攝影之聲Voices of Photography 1月號/2016...

Issue 17: 家族之間
Kins and Kinship

在這期《攝影之聲》中，我們穿越私密的家族史與家庭關係，尋找影像話語中「家」與生命的連結和距離。日本藝術家藤井良雄從父母的失合離異，面臨著家的解體，在崩落的家庭影像裡注視一個逐漸剝蝕、卻又迴繞於難以截斷臍帶命途的家庭形貌；中國藝術家黎朗面對父親的逝世，開始在他所拍攝的父親肖像與遺物照上逐一書寫父親畢生經歷的時光，直到三萬多個日期數字在照片上綿綿編織，生命時空的關係距離也在此立體地延展開來；香港藝術家劉衛的父母來自中國北方，歷經浩蕩的文革運動，輾轉遷徙後在香港成家，在她拆解家族老相片、記錄父母近況並重返北方生活場景的歷史複視裡，這份跨越世代的家族相冊，述說著對家族記憶的遺念與離散關係的審視刻劃。

本期的Artist’s Showcase單元，我們與馬格蘭攝影家張乾琦在不同時區的忙碌奔波間進行了訪談對話，並揭載了他的新作——《時差》（Jet Lag）。台灣出生、在經年累月穿梭於世界各地的報導攝影工作生涯裡，「在路上」已是張乾琦的個人日常。當飛機、旅館與閃爍的螢幕成為生活唯一的連續，婚姻、家庭與時間則處在過於頻繁的失連狀況。繼他在《唐人街》、《我願意》、《鍊》和《囍》等處理人之關係處境的著名作品之後，《時差》是張乾琦在以「家」為題的主計畫裡，一個處理著終極斷連的系列。「我相信時間會告訴我什麼時候該踏上歸程」，他在某個時區裡對我們說。

張世倫的「論影像」專欄則是對藝術家的「家族／家庭照」創作的反身探討，在各種映照親族關係間的攝影中論證「家」的影像建構與展演。顧錚則就中國與日本當代攝影中的家庭影像進行了大篇幅的介紹剖析，從王勁松的《標準家庭》、邵逸農與慕辰的《家族圖譜》到葉甫納的《家春秋》；自荒木經惟的《感傷之旅》、江成常夫的《新娘的美國》到淺田政志的《淺田家》等作品，家族關係在私密的、歷史的、再現的與擬仿的種種攝影裡交錯辯證，而使家的形象呈現著多樣的面貌。

此外，維持我們對攝影出版一直以來的關注火力，久違的「獨立攝影書庫」單元同樣由Larissa Leclair依本期主題推介了四本有趣的書給大家；在Q單元，我們專訪中國獨立出版人言由，他自2011年開始與中國新生代攝影創作者合作，並以「假雜誌出版」為中國攝影帶來了許多話題與新氣象。同時，攝影評論人陳佳琦從文學穿引，深度評寫藝術家陳傳興近期出版的攝影書《未有燭而後至》；另外，我們也新增了「攝影書與台灣」單元，透過早年影像出版的視角，梳理台灣與台灣攝影歷程的印記。

In this issue of VOP, through the relation between family history and private family relationships, we seek the connection and distance between “family" and life in photography. Japanese artist Yoshikatsu Fujii’s work shows us how he perceives his family’s falling apart in the face of his parents’ estrangement, a familial relationship that is disintegrating and yet binds like an umbilical cord. Chinese artist Lang Li, in the face of his father’s passing on, begins to mark the time of his father’s lifetime directly on portraits of his father as well as on items left behind, extending a trailing record of over 30,000 dates and establishing a relationship between the different times of his life. Hong Kong artist Wai Lau whose parents came from Northern China, participated in the Cultural Revolution and then made Hong Kong their home subsequently, deconstructs old family photos, records her parents’ current lives and makes a trip back north to revisit her parents’ historical homes of the past. These cross-generation family albums depict a deep reading of family memories and relationships between family members.

In our Artist’s Showcase, we have an interview with Magnum Photo photographer Chien-Chi Chang done in the midst of his busy schedule on the go between different time zones. We also feature some shots from his new work Jet Lag. Born in Taiwan and having spent years travelling all over the world as part of his documentary reporting work, “on the road” is a daily state in his personal life. When the plane, the hotel and a shimmering television screen become life’s only extension, marriage, family and time are in a perpetual state of disconnection. Following his work in China Town, I Do I Do I Do, The Chain andDouble Happiness etc which deal with interpersonal relationships, Chang turns to the theme of “Home” in the project Jet Lag, a series that deals with the ultimate disconnection. “I do believe time will tell when to commence the return journey.” He said from an unknown time zone.

In addition Shih-Lun Chang’s column On Images is a reflection of artists creation based on the theme of “clan/family photographs”, discussing the imagery of “home” and its ways of presentation through the portrayal of family relations through photography. Zheng Gu presents us with an extensive introduction of family photography in contemporary Chinese and Japanese photography, from Jin-Song Wang’sStandard Family, Yi-Nong Shao and Chen Mu’s Family Register, Fu-Na Ye’s Family Album, Nobuyoshi Araki’s Sentimental Journey, Tsuneo Enari’s Japanese war brides in America to Masashi Asada’s The Asada Family, family relations cross each other in complex private, historical, re-presentational and imitation forms of photography, presenting the image of the family in many forms.

Moreover, we continue our interest in photography publishing, we have a special on the “Indie Photobook Library”, also featuring its founder Larissa Leclair in this issue, introducing four interesting books. In the Q section, we interview Chinese independent photobook publisher, You Yan. He began working with the new generation of Chinese photographers since 2011 and introduced many new themes and possibilities to Chinese photography through his Jiazazhi Press. At the same time, photography critic Chia-Chi Chen writes about Taiwanese artist Chuan-Xing Chen’s recent new workWon’t Somebody Bring the Light and its connection with Taiwanese literature. Also we added in a new section titled “Photobooks & Taiwan”, from the perspective of early publishing, sorting out Taiwan and its photography tracks.

作者簡介：

-----關於 Voices of Photography 攝影之聲-----

《Voices of Photography 攝影之聲》是一份攝影藝術獨立刊物，2011年9月在台灣創刊。每期介紹當代攝影作品與攝影藝術家，藉由訪問藝術家、藝廊、策展人、出版人與相關藝術工作者，以及提供攝影專欄、攝影書評與攝影展覽資訊的介紹，探索攝影藝術的創作概念、文化與思潮。曾獲文化部2013年第37屆金鼎獎雜誌類最佳主編獎及2014年第38屆金鼎獎人文藝術類雜誌優良出版品推薦。

Voices of Photography is an independent publication dedicated to contemporary photography. Launched in September 2011 in Taiwan, VOP features contemporary photographers and artists, as well as interviews with artists, gallerists, curators, and publishers and other related professionals worldwide, to share and explore the creativity and philosophy of photography.

www.vopmagazine.com
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