VOP Issue 14 : 謎途 Journey Into Mystery
Voices of Photography 攝影之聲
Issue 14 : 謎途
Journey Into Mystery
本期我們特別介紹藝術家赤鹿麻耶、宇田川直寬和付羽，他們的作品令人陷入當代攝影看不清的謎霧中——赤鹿奇異佈局的詭祕時刻、宇田川在家庭照片上綿密塗畫的燥灼抒發，以及付羽冷峻枯寂的形骸景象，我們嘗試前往他們自身也難以剖解的影像謎團中尋路。專欄中，張世倫則以攝影家張乾琦的錄像新作《Side Chain》切入析論攝影的毀壞與創生 ; 顧錚書寫捷克攝影家斯沃博達的攝影生涯，追尋他的自傳性內心影像 ; 黃翰荻帶我們重返1940年代，細數台灣前輩攝影家張才在上海留下的鏡頭足跡。而這期夾帶的《SHOUT》第六輯，是台灣新一代攝影創作者鄭弘敬的獨白詩篇，他遊移於日常卻捉摸不定的破格視線，則是另一個謎題。
新的一年準備開始，我們也回顧2014年的攝影出版。在VOP編輯室被愈來愈多來自世界各地的攝影書淹沒的情況下，我們特別增加頁數、一口氣邀集了五位不同國家的攝影評論人與攝影書收藏者——陣容包括獨立攝影書庫創辦人Larissa Leclair、亞太攝影書資料庫創辦人Daniel Boetker-Smith、法國Le Bal藝術總監Sebastian Arthur Hau、德國卡塞爾攝影書節創辦人Dieter Neubert，以及日本資深藝評家大竹昭子——在2014年的攝影書海中，評選出他們最喜歡的攝影書單推薦給大家。如果你和我們一樣是攝影書迷，那麼絕對不能錯過這些精彩的書。
蕭永盛的「台灣攝影史」連載五，此次回望甲午戰爭時期日人龜井茲明與其寫真班在台灣留下的戰爭影像紀錄 ; Q單元，我們則專訪中國《老照片》主編馮克力，這份18年來由讀者投稿、蒐集整理民間照片資料的叢刊，是庶民影像史觀的珍貴報告。
This issue of VOP pays tribute to artist Chen Shun-Chu.
Born in 1963, Chen’s composite images and photographic installation art pieces, which capture the vivid memories of his family and longing for his ancestral home, are iconic pieces in Taiwanese contemporary art. Chen passed away in 2014 just as his major retrospective exhibition was being held in the Taipei Fine Arts Museum. We interviewed him in 2011, and published the interview in the now out-of-print third issue of VOP. We decided to re-publish the interview in this issue, alongside letters to Chen Shun-Chu from artists Chen Chieh-Jen and Yao Jui-Chung, as well as some drawings, words and musings from his personal notebooks. He once said that art is something that comes from deep in his heart, and we try to imagine the home and family that were always on his mind from his murmurings.
Also in this issue, we introduce artists Akashika Maya, Utagawa Naohiro and Fu Yu, seeking a path through their mysterious images that perhaps even they themselves would find difficult to decipher—Akashika’s eccentric layouts, Utagawa’s frustrated graffiti on his family photos and Fu Yu’s indifferent images of animal remains. In their columns, Chang Shih-Lun analyses the deconstruction and creation of photography through Side Chain, a new film by photographer Chang Chian-Chi; Gu Zheng writes about the life and works of Czech photographer Jan Svoboda in search of the autobiographic images in his photographs; Huang Han-Di brings us back to the 1940s and shows us footprints of Taiwanese photographer Chang Tsai in Shanghai through his pictures. The 6th issue of the bonus zine SHOUT is a soliloquy by teikoukei, one of the new generation of Taiwanese photographers. Through his lenses, we enter yet another mysterious journey and break free of normal points of view.
At the start of 2015, we look back at the publications of 2014. The VOP team has been —gladly—overwhelmed by recommendations from all over the world. We decided to increase the number of pages for this issue and invited 5 photography critics and photobook collectors from 5 different countries to submit a list of their favorite photobook lists of 2014. The panel includes the founder of Indie Photobook Library Larissa Leclair, Director and founder of Asia-Pacific Photobook Archive Daniel Boetker-Smith, Creative Director of Le Bal Books Sebastian Arthur Hau from France, founder of Kassel Photobook Award Dieter Neubert from Germany and renowned critic Akiko Otake. If you, too, love photobooks, then these titles are definitely worth your time.
In “History of Photography in Taiwan” Part V, Hsiao Yong-Seng looks back at the wartime images left by Japanese photographer Kamei Koreaki and his Photography Unit in the army; Q features a special interview with Feng Keli, editor-in-chief for Old Photographs, a publication that has become a valuable archive of photography from the historical perspective of the common people through 18 years of collecting, organizing and publishing photographs sent in by its readers.
As we were busy working on this issue of VOP, we received word that VOP has been banned from import by China customs. In addition, the authorities have also sent the “Integrated Law Enforcement in Cultural Market Team” to VOP retailers in China to remove and confiscate issues of VOP from the stores, especially our recent issue on “Protests, Activism and Images”. This act confirms that the Chinese government is still oppressing freedom of speech and publishing, and also proves that even a small magazine like ours can cause great fear to a totalitarian regime. Although we are concerned about the impact of such a policy on cultural and ideological dialogue, as an independent magazine, VOP will continue on its path and risk being different, rather than dance to the tune of the oppressor. We sincerely thank our readers for your concern and support.