共同的记忆——摄影作品第二季 La mémoire collective

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共同的记忆 竖版

 

共同的记忆——摄影作品第二季 | La mémoire collective


杉本博司/常易/张巍 | Hiroshi Sugimoto/Christian Chambenoit/Zhang Wei

2017.09.13 - 2017.10.19

法国哲学家和社会学家Maurice Halbwachs在1925年发明了mémoire collective这个词,我把它译为“共同的记忆”。在今天,粗粗一扫历史研究类的文章,总是能看到类似于“集体记忆”的词,虽然被广泛地应用,但对它的理解并不是没有争议的,它的解读也往往需要在众多不同理论框架中选择一个。可是仅仅只选择一个的话,在我们看着这些展出作品的时候,会显得有些单薄。既然如此,不如就让我们保持一些对“共同的记忆”的朦胧感,如同诗人对待文字一般。

共同的记忆就肯定不是一个人的特权,而是一个群体共有的。随着时间的推移、空间的转变、文化语境的变化,这份记忆也会从一个模样变为另一个模样。只是根据记忆的不同,有些变化慢到让人觉得达到了永恒,有些变化却快过了一眨眼。在这根变化的轴上,杉本博司想要找到一些存在,能够从某种程度上超越时空和文化语境。他在动物模型上找到了灵感,因为这些模型能够超越自然给予它们本体的时间;他还找到了海,单纯的海景不仅能够唤起我们的某些记忆,同时它的存在又让任何人类文明显得渺小。很多人都深陷杉本博司作品创造的魅影中,他的海景不仅仅从形态上类似于我们记忆中见到的某片海,更是有一种如梦中相见的似曾相识感,这种感受似乎是从远古时起就在我们的潜意识中一脉相承。从某种程度上来说,杉本博司作品中的永生可以让任何一个人微不足道,也可以让任何一个文明变成指尖溜走的一个瞬间。

The French philosopher and sociologist Maurice Halbwachs coined the term mémoire collective (collective memory) in his book Les Cadres sociaux de la mémoire in 1925. Today, it is almost impossible to read a text in history that does not mention the term. Despite its popularity, it is not a term of undisputable meanings. Its interpretation often requires a selection out of several different theoretical frameworks and none is sufficient alone to explain the visual experience we would have with the exhibited photographs. Nevertheless, we can take a much broader definition of the term and can approach the artworks, in the manner a poet approaches words.

Collective Memory generally signifies a memory shared by a group. It is not exclusive to a single person and its (re)construction shifts with time, places and cultures, but depending on the memory, its sensitivity varies. Within the spectrum, Hiroshi Sugimoto wants to find images of existences which are – to a certain degree – unbounded by time, space, and cultures. He´s found his inspirations from animal mounts – a way to outlive the life assigned by Nature; he´s found the sea – an existence that both arouses some memories from us and at the same time whose scope is beyond any human existence. Many people are caught by the somewhat haunting images of Sugimoto. His seascapes, on one hand, have the iconic representations of some real memories we have of the sea but, on the other hand, strike many with a déjà vu kind of dreaminess as if this subconscious feeling is passed onto us from the First People. In a way, the immortality associated with Sugimoto´s images dwarfs any memory of a legendary hero or any history of a great civilisation.

杜若云章画廊 | Je Fine Art Gallery

上海市永嘉路498号 | 498 Yongjia Rd, Shanghai

周二 - 周日 11:00 - 18:00 (周一休息) | Tue - Sun 11.00 - 18.00 (Closed on Mondays)

更多艺术家信息 | About the Artist

 

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