- +1
2020 荷蘭海牙皇家藝術(shù)學(xué)院攝影畢業(yè)展 / KABK
原創(chuàng) 光圈×林俊耀 Aperturist光圈
除了本科學(xué)士（BA）各領(lǐng)域包含時(shí)尚、平面設(shè)計(jì)、建筑、字體、攝影等豐富作品呈現(xiàn)外，海牙皇家藝術(shù)學(xué)院的碩士項(xiàng)目（MA）除了著重在理論上的研究，部分科系也希望學(xué)生在自己的研究深化到創(chuàng)作當(dāng)中，并與其深入探討之論點(diǎn)有所呼應(yīng)。
在2020年邁入第二屆畢業(yè)的攝影碩士項(xiàng)目——Master of Photography & Society，與本科課程對(duì)攝影的初探與訓(xùn)練的不同，其碩士課程更著重透過(guò)攝影的實(shí)務(wù)與理論分析，與社會(huì)議題交互作用。
在龐大的導(dǎo)師群引導(dǎo)與閱讀、研究之下，進(jìn)而產(chǎn)生作品與觀者更為精確地對(duì)話，在展覽現(xiàn)場(chǎng)的簡(jiǎn)介當(dāng)中，可以看見每一件作品所要探討的主題，且媒介不局限在攝影。攝影成為了「其中」的一種方法，研究生自由且精準(zhǔn)地使用了雕塑、燈光、裝置甚至是表演，將觀者從攝影中更輕易地依循著脈絡(luò)，在不同的社會(huì)議題中進(jìn)行反思。
KABK的「攝影與社會(huì)」碩士項(xiàng)目，自成立以來(lái)，著重聚集來(lái)自各領(lǐng)域的研究人士亦或是創(chuàng)作者，能夠在2年期間以自已的專業(yè)作為出發(fā)，進(jìn)而去與攝影發(fā)揮作用。在畢業(yè)展中，來(lái)自藝術(shù)史、工程、電腦科學(xué)、視覺研究、書本設(shè)計(jì)等領(lǐng)域的研究生交互影響，最終在畢業(yè)展中萌芽。
作為工程、文化遺產(chǎn)、紀(jì)實(shí)攝影背景出身的Ana Nú?ez Rodríguez在畢業(yè)展覽當(dāng)中獲得了KABK的肯定，得到「WINNERMASTER PHOTOGRAPHY & SOCIETY DEPARTMENT AWARD 2020 」的殊榮，她在「Cooking Potato」的創(chuàng)作中透過(guò)紀(jì)錄片與裝置、田野調(diào)查的方式，透過(guò)空間帶領(lǐng)觀者去討論馬鈴薯的起源，與個(gè)人、集體的記憶，攝影在媒材中，重新建構(gòu)了自我、家庭、親戚、殖民者、社會(huì)與自然界之間的關(guān)系。
Guglielmo Giomi 的「The Eventual Island」，以地理空間、制圖、地圖繪制、數(shù)據(jù)、印刷、表演與攝影等多種媒材的形式，研究觀光對(duì)于厄爾巴島的無(wú)形破壞，他特地在當(dāng)?shù)鼐用袼追Q的「冬眠期」（旅游淡季）常駐在島上，去搜集與研究在經(jīng)濟(jì)嚴(yán)重失衡的狀態(tài)下的證據(jù)，石板墻、散落的橘子、當(dāng)?shù)睾⒆觽兊膸づ?，他試圖以這些證據(jù)呈現(xiàn)在展場(chǎng)，讓觀者輕易地進(jìn)入議題。
其他研究生作品結(jié)合議題包含身體、監(jiān)控、性別、身份認(rèn)同、歷史、藝術(shù)品販?zhǔn)鄣?，作品與研究論文的相輔，都一再證明除了攝影以外，不僅能夠讓人看見，閱讀與聽覺、裝置、文本都能夠喚醒在社會(huì)前進(jìn)的人們，停下腳步，輕易地進(jìn)入問題進(jìn)而反思自己。
圖文作者/林俊耀：過(guò)去曾為攝影記者，離職后前往荷蘭烏特勒支藝術(shù)學(xué)院就讀Fine Art碩士。
光圈數(shù)據(jù)：本屆KABK攝影碩士畢業(yè)人數(shù)共計(jì)13人，本科攝影項(xiàng)目共計(jì)39人。
????????▼
2020 KABK 攝影碩士畢業(yè)作品賞析
安娜·努涅斯·羅德里格斯（b.1984，哥倫比亞）
#KABK-Photo 優(yōu)秀作品獲得者
從學(xué)習(xí)紀(jì)實(shí)攝影開始，安娜在她的攝影實(shí)踐中，就試圖不同社會(huì)背景下創(chuàng)作，以探索身份建構(gòu)的復(fù)雜性以及由此產(chǎn)生的權(quán)力形式。她與不同的人群一起工作，涉及并關(guān)注不同的社會(huì)問題：從女戶主，酒店清潔工，尋求庇護(hù)者到祖母綠的礦工。無(wú)論如何，她一直在尋找新的合作方式，始終將與人的關(guān)系視為創(chuàng)作過(guò)程的核心。
她將自己的創(chuàng)作定位在攝影與社會(huì)的交匯處，認(rèn)為圖像是個(gè)人記憶和集體記憶（重建）必不可少的工具。安娜使用攝影開啟新對(duì)話，并在社會(huì)的不同成員之間建立新關(guān)系，以產(chǎn)生替代性的知識(shí)運(yùn)動(dòng)。她創(chuàng)作方法將紀(jì)實(shí)攝影與當(dāng)代藝術(shù)實(shí)踐聯(lián)系在一起，提出了可以增強(qiáng)感覺歸屬感的圖像的概念，使每個(gè)觀者都能在社交環(huán)境中追尋自己的路線。通過(guò)空間，物體和主題重新描繪并重新思考以建立自己的視覺論述，從而在圖像和社會(huì)想象之間找到一條道路。她最近的一個(gè)項(xiàng)目受到歐洲和拉丁美洲現(xiàn)實(shí)生活如何融合的影響，在生活中質(zhì)疑自己的身份，并根據(jù)她以流動(dòng)性和脆弱性為基礎(chǔ)的經(jīng)歷反思了公民政治。
畢業(yè)作品：
COOKING POTATO STORIES
COOKING POTATO STORIES 馬鈴薯能告訴我們些什么？它對(duì)民族身份的建立有何看法？它周圍的新敘事在社會(huì)是如何想象自己和其他世界中扮演的角色的？這些是我圍繞這個(gè)項(xiàng)目所收獲的問題。
安娜試圖圍繞馬鈴薯在加利西亞和哥倫比亞之間進(jìn)行敘述，這產(chǎn)生了一個(gè)具有替代性的故事，質(zhì)疑了敘述背后的意識(shí)形態(tài)、力量和主觀性。她還開發(fā)了一些“知識(shí)食譜”，這些知識(shí)展現(xiàn)了“馬鈴薯”歷史的各個(gè)方面，從而推動(dòng)了“馬鈴薯”創(chuàng)造新的社會(huì)記憶。這個(gè)項(xiàng)目驅(qū)使人們進(jìn)入一個(gè)復(fù)雜的過(guò)程，即我們?nèi)绾蝹€(gè)體和集體地構(gòu)造、理解和理解自己的。
Cooking Potato Stories
The history of potato is marked by the obstacles in its adaptation and acceptance as a food crop. A long process of transformation through time where many conflicts, beliefs and traditions stood in its way. Difficulties that did not prevent that the potato sprouted on the world food scene, adapting and adopting to different places resignifying itself according to the expectations of each society. Its journey and its long process of adaptation, reveals how plants have served us to manifest our power over nature and people, and here it is a way of opening a conversation about identity and politics and their complexities, the difficulties to overcome to adapt to a new context and the forms of power derived from it. The potato unpacks a universe of symbols such as identity, domination and the idea of social differentiation that I also use to reflect on the effects of colonization in our subjectivities and in the production of knowledge and critical thinking. Cooking potato stories proposes recipes of knowledge that unfold different aspects of the potato's history to push a new social memory about it.
In the first place, I introduce the colonial history of the potato, revealing its long path of acceptance and how despite the initial prejudices and the class dynamics the potato was established worldwide and has had a huge impact on societies. Secondly, I propose a collection of field notes intertwined throughout the text, based on my research and experience on the topic. I used very varied material resources: from alterations of traditional recipes, guest′s writings, a script of audiovisual documentary, Galician literature, botanical definitions, oral transmitted knowledge, conversations, to the exchange of stories. When collecting these materials on the different socio cultural practices around the potato I push the reflection on the need for including new narratives around the potato between Colombia and Galicia to question the ideologies, power and subjectivities behind the historical narratives and contribute to a decolonization of thought. This writing method has allowed me to configure my alternative story of the potato in a polyphonic and polymorphic way. It is an organization of elements that does not follow lines of hierarchical subordination, and that represents a rhizomatic model of understanding the organization of knowledge. It has neither beginning nor end, but an in between that grows and overflows and that constitutes linear multiplicities.
Finally, I reflect on how narratives are implemented in our psyche and how they influence the construction of social imaginaries and how we see ourselves and the others. I conclude reflecting on my use of photography as a tool to can produce critical knowledge and confront ongoing legacies of colonialism, reconfiguring relationships with self, family and kin, colonizer, community and the natural world.
亞歷山大·卡貝扎·特里格（b.1993，西班牙）
畢業(yè)作品：
TRIGG LA TRAMUNTANA
La Tramuntana La Tramuntana是一種北風(fēng)，吹過(guò)加泰羅尼亞地區(qū)Empordà。在這個(gè)項(xiàng)目中，風(fēng)成為與該地區(qū)人民建立關(guān)系的載體。Tramuntana周圍的對(duì)話揭示了記憶，故事和經(jīng)歷，然后通過(guò)游戲和共同構(gòu)想重新發(fā)現(xiàn)它們。在碰撞中創(chuàng)作了這個(gè)攝影作品和一個(gè)短片。一個(gè)住在透明盒子里的女人，橘子在海邊漂浮，石頭在晃動(dòng)，這些故事在短片中“糾纏”。與風(fēng)和講故事的人一起，我們研究了一種描述性較低的即興創(chuàng)作的共享紀(jì)錄實(shí)踐。
WHEN OLIVE TREES GLISTEN
When olive trees glisten is an attempt to understand my own practice and has been a way to come to terms with my relatively recent position as a maker- of photographs and film- in relation to my anthropological background.
This thesis reflects on my experience in the search to make visible the invisible, namely the wind of tramuntana and how people relate to it. It has been a way for me to question the boundaries and disciplinary conventions of anthropology through a photographic and film practice. I have been able to look into a more shared and imagined kind of anthropology, one that is less interested in mirroring the world and that acknowledges the camera as a tool to generate new meanings and new worlds in the making. In this sense I hope that this thesis will bring insights into new ways of thinking about anthropology by trying to respond to the question:
How can a photographic and film practice contribute to opening up the disciplinary conventions in anthropology? Can it serve as a reflexive tool to generate a more imaginative and shared documentary practice?
德米特里·科斯秋科夫（b.1984，俄羅斯）
之前當(dāng)我從事攝影記者的工作時(shí)，我意識(shí)到故事本身并不是我最著迷的地方，周遭的東西才是。作為記者，拍照對(duì)我來(lái)說(shuō)是一種視覺研究方法，來(lái)到這里的原因是理解背景及其邊界的起點(diǎn)。在我的作品中，不僅照片，而且三維物體、文本、材料和設(shè)計(jì)也同樣重要。在我最近的工作中，我對(duì)人類與類人技術(shù)之間的關(guān)系以及這些聯(lián)系對(duì)社會(huì)的影響特別感興趣。
畢業(yè)作品：
MY COMPUTER THINKS I AM A WOMAN
Down the rabbit hole
The topic of these theses is a nature of human – human-like relationship and artistic reflection on this topic. They are written in the form of letters from father to son from the current moment (2019-2020) to the moment when he will want/able to read them. The primary method used in the research is looking at the topic from the different angles to create a complete mosaic picture. There are ten letters formed by two principles: 1)letters dedicated to one of the issues in humans relationship with technologies and all together they are creating versatile view at the same topic; 2) chronologically document experiments and researches which were made.
Main statements made in the thesis are:
1、Technologies are neutral; this is humans who use them in a constructive or destructive way.
2、There is a straight link between patterns which traditional society has for centuries and the models which new technological world use.
3、One of the driving reasons for technology development is "just for fun" (as the opposite of consciousness).
4、Since we are not very conscious about the impact of new technologies, the future generation will need to resist very hard to maintain a little bit from what we are leaning back now. The same way as it already happened with an ecology.
The Thesis also includes two interviews taken during field research in Germany and France. These conversations may be of interest to those who are interested in specifics of the topics they discuss - history of of the "Unknown Woman of the Seine" mask and relationships between sex-workers and sex-dolls in the brothel. Their full transcription includes in the appendix.
古列爾莫·朱米（意大利）
畢業(yè)作品：
The Eventual Island
島嶼是Guglielmo Giomi度過(guò)童年和青少年假期的地方。在過(guò)去的60年中，該島的經(jīng)濟(jì)體系已完全從農(nóng)業(yè)轉(zhuǎn)向夏季的旅游業(yè)。每年冬天，由于缺乏冬天的工作，人口急劇減少，商店關(guān)門，工人失業(yè)。據(jù)許多居民和游客稱，該島進(jìn)入大約六個(gè)月的冬眠期。Giomi對(duì)此并沒有任何作為，只是帶著心中所想的愿景過(guò)著日子。
在2019年至2020年的冬天，他回到了厄爾巴島，決定住在那兒，試圖就他多年以來(lái)的愿景進(jìn)行探索，包括被人忽視和利用的空間。在一次災(zāi)難之后，島上的大多數(shù)居民都離開了，島上的環(huán)境似乎處于一種健忘狀態(tài)。Giomi通過(guò)攝影試圖“放棄”所謂的“小島”，“居住”在造的新島，感受被破壞的環(huán)境，并指導(dǎo)度過(guò)一個(gè)想象中的烏托邦。
通過(guò)解決旅游開發(fā)與環(huán)境感知之間的關(guān)系，朱奧米面臨著空間與地方之間最深層的摩擦。在一個(gè)空無(wú)一人的海灘上，一些孩子開始建房，在山上，一家人在大火后修理一堵石墻，兩個(gè)戴面具的人爬上一扇鎖著的門，從封閉的酒店花園里取些橘子。冬季，在剝削空間中被遺棄的東西，在一個(gè)安靜的社區(qū)居住，該社區(qū)的痕跡通過(guò)某些運(yùn)動(dòng)和路徑的體現(xiàn)可見。從遠(yuǎn)處看這個(gè)小島可能會(huì)被忽視，但如果您近距離觀察，您會(huì)發(fā)現(xiàn)大海中的未來(lái)：the Eventual Island
The Place and the Places Within
If our existence and understanding of the world is deeply entrenched in and through place, what position does place occupy when relating it, from the position of a photographer and visual designer, to other disciplines? This thesis contributes to an understanding of place that aims to break established boundaries between disciplines and foster a progressive conception of place as common ground for people from different practices and theoretical realms to cross-pollinate each other. Drawing from the writing of geographers Tim Cresswell and Je Malpas, and of anthropologist Tim Ingold, I will stress the interdisciplinary nature of place, that allows place knowledge to be developed along a path, instead of in dierent disciplinary clusters. I first explore the emergence of place through theory and literature of geography and photography, two disciplines which seemed unrelated in my interests and practice until the beginning of this research. Through discussing the confrontational aspects of place, the shared processual nature of it will manifest itself in spatial studies and photography, showing the particular aordances of photography in place-making. In the second part of the thesis four redacted and transcribed conversations with four different practitioners that took place on my initiative give insights into dierent practices working with place. At the same time the dialogic form of the text shows an important method —the verbal exchange— that characterizes my practice, alongside photography.
馬德思·霍爾姆（丹麥）
畢業(yè)作品：
Heartland
大規(guī)模示威活動(dòng)的第二天，數(shù)十名抗議者在床上被警察叫醒并被逮捕。使用Facebook進(jìn)行調(diào)查，將事件參加者在社交媒體上的個(gè)人資料與在抗議的鏡頭中出現(xiàn)的人進(jìn)行比較。與此同時(shí)，我坐在工作室里，也在用電腦看圖像。我瀏覽桌子上成堆的小字時(shí)，試圖解析一個(gè)悖論：技術(shù)入境作為一項(xiàng)服務(wù)來(lái)幫助發(fā)現(xiàn)一個(gè)活動(dòng)并參加其中，同樣技術(shù)也會(huì)助攻你第二天被抓捕。這確實(shí)是我們今天的困境：我們周圍萬(wàn)物的似乎掩蓋了它們實(shí)際的雙重功能。我們?cè)谖C(jī)的狂野海洋中，被丟下了一件救生衣。
而危險(xiǎn)和威脅四處蔓延，對(duì)無(wú)限安全的需求為建立，對(duì)我們社會(huì)的無(wú)形軍事化控制的新范例鋪平了道路。與以前不同，我們現(xiàn)在發(fā)現(xiàn)自己每天都處于低強(qiáng)度的戰(zhàn)爭(zhēng)中，這并非是在野戰(zhàn)士兵和偏遠(yuǎn)森林之間進(jìn)行的戰(zhàn)斗，而是在我們城市的街道、智能手機(jī)、汽車、基礎(chǔ)設(shè)施和社會(huì)行為中進(jìn)行戰(zhàn)斗。
我們?nèi)绾尾拍苤牢覀兪鞘艿奖Ｗo(hù)還是受到控制？
從戰(zhàn)爭(zhēng)博物館到未來(lái)的訓(xùn)練場(chǎng)再到日常生活，Heartland 這個(gè)項(xiàng)目試圖思考安全，軍事化和城市生活之間的聯(lián)系。
Essays on War and Images
Essays on War and Images is a venture into the corrupted space between images and reality in the cultivation and legitimisation of imperial war. In this thesis I ponder the functions of, what I refer to as, military simulacra and how they serve to dissociate from any tangible reality. I reflect on the spaces in which war and military ideology are generated: the war museum, military public relations, a military training facility and militarisation of civil society. The thesis consists of three essays each opening with personal experiences I have had while researching and making photographic work on the same theme. Throughout the paper I apply my observations and discoveries to my recurrent attempt at establishing a critical photography practice. The text thus comes to reflect the challenges I continue to face while positioning myself as an image-maker and working in contexts where images seem to first and foremost serve to distract and obscure reality.
The first essay, Imagined Spaces, begins as a recount of my childhood experience visiting the local war museum with my grandfather. Dwelling on the museological separation of artefacts from daily life I approach the war museum in my writing as a space that generates glorifying images of war. A more recent experience at an open day event onboard a Danish NATO warship becomes the occasion for a further reflection on the symbolic alteration of weaponry in the meeting between state military and the public. Conceiving of them as simulacra, as defined by Jean Baudrillard, I argue that the exhibited and displayed armaments function like images with no relationship to an existing reality and that they effectively dissociate from the weapons’ actual function in the world.
It is the same dissociating effect I try to uncover in the second essay, Self-fulfilling Prophecy, during a visit to a future urban military training facility in Germany. I find that the military mock-city, Schn?ggersburg, is an image of the future that, rather than reflecting an existing reality, generates a more militarised one. Its alienating features constitute its power to transform the world around it and thus, I try to stress, attempts to come to grips with Schn?ggersburg’s impact on society by means of images must first reject its otherworldliness and insist on its placement within the world it is intended to exclude.
In the third and final essay, Excess of Reality, I am overcome by doubt while photographing an escalating clash between a group of protestors and riot police. An internal moral dispute with myself turns external in form of a dialogue with a friend at the protest. The exchange reflects fundamental dilemmas that continue to emerge when I try to couple my political motivation with my skills and interests as image-maker. However, from the great depths of uncertainty novel possibilities arise, and my search for an opening to the reality behind the obscuring images seems to move towards an unforeseen resolution.
諾拉·米諾菲（b.1988，意大利）
我最喜歡的顏色是青綠色。我喜歡樹木，偏遠(yuǎn)的島嶼和企鵝。我喜歡收集老式的古怪物件。我喜歡跳蹦床，也喜歡飛機(jī)。我喜歡地圖和明信片。我喜歡地球儀。
在90年代初，諾拉父母決定離開家鄉(xiāng)布宜諾斯艾利斯，搬到意大利。在可能的情況下，他們通常會(huì)進(jìn)行長(zhǎng)途旅行回到家鄉(xiāng)度過(guò)假期，但那時(shí)，距離和缺失感主要通過(guò)郵政信件來(lái)處理。信封里堆滿了閃光明信片，日常生活中的手寫故事，印刷的照片，圖畫和剪報(bào)。甚至在閱讀和寫作之前，諾拉就已經(jīng)學(xué)會(huì)了與自己的家庭聯(lián)系，并通過(guò)閱讀照片來(lái)處理自己的親密情感。對(duì)她來(lái)說(shuō)，看印刷的圖片意味著與他們見面，識(shí)別和認(rèn)識(shí)住所和家庭成員。
這樣的相遇肯定不足以取代缺席，距離和渴望的感覺，但是這些照片對(duì)諾拉來(lái)說(shuō)是神奇的，并且可以告訴她熟悉的一切。這成為了諾拉的實(shí)踐之源，也是為什么她成長(zhǎng)為攝影師的原因。諾拉用相機(jī)來(lái)熟悉周圍的事物，但這是基礎(chǔ)知識(shí)，而在視覺過(guò)程的基礎(chǔ)上，它是制作部件，可以通過(guò)構(gòu)建和處理不同的圖層來(lái)獲得進(jìn)一步的最終結(jié)果。暗室的使用和諸如繪畫的補(bǔ)充實(shí)踐，使用不同紙張，紋理，物體和檔案材料的拼貼干預(yù)，提供了必要時(shí)完成攝影框架的方法，讓想象力與內(nèi)心自由地融為一體。諾拉作品反映了邊界，身份，親密關(guān)系和記憶的問題，試圖通過(guò)探索介于兩者之間的時(shí)空褶皺來(lái)聯(lián)系人們和故事，通過(guò)作品使得拉丁美洲可以和發(fā)達(dá)世界進(jìn)行對(duì)話。
畢業(yè)作品：
Momentaneámente Para Siempre（永遠(yuǎn)永遠(yuǎn)）
Momentáneamente Para Siempre是對(duì)我父親去世后回答我提出的一些問題的回應(yīng)。攝影如何（或者不可以）起到催生記憶的作用？攝影的媒介如何挑戰(zhàn)并表現(xiàn)記憶的真實(shí)性？該作品旨在反映家庭照片所扮演的角色，尤其是當(dāng)它們看起來(lái)是處理距離，缺失和丟失的唯一途徑時(shí)。它的目的是通過(guò)重塑和協(xié)商家族的記憶和身份，傳達(dá)照片是如何成為更好地理解和處理死亡的含義以及對(duì)留守者的工具。
整個(gè)項(xiàng)目觀察記憶與照片之間的關(guān)系，并著重探討如何將攝影的作用與個(gè)人記憶的本質(zhì)，可靠性和切實(shí)性進(jìn)行對(duì)話。既是對(duì)個(gè)人心理預(yù)測(cè)的有形翻譯，也恰恰相反，是限制了描述記憶的內(nèi)容框架。Momentaneamente Para Siempre是我對(duì)此的研究結(jié)果，涉及對(duì)照片意義的內(nèi)在反思，這些意義是記憶的過(guò)渡對(duì)象，它們斷言自己是遙遠(yuǎn)或逝去的親人的永恒替代品，并代表永恒和永生。
Momentaneámente Para Siempre (momentarily forever)
Summary Thesis The thesis and the annexed visual work aim to reflect on the role played by family photographs, especially when they constitute the only access to deal with distance, absence and loss. Building on personal stories, this work challenges how photography can be the appropriate tool to better comprehend and deal with the meaning of death and rebirth by reshaping and negotiating familial remembrances and identities. The research and its subsequent process aim to explore the functioning, the meaning, the boundaries and the tangibility of human remembrances together with the imaginary through visual language. As a photographer, I am particularly interested in observing and reflecting on the relationship between memories and photographs, both as a tangible translation of individuals’ mind projections as well as a framed limitation in depicting the entire substance of remembrances. In order to develop my theoretical and visual documentation, the work will frame personal family anecdotes based on long-distance family relationships and the departure of the family members. By considering and unfolding the components of familiarity, love, imagination, remoteness, absence and loss, I aim to talk about how departures can also generate new beginnings as chances to reshape, relay and reinstate new boundaries, existences and tangible memories. The thesis will therefore question the meaning and the role of photographs as transitional objects of memory which assert themselves as immutable substitutes for loved ones who are far or gone and as representations of eternity and immortality. The first chapter will begin by revealing a specific confidential failure on the day of my father’s death, in which I was unable to find a suitable photograph to publicly represent his entire existence at his wake. This particular case study will be appropriate here to frame the spatial-temporal conflict between the time suspended in a photograph and the time I experienced in person. In this first section my reflections will build on remarks made by French philosopher Roland Barthes in his book Camera Lucida, after which I will step out from the personal anecdote to welcome a wider debate about private and public mourning in relation to photographs. The text will therefore invite the development of two voices, the daughter voice and the photographer voice, instinctively becoming the writing style of this paper. The second chapter will suggest a possible solution for the first chapter by introducing the box of memories as a starting point and a key element for my artistic research. The concept of the box will primarily define the work area but mainly it will be essential as a space where to argue and center the tangibility of the archival material in relation to the substance of remembrances. The third chapter will design, unfold and unveil the process of making by looking closely at the search, the selection and the deconstruction of loss through the healing of the self. The arguments will be accompanied by introducing the process of ‘therapeutic photography’ developed and experienced by the British photographer Jo Spence. The fourth and final chapter will lead the arguments out of the box as extensive reflections on how to break the limitations of the photographic frame by welcoming broader visual scenarios. Through the reappropriation, reinterpretation and intervention between what is depicted in a family photograph and how the imaginary can relate to a more complete essence of memories, this chapter will reveal the subsequent conclusion in the potentiality of the possible tangibility and visualization of new shapes of memories.
沙德曼·沙希德
我講的故事是反映了塑造我們現(xiàn)實(shí)的敘述。我有興趣揭露這些敘事為我們帶來(lái)的物質(zhì)、精神和心理上的不穩(wěn)定。我非常依賴攝影的不同分支作為講故事的媒介。我的作品介于紀(jì)錄片和小說(shuō)之間，使我能夠分析每個(gè)領(lǐng)域可能產(chǎn)生的不同影響，作品中的內(nèi)容帶動(dòng)了美學(xué)，且深受魔幻現(xiàn)實(shí)主義概念的影響。
畢業(yè)作品：
Chimera
在過(guò)去的幾個(gè)月中，新冠迫使我們不得不花費(fèi)幾乎所有時(shí)間盯著屏幕。圖像成為我們所有心理和精神寄托的源泉。我們對(duì)娛樂，知識(shí)，社會(huì)認(rèn)可，創(chuàng)造力和對(duì)現(xiàn)實(shí)的一般理解的需求都取決于圖像。但是，這不是大流行期間所獨(dú)有的現(xiàn)象。我們的現(xiàn)實(shí)已經(jīng)被圖像占據(jù)了一段時(shí)間，我們的感知現(xiàn)實(shí)的機(jī)制也是如此。圖像決定了我們?nèi)绾慰创F(xiàn)實(shí)，如何思考和感受。它們幫助樹立了我們的核心價(jià)值觀，并決定了我們的期望。圖像取代實(shí)物，并將其恢復(fù)為仿真品。通過(guò)對(duì)外觀的壟斷，要求我們接受被動(dòng)。它們創(chuàng)造了一個(gè)取代真實(shí)的現(xiàn)實(shí)，正如鮑德里亞將其稱為超現(xiàn)實(shí)。但是，我們?nèi)绾卫斫馕覀兯幍倪@個(gè)新現(xiàn)實(shí)呢？我們有意識(shí)地塑造了多少？超現(xiàn)實(shí)在多大程度上利用了我們？為了創(chuàng)造自己，超現(xiàn)實(shí)破壞了什么？它對(duì)我們的心理有什么影響？Chimera將基于讓·鮑德里亞在他的《Simulacra and Simulation》一書中提出的超現(xiàn)實(shí)思想，并反思我們的超真實(shí)存在方式。該作品調(diào)查了建構(gòu)現(xiàn)實(shí)的本質(zhì)及其對(duì)我們心理的操縱能力。因?yàn)榭刂埔粋€(gè)人對(duì)現(xiàn)實(shí)的感知就是對(duì)他們的存在擁有最終的主權(quán)，而被動(dòng)地接受它則是接受我們心靈的束縛。
CHIMERA
The term hyper-reality was coined by Jean Baudrillard in his book Simulacra and Simulation in an attempt to characterize the image laden post-modern electronic media culture. As the hyper-real grows to the point that we are left with almost no referents of reality anymore, humanity seems to meet it with passive acceptance. My thesis seeks to analyze to what extent does hyper-reality affect the human psyche and what role does imagery and storytelling play in it. By looking into specific case studies I seek to have a greater understanding of the mechanisms that create certain aspects of hyper-reality, namely Advertisement, Social Media, News and Gaming. The essays are written primarily from the perspective of an image maker and a storyteller combined with cross-disciplinary research in the field of psychology, philosophy and media studies. By the end of the paper the reader begins to realize that hyper-reality is an intentional construction, designed to rob us of our sovereignty by manipulating the way we perceive reality.
蒂斯·范·斯蒂格特（荷蘭）
畢業(yè)作品：
HAPPY FISH
Happy Fish 是一部荒誕的自然紀(jì)錄片，在歐洲大陸和Google Earth的國(guó)際水域上拍攝。從保護(hù)區(qū)到科學(xué)實(shí)驗(yàn)室，從虛擬的海洋到最古老的植物園，從荷蘭的低地到波蘭的山區(qū)，都在尋找可以積極嘗試創(chuàng)建更易接近、更具延展性和更令人愉悅的地方。這些照片顯示出一個(gè)貌似正在上演的世界，里面充斥著匿名的人，有時(shí)還有匿名的動(dòng)物。題為“快樂的魚”的意思是對(duì)斑馬魚的焦慮研究，其最終目的是消除痛苦。這種嘗試是所有圖像的奇怪潛臺(tái)詞。該系列充滿了我的攝影靈感以及敘事元素之間許多聯(lián)系中的某些聯(lián)系。我將所有內(nèi)容放在一起，在其中我著重介紹了成像技術(shù)，幀率，渲染和圖像分層，在畢業(yè)典禮上可以看到一個(gè)虛擬的版本。
As natural as possible
My thesis is an analysis in three parts on ways in which photographs have been used to establish boundaries between the natural and unnatural. I discuss examples in art, advertisement and science where photographic images are produced and employed with the aim of naturalistic representation. I try to analyze what assumptions they rely on and, as a result, also touch on additional aspects of the conditions under which photographs are made and used. The first essay considers scale figures, the miniature humans used to illustrate computer renders of architecture.This essay points out the difference between ‘natural’ understood in the technical, photo-realistic sense versus natural understood in a normative sense. The second essay concerns the representation of natural science in documentary art. I compare the work of several artist photographers making work about scientific research environments, and take a close look at one series by German photographer Thomas Struth. The third essay relates the history of landscape photography to the most expansive landscape photography project to date, Google Earth, and to the visual language that informs our perspective on the climate crisis.
更多畢業(yè)作品可前往KABK畢展官網(wǎng)觀看。https://graduation2020.kabk.nl/
以上內(nèi)容版權(quán)歸原作者所有
Aperturist光圈
原標(biāo)題：《2020 荷蘭海牙皇家藝術(shù)學(xué)院攝影畢業(yè)展 / KABK》
本文為澎湃號(hào)作者或機(jī)構(gòu)在澎湃新聞上傳并發(fā)布，僅代表該作者或機(jī)構(gòu)觀點(diǎn)，不代表澎湃新聞的觀點(diǎn)或立場(chǎng)，澎湃新聞僅提供信息發(fā)布平臺(tái)。申請(qǐng)澎湃號(hào)請(qǐng)用電腦訪問http://renzheng.thepaper.cn。
- 報(bào)料熱線: 021-962866
- 報(bào)料郵箱: news@thepaper.cn
滬公網(wǎng)安備31010602000299號(hào)
互聯(lián)網(wǎng)新聞信息服務(wù)許可證：31120170006
增值電信業(yè)務(wù)經(jīng)營(yíng)許可證：滬B2-2017116
? 2014-2025 上海東方報(bào)業(yè)有限公司
