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為他們拍攝肖像/ Take portraits of them

    李東翰作品展/The Photography of Li Donghan

 

    策展人:陳光俊/Curator: Chen Guangjun

 

    這些肖像是我對它們的一種態(tài)度。

    態(tài)度決定觀看方式。就好像身邊人的情緒，可以視而不見，也可以感同身受。而這些肖像給我的情緒是強烈的，我毫不費力地感受到它們的氣息。它們有著獨立的域和天地，并形成了獨特的場，讓我無法忽視它們的存在，它們那儀式化的身姿是高于符號美學的。

    盡管它們是常規(guī)意義上沒有生命或是沒有智慧之物。但是我相信黑格爾“存在即合理”的言論。合理的必然是有靈魂依附的，就像人類的存在一樣。于是，為它們拍攝肖像的行為就成為一次靈魂的對話。透過這些肖像，我也完成了與自我靈魂的溝通。

    肖像在此時對被攝物本體的消化與轉譯帶來藝術生產上形態(tài)的倒錯。攝影重構了我們觀看世界的方式。當柏拉圖的洞穴被吸納一切的攝影之眼改變后，面對空間與時間的不牢靠，人們重新獲得了把握的權利。對于某種定向認知的消解與重組之后，我所獲得的是審視或凝望延展出來的新維度，而這些肖像并非是偶然的呈現。

 

    These portraits portray my attitude to them.

 

    Attitude determines method of watching, just like the mood of people around you which you can choose to ignore or compassionate. These portraits convey to me such strong feelings that I can easily sense their breath. They have their separate domains and world, and have formed a unique field that I can ignore their existence. Their ritual poise is above mark aesthetics.

 

    Though in ordinary senses they are lifeless or mindless, I still believe in Hegel’s “what exists is reasonable”. What’s reasonable must have a soul, like the existence of human being. Thus, shooting portraits for them became a dialogue between souls. Through these portraits, I also completed a communication with my own soul.

 

    Now the portraits’ digestion and translation of their model brings the form of the art production up side down. Photography reconstructs our mode of viewing the world. When Plato’s cave is changed by the all-consuming eye of photography, people would regain the right to control when facing the insecurity of space and time. After the dissolution and restructuring of a certain fixed knowledge, what I obtain is a new dimension extended from observing or gazing. And these portraits are not an accidental presentation.