勝景：安娜·?？怂箓€展
Resort:Anna Fox Solo Exhibition

策展人：祖宇

Curator：Zu Yu

展覽時間：

2017.11.19（14:30 開幕；15:30 藝術(shù)家對談）- 12.18

Duration :2017.11.19 (14:30 Opening；15:30 Artist Talking ) -12.18

展覽地點：

光之藝?yán)?杭州市濱江區(qū)誠業(yè)路415號江南岸藝術(shù)園B座104室

Venue：
Light Gallery，Room104，Jiang Nan Bank Creative,No.415 Cheng Ye Road, Binjiang District, Hangzhou,China

安娜·福克斯的兩組《度假勝景》系列，拍攝于2009年和2011年，記錄了英國博格諾里吉斯的巴特林度假村里的當(dāng)代面孔，這個度假村是比利·巴特林(Billy Butlin)在1930年建造的英國著名度假營地之一，為英國的工薪家庭創(chuàng)造一個獨特的環(huán)境，并讓他們擁有了首個真正的假期。

美國桌球房，2011

此次展覽中的兩個系列，《度假勝景I》及《度假勝景II》，展現(xiàn)的是度假村發(fā)展為公共消費(fèi)者提供休閑環(huán)境的新方式。針對巴特林目前的售票類型：節(jié)假日家庭票和只針對成人的周末優(yōu)惠套餐(不含18歲以下人士)，《度假勝景I》記錄的是家庭度假的日常，而《度假勝景II》則是成人歡度周末的日常。

紅色街機(jī)，2010

從早先的巴特林私家檔案記錄中可以發(fā)現(xiàn)，此“度假村”的原型被設(shè)定為“讓家庭成員擺脫一切憂愁的地方”，人們在其中可以參加團(tuán)體健身，享受休閑美妙的泳池時光，晚間娛樂有喜劇和表演，同時有人幫忙照料孩子，此外，還可以投入到巴特林永不停息的競技游戲中。

如今的巴特林度假村則是完全不同的一番景象，由于當(dāng)代社會重視消費(fèi)，原本的體育和健身活動大部分消失，取而代之的是付費(fèi)娛樂項目，比如舞臺表演、給孩子講睡前故事的巨型泰迪、街機(jī)、老虎機(jī)、保齡球館、派對場所、美式游泳池，以及無數(shù)的餐廳和快餐店，還有酒吧、美發(fā)店，化妝店，玩具商店、錄音棚，度假的人會愿意支付他們額外消費(fèi)的所有項目。每個不同的娛樂區(qū)域之間環(huán)環(huán)相扣，它們就像電視演播室里的迷你舞臺或場景，你可以輕松地從一個區(qū)域穿行到另一個區(qū)域，而在這個過程中也就很容易花掉更多的錢。

海邊餐廳，2011

英國有廣泛的飲酒文化，夜晚的市中心很瘋狂?！抖燃賱倬癐I》表現(xiàn)的是巴特林的成人派對，一種非比尋常的周末景象。這里的周末都有固定的主題，比如“重返60年代”，“90年代的重塑”以及“盛夏派對”，度假者們身著有趣的服裝，男男女女們玩著易裝游戲（這在英國很時髦），所有的人都穿戴成夏威夷度假的模樣，或喬裝打扮成明星模樣。這組作品中有一部分被當(dāng)作電影場景進(jìn)行拍攝。

天使4，2009

安娜對英國人休閑活動的拍攝，超真實地展現(xiàn)了英國工薪階層的民眾日常生活并進(jìn)一步深層挖掘國民趣味。這與1980年代馬丁·帕爾（Martin Parr）在《最后的度假勝地》中對撒切爾執(zhí)政時代及英國中產(chǎn)階級的嘲諷不同。

安娜的這兩組作品受Pallant House畫廊委托，她用彩色大畫幅攝影配合電影場景的燈光效果，探索紀(jì)實敘事的新途徑，通過鮮艷的色彩，強(qiáng)調(diào)現(xiàn)實環(huán)境的戲劇性。對安娜來講，攝影和文學(xué)、電影一樣，是講故事的手段。她的拍攝，正是在對日常生活的不斷探索中，拓展故事的敘述方法，以抵達(dá)日常表象之下的核心。她的一系列自我探索的作品，都在反映紀(jì)實攝影中真相與虛構(gòu)的關(guān)系。

安娜·福克斯通過將鏡頭對準(zhǔn)自己生活中某個具體的社會狀況，作品是對于攝影形式的檢驗，她自始至終都感受到了攝影媒介的不足之處，不斷檢驗并推動了它在形式上的潛力。

藝術(shù)家簡介：安娜•?？怂梗ˋnna Fox），英國創(chuàng)意藝術(shù)大學(xué)（UCA）攝影學(xué)科帶頭人，教授，碩士、博士生導(dǎo)師。作為攝影師，是英國新彩色紀(jì)實攝影和女性攝影的代表人物。1986年畢業(yè)于法納姆薩里研究所視聽專業(yè)。從事于影像工作超過20年。

個人網(wǎng)站：http://www.annafox.co.uk

策展人簡介：祖宇，中國美術(shù)學(xué)院藝術(shù)史博士，策展人、攝影史學(xué)者。任教于浙江傳媒學(xué)院，工作、生活于杭州。碩士畢業(yè)于Goldsmiths College, University of London。紐約非營利藝術(shù)機(jī)構(gòu)No Longer Empty 2016駐地策展人。2007年至今，長期從事圖像歷史研究、創(chuàng)作、策展。作品先后在倫敦、平遙、麗水等國際攝影節(jié)展出，入選第12屆全國美展?！妒澜鐢z影書史第一卷》譯者。策劃的展覽有《山水訓(xùn)：曾翰作品展》（2017）、《非常在：中國當(dāng)代視覺藝術(shù)面孔在紐約》（A Space-Time of Transitional Desires，2016）、《光的書寫者：當(dāng)代影像藝術(shù)展》（2016）、《放大：兩岸四人影像作品展》（2013）等。

Hair and make-up shop 2010

RESORT 1 and 2

These two new bodies of work, made between 2009 and 2011, record the contemporary face of Butlin’s, Bognor Regis – one of the well known British holiday camps built by Billy Butlin in the 1930’s creating a unique environment for working class British families to have their first real holidays. The two series’, Resort 1 and 2, observe some of its most recent developments and consider the new ways in which the Butlin’s resort is providing a leisure environment for public consumption. Butlin’s today sells both family holidays and adult weekend breaks (where no under 18s are allowed). Resort 1 records the family breaks while Resort 2 looks at the adult weekends.

Butlin’s have their own archive documenting the resort which shows that the original holiday camp was a place where families could get away from it all; take part in group fitness activities; have the children looked after during the evenings; swim in the (then) fantastic leisure pool and be entertained by comedians and performers during the evening or compete in one of the endless Butlin’s competitions. Today’s Butlin’s holiday camp is quite a different affair; sports and fitness activities have largely disappeared. The contemporary emphasis is on consumption whether it is staged performances, giant teddy bears telling bedtime stories to children, arcades, slot machines, bowling alleys, parties, American pool halls, countless restaurants and snack bars, the pub, hairdresser, make up shop, toy shops, recording studio – holiday makers pay for all the extras they consume. Each different entertainment area overlaps the next, they are like mini stages or sets in a television studio you can slide from one to another easily spending more money as you go.

The UK has a massive drinking culture with wild nights out in many city centres often punctured by scenes of drunken violence and serious accidents. At the Butlin’s adult parties, shot for Resort 2, drinking was the main activity but the atmosphere was completely different to the regular Saturday night in a British town: it felt safer and more relaxed. Weekends were themed, Back to the 60’s, The 90’s Reloaded or Hot Summer Party for example and the holidaymakers dressed up in spectacular costumes with large numbers of the men dressed as women (a popular British thing) and whole groups dressed as Honolulu girls or as Elvis’s or as Amy Whinehouse’s. Resort 2 became a portrait project primarily because of the fabulous costumes.

The work is shot on large and medium format cameras with a team of assistants and a lighting director. Some are shot as if they were film sets and others are shot just as I am passing through groups of people and events.

In Resort 1 & 2, commissioned by Pallant House Gallery, Anna is working with large format colour photography and a lighting crew, she explores new approaches to documentary story-telling and with the vivacity of her colour palette this work emphasizes the theatricality of the reality environment.

ANNA FOX

Anna Fox (b. 1961, Alton, UK) is Professor of Photography at University for the Creative Arts, Farnham. She began working as a photographer in the early 1980s, emerging as one of the most exciting colour documentary photographers of the period. Fox was influenced by the emergence of a new British documentary tradition – the wave of new colourists, a group that included Paul Graham and Martin Parr. Fox’s fascinating study of the bizarre as well as the ordinariness of British life resulted in a combination of social observation with highly personal diary projects.

Web: http://www.annafox.co.uk

ZU YU

Zu Yu (born. 1985) is a curator, scholar and photographer focusing on contemporary image art. Zu is PhD candidate in Art History in China Academy of Art now. She previous studied BA degree in Graphic Design in China Academy of Art and graduated from Goldsmiths College (University of London) in MA Image and Communication. Besides, she is the art director of Light Gallery and Yu-Studio (http://www.yu-studio.com) and being a lecturer in photography department in Zhejiang University of Media and Communication. Zu was the residency curator in non-profit institution No Longer Empty in New York, 2016.

Zu is also a writer and translator, her works including The Photobook: A History volume I (Chinese Editions). She had independently curated numbers of exhibitions such as A Space-Time of Transitional Desires (Clemente, New York, 2016),Light Writers: 2016 Contemporary Image Art Exhibition, Blow Up: 2013 Contemporary Photography Exhibition, Her photography and design works has been exhibited in China and UK.
Zu is working and living in Hangzhou now.

鳴謝支持機(jī)構(gòu) ：

yu-studio宇志文創(chuàng) http://www.yu-studio.com

LOTO 樂圖藝術(shù) http://www.lotoimage.com