日期：2017-03-25 ~ 2017-05-14
[ 展覽訊息 ]
展覽日期：2017.03.25 - 2017.05.14
In the Name of Documenting: Selected works of CHOU Ching-Hui
Exhibition Period 2017.03.25 - 2017.05.14
Opening 2017.03.25 14:00
Venue Taitung Art Museum
本展「以人之名」將展出台灣當代攝影家周慶輝自1990年始進行的三個攝影創作系列，包括以「樂生療養院」痲瘋病患為記錄對象的《行過幽谷》。痲瘋病患背負著社會群體的異樣眼光，成為被污名化的一群。周慶輝以紀實且帶有詩意的鏡頭刻畫痲瘋病患的常民姿態，真正的恐怖不是痲瘋本身，而是人們對疾病的想像；《野想：黃羊川計畫》源起甘肅黃羊川地區的孩童對於電腦的想像所進行的繪本製作，藝術家再以繪本為依據，將人與社會景觀結合成「造相」場域來傳遞「科技 · 野想」的概念；《人的莊園》則以自創文本的「編導式攝影」進行創作，拍攝場景以動物園為主。園裡的圍籬象徵身陷於牢籠內的生活樣態，藉此影射現代人自縛於社會無形制約而無法逃脫的被動處境。「以人之名」一展呈現周慶輝三個重要的創作系列，梳理藝術家從紀實攝影轉換到當代攝影的創作脈絡。藝術家的創作技法在不斷突破與轉換之際，其鏡頭始終聚焦於「人」的關懷，在資本主義與資訊科技為運轉主軸的現代社會結構下，肇因於現代性發展所引發關乎生存意識、生命經驗等人類存有的本質性問題，則是藝術家關於攝影的不變初衷。
In the Name of Documenting brings together three creative series of works by Chou Ching-Hui from 1990 onwards, including Out of the Shadows, which took leprosy patients as its subject. Chou Ching-Hui’s factual yet poetic lens portrays lepers in everyday attitudes, showing that the true horror is not leprosy itself but in what people imagine of disease. Wild Aspirations: The Yellow Sheep River Project was originally based around the conceptions of computers held by children from Gansu. The artist used the paintings and the children’s concepts of ‘Technology - Ideal’ as a foundation to integrate people and the social landscape into a ‘mutually creative’ space. The creative series Animal Farm was created using ‘directed photography’, set primarily in a zoo. The fences around the zoo symbolizes the cage humanity is trapped within and yet unaware of. In the Name of Documenting brings to audience three important series by Chou Ching-Hui, delineating the artist's development from documentary photography to contemporary photography. While his artistic techniques keep evolving and transforming, Chou has always expressed his care for "human." Chou's photographic work has never ceased to highlight essential questions about the issues of human existence, such as the survival consciousness and life experience, prompted by the development of modernity.
《行過幽谷》Out of Shadow (1990-1993)
「(周慶輝)是縫補破碎生命的拾荒人，收拾樂生人一點一點失守的生命和記憶，拾著、拾著，把自己也縫進裡面去了。」— 作家 張大春
"[CHOU Ching-Hui] was like a scavenger who sewed up the life that had been broken, picking up piece by piece the lost life and memories of Lo-Sheng residents. As he continued to do so, he had sewn himself into the picture, too."
—CHANG Ta-Chuen, writer
Out of Shadow was Chou Ching-Hui's first large-scale photographic project, which was a three-year project to station at Lo-Sheng Sanatorium and photograph the leprosy patients. Public has always looked at leprosy patients with a different eye, stigmatizing this group of disadvantaged people. However, Chou perceived it from a calm and objective point of view and adopted the approach of documentary photography to present the leprosy patients' life, documenting as well as constructing their life from various aspects, including their daily routine, religious practice, and the medical service they received. Because of the documentary quality of photography, his work became a text that validated the existence of Lo-Sheng Sanatorium, proving how the patients' life had grown into a unique existence before it eventually faded into history. Facing the reality of their diseased bodies, which were incomplete and foreshadowed the impending death, they had grown accustomed to the sorrow and joy in life. The poetic atmosphere in Chou's black-and-white images illuminated the patients' determination to survive, accentuating the nobleness and dignity of their existence. This series used to be called Frozen in Time: Images of a Leper Colony, and had been shown at Taipei Fine Arts Museum. It was later renamed Out of Shadow, which echoed a passage in "Psalm 23" in the Bible: "Even though I walk through the darkest valley, I will fear no evil." Comparing to the natural smiles and casual behaviors of the leprosy patients in the photographs, the following words stated in the book became an enlightening comment on this series: "the real fear did not result from leprosy but people's imagination of the disease."
《野想：黃羊川計劃》 Wild Aspirations: The Yellow Sheep River Project (2006-2008)
Every civilization is situated in the wilderness no matter where it is.
However, we still preserve the innocent dreams no matter when.
Wild Aspirations: The Yellow Sheep River Project was inspired by the region of Yellow Sheep River in Gansu Province, China, and explored the theme of "technology and dream" through examining how the village children would imagine computers. In Taiwan, Yellow Sheep River was known to the public because of the technological support program initiated by Sayling Wen Cultural and Educational Foundation. This project took a step further to visualize the relationship between people and dream through documentary photography in a contemporary art project. Chou first collected the local children's drawings about how they imagined computers. Then, he transformed, integrated, and pieced together the drawings into the children's world of wild aspirations. In "The Portraits of Children," the children's faces were devoid of any expression, but their eyes glistened with the light of colorful dreams. However, when their imaginations of computer were transferred onto the dilapidated earthen walls, all the visions about the technology on the shabby ruins of earthen walls revealed an unbridgeable gap between ideal and reality. This project also marked the transition in Chou's career as he moved from documentary photography to subjective creation. Through the power of the artist, the children's previously invisible imagination was combined with the social and geological landscape, enabling the artist to create a site for the "fabrication of image." The approach of "staged photography" used in this series signaled at his turn towards the style of "directed photography," pointing out the creative direction for the artist's next photographic project.
《人的莊園》 Animal Farm (2010-2014)
We are all imprisoned in a zoo, living a restricted life.
Society is a cage, and we are staring with a smile at other encaged.
Animal Farm,is based on his five-year-long photography project that involved a large team and significant funding. In this project, Chou turns to zoos as his muses and sites of actual photo making, where vivid tableaus are created to suggest the sumptuous yet often baffled life of modern civilization. Theatrical sets were fabricated against the zoo environment, where the actors played their assigned roles as photos were taken at dawn and dusk. By so doing, Chou inserted surreal theatrical scenes and lifelike vernacular spaces into artificial enclosures in which wild animals were brought together and domesticated. Absurdity and displacement were emphasized as the artist situated humans among animals that were reminiscent of specimens. The home now looked like a cage, while the border between manmade interiors and the wilderness became blurred. While creating this so-called “directed photography” that is grand and theatrical in style and serves as a form of social discourse, Chou has also made close-up, sympathetic portraits for individual character on his sets. These secular characters were styled in fashionable clothing and looks from the 70s, revealing the artist’s particular, nostalgic feelings for a certain belle époque in the past. The representation of their clear visages and postures as ordinary people, on the other hand, contrasted the inescapable yet gradually numbing human condition in the contemporary social and cultural environment they lived in
Born in 1965 following graduation from Shih Hsin University, Chou devoted himself to both the efficiency-orientated news photography industry and to beginning several time-consuming specialists photography projects, including: Out of the Shadows, Vanishing Leagues: Images of Workers and Wild Aspirations: The Yellow Sheep River Project. His photographic works arise from social realities, and combine artistic representative techniques. Animal Farm was his first creative venture to make the switch from documentary photography to directed photography. Through delicately exquisite yet vibrantly colored images, he conjured a kind of hyper-real atmosphere, creating his own photographic language. Chou Ching-Hui has successively been awarded the Independence Post Group Annual Taiwan News Award, a silver medal in the Reportage category at the ROC International Photography Art Exhibition, the Taipei Photography Festival Reportage Photography Award Gold Medal among other honours, and has been invited to participate in international photography exhibitions many times. These include Sightings: Searching for the Truth – 2009 Guangzhou Photo Biennial Exhibition, Four Dimensions – Contemporary Photography from Mainland China, Hong Kong, Taiwan & Macau, The First Yangtze International Photography & Video Biennale, the 2014 Taipei Biennale and Unfamiliar Asia—The Second Beijing Photo Biennale. Chou Ching-Hui wishes to use his camera to tell stories. "I want to make images that, just like words, relate stories by their very nature." He hopes that everyone who sees his pictures gains a rich feeling from the images, just as if they had heard him tell a story.
采泥藝術：【這只是一個開始】謝貽娟 (Jo Hsieh) 個展
也趣藝廊 AKI Gallery：【時空映像 Mirroring Insights of Time】歐洲藝術家Anna Bittersohl & Carlos Sagrera聯展
Sean Kelly Asia：【伊爾莎・霍蘭德亞洲個展】ILSE D’HOLLANDER Solo Exhibition
台灣設計館：【週六午後 ～ 絹印工作坊 】巴西藝術家帶你玩絹印．找出色彩靈感
臺灣產學策進會：【2019 DIGI WAVE】大海裡的迴旋踢
采泥藝術：【2019 臺北國際藝術博覽會 ART TAIPEI】霍剛 x 李光裕
【TAIPEI DANGDAI台北當代國際藝術博覽會 2020】柔韌之力旅外華人女性抽象藝術家—池農深、謝貽娟、王淑鈴
【1989 最好的青春 】池農深回顧三十年展
【2019 臺北國際藝術博覽會 ART TAIPEI】霍剛 x 李光裕
日期：2019-10-17 ~ 2019-12-01｜國際，台北市coming soon
【這只是一個開始】謝貽娟 (Jo Hsieh) 個展
日期：2019-09-08 ~ 2019-10-13｜國際，台灣23 days left
【溫度—陳承衛油畫展】2019 第五十八屆威尼斯雙年展 聖馬利諾國家館
日期：2019-05-11 ~ 2019-11-24｜國際，義大利65 days left