展期：2009-05-08 ~ 2009-05-28 10am - 6pm
见面会： 2009-5-12
地点：杭州瀚阳艺术中心
地址：杭州劳动路128—2号
电话：0571-87171556
主办：杭州瀚阳艺术中心
策展人：陈燕飞（旺财）
"Invisible distance," --- Tang Nanan’s photography exhibition
Extension :2009-05-08 ~ 2009-05-28 10am - 6pm
Conference：2009-5-12
Location: Arts Center, Hangzhou, Han Yang
Address: No. 128-2, Hangzhou laodong Road
Tel :0571-87171556
Sponsored by: Arts Center, Hangzhou, Han Yang
Curator:ChenYanfei
汤南南镜头下疲惫的猫何尝不是我们每一个人的真实写照呢? 他作品里那黑暗的街巷和匆匆行者使我们不得不对贫穷重新审视，也必须对判定人际关系的权利进行质疑。
Does Tang Nannan's prostrated cat truly portray each one of us? His dark alleyways and passersby confront our preconceptions of deprivation and question our right to judge human relationships. Does Hang Mingshi's rusty swinging frame bear the burden of lingering memories or merely emphasize the absurdity of such vestiges of the past?
“
野生南南
文/汤南南
第一次看到“摄影的野生状态”时，我就很喜欢，觉得这说法很贴切地表达了我的非专业状态。朋友都知道我是画画的，05年拿起相机，主要是为了在厦门这个安静得近乎平淡的城市里消磨些时间。和选择画画的初衷一样，我拍照也是为了可以一个人不受干扰地呆着，不用和别人商量干什么，怎么干。一开始我就不太在乎怎么拍，因为一架性能良好的相机就可以解决我的技术问题，但是要拍什么就有些茫然了，甚至还悄悄地跟着潮流“扫街”，很快地就觉得不适合自己了——除了看美人，我对街上的流行时尚没有什么兴趣。大街上密集的车辆总让人头晕目眩，常常要躲到老市区的巷子里清净一下，突然发现那里人不多，安静，空气也要清净些——最吸引我的，是巷子里散发出来的朽败气息。和街上日新月异的变化相比，一下子就让我有了不知魏晋的错觉。这和在工作室里那种无所事事的放松心境是很一致的，除了不停变换的场景和人事。自然而然的，巷子很快成了我的工作室的延伸。巷子，也就成了我的拍摄对象。这样拍了些日子，朋友在看了我照片后说：“不错啊，可它们不像你的绘画作品一样有明显的个人风格。”她对我要求太高了，也很看得起我。除了少数几个大师，在纪实影象的领域里，很难有人带上很浓重的个人印记，毕竟‘纪实性’才是他们真正的目的。但从此“个人化影像”这词也就留在了我的脑海里。 06年惊蜇，和3个朋友一起去厦门海沧拍摄传统的傩戏活动，看片时才发现他们看到的都是春天里的勃勃生机，和节日里的浓妆艳抹，而我对准的却是灿烂的阳光下无所遁形的诡异。这次参照让我对“纪实”这个概念有了新的理解，摄影本质上也是一种观看方式，是内在精神气质的外化。和纪实影象一样，我的镜头也是对准了市井百态众生相，表面上没有参与任何场景和图象的营造，但是选择什么场景，什么时候按快门，却决定了影象的气质，这完全是主观的，也是最吸引我的。我不是有社会责任感的专业纪实摄影家，拍照只是娱乐自己。如果真的非要记录什么，那也一定是自己的心境，或是视觉上刺激我的场景。只要下意识中的场景没出现，我就守株待兔；只要能抛开纪实的幌子，现实世界其实就是为我搭建的舞台。像个观众，我静静的等待心目中的演员和图象的出现。在这样的时候按下快门，总觉得心脏也跟着少跳了一下。然而，摄影最激动人心的部分是――揭开纷繁杂乱的世象的掩盖，抓住隐藏在心底的影子。在画画时，我用画笔寻找脑子里的图像，这样的劳动常常让人殚精竭虑，走出工作室，就不希望看见熟悉的东西，像个猎人，我和我的相机都竖着耳朵，期待着可能的意外的袭击。而此时的等待，正是摄影另一部分无法确定、不可言说的可能性――“时间”。它存在于影象和真实之间的真空地带，是文字不能表达，也不能替代的。也只有这一部分才是无法预测，让人神往，值得永远追求的。也因此，我可以永远好奇和安静地走在光怪陆离的现实世界里。另一个长时间困扰我的问题是：在经过长达10年的视觉训练之后，我对图象有一种本能上的苛刻要求。阅读经验告诉我，这种视觉修养，极可能是视觉艺术发展的致命硬伤，即构图，影调，结构和层次上的要求，可能掩盖观看方式上的不足！好在生活经验告诉我，人总要学会扬长避短。钱钟书先生在‘论伊索寓言’里认为：假如青蛙不和水牛比大个吹破肚皮，反而和它比娇小，那气死的就应该是水牛了。这个典型的钱氏幽默让我决定不和自己过不去，既然可以篡改“真实”的存在，为什么不能让图象按我的方式变得好看些、有秩序些。我想，从事的任何一种劳动，本质上都应该提高我的生活品质、让我开心，何况我的拍照只是非专业的野生状态, 几年积累下来的图象，她们四散在生活的各个角落和记忆的缝隙里，妨碍着我进一步认清自己和影像之间距离。带着交流的渴望，我开始整理作品，这个过程艰难而又漫长。书上说，分析和挑选照片是创作的一部分。我觉得，这更是向自己学习、向自己挑战的一个重要环节。实际证明，许多拍照时不能明白的事，在这样的过程中逐渐清晰起来，让我又明白了很多事。现在，这些作品将要进入另一个我所不能控制的环节，即回到它来的地方——“社会”。正如马格利特.杜拉斯所说：“一旦付印，作品有它们自己的命运。”唯一的不同，这本影集所带来的任何意见和反应，都是我所期待和下一步要思考学习的。
“Wild” Nannan
The first time I came across with the expression --“the wild photographer”, I have fallen in love with it ever since. It fits me so well, an amateur photographer! I am a painter, and all of my friends know that. However, I picked up camera in 2005. Why? The main reason might be to kill the time, for Xiamen is such a quiet city as to be a little boring. I chose to do photographing also because I enjoy being alone, I don't want to be disturbed and I don't like to follow others’ opinion for what I should do or the way I should do it. I had chosen painting for the same reason. Ever since the beginning, I have paid little attention to photographing skills, for an advanced camera is enough to do everything I intend to do technically. But as for what to shoot, I found I was lost. I even tried to “hunt in the street”, which was considered to be a fashion, but soon I found it was not my style—I had no interest in street fashions except those beautiful girls. The noises of heavy traffic and dense crowds always drove me crazy and I had to escape to old lanes for a quiet moment. Then I found it was much quieter there, even the air there was cooler and fresher. What attracted me most was an air of old style prevailed in the lane. Compared to the great changes in the street, it gave me an impression that I had returned to the good old time. And then I was at ease, as if I were in my studio, except the changing scenes and passers-by.
Naturally, my studio has been extended to the old lanes which became the objects of my shooting.
I took photos like this for some time and showed them to a friend. After seeing my photos, she commented, “Not bad! But they are very different from your paintings. There is no obvious personal style.” She had a high demand on me, and her expectations were beyond my capabilities. Very few photographers in documentary photographing can develop an obvious personal style, except a few great masters. After all, “to be a documentary photographer” is their real pursuit. But Since then the expression, individualized photographing has been rooted in my mind.
On the spring day of Insect-Awakening in 2006, three friends of mine and I went to Haicang Xiamen, to shoot the activities of Nuo Opera, a traditional Chinese local opera there. When appreciating photos, I found that others had caught the vigor of the spring and colorful festival decorations, while I had focused on the weirdness of the festival under the splendid sunlight. This sharp comparison provided me with a new understanding of “documentary”. In general speaking, shooting is a way of viewing, an expression of your individual personality. As other documentary photographers, I focused on the everyday life of common people. It seemed that I didn’t create any situations, but the style of my photos was decided by the moment and the environment under which I chose to press the button. All this was subjective and yet most fascinating to me. I am not a professional photographer with social commitment to expose the truth; I only shoot to entertain myself. If there were really something that I wanted to record, then I must be in my right mood, or a special circumstance that caught my eyes. I would just wait patiently till the expected situation appeared. The real world was the stage for me, if I could forget the aim to do in a documentary way. Like an on-looker, I waited quietly for the ideal performers and images to emerge. My heart would beat whenever I made the shot.
However, the most exciting part is to reveal the cover of the chaotic world and catch the image hidden deep in my mind. In doing drawing, I would search the images in my mind with my brush. The labor can be quite exhausting, so I hate to see the familiar things I pained after stepping out of my studio. Like a hunter, I am on the alert with my camera to any surprise scene. The waiting for a right moment is another unpredictable, indescribable possibility—“time”. It only exists between images and the real world beyond description. It is this part that can never be replaced, which is unpredictable, fascinating and worth pursuing. For this, I wander curiously and quietly in the colorful hustle and bustle world.
Another problem which bewilderred me for a long time is, after ten years of visual training, I am instinctly critical on images. This would be my Achilles’ heel, my critial requirement for composition, gradation, pattern and layers. All this may cover the inadequacy of the way of viewing. Thanks to my life experience, I know I should avoid my weaknesses while exploiting my strengths. Mr. Qian Zhongshu, a famous schollar, said in an essay “On Aesop’s Fables ” if the frog had compete with the buffalo for who is smaller, instead of who is bigger, then it would be the buffalo who lost in desperateness. The humor of typical Qian style helped me out that I shouldn’t go against myself. Since I can “change” the real world through my camera, why can’t I make the images look better and more organized in my way? I believe that whatever I do should be helpful to improve the quality of my life and make me happier, and, besides, I am just an “wild” amateur.
The photos taken in recent years scattered in the corners of my memories, preventing me from seeing clearly the distance between myself and photographs. Longing for communication with other people, I began to sort out all the photos. It was a long and hard process. It is said that sorting and choosing images is also a part of photographing. I thought this would be a process of learning as well as a challenging to me. It has been proved in practice. Many things, that I did not understand when I first took pictures, has become clearer and clearer to me now.
Now my photos will go onto another uncontrollable stage, i.e., going back to the place where they came from -------the “society”. Just as Marguerite Duras said, “once published, the works will have their own destiny”. I will be grateful for any comments on my photos . They will help me to improve my skill.
Tang Nannan
Born in Yunxiao, Fujian Province,China
1988 Graduated from: Department of Fine arts, Jimei Normal Technical School,
1995 B.F.A. Graduated from Department of Fine arts, Xiamen University,
2004 M.F.A.Graduated from Department of Fine arts, Xiamen University,
Currently Teaches in the Art College, Jimei University, Engaging in Photography and Painting
Solo Exhibition:
2008 Human Zoo Being3 Gallery Beijing,China
2007 Nan’s Whispering: Layfolk, Shadow & Impression 798 Times Space, Beijing,
2005 Black Landscape NIHAO Art Space Xiamen，China
2004 Process China European Art Center Xiamen, China
Group Exhibition:
2008 Pingyao International Photography Festival Pinyao,China
Shanghai Contemporary Art Exposition Shanghai,China
The2 China Contemporary Art Record Exhibition Bejing,China
2007 Post Avant-garde Chinese Contemporary Art Exhibition Hong Kong
345°- Shanghai Fresh Art Exhibition Duolun Museum, Shanghai , China
2006 City Scape Sino-Nederland Art Exchange Exhibition Holland Zutormeer
One Minute Video Art Shanghai , China
Local table 4th Changsha Art Exhibition Changsha, China
2005 Amsterdam Chinese Art Festival Holland
2nd China Art Triennium Exhibition Nanjing, China
2004 International Short Film & Video Festival in Xiamen Xiamen,China
The Expression of Fettle Contemporary Visual Arts Exhibition Xiamen,China
Chinese-Netherland Comiemporary Art Exhibition Xiamen,China
Chinese contemporary Video Exhibition ALTKIRCH Museum Paris, France
The 2nd National Undergraduates Video Exhibition Hangzhou, China
2003 The Best Film Design Nomination of 2003 One Minute International Video Exhibition
Amsterdam, Holland
Brazil electronic art festival St.paul, Brazil
The International Communication of One-Minute Video Art Exhibition Nanjing,China
Appointment with Artists Communication of international arts Xiamen, China
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