2012年7月27日-8月27日

香格纳画廊H空间 (上海市普陀区莫干山路50号18号楼 200060)

每天下午1点到下午6点免费入场

“UK NOW艺述英国”回应摄影爱好者的青睐，再次与您走入光与影的世界，以中、英摄影师不同的视角与技法，带您邂逅每一份感动。此次，联合上海香格纳画廊与英国利物浦OPEN EYE画廊，邀请来自英国西北部与来自上海地区的各三位摄影艺术家，为观众们奉上“光、影、形”高超的演绎技艺，用镜头重新刻画熟悉的情境，探索摄影师与日常生活中错觉之间的关系。在“艺述英国”的引领下，本次展出不只是一场视觉盛宴，更是一次穿越时光的精彩旅行。

在《影子的一课》中，六位摄影大师将一展镜头操控能力，他们从六个纬度，挑战您的视觉神经，为您展现各个时代、不同国度的人文精神。现在，奉上他们的代表之作，邀您一睹为快。

大卫•雅克David Jacques的创作探索了事实与虚构历史、叙事的相互作用。作品《北加拿大——英之电》（2009-10）由171件立体视觉图片构成，呈现的是后工业时代的风景。该技术发明于19世纪30年代，是3D影像的早期形式。雅克在立体照片中表现的工业建筑响应了20世纪颇具影响力的工业建筑摄影师伯恩•贝歇夫妇的方式，通过老式的光学媒介引起对现代摄影实践的反思。

塔比瑟•朱萨Tabitha Jussa的新作《船街的人》（2012）记录了位于北利物浦的一处被废弃的乌托邦社会主义建筑开发地。作品场景中的建筑建于1912年，由三座独立部分组成，全景蔚为壮观。上世纪60年代，社区的居民纷纷迁出。当建筑保护官员与开发商为了房屋的未来命运争得面红耳赤，一纸保护文书也无力阻止其年久失修的境遇。艺术家对于《船街的人》的场景进行了事无巨细的记录，并以数码方式合成五十件独立负像，创造了不可思议的建筑景观——即一种高度的现实主义。

大卫•彭尼David Penny的新作《荷兰绘画》（2012）系列由构筑精巧的雕塑组成。他在一家旧货商店中淘得一本艺术复制品书籍，然后将拍照的书页作为材料。他将艺术品展示在有色玻璃后方，纸张经过几次形变和重构，表现出摄影的转换功能及其与艺术历史的关系。

梁玥的作品《诸多续: 夏秋乱》（2011）是她近两年最主要的摄影式记录片（这里的“片”指照片，这与梁玥的记录式影片是两种紧密相连又完全相反的表现形式）。这些摄影带着艺术家的“有色眼镜”，看似并不直接写实与记录，而恰恰成为生活里被隐匿的最写实的情绪，看似平静淡然，实则躲藏了真相的暗涌。艺术家自诩不确定这些是否真能被人理解，就如同活着的人不能在每时每刻都清晰感受到世界的存在一样，而取决于用来观察世界的灵魂本身。

范石三的作品《两个我们》（2009-）是艺术家从2009年开始为独生子女拍摄的肖像。艺术家运用两次曝光技术展示了人物和他们的镜像并存于同一空间的状态。作品中的人物隐隐透着孤独与寂寞，看似展现于同一画面中却又无法互相交流。

满异的作品《浪》（2006-2011）是对长江流域周边风物与印象的追溯。遵循着自然规律，长江一路向东汇入东海，一些细节不甚分明，在黑暗中若隐若现，唤起了一种怪诞的疏离与不安。满异对光影与景深实验性的运用所创造的虚幻空间充满了悬念且难以界定，不过显然是江南气质投射在作者内心的风景。

您是否已被摄影家的拍摄手法震撼？欲知摄影师更多新鲜灵感、沉醉人心的影像，“艺述英国”邀您亲临展览现场，直面大师风采。

A Lecture Upon The Shadow – Images from Chinese and British Artists

27 July to 27 August, 2012 1 to 6 p.m. FREE

Venue: ShanghART H Space, Bldg 18, 50 Moganshan Rd., Shanghai

This exhibition brings together new work by six emerging photographic artists from the UK and China – three from the UK’s North West and three from Shanghai. Using different approaches, the artists play with light, shadow and form to re-imagine familiar situations, exploring photography’s relationship to illusion and the everyday.

The six exhibiting artists are: David Jacques (Liverpool); Tabitha Jussa (Liverpool); David Penny (Manchester); Fan Shi San (Shanghai); Man Yi (Shanghai) and Liang Yue (Shanghai).

A Lecture Upon The Shadow is curated by Patrick Henry (Director) and Karen Newman (Curator) from Open Eye Gallery and Lorenz Helbling (Director, ShanghART) and Ling Min (Director of International Projects, University of the Arts, Shanghai).

THE ARTISTS

David Jacques’ work explores history, narrative and the interplay between fact and fiction. North Canada – English Electric(2009-10) consists of 171 stereoscopic images of post-industrial landscapes. Invented in the 1830s, stereoscopy was an early form of 3D imaging. Jacques' stereoscopic images of industrial structures echo the photography of the highly influential 20th century industrial photographers Bernd and Hilla Becher, prompting a re-thinking of modern photographic practice through the eyes of an obsolete optical medium.

Tabitha Jussa’s new work Eldon Grove (2012) documents the site of an abandoned utopian social housing development in North Liverpool. Built in 1912, Eldon Grove is an imposing site consisting of three separate buildings. The community was moved out in the 1960s and, despite a preservation order, the building has been allowed to fall into a state of disrepair while conservation officers and developers struggle to agree on its future. Jussa’s meticulous documentation of Eldon Grove involves 50 individual negative images, digitally composited to create an impossible view of the buildings – a heightened realism.

David Penny’s new series of work Dutch Paintings (2012) has been created through a process of constructing intricate sculptures from the pages of a reproduction art book (which Penny found in a junk shop) and then photographing them. Presented behind coloured glass, these art-objects have undergone a number of deformations and reconstructions, highlighting photography’s transformational ability and its relationship to the history of art.

Liang Yue’s new photographs taken in deteriorating lighting conditions capture frozen moments of everyday life. By subtly manipulating her images, Liang Yue enhances the effects of natural and artificial light on the camera lens and the surface of the image, creating imaginary scenes caught somewhere between twilight and darkness.

Fan Shi San’s project Two of Us (2009 -) explores the identity formation of people born in China since the introduction of the one child policy (a population control measure that applies to married, urban couples, in place since 1978). Constructing images of young people together with their imaginary reflections, the works are suggestive of separation and loneliness, as the two characters in the images never seem to be able to communicate.

Man Yi’s Memory of Water (2006 - 2010) traces details of a landscape surrounding the Yangtze River as it follows its natural course through the Yangtze region and into the East China Sea. Details are barely visible, caught in darkness, evoking a strange sense of detachment and unease. Man Yi’s experiments with light and depth of field create illusory spaces that are full of suspense and difficult to define.

（来源：英国使馆文化教育处，编辑 Helen）