彼岸——杨格亮摄影作品展

彼岸——杨格亮摄影作品展

开幕:2011.12.18 16:00pm
展期:2011.12.18-2012.1.20
地址:广州市农林下路五号亿达大厦G层 扉艺廊 (地铁一号线东山口站C出口)

Over That Shore——The Photography Exhibition by Yang Geliang

Opening:2011.12.18 16:00pm
Duration:2011.12.18-2012.1.20
Address: Fei Gallery, G Floor, Estate Plaza, No.5, Nonglin Xia Road, GZ
  作为观看的艺术,照片直接而明确地把拍照者对世界的感知记录下来。个性温厚的摄影者杨格亮深谙其道,近年来,他把画幅定格在哈苏X-PAN上,用一种与以往不相类的画幅,将来自于个人与社会生活的景观悉数收录,汇集成册,呈现于此,让我们得以拥有一种独特的视觉经验。
段煜婷/文
著名评论家、连州国际摄影年展艺术总监

Being a visual art, photography is a direct and distinct documentation of the viewer’s perception of the world. Photographer Yang Geliang, endowed with gentle and honest temperament, is well-versed in this craft. In recent years, he used Hasselblad X-PAN to produce large format images, which is a breakthrough for him. He thus provides us with a unique visual experience via a series of comprehensive documentation of spectacles in both his individual life and the society.
    Duan Yuting
Famous Critic, Art Director of Lianzhou International Photo Festival

  
之所以风景,之所以风景苍茫

  摄影师杨格亮要在广州的扉艺廊作个展了。他展出的,是一系列宽幅的黑白风景,风格苍茫,宽广深入。终于,我们又有一位景观摄影的好手了,但是——
  近来也有一些评论家认为,景观摄影多了点。比如,中国摄影家协会是一个相对保守的组织,但今年就有两次将景观摄影提到相当的地位:一是首届全国青年摄影大展,单设了景观摄影类别,这是罕见的,说明景观摄影已经由先锋转为日常;二是在不久前的“TOP20中国摄影新锐展”,有专家认为20名获奖者中有六七位均是景观摄影,有“泛滥”之嫌了。
  对此,我有不同看法。20名作者中,呈现景观摄影的约是三分之一,也不算多,而人物纪实摄影,恐怕也不比这少,怎么就不说人物纪实泛滥呢?究其根源,还是专家认为传统的纪实摄影比景观摄影要高要重要。殊不知,这些从事景观摄影的作者们,其实大多是记者出身,比如曾翰、游莉、张晓,他们本就是人物摄影的职业选手,他们选择拍景观,这就值得深思了,是一个有意思的变化。杨格亮也是这样,他本来就长期负责清远日报摄影工作,但是,他为什么只以景观摄影者的面目出现呢?
  我想,有三点值得一说:
  一,景观摄影是时代的需求、内心的需要。传统的纪实摄影,在于发现普遍的人性,其价值观超越时代,是打通历史的,但是,一个时代有一个时代的需要,它也不能包治百病,更何况多数纪实作品也未必能到人性发现的地步,不过就事论事,也没有多少普遍性。当代中国,景观变迁极大,人心浮动,信仰丢失,此时,审美的精英们,少有的站得住脚的人们,理性观察,沉静面对,作上帝审视人间式的冷眼观察。他们是及时的,是珍贵的。比如杨格亮,他的作品如同其画幅一样宽广,审察着当下的场景,历史与现实交错,正常与荒诞交织。从河南的仿古街道的假装正经,到广东农家乐设施的荒漠感,我看了如饮琼浆,知道这是一个记者同行,在目击许多新闻事件之后,也深感新闻纪实的无力,而试图站远一点,宽一点,观察咱们这个祖国,这是接近本质的远离,好像置身事外,其实是包含所有,厚重得很。
  二,景观何尝也不是纪实?我不喜欢对摄影的分门别类,但如果硬要分,那么,景观与纪实也并不对立,景观摄影又不搞伪装,咋就不是纪实摄影了?何况,里面也不是没有人嘛,看看杨格亮的作品,比如走钢丝的人,观景的人群,在某种程度上,用景观摄影的方式去看人看事,有个社会大背景,才真是客观的观看,而不只是局部煽情。人也上升到“风景”的层次。纪实摄影的定义应该宽泛一些,或者说,纪实摄影已有新的思维了,这就是影像的马格南式口味已经过时,一种沉思默想的气质开始占据主流。世纪末一般的当代,怎能还都口味化、情趣化、品位化?要有超越影像学的思考。这一点,评论家可能落后了。
  三,景观摄影也可以细分,也不是简单的类同。一般说来,它是指“冷表情外观”,源于德国、光大于北美的这种摄影,体现着一种西方哲学式的冷静,直接影响到人物摄影。这是狭义的定义,现在,当然手法丰富了许多,不只是清晰的、素朴的,也可以是晃动的或光彩夺目的。你走入景观摄影的世界,会发现它其实已是大家族,并不视作单一类别来看来言说。杨格亮就是广义上的景观作品,他作为一个平实的北方人,还是有理性的底子,有严肃的底色,但生性幽默的他也有淡淡的讽刺与浪漫,甚至于平时没有表现出来的感伤。前者可谓遒劲,后者可谓苍茫。所以,我更愿意称他的摄影内容为“风景”,不仅有景,也有点风,还有点疯,风的本义,就是民间立场,中国百姓的智慧。这种发展,彩色景观摄影师也有,比如拍扬子江的坎德,虽来自外国,却也制造着彩色的感伤。这些,都早已不是一个冷字可以形容的,可以冷热交替混杂,有一种别样的味道。爱与恨的矛盾,产生了深厚的无力感,苍茫者,爱也无边,恨也无际……
  杨式的风景,还有不少中国同行尤其是黑白风景摄影师的作品,西方的理性分析在此覆上一层东方的混沌苍茫。其中高度的悲剧感,无论东西,都一样。
   颜长江 著名摄影家、评论家
  
Beyond Landscapes; Beyond Landscape Vastness

Photographer Yang Geliang is going to hold his individual exhibition in Fei Gallery, Guangzhou. What he is presenting is a series of large format black and white spectacles featuring grand style with vast and deep visual effects. At last we have another outstanding spectacle photographer, though it may not be well welcomed by some critics, according to whom, there seems to be too much spectacle works in recent years.

The China Photographers Association, which is considered a relatively conservative organization, twice promoted spectacle photography to a prominent position this year. Firstly, the 1st National Youth Photography Festival exceptionally has set up a spectacle category, which marks the transformation of spectacle photography from avant-garde into daily class. Secondly, among the 20 awardees of the Top 20 of China Contemporary Photography Exhibition, 7 were spectacle photographers. Some experts think 7 out of 20 for spectacle is “too much”.

But I see it from a different view. Actually in terms of awardees number, people documentary may even exceed spectacle photographers, while why don’t the experts think documentary is “too much”? Thus it can be boiled down to their subtext that conventional people photography is higher and more important than spectacles. But ironically, it may surprise them that most of the outstanding spectacle photographers, such as Zeng Han, You Li, Zhang Xiao, were previously journalists and are in fact professionals in people shooting. It is a both intriguing and thought-provoking question: why did they take to spectacles later? Yang Geliang also followed their footsteps. He used to be engaged in documentary photography for Qingyuan Daily Newspaper. But why does he present himself merely as a spectacle photographer now?
  
I think there are three points worth mentioning.
  
Firstly, spectacle photography meets the needs of both our time and our soul. The essence of conventional documentary photography lies in the discovery of universal human nature, whose values reach beyond all times and histories. However, it’s not cure-all and can’t cater to every age that has its unique needs. Furthermore, most of current documentary works merely keep record of occurrences on a superficial level while fail to reveal human nature and thus lack universal value. Contemporary China has witnessed earth-shaking changes in social spectacles and numerous restless people lost in beliefs and ethics. Only the aesthetics elites, who haven’t lost their grounds, are able to face the turbulences calmly and observe the society with a cool mind. They stand out timely and their presence is invaluable. Yang Geliang is exactly such an example. The broad view of his photos represents a composition of various current scenes, mixture of history and reality as well as normality and absurdity. From the prudish pseudo-ancient streets in Henan Province to the desert-like facilities of the agri-tourism country houses in Guangdong Province, I find it a real visual feast. I understand the lofty attempt of my fellow journalist to observe our homeland from a distance and a higher perspective, after witnessing so many live events and realizing the incapability of journalistic documentation. Such physical distance actually reveals more of the essence and carries more significance since it takes a more comprehensive view when getting out of the scene.
  
Secondly, isn’t spectacle photography sort of documentary in nature? Though categorization of photography isn’t quite to my liking, I don’t think spectacle is opposite to documentary, if we have to label them. Spectacle never applies make up. Then why isn’t it documentary? Furthermore, people can also be seen in spectacle photos. Look at Yang’s works and one will see wirewalkers, groups of spectators, etc. To some extent, the perspective of spectacle provides a more comprehensive view on people and events against a broader social background; thus it is a more objective perspective vs. the narrower focus on sensational incidents. Viewing from such a perspective, people become part of a larger “landscape” at a higher level. It is time to broaden the definition of documentary; or in other words, documentary has taken on new meaning – the Magnum style has been outmoded and a kind of meditative temperament begins to dominate the mainstream. In a time at the turn of the century, we shouldn’t remain obsessed with obsolete sentiments and styles. What we need is thinking beyond iconography. While probably the critics are lagging behind in this respect.
  
Thirdly, spectacle photography may be further segmented, but it is not simple labeling. Generally speaking, spectacle photography, in its narrow sense, refers to “the outlook of cool expression” which originated from Germany and thrived in North America. It reflects the calmness of western philosophy and has directly influenced the people photography. Nowadays spectacle photography has become a big family instead of a single category, which is so rich in techniques and visual effects. Entering in this world, you will see not only simple and sharp but also shaky and dazzling images. Yang’s works belong to this big family, i.e., spectacle photography in its broad sense. As a down-to-earth man from North China, Yang is rational and sober inherently. Nonetheless humor is also part of his natural disposition and he is sarcastic and romantic, even unusually sentimental sometimes. The former temperament fills his works with vigorous strength and the latter brings in obscure vastness. Therefore I find in his works not only social spectacles but also human nature – the sentiments and wisdom of Chinese folk. Such personal touch can also be seen in some chromotype photographers like Nadav Kander who is famous for his Yangtze River photographs. Similar sadness can be found in his chromo pictures. All of these can no longer be boiled down to “cool expression”. Sort of warmness has been added to this kind of photography and endows it a particular flavor. The paradox of love and hatred produces a profound strengthlessness. In the obscure vastness, love is boundless, and hatred is infinite too...
  
The western logics and rationalism in Yang’s spectacle images as well as that of his many Chinese counterparts have been clouded by a layer of eastern chaotic haze. Nevertheless, the implied extreme tragicalness is the same in both the west and the east.
Yan Changjiang

  
  


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