策展論述 | Curatorial Statement

「凡是有什麼東西生存的地方,就存在正把時間記下來的記錄器。」

——亨利柏格森 Henri Bergson

羅蘭巴特說:「相機是提供觀看的時鐘。」在有關攝影的討論中,時間總是如影隨行。攝影擷取歷史的某個奇點,記錄下過去,讓照片成為未來觀看時的索引。然而,影像裡涵納的時間,真的只能是某段歲月、某個瞬間的再現嗎?法國哲學家亨利柏格森曾呼應這樣的思考,將方便科學量化、以分秒計算的時間區分開來,提出「綿延」(durée)的概念,描述一種無從測量、無法切分,純粹來自生命經驗本真感受的全新時間尺度。

且讓我們試著以類似的分類方法重新凝視攝影中的時間性,提出觀看攝影作品時間意識的新角度。首先,在傳統的線性時間中,除了作品本身會隨著時代變化而轉換意指外,作為同樣身處時間長河的肉身人類——攝影家們,其實也同步地在歲月中累積與轉化。在政大藝文中心邁入三十週年的這個時刻,我們首先邀請到了四位過去曾在藝文中心舉辦個展的攝影老師,帶著全新作品或選件回到現場:

作品巡迴全球的張照堂老師這次從自我再詮釋(Self-reinterpretation)其經典作品《張世倫49天》出發、展望出一片臺灣攝影史風華絕代的海浪;沈昭良老師帶著重新選件的知名《STAGE》系列重回展場,聚焦一天僅有十分鐘的魔幻時刻所進行的精準拍攝;延續《迴返計畫》中的兒時記憶主題,陳敬寶老師帶來文本扎實的全新系列《時間拓樸》;以劇場攝影廣為人知的許斌老師則帶來他從2008年到今天,仍持續創作不輟的《沙之息》,揭露他對地方人文生態的綿長關懷。

前述提到柏格森的「綿延」時間,除了不可分割性外,還有另一個特徵就是「變遷的本質」,並不是事物會隨著時間出現變化,而是時間自己就會產生質變、時間就是變遷的本身。鑑此,展覽中同步邀請到的三位青年攝影家,他們的作品皆緊扣著、近身觀察著質變了的時間樣貌,拓展著攝影對時間的討論:

李佳祐《隱形時光》中可以觀測到使用自製相機長曝技術下的機械時間,與一種昏暗不明、近乎「不可見」的空間化場域時間;陳彥呈的《解凍時間》使用傳統分秒作為計算刻度,卻能夠大膽探問時間凝固與再次回放的可能性;李浩則透過創作者肉身無數次重複按下快門或影印照片所耗費的肉體時間,以《我看見我讓我看見他》進一步挑戰時間本體論的大哉問。

與其說相機像個時鐘讓人看見時間,攝影似乎更像是一種溫柔盛裝時間的容器,裡面除了有傳統的線性時間切片外,還包含著攝影者的生命流年、以及各式各樣解放了的時間變貌。透過展場裡的圖像與文字,深切期待你也能體驗到,一種專屬於自己的「綿延」時刻。

"In places where anything exists, there will be recording devices that document time."

——Bergson

Roland Barthes once stated: "Cameras are clocks for seeing." Time has always accompanied discussions on photography. Photography captures a point in history and documents the past, allowing photographs to become an index for the act of seeing in the future. However, is the aspect of time involved in the images merely representations of a particular period or moment? French philosopher Henri Bergson responded to this topic and proposed the idea of separating time that is used for conveniently quantifying and calculating minutes and seconds in science from the concept of "duration," which is a whole new reception of time that cannot be measured or segmented and can only be experienced through life.

Let's try a similar categorization method to reevaluate the quality of time in photography and propose a new perspective of the consciousness of time when looking at photography works. First, not only do works of traditional, linear time change its meaning and reference with the flow of time, but the human being (photographer) also goes through changes as time goes by. As the NCCU Art and Culture Center is entering its 30th year, we have invited four photographers who have exhibited their photography in the center in the past to display new selection or works:

Having toured the world, the works of CHANG Chao-Tang begin with CHANG Shih-Lun 49 Days, starting a current of glamour that overwhelms the history of Taiwan photography. SHEN Chao-Liang's new selection of the renowned STAGE series returns to the exhibition space and is centered around the precise shots that are taken during the magical ten minutes of twilight each day. As an extension of the Circumgyration Project, CHEN Chin-Pao presents viewers with the brand-new Time Topology, a series of works firmly based on texts. HSU Ping, known for his theatre photography, is displaying The Sand, an ongoing series since 2008 that shows affection for the local cultural ecology.

Referring back to Bergson, time "duration" entails a quality of indivisibility as well as the unique "essence of change." This does not refer to changes that occur with the passing of time, but that time itself goes through qualitative transformations. Therefore, the exhibition has also invited three emerging photographers whose works are intimately connected with the qualitative change of time observed in close proximity, expanding the discussion of time through photography.

LEE Chia-Yu's The Invisible Hours allows viewers to examine mechanical time through the long exposure of self-made cameras and the dim, unidentifiable, almost "invisible" spatial time. CHEN Yan-Cheng's Thawing Time uses conventional minutes and seconds as units for calculation but manages to explore the concretion and playback of time using bold approaches. LI Hao challenges the big question of time ontology through A Bicycle Built for Two as the artist consumes physical time repeatedly and physically pressing the camera shutter or photocopying the images.

Rather than saying that cameras are like clocks that allow people to visualize time, photography is more like a tender vehicle for time. Apart from slices of traditional, linear time, cameras contain the timeline of the photographer's life and various displays of liberated time. Through the images and texts of the exhibition space, we hope that you will be able to immerse and discover your own sense of "duration."

 

《時間容器》政大藝文中心 30 週年紀念攝影展
"Time Vehicle", 30th Anniversary of NCCU Art & Culture Center Photography Exhibition
2019.09.30 ~ 11.01
週一至五 11:00-17:00 國定假日休展 | 30. Sep. - 1. Nov. 2019, Mon. - Fri., 11:00 to 17:00, Closed on National Holidays
藝文中心5F藝文空間(大廳往上一層樓)
Art Gallery, 5F of NCCU Art & Culture Center (One floor above the lobby)
開幕茶會暨藝術家導覽 | Opening Reception & Artist Guide
2019.10.08
(二) 18:00-18:40 | Tue. 8. Oct. 2019 18:00-18:40
藝文中心5F藝文空間
Art Gallery, 5F of NCCU Art & Culture Center
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開幕講座—大師與時代經典:臺灣攝影的下一步? | Opening Lecture- A New Generation of Taiwan Photography Outside of Documentation
2019.10.08
(二) 19:30-21:30 | Tue. 8. Oct. 2019 19:30-21:30
藝文中心4F ART HUB
ART HUB, 4F of NCCU Art & Culture Center
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專場講座—紀「實」之外的臺灣新世代攝影 | Special Lecture- Masters and Classics: The next step for Taiwan photography?
2019.10.17
(四) 19:30-21:30 | Thr. 17. Oct. 2019 19:30-21:30
藝文中心4F ART HUB
ART HUB, 4F of NCCU Art & Culture Center
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專場講座報名 Register 開幕講座報名 Register 茶會報名 Register