《晚安，我的美人》摄影双人展

展览时间:5月9日周五晚上六点

93 Duolun Road, HongkouDistrict, Shanghai, China，200081

展览地址:中国上海市虹口区多伦路93号 200081

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www.osagegallery.com

缪佳欣《晚安》系列Good Night Series by Miao Jiaxin

纽约的白天繁华喧嚣人头攒动，到了夜晚，城市露出原本荒凉的面目，路面肮脏的积雪，街角堆砌的生活垃圾，墙面的涂鸦，摔倒的路障以及独自闪烁的交通灯。在这里“纽约”不过是一个地理标记，它显露的是所有现代城市的综合面貌。艺术家赤裸身体将自己丢弃在公共空间，如同一堆垃圾，被人消耗殆尽，被破坏被遗弃，被熟视无睹，被积雪掩埋，被寒冷冰冻。人与生存环境的关系以及人的生存状态，被艺术家亲身诠释，暗示消费社会一切皆快速消亡的游戏规则，艺术家将人的身体当作一件无用之物，抛弃于城市街头，以最为彻底的堕落拒绝貌似和谐的与社会的共存状态。

虽然摄影师的身体总是出现在某一处，但他的本意并非要和观者玩“找找看”的游戏，摄影师从照相机的背后走出来，却试图消失在画面中，摄影师的屡次“逃逸”引起观者观看的迷失。关于摄影的解读，它介于语义学与非语义学的解读之间，摄影既不像音乐般空灵也不似文字般直指意义的核心，摄影的魅力在于它暧昧的本性，它总被期待着将世界呈现给人类。而在缪佳欣的《晚安》中，图像的真实性竟大于世界本来的真实性，全景构图，忽略视觉中心，摄影主客体的集体逃逸，无意间掀去了遮掩，接近了真实，直面我们内心的荒芜。

缪佳欣具备深厚的摄影的技术功底，虽是夜间摄影作品而细部仍丝丝入扣，艺术家对光线，暗部细节，照片颗粒等的处理细致入微。每张作品都可作为纽约夜景的完美呈现，这是艺术家心中无法磨灭的唯美理想。标题《晚安》，亦带有平和而温暖的语气，安详的夜晚，美好的身体，作品以一种光明的姿态站在了一个光明的纽约的对面。

In the daytime, New York is noisy, crowded and full of actions, but when the night comes, the city turns over its obsolete face. We see dirty snow on the road, garbage piled up in the street corners, graffiti on the wall, road blocks lying around and traffic lights flickering in the lonely dark. Here “New York” is only a landmark. What it really shows are features of every modern city. The artist discards his naked self in a public space, as if he were a pile of garbage, consumed by human beings, broken, deserted and ignored, covered by snow and frozen in the cold. Through his own experience, he explores people’s status of existence and their relationship with environment, indicating that everything is transient in a consumer society and such is the game rule. The artist throws the body of a human being in the urban street as if it were a useless object. By falling to the very low, he rejects a seemingly harmonious coexistence with the society.

Although the photographer’s body is always present, it is not his intention to play “hide and seek” with the viewers. The photographer steps out from behind the camera, trying to disappear in his own pictures, and his “escapes” cause the confusion among viewers. The interpretation of photography is between a semantic and a non-semantic one. Photography is not as abstract as music or as direct as words. Its charm lies in its inherent ambiguity and people always expect to see the world through it. In Miao Jiaxin’s Good Night series, however, the truth of images is even more powerful than the truth of the world. The panoramic composition ignores the visual focus, and the collective escape of subjects and objects tears down the last veil between us and the truth, pointing directly at our obsolete inner world.

Miao Jiaxin has proficient photographic techniques. Although the pictures were taken at night, we can still see the details clearly. He gives the utmost attention to light, dark details and grains. Each photo can be seen as a perfect presentation of New York at night-time, and is therefore a representation of the artist’s perfectionist ideal. The title “Good Night” carries a calm and cozy tone. Embracing the quiet night and beautiful body, his art stands in a shiny pose, opposite a shiny New York.

有一则流传已久的恐怖故事，说一个人在沙漠里迷路了，几天几夜，终于看到一棵树，树下坐着一个女人。走近看，女人扎着大辫子背对着，喊她，回过头来，还是一条大辫子。《我的美人》便是这个故事的结局。结果就是，另一个绝望的开始。

在王依群的作品中，充满摄影的叙事性安排，对模特的摆布，对场景的选择，对道具的要求都是在对故事完整性以及摄影师世界观的补充和解释。这使照片具有电影场景式的视觉效果。在这些没有神态的肖像摄影中，丢失的脸部细节使得所有女性被拍摄者具有不确定的身份，她们可以是同一个女性，有着洛丽塔式的曼妙身段和恣意装束，在平庸的环境中不动声色地展露光芒。但如同梦境中荒谬的一幕，一转身将所有的希望粉碎，洛丽塔既是天使也是魔鬼，成年的男性企图在少女的身上实现对自身灵魂的救赎，没有料到她一转脸把你领向更深的梦魇。然而，没有脸，没有正面就没有反面，摄影师利用了这个故事，以委婉表达他的哲学观，关于迷失，关于回头是岸，关于执迷不悟，关于悲观主义，关于正面是反面的反面，等等。

画面的缺陷和违背常理，青春烂漫的被毁坏，引发观者内心的阵痛、不安，甚至恐惧。如同美杜莎飞舞着蛇发，把所有看到她的人变成石头，可是经过她的人还是忍不住要去看她。摄影师以极富浪漫主义的拍摄手法将美人定格底片中，同时一个被美人“凝视”着的摄影师本人也隐约可辩。

There was once a famous horror story. A man lost his way in a desert. After days and nights of traveling, he finally saw a tree. Under the tree sat a woman. He approached the tree, and saw the woman with a long pigtail. He called her, and she turned around. What he saw was another long pigtail. My Beauty is the ending of the story, and the end is only the start of a new despair.

Wang Yiqun’s works are full of narrative arrangements. His manipulation of models, deliberate choices of settings and specific requirements of props are all footnotes to the storyline and complements to the photographer’s world view. Together, they give his photos a cinematic visual effect. The portraits are expressionless, and the lost facial details make it all the harder for the viewers to locate their identities. They may as well be the same woman, with Lolita’s beautiful body and carefree outfits, shining quietly in a mundane environment. But the moment they turn around, every hope is shattered, just like in an absurd dream. Lolita is both an angel and a devil. As an adult man attempts to redeem his soul through the body of an innocent girl, he is led to an even darker nightmare at the turn of her head.

However, the facelessness also implies that there is neither front nor back. Through the story, the photographer indirectly expressed his philosophical view about loss, repentance, persistence, and pessimism; about the front is the back of the back and many more.

The imperfect and illogical images and the destruction of innocence induce pain, anxiety and even horror among the viewers. People cannot help staring at these images, just as they would not be able to resist if they were to pass by Medusa, the snake-haired woman who turned viewers into stone. As the photographer romantically freezes the beauty onto the film, we could also identify the image of the photographer being “stared at” by the beauty. (本文来源：尖锋艺术 )