Author: photogstory

台灣著名攝影師沈昭良自1990年代開始進行專題影像創作，記錄台灣獨特的社會現象與人文景觀，《映像·南方澳》(2001)展示漁港生活面貌及漁民的堅毅性格，《玉蘭》(2008)完整及深入地記錄台灣的玉蘭花產業，之後的《STAGE》(2011)、《SINGERS & STAGES》(2013)和《台灣綜藝團》(2016)三部曲，則以環境肖像、類型學攝影、紀實攝影三種方式拍攝充滿台灣特色的綜藝團和舞台車。

雖然《台灣綜藝團》最晚成書，卻是最早開始的，當2005年拍攝這系列時，沈昭良深深被綜藝團演出時的舞台車所吸引。台灣民間各種婚喪喜慶場合，均可看到以貨車改裝的舞台車，方便綜藝團到處表演，是十分獨特的娛樂表演方式。舞台車安裝有音響設備和耀眼的燈光效果，演出時貨車緩緩展開舞台，就如變形金剛一般，變身龐然大物，恍如裝置藝術。這啟發沈昭良創作出《STAGE》系列。

有別於《台灣綜藝團》以黑白影像記錄表演時的盛況和幕後花絮，《STAGE》則以空無一人的綜藝團舞台車為主體，有的停在民居附近，與周邊商店的燈光相映成趣；更多的是停放在鄉間空曠的柏油路或泥地之上，與燈火通明的廟宇爭芳鬥豔。雖然舞台車是畫面主角，色彩繽紛還帶點魔幻，卻不至於與鄉間環境格格不入，某種程度上也說明，舞台車和綜藝團的表演已是台灣民間文化的一部分。

從2006年至2011年間，沈昭良在台灣各地拍攝約一百部舞台車，他特意選用4×5吋大畫幅相機，在天黑前的「魔幻時刻」(magic hour) 以彩色正片拍攝舞台車，細緻地呈現這些耀眼的舞台。幻化的天色與絢麗奪目的舞台車令畫面更加綺麗，而舞台車上的蝴蝶、飛機、歐式城堡、摩天輪等圖案，同樣吸引人仔細觀看。這系列照片在真實中捕捉超現實，不僅記錄台灣鄉間的獨特文化，舞台車也成為沈昭良作品中廣為人知的視覺符號。

「隨著暮色漸入低垂，水田裏的波痕光影持續吸吮著夜色，愈發輝映舞台車上的飽滿綺麗。那是蓄勢待發的太空梭？真實與幻境的錯置？夢想與現實的距離？抑或只是午夜夢迴時的神遊囈語？直到按壓快門前的那一刻，我仍無意分清。」沈昭良。

沈昭良攝影作品及攝影集將於香港Art Central 2025展出。有興趣了解價格可私訊「顯影Photogstory」或Avocado Ar Lab。

Avocado X Art Central 2025

▮Artists
沈昭良 @chaoliangshen
周慶輝 @chouchinghui.studio
鍾孟宏 Chung Mong-Hong
羅晟文 @sheng_wen_lo

▮Booth
A2

▮VIP Preview
2025.03.25（二）14:00-20:00

▮Night Central
2025.03.26（三）17:00-21:00

▮Public Days
2025.03.26（三）12:00-17:00
2025.03.27（四）12:00-19:00
2025.03.28（五）12:00-19:00
2025.03.29（六）11:00-19:00
2025.03.30（日）11:00-17:00

▮Venue
香港中環海濱-香港島中環龍和道9號
Central Harbourfront, Hong Kong

▮Media Collaboration and Exhibition Execution
顯影 @photogstory

以典藏級微噴輸出起家的Avocado Art Lab，近年成立自家品牌的當代畫廊，致力推廣當代攝影藝術，今年首次踏足香港參加藝術盛事Art Central，呈現台灣攝影藝術面貌。展位以「BOUNDARY-less」為主題，有無邊界的意思，寓意藝術創作是不斷突破界限的過程，曾是新聞攝影記者的沈昭良和周慶輝、榮獲金馬獎最佳導演的鍾孟宏，還有具理工背景的羅晟文，四位藝術家在攝影道路上從未故步自封，突破創作的壁壘，以各具辨識度的作品脫穎而出。

沈昭良將展出代表作《STAGE》，這系列影像以空無一人的綜藝團舞台車為主體，畫面繽紛、夢幻而超現實，成為他作品中獨特的視覺符號。同樣是攝影記者出身的周慶輝，則以「編導式攝影」創作的《人的莊園》享譽國際，兩位藝術家同樣跨越傳統紀實攝影的手法，分別以極具風格化的影像在當代攝影範疇取得非凡成就。

憑藉《陽光普照》榮獲台灣金馬獎最佳導演的鍾孟宏，從未給自己設限，他既是導演、編劇、製片，本身也是一位出色的電影攝影師，曾以《大佛普拉斯》獲得金馬獎最佳攝影獎，2021年曾出版文字影像書《我不在這裡，就在往那裡的路上》。他的鏡頭捕捉日常生活片段，關注那些不起眼的事物與瞬間，作品平靜而有詩意，潤物細無聲。

羅晟文的求學和創作之路同樣沒有界限，對生態環境、動物行為深感興趣的他，藉著攝影、錄像、裝置、遊戲等多元媒介探索人類與動物、環境之間的關係。成名作《White Bear 白熊計畫》探討北極熊圈養現象，另一代表作《Fallout 落塵》則以衛星影像拼貼的手法重現世界各地核測試痕跡，藉著這些「人造景觀」思考影像與真實、人類行為與環境的微妙關係。

Avocado Art Lab invited PhotogStory to curate an exhibition titled BOUNDARY-less for its debut at Art Central, which highlights the profound artistry of Taiwanese contemporary photography.

Avocado Art Lab, a leading contemporary art gallery and innovative print lab from Taipei, has been selected to participate in the 10th edition of Art Central, one of Hong Kong’s premier art fairs.

For its debut at Art Central, Avocado has invited PhotogStory to curate a remarkable exhibition titled BOUNDARY-less, featuring four internationally acclaimed Taiwanese artists—Shen Chao-Liang, Chou Ching-Hui, Chung Mong-Hong, and Lo Sheng-Wen. This extraordinary collection highlights the profound artistry of Taiwanese contemporary photography and video art.

Artistic creation involves continually pushing boundaries, and these four artists have successfully transcended the limits of traditional creation with their distinctive works.

Shen Chao-Liang is a prominent contemporary photographer known for his commitment to documenting the evolution of Taiwanese society. His iconic series Stage has meticulously captured Taiwan’s dazzling “transformer-style” traveling stage trucks. The elaborate stages on wheels are large, colorful, and brightly lit structures that travel almost continuously across the country. They unfold within minutes to reveal their enchanting settings, then quickly pack up and depart shortly after a performance concludes. The Stage has become Shen’s unique visual language.

Chou Ching-Hui, also recognized as a leading contemporary photographer in Taiwan, brings a unique perspective to his work. His transition from a photojournalist to a creator has resulted in a distinctive photographic language. His Animal Farm project, a departure from his previous documentary style, is a testament to his innovative approach. Through his delicately exquisite and vibrantly colored images, he creates a hyper-real atmosphere, offering a fresh and intriguing take on the development of modern society. 

Chung Mong-Hong, who won the Golden Horse Award for Best Director and Best Feature for his 2019 film “A Sun,” has never confined himself to a single role. He is not only a director, screenwriter, and producer but also an outstanding cinematographer, having won the Golden Horse Best Cinematography Award for “The Great Buddha+.”  As a photographer, he captures fragments of daily life, focusing on seemingly insignificant moments. His works are calm, poetic, and subtly impactful.

Lo Sheng-Wen also explores his interests without boundaries. With a deep fascination for ecological environments and animal behavior, he examines the relationship between humans, animals, and the environment through various media, including photography, video, installation, and games. His famous work “White Bear” addresses the phenomenon of polar bear captivity. In contrast, another significant work, “Fallout,” uses satellite image collages to depict the traces of nuclear testing worldwide, examining the complex connections between image and reality, human behavior, and the environment through these man-made landscapes.

This exhibition aims to bridge cultures and share Taiwan’s rich artistic landscape with a global audience. We hope to foster meaningful connections with international art institutions and collectors, uniting the world through the universal language of art.

Avocado X Art Central 2025

▮Artists
沈昭良 @chaoliangshen
周慶輝 @chouchinghui.studio
鍾孟宏 Chung Mong Hong
羅晟文 @sheng_wen_lo

▮Booth
A2

▮VIP Preview
2025.03.25（二）14:00-20:00

▮Night Central
2025.03.26（三）17:00-21:00

▮Public Days
2025.03.26（三）12:00-17:00
2025.03.27（四）12:00-19:00
2025.03.28（五）12:00-19:00
2025.03.29（六）11:00-19:00
2025.03.30（日）11:00-17:00

▮Venue
香港中環海濱-香港島中環龍和道9號
Central Harbourfront, Hong Kong

▮Media Collaboration and Exhibition Execution
顯影 @photogstory

「故地重遊，風光不再，看牆景也看心境。」陳的

2015年，正當「觀塘市中心重建計劃」進展得如火如荼之際，攝影師陳的(Chan Dick)來到兒時成長的裕民坊，在某個靜謐午後重回曾經熟悉的社區，好奇之下走進裕華大廈，住客眼中曾經的「三不管地帶」，彼時已人去樓空、冷冷清清。漫步在樓梯間，牆角密密麻麻的電線早已拆走，然而痕跡仍清晰可見。是那刻的靈光乍現，曲折的電線痕跡令陳的想起山峰的輪廓，莫名想起青馬大橋的景色。

仔細摸索牆身，另一面牆上的波浪形凹痕，像是浮世繪的海浪，與從紅磡望向中環的風景匹配。如是者，攝影師在當天共拍攝七幅作品，有的牆身猶如棉花糖般的高積雲、有的好比長時間曝光的星軌。

多年前我訪問陳的時，已被這輯作品深深吸引，若沒有過人的想像力，誰能在斑駁的牆上看見如此多風景？然而，這系列與其代表作《柴灣消防局》同期創作的照片，之前卻從未展示。

2025年初，陳的母親離世，這系列作品不僅是他對成長社區裕民坊重建的反思，亦是他對母親的思念！在此特殊時刻，香港攝影平台「顯影 PhotogStory」為陳的策劃小型展覽《面壁思過》，首次展出這系列以牆身結合香港城市風景的照片，一幕幕似曾相識的地景透過僅餘的牆壁痕跡如迴光般浮現，藉此也反思城市重建與保育之間的微妙關係。

十年後再次重遊故地，裕華大廈早已拆卸，變成一片黑色碎石，當中夾雜著瓦礫，幻想著這是大廈遺留下來的痕跡。拾起石塊放在手中，黑壓壓、沉甸甸，攝影師不禁再憶往事，百感交集、不無唏噓，是時候好好梳理這份夾雜著回憶與親情的思緒。

陳的個展《面壁思過》

日期：2025年3月15日至4月13日

時間：星期二至日11am-1pm, 2pm-6pm

地址：石硤尾白田街30號JCCAC二樓二室「光影作坊」LUMOS Mini Gallery

藝術家自述

《面壁思過》這套作品反思城市重建與保育之間微妙的關係，探討重建是否能毫無痕跡地完成後，也同時抹去所有過去的歷史？

自幼在牛頭角長大，我的生活總離不開觀塘社區。每逢星期日，全家人會到工廠區的茶樓飲茶，因價格親民。我記得媽媽總會在飲茶時說：「食包包食飽」，因為小時候發育總會大食一點，蝦餃燒賣只有過節才會享用，雖家境不富裕，但家庭生活融洽。當時觀塘尚未有大型商場，所以飲完茶常到裕民坊逛逛。

到中學時代，放學後會和同學在裕民坊的麥當勞度過時光，或到寶聲戲院旁的唱片店聽歌。我在這裡買下人生第一張黑膠唱片，兒時回憶總離不開裕民坊！2015年，觀塘裕民坊重建計劃進行得如火如荼。某日拿著相機想在觀塘拍照紀錄，但最後一張照片也未拍下，原來記憶比拍照紀錄的方法更完整。

當把相機放回袋時，正對著裕華大廈入口，好奇心帶領我進入。走至三樓，看著牆上的舊電線痕跡，莫名其妙地令我聯想起青馬大橋景色，另一面牆則有像浮世繪的海浪，與從紅磡望向中環的風景更為匹配，一天內拍攝七幅作品。將香港景點與牆上痕跡線條配對，將真實景色融入將消失場景，《面壁思過》就是如此煉成。故事未完，作品推出後因為一次訪問從回舊地，卻意外發現牆上恍如獅子山的痕跡，最終作品由七張變成八張！

2025年，母親離世，《面壁思過》不僅是對長大社區重建的反思，亦是對母親情感的思念！

攝影師陳的

陳的(Chan Dick) ，香港著名攝影師，攝影集包括《探 The Trek》、《I SEE 吾見》及代表作《柴灣消防局》，後者曾獲2016年東京國際攝影獎的專業藝術攝影集首獎，作品曾於日本及荷蘭展出，也被香港文化博物館和日本奈良美術館收藏。

策展人劉東佩

香港攝影平台「顯影 PhotogStory」創辦人，從事攝影寫作，近年開始策劃攝影展覽，包括《工廈角落》、麥烽個展《香港曾經是這樣的》，也與攝影畫廊Boogie Woogie Photography聯合策劃攝影聯展《My Hong Kong 我城》及於2024年在Fine Art Asia聯合策劃特別展覽《Hong Kong Once Was》。

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In 2025, photographer Chan Dick will celebrate the 10th anniversary of his series, CEMENT-ERY. This collection not only reflects his thoughts on the redevelopment of Yue Man Square in Kwun Tong, the community where he grew up, but also preserves the memories of his mother, who passed away earlier this year.

In this special moment, the Hong Kong photography platform PhotogStory curated a small exhibition titled “CEMENT-ERY” for Chan Dick, showcasing this series of photos that combine wall surfaces with Hong Kong’s urban landscapes for the first time. Familiar landscapes emerge through the remaining wall marks like reflections, encouraging viewers to contemplate the delicate relationship between urban redevelopment and preservation.

In 2015, as the Kwun Tong Town Centre Redevelopment Project progressed rapidly, Chan Dick returned to Yue Man Square on a quiet afternoon. He wandered back into the familiar community and, out of curiosity, stepped into Yue Wah Mansion, which was already empty and desolate. Strolling through the staircase, the wires that once cluttered the corners had been removed, but their traces were still clearly visible. At that moment of inspiration, the twisted wire marks reminded him of the mountains’ outline and inexplicably brought to mind the scenery of the Tsing Ma Bridge.

As he carefully explored the walls, he noticed wave-like indentations on another wall that resembled the waves of ukiyo-e, matching the view from Hung Hom towards Central. That day, the photographer took seven photographs, some depicting clouds resembling cotton candy, while others look like long-exposure star trails. When I interviewed Chan Dick years ago,  I was deeply captivated by this series of works and amazed that he could envision so many landscapes on mottled walls through his extraordinary imagination. However, these photos, created concurrently with his iconic work “Chai Wan Fire Station,” had never been exhibited before.

Returning to Yue Man Square a decade later, Chan Dick saw that Yue Wah Mansion had been demolished, leaving behind a pile of black rubble mixed with debris. Imagining these were the traces left behind by the building, he picked up stones and held them in his hand. They were heavy and dark, stirring a wave of nostalgia and mixed emotions within him. It is time to sort through these thoughts intertwined with memories and feelings of familial affection. 

Chan Dick — CEMENT-ERY

Date: March 15 – April 13, 2025

Time: 11am-1pm, 2pm-6pm  (Tuesday to Sunday) 

Venue: Lumenvisum LUMOS Mini Gallery, L2-2,  JCCAC, 30 Pak Tin Street, Shek Kip Mei

About Chan Dick

Chan Dick studied graphic design and first became involved in photography when given his graduation assignment. As a still-life and architectural photographer, he is devoted to creating personal works, often touching on social issues and everyday life discoveries. 

While fascinated by simple lines and minimalistic compositions, Chan’s works emphasize the ambiguous attraction between reality and illusion. His iconic series “Chai Wan Fire Station” earned him first prizes respectively at the Tokyo International Foto Awards and the Hong Kong Photo Book Awards. This series was exhibited in Japan and the Netherlands and collected by the Hong Kong Heritage Museum and Japan’s Irie Taikichi Memorial Museum of Photography Nara City.

Chan also collaborated with the Faculty of Medicine of the University of Hong Kong by photographing their collection of human specimens. He produced an aesthetic set of images called “The Trek,” which challenges the general public’s shared perception of the topic. The work was published as a photo book and won a Gold Prize at the Tokyo International Foto Awards (TIFA).

About PhotogStory 

Hong Kong-based Photography platform PhotogStory was founded by photography writer and curator LAU Tung-Pui. The platform introduces local & international photographers’ artwork, the history behind classic images, and photo books. 

PhotoStory’s curated exhibitions include Hidden Town at Wure Area (Kowloon Bay), Chun Wai’s solo exhibition at Kubrick (Yau Mai Tei), Mak Fung‘s solo exhibition at EastPro Gallery (Causeway Bay) and co-curated group exhibitions at Boogie Woogie Photography (Wong Chuk Hang) and at Fine Art Asia 2024.

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Support PhotogStory through PayMe / PayPal