台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

首頁 展覽資訊

展覽名稱 Exhibit

「晃│影-史帝夫 ‧ 麥柯里個展」

 S  WANDERFUL│Making Pictures-Steve McCurry Solo Exhibition

展覽時間 Date

2018/02/24-2018/05/06

展覽地點 Venue

台北當代藝術館 MOCA Taipei

門票 Admission

NT50

策展人 Curator

陳昌仁 Leo Chanjen Chen

參展藝術家 Artists

史帝夫 ‧ 麥柯里 Steve McCurry

展覽介紹 About the Exhibition

「晃│影─史帝夫‧麥柯里個展」

’S WANDERFUL│MAKING PICTURES ─ Steve McCurry Solo Exhibition

策展人:陳昌仁/Leo Chanjen Chen

攝影在數位年代的普及已經凌駕電影之上,儼然成為最重要的藝術了。如何學習影像思考、判斷與操作愈形重要。華語世界首度舉辦麥柯里個人攝影展因而有著雙重意義:一方面讓臺灣與全球攝影藝術語境對話接軌;另一方面重新定位麥柯里攝影與當代藝術的關係。展覽名稱「晃影 ─S Wanderful | Making Pictures」以麥氏漫遊世界拍照為意象,強調他喜歡東晃西晃,即興捕捉人性的深層意義。英文標題結合好奇漫遊(wander)與驚異奇觀(wonder) – 亦即無奇不遊(no wander no wonder),並隱含百老匯蓋希文的(Gershwin)名曲「’S Wonderful」來指涉攝影中的音樂性。

麥柯里攝影感動人心,成名作《阿富汗少女》召喚人們加入義工去幫助難民,影響深遠。好照片除了過目難忘,賦與生命軌跡以形象之外,並形塑記憶結構,經典作品甚至能以影像表達歷史縱深與當代關連。麥氏跨越許多文化與世代,從攝影記者到以影像說故事,從膠片到數位,不變的是他對人性本質行為之捕捉與呈現。他說肖相:「要有情感,要說出其人特質,要不同而難忘,更要表現出人性的共相」。不啻是美學判斷(sensus communis)哲學家康德的代言攝影師。麥氏人物攝影銳利地凝視著你,彷彿來自亙古宇宙角落的眼神(sub specie aeternitatis), 並充盈著巴特(Barthes)強調的刺點(Punctum),亦即感受每張照片無法控制的關鍵。弗立得(Fried)攝影新論融合影像的劇場性(Theatricality)與自足性(Absorption),將無意識的情感刺點與有意識的表演安排結合並置,而麥氏攝影已先行多年了。

本展以影像之取像(making picture),成像(rendering image)及in/印象(innervating impression) 三階段為軸,設計包含12件裝置藝術的展覽空間,探求、解答並提出更多攝影藝術與哲學問題。例如:攝影的本質是什麼?攝影藝術史的理論與實踐進程對當代創作的啓發為何?攝影藝術如何能提昇全民美感教育並培養創造力?期待「晃影」觀展後能顯其所以然,提高視覺思考及美感判斷力,那麼我們對影像藝術創新的展望就不僅始於漫遊。電影「迷魂記/Vertigo」中詹姆斯史都華搭訕金露華,約她一起漫無目的地晃晃,金回答:「一個人會去漫遊晃晃,兩個人一起就會去某個地方了(One wanders, two are always going somewhere) 。」 有麥柯里同行,我們會比較有方向感要往哪裡晃去晃來。

 

’S WANDERFUL│MAKING PICTURES ─ Steve McCurry Solo Exhibition

Curator: Leo Chanjen Chen

About the Exhibition
The ubiquity and democratization of photography in digital era has elevated its position above cinema, making it “the most important art”, which is why it is increasingly imperative to learn how to think, analyze, and make images to communicate. Hence the significances of the first Steve McCurry solo photography exhibition in Chinese-speaking worlds are two-fold: on the one hand, the McCurry at MOCA, Taipei exhibition connects and engages Taiwan to the discourses of global photography art, on the other hand, the exhibition intervenes, reconsiders and repositions the relationship between McCurry’s photography and contemporary art. Title of the exhibition, ’S Wanderful | Making Pictures, refers to McCurry’s photo journeys around the world, highlighting his fondness for wandering and the profound meanings behind his serendipitous capturing of humanity. The title coinage combines “wander” and “wonder”, suggesting a notion of “no wander no wonder”, while also alludes to the musicality embodied in photography by referencing classic Broadway song, “’S Wonderful”, composed by George Gershwin.
 
McCurry’s photography touches hearts and moves people, his iconic Afghan Girl has inspired people to volunteer and join refugee relief forces, and its impacts are far-reaching and continue to resonate. Memorable photographs impress upon you with indelible imprints of beauty, visualize human experiences by giving life forms, and structuring memories; some iconic works even convey layers of historical depths and contemporary connectedness. McCurry traverses space and time as he transcends different cultures and generations, from a photojournalist to an artist telling stories through images, from the medium of film to the digital. What remains unchanged is how he captures and makes visible human nature and behaviors in poesis. McCurry believes that a portrait should have emotions, tell of the person’s notable features, it must be different, unique and unforgettable, and yet, above all, it must also showcase the universality of humanity. In that regard, McCurry’s photographic aesthetics not only embody philosopher Kant’s aesthetic judgment - sensus communis, the individual sensibility that communicates with all mankind, but also makes him a Kantian photographer par excellence. McCurry’s portraits gaze sharply at you, with looks that seem to come from corners of the universe, transport you through perspectives of eternity - sub specie aeternitatis. Full of Barthesian punctum, the points that trigger involuntary reaction in experiencing each photograph.
 
McCurry’s photography has been exemplifying for decades what art critic Michael Fried tried to theorize, to integrate the absorption and theatricality in photography that juxtapose and combine unconscious emotional pathos with conscious performative ethos.
This exhibition consists of three cohering themes about photography: “Making picture”, “Rendering image”, and “Innervating impression”. Twelve installation artworks extend the exhibition space to explore, answer, and challenge issues of photography, art and philosophy, including: What is the essence and sine qua non of photography? What inspires contemporary art that transpires theories and practices in the art history of photography? How would the art of photography elevate aesthetic education and foster creativity? It is our aspiration that McCurry’s pictures in ’S Wanderful | Making Pictures, would make some of the answers and more of the questions apparent while nudging in visual thinking and aesthetic judgment as habit. Through the process of making photography art, our prospectus for visual art will expand beyond the initiating wander. In the movie Vertigo, James Stewart asks Kim Novak to wander together. Novak replies: “One wanders, two are always going somewhere.” Accompanied by McCurry, we would have a better sense of direction for where to wander.
 
 

參展藝術家 About the Artists

史帝夫 ‧ 麥柯里 Steve McCurry
(照片提供: Bruno Barbey)
 
史帝夫‧麥柯里(Steve McCurry)1950年出生費城,1974年畢業於賓州州立大學藝術及建築學院取得電影攝影及歷史學位,從事兩年新聞攝影後前往印度展開自由攝影生涯。1979年起麥柯里數度穿越巴基斯坦邊界,喬裝成當地人深入阿富汗戰區,1984年時在難民營拍攝出《阿富汗女孩》(Afghan Girl),其不安卻堅毅的翠綠色眼眸,直視著人心最深處的撼動,並於1985年登上《國家地理雜誌》 封面,成為最廣為人知的經典代表作,1986年加入馬格蘭攝影通訊社(Magnum Photos),展開了行經全球的攝影生涯。秉持著過人勇氣與冒險精神,還有細膩深刻的洞察力,拍攝出的作品不僅色彩濃烈絢麗,且超越文化和語言的隔閡,傳達精采動人的故事。其精湛的攝影獲得無數攝影獎項,包括:「羅勃卡帕金牌獎」(Robert Capa Gold Medal)、國家攝影記者協會「年度最佳雜誌攝影師」、「世界新聞攝影獎」(World Press Photo)、《Life 雜誌》「世界攝影獎」(World Photo Winner)...等。

 

作品介紹 About the Artworks

廣場窗戶/Window
《相肖生人》
Sur Face (i): Outside In- Sub Specie Aeternitatis
  
帆布輸出 Canvas
256 x 153 cm
《灰色披肩的女孩》加兹尼市,加兹尼省,阿富汗1990
Girl with Grey Shawl, Ghazni, Ghazni Province, Afghanistan, 1990
 
《相肖生人》藉由日治西化建築壁面的窗景,呈現16幅肖像,其中含納不同年齡、膚色與文化等多樣景觀的精神面貌。從語意相擬與詞性轉換的「相肖生人」即「人生肖相」的雙向趣味裡,在陌生人相片中尋找出與自己相像的部分,以此詮釋最明顯的表層,正是靈魂本身。肖像的精神如同繪畫一般,即在探索對象的心靈,透過麥柯里鏡頭下定格的剎那,迫使觀者不停地穿透表面,以尋找更深層的訊息或意義。
 
Sur Face (i): Outside In - Sub Specie Aeternitatis exhibits on the façade of museum’s Japanese colonial westernized building 16 portraits that tell variegated life stories from people of different ages, skin colors, and cultural backgrounds. The playful wordplay, Sur Face (i): Outside In, prompts viewers to search for similarities between themselves and strangers in these photographs, suggesting that kindred spirits and soul mates may lie on and about the apparent surface. Photographic portrait, like painting, provides portal to the subject’s soul. Through moments captured by Steve McCurry’s lens, viewers are urged to continuously penetrate through surfaces, in order to search for a more profound message or meaning conveyed by visage humane or otherwise.
 
麥柯里的人生肖像不只是直視人生的劇場,也是自我完足的自得。從亙古宇宙的角落回望我們,我們無須尋找那個角落在哪裡?因為回顧我們自己所在之處,不也是亙古宇宙中的另一角落,望向別人眼中的我們嗎?
McCurry’s portraits not only confront us with dramatis personae of life, but also reward us their absorptive, sui generis, contentment. As if they were gazing at us from corners of the eternal universe, we don’t need to find out where those corners were. Because if we look back at our own dwelling space, isn’t it also another corner within the eternal universe as we gaze at ourselves from the eyes of others?
 
 
 
廣場╱Plaza
《渉影》
Wading ResSolution / In Media Res / Music: Misty—“When I wander through this wonderland alone”
 
 
裝置
尺寸因空間而異
Installation
Dimensions Variable
《奧莫玩童》篤斯村,奧莫山谷,衣索比亞2012
Omo Children Playing, Dus Village, Omo Valley, Ethiopia, 2012
 
 
《渉影》一作將當代館設計為相機的鏡頭裝置,並類比早期的暗箱,探討攝影在時代進程中媒介改變的差異。觀眾透過向內觀看的玻璃鏡頭與進入裝置空間之中,體現暗箱既向內又向外的雙向觀看。
 
Wading ResSolution/ In Media Res turns MOCA Taipei into a “camera with lens’ installation, suggesting an early darkroom, to explore the ever-changing mediality photography has taken on throughout its history. By looking into the inward-facing glass lens from outside and entering installation space through the opposite door, a two-way experience of seeing the darkroom both internally and externally is offered to viewers.
 
此作以鏡頭暗箱來示意,打通前後皆可以視覺穿透,只是一個有鏡一個有門,成為既可取像又可成像之雙向相機,空間內佈以水霧機形成的霧幕投影照片,觀眾可以直接走入影像之中,故名稱前半字義為涉影(Wading ReSolution),強調對影像干涉之必要。名稱後半為「物中間」(In Media Res),強調影像作為視覺與世界之間中介的絕對性,藉此中間的意涵,解決兩端對峙的方法。而作為成像的載體—相片紙,不再是唯一的選項,試圖讓觀者沉浸在薄霧朦朧的霧幕之際,同時反向思考攝影的本質是什麼?
 
The lens/darkroom opens up at once front and back visual penetrations, a lens and a door respectively, thus creating a two-way camera that allows both image making and rendering. The misty screen created by a fog machine upon which McCurry’s photographs are projected, allows viewers to walk into images, literally. Hence the first part of the title, Wading ReSolution, emphasizes an imperative to wade in and interfere with life for images. Second half of the title, In Media Res, redefines lens/darkroom as an absolute intermediary between visual perception and the world, which in turn might serve as a solution for conflicts between the polarities of objective ontology and subjective epistemology As one of many image rendering medium, photo paper is no longer the only option. While immersing in the hazy fog screen that renders photograph, this installation provokes reversal thingking on the intrinsic quality of photography.
 
 
 
廣場╱Plaza
《色素孢箱在跳舞》
Chromatophore Cubiclette- Dancing Nadjas in Clouds
Music: Les Bicyclettes de Belsize
 
《色素孢箱在跳舞》以照片中的色彩作為色塊的組成背景,呈現數個具節奏性、大小、高低不等的色素孢壓克力燈箱。此構想徵引自海洋生物,藉此引申自然界的奧義,在廣場上定點擺置了數個色素孢箱,從生命模仿藝術轉化成藝術模仿生命,各個顏色的箱子猶如色素孢箱在跳舞,也如同孢子的衍生在不同環境下保持自有的傳播能力,並在有利條件之中直接發育成新個體。以此呼應麥柯里攝影作品中獨特的馥麗色彩。
Chromatophore Cubiclette- Dancing Nadjas in Clouds takes colors from McCurry photographs to form color blocks that are assembled into the backdrops presented, showcasing several chromatophore acrylic light boxes of different rhythmic expressions, sizes, and heights. Inspired by marine natural wonder, several chromatophore boxes are placed on plaza, showcasing the phenomenon of “Life imitates Art when Art imitates Life.” New arrangements of colors are prompted through interactions, making these boxes of various colors appear like they are dancing or resembling spores’ ability to self-reproduce and to grow new entities in favorable conditions. This is a metaphor transformed to correspond with the unique vibrant colors found in McCurry’s photographs.
 
現場分時段播放1968年英國音樂短片的同名歌曲Les Bicyclettes de Belsize,即公園裡流行的《腳踏車華爾滋》,意指腳踏車輪不停地旋轉,呼應生命風景中一種時不我予的美感。透過跳舞精靈的意象,於婆娑起舞之際串起一個活力勃發的廣場。
 
Also played on plaza is the song Les Bicyclettes de Belsize, from a 1968 British musical short film of the same title, which is often heard in parks around Taiwan. Sonic image of endlessly spinning bicycle echoes the ephemeral beauty found in life where time waits for no man. Every twirl, every movement from the imagery of dancing fairies links together and fills the plaza with vibrant energy.
 
 
入口形象區╱Entrance Hall
《相視丘壑 悟我兩望》
Open Thalamus: Photographic Sculpture Coagulated & Mobilized
  
數位輸出
Digital Print
152.4x101.6cm (60x40 inch)
《阿富汗少女》靠近白沙瓦的納斯希爾・巴赫格難民營,開伯爾-普赫圖赫瓦省,巴基斯坦,1984
Afghan Girl (Sharbat Gula) , Nasir Bagh refugee camp near Peshawar, Khyber Pakhtunkhwa Province, Pakistan, 1984
 
 
《相視丘壑 悟我兩望》一作中的經典作品《阿富汗少女》,是麥柯里1984年於納斯希爾・巴赫格難民營(位於巴基斯坦)中拍下莎巴特‧古拉的照片,並於1985年見刊於6月號《國家地理》雜誌封面。
The world-famous photograph Afghan Girl by McCurry in Open Thalamus: Photographic Sculpture Coagulated & Mobilized is a portrait of Sharbat Gula taken in 1984 at a refugee camp in Pakistan. In 1985, the photograph was published on the cover of the June issue of National Geographic and its legacy lives on since.
 
展覽場域中分別呈現兩張肖像,一為數位輸出的平面肖像照。二是透過肖像照片,將肖像切割、解構成數片不等大小的單位,再一一地以前後錯落的懸掛組合,形成一個類似像素化格子所組構的雕塑裝置,重新審視攝影將立體世界的三維約化為二維的相片(輸出)之過程,透過解散/集合,變化/統一的反轉,再將相片還原(輸入)成三維的藝術雕塑;重新賦予一個新的生命,增添一股動態和科技的衝突感,以此意象向顯影致意。之前沖洗放大巨幅尺寸照片時,因為沒有相符的大相紙,便要把顯像紙拼貼於壁面上,以放大燈投在上面去顯影,有時朩完全貼實,風一拂來它便微微飄動,好像照片活了起來。改變視界的攝影雕塑,既凝結認知時間,又放射視覺空間,在收放之間重新賦予攝影史名作不同的藝術生命,以此平面與立體並呈,加上兩側鏡面的反射與無限延伸,觀眾於各個角度皆有不同的視點。
 
Two portraits are displayed in the exhibition entrance; one is a digital print out of the portrait, the other is a pixelated sculpture installation created with re-arranged fragments of the deconstructed picture. This comparative vision provides viewers with a new approach when viewing photography, re-examining photographic process of transforming the physical, three-dimensional world into two-dimensional images, which is then either separated or re-assembled, altered and unified back into a three-dimensional sculpture. This method gives the work new life and adds a conflicting impression of dynamics and techné. In a way, this is an act of appreciation towards the process of picture development. When enlarging photographs in the past, due to the lack of suitable large photographic papers, the developing photopaper were collaged and pinned onto wall while magnifying light was projected for the image to develop. Sometimes the paper is not pinned properly, and the fluttering caused by light breezes seem to breathe life into the images. This sculpture not only alters experience of seeing but also condenses cognitive time and expands vision, endowing new life into the differing artworks during the process. By presenting two-dimensional and three-dimensional work together and arranging mirror reflections that extend the images on both sides, visitors can experience different perspectives from various angles of the display.
 
此裝置揭示著影像的生死進化與意義衍變。肖像與裝置延異著如同坐懷丘壑的相視,亦即是此丘之我視對望彼壑之我悟,更對應了人類大腦視丘做為接收感應外來刺激門檻之極其錯縱複雜,又相互呼應的訊息交換與視覺傳遞,對應著攝影家麥柯里與作品《阿富汗少女》之間複雜的關聯性。
This installation hints on cycles of life and death, vicissitude of meaning transformation through the life of images. The portrait and installation are placed facing each other, encouraging a philosophical contemplation of the two versions of the self, suggesting the immensely complex transmission process of visual reception in the Thalamus of brain, and the complicated relationship between McCurry and his work Afghan Girl.
 
 
 
105展間╱R105
《看觀見涉色 受想行識視》
Look &/as/to be Seen
 
數位輸出
Digital Print
76.2x101.6cm
(30x40inch)
《畫室中的男孩》喀布爾,喀布爾省,阿富汗,2003
Boy in the Studio, Kabul, Kabul Province, Afghanistan, 2003
 
《看觀見涉色 受想行識視》,語意上刻意導入宗教的意涵,闡述色之於受想行識,是指佛家中用這「受想行識」以去除「色」,亦即萬物表象。但弔詭的是,人人皆必須先進入「色」之中,才能「去識」,以此引申之,所謂的「看」與「見」是需要訓練的,英文的「看(look) 」不等於「見(see) 」 ,因此以兩個字的差別來改變我們對「看法」的「看法」,闡述有「看」不見得有「看到」,有「看到」也不一定有「見到」的道理,探討的是觀看與被觀看的辯證關係。如圖《畫室中的男孩》是麥柯里拍攝阿富汗地區一處上美術課的情形,其中面對鏡頭畫著模特兒的學童與後方畫中人和攝影師對望的視點,使麥柯里成了畫裡的一部份。正處於畫畫當下的學童,所畫模特兒的視線與畫中人的直面鏡頭將麥柯里拉回了畫室裡面,成為人物畫像的一部分。如同巴洛克時期維拉斯奎茲(Diego Velazquez)的名作《宮中侍女》(Las Meninas,1656) ,同樣展示了畫面裡的場景以及畫面外的空間,將觀者以「真實存在」的感覺融入畫面中,其空間從被動變為主動,向觀者延伸了空間的縱深感,以及由視線構成的多重複雜格局,從而把我們帶進了隨觀者領悟介入程度不斷更新的當下―亦即四度空間中!
 
The title Look &/as/to be Seen deliberately includes religious cues to Buddhist notion of appearance through feeling, perception, impulse, and consciousness. In Buddhist beliefs, feeling, perception, impulse, and consciousness are applied to remove the influence of appearance, since appearances are deceiving. Paradoxically, one must inevitably rely on appearance in order to perceive, which leads to the results that to look and to see requires training. To look and to see are different perceptions; therefore, the two terms are used to alter our notion of observation. Looking does not necessarily mean noticing, and noticing does not necessarily mean seeing; this is the dialectical relationship between seeing and being seen. Boy in the Studio is a picture taken by Steve McCurry and depicts an art class in Afghanistan. The schoolboy facing the lens while working on his painting and the human figure glancing at the photographer at the back take in and include McCurry into the image. The boy in the midst of painting, his model and the direct gaze of the figure behind him pull McCurry into the studio, transforming the photographer into part of the work. Just like famous painting Las Meninas (1656) by Baroque painter Diego Velazquez, this image portrays both the scene within the painting and the space outside the scene, involving the viewer into the work and transforming the space from the passive position to the initiative, extending and deepening domain. This method forms a complex structure within vision and guides the viewer through the realm of feeling, perception, impulse, and consciousness, to see.
 
 
燈箱裝置
Light box Installation
50.8 x60.9cm  (20x24inch)
《矇眼男》洛杉磯,美國,1991
Blindfolded Man, Los Angeles, USA, 1991
 
《矇眼男》拍攝的是美國的兄弟會文化,他們在加入兄弟會之前被矇起了眼睛,疑似行將經歷虐待入會的儀式。麥柯里一直拍攝他人的國家與文化,當回過頭來拍攝自己的國家,拍選呈現的題材卻是美國兄弟會的群體自盲,他看到了美國的雙重盲點。麥柯里在印度、阿富汗、巴基斯坦等地閱盡人生百態,當麥柯里回看自己的國家時,照片不是充斥著對商業文化表面、平面化的評判,就是從廣告的觀點在笑看廣告,觀點更加銳利而饒富比較趣味。
 
Blindfolded men documents the fraternity culture in the US. Before joining a fraternity, candidates people are blindfolded and seem about to go through hazing ceremony to become member. After a lifetime of photographing foreign nations and cultures, McCurry returns to his homeland, the United States, and shows us the collective blindness of fraternity culture, presenting the double-layered blindness of the US. After witnessing different walks of life in places including India, Afghanistan, and Pakistan, McCurry’s photography of the US is either filled with satires against the shallowness and commercialism in the US or critique, mocking advertising through advertising. This perspective gives McCurry’s works a sharp angle and rich sense of joy.
 
數位輸出
Digital Print
76.2x101.6cm  (30x40inch)
《自畫像》哈瓦那,古巴,2014
Self-portrait, Havana, Cuba, 2014
 
拍攝於古巴的《自畫像》是極少見的麥柯里自拍。當身為一位拍攝靈魂肖像的攝影師,面對拍攝自己時,卻選擇透過多重鏡像表達而無法直面自己。攝影的英文動詞和射槍用的是一樣的動詞「shoot」。攝影者與被攝者的關係如同獵人與他的獵物一樣,因為攝影拍攝的瞬間,就是靈魂被捕捉的剎那,每被拍一次,就等同於小小死過一回。這部分相關論述攝影歷史古今著墨頗多,但是自拍是否也有留影身後之意呢?畫面中他透過鏡頭捕捉行走中鏡子反映出手持相機的自己,藉由多層媒介凸顯並阻隔,麥柯里似乎既期待又害怕自己的靈魂被自己不小心捕捉了。
This self-portrait taken in Cuba is an extremely rare selfie of McCurry. As a portrait photographer who strives to capture souls of others, when McCurry directs his lens at himself, he chooses multiple mirrors. Arrangement of this image highlights both the lure and resistance of a double mirrored self-portrait as if the photographer is anticipating and at once feeling threatened that he might accidentally capture his own soul. In English, the verb used for taking photographs, to shoot, is the same as firing a gun. The relationship between photographer and the subject is like a hunter and the prey, because the instant the photographer takes the picture, the soul is captured, and the subject goes through an instant of petit mort. Theories and interpretations as such are constantly seen throughout history of photography. But what about selfies? Obviously, McCurry is familiar with being captured in photography.
 

105走廊╱105 Hallway

《複製噤止,辭賦見背》Reproduction Interdit

裝置

尺寸因空間而異

Installation

Dimensions Variable

「複製噤止」佈置了一個快照空間,邀請觀眾入鏡/景,咋看以為裡面是一面鏡子,但鏡子照映出的卻是觀者的背影與後腦勺。關於攝影有趣的盲點之一正是:拍攝者很難有機會能看見甚至拍到自己的身後。所以,此裝置藝術可延伸出與超現實主義藝術家雷內‧瑪格莉特的繪畫作品《複製禁止》對話中:照片複製性所不能及的,繪畫不受機械限制和不可複製性。機械複製年代所突顯的藝術作品往往就是無法複製的東西,因此繪畫比可複製的攝影在市場上珍貴,尤其繪畫有些面向是攝影做不到的,例如正常情況下攝影師無法拍攝到自己的背面,是而馬格莉特只畫出鏡像中不合理出現的後腦勺,而不去複製應該出現鏡中的臉,不僅嚴肅地嘲謔了自以為理性的布爾喬亞,也將「再現」(representation)提昇到超現實的層次,連同米夏爾思(Michals)的大師攝影也席捲在內。然而,照相攝影本身就是複製,尤其在數位時代,更是無法禁止複製,於是更需要顛覆想當然爾的取像邏輯,從鏡像源頭開始背道而馳。標題《複製噤止》的噤止,開了形音字義的小玩笑:「噤」是不要出聲,被「止」否決後,意思成為千萬不要不說出那股見到自己背影卻無以言說的妙不可言! 「辭賦見背」則在同音詞結上作文章,借用「慈父見背」的成語為音,置換以代表言說的辭賦,喻指再華美的言說也比不過看到自己的背影時之不可言說。此作亦即是讓觀者透過裝置的互動,讓觀者看到你看不到卻屬於自己的附屬品質與附屬影像。

馬格莉特的作品充滿思辨性,但他從來沒有提供任何答案。他曾如是形容自己的作品:『畫面背後沒有隱藏什麼,卻喚起謎團。當有人看見我的畫,他會問自己:「這是甚麼意思?」其實它沒有任何意思,因為謎團本來就沒有涵義,它是不可知的。』安迪沃荷還有其他藝術家也說過類似的話,但他們都沒有拍到過自己的背影。

Reproduction Interdit is a space organized for quick photos. At first glance, the viewer sees a mirror, but then the viewer realizes the mirror shows the visitors back, regardless of how the person repositions him or herself. In photography, a photographer rarely sees what looks like from behind. Comparing this installation work with René Magritte’s La Reproduction Interdite, viewers can see the difference between reproduced photographs and painting’s freedom from mechanical restrictions and its nature of unable of being reproduced. In the age of mechanical reproduction, artworks that are unable to be reproduced are often the most prominent; therefore, the qualities that are incapable of being duplicated are almost always more valuable in the market, especially since there are certain aspects of art that can only be achieved through painting and not photography. Usually, we are unable to photograph the back of our head. Magritte’s depiction of the back of his head instead of his face is not only a solemn mockery of the Bourgeois, who pride themselves of their rationality, but an attempt to shift the understanding of “representation” to a surreal level of confusion. However, the truth remains that photography is an act of reproduction, especially in our digital world today. Therefore, it is necessary to subvert the picture-taking logic that has been taken for granted from the root of photography. Title Reproduction Interdit implies the attitude of forbidding reproduction, while the Chinese title also hints at the uncanny sensation of seeing your own back in a mirror. In addition, the Chinese title also uses the pun of the image of a loving father seen from the back, expressing the notion that no amount of flamboyant vocabulary can compete with the ineffable feeling when seeing the reflection of the mirror. Through interacting with this installation, viewers can see their own affiliating qualities and images that are never seen before.

Magritte’s work inspires speculation without providing answers. Magritte once described that his works “evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question, ‘what does it mean?’ It does not mean anything because mystery means nothing either, it is unknowable.” Other artists including Andy Warhol have made similar statements, but no one except for Magritte has portrayed the image of their own backs.

 

1樓中樓梯╱ Central Stairway 1F
《五匹四象》
One and Four P’s- Intaglio: Photographer thru Pastel, Pen, Print, Photograph
粉蠟筆、原子筆、美柔汀銅板、版畫、數位輸出
Crayons, Ball-Point Pen, Mezzotinto, Ink Paper, Digital Print
 
 
《五匹四象》詮釋了攝影的前身是版畫
 
策展人邀請臺灣鄉土寫實派畫家周孟德,在臺北漢口街慈雲寺描繪寫生了麥柯里的肖像,先後以粉彩蠟筆→原子筆→美柔汀銅版→ 墨紙印刷等四種不同材質,去呈現麥柯里的臉孔。在材質的轉換上對應亞里斯多德的形上學,相較科蘇思(Joseph  Kosuth)的三把椅子更具描繪力與延展性。觀者看到《五匹四象》其實只看到四個成像/象,即粉蠟筆—原子筆—美柔汀的銅板—印出來的版畫。但若再加上最後一幅肖像版畫的照片。即能看到五個層次的呈現,此一再現手法與材質之更迭輪替除了作為觀念藝術呈現外,亦將迫使觀者從比較同源、分析異質中、認知判斷力之形成。源流遺緒先來後到孰優孰劣,似乎不再重要,因為藝術總是從現在當中開始,無論西東。
 
事實上,影像藝術史中與攝影最接近的前身正是版畫,因為攝影定影成像的科學技術在1826年間才被從事版畫的達蓋爾和涅普斯發現,其關鍵在於成像。
 
One and Four P’s- Intaglio: Photographer thru Pastel, Pen, Print, Photograph is an embodiment of the notion that prints are the predecessor of photography. 
 
Invited by the curator, Taiwanlocal realism painter Chou Meng-Te painted a portrait of McCurry at Ciyun Temple, which is located on Hankou Street in Taipei. The artist used pastel crayons, ball-point pen, Mezzotinto, and ink paper to depict the McCurry’s face. The change of materials echoes Aristotle’s Metaphysics and is more descriptive and extensive when compared with Kosuth’s One and Three Chairs. In Classical Greek Philosophy, only the metaphysical chair counts as art. For instance, A sofa is a physical chair, but to say that a coffee table or stone is a chair makes it superior to a sofa, since it is not restricted to specific material, but is transcended to a collective concept of a physical chair. To take a step further, there is a pure concept, the form of a chair. This involves the process of concept → category → specific, which is the central method of metaphysical critique on  Representation art. When seeing One and Four P’s- Intaglio: Photographer thru Pastel, Pen, Print, Photograph, the viewer sees four imaging, portraitspresented by pastel—pen—Mezzotinto, and the final print. However, added with McCurry’s photograph of his portrait, this makes five layers of presentation, the four Ps, Photographer-Pastel-Pen-Print-Photography. Content-wise, this change between approach and materials not only displays conceptual art but also forces the viewer to compare the formation of judgment in various analysis and origins. Which is better than the other is no longer important, because all art starts in the present moment, regardless of Eastern or Western art.
 
In fact, history implies that print is the closest to photography, instead of sketch drawing, which is created by using darkroom or lightroom. This is due to the fact that the scientific technique of Photographic Processing was discovered by Daguerre and Niépce in 1826, approximately one thousand years later than image capturing, with the focus centered on imaging.
 
 
 
106展間╱R106
《浮生廢墟》
Ruins of Image/Image of Ruins
展覽現場
 
數位輸出
Digital Print
60.9x50.8cm (24x20inch)
《被遺棄在動物園的獅子》科威特市,科威特,1991
Lion Abandoned at The Zoo, Kuwait City, Kuwait, 1991
 
106展間以戰爭的主題,呈現廢墟的影像與影像的廢墟。廢墟的影像即麥柯里拍攝戰爭中以及毀滅後殘留的影像,而影像的廢墟則為留在人們腦子裏揮之不去兀自荏苒的殘影。當觀者進入展間,首先映入眼簾的便是蜷曲在籠子外的獅子,訝異之餘,又見到暴走街頭的河馬,才理解到這些是人類因戰火進而摧毀了動物住所,在煙硝瀰漫中流離失所的動物,呈現出萬物如芻狗般的倉惶淒切之景。麥柯里咄咄逼人的影像將觀者帶進壕溝瓦礫中,共同見證戰火浮生殘跡。除了哀悼傷逝,痛感人類好戰之愚騃荒昧外,與其他戰爭影像不同的是,麥柯里對於人性的關切注視不曾因戰爭中巨大的奇觀而稍減,戰火的洗禮使他在絕望中找到救贖,而救贖之道則是呈現戰爭倖存者堅韌的生存欲望。尤其是人們閱讀的姿態;在文明被摧毀殆盡的廢墟裡抓住任何機會展卷閱讀的人們,令我們對人性的希望重新油然而生。
 
The display in R106 center around the theme of war that present images of ruins and the ruins of images. The images of ruins are McCurry’s photography taken during and after wars, while the ruins of images are the afterimages in people’s memories. The viewer would be surprised by the image of a lion curled outside a cage and later sees a hippopotamus charging down the street. Gradually, the viewer realizes that these are scenes of animal shelter which was destroyed by war, while homeless animals express a bleak sense that all living entities are victims of the cruelties of Nature. McCurry’s intense images bring viewer into the trenches, among the ruins of war. Apart from mourning for the deceased and the emphasis on the pointlessness of human appetite for war, these images present McCurry’s undiminishing compassion towards humanity, despite the dramatic spectacles of war. The fury of war leads McCurry to find redemption among the despair, and the redemption is to show the tenacious desire for survival amidst suffering. The images of individuals clinging to every chance they get to read bring hope to our hearts.
 
展間敘事動線的安排,由詮釋圖像之觀看的三個視點來認識學習麥柯里最具特色的戰地紀實攝影,分別是:
The arrangement of the narrative display allows visitors to learn about McCurry’s unique war photography from three perspectives:
 
數位輸出
Digital Print
101.6x152.4cm (40x60 inch)
《聖戰軍監視俄軍崗哨》努里斯坦省,阿富汗,1979
Mujahideen Watch a Soviet Convoy , Nuristan Province, Afghanistan, 1979
 
照片中人物望向鏡頭外,無限遠的視點:
《聖戰軍監視俄軍崗哨》,此作是麥柯里冒生命危險潛入對抗蘇聯入侵中的阿富汗,隨著民軍出生入死,獨家拍攝到戰爭進行中的人性原貌,並在美國《紐約時報》上首度刊登向全世界揭露前所未知侵略真相的照片。畫面中的每一個人都全神貫注地觀察著敵軍一舉一動,稍一晃神便可能造成生命攸關的錯誤判斷。此照片構圖飽滿,張力十足,並且由於圖中人人緊繃專注的神情極具渲染力量,彷彿將觀者帶到現場,體驗在極近距離見證行動劇場的表演。此作畫面中的阿富汗民軍們,完全營構出一個自成系統的世界,專注於自身的所做、所思,完全沉浸其中而對畫外觀者渾然不覺。
 
Figure(s) glancing into the distance:
Mujahideen Watch a Soviet Convoy is a record of McCurry’s brave attempt of traveling with the Afghanistan army while they were fighting Russian invasion. Participating in life-and-death scenarios alongside the army, McCurry personally witnessed humanity in wartime. The works were then published in New York Times, exposing the truth about Soviet-Afghan war for the first time. Each figure in the image is completely immersed in the movement of enemy, because any distraction may lead to deadly errors. The structure of this dramatic photograph is filled with tension. The intense facial expressions of the figures depicted in the image make the viewers feel as if they are also on site, witnessing all actions within a close distance, like witnessing performance of live theatre. However, the Afghanistan soldiers in Mujahideen Watch a Soviet Convoy consist a system of absorption, focusing entirely on their actions and thoughts, completely immersed in the moment and barely notices the viewers outside the image.
 
 
數位輸出
Digital Print
60.9x50.8cm
(24x20inch)
《年輕的哈扎拉族戰士》喀布爾,喀布爾省,阿富汗,1993
Young Hazara soldier, Kabul, Kabul Province, Afghanistan, 1993
 
照片中人物直視看著鏡頭的視點:
相對於自我完足性,例如《年輕的哈扎拉族戰士》凡直視看著鏡頭具有凝視性,並直接與外界溝通的皆屬劇場性的作品。麥柯里的肖像照片皆屬此類。
Figure(s) gazing directly at the lens:
Compared to absorption, works like Young Hazara soldier depict figures gazing directly into the lens and form communication with the outside world. These are works of theatricality. The portraits of McCurry belong to this category.
 
 
數位輸出
Digital Print
76.2x101.6cm
(30x40inch)
《戰爭暴力倖存者》白沙瓦,開伯爾-普赫圖赫瓦省,巴基斯坦,1985
Victims of Violence, Peshawar, Khyber Pakhtunkhwa Province, Pakistan, 1985
 
構圖以45度角的視點入鏡:
麥柯里的攝影作品跨度涵蓋廣闊,在策展人的論述中,圖《戰爭暴力倖存者》既具備劇場性也有著自我完足性。因戰火失去雙腳的一老一少,靠著輪椅及義肢的支撐,愉悅地一起讀書,絲毫不因殘障而減少對生命的擁抱。背景後方另一架輪椅的兩人以及周遭環境界定了療養院的氛圍,但真正動人的是兩人之間的視線與身體的姿態,他們顯然知道麥柯里正在拍攝,但是並不影響閱讀之投入,45度角的視點將兩位主角介於劇場性與自足性兩者之間,在兼具主體與客體的同時,觀者既可投射自己的詮釋與之對話、又能閱讀其自我完足世界中折射出來的豐富訊息。
 
Figure(s) portrayed at a 45-degree angle:
The photography of McCurry covers a wide range of spectrum and angles. In the curator’s narrative, Victims of violence involves both absorption and theatricality. The old man and the boy who have both lost their legs to war, both leaning on the support of wheelchair and prosthetic, happily reading a book together and enjoying themselves regardless of their misfortunes. The background suggests that they are at a rehabilitation center, but the most moving element of this work is the gaze and posture of father and son. They obviously know that McCurry is taking pictures of them but are undisturbed in their reading. The 45-degree angle places the subjects somewhere between absorption and theatricality. As both subject and object at the same time, the viewer is able to project their interpretation and decipher the rich messages.
 
 
107展間╱R107
《蛻變:影像穿越影像》
Metamorphosis: Photographic Passenger/Passe Photographique
 
數位輸出
Digital Print
76.2x101.6cm (30x40inch)
《轟炸十年後的赫拉特》赫拉特,赫拉特省,阿富汗,1992
Herat after Ten Years of Bombing , Herat, Herat Province, Afghanistan, 1992
 
「影像穿越影像」暗喻了雙重的意涵,一、指麥柯里漫遊世界四處拍攝,他是以照片穿越時空的過客,同時也是將世界帶到觀者眼前的擺渡人。二、引用西方文學中具超越能力的典故,上溯至柏拉圖的魔戒(Ring of Gyges), 乃至法國小說家馬歇爾.埃梅(Marcel Ayme)的《穿牆人(Le Passe-Muraille)》,闡述影像的穿越能力與穿越影像的相對意涵。透過特殊的螢幕裝置形成一道既是玻璃也是鏡子的牆,同時具有穿透和反射的效果,並刻意在中間處留有一道罅隙,讓觀者可以側身穿越其中。文學作品裡穿越的穿牆人、隱形人其原型皆描述具有穿越空間的超能力,往往使人因此犯下道德錯誤而卡住自己,道德是否有約束力與人我分際該如何劃分恪守?以此對應攝影穿透力的思考,影像如何穿越桎梏? 我們又如何穿越影像?當展間投影時成像將顯現於此道變化透明度的玻璃牆上,觀者若於此際穿越影像將被梗阻在影像中,形成卡夫卡式的蛻變。當穿越從隱喻變成明喻,象徵意涵實體化的同時也將影像實體化,進而強調影像與人之間的虛實互動。
 
Photographic Passenger/Passe Photographique has two layers of meaning. First, the title refers to McCurry as a traveling photographer who passes through time and space with his photographs and a messenger or sentinel who brings the world to viewer. Second, the title references the magical ring in Western literature, all the way from Wagner’s Der Ring des Nibelungen to Plato’s Ring of Gyges, even contemporary fiction writer Marcel Ayme’s Le Passe-Muraille, hinting to the concept of the penetrative ability of images. Using special screen devices, a wall that is both glass and mirror is installed, transparent and reflective at the same time. A narrow gap is deliberately designed for viewers to physically move between the spaces sideways. In works of literature, the person who penetrates walls or the invisible man who can move about in the world are all described as having the ability to move between spaces, often find themselves stuck due to morality issues. Works such as these often explore whether ethics have a binding power, and how we should set boundaries between self and other. This concept corresponds to the penetrative nature of photography. How can images break boundaries? How should we pass through images? When images are projected on the glass wall with changing transparency, an image appears, but if the viewer is passing through the other space, their bodies might be caught in the images, literally, hence forming a Kafkaesque metamorphosis. When the metaphor of passing through becomes literal and metaphor becomes simile, images are also embodied and materialized, emphasizing the virtual and actual interaction between humans and images. Some viewers may appreciate the works from a purely aesthetic viewpoint, while others may attempt to enter into the images and experience images penetrating images.
 
無家可歸之透射
無家的理由很多但無家的景況則會讓人產生不安(unheimlich), 對世界有不同的觀感,如圖《轟炸十年後的赫拉特》畫面呈現被轟炸後的城市,視野所及無一完好的「家」,這以天地為穹廬與所謂「家」的概念產生了極大的衝突。
 
Projection of Homelessness
There are many reasons for homelessness, but the state of being homeless brings a sense of anxiety and fear (unheimlich) which induces one to see the world differently. Image Herat after Ten Years of Bombing depicts a bombed city with no complete “home” in sight; Despite the fact that there are many houses, none of them is a home. The concept of settling under roofless sky creates a contrasting impression with the notion of home.
 
 
106-107走廊/R106-107 Hallway
《心靈淵藪 臉旁廊廓》
Sur Face (ii): Inside Out - Arcade of Psyche
展覽現場
 
透光片輸出
Transparent Film
134x 91 cm
《背著孩子的男人》賈拉拉巴德,楠格哈爾省,阿富汗,1988
A Man Carrying a Child, Jalalabad, Nangarhar Province, Afghanistan, 1988
 
106-107展間外的廊道以類燈箱的形式展出6幅肖像,與廣場展出的16幅《相肖生人》形構一個由內向外和由外向內觀看的對應。肖像經由類燈箱透過光的穿透性,與長廊縱深的深邃意象,營造出一種寧靜卻又神秘的氛圍,猶如希臘羅馬時期諸神的長廊,直至今日都是私人與公共、個人與集體等關係的交會場域,於此麥柯里意圖以靈魂肖像的凝視,開啟與觀眾的對話。此6幅肖像皆呈現直視的神情,亦有各自傳遞的訊息,希冀觀者可以由內向外與由外向內的凝望,看見靈魂的深淵。尼采曾說:「…當你凝視深淵,深淵也凝視著你。」當你長久地看向一個漩渦或無機體,你的靈魂會被漩渦或無機體所吸納,並回望著你―也正是從深淵回望你的心靈凝視。
 
Six portraits are displayed in the acrylic box brightened by the natural light the corridor outside R106 and R107, echoing the twelve Sur Face (i): Outside In - Sub Specie Aeternitatis showcased on the museum façade. Through the penetrative quality of the boxes, the arcade-like corridor creates a profound imagery with portraits, forming an atmosphere that is both serene and mysterious. Just like the space flanked by colonnade of statues of gods in Greek and Roman era, the arcade-corridor has always been a space where the public and the private overlap, the individual and the crowd meet. With this notion in mind, McCurry uses the gazes of portraits to encourage dialogue with viewers. Each direct gaze of six portraits has its own message, cognito or incognito. Nietzsche once stated that “if you gaze long into an abyss, the abyss also gazes back at you,” When we stare into a swirl or an inorganic entity, the soul is sucked into the swirl or the inorganic entity and it stares back from the deep depths.
 
 
108走廊/R108 Hallway
《光染印譜》
Contact Sheets (I): Let There Be Dye
現場 裝置
尺寸因空間而異
Installation
Dimensions Variable
 
《車外廂間遞茶侍者》白沙瓦與拉哈爾間的鐵路,巴基斯坦,1983
Breakfast Tea Being Passed Between Cars on the Railway, Railway between Peshawar and Lahore, Pakistan, 1983
 
《光染印譜》的裝置以紗幕為成像媒介,意圖賦形捕捉光與光子穿透介質留下的痕跡,呈顯「光」成像的過程。藉由投影機投像在層層紗幕上,緬懷數位化之前洗照片的重要步驟—印樣,亦即將膠片直接貼在顯像紙上以1:1成像的概念實體化。其中,光的穿透與渲染的效果是來自光與物件的接觸,由6幅作品自兩端輪番投影於漸層的紗幕上,光子穿透由最初的最強漸次慢弱,並繼續在下一層紗幕成像,最終兩邊遇合且因為距離之故,影像從愈來愈大亦愈顯稀薄,可從中感受光與影像的滲透,使觀眾與影像有直接地接觸,直至光的滲透和影像都慢慢消失,同時觀察由非具象的影像轉化成具象的過程。
此裝置結合觀看的視感、視覺的觸感以及身體性的介入,闡釋以像馭物,相役於物,以及影像將時間濃縮的隱喻,呈現出光與影像接觸的過程,此即為《光染印譜》。
Installation Contact Sheets (I): Let There Be Dye uses gauze as medium for image rendering and attempts to capture traces of light and photons penetrating tactile medium to display the role of light in the process of image rendering. Using Two projectors project images onto layers of gauze, the installation expresses a sense of nostalgia towards contact sheets, an important step in the days when photographs were developed by hand, materializing the concept of image rendering by pasting film directly onto developing paper in 1:1 proportion. The penetration and rendering effect of light come from the contact between light and physical materiality. Six McCurry photographs are projected onto gradient gauze in turns from both sides, the photons penetrating with the greatest strength at first and gradually slowing and fading, creating an image on the second layer of the gauze. Finally, two images from both ends will merge as one. Due to the distance, images will continue to expand and become thinner; this process allows viewer to feel the physicality of light penetration and images rendering, enabling direct contact between viewers and images while the non-figurative images slowly turn figurative. Inevitably, both light and images finally fade.
This installation combines the experience of seeing, the tactility of vision, and physical intervention, elaborating the conflicting relationship between objects and images while seeing images as condensed time. All of these concepts are displayed in the midst of the meeting of light and images, resulting in Contact Sheets (I): Let There Be Dye.
 
 
108展間/R108
《美感趣位:一個人的劇場》
Elephants in the Room- Absorptive Theatricality
 
數位輸出
Digital Print
101.6 x76.2cm (40x30 inch)
《人象同行》康提,斯里蘭卡,1995
A Man Walks Behind Elephant,
Kandy, Sri Lanka, 1995
 
美感(bellus)與趣味(ludus)帶給我們不同的愉悅,但是同樣作為凌駕所有價值之上的絕對價值,兩者皆保證快感。如何結合此兩種感覺往往只需移位―如何找到有趣的位置即可改變視界。麥柯里的攝影提供了諸多的「美感趣位」,作品中美感的趣味與有趣的「位置」有著直接的關聯。如圖《人象同行》一作,象與人漫步雤中、作為遮雤的芭蕉葉與傘對照著自然與工業產品,山稜的弧線與道路的交通規線,以及大象肩上的木杆等,構成了線條的隱趣。對漢字的想像亦可從其字義與符號的運用發揮:「像」的人字旁在左,而圖中步行於象右的人,象形成了「像」字鏡射的品讀趣味。
 
Beauty (bellus) and play (ludus) bring different experiences of pleasure, but as ultimate values they rank higher above all others, for both promise pleasure (la promesse de Bonheur, Stendhal). To combine the two sensations often require nothing more than a shift in one’s position and to alter one’s vision. McCurry’s photography is filled with both beauty and play, which are directly linked to the arrangement of objects from subjective repositions. For instance, in A Man Walks Behind Elephant, an elephant and a man walk slowly in the rain while the plantain leaf and umbrella create an interesting contrast between nature and manmade object. The outlines of mountains, traffic lines of the road, and the wooden pole balanced on the back of elephant create an amusing structure. In addition, the Chinese character for elephant, 象, added with the character for humans, 人, makes 像, the character for images; The arrangement of the man walking beside the elephant also hints at this mirrored meaning.
 
弗立得運用畫型(tableau form)的概念詮釋當代攝影,闡釋攝影與觀者的新關係。弗立得指出:作品必須展現專注性,全心投入自身正在從事的事物之中,從而建立觀者並不存在的幻象,以此營造作品的反劇場性,以彰顯藝術的自足性,反之,作品畫面構圖中的人物以正面凝視著觀者,彼此互動對話,即為劇場性。麥柯里的攝影呈現自我完足的劇場,既可遠觀賞美又可近進互動,是實踐先行於理論的範例。
 
Art critic Michael Fried uses the concept of “tableau form” to interpret contemporary photography and the relationship between photographer and viewer. Fried points out that works of art should display a sense of concentration, fully immersed in the activity at hand and creating an illusion as if the viewer does not exist; this is an attempt to achieve anti-theatricality and to highlight the absorption of the work. On the contrary, if the figure in the image gazes directly at the viewer and forms a kind of interaction, then the work is one of Theatricality. McCurry’s works express Absorptive Theatricality and can be appreciated both at a distance and engage in dialogue , an example of how practice anticipates theory.
 
 
 
1F西側樓梯/Western Stairway 1F
《時窮匕現 咖啡實光》
La Durée Poignardée/Coffee Time Stabbed
 
布料
Fabric
300 x 415cm
《落霞夜色》幸運小鎮,宏都拉斯,2004
After Dark, La Fortuna, Honduras, 2004
 
一樓西側樓梯的空間裝置,運用《落霞夜色》照片中的空間元素與展場的柱子做了視覺意象的連結與延伸,以布料材質放大輸出,使照片中的柱子密合於現實空間裡的柱子,將虛像與實物合體,反喻攝影皆是把實物拍攝成虛像,於此將虛像還原為實像,意圖讓觀者穿越這一道咖啡光景的藩籬。描摹「時窮匕現」隱含對時間幻象的探討,形容攝影剎那猶如匕首插住時間之流,援引了赫拉克立特思對短暫時間與永恆的哲學思維,也回應攝影於時間向度上「此曾在」(Ça-a-été)的思辯。
 
The installation displayed in Western Stairway on the ground floor integrates the space with photograph After Dark by combining the photographic and museum column on site into one as a way to extend and reembody visual imagery. Using fabric for enlarged prints, the column in image merges into one of the physical column of the building. This merging of the virtual and the physical hints at the fact that all photographs are attempts of transforming physical mold into vintual image; here, the display restores the images back to its physical appearance for visitors to walk through this coffee-colored barrier. La Durée Poignardée explores the illusion of time and describes the moment of being photographed as if being stabbed in time, citing Heraclitus’s philosophical exploration of time and illusions while responding to the sense of “it was here (Ça-a-été)” in photography.
 
再則,利用展場樓梯斜角所形構的空間縱深,展示了麥柯里拍攝於巴西街頭的作品《軌道上的女子》其畫面鐵道的景深除了呼應場域的調性,同時借喻瑪格利特作品之一《La Durée Poignardée匕首刺住的時間之流》一列從壁爐裡衝出來的火車,把不可能相遇的元素並置於畫布上,對應了《軌道上的女子》中廢棄鐵軌消失於荒蕪城市的意象。影像敘事之圖像形貌是否真能代表物件本身造成衝突與張力?人們往往只看見世界的表象,卻忽略其背後的本質。藉此《時窮匕現 咖啡實光》的裝置作品,觀眾可一窺攝影自身如何涉及時間的對比和辯證關係。
 
Using the angle of ascending stairs in the exhibition space, the work A Woman Walks on the Railway, which was taken on the streets of Brazil, is displayed. Depth of the image not only echoes the tone of scene but also references one of René Magritte’s works in The Betrayal of Images series, Being Stabbed in the Flow of Time/ La Durée Poignardée, that a train charging through the fire grate. Magrittle juxtaposed irrelevant elements together on the canvas, echoing the scene of the abandoned train tracks disappearing into the city wasteland in A Woman Walks on the Railway. Do the narratives in the image truthfully depict the conflicts and tension of the objects? In most cases, people only see the appearance of the world and fail to notice the hidden essences. Installation La Durée Poignardée/Coffee Time Stabbed provides an opportunity for viewers to have a peek at the contrasting and dialectical relationship between photography and its interference with time.
 
 
2F西側樓梯/Western Stairway 2F
《曝風沙塵 負嵎而立》
Contact Sheets (II): E Pluribus Unum
帆布輸出 Canvas
420 x 277 cm
《沙塵暴》拉賈斯坦,印度,1983
Dust Storm, Rajasthan, India, 1983
 
 
美的判斷取自個體和宇宙的共感,《沙塵暴》以其紅色主調,輔以漫天黃沙,枯樹群兀自獨立蒼茫,映照著生命的榮枯,標識出《曝風沙塵 負嵎而立》的堅韌姿態,圖中幾位印度婦女因為風沙襲來,不及躲避而本能地彼此環立成圈圍繞在一起,構圖前景是謀生的汲水工具,遠景揚起的沙塵漫漫,急迫感十足(immediacy),她們自單一個體結合,結合之中又不失單一個體的特性,不僅呈現美感的主題也是政治的主題—眾人合一,合一中有分眾的精神。
 
The judgment of beauty occurs within shared feelings between the individual and the universe. With red as the primary color, image Dust Storm displays vast brown sand in the background with a few withered trees standing in distance, as if witnessing the rise and decline of life and echoing the title Contact Sheets (II): E Pluribus Unum. Unable to escape in time, the Indian women in the image instinctively form a circle as the wind and sand hits, while a jars for collecting water is shown at the front of the image. In the distance, dust and sand create an atmosphere of immediacy. Although in a group, the women all maintain their individuality. Not only is this an image of beauty, but also a political scene of individuality within unity.
 
 
《馬賽騰空向鐵諾》一圖,處於尚在進行中的非洲肯亞馬賽族(Maasai)傳統儀式,其獨特騰跳的舞蹈,瞬間定格於麥柯里的鏡頭裡,畫面中諸多元素呈現對立的因素:如摩登與原始;跳躍空中與立定著地;靜止與動作,靜中之動與動中之靜,顏色與構圖等等,具現了結構和高度以及行為的對比,是一件具備美學典範的經典之作。此次個展作品中,麥柯里捕捉行動中的剎那,不斷地出現騰跳、奔跑處於一個中間的狀態,指涉在行動之中、在物件之中以及在思考之中,如何從兩際中間為藝術行動開端,上可回溯下為承續是貫穿展覽主題的核心之一。
 
Valentino Airs Maasai depicts the traditional ceremony of the African Maasai tribe. The unique dance movements are frozen within the lens of McCurry, creating a scene with various opposite elements: modernity and primitives, some leaping into mid-air and others on land, stillness and movement, stillness within movement and movement within stillness, colors, and composition, creating contrasts in structure, altitude, and behavior. This image is a classic example of aesthetics. This solo exhibition showcases McCurry’s depiction of frozen moments within motion, and several images of figures running, moving, within activities or deep in thought. The possibility of beginning from the middle and the legacy of connection with the past and future is one of the themes of this display.
 
 
《弦外之音 耳提面命》
Singing Picture & Overtonal Montage-Musicality of Photo
數位輸出
Digital Print
152.4x101.6cm (60x40 inch)
《幻燈片印樣》拉賈斯坦,印度,1983
Contact Sheets II, Rajasthan, India, 1983
 
透過修辭學換喻的手法,擴延美學中的共感(synaesthesia) 及移情(transference)作用。《弦外之音》意指視覺藝術中的音樂性,如圖《馬賽騰空向鐵諾》,雖為視覺圖像但觀視的同時,彷彿鼓聲間斷頻仍傳來,讓人也能「聽」到畫面、「看」到聲音,以此形構一個感官交互作用,認知錯置衍生的空間。再則,藉由成語「耳提面命」揭釋攝影的字源象形,「攝」字即以手去抓三個耳朵,強調引領人心的力量,並指涉共感現象。在聽到畫面與看到聲音的感官跨越,探討攝影的音樂性,一如泛音:因波長相互影響干涉,彈奏上下音階do與sol時便聽到中間的音階mi,雖只彈兩個音,但此兩個音波的波長於共振之際出現間夾的新音,俄羅斯電影理論家艾森斯坦(Sergei Eisenstein) 對影像的蒙太奇手法也有同樣的功能,進而產生畫外之景。
 
This work applies the metonymy method in rhetoric to expand the effect of synaesthesia and transference. Singing Picture refers to the musicality in visual arts. Although Valentino Airs Maasai is an image, viewers can almost hear the sound of battle drums, experiencing the “sound of images” and “image of sounds.” This synaesthesia creates a sense of interaction between senses and an acknowledgment of displaced and yet multiplying space. Moreover, the second part of the Chinese title 耳提面命 hints at the origin of 攝, the Chinese character for photography. The composition of the word 攝 means to grasp three ears with one’s hand, literally meaning the ability to grasp attention and to experience a common sensation. By hearing sound of images and seeing images of sounds, viewers are encouraged to explore the musicality of photography. For instance, the overtone is a tone that is heard because of the interference of different wavelengths; we can sometimes hear the middle tone “mi” when playing the ascending and descending scale “do” and “sol”. Although only two notes are played, the resonance of the two notes creates the sound of the middle note. Eisenstein’s montage practice also creates similar effects and extend off-screen space outside the image.
 
 
205展間╱R205
《從攝影小史到小攝影史》From A Small History of Photography to A History of Small Photography
 
205展間容納了四個攝影的進程。
R205 includes four different processes of photography.
裝置
尺寸因空間而異
Installation
Dimensions Variable
《男人於泰姬瑪哈陵倒影中》阿格拉,北方邦,印度,1999
Man and Taj Reflection, Agra, Uttar Pradesh, India, 1999
 
《暗房明室》指暗房與明室作為成像工具的當代意義。早期的暗房需要八個小時的顯影,透過將展場佈置成一個小暗房,讓觀者看到暗房的成像原理,一開始影像是倒置的,經由針孔成像的作用,最後成為正像。麥柯里的作品《男人於泰姬瑪哈陵倒影中》,實為表現水面之倒影,趣「位」地混淆了錯置的方向性,以冀求正反合後之新象。
 
Camera ChiarObscuro refers to contemporary art’s bearing of darkroom and optical devices to make picture. In the early days, it takes up to eight hours for images to develop. Through arranging a small darkroom on site, visitors will be able to see the imaging principle of the darkroom. At first glance, the images are upside-down and completed with the reflective effect of the prismatic lens. On a second looks, McCurry’s work Man and Taj Reflection depicts the reflection in the water but also playfully blurs the sense of direction.
 
 
《霞飛自光》 Aura Self-illumination
數位輸出
Digital Print
152.4x101.6cm
(60x40 inch)
《人像攝影師》喀布爾,喀布爾省,阿富汗,1992
Portrait Photographer, Kabul, Kabul Province, Afghanistan, 1992
 
《霞飛自光》引用《滕王閣序》詩句—「落霞與孤鶩齊飛,秋水共長天一色」而來,霞即晚霞,是太陽光斜照遇懸浮塵粒產生散射而成的光暈,以此換喻攝影發明之初,顯影定影液的技術朩盡完善,沖洗後的照片旁緣呈現光暈,時人以為靈光,將之神化,實則是定影液效果不佳所導致的過度詮釋。倒是此一美麗錯誤詮釋恰好與啓蒙浪漫主義若合符節,德國詩人諾伐立思(Novalis)認為,真正的藝術皆是自體發光。
The Chinese title was inspired by a line in poem Prince Teng’s Pavillon- A Tribute: “At sunset,the rosy clouds and a solitary duck seem flying together; the long sky emerges into hue with the autumn water.” Referring to the sunset glow in the evening, which is created by the sunlight reflecting from the dust, this allusion hints at aura from the beginning of photography when a halo appears on edges of developed photographs back in the day when fixers were not as sophisticated. People used to think that the halo is a supernatural force and deifies the phenomenon when in truth, it was a result of ineffective fixers. However, this happens to echo philosophies of Enlightenment and Romantic Era; early German Romantic poet Novalis believed that true art is self-luminous.
另外,打鐵結合異材質時也會出現光暈的現象,許是出自於技術的不夠精進(日本稱之為霞燒)。更有人將其詮釋為天使的光圈、藝術表現的魔幻性,以及影像的魔力等等,皆是出自於物性顯然與光的關聯。從第一個階段的暗與明對照,到霞光自體發光,從明暗之別到具有魔力發光的光暈 ,對攝影的詮釋與想像已隨著科技亦步亦趨,漫遊蹣跚。啟蒙時代的概念引申為必須自己會發光才足以啟蒙他人,在班雅明時已成輓歌,與其執著於「值得去複製的藝術都要有靈光」,起而力行以霞光自明之,別寓深意。
 
This kind of aura effect also occurs when different materials are mixed in metallurgy especially when processed with low technique (Kasumiyaki in Japanese). Some have referred to the condition as halo of an angel. These types of magical expressions in art and photography are all related to the phenomena of emitting lights from objects. From the contrast between darkness and light, the self-illuminating quality, and finally the mysterious brightness, annotations, and imaginations regarding photography, all of these steps have changed with the advance of technology. As to whether these changes are seen as progresses, it has to be decided by historical revisions. During the Enlightenment, people used to believe that only those who can shine on their own are capable of enlightening others. However, after Walter Benjamin lamented the disappearance of aura, rather than insisting that “all art worthy of reproduction should have its aura,” one should perhaps strive to become the source of illumination, which is key concept of this work.
 
《繫憶輪徊切線》 Tangents of Carousel - Straying Closer
數位輸出
Digital Print
101.6x152.4cm
(40x60 inch)
《逃在半空中的男孩》焦特布爾,拉賈斯坦,印度,2007
Boy in Mid- Flight, Jodhpur, Rajasthan, India, 2007
 
以80張幻燈片逐格投影,每投射一張幻燈片的同時也會連動攝影機拍照,將觀者拍攝後即融入到影像中。此裝置向麥柯里拍攝的最後一卷柯達彩色幻燈片致意。 「繫憶」指涉當時柯達發展出幻燈機,將其命名旋轉木馬(Carousel),因為它讓人憶及小時候乘坐的旋轉木馬,以幻燈機賦予記憶之旅的意象。利用轉盤類似旋轉木馬的旋轉切線原理,圓圈轉動的切線意指必然的離心力造成旅程迷路歧途,但遠行才能回歸。幻燈片不斷向前推進輪播,所有的離心力都會有相應的向心力,每一個旋轉離心力向外拋的同時,相對作用的向心力會反作用回來,每張外拋漫遊寰宇的照片都會將你融入帶回現場,一如離開家愈遠其實相對作用的回歸力量會將你帶回離家愈近的位置。亦即愈是誤入歧途愈容易回到初心原點之意,此謂之《繫憶輪徊切線》。
 
Eighty slides of McCurry photograph are projected with each slide triggering a photographic mechanism, taking pictures of viewer and integrate them into the images. This installation is a tribute to McCurry’s last Kodak color slides. The slide projector introduced by Kodakchrome was named Carousel because it reminds people of the carousel rides during childhood. This work uses the slide projector to create the imagery of memory. With the Tangent-Release Principle of the carousel-like turntable, the tangents of the circular motions suggest the fact that the inevitable centrifugal force leads us astray, but we will return after our travels. As the slides continue to show images, the centrifugal force creates a corresponding centripetal force, each centrifugal force thrusting outward while the centripetal force pushes back, pulling the wanderers inward. The further you are tossed away from home, the stronger the force that will bring you back. Tangents of Carousel - Straying Closer is a metaphor that the further we stray away, the closer we will get home for eternal return.
 
 
《慢光刺點》Cogito Ergo Lux/Apres l’affect / After Affect
 
數位輸出
Digital Print
76.2x101.6cm
(30x40inch)
《掛在火車外的腳踏車》西孟加拉,印度,1983
Bicycles Hanging on the Side of A Train, West Bengal, India, 1983
 
投影機經過電腦編寫,當觀者進入展間觀看攝影作品時,連動光線會緩慢照亮部分的細節,以此模擬視覺動線的狀態。如何去感知光、形體與顏色,如何進行圖像的閱與讀、以及刺點如何喚醒細節的詮釋,一如巴特所言:「在單一的空間裡,有時一個『細節』吸引住我,讓我感覺它的存在便足以改變我的閱讀,一新耳目,在我眼中像是見到一張新的相片,具有更優越的價值。這個『細節』即是刺點(刺痛我者)」。笛卡爾的「我思故我在 (cogito ergo sum) 」在影像的時代也必須與時俱進而成為 「我思故有光 (cogito ergo lux) 」 。至於觀後感(affect)如何後製(after effect)就因人而異了。
 
Through computer coding, the projector is activated once the visitors enter the display room and starts to alter the lighting to illuminate certain parts of the work according to the results of scanned eye-movements. This is an example of visual cognition made visible. How we perceie light, form, and colors, and the process of interpreting moving images? How the punctum awake the annotation of details? As Barthes stated, the “punctum” is a space, sometime a detail attracts me, and its mere presence changes my reading, that I am looking at a new photograph, marked in my eyes with a higher value. This “detail”featured in work is the Punctum. Descartes’s “I think therefore I am (cogito ergo sum)” turns into “I see therefore light exists (cogito ergo lux).” As for how the “affect” is transformed into “after affect,” the answer may differ from person to person.
 

相關教育活動 Educational Programs

 
日 期|2018/02/24(六)
14:00-15:00 創作座談
15:10-16:00 簽書會
藝術家|史帝夫‧麥柯里 Steve McCurry
與 談|陳昌仁 (策展人)
 


講座

《影像敘事-從靈光消逝到數位時代》
 
時間|2018/03/10(六)14:00-16:00
講者|林志明 (影像研究者、國立臺北教育大學藝術與造型設計學系教授)
   周慶輝 (藝術家)
 
 
照像與造像:瞬間的真實如何可能
 
時間|2018/04/14(六)14:00-16:00
講者|郭力昕 (影像文化評論者、國立政治大學廣播電視學系教授)
   張世倫 (藝評人、影像文化研究者)
 

 
 
02/25(日)14:00-15:00 陳昌仁 (策展人)  *「晃|影-史帝夫‧麥柯里個展」專場
 
03/04(日)14:00-15:00 黃香凝 (策展人)  *「影像的謀反」專場
 
03/25(日)14:00-15:30 曹良賓 (影像創作者、Lightbox攝影圖書室發起人)
                                      黃祥昀 (荷蘭萊頓大學媒體研究所碩士)
 
04/15(日)14:00-15:30 小 野 (作家、台北市文化基金會董事長、臺北市影視音實驗教育機構校長)
          
 *原訂4/15(日)14:00-15:30由小野先生主講之專家導覽,
            講者因故無法出席,將改由本館展覽組研究員張數滿主講。
 
 


講 吧】 (合辦:THERMOS)

 
鏡頭下的行旅,影像裡的溫度
 
時間|2018/03/11(日)14:00-16:00
講者|John Tao (商業周刊專欄作家、公益平台暨攝影技術平台顧問)
馬賽 (臺灣知名設計師、攝影師)
 
 
《日常的凝視-關於那些人那些事》
 
時間|2018/04/21(六)14:00-16:00
講者|鯊魚 (攝影工作者,專擅婚紗拍攝)
森爸 (街頭攝影師、GQ風格部落客)
 


【好玩藝教室】

 
時 間|2018/03/17-03/24,每週六14:00-17:00,共二週
藝術家|Feya(高菁穗)
費 用|1,650元(含材料費)
 
 
時 間|2018/03/11-04/29,每週日10:00-12:30,共七週
(04/08兒童節暨清明節連假,停課一次,課程已安排順延!)
藝術家|提姆 (Tim Budden)
費 用|4,250元 (含材料費)
注意事項│本課程為中英雙語教學
 
 

兒童專區

 
 「晃│影-史帝夫 ‧ 麥柯里個展」兒童教育專區
 
【兒童語音導覽】*適合年齡:5-12歲。歡迎至當代館一樓服務台借用或掃描展間QR code。
 
為強化美感、深耕藝術教育,於原有的教育設施導賞服務中,開發兒童語音導覽服務,以活潑趣味的說故事方式,深入淺出的導讀主題展覽。
 
※ 歡迎點選: 聆聽兒童語音導覽
 
 
【兒童學習單】*適合年齡:12歲以上。歡迎至當代館一樓服務台索取。
 
以寓教於樂的方式,配合每檔主題展覽,提供更進一步的問題、小知識、簡易手做,讓大小觀眾一同學習展覽,增添學習趣味。
 
※ 歡迎下載取用:
 
 
 
 
 【親子觀察單】*適合年齡:5-12歲。歡迎至當代館一樓服務台索取。
 
可拆解成上下半截,上半段的彩色地圖,提供小朋友進展間尋找藝術作品;下半段的文字問題,提供大朋友簡易版的問題,引導小朋友觀看作品的一種方式。
 
※ 歡迎下載取用:
 
 
 
【MOCA U12-小玩藝教室】*適合12歲以下。詳見入場規範。
 
為推動本館教育推廣之功能,讓藝術向下扎根,「U12-小玩藝教室」,憑門票開放親子入場共同體驗藝術之美。除了規劃年度主題,設計與兒童互動及遊戲的裝置之外,亦配合每檔展覽,規劃不同媒材的手作課程,希冀藉由藝教於樂的方式,激發兒童的藝術想像力與創造力。