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展览导言|康迪达‧赫弗:明境 Exhibition Preface | Candida Höfer : Enlightend Spaces

已更新:4月 20

(中/EN)


睽违六年,康迪达‧赫弗的灵韵再次重现于上海德玉堂画廊。本次个展旨在向亚洲观众展示康迪达‧赫弗在地域和时间方面对空间特征的处理手法,包含了1900年之前和之后的欧洲,以及墨西哥和阿根廷当时受欧洲风格影响的建筑空间。此外,本次也带来了赫弗近期创作略显抽象的几件作品,这些突破她以往风格的作品是她在拍摄大型空间期间同时创作出的。


生于1944 年的德国当代摄影师康迪达‧赫弗,从24岁开始便于报社担任摄影师,拍摄了一系列利物浦诗人的肖像。1973至1982年她前往杜塞尔多夫艺术学院学习电影,而后转攻摄影,成为德国著名观念摄影师贝恩德(Bernd)及希拉贝歇尔(Hilla Becher)的得意门生之一。赫弗早先曾拍摄在德国工作的土耳其人,欲研究土耳其人如何影响德国人的生活方式。她由观察之中发现,在德国的土耳其人因着自身民族对美的见解以及需求,改变了所处的生活空间,逐渐创建出崭新风貌。这样的经验同时也开启了赫弗对拍摄建筑空间的兴趣。


赫弗的作品以高度的光线掌握与摄影技术的严格把控概念方法而闻名。这些教堂、博物馆、文化中心以及极具历史价值的宫殿与宅邸等建筑空间,在赫弗的观点认为,当画面中“无人”时,公共空间所带来的视觉冲击力最为强烈。并试图通过作品对空间的形态与结构进行解析,她对空间本身的历史更迭也十分感兴趣,皆因建筑建造的初衷与现实用途常有相悖。


这次所展出的14件包括抽象作品,皆展示了一个空间的特性是如何通过光线、颜色和结构的平衡来构成。赫弗特别在意光线的呈现,故从不使用闪光灯,且长曝光时也特别注重空间在镜头可侦测的范围内,映照出肉眼所得以感知的流光溢彩。


在她决定将人们从她的照片中排除后,赫弗说:「我很清楚,人们在这些空间里所做的事情以及这些空间对他们的影响,当没有人在场时更加清晰,就像一个缺席的客人一样通常是谈话的主题。」没有人参与的空间更清楚地展示了空间想为人们做什么,以及人们如何形成空间来满足他们对空间的期望。赫弗精密的创作通过这些时间的痕迹进而勾勒出了一种深邃而富有同理心的明亮澄净氛围。


本展涵盖了赫弗2007年至2019年间的作品。在2006年的《布宜诺斯艾利斯阿根廷国会宫I》、2007年的《凡尔赛宫I》、2009年的《柏林新博物馆IX》和2011年的《曼托瓦卡诺宫殿III》作品里,尽管画面中没有人物,也能通过所残留的历史痕迹去理解建筑是如何引导和容纳人的。如2007年的《凡尔赛宫 I》,有着浓墨众彩的历史,在长达几个世纪间被多任王室统治者作为王宫。而由于当时路易十六被民众挟至巴黎城内,因此凡尔赛宫作为王宫的历史于1789年终结。直至1833年,奥尔良王朝的路易•菲利普国王下令才将其改为历史博物馆。在赫弗镜头底下的这些隽永的痕迹,清晰地表露其结构、线条、装饰精致的雕刻、华美的石材或木拼花、细腻的艺术品等,冷调的摄影作品尽显一室风采璀璨。


而从2015开始,赫弗已经扩大了她对图书馆和博物馆等档案空间的兴趣,开始捕捉各式建筑空间一隅。它可以是一旋转楼梯,如2015年的《墨西哥城巴斯托楼 II》;也可以是一建筑设计师的私人工作室,如2017年的《莫斯科梅尔尼科娃之家 VIII》。近期,2019年的《莫斯科德弗瑞克文化中心 ZIL V》等作品,赫弗将自己对空间的细腻感知放大,通过她擅长的光线掌握,尝试为巨观下的微镜头探索更为静谧和谐的自然画面。


在赫弗的作品中所捕捉到许多游离状态下的公共空间,伴随着这特殊的一年,也迫使着我们重新组织对“公共空间”的概念,人们是如何塑造公共空间,公共空间又是如何反塑造人们。空间因为人的主观氛围塑造,思想的介入,情感的连结,在日积月累中赋予了另一层次的价值意义。而这样的一个切入角度同时也在邀请观众去发现与思考空间之于我们、我们之于空间的交互影响。


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After a six-year absence, Candida Höfer has once again brought bright and tranquil visual enjoyment to Matthew Liu Fine Arts. This solo exhibition aims to show Asian audiences examples of Candida Höfer's approach to the character of spaces both in terms of region and time, encompassing Europe before and after 1900, as well as spaces in Mexico and Argentina that were influenced by European styles at the time. In addition, the audience is invited to have a look at Ms. Höfer's more recent and slightly more abstract works which she continues to make in parallel to her large spaces.

Candida Höfer, a contemporary German photographer born in 1944, began working as a newspaper photographer at the age of 24 and produced a series of portraits of Liverpool poets. From 1973 to 1982 she studied film at the Dusseldorf Art Academy before turning to photography and becoming one of the favourite pupils of the famous German concept photographers Bernd and Hilla Becher. Höfer had previously photographed Turks working in Germany to see how Turks affected the German way of life. Through her observation, she found that Turks in Germany changed their living space and gradually created a new style due to their national views and demands for beauty. This experience also led to Höfer's interest in photographing architectural spaces.


Höfer's work is known for its high level of light mastery and strict control of photographic techniques. All of the spaces -- churches, museums, cultural centres, palaces, mansions etc are of great value. In Höfer's view, the visual impact of public space is strongest when there is no one in the picture. She also tries to analyze the form and structure of the space through her work. She is also very interested in the historical changes of the space itself, because the original intention of building is often contrary to the practical use.


The works chosen - including the smaller abstract ones - show how the character of a space is made up by a balance of light, color and structure. Höfer was particularly concerned with the presentation of light, so she never used a flash, and at long exposures she was particularly concerned with the space within the scope of the lens to reflect the flash that the naked eye could perceive.


After she decided to exclude people from her photos, Ms. Höfer said, "I am well aware that what people do in these Spaces, and how these spaces affect them, is much clearer when no one is present, as an absent guest is often the subject of conversation." The spaces are shown without people to show more clearly what spaces intend to do for people but also how people form spaces to meet their expectations of space. Through these traces of time, Höfer's meticulous work creates a deep and empathetic atmosphere of bright clarity.


The exhibition includes works by Höfer from 2007 to 2019. Even though there are no people in the pictures, it is possible to understand how the architecture guides and accommodates people through the remaining historical traces in the works of Palacio del Congreso Nacional Buenos Aires I (2006), Château de Versailles I (2007), Neues Museum Berlin IX (2009) and Palazzo Canossa Mantova III (2011). For example, Château de Versailles has a colorful history and has been used as a royal palace by several royal rulers for centuries. The palace's history as a royal palace ended in 1789 when Louis XVI was exiled to Paris. It wasn't until 1833 that Louis Philippe ordered it to become a history museum. These historical traces in Höfer's lens clearly reveal its structure, line, decorative exquisite sculpture, gorgeous stone or wood parquet, exquisite artwork, etc., her works in cool tone perfectly annotate the elegant style and bright of the space.


Since 2015, however, Höfer has expanded her interest in archival spaces such as libraries and museums to capture a variety of architectural spaces. Sometimes it's a spiral staircase as in Edificio Basurto Ciudad de México II in 2015. Sometimes It's a private studio of an architect, as Dom Melnikova Moskwa VIII in 2017. Recently, in her works such as Dvorec Kulturi centr ZIL Moskwa V in 2019, Höfer has enlarged her delicate perception of space and tried to explore more quiet and harmonious natural images for micro-lens under the macro view through her good grasp of light.


Many public spaces in a state of dissociation captured in Höfer's works, along with this special year, also force us to reorganize the concept of "public space", how people shape public space, and how public space shapes people. Space is endowed with another level of value significance in the accumulation of time because of the shaping of people's subjective atmosphere, the intervention of thoughts and the connection of emotions. Therefore, it can also be said that time, for human and space, is a process of interweaving rationality and sensibility. Such an angle also invites the audience to rediscover and think about the interaction between space and us.



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