VOP Issue 11 : 影像檔案 Image Archives

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Voices of Photography 攝影之聲
Issue 11 : 影像檔案
Image Archives

由於擁有複寫世界的能力,攝影被認為是一種目擊證據,以及將歷史視覺化的檔案資料。我們憑靠攝影蒐集世界,建立起世界的檔案系統,並在其中競逐解讀演繹的 語權,以此「超譯」世界。影像檔案於是也成為藝術家熱愛的材料,在對現成影像進行蒐集、拼貼、解構、重組間,不斷生成新的意旨,並時常挑戰官方正典的檔案霸權,衝撞檔案的既成性質與體系。

在這期的《攝影之聲》中,周慶輝累積自己多年來被警察和自動測速相機拍下的交通違規照片,以都會叢林的獵影檔案,再現當代城市生活窘態 ; 姚瑞中帶領「失落社會檔案室(LSD)」進行全台「蚊子館」的攝影田野調查行動,用民間影像檔案拆解官僚政策隱藏的利益結構 ; Sipke Visser在英國隨機寄出五百張自己的攝影作品給陌生人,並以兩年半時間集結所有回信,構成攝影者的私檔案與視覺書寫文獻 ; Thomas Sauvin在北京垃圾場蒐集大批廢棄底片,經過重新掃描整理,這些被遺棄的素人照片卻顯影出當代中國的另類精神面貌。

Artist’s Showcase單元則專訪攝影藝術家Antoine d’Agata,在他如產生藥物幻覺般脫韁狂放的視線裡,赤裸的人性慾念與攝影合為一體。在Q單元中,我們與積極推動設立攝影科系的邱奕堅,談他甫成立的台灣第一個攝影學位學程 ; 以及由「海馬迴光畫館」創辦人李旭彬分享藝術空間經營的幕後故事。此外,我們也飛往德國參加第六屆卡塞爾攝影書節,並專訪倫敦泰德現代美術館首位攝影專職策展人Simon Baker,分享他的策展生活與國際攝影觀察。而本期《SHOUT》則是1954年至1970年台灣早期實驗影像檔案的再出土。

Photography is seen as a kind of evidence, which archives our history visually, and which possesses an ability to narrate. We collect pieces of our world and construct them into archival systems, competing for the narrative power and thus “over-interpret” the world. Image archives thus became one of the favourite sources of data for artists, who collect, collate, collage, construct and deconstruct the library of images available to bring in new meanings, as well as to challenge the authority of official archival records by rebuilding the current nature and system of archiving.

In this issue of VOP, Chou Ching-Hui presents his compilation of the photographs that came with his tickets for traffic violations, giving us snapshots of the confinements within a city; Yao Jui-Chung leads the group “Lost Society Document" in launching a project to photograph disused public property, deconstructing the underlying factors hidden by bureaucracy using unofficial picture archives; Sipke Visser mailed out 500 of his photography works to random addresses in UK, constructing his own private archive of personal commentaries to his pictures in two-and-a-half years; Thomas Suavin collects tons of discarded films from recycling areas in Beijing, digitises them and tries to piece together an alternate contemporary China reflected in these ordinary photographs.

In the Artists Showcase, we interviewed visual artist Antoine d’Agata, whose works infuse naked desires with photography. Q column features Chiu I-Chien, who has always been, and finally succeeded in pushing for the establishment of a BA course in photography. We also talked to Li Hsu-Pin, founder of Fotoaura Institute of Photography, on his experiences in managing an art space. In addition, VOP took part in the 6th Photobook Festival in Kassel, Germany, where we interviewed the first curator of photography and international art at Tate Modern in London, Simon Baker, who shared with us his life as a curator and his observations about photography traits and trends of different countries. The SHOUT in this issue features archived images of early Taiwanese laboratories from Taiwan National Repository of Cultural Heritage between 1954 to 1970.

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