioramas are exhibited in the museums, to be looked at and to be photographed. Interestingly, the man-made mounts seem so real in his pictures. He camped in the museum, spending hours shooting. The lifeless animals were revived to life by him – their eyes not hollow anymore but seemingly alarmed as if just encountered by the photographer. 

Architecture 

Despite an architect, he said, “buildings are the graves of architecture.” Once started, the project drifts away from the prototype in compromised forms. The immortal buildings, when covered in fog and transformed into phantoms, come the closest to their inceptions. 

“Although cameras leave traces of light in material forms, they have no memory.” Sugimoto’s photographs are light-exposed and his vision is time and history-exposed. 

His photographs are pieces of art. 

His photography is a ritual, a perennial one and each one of us is enthralled by his ritual of exposing what is metaphysical. 

Summary 

Time, History and Universe; Nature, Life and Death – all of which are “rituals” performed by the Zeist. Hiroshi Sugimoto, with his cameras, has dedicated four decades of life, scattering his traces across the world and recording these “rituals” in the universe. His solo exhibition A Ritual of Exposures in the Je Fine Art Gallery showcases his most important photo series across time and space, including Seascapes, Theatres, Dioramas, Polarised Colours, Pots and Stylised Sculptures. In these series, his persistently black-and-white monochromes preserve the eternal horizon; the still theatre images retain the passing of time; the vivid animal scenes narrate the paradox of death; and the civilisation created by humans becomes a fleeting glance into the History.