#尋人啟事
#胡湘荷妳在哪裡
我的母親已八十歲,
疫情期間,
母親常在電話跟我聊一些過去的事情,
母親的記憶力非常好,
從她十歲開始到現在,
她幾乎能記得所有的事情。
當然,
她記的幾乎都是些令人心碎的事。
就像她的妹妹_
我的小阿姨,
跟她失聯了四十三年的事,
一直讓母親忘不了。
小阿姨屬猴,
64歲、
1956年出生。
大約1977年離開緬甸,
去到泰國投靠大舅,
又輾轉在1978年左右去了加拿大。
之後,
就失去了聯絡。
自從有網路以來,
我就幫忙母親在各種尋人版上刊登過尋人啟事,
但都沒有下文。
可能是刊登的資訊不齊全。
四十三年前,
小阿姨從緬甸到泰國又到加拿大,
可能證件、姓名等都跟原本的不一樣了。
近期,
與我母親通話,
母親又提到失聯的小阿姨。
她叮嚀我們是否能幫忙她再找找看。
母親今年八十歲,
她很想知道她的小妹,
是否還活在這世界上?
附上母親說的話,
她讓我公佈在網路上。
希望有緣,
我的小阿姨能看到。
Midi 於永和
2020 April 12
#胡湘荷
#尋人
胡湘荷,妳在哪裡?
阿湘,
我是妳的二姐胡明珠。
我們分別有好長一段時間了。
妳離開緬甸時,
我二兒子才剛出生,
都還不滿一個月,
妳來看他時,
還說:
「他的臉白白的,
是不是我給他擦粉?」
現在,
我二兒子四十三歲,
我呢,
已經快滿八十二歲,
八十多歲,
是老人了。
人家說,
人愈老記性愈差,
我是相反,
我的記性反倒是愈老愈好。
但是,我能記住的,
都是些傷心的事情。
也許,
我們這代人,
也沒有什麼快樂的事情可以記住。
就像妳的離開,
我們從此失去聯絡,
想起妳,
就讓我難過。
妳還活著嗎?
我想妳會活得好好的。
妳有幾個小娃了?
過得怎麼樣呢?
四十三年前,
妳離開腊戌時,
妳還在腊戌漢人學校唸書。
有天放學,
我去攔住妳,
跟妳說:
「妳以後每天下課後就來我家吃飯,
別去大姐家吃了…」
妳說:「好」。
妳也就跟著我到我家吃飯了。
我還記得,
妳才剛坐下,
我不知怎麼搞的,
就說了那些話。
我說:
「大姐讓妳以後來我這裡吃飯,
別去她家吃了,
讓妳三姐去她家吃,
妳三姐不挑嘴,
妳比較挑嘴…」。
這些話,
是大姐跟我說的,
我當時太懵,
太老實,
我也不曉得,
為什麼要說這些大姐講的話?
為什麼要講給妳聽?
我完全,
沒有擔待不了妳的意思呀。
不管多窮,
姐妹間互相照顧都是應該的,
我轉述大姐說妳的那些話,
是沒有任何理由的,
就是我以為是姐妹之間的聊天,
講出來而已。
我那時候過得很困難,
養著六個小娃,
病死了兩個。
但是,
照顧自己的妹妹是天經地義的。
那天,
我邊說就邊到廚房去炒菜,
難得妳來這裡吃飯,
總要多一樣什麼菜才行。
我炒完菜端著出來,
妳就不見了。
當時,
房東許老嬤嬤還在場,
她說,
「我轉進廚房,
妳就站起來走了…」
我那時才發覺;
我講錯話了。
妳這麼敏感的人呀!
我一路追著妳,
追到大水塘路上_
到妳跟妳三姐住的地方,
妳正在哭。
妳正在哭著跟妳三姐吵架,
妳跟妳三姐說:
「二哥寄來的錢分來…」
妳三姐不敢應妳,
在旁沉默著。
這筆妳要的錢,
確實是妳二哥寄來給妳們兩姐妹的生活費。
那時,
媽媽剛去世不久,
大哥人去了泰國;
在泰國北部滿堂安了家,
家裡所有的兄弟陸續去了泰國。
而爸爸因為沒身份證在貴概被移民局抓住,
送到仰光坐滿九年牢,
緬甸政府正打算著把他送到台灣去的時候…
那天,
我看著妳哭,
我就明白了妳的心情。
妳三姐在準備跟她愛人私奔,
在腊戌妳也只有大姐、我和妳三姐了。
我和大姐早結婚,
各自已有有家庭。
如今妳三姐又要嫁人,
大哥他們又遠在泰國,
母親去世,
父親坐牢。
妳接下來就要孤苦零丁的一個人生存了。
一個十八歲的女孩。
我知道妳的害怕和難過。
那天,
看著妳哭,
我很後悔把大姐說的話講出來。
妳應該了解我的。
我一直都盡力照顧我的家人,
當時從雲南背著妳逃難到緬甸邊境,
背了一天一夜。
我都是自願的。
妳記得嗎?
妳到腊戌讀書時,
很想要一條件仔褲,
那時許多人都買不起,
我還是費盡力氣買給妳。
妳知道我是心疼妳的。
妳離開腊戌的那天,
妳說妳要去泰國了。
臨走時,
我拿了300塊錢給妳,
妳知道嗎?
那時候我拿出300塊錢緬幣是到處借來的錢呀。
阿湘,
我知道妳一直都在受苦,
去到泰國,
大嫂可能待不得妳,
妳二哥、三哥他們當時也沒能力照顧妳,
妳在泰國又沒有合法的身份;
哪可能有其它去處。
最後妳選擇結婚,
我想也只是為了解脫這些難過的生活罷了。
之後,
就聽說妳嫁了人,
跟著丈夫家去了加拿大。
之後,
我就再也就打聽不到妳的下落了。
我們最後的連繫,
停留在泰國北部滿堂,
或是停留在泰緬邊境美賽,
我都有些記不得了。
那時,
聽說妳從大哥家跑出來了?
又聽說妳去暫住在一對老年夫妻的家裡?
這些,
都是後來傳到腊戌的消息了。
妳去加拿大前,
還寄來給我和大姐和妳三姐每個人一件衣裳布、
一條籠基。
三份禮物裡夾著三張白紙,
寫著:「大姐的、二姐的、三姐的…」。
我還記得,
那是託「義號佛堂」楊前人帶來的禮物。
那條籠基到現在我還留著_
孔雀花紋的。
阿湘,
我這個作二姐的也羞愧妳了。
當時,
聽到這些關於妳的困難的消息,
只能每天想念著,
想到傷心,
我沒有任何能力。
那時,
我是,
連從緬甸腊戌到泰國邊境的車票都買不起呀。
當時我養著這麼多小娃,
吃一口飯都難。
阿湘,
現在講這些都只是回憶了,
都是我們老人家的回憶,
都不重要了。
那為什麼還要講這些呢?
就是,
為了,
想讓妳看到,
看到這些我說的話,
證實,
我是妳的二姐而已。
想讓妳知道,
我一直在找妳。
我活到八十歲,
夠了,
人活這麼老沒什麼意思,
都盡是傷心的事情。
我不知哪天會死去。
但如果可能的話,
在死去之前,
能讓我知道一下妳的消息。
我想知道,
妳在哪裡?
我想知道,
妳還活著嗎?
阿湘,
爸爸十幾年前已經去世,
大哥六年前去世,
連大姐,
前年也不在世上了。
妳二哥;
他住在泰國山邊荒地裡,
幫人家看田地,
過得不是很好,
但也不用擔心,
我在泰國的二兒子和大姑娘時常會去照顧他。
妳三哥,
講到也是讓我難過呀。
他大前年腦出血,
去醫院醫好了,
但醫好後,
很奇怪,
突然忘記了漢人話,
只會講泰國話。
後來不久,
他就偷偷上吊自殺了。
你說,
我們兄弟姐妹這是什麼樣的命運呢?
阿湘,
我們家沒剩下什麼人了,
妳三姐、妳四哥還在泰國。
還有我,
我還活著。
我還在緬甸,在腊戌。
除了妳,
我們一家人也就剩下這三個人了。
阿湘,
我們已經分別已四十三年,
妳也有六十多歲了吧?
我很想知道,
妳在哪裡?
妳還活著嗎?
如果有緣,
妳看到這信,
就回我一下吧。
妳的二姐胡明珠,
日日夜夜,
在等妳的消息。
二姐胡明珠 於緬甸腊戌
2020 年4月11日
姪Midi代筆
找人信箱:humingju1638@gmail.com
**************
#notice for a missing person
translated by Jane Lin
****************
Where are you, Hu Shine-Ho?
Ah-Shine,
This is your 2nd sister, Hu Ming-Ju. It has been a long time since we last saw each other. When you left Burma, my 2nd son was not even one-month-old. You asked why he was so fair-skinned? Had I put powder on his face? Now, he is 43 and I am almost 82.
Eighty something...I am indeed an old woman! People say that you lose your memory as you age. I am quite the opposite. The older I get, the better I remember! But, what I remember is nothing but sadness. Perhaps, our generation just doesn't have much happiness. Like you leaving home, we losing contact forever…. The thought of you puts me in such despair. Are you still alive? I imagine you living a good life?!! How many children? How are you?
Forty-three years ago, you were still a student at Chinese High School in Lashio. One day after school, I went to intercept you, "From now on, come to my home after school. Don't go to 1st sister's for dinner anymore." You said, "OK" and followed me home.
I still remember clearly that you had just sat down and I said, "The first sister asks that you come to me for dinner. She will take 3rd sister who's easy-going, not like you, a picky eater." I don't know what possessed me that day? Why I had to tell you what 1st sister had to say? Was I too naive? Too honest? Too stupid? I had absolutely no intension not to take care of you - we are sisters!!!! We have to care for each other, no matter how poor we are!!! The first sister's words just came out as a casual chat between sisters. Nothing more!
Life was tough for me at the time. Diseases took away two of my six children. But that didn't mean I would ignore my God-given responsibility as your elder sister. Without realizing the impact of my "casual chat", I went into the kitchen wondering what additional dish I could come up with for your first dinner with us. When I came out with the dishes, you were already gone! According to our landlady, Granny Hsu, you just got up and left as soon as I was out of sight. Only then did I realize my stupid mistake and how sensitive you were! Immediately, I ran after you, all the way to Big Pond Road where you and 3rd sister stayed. You were crying, asking 3rd sister for the money that 2nd brother sent. 3rd sister just kept quiet.
Indeed! The money that you demanded from 3rd sister was to cover living expenses for both of you. At that time, Mother had already passed away. The first brother went to Thailand, had already settled his own family in Pong Ngam. All the brothers followed suit. Father got caught in Kutkai by the immigration for not having an I.D. and had been in prison in Rangoon for 9 years. The Burmese government was just about to send him to Taiwan…. That day, while watching you cry, I understood how you felt. The third sister was getting ready to run away with her lover and both 1st sister and I were married young with our own families to deal with. As an 18-year-old with no mother, a father in prison, you must have felt all alone, sad and very scared.
I was filled with regrets watching you that day. But, please understand that I have always tried my best to take care of my family. When we escaped from Yunnan to Burma as refugees, I carried you on my back all day and all night without any complaints. When you went to Lashio for school, you wanted a pair of jeans so badly, remember? It was such a luxury that most people could not afford. Yet, I gathered all my might to get you a pair. You know I always have a soft spot for you, don't you? The day you were leaving Lashio for Thailand, do you know how many places I had to try to gather 300 Burmese kyats for you???
Ah-Shine, I know it was a huge struggle for you in Thailand. It's impossible that 1st sister-in-law would put you up. Second and 3rd brothers were in no position to help you….. I suppose you were pushed into marriage, just to end this desperate situation. Last I heard, you moved to Canada with your husband. From that point onward, in spite of all the efforts, I just couldn't find any trace of your whereabouts.
Our last contact stopped at Pong Ngam, Thailand. Or, was it MaeSai? I can't quite remember now. The news came to Lashio that you had run away from 1st brother's home. Later, you were temporarily staying with an older couple….
Before leaving for Canada, you sent, via Abbott Yang of the Yi Buddhist Hall, a package for us - each gift had a piece of dress fabric and a longyi, clearly labeled on a piece of white paper: "for 1st sister," "for 2nd sister," "for 3rd sister." I still have that longyi, with a peacock pattern, after all these years!
Ah-Shine, I feel deeply embarrassed to be your elder sister. Upon hearing the challenges that you had to face at the time, I could do nothing but worrying and feeling sad. I couldn't even afford the bus fare from Lashio to the Thai border. I barely managed to feed my own children!
Ah-Shine, What's the use of talking about these old memories? These sad memories of us old people have no importance but to serve to show you that I am indeed your 2nd sister.… that I have been looking for you all these years.
To live in my eighties is more than enough for me. It's not much fun to live this long - just a lifetime of sadness. I have no idea when I will die and I don't really care. I just wish that I could hear from/about you before I leave this world. I want to know where you are. I want to know if you are still alive.
Ah-Shine, Father passed away more than a decade ago. The first brother left us 6 years ago, so did the first sister 3 years ago. The second brother works as a field caretaker in a remote Thai mountainside. It's not a good life, but both my 2nd son and first daughter are also in Thailand; can visit and take care of him often. The saddest is our 3rd brother. He had a stroke 3 years ago. After recovery, he suddenly forgot his Chinese, could only speak in Thai. Not long after, he hanged himself! Please tell me what kind of fate has been bestowed on our siblings??? What is the meaning of life???
Ah-Shine, There aren't that many of us left, only 3rd sister and 4th brother in Thailand and me still in Burma. In Lashio.
Ah-Shine, We have been apart for 43 years. You should be in your 60s by now. I really would like to know if you are still alive and where you live. God willing, you will see this letter and reply!!! (humingju1638@gmail.com)
Waiting to hear from you, day and night!
Second sister, Hu Ming-Ju
Lashio, Myanmar
April 11. 2020
onward meaning 在 聶永真 Aaron Nieh Facebook 的最佳貼文
強中之強!
-
攝影之聲19
#照片 #雕塑
#photo #sculpture
在這期《攝影之聲》中,日本設計師田中義久與雕刻家飯田竜太所組成的雙人創作組合「Nerhol」,將照片層層堆疊雕琢刻鏤,改造平面攝影為多元視點的立體圖像,顛覆照片設下的時空制約;荷蘭藝術家Anouk Kruithof擷取81個美國機關組織的Instagram帳號所發布的官方照片,締構一系列複合媒材影像雕塑,在型態轉化之中探索當代圖像訊息的變異組建;韓國藝術家權五祥拍下大量的實物細節,將照片拼貼雕砌成各種人形塑像與物件結構,超越平面—立體形態之間的思索界線。
本期的Artist’s Showcase單元,我們特寫1992年出生的數位媒材原生世代——影像藝術家小林健太,藉由他自由裂解增生的數位塗抹(digital smudge)軌跡,在介入、破壞與影像噪音化的各種實驗中,將傳統攝影的物質與機械性建制重新格式化,跌進影像生成狀態的混元世界,突顯了視覺技術的思維後像。或許激浪派(Fluxus)的意識將再透過他的作品重返攝影的話題,並反映著這個世代的視線主張。
◑ GRAB YOUR COPY NOW!! ◑
Voices of Photography
Issue 19 : #照片 #雕塑 #photo #sculpture
在這期《攝影之聲》中,日本設計師田中義久與雕刻家飯田竜太所組成的雙人創作組合「Nerhol」,將照片層層堆疊雕琢刻鏤,改造平面攝影為多元視點的立體圖像,顛覆照片設下的時空制約;荷蘭藝術家Anouk Kruithof擷取81個美國機關組織的Instagram帳號所發布的官方照片,締構一系列複合媒材影像雕塑,在型態轉化之中探索當代圖像訊息的變異組建;韓國藝術家權五祥拍下大量的實物細節,將照片拼貼雕砌成各種人形塑像與物件結構,超越平面—立體形態之間的思索界線。
本期的Artist’s Showcase單元,我們特寫1992年出生的數位媒材原生世代——影像藝術家小林健太,藉由他自由裂解增生的數位塗抹(digital smudge)軌跡,在介入、破壞與影像噪音化的各種實驗中,將傳統攝影的物質與機械性建制重新格式化,跌進影像生成狀態的混元世界,突顯了視覺技術的思維後像。或許激浪派(Fluxus)的意識將再透過他的作品重返攝影的話題,並反映著這個世代的視線主張。
專欄單元中,張世倫對類比底片粒子與數位像素的影像物質性進行思辨,闡述影像的不完美特性對攝影本質的啟示;顧錚評析中國藝術家蔡東東近期發表的攝影裝置系列——《泉》,在達達主義興起並影響至今的一百周年之際,檢視當代現成物藝術的實踐語彙;此外,從這期開始,我們更邀請香港攝影學者黎健強執筆一個新的連載專欄——「影像香港」,他以近年親身參與籌劃的攝影展覽歷程做為序論,並將陸續疏理香港的攝影史脈與當代影像地景,做為我們串連東亞攝影發展的另一切點。
在英國近期「脫歐」抉擇的歷史之年,也是愛爾蘭「脫英」武裝革命——1916年「復活節起義」——的一百周年,這場獨立行動雖告失敗,卻因最終催生了愛爾蘭共和國而成為歷史關鍵,今年在倫敦與都柏林皆有相關的紀念活動。梁秋虹在英、愛現場深度剖析這些歷史影像檔案的視覺展演,解讀革命符號與受難者影像中,攝影政治學幽微操作的記憶與神話。
「Q」單元專訪德國資深出版人Gerhard Steidl,他於1972年創立的「Steidl」以出版印工精緻的作品集聞名,並成為國際藝術出版界的指標之一,Steidl在訪談中與我們分享他的工作經驗,以及對紙本印刷工藝的觀察見解。本期附帶的別冊《SHOUT》則特別揭載中國藝術家孫彥初的《虛構集》系列,他自古玩市場蒐集中國上世紀七O至八O年代的素人生活照,以塗鴉拼貼重構造相,在影像的虛實映照之間轉動拉扯。
編輯台報告埋著頭寫著寫著,《攝影之聲》正式來到第五個周年,而我們仍在深入影像銀河悠悠無邊的光年裡緩緩推進。謝謝親愛的讀者、參與《攝影之聲》的藝術家、所有撰稿人和工作伙伴。這是一段長途旅行,我們將繼續往下一站前進。
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In this volume of VOP, we see how “Nerhol” the creative duo made up of Japanese designer Yoshihisa Tanaka and sculptor Ryuta Iida put together layers of photographs with sculpturing and engraving, changing 2D photography to 3D images with multiple points of view, challenging the time-space limits of photographs. Also, we will also learn about how Dutch artist Anouk Kruithof selected official photographs from the Instagram accounts of 81 American organizations to create a series of photo-sculptures using multiple media, through which she explores the changes and construction processes of contemporary image information. In addition, we will see how Korean artist Osang Gwon with his vast number of photographs of objects taken in detail, combines these images into sculptures of various characters and structures, crossing the visual and thought boundaries of 2D and 3D.
We present a special in this issue’s Artist Showcase on Kenta Cobayashi, a visual artist of the digital media age born in 1992. Through his creative journey using free expression with the digital smudge in Photoshop, he re-formalizes the materiality and mechanism of traditional photography, immersing himself in a state of flux when images were born and highlights the technicalities behind visual creations. His work seems to have an affinity with Fluxus bringing this art movement back into the photographic conversation through his various experiments of intervention, destruction and noise in images. The work also reflects the trend of viewing in this time and age.
In this issue’s columns, Shih-Lun Chang touches on the issue of materiality between the grains of film photography and the resolution of digital photography, illustrating the inspiration that can be brought to the nature of photography by the imperfection of images; Zheng Gu critiques Fountain, the recent photography installation work by Chinese artist Dongdong Cai, which examines the practical language of ready-made art in the centennial anniversary of Dadaism’s emergence and influence. In addition, starting from this issue, we invite renowned Hong Kong photography academic Dr. Edwin K. Lai to pen a new column “Image Hong Kong”. He begins with sharing his journey of curating and participating in photography exhibitions in recent years, and will subsequently go on to bring us through the historical lineage of Hong Kong’s photography and its contemporary landscape, providing us with a new link point with East Asian photography.
This year where we witness “Brexit” also coincides with the 100-year anniversary of the “Easter Rising” of 1916 associated with Ireland’s military revolution in a bid to perform a “Brexit”. Although this bid for independence met with failure, it continued to hold key meaning in history for its eventual result in birthing the Republic of Ireland. This year, commemorative activities were held in both London and Dublin. Chiu-Hung Liang brings us in-depth reports of the visual displays of historical archival images from the two locations, interpreting the revolutionary iconography involved and the intricate influences exerted by photography politics on the images of victims, their memories and legacies.
The “Q” segment features an interview with long-time publisher Gerhard Steidl who founded the publishing house “Steidl” in 1972, well-known for its high quality publications which marks it out as a landmark of the international artistic publication circle. Steidl shares his work experiences as well as observations and opinions about the craft of the print with us in this interview. Also, in this issue’s supplement SHOUT, we present a special excerpt of Chinese artist Yanchu Sun’s Ficciones, where he presents a series of photographs of the everyday life of ordinary people from antique markets in China between the 70s’ and 80s’, employing the means of drawing and collage to recreate images, playing on the relations between the real and the fictional.
With this editorial we write, VOP enters its fifth anniversary. As we continue our slow but sure journey forward in the universe of photography, we want to thank our dear readers, artists, writers and contributors as well as others who have worked with VOP, onward we move!
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Voices of Photography 攝影之聲
www.vopmagazine.com
onward meaning 在 VOP Facebook 的精選貼文
◑ 新刊上架 !! ◑
Voices of Photography
Issue 19 : #照片 #雕塑 #photo #sculpture
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在這期《攝影之聲》中,日本設計師田中義久與雕刻家飯田竜太所組成的雙人創作組合「Nerhol」,將照片層層堆疊雕琢刻鏤,改造平面攝影為多元視點的立體圖像,顛覆照片設下的時空制約;荷蘭藝術家Anouk Kruithof擷取81個美國機關組織的Instagram帳號所發布的官方照片,締構一系列複合媒材影像雕塑,在型態轉化之中探索當代圖像訊息的變異組建;韓國藝術家權五祥拍下大量的實物細節,將照片拼貼雕砌成各種人形塑像與物件結構,超越平面—立體形態之間的思索界線。
本期的Artist’s Showcase單元,我們特寫1992年出生的數位媒材原生世代——影像藝術家小林健太,藉由他自由裂解增生的數位塗抹(digital smudge)軌跡,在介入、破壞與影像噪音化的各種實驗中,將傳統攝影的物質與機械性建制重新格式化,跌進影像生成狀態的混元世界,突顯了視覺技術的思維後像。或許激浪派(Fluxus)的意識將再透過他的作品重返攝影的話題,並反映著這個世代的視線主張。
專欄單元中,張世倫對類比底片粒子與數位像素的影像物質性進行思辨,闡述影像的不完美特性對攝影本質的啟示;顧錚評析中國藝術家蔡東東近期發表的攝影裝置系列——《泉》,在達達主義興起並影響至今的一百周年之際,檢視當代現成物藝術的實踐語彙;此外,從這期開始,我們更邀請香港攝影學者黎健強執筆一個新的連載專欄——「影像香港」,他以近年親身參與籌劃的攝影展覽歷程做為序論,並將陸續疏理香港的攝影史脈與當代影像地景,做為我們串連東亞攝影發展的另一切點。
在英國近期「脫歐」抉擇的歷史之年,也是愛爾蘭「脫英」武裝革命——1916年「復活節起義」——的一百周年,這場獨立行動雖告失敗,卻因最終催生了愛爾蘭共和國而成為歷史關鍵,今年在倫敦與都柏林皆有相關的紀念活動。梁秋虹在英、愛現場深度剖析這些歷史影像檔案的視覺展演,解讀革命符號與受難者影像中,攝影政治學幽微操作的記憶與神話。
「Q」單元專訪德國資深出版人Gerhard Steidl,他於1972年創立的「Steidl」以出版印工精緻的作品集聞名,並成為國際藝術出版界的指標之一,Steidl在訪談中與我們分享他的工作經驗,以及對紙本印刷工藝的觀察見解。本期附帶的別冊《SHOUT》則特別揭載中國藝術家孫彥初的《虛構集》系列,他自古玩市場蒐集中國上世紀七O至八O年代的素人生活照,以塗鴉拼貼重構造相,在影像的虛實映照之間轉動拉扯。
編輯台報告埋著頭寫著寫著,《攝影之聲》正式來到第五個周年,而我們仍在深入影像銀河悠悠無邊的光年裡緩緩推進。謝謝親愛的讀者、參與《攝影之聲》的藝術家、所有撰稿人和工作伙伴。這是一段長途旅行,我們將繼續往下一站前進。
In this volume of VOP, we see how “Nerhol” the creative duo made up of Japanese designer Yoshihisa Tanaka and sculptor Ryuta Iida put together layers of photographs with sculpturing and engraving, changing 2D photography to 3D images with multiple points of view, challenging the time-space limits of photographs. Also, we will also learn about how Dutch artist Anouk Kruithof selected official photographs from the Instagram accounts of 81 American organizations to create a series of photo-sculptures using multiple media, through which she explores the changes and construction processes of contemporary image information. In addition, we will see how Korean artist Osang Gwon with his vast number of photographs of objects taken in detail, combines these images into sculptures of various characters and structures, crossing the visual and thought boundaries of 2D and 3D.
We present a special in this issue’s Artist Showcase on Kenta Cobayashi, a visual artist of the digital media age born in 1992. Through his creative journey using free expression with the digital smudge in Photoshop, he re-formalizes the materiality and mechanism of traditional photography, immersing himself in a state of flux when images were born and highlights the technicalities behind visual creations. His work seems to have an affinity with Fluxus bringing this art movement back into the photographic conversation through his various experiments of intervention, destruction and noise in images. The work also reflects the trend of viewing in this time and age.
In this issue’s columns, Shih-Lun Chang touches on the issue of materiality between the grains of film photography and the resolution of digital photography, illustrating the inspiration that can be brought to the nature of photography by the imperfection of images; Zheng Gu critiques Fountain, the recent photography installation work by Chinese artist Dongdong Cai, which examines the practical language of ready-made art in the centennial anniversary of Dadaism’s emergence and influence. In addition, starting from this issue, we invite renowned Hong Kong photography academic Dr. Edwin K. Lai to pen a new column “Image Hong Kong”. He begins with sharing his journey of curating and participating in photography exhibitions in recent years, and will subsequently go on to bring us through the historical lineage of Hong Kong’s photography and its contemporary landscape, providing us with a new link point with East Asian photography.
This year where we witness “Brexit” also coincides with the 100-year anniversary of the “Easter Rising” of 1916 associated with Ireland’s military revolution in a bid to perform a “Brexit”. Although this bid for independence met with failure, it continued to hold key meaning in history for its eventual result in birthing the Republic of Ireland. This year, commemorative activities were held in both London and Dublin. Chiu-Hung Liang brings us in-depth reports of the visual displays of historical archival images from the two locations, interpreting the revolutionary iconography involved and the intricate influences exerted by photography politics on the images of victims, their memories and legacies.
The “Q” segment features an interview with long-time publisher Gerhard Steidl who founded the publishing house “Steidl” in 1972, well-known for its high quality publications which marks it out as a landmark of the international artistic publication circle. Steidl shares his work experiences as well as observations and opinions about the craft of the print with us in this interview. Also, in this issue’s supplement SHOUT, we present a special excerpt of Chinese artist Yanchu Sun’s Ficciones, where he presents a series of photographs of the everyday life of ordinary people from antique markets in China between the 70s’ and 80s’, employing the means of drawing and collage to recreate images, playing on the relations between the real and the fictional.
With this editorial we write, VOP enters its fifth anniversary. As we continue our slow but sure journey forward in the universe of photography, we want to thank our dear readers, artists, writers and contributors as well as others who have worked with VOP, onward we move!
---
Voices of Photography 攝影之聲
www.vopmagazine.com
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