VOP Issue 8 : 物件夢遊 Trance Amongst Objects
Voices of Photography 攝影之聲
Issue 8 : 物件夢遊
Trance Amongst Objects
在這期的《攝影之聲》中，陳曉雲以虛構的《墜枯錄注》文集，在擺弄枯枝與標題文字的影像文本(image-text)裡，展開意義追探的遊戲 ; 蔣志寄情於引火的花木，燒出一封封稍縱即逝的情書私語 ; 岸幸太撿拾路邊的廢棄物重新造相，拼貼出物相與物的對話 ; 陳維則將日常物件作為一個沉默劇場，演示物件在日常裡的非日常。
本期的Artist’s Showcase，特別介紹攝影家菊地智子，在甫獲木村伊兵衛攝影獎的「I and I」系列中，她長年紀錄中國變裝皇后(drag queen)，以攝影觸碰當代中國壓抑敏感的性意識問題。此外本期的Q單元，我們也專訪日本攝影評論家飯澤耕太郎，暢談攝影評論的角色觀點 ; 並與資深設計師深澤直人和攝影家藤井保對談，一探物件與攝影的中介關係 ; 以及，透過太田康介深入311福島核災警戒區的鏡頭，發現核災煉獄裡被世人遺忘的無辜動物，所敲起的人類文明浩劫警鐘。另外，本期也催生由攝影家蕭永盛撰寫的「台灣攝影史」，將以分期連載方式，追溯台灣攝影脈絡的歷史足跡。
Why do we look at “objects”? Photography gives us a chance to gaze and contemplate, to displace objects from their usual roles in our daily lives, and then re-focus our attention onto these everyday objects, evoking new dialogues between these objects and us. Our gazes fall upon them, sometimes exploring, sometimes avoiding certain things – which seem closer to us at times, and more removed from us at other times.
In this issue of VOP, Chen Xiaoyun starts a game of searching for meaning through fiddling with fallen branches and titles of his photos as image-texts in his fictitious book Zhuiku Tablet Annotations; Jiang Zhi expresses his burning feelings through flowers in flames; Kishi Kota constructs images with discarded items that he salvaged, presenting to the audience a mosaic of relationships between objects and images; Chen Wei uses everyday objects to create a silent stage, displaying the exceptional qualities of these common items in our daily lives.
This issue of Artist’s Showcase introduces Kikuchi Tomoko, who is recently awarded the Kimura Ihei Award with her I and I series of photographs. She has been documenting drag queens in China for a long time, exploring the sensitive and much repressed issue of gender consciousness in China through her lenses. In the Q columns, we interviewed Japanese critic Iizawa Kotaro, who talks about the point of views in photography critiques. In a dialogue with designer Naoto Fukasawa and photographer Tamotsu Fujii, we examine the relationship between photography as a medium and the objects it presents. Following this, we are reminded of the destructions caused by the human civilization through the pictures by Yasusuke Ota, of innocent animals abandoned in hells of the 311 Fukushima Nuclear Evacuation Zones. Also, this issue of VOP will kick start a series on “History of Photography in Taiwan” written by Hsiao Yong Seng, probing the historical footprints of photography in Taiwan.