分類：展覽資訊‧Exhibitions
2007/01/05 20:37
Por Qué Base 抽象攝影展
Por Qué Base 抽象攝影展原由 – Abstract Photography
Photography最原始的目的是“記錄真實“ 的一個媒介。當攝影術發明之前，一般人或藝術家畫出的圖像，不論是人物或寫生風景，在構圖和表達手法上，都是把看到的東西，萃取（ abstract）出來，再試著傳達到畫布上。所以當攝影術發明之後，大部分的人，直到現今，仍有“照片上的就是真的“ “以圖為證“的觀念。
抽象攝影則是把上述的觀念稍微的反轉、顛覆了一下。攝下來的東西不一定是真實的。就算是真實的事物，一些影像也會因為我們腦子裡舊有的殘像或行為習慣，而把它解讀成另一個東西。我們的眼睛變成了欺騙自己的工具。
這一次的展出有些人以黑白的手法表達，讓大家注意形狀的變化。有人賣弄顏色，達到它的效果。有人想表達一些較尖銳的話，用柔和朦朧的影像去造成反差的效果。
策展單位： Por Qué Base
策展人：Syko Song
展期：1月13日（六）～3月3日（日）中間農曆新年休展2/16～2/21
地點： Por Qué Base 知然堂藝廊
1ㅻ13ㅹ〖ㅋ〗О��ㅹ�base���땀О3:00pm��わ�����
營業時間：週一～週四12：00～22：00
週五、週六12：00～23：00
週日 12：00～22：00
地址：台北市士林區天母東路36-5號B1樓
電話：02-2874-9529
blog: http://tw.myblog.yahoo.com/porquebase-blog/
e-mail Address: porquebase@yahoo.com
參展人：
‧David Sotelo
‧Evah Hart
‧Nara Cavalcanti
‧Tal Yizrael
‧Tricia Avant
Tal Yizrael
In my work, I attempt to examine the boundaries of art, and especially photography. Traditionally photography, by its very definition, copies reality, reflecting and reporting on it. My work, however, is concerned with the basic elements of art: time, light and substance. For this reason, I have constructed micro-realities, or captured them in real sites. Each micro-reality can be interpreted as an alternative landscape. These images capture forms that are temporary, brief, and fragile; therefore, these moments are almost hidden from the viewer.
(在我的作品裡，我試著去測驗藝術的疆界，特別是在攝影方面。傳統的攝影，根據其的定義是複製現實，並且向世人去呈現、去報告這個我們所謂的現實。然而這次的作品，我比較專注的地方，是幾項藝術的基本元素的表現: 時間、光線、實體本質。根據這個理由，我創造了「顯微現實」，換句話說我只是攝出"當下"瞬間的真實。每一幅顯微現實，可以把它解讀成是另類造景。在我拍下的那一剎那，我的影像抓住了這些恆變、短暫而且脆弱的形體，在很多時候，人們因為它們存在得太短暫，對其轉變是視而不見的。)
The darkroom to me is a magic palette. I develop the final prints while placing bubbles over the negatives or the slides. The bubbles change their forms quickly and I capture them “aging” and transforming .When I wish to achieve a different structure of the bubbles I catalyze their transformation by agitation, then the bubbles shadows moves on the photographic paper until the captured moment.
(暗房是我的魔法調色盤，我把泡泡吹到正片或負片上，這些泡泡會很快的改變他們的外觀。我試著去抓住他們變老或變形的過程。當我想要達成列某種泡泡的結構時，我試著輕輕的去搖動它們，使它們產生變化,然後讓泡泡的陰影，在相紙上移動，直到被照下來的那一瞬間)
I construct my landscapes, manipulate them, and maintain a dynamic dialogue with their ever-changing fragile substance. My work seeks to discover the transient beauty of things. It is for this reason that the visual qualities of substance-non-substance bubbles have become a subject to contemplate in my work. Bubbles are not only objects to look at and study, but they are also tools to work with in order to draw the thinnest, most delicate and transparent lines.
(我可以指揮我的景觀，然後任意的改造它們。我並且試著與這些脆弱、永遠在改變形狀的內容物，與他們對話。我的作品試著去探索事物瞬間的美麗。這可以解釋這些幾乎沒有物質實體的泡泡，最後成為完成我作品的主題。泡沫不只是可以觀察與研究的物體，它們也同時是可以創造出最細、最纖弱、最透明線條的工具)
Nara Cavalcanti
The content: Our life is fulfilled with the necessity of meaning. We aresurrounded by concrete objects, the society encourage the organized, objective way of thinking. We try to escape of our own abstract worlds by defining each one of our feelings, naming them, giving the shape of words to our thoughts. We tend to separate all things into categories, giving labels to them. The abstraction, generally considered as the opposite of the real, is mostly misunderstood as absence of content. I was caught by the contradictions of these concepts. I believe that all that we are comes ultimately from a pool of impressions, senses and undefined feelings accumulated throughout our lives, non definable by essence, but full of wonderful, pleasant, painful contents.
( 內容: 我們的生活充斥著必須"有含意"的必要性。 我們被具體的物件所包圍，我們的社會鼓勵有系統規律、公平無偏的思考。我們試著去在自己創造的世界裡，為我們的感覺定義取名，為我們的想法找出正確的字眼。於是我們把所有的東西分門別類，貼上標籤。Abstraction(萃取、抽象)這個字，一般的認知是真實的相反，而最常被誤解的一點是它缺乏內涵。我對於這些矛盾的說法深感有趣。我相信，我們所認為的自己，印象、感官、還有一些無法言喻的情感，是藉由我們生命累積的過程慢慢堆積而來的。是無法以物質公式定義的，而是充滿美妙、歡娛及苦痛的內容)
The object: As a result of immersion into these contradictory and complementary visions of the same reality my work is born. A game between the conscious – represented by the concrete: a palpable world - and the unconscious abstract world – the realm of the feelings, where they lay at their most pure state. The human body was chosen as my main subject because it has always fascinated me. Not only the explicit shapes, what we have in mind when we think about body - the outside, the social body – but the mysterious functioning body, with the hidden layers, the magic, microscopic inside world. Since the beginning I was driven to discover these more than real landscapes, but not available to our nude eyes and then seen as an "unreal" land.
(實體: 在沉浸於如此矛盾的理論與互補的現實裡，我的作品誕生了。遊戲展開了，一邊是清楚的知覺意識，具體物質組成的、可觸及的世界，另一邊是無意識的抽象世界，充滿感覺的領土，最純實的境界。身體成為我選擇來表達的主題，因為它總是令我著迷。(註: nara是醫生，後來決定轉行藝術)入迷的不只是實體的外在身型，而是在表皮之下，絕大部份仍是未知、神秘的隱密顯微世界。在一開始，這些肉眼看不見的不實世界，看來像是真正景觀那樣的真實。)
The process: The reason for choosing photography as final media is the deep confrontation between the "concrete" and the "imagined" provided by photography. This relationship is represented in my work by the glass-slide paintwork (the "imagined") and by the photograms/photographs (the "real"). The work starts with an idea, an impression. This is translated into form by painting in small plates of glass. The plates are, then, used as negatives in a conventional process in the darkroom: projected in an enlarger in photo-sensitive paper, which is developed in RA4 process.
( 我選擇"攝影"作為最終表達的媒材的原因，是因為它可以作為"實體"與"想像"之間最佳的對質。我將"想像"的畫作，畫在玻璃上，再將它們製成"實體"的相片或photogram。(一種將物體直接放於相片上的暗房曝光法，不須底片即可沖印相片，但只可洗得一張)過程是把畫好的玻璃，直接當成底片來曝光，再用RA-4沖印。)
Tricia Avant
The vagina is an orifice that both excretes and consumes; it functions as the sexual device that spits out and devours the various objects that near it. Freud’s notion of the vagina dentata comes to mind, but my imagery complicates this reception because of its inviting color palette. This is not the vagina with gnashing teeth that incites castration anxiety in the viewer; rather, it is a representation of a woman taking control of how her sexuality is represented, and while she takes pleasure in the act and the representation, she invites the viewer to do so as well via the soft focus and beautiful color palette.
(陰道是一個同時可以排泄和吸收的洞穴，當它做為性器時，她擁有對於周遭各種不同的目標有排斥或吸收的能力。佛洛依德的vagina dentata ( 意為有長牙齒的陰道，原西班牙文) 是我探討的重點，但是我使用了矇矓親和的色彩來表現它。這並不是直接的表達長著尖嘴利牙的陰道，也並非就會造成讀者感覺去勢的焦慮。我想傳達的是一個女性對於她自身性慾與性向的控制，當她享受自慰的歡愉時，也經由這色彩溫暖影像失焦的畫面，讓她的讀者感受)
2007/01/05 20:37
Por Qué Base 抽象攝影展
Por Qué Base 抽象攝影展原由 – Abstract Photography
Photography最原始的目的是“記錄真實“ 的一個媒介。當攝影術發明之前，一般人或藝術家畫出的圖像，不論是人物或寫生風景，在構圖和表達手法上，都是把看到的東西，萃取（ abstract）出來，再試著傳達到畫布上。所以當攝影術發明之後，大部分的人，直到現今，仍有“照片上的就是真的“ “以圖為證“的觀念。
抽象攝影則是把上述的觀念稍微的反轉、顛覆了一下。攝下來的東西不一定是真實的。就算是真實的事物，一些影像也會因為我們腦子裡舊有的殘像或行為習慣，而把它解讀成另一個東西。我們的眼睛變成了欺騙自己的工具。
這一次的展出有些人以黑白的手法表達，讓大家注意形狀的變化。有人賣弄顏色，達到它的效果。有人想表達一些較尖銳的話，用柔和朦朧的影像去造成反差的效果。
策展單位： Por Qué Base
策展人：Syko Song
展期：1月13日（六）～3月3日（日）中間農曆新年休展2/16～2/21
地點： Por Qué Base 知然堂藝廊
1ㅻ13ㅹ〖ㅋ〗О��ㅹ�base���땀О3:00pm��わ�����
營業時間：週一～週四12：00～22：00
週五、週六12：00～23：00
週日 12：00～22：00
地址：台北市士林區天母東路36-5號B1樓
電話：02-2874-9529
blog: http://tw.myblog.yahoo.com/porquebase-blog/
e-mail Address: porquebase@yahoo.com
參展人：
‧David Sotelo
‧Evah Hart
‧Nara Cavalcanti
‧Tal Yizrael
‧Tricia Avant
Tal Yizrael
In my work, I attempt to examine the boundaries of art, and especially photography. Traditionally photography, by its very definition, copies reality, reflecting and reporting on it. My work, however, is concerned with the basic elements of art: time, light and substance. For this reason, I have constructed micro-realities, or captured them in real sites. Each micro-reality can be interpreted as an alternative landscape. These images capture forms that are temporary, brief, and fragile; therefore, these moments are almost hidden from the viewer.
(在我的作品裡，我試著去測驗藝術的疆界，特別是在攝影方面。傳統的攝影，根據其的定義是複製現實，並且向世人去呈現、去報告這個我們所謂的現實。然而這次的作品，我比較專注的地方，是幾項藝術的基本元素的表現: 時間、光線、實體本質。根據這個理由，我創造了「顯微現實」，換句話說我只是攝出"當下"瞬間的真實。每一幅顯微現實，可以把它解讀成是另類造景。在我拍下的那一剎那，我的影像抓住了這些恆變、短暫而且脆弱的形體，在很多時候，人們因為它們存在得太短暫，對其轉變是視而不見的。)
The darkroom to me is a magic palette. I develop the final prints while placing bubbles over the negatives or the slides. The bubbles change their forms quickly and I capture them “aging” and transforming .When I wish to achieve a different structure of the bubbles I catalyze their transformation by agitation, then the bubbles shadows moves on the photographic paper until the captured moment.
(暗房是我的魔法調色盤，我把泡泡吹到正片或負片上，這些泡泡會很快的改變他們的外觀。我試著去抓住他們變老或變形的過程。當我想要達成列某種泡泡的結構時，我試著輕輕的去搖動它們，使它們產生變化,然後讓泡泡的陰影，在相紙上移動，直到被照下來的那一瞬間)
I construct my landscapes, manipulate them, and maintain a dynamic dialogue with their ever-changing fragile substance. My work seeks to discover the transient beauty of things. It is for this reason that the visual qualities of substance-non-substance bubbles have become a subject to contemplate in my work. Bubbles are not only objects to look at and study, but they are also tools to work with in order to draw the thinnest, most delicate and transparent lines.
(我可以指揮我的景觀，然後任意的改造它們。我並且試著與這些脆弱、永遠在改變形狀的內容物，與他們對話。我的作品試著去探索事物瞬間的美麗。這可以解釋這些幾乎沒有物質實體的泡泡，最後成為完成我作品的主題。泡沫不只是可以觀察與研究的物體，它們也同時是可以創造出最細、最纖弱、最透明線條的工具)
Nara Cavalcanti
The content: Our life is fulfilled with the necessity of meaning. We aresurrounded by concrete objects, the society encourage the organized, objective way of thinking. We try to escape of our own abstract worlds by defining each one of our feelings, naming them, giving the shape of words to our thoughts. We tend to separate all things into categories, giving labels to them. The abstraction, generally considered as the opposite of the real, is mostly misunderstood as absence of content. I was caught by the contradictions of these concepts. I believe that all that we are comes ultimately from a pool of impressions, senses and undefined feelings accumulated throughout our lives, non definable by essence, but full of wonderful, pleasant, painful contents.
( 內容: 我們的生活充斥著必須"有含意"的必要性。 我們被具體的物件所包圍，我們的社會鼓勵有系統規律、公平無偏的思考。我們試著去在自己創造的世界裡，為我們的感覺定義取名，為我們的想法找出正確的字眼。於是我們把所有的東西分門別類，貼上標籤。Abstraction(萃取、抽象)這個字，一般的認知是真實的相反，而最常被誤解的一點是它缺乏內涵。我對於這些矛盾的說法深感有趣。我相信，我們所認為的自己，印象、感官、還有一些無法言喻的情感，是藉由我們生命累積的過程慢慢堆積而來的。是無法以物質公式定義的，而是充滿美妙、歡娛及苦痛的內容)
The object: As a result of immersion into these contradictory and complementary visions of the same reality my work is born. A game between the conscious – represented by the concrete: a palpable world - and the unconscious abstract world – the realm of the feelings, where they lay at their most pure state. The human body was chosen as my main subject because it has always fascinated me. Not only the explicit shapes, what we have in mind when we think about body - the outside, the social body – but the mysterious functioning body, with the hidden layers, the magic, microscopic inside world. Since the beginning I was driven to discover these more than real landscapes, but not available to our nude eyes and then seen as an "unreal" land.
(實體: 在沉浸於如此矛盾的理論與互補的現實裡，我的作品誕生了。遊戲展開了，一邊是清楚的知覺意識，具體物質組成的、可觸及的世界，另一邊是無意識的抽象世界，充滿感覺的領土，最純實的境界。身體成為我選擇來表達的主題，因為它總是令我著迷。(註: nara是醫生，後來決定轉行藝術)入迷的不只是實體的外在身型，而是在表皮之下，絕大部份仍是未知、神秘的隱密顯微世界。在一開始，這些肉眼看不見的不實世界，看來像是真正景觀那樣的真實。)
The process: The reason for choosing photography as final media is the deep confrontation between the "concrete" and the "imagined" provided by photography. This relationship is represented in my work by the glass-slide paintwork (the "imagined") and by the photograms/photographs (the "real"). The work starts with an idea, an impression. This is translated into form by painting in small plates of glass. The plates are, then, used as negatives in a conventional process in the darkroom: projected in an enlarger in photo-sensitive paper, which is developed in RA4 process.
( 我選擇"攝影"作為最終表達的媒材的原因，是因為它可以作為"實體"與"想像"之間最佳的對質。我將"想像"的畫作，畫在玻璃上，再將它們製成"實體"的相片或photogram。(一種將物體直接放於相片上的暗房曝光法，不須底片即可沖印相片，但只可洗得一張)過程是把畫好的玻璃，直接當成底片來曝光，再用RA-4沖印。)
Tricia Avant
The vagina is an orifice that both excretes and consumes; it functions as the sexual device that spits out and devours the various objects that near it. Freud’s notion of the vagina dentata comes to mind, but my imagery complicates this reception because of its inviting color palette. This is not the vagina with gnashing teeth that incites castration anxiety in the viewer; rather, it is a representation of a woman taking control of how her sexuality is represented, and while she takes pleasure in the act and the representation, she invites the viewer to do so as well via the soft focus and beautiful color palette.
(陰道是一個同時可以排泄和吸收的洞穴，當它做為性器時，她擁有對於周遭各種不同的目標有排斥或吸收的能力。佛洛依德的vagina dentata ( 意為有長牙齒的陰道，原西班牙文) 是我探討的重點，但是我使用了矇矓親和的色彩來表現它。這並不是直接的表達長著尖嘴利牙的陰道，也並非就會造成讀者感覺去勢的焦慮。我想傳達的是一個女性對於她自身性慾與性向的控制，當她享受自慰的歡愉時，也經由這色彩溫暖影像失焦的畫面，讓她的讀者感受)
發表文章
