杭添個展——觀看的方式
藝術家：杭添
策展人：肖瑞昀
藝術總監：滕青雲
主辦：三影堂廈門攝影藝術中心
展期：2020年12月26日- 2021年1月24日
開幕時間：2020年12月26日 15:00
地點：廈門市集美區杏林灣商務營運中心
2號裙樓301（從連接1號2號樓之間的大平臺進）
前言
文/肖瑞昀
進入杭添個展，我們將看到「攝影」被試驗性地施以人為處理，平面圖像消失了，整個展廳如同一個大型裝置現場。
這些不同維度的展現和觀看方式，是杭添基於攝影本體語言進行的討論。人們獲取一幅照片的內容和意義，往往將觀看主體和對象建立對應的關係，形成客觀認知或是情感投射。杭添則有意弱化主體和對象的關聯，並且在這兩者之間，嵌入觀看者的身體感知，以此連結整個觀看的過程。
空間注視
Spatial Focus
本次個展展出六個系列作品。作品以照片內部的空間性作為影像的基礎和特徵，並且關注它們的空間化再現。
《空間注視》透過材料展現影像的縱深感和多維性，模擬人眼注視的先後順序；《湖面，從下至上凝視》等作品，探討觀看的深度，以物件的奇特形狀，打破我們慣常認為的攝影必須是平面矩形的預期；《Ben Nevis，10:53-13:10》等作品，將連續的風景組成一個圖像層疊的整體，恢復時間和觀看形態的複雜性。
湖面，從下至上凝視
Lake Surface, Staring from Bottom to Top
如果說前面講述的作品觀看是傳統美術館意義上的凝視，另外三組作品則需要觀眾由眼睛轉向整個身體，從固定位置轉向移動，在展廳的漫遊中形成更豐富的空間感知。作品《100米》與《在火車上》，分別模擬人們行走和坐在火車上的觀看經驗，將多幅快門定格的照片流進行重新縫合，追溯運動過程中的身體狀態；《地獄谷》源於觀看火山口的經驗，以圖像雕塑的方式，還原身體與被感知物的空間關係。
當下人們過多地關注圖像內容本身，杭添的作品意在討論被忽視的視覺邊緣地帶，對攝影媒介進行更為概念性的思考。人們習以為常將觀看經歷用圖像記錄，杭添則經過圖像的分解、編排、建構，邀請觀眾重新體驗基於熟悉的生活經驗，所產生新的「觀看方式」與「自我意識」。
關於藝術家
杭添，1990年出生，2012年畢業於英國諾丁漢特倫特大學，現工作生活於南京。研究方向專注於探索身體體驗與其再現之間的關係。作品曾展出於英國Bonington Gallery，法國Barzion Artists』 Gallery，中國平遙國際攝影大展等。
Hang Tian Solo Exhibition —— Ways of Seeing
Artist: Hang Tian
Curator: Xiao Ruiyun
Art Director: Teng Qingyun
Organizer: Three Shadows Xiamen Photography Art Center
Duration: December 26, 2020 - January 1, 2021
Opening: December 26, 2020 15:00
Location: No. 301, Podium Building 2, Xinglinwan Business Operation Center, Jimei District, Xiamen
(Enter from the large platform connecting Building 1 and Building 2)
Perface
Text/ Xiao Ruiyun
When we walk into Hang Tian's solo exhibition, we will discover that "photography" undergoes a series of experiments in an artificial way. The plane image has disappeared, and the entire exhibition hall resembles an immense installation art.
These different ways of displaying and seeing are based on Hang’s exploration of the ontology of photography as a language. In order to grasp the content and meaning of photographs, people tend to establish a corresponding connection between the subject and the object in the act of seeing and then form their own objective cognition or emotional projection. Hang deliberately enfeebles the connection between the subject and the object. In the gap between the two, he embeds the observer’s physical perception in order to integrate different parts of the entire seeing process.
在火車上
On the Train
Six series of Hang’s works are presented in this solo exhibition. The internal sense of space within the photographs is the basis and characteristics of these works and their spatial representation is also highly emphasized.
Through the use of materials, 「Spatial Focus" shows the depth and multidimensionality of images and simulates the sequence of the human gaze. Works such as "Lake Surface, Staring from Bottom to Top " and other works explore the depth of seeing and by employing bizarre shapes, challenge our conventional expectation that photos must be flat rectangles. Works such as "Ben Nevis, 10:53-13:10" put continuous landscapes together into a complete whole of layered images, restoring the complexity of time and the form of seeing.
本尼維斯山，10:53-13:10
Ben Nevis, 10:53-13:10
If the act of seeing the works mentioned above resembles the kind of gaze that often takes place in a traditional art gallery, for the other three groups of works, the audience is asked to see not just with their eyes but with their entire body and to move around instead of standing still in order to acquire a richer spatial perception when roaming around the exhibition hall. 「100 Meters」 and "On the Train" simulate the seeing experience of people walking and sitting in the train respectively, weaving multiple photos streams to trace the physical state of bodies in the act of moving. 「Hell Valley」 was created based on the experience of observing a volcanic crater, which attempts to restore the spatial relationship between the body and the object through image sculpture.
Nowadays, people tend to overemphasize the content of images. Hang, however, desires to address the fringe of image that’s often neglected and to contemplate the medium of photography in a more conceptual way. The act of seeing is commonly recorded with the use of image, while through the decomposing, arranging and constructing of image Hanginvites his audience to re-experience a new "way of seeing" and "self-awareness," which are the immediate result of our daily life experience.
Artist Bio
Hang Tian, born in 1990, graduated from Nottingham Trent University in 2012, currently lives and works in Nanjing. His research direction focuses on exploring the relationship between physical experience and its representation. His works have been exhibited in the Bonington Gallery in the UK, the Barzion Artists』 Gallery in France, and the Pingyao International Photography Exhibition in China.
保羅·格雷厄姆：街頭攝影的敘事詩學
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原標題：《杭添個展：觀看的方式》
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