PARALLEL SPACE
A MATRIX OF CONCEPT PHOTOGRAPHY IN THE ERA OF CHINA’S MODERNIZATION
平行空間-中國現代化歷程上的觀念攝影
SEPTEMBER 24 - 31, 2014 Central Courtyard @ JCCAC ART VILLAGE
FEBRUARY 1- MARCH 20, 2015 MOST @ L7-12A, JCCAC ART VILLAGE
CURATOR︳Andrew Lam 林漢堅
ARCHITECTURE x AUDIO ART︳daDa x William Furlong
MATRIX Artist︳
a11-a1n︳Christophe Morin (Paris)、Laurent Dequick (Paris)、Stephaine Hausdorf (Berlin)、Gerard Lang (London)、Jolans Fung馮文耀 (Hongkong)、Frank Lei李銳奮 (Macao)…
am1-amn︳Bill Viola (New York)、Oh Jin Sun (Seoul)、Birdy Chu朱迅(Hongkong)、Cui Xiu Wen崔岫聞 (Beijing)、Hong Hao洪浩 (Shanghai)、Cang Xin蒼鑫(Beijing)、Ren Qian任前 (Chongqing)、Zheng Li成力(Lanzhou)、Da Lai Zhong邸乃壯 (Lanzhou)、Yu Qi余極 (Beijing)、Yang Zhi Chiu楊志超 (Beijing)、Ma Jian馬健 (Beijing)…
MATRIX︳Sarawut Chutiwongpeti (Bangkok)、daDa (Zhuhai), Yao Jui Chung姚瑞中(Taipei)、Xu Tan徐坦 (Guangzhou)、Wang Jian Wei汪建偉 (Beijing)、Yan Lei顏磊 (Beijing)、Jiang Zhi蔣志 (Beijing)、Yang Yong楊勇 (Shenzhen)、Shao Yi Nong邵逸農 (Beijing)、Zeng Tu曾途 (Chongqing)、Dai Guan Yu戴光鬱 (Chengdu)、Ne Wai Hua倪衛華 (Shanghai)、Wang Nan Ming王南溟 (Shanghai)、Simon Gu吳文正 (Hongkong)、Yvonne Lo 盧婉雯(Hongkong)、Tozer Pak白雙全 (Hongkong)… (Matrix-building by the public)
JCCAC Arts Centre
30 Pak Tin Street,
MTR Exit C, Shek Kip Mei,
Hong Kong
T. 852-9802 9440 (appointment)
artopia_net@yahoo.com
Hours: 10-6
籌備廿五年的影像文化平臺《平行空間-中國現代化歷程上的覌念攝影(1)》，以原始的數學觀念展示了一種跟當下香港主流攝影展覽機制平行發展、迥然不同的文化研究和展示策略。展覽焦點地呈現一)過去廿五年以來中國金光耀眼的城市發展(法國Christophe Morin的Orange Shanghai Skyline…)，以及二)在都市化、全球化進展歷程上的城市沙石(南韓Oh Jin Sun的天安門…)作為兩條基本影像線索。
由這兩條看似平衡的主線空間上(Parallel Space)，策展人從中規劃了一個影像文化矩陣︳(MATRIX)，這視覺文化平臺結集了廿年來策展人對當代中國藝術的庋存和研究，並借這展覽機遇邀請香港、澳門、臺灣、泰國、韓國、美國、英國、德國三十多位藝術家朋友提交展出作品，建立這矩陣的基本內容。在矩陣內公眾也被邀請在開幕後共同參與，在中國現代化發展情景下，提交他們能溶匯個人思考、反映個人立場的影像照片，從而增加矩陣內作品間文化對話、意念碰撞的可能性，並豐富公眾對當代中國走向全球化的深入認識。策展人以攝影建築空間布展3R照片(Bill Viola)、大型數碼攝影(達達)、定格視頻(楊勇)、逆反影像邏輯的聲音對話(William Furlong)，以多維度，超越立體、時間固有框架，以影像建構我們對當代中國發展的另類認知。
整個展覽也延伸一種綠色生活文化，製作時間、方式平行於商業社會運作的機制。布展物料大部分是畫家棄用的油畫框木材，一部分是多年來收集宜家公司大平賣那些破破舊舊、近乎棄用的畫框材料，再經深圳大芬村修復、巡環再使用的次貨物資。
MATRIX和數百萬製作的攝影節生態可以比較的是那種結合複雜化都市情景的建築設計、聲音裝置、攝影的跨媒體形式；與及一種顯示複雜而纏繞的作品產前產後(Pre-production to Post-production)，由基要元素、菲林、相版一點一滴構成當代中國藝術的全景觀狀態。展塲虛擬的MATRIX狀況，有觀念影像紀錄(香港白雙全)、雅虎網路虛擬(紐約徐坦)、行為攝影(北京蒼鑫)、環境裝置(成都戴光鬱)、舞廳偷拍(北京崔岫聞)、行為自拍(北京楊志超)、場景擺拍(上海洪浩)、PS攝影 (香港盧婉雯)、逆反攝影(倫敦Gerard Lang)、社會紀實批判(重慶任前、北京蔣志)、普及圖騰潑皮(達達)等作品。今次參展的藝術家作品還包括臺北的姚瑞中，澳門的李銳奮，中國的倪衛華、邵逸農、顏磊、汪建偉、王南溟、曾途，泰國的Sarawut Chutiwongpeti、美國的Laurent Dequick，香港的吳文正、馮文耀、朱迅等。
展覽在香港石硤尾賽馬會創意藝術中心（JCCAC）一樓中央庭院(延至十月一日晚)及七樓另類空間MOST舉行。如有導賞或新聞查詢，請致電9802 9440或artopia_net@yahoo.com林先生Andrew Lam。
The project features photographic works of 35 artists from China and around the world discoursing about China in the last 25 years. It is about China’s infrastructural space and its associative/ psychological space, and about utopian space and its heterotopias/ dystopian space.
ON PARALLEL SPACE
Parallel Space: A New Matrix of Concept Photography In The Era of China’s Modernization is a project about China in the last 25 years. It is about China’s infrastructural space and its associative/ psychological space, and about utopian space (Thomas More) and its heterotopias (Michel Foucault)/ dystopian space (J.S. Mill).
The CPU of a matrix is the Parallel Space which displays a mixture of fact or fiction, illusion or enigma; it also embraces trajectories historical or temporal, social or personal.
In this 4D space of “Matrix” (X1-n x Y1-n x Z1-n x TTime), the visitors can review the photos by exploring the grand-narrative spaces between history and storytelling (i.e. photos in the X-axis orchestrate the glamorous infrastructure of China), and the micro-private spaces between reality and expectation (i.e. photos in the Y-axis hinge on artists’ mental response to the physical being of China). They can explore the issues revolving around all defined and undefined, harmonic or troubled time-space behind the photos and develop their own strategies or circumstances of display (i.e. the Z-axis), which may embody the passions of identity or dynamics of diaspora. Each space newly created opens up a period in time and a set of associations (i.e. photos in the time or T-axis can be spaces in transition, transformation or often empty nowadays).
The exhibition is an open concept and living event. The geo-territorial space/ platform of MOST can be disturbed, reorganized and adventured by the participation of serious audience. In this light, the project is participatory and open-ended. With the open-up of 'blank’ or ‘conceptual’ space, the covert vision of visitors can be made overt by the audience relocating the photos to the desired locations themselves. These are the citizen spaces newly created for reflection in the light of the “Great China Dream” or current politics in China
