風景 安靜曾敏雄攝影展
Voice InsideTseng Miin-Shyong Photo Exhibition
 
展場: TIVAC台灣國際視覺藝術中心
: 2008.03.15 (週六) ~04. 09(週三)
開幕茶會: 2008.03.15 (週六) 14:30 
 
《風景安靜》─曾敏雄攝影展
 
攝影家曾敏雄的【台灣頭】人物肖像攝影作品備受肯定,藝術大師如朱銘,謝里法…等都曾提筆為序,於2004年受國立歷史博物館前館長光男先生邀請,在該館舉辦盛大的展覽.
 
除了拍攝台灣各個領域內最頂尖的人物外,曾敏雄鏡頭的關照更多時候是落在安靜生活中的平凡人物,從小男孩憂鬱的眼神開始,少年八家將的臉譜與擺置,泥水工人的站姿,老農夫的強韌生命力以及澎湖老者的落腮鬍,上山採茶的婦人彷彿即將消失隱沒於天際,告別式的遺照….這些人物作品以無言的姿勢喚醒了生命裡最寧靜而深沈的記憶,觀者猶如被當頭棒喝一般,無處可逃!
 
攝影家張照堂為這批平凡人物排序,他說 :「安靜之外,作品具有極為強悍的生命力!」
 
2007年5,曾敏雄尋著美國女畫家歐姬芙的足跡來到新墨西哥州流浪….
 
「一個人獨自跑到沙漠裡…你到底在尋找什麼?」學生從台灣傳了訊息問他,曾敏雄卻不知該如何回答,那種渴望內心極度安靜的想法並非三言兩語所能解釋,在長達一個月的流浪生活後,終於,作品替攝影家回答了問題.
 
如張照堂老師所言 :「就像美國畫家Georgia O’Keeffe在新墨西哥州找到屬於她的宗教,曾敏雄追隨她的腳步到這兒找到了一種「心鏡」的嚮往。透明的穹蒼、純淨的陽光、蕭瑟的曠野、無垠的沙灘、碑墓般的教堂、曙光乍現的湖濱、恆古的石丘與城堡 …… 一如幽靈般的『遠方』(The Faraway)。何其寂寥,何其聖潔與神秘,好像返回人類誕生的原始腹地…」
 
平凡人物與新墨西哥州的流浪,曾敏雄的內心風景,猶如那首他所嗜愛的修伯特名曲 ─「冬之旅」一般,孤獨的身影兀自在蕭澀的曠野中行走? ; 這批被水墨大師李奇茂認為是台灣現代美術創作中極為重要的作品,將於三月份在台灣國際視覺藝術中心(TIVAC)一樓及地下室展出. 
 
《風景安靜》序文          張照堂/撰文
 
照片所具有的二度空間與聲音過濾特性,基本上應該是平面而安靜的,是隔一個「距離」的觀看再現。風景靜物所呈現的世界,更必然是無聲的,但實際上我們看到不少平汎、造作或俗艷的風景照,不時釋出嘰喳、嘀咕或瑣碎的訊息,一點都不安靜。
 
每一幅「風景」其實都自若、安靜地存在於它自己的特定時空,攝影者是否適時地進入它的界域或磁場,是否感知一種直覺的相互觸動,決定了對望之後的影像複製與再生。這樣的「風景」,不是因為你看見它,是它先看見你,召喚你按下快門。你只是偶然間一晃而過,它卻是久久、靜靜地倚立?,等候有心者看見。
 
初次看到曾敏雄鏡頭裡的風景,便為其中的單純的造型、細緻的質感與靜謐的氛圍所吸引。這些風景,與他之前的人像作品絕然不同。在他長年紀錄的人物攝影集裡,我們看到許多目光如炬的臉孔瞪視或遠望,許多人為的姿勢與打光,每一幅臉孔似乎都想訴說無盡的歲月情緒,直接、有力,但也略顯刻意與躁進。然而,這一批風景造像卻顯得如此自然、寧靜、致遠,有一種距離,有一種詩意與想像。
 
飄浮的煙塵、消隱的泡沫、斑剝的門牆、廢棄的鐵道、龜裂的土地、冬日的斜陽、肅靜的田野與沙灘 …… 曾敏雄的島內風景,靜默中隱含三個面向的關照:物象的質素、美學的訊息及人文的視野。 有些寂寞,有些悽愴,但愈顯真實、內在與厚重。
 
就像美國畫家Georgia O’Keeffe在新墨西哥州找到屬於她的宗教,曾敏雄追隨她的腳步到這兒找到了一種「心鏡」的嚮往。透明的穹蒼、純淨的陽光、蕭瑟的曠野、無垠的沙灘、碑墓般的教堂、曙光乍現的湖濱、恆古的石丘與城堡、、、一如幽靈般的「遠方」(The Faraway)。何其寂寥,何其聖潔與神秘,好像返回人類誕生的原始腹地。
 
即使曾敏雄的風景裡包含的幾張人像與特寫,竟也安靜得叫人屏氣凝神。在孩童的眼神、少年八家將的擺示、老者的鬍鰓、告別式的遺照等所建構的氛圍中,彷彿進行的是一場無言的人生記憶,必須安靜,才能重重嵌印在腦海裡。
 
曾經在一篇短序中寫著:「我一直走到那寂寞的世界,四面光明,一處黑暗;四面黑暗,一處光明。在那個地方,思想與存在,獨自一人。」曾敏雄的內心風景,猶如那首他所嗜愛的修伯特名曲─「冬之旅」一般,兀自在蕭澀的曠野中行走?,以孤寂、沉澱的心境,尋找時光的消逝跡痕,回歸歲月的永恆懷抱。
 
Voice Inside
 
Two dimensional images and a voiceless attitude are characteristics of photography. It‘s a view or a presentation at a distance, so it should be flat and quiet.
 
For the same reason, the world of landscapes and still lives must be voiceless. However, we see many normal, overdone, affected and vulgar landscape photos which chatter noisily and send a fragmentary message. They’re never quiet at all.
 
Every image exists in a still and self-composed space and time. Could the photographer insert himself into the image’s domain and its magnetic field? Could he be aware of a mutual touch intuitively? All of them decide what is duplicated and reproduced after looking through each other’s eyes. Such an image could not be seen; it looks at you first. It inspires you to press the shutter. You are merely a bystander passing accidentally. Nevertheless, an image is still and long-standing, waiting for an observant person to notice it.
 
At first sight, I was attracted by the simple shape of the landscape in Tseng’s photos, as well as its exquisite quality and quiet atmosphere. These landscape photos are absolutely different from his previous portrait photos. In Tseng’s portrait photos, there were many faces with torchlight-like wide open eyes staring at us or into the distance. There were many posed gestures and light settings. Each face seems to want to express its emotions. They were direct and strong, but also a little artificial and too hasty. In spite of this, these landscape photos are so natural, calm, and tranquil. Inside these works is a poetic imagination at a distance.
 
Floating dust and smoke; bubbles slipping away; a dappled wall and gate; obsolete  rails; fissures in the ground; the stillness of the fields and sands… all of Tseng’s landscape photos taken on this island imply three points of view silently. The first is the fine quality of his objects and images. The second is the aesthetic messages in his photograph. The last is his humanistic view. Even though they are a bit lonely or dismal, they bring out something intrinsic, truer and more immense.  
 
Just like the American painter Georgia O’Keeffe, who found her own religion in New Mexico, Tseng followed her footsteps there to fulfill his hankering for “the mirror images of my mind.” A limpid sky, the pellucid sunshine, stagnant wastes, endless sands, the tombstone-like church, a lakeside at dawn, hills and castles from time immemorial…like ghosts they come from “The Far away.” Such silence, such holiness and mystery is like returning to our ancestors’ wombs.
 
They are so quiet that you are hardly able to breathe in front of them. It seems that a voiceless memory of life is coming to you through the gaze of a child, from the pose of young Jiajiang, in the elder’s beard, through the picture of the dead. An atmosphere is formed. We must be quiet in it’s presence to let the images imprint on our minds.
 
Once a short preface, “I walked straight toward the desolate world, in which every place was blighted but some places were dark; in which every place is absolutely dark but some places had light. In such a place, thoughts and existences are all alone.” The inner sight of Tseng must be like his favorite song Winterreise,Franz Schubert’s famous lieder, walking alone in chilly and stagnant wastes. With the solitude and disposition of his moods, he has been looking for the trails left behind space and time to send them back to the harbor of eternity.  
 
 
曾敏雄簡介
嘉義縣人.學生時代即著迷於音響設計.
當兵時,第一次寫相聲,獲得國軍文藝金獅獎佳作.
創辦「銲匠」音響技術雜誌
成立「音響種子」工作室;並以Formosa為品牌,設計音響器材銷售
電台古典音樂主持人
1996年歲末開始拍照自娛
1999年921地震將其經濟歸零,卻意外接觸美術評論家謝里法,開啟拍攝人像生涯.
1999年歲末開始拍攝中部藝術家群像
2000年歲末拍攝嘉義地區美術家群像
2001年,受雕刻大師朱銘邀請,為其拍攝太極拱門作品.
2001年有了拍攝 [ 百年英雄 ] 計畫,由於很難取得被拍者資料,一度想放棄
2002年元月, [ 百年英雄 ] 通過國家文化藝術基金會的審核,獲得獎項補助,再度積極拍攝.
2003年完成 [ 百年英雄 ] 人物拍攝計畫;獲國立歷史博物館黃光男館長邀請,以 [ 台灣頭 ] 為名,舉辦展覽,並獲EPSON公司贊助影像輸出.
2003年開始拍攝台東地區藝術家群像.
2004年獲邀擔任台灣愛普生(EPSON)公司百萬攝影比賽系列講座講師.
2004年台東縣美展攝影評審;新社鄉攝影比賽評審.
2004年與國立台灣交響樂團合作,拍攝音樂界人物群像.同年第一次踏上蘭嶼,受到該島嶼特殊的人文風景之吸引,隔年再度前往.
2005年,因為蘭嶼的影響,引爆體內另一半屬於海島人的血液,在暌違25年之後,再度踏上母親生長的島嶼—澎湖.並開始以「母親的島嶼」為名,拍攝這塊島嶼上的人物與攝影家內心對母親的懷念.
2005年,再度受雕刻大師朱銘邀請,為其拍攝人間系列等五本作品集.
2006年受相機代理商邀請,為Nikon School 特約講師
2006年二月,受攝影大師柯錫杰邀請,開車帶老攝影家至嘉義山區及海邊小村落采風;同月底至越南及柬普寨旅行,坐長途bus越過邊境時,為柬普寨當地人民困苦的生活感到不捨;並獨自前往吳哥窟體驗千年古蹟的歷史.
2007年四月,受張照堂老師與劉振祥先生的邀請,與他們共同展出黃海岱老先生的人物肖像作品.
2007年五月,尋著美國女畫家歐姬芙的腳步,來到新墨西哥州流浪,深受墨西哥古老文化及當地沙漠地質的吸引,除了拍攝出極具個人代表性的作品外,並親身體驗世界一流攝影家的真跡作品.
2007年七月,有感於流浪時受到美國藝文界友人的肯定,決定整理出十一年來所拍攝的兩個系列作品「平凡人物」與「風景安靜」,十月初,這兩個系列的作品受到前輩攝影家張照堂老師的肯定, 為其挑選作品舉辦展覽及出版個人攝影集. 
 
Biography
Born in Chayi County.
Have became addicted to audio design since high school.
 
During military service, earned a Golden Lion Award of Chinese Army Forces by writing the first lyric of Chinese talk show.
Published the Audio technology magazine named “Welder”
Established “Audio Seed” studio, and created the brand”Formosa” to design and sell audio equipments.
DJ , for classical music programs in a radio station.
1996  Started taking photographs for own pleasure.
1999  The “921 Earthquake” took away all his properties, but open a chance to cooperate with the art critic, Mr. Shaih Li Fa.Thus started Tseng’s career of portrait photography.
1999  To photograph 30 artists located in the middle of Taiwan
2000  To photograph 20 artists located in Chayii.
2001  Invited by the master of carving, Mr. Ju Ming, to photograph his work ,“Tai Chi”
2001  Began the project named “Centennial Heroes”. Considering the difficulties in data collection, once abandoned the project.
2002  “Centennial Heroes” was approved by the National Cultural ans Art Foundation for awarded and funded in January.
2003  “Centennial Heroes” was complete. Invited by Mr. Hung Kung-Nan, the National Museum of History, to hold an exhibition entitled Face’s Talk.
2003  To photograph artists located in Taitung.
2004  Lecturer in the series of Taiwan Epson Million Dollar Photography Competition
2004     Judge, Photography Section of the Taitung County Art Exhibition.
Judge, Hsin-Sher Township Photo Competition.Invited by National Symphony Orchestra to take photos of famous musicians.
Visited Orchid Island for the first time. Attracted by the special customs and senery, he went here again next year.
2005     The love to Orchid Island stired the blood inside Tseng partially belonged to   ocean and islands.
After 25 years since his last visit, Tseng came back to Penghu and began to take photos named “Mother’s Island”  in memory of his mother.
Invited by the master of carving, Mr. Ju Ming again, to photograph his five books about “Living World Series”.
2006  Lecturer in Nikon School.
2006     In February, drove with the master of photography, Mr. Co Si-Chi on a field  trip around the villages of mountains and the seashore in Chayji.
In the same month, traveled to Viet Nam and Cambodia. Took a bus across the border. Felt sorrow about people’s hardships there. Traveled along to experienced history of the great antiquities in Siemreap.
2007    In Aprail, hold an exhibition with the predecessors Mr. Chang Chao-Tang and Mr. Liu Chen-Hsiang in memory of Mr. Hung Hai-Tai.
      In May, followed the footsteps of American painter, Georgia O’Keeffee, Tseng wandered in New Mexico. He was attracted deeply by ancient Mexican culture and the landscapes of dessert; he not only took some representive photos but also experenced the world of the photography masters’ originals.
In July, for the affirmation of American friends in the arts, made up his mind to arrange the works took in the past 11 years into two series. Named them as Nobody and Voice Inside.
In October, the predecessor of photographer, Mr. Chang Chao-Tang, put confidence in the two series, and helped to select works for exhibitions and photo books.
 
出版及展覽
 
出版
2004.01 「台灣頭-曾敏雄人物攝影集」/國立歷史博物館發行
2004.01 「冬之旅」攝影集/曾敏雄工作室發行
2005.08 「部百年美術史」/台中市政府
2005.10 「六十.六十 – 曾敏雄人像攝影集」/國立台灣交響樂團發行.
2005.12 「台灣頭?文化筆記書」/東森媒體集團
2007.11 「風景?安靜 」/曾敏雄工作室
 
  展
2000.09 「12分39秒─中部藝術家人像攝影展」/景薰樓藝廊
2002.05 「陳庭詩遺作暨人像紀念展」/國立台灣美術館
2004.01 「台灣頭─曾敏雄人物攝影展」/國立歷史博物館
2006.01 「台灣頭」/台灣愛普生公司藝廊
2007.12 「散步?安靜」/台北爵士攝影藝廊
2008.03 「風景 安靜」/台灣國際視覺藝術中心
 
  展
2004    「台東縣美展」
2007    「黃海岱百年榮耀攝影展」
 
Pubications
2004  Face’s Talk – Portrait photography by Ming-Hsiung Tseng , by National Museum of History.
2004  Winter’s tour, by Ming-Hsiung Tseng Studio.
2005  History of Arts in the middle of Taiwan, by Taichung City Government.
2005  Sixty, sixty - Portrait photography by Ming-Hsiung Tseng , by the National Taiwan Symphony Orchestra.
2005  Face’s Talk – a culture notenook, by Eastern Group.
2007  Walking inside, by Ming-Hsiung Tseng Studio.
 
Exhibitions
One man shows
2000  12 Minutes 39 Seconds – Portrait Photograph of Artists in the middle of Taiwan, in Ching-Shiun Lo Gallery.
Ting Shih Chen Memorial Exhibition, in National Taiwan Museum of Art.
2004  Face’s Talk – Portrait photography by Ming-Hsiung Tseng, in National Museum of History.
2006  Face’s Talk, in the Gallery of Taiwan Epson.
2007  Walking Inside, in Jazz Imagine Gallery.
2008  Voice Inside,in TIVAC.
 
展場: TIVAC台灣國際視覺藝術中心
: 2008.03.15 (週六) ~04. 09(週三)
開幕茶會: 2008.03.15 (週六) 14:30
 
本中心空間由  財團法人│國家文化藝術│基金會贊助
Sponsored by National Culture and Arts Foundation
 
  開放時間 Open Time:
     週  Monday off
     週二 ~ 日  Tuesday ~ Friday 12 : 00 ~ 18 : 00
 
  展出地點Address : TIVAC台灣國際視覺藝術中心
             樓 / 流浪風景
           地下室/ 平凡人物
 
  Exhibition Location : Taiwan International VisualArts Center
10492台北市遼寧街45巷29號1
1 F, No. 29, Lane 45, Liao-ning Street, 10492 Taipei
Tel : 2773-3347     Fax : 2773-8779
  交通指示Traffic Instructions :
    捷運木柵線MRT Mu-zha Line : 南京東路站下Get off at Nan-jing stand
          公車Bus Transportation :
          中 崙 站Chong-lun stop : 41, 52, 202, 203, 205, 257, 265, 276
          中興中學Chong-shing High School stop : 41, 52, 202, 203, 205, 257
          芝麻大廈Chi-ma Building stop : 74
 
以上展覽訊息及新聞稿內容由 TIVAC台灣國際視覺藝術中心 提供.
如有更正或錯誤, 請以主辦單位所公告為準.

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