【香港國際攝影節2023】以家居棄置物為「相框」  顛覆傳統展示模式

傳統的攝影展覽,相片工整地排列在白色牆上,若你習慣這樣的觀展模式,當來到藝術家黃慧心 (Winsome) 位於深水埗Current Plans的展覽現場,可能會有所衝擊。走進展覽空間後,可見一面牆上零零散散貼滿床褥、木板及紙皮箱等棄置物的照片,中間還放有一條木板,似乎在營造照片拍攝現場的氣氛。

「傳統的裝裱效果及展示方式雖然比較整齊、漂亮,但我覺得它好像脫離了作品本身,我很想呈現相片原有環境的氛圍。」在她眼中,鏡頭下的這些物件原本很平民,為何要用一種精緻的方式去呈現,「況且即使不用精美的裝裱效果,也不代表它的效果不好看。」

黃慧心家住舊式公屋,鄰居會將家中垃圾丟棄在樓層的公共空間,有時見到舊傢俬、木床,覺得漂亮就搬回家中。「我覺得這些丟出來的物件很奇妙,一塊木板或一個紙皮箱,明明是很不起眼的東西,但卻能與人連結,我覺得十分有趣。」2017年,她開始拍攝公屋附近家居棄置物的影像,兩年前當她籌備展覽、思考如何展出這些照片時,恰好撿到得意的傢俬,覺得很適合與相片一同展覽,於是便慢慢保存在這些垃圾站發現的物件,展覽現場出現的洗衣機零件 、按摩器 、腳踏機、床板、木質圓鏡等,就這樣慢慢累積在她家中。  

在她看來,這些物件就像是一個個相框,雖然不夠精緻,展覽現場也感覺有點凌亂,但卻與拍攝的題材很貼切,營造出一個空間讓觀者進入展覽的氣氛。「我喜歡用很大量照片鬆散地去呈現,展覽空間像是一個心智圖 (Mind Map), 所有東西以不同的分類方式展示出來。」這次展覽可謂一件場域限定 (site-specific) 的作品,黃慧心用四天時間佈置展覽,展場以物件結合影像的形式展出,她會根據對空間的感受即興擺放照片,一想到適合的照片,就即場以打印機印出照片,並將其夾在支架或貼在不同的物件上,有的更黏在二手書上,令照片與書本產生另一種互動。即使在展覽開幕後,她也會改變某些作品,可見她的呈現方式是自由而流動的。

進入展場後,有人或覺得這裡像是一個「回收站」,但卻不會覺得厭惡,由於現場的佈置呈現出拍攝現場的感覺,反而令人覺得很熟悉。當這些被人忽略的物件以展覽形式出現時,其實也有鼓勵大家多些關注身邊事物的訊息,「對我來說更是一種perception的練習,究竟我們可以如何看待日常生活的物件。」

為物件拍攝肖像

展覽名為《待在一旁的肖像》,由《經過的儀式:我看見它們但沒有看到他們》與《墜落泥土的肖像》兩組作品構成,藉由攝影裝置組成的地景,呈現出日常生活中不經意擦身而過的昆蟲、植物和家居棄置物的「肖像」。我們傳統認知的肖像是人像攝影,令人好奇為何她以肖像形容物件或動植物。「它們是有生命、有形態的東西,而非簡單的物件;我是真的覺得它們那一刻很美麗,所以才去拍攝,對我而言,它們都是肖像。」 

她鏡頭的肖像,並沒刻意講究構圖或光影,偶爾有所觸動便用相機拍攝,為物件定格生命的瞬間,正如她的作品名稱所言,是「經過的儀式」。展覽另一邊是《墜落泥土的肖像》,她希望以物料和影像凝視那些被人偷偷種在公屋花圃的花朵,以及離世昆蟲的美態與殘缺。疫情期間,黃慧心不時前往公屋附近的花圃,拍攝街坊種植的植物,捕捉它們的輪廓。有次她在馬路上看到一隻死去的小鳥,一股複雜情緒油然而生,「原來人可以很安靜地看著另一種生命的逝去,那一刻的我是有所衝擊的。」

塵歸塵,土歸土,當植物失去生命時,最終也會墜落在泥土裡。黃慧心也為這系列作品思考不同的展示方式,她將同一幅影像印成多張重複的相片,然後用不同的方法去磨洗,令每張相片糜爛的程度不盡一致,之後疊在一起,呈現物件生命的厚度。由於相片印在桑皮紙上,可見紙張的雜質與纖維,效果更接近死去飛蛾翅膀的質感,在燈箱效果的呈現下有點通透,畫面抽象而具美感。正如印度詩人泰戈爾所言:生如夏花之絢爛,死如秋葉之靜美。

這些「墜落泥土的肖像」,儘管畫面上不完美,但對黃慧心而言,卻有更強烈的情感寄託。若以漂亮裝裱呈現,當中的情感無疑會有所抽離,效果反而不及這種不完美的作品——這也是她的展覽有別於傳統展示模式的地方。

黃慧心《待在一旁的肖像》 @【香港國際攝影節2023衛星展覽

時間:即日至11月19日

時間:11am-7pm (星期一至日)

地址:深水埗黃竹街13號德安樓2樓Current Plans 

【香港國際攝影節2023】酷兒藝術家J Davies鏡頭下的情感與慾望 「親密關係令我產生家的感覺」

對許多人來說,家是容身之所;對毛利人酷兒藝術家J Davies而言,更是一種情感的依歸。此心安處是吾家,藝術家現時在香港展覽《Home (Away From Home》,藉著在家與離家拍攝的親密影像,既記錄當代酷兒的生活面貌,同時也探索他們的親密關係與家的歸屬感。

家的不同定義

展覽標題《Home (Away From Home》可以分為兩部份去解讀,但探索的同樣是情侶或朋友間的情感。Home是指藝術家在家中以及在墨爾本拍攝身邊朋友的親密時刻,他們或擁抱或依偎,有的在嬉戲或親熱,記錄著澳洲酷兒的日常。至於Away From Home則是在世界各地旅行時的記錄,例如作品中有一幅在越南拍攝的一張亂成一團的床,即使相片不在家中拍攝,卻能令J Davies感受到家的儀式感及安全感。「我與朋友的親密關係,令我覺得有一種家的感覺。當時我和三個朋友住在一起,他們的床都在樓上,每天早上我們都會在這張床上討論當日的行程。床變成一個聚會場所,見證我們的親近關係。」

對J Davies而言,親密關係是家的一種象徵,其心中的家更像是一處令人心安的地方。正如J Davies千里迢迢來港展出,想展示的並非只是與家人的相處時刻,更多的是想呈現酷兒的情與愛。「我知道澳洲與香港酷兒的生活方式可能很大分別,但我希望這種親密關係的呈現方式,能引起人們的共鳴;即使是不同的體驗,這也展示出酷兒不一樣的生活方式。」

《Home (Away From Home》展覽現場

照片零散分佈   每幅相片各有敘事

來到逸東酒店展覽現場,穿過那塊象徵著禁忌的黑布,可見展場數面牆上零散地貼滿J Davies在過去數年間拍攝的逾180幅相片及寶麗來,這種展示方式自然令人想起德國攝影師Wolfgang Tillmans,藝術家坦言自己也受到Ryan McGinley的影響,其鏡頭下的年輕人坦率而自在,藉著迷幻的影像捕捉青春的頌歌。J Davies的作品也有異曲同工之處,有時是情人之間的溫柔擁抱、有時是親密的肢體接觸、有時是赤裸的身軀,展覽以靜態照片結合流動影像,訴說著酷兒戀人的慾望和情感——某程度上,這些生活片段也是藝術家與他們相處的見證。「這些人就像是我的家人,是我生命的延伸。」

J Davies自2008年開始攝影,很早已學懂拍攝漂亮的人物肖像,然而展出的作品中,卻不見正襟危坐的人像照片。「許多人知道某人看起來有多漂亮,我希望我的相片能呈現出人的故事與經歷,而非純粹的美感。我認為人物肖像的魅力,很大部份在於他們的生活方式,很多人都喜歡在臥室裡展示親暱的瞬間,這種感覺就像在家裡一樣,令人感到舒適和安全。」

展覽現場的這些照片沒有具體敘述,也可能沒有任何直接聯繫,某些觀眾或會覺得不知從何看起。若仔細留意照片,某些身體動作姿勢或相片氛圍,其實有所類似,觀者可在照片中尋找微妙的聯繫及敘事,從而產生屬於自己的共鳴。對J Davies來說,在數以千計的照片檔案中,挑選出不一樣的影像籌備不同展覽,也是有趣的創作經歷。「每次展覽都是一組完全不同的照片,再以不同尺寸展示,結合有關聯的事物或風景照片,因此每次展覽的感覺都不盡一致,同時也有一定的故事。」

展覽呈現酷兒的生活方式

展覽開幕後,藝術家幾乎每天都在現場與觀眾交流,有的人來去匆匆,也有人專程前來細心觀看,並對其經歷及照片中的人物感到好奇。「誠然,一般人難以理解這一切是如何發生在我的生活中,然而我覺得這仍是很好的交流方式。」J Davies坦言,作為性小眾的酷兒文化,向來不容易被主流所接受,身體的羞恥感是根深蒂固的問題,即使在性觀念較為開放的澳洲,當在維多利亞國立美術館 (NGV) 展出時,由於部份照片有裸露的成份,結果也被很多人抱怨。

「與此同時,我也從身邊的酷兒朋友和跨性別人士口中得知他們深受鼓舞,有人甚至還感動到哭了,因為他們從來沒有在澳洲最大的美術館看過類似的作品。」從澳洲到香港,J Davies也希望展覽能讓本地的酷兒產生共鳴,同時讓更多人了解酷兒的生活方式。

《Home (Away From Home》展覽現場

J Davies《Home (Away From Home) 》@【香港國際攝影節2023衛星展覽

日期:即日至11月19日

時間:11am-7pm (星期一至日)

地址:油麻地彌敦道380號香港逸東酒店四樓 Tomorrow Maybe

【香港國際攝影節2023】紅外線熱影像儀器之下 因大壩而流離失所的柬埔寨村民

走進中環PMQ昏暗的展覽空間,兩面牆上分別以投影的紅外線熱影像照片及影片,隱晦地道出柬埔寨兩條村莊的原住民因修建大壩而流離失所的命運。由於展場沒有開冷氣,封閉的環境有點侷促,當我站在投影機後觀看作品,不久後感到一陣悶熱,原來這正是攝影師策展的目的。

「溫度會影響人類的行為,當氣度升高時,情緒也會變化,容易令人變得煩躁、壓力大。」首次在國外舉辦個展的柬埔寨攝影師Sereyrath Mech如此說道。她坦言正是自己也有這樣的經歷,令她想透過影像探討氣候變遷對人類心理的影響。「當我深入了解這個問題時,才知道受氣候及環境變化影響最大的是弱勢群體。」

中環PMQ展覽現場

Sereyrath的作品向來關注環保及社會不公等議題,她從研究報告得知,2018年竣工的水力發電大壩工程Lower Se San 2 Dam,導致多個村落被摧毀淹沒,不但迫使數千名村民搬遷,由於大壩阻止魚類洄遊等原因,生活在河流沿岸的原住民賴以生存的漁業資源也大幅減少,而且他們的生活環境只會越來越差。

受此啟發的她以一年時間創作這個計劃,先後三次踏足距離首都金邊數百公里、位於柬埔寨東北部的下游村莊,拍攝兩條原住民村莊的生活環境,他們即使選擇不同的遷徙或補償方案,但同樣逃不過悲慘的結果。「有的村民接受補償方案而搬離故土,住在政府建造的房屋,雖然有一定的土地與牲畜,但原有的小路變成河流,出入需要乘搭渡輪,生活方式已完全不同。」另一條村莊則拒絕政府的補償,數十個家庭搬到森林裡生活,以某種方式繼續依賴大自然。他們抵制水壩生產的電力,以太陽能板維持較低的電量需求,即使未能扭轉氣候變化的惡果,仍希望依靠人為的努力減少其傷害。

水壩無疑改變了村民的生活方式,甚至影響他們的生存環境。湄公河流域曾擁有全球最大的內陸漁業,而大壩的出現嚴重破壞生態,導致下游流域的魚源枯竭,漁民甚至要從鄰近的越南進口魚類。親眼目睹過原住民的生活環境,她不忿地說道:「所謂的開發並沒有惠及村民,只利於某小部份利益相關者。」

紅外線熱影像  呈現生命的溫度與顏色

為更好地呈現環境及氣候變化對人類產生的影響,Sereyrath以紅外線熱影像拍攝村民的生活環境,這種裝置能偵測熱量、顯示溫度,所呈現的效果也很戲劇性。她坦言這種手法受到法國攝影師Antoine d’Agata影響,他在疫情期間以熱成像技術拍攝法國的街道及醫院;在她的鏡頭下,不見呼天搶地的悲愴,而是樹木、魚類、房屋、電線桿、擺渡等村民的日常生活,彷彿在平靜地呈現生命的溫度與顏色。「我的創作實踐並非新聞攝影,這在某種程度上也賦予我一種靈活講述故事的方式。」

在展覽現場,兩面牆上分別是生活在兩條村莊村民的投影畫面,攝影師將紅外線熱影像照片置於河流的影片之上,河水急速流過,卻為村民帶來不可磨滅的影響。至於另一面牆,則獨立展出三幅熱像儀照片:一棵樹、人類的臉孔及一片河水,攝影師藉此隱喻村莊的過去、現在與未來。村莊的過去到處是樹木,而它的未來可能只是一片平靜的河水。這兩幅照片乍看頗有詩意,但得知它背後的訊息時,卻不無覺得諷刺。

對觀者而言,這個展覽或許也是一種「沉浸式體驗」,當人們進入房間後,溫度會發生輕微的變化,藉此帶出溫度對人類心理影響的訊息。只是,作為觀眾的我們,在展場的「溫室」效果下,頂多只是感覺比較侷促,甚至是流汗。然而對生活在當地的村民而言,他們所面臨的困境,更關乎生存環境。「如果溫度持續升高、情況繼續惡化的話,那麼它將改變那裡所有的一切。」 或許,這正如她為展覽撰寫的詩句所言:When the sacred sun reaches the sacred river, we will know we are not in control。

Sereyrath Mech《When the Sun Reaches the River》 @ 香港國際攝影節2023衛星展覽

日期:即日至11月13日

時間:星期一至日 11am–7pm

地址:中環鴨巴甸街35號PMQ H508

【香港國際攝影節2023】鄧廣燊、袁雅芝:《Somewhere in Time》——電話亭與硬幣變成針孔相機   記錄回歸前的地標

一個個靜待拆卸的電話亭,一枚印有英女王頭像的二元硬幣,會交織怎樣的香港故事?來到灣仔藝術中心歌德藝廊,迎面而來是用一個石膏板搭建的灰色裝置,其凹槽處正好是一個電話亭的體積,這個消失的電話亭,正是展覽敘事的緣起。

《Somewhere in Time》展覽現場

1950年代起,政府在香港各地豎立起公共電話亭,置身神奇小亭內,拿起話筒與掛念的人對話,或許是很多年長一輩港人的集體回憶,在傳呼機盛行的八十年代更是風光一時。隨著網絡及智能電話的普及,電話亭的使用率日漸下降,亭內的燈光熄滅,一切彷彿已拉下帷幕,曾經傳達溫馨與情感的電話亭,淪為一個個被時代遺忘的棄置空間。2019年,通訊事務管理局決定拆除使用率低的電話亭,由當時的1,500多個,驟減至現時僅餘數百個。藝術家鄧廣燊與袁雅芝受此啟發,在熾熱的社會運動之下,開始以電話亭作為針孔相機的拍攝計劃。

「現時公共電話亭經常被貼上暫停服務的標示,亭內的燈箱半數以上已壞掉。」這種被人棄置的空間引起二人的注意,在展覽現場有多幅拍攝電話亭外觀的照片,其中有一幅是電話亭內的環境,可見已荒廢多時,還長出花朵。事隔數年,有些電話亭早已消失不見,只遺留地下的痕跡,證明它們曾經存在過。

剛踏進展場,可見有兩幅二元硬幣的照片並列,鑽孔後的硬幣搖身變成針孔鏡頭。這枚1989年發行的硬幣,正反兩面分別是獅子與英女王頭像,巧合的是,硬幣上獅子手捧昔日的東方之珠,鑽穿後的位置背面正是英女王的眼睛,彷彿她正觀看這一切,增添另一重隱喻。

展覽名稱來自1981年的同名美國電影《Somewhere in Time》(港譯「時光倒流七十年」),故事中的男主角因觸碰硬幣而穿梭時空,而兩位藝術家則以硬幣為「時光機」,藉著針孔記錄過去的風景。

殖民地時期的地標光景

二人物色香港六處荒廢的電話亭,以銀色反光布遮蓋電話亭,在漆黑的亭內貼上十八張相紙,拼貼成60x150cm尺寸的底片;打開自製的針孔相機,透過女王硬幣上的小孔,把電話亭外的景象投影變成負片。根據小孔成像的原理,「當光線進入硬幣的小孔,暗箱內所形成的影像會上下反轉,而負片相紙的影像也會黑白反轉。」展覽現場掛有多幅1.5米的照片,乍看之下不明所以,當觀眾細看曝光過度的朦朧相片時,可隱約看到城市的輪廓與景象。

這些電話亭外的景象,包括荃灣柴灣角街、九龍塘窩打老道、皇后像廣場、香港大會堂及太子彌敦道等,或多或少記載香港的重要歷史,例如1973年落成的怡和大廈 (原名康樂大廈),當時是香港首幢摩天大樓,也是東南亞最高的建築物。又如原名奧士本軍營的九龍東軍營,是英國在回歸當日交還中國政府的十四塊軍事用地之一,是中國恢復對香港行使主權的標記。「位於荃灣的祈德尊新邨,屋邨名字源自1952至1981年期間擔任房協主席的祈德尊爵士,1989年,時任港督衞奕信爵士還為屋邨主持開幕典禮。」

歌德藝廊展覽現場

這些殖民地時期的地標光景,散落在展場的不同地方,有的完整展示,有的被分解成多幅細小的影像。另一幅怡和大廈的影像,則置身數米大的裝置空間,透過紅色膠板可窺見裡面的照片,以及記錄創作過程的短片。這種紅色令人想起黑房裏的安全燈,同時它也是一種危險的訊號,或許對某些人而言,這些歷史地標也是一種紅色警戒。

展覽分為兩部份,展場空間的盡頭是「黑盒子」空間,所投影的短片是袁雅芝拍攝電話亭附近的環境。原來,每座公共電話亭均有獨特編號,並能在通訊事務管理局找到其座標,例如在拍攝荃灣柴灣角街時,短片中以編號P11265代替。走入暗黑的房間前,門口掛有電話亭指示牌,在燈箱效果下顯得十分悅目,似乎在映照它曾經的輝煌。在房間的角落處也放有一幅作品,若非有人刻意提醒,觀眾未必能輕易察覺。這或許是在暗示,某些曾經承載著重要歷史的事物,終將被人忽視甚至消逝。

鄧廣燊、袁雅芝《Somewhere in Time 此時某處》香港國際攝影節2023衛星展覽

日期:即日至10月26日

時間:星期二至五 10:00 – 20:00 

地址:灣仔香港藝術中心14樓歌德藝廊及黑盒子

Capturing Life: The Photography of Willy Ronis

Boogie Woogie Photography & PhotogStory are pleased to present “Capturing Life: The Photography of Willy Ronis,” a solo exhibition by the renowned French photographer at the Loft in Wong Chuk Hang from 16 September to 21 October 2023.

Willy Ronis (1910-2009) was a pioneer of humanist photography, a movement that emerged in post-war France, seeking to document the human condition with authenticity and empathy. Inspired by his surroundings, Willy Ronis masterfully captured everyday life’s essence with his artistic vision. 

Place de la Concorde, Paris 1952, Courtesy of Boogie Woogie Photography.

Throughout his long and prolific career, Ronis left precious visual memories of France in the twentieth century. Focused on documenting Parisian life and people’s joy and sorrow, he developed a unique style characterized by his deep sensitivity and ability to find poetry in the mundane. From the bustling streets of Paris to the intimate moments between lovers, Ronis’ images offer a glimpse into the universal human experience. 

This carefully curated exhibition of Ronis’ most iconic works is a rare selection from the private collection of Stephane Kovalsky, Ronis’ grandson. It showcases Ronis’ remarkable talent for composition and storytelling. Each photograph is a testament to Ronis’ unwavering curiosity about the world and his ability to find beauty in unexpected places. 

“Le Nu Provençal” is perhaps Ronis’ most famous photograph. The image is renowned as an intimate and respectful portrait of his wife Marie-Anne Lansiaux at their home in Gordes, Provence, taken in the summer of 1949. 

Shot at the top of the Colonne de Juillet in 1957, “Lovers at the Bastille” portrays a loving couple standing out against the panorama of Paris, their joy captured by the photographer during a serene post-rain afternoon. Ronis’ photographs transcend the boundaries of time and place, inviting us to reflect on the universal themes of love, joy, and resilience.

In this exhibition, we invite viewers to appreciate the fleeting moments in our lives. May Ronis’ photographs serve as a timeless reminder that a profound and extraordinary beauty is waiting to be discovered within the fabric of everyday life.

©Willy Ronis, Lovers of the Bastille, Paris 1957. Courtesy of Boogie Woogie Photography

Capturing Life: The Photography of Willy Ronis

Date: 16 September – 21 October 2023 

Time: 2-7pm (Wednesday – Saturday)

By Appointment, Info@bewephoto.com

Address: The Loft, 8/F, E. Wah Factory Building, 

56-60 Wong Chuk Hang Road, Wong Chuk Hang. 

ImagesCourtesy of Boogie Woogie Photography and the S.Kovalsky collection

About Boogie Woogie Photography 

Boogie Woogie Photography was founded in Hong Kong in 2016 to promote photography in Asia. The mission is to act as a platform for galleries, collectors, companies, and photographers aiming to develop photography projects in Hong Kong and Asia. 

About PhotogStory

PhotogStory is an online Photography platform and Guest Curator based in Hong Kong. We focus on stories of local and international photographers and stories behind classic photos.

「顯影 」聯合策展 法國攝影師Willy Ronis香港個展

致力於推廣攝影藝術的Boogie Woogie Photography與香港攝影平台「顯影 PhotogStory」在黃竹坑畫廊空間呈獻法國攝影師Willy Ronis個展《Capturing Life: The Photography of Willy Ronis》,展期由2023年9月16日至10月21日。

Place de la Concorde, Paris 1952, Courtesy of Boogie Woogie Photography.

Willy Ronis (1910-2009) 的攝影生涯從1926年橫跨至2001年,即使在91歲高齡時仍在拍攝,他最廣為人知的座右銘是「我外出時從來不會不帶相機,即使去買麵包亦是 (I never, ever went out without my camera, even to buy bread)」,持續拍攝的動力背後,可見他對生活的熱情,以及對世界的好奇心。

在他漫長而多產的職業生涯中,攝影題材多元且豐富,風景、時尚、新聞、裸體、人像 (如畢加索) 等,他最著名的作品,大多是拍攝巴黎人的生活日常,用法國製造的Foca 35mm相機捕捉下花都的活力與浪漫,也記錄草根階層的困境及社會變化,他的照片可謂為二十世紀的法國留下珍貴的視覺記憶。

1958年至1959年,Willy Ronis曾任職《VOGUE》雜誌,拍攝過不少時尚相片。

二戰期間,猶太裔的他逃難到法國南部,先後在不同地方擔任過電影場景設計師、珠寶繪製及紡織業訓練中心教師等。巴黎解放後,Willy Ronis在1944年回到巴黎,繼續記錄花都日常。經歷過戰爭期間文化與藝術活動的匱乏,戰後法國的出版業曾十分蓬勃,人人渴望接觸不同的資訊,許多雜誌及影像式新聞的刊物均備受青睞,像布列松Robert Doisneau及Willy Ronis等攝影師的照片均得到重視 ,Willy Ronis也在1946年被邀請加入著名的Rapho攝影通訊社。

1948至1950年,他是首位為美國著名雜誌《LIFE》拍攝照片的法國攝影記者。1951年底至1952年初,在紐約現代藝術博物館 (MoMA) 舉行的《Five French Photographers》展覽,展出當時最重要的五位法國攝影師,包括布列松及Robert Doisneau,Willy Ronis的名字也赫然在目,可見他的重要地位。

作為二戰後法國人文主義攝影的先驅之一,Willy Ronis擅於在平凡中發現美感與詩意,從熙熙攘攘的街道到戀人之間的親密時刻,記錄法式生活的浪漫與優雅。他有多幅代表作,尤其以「買麵包的小男孩」與「巴士底廣場的戀人」最廣為人知。1952年拍攝的《The Little Parisian》,照片捕捉一位身穿短褲恤衫及毛衣背心的小男孩抱著法式長棍麵包跑過,天真可愛的男孩面帶微笑,感覺無憂無慮。

另一幅標誌性作品是1957年拍攝的《Lovers at the Bastille》,將巴黎戀人互相依偎的畫面定格下來,展現出巴黎的浪漫一面。相片同時記錄當時的城市景觀,他們身處巴士底廣場七月柱觀景台,背景是巴黎的鳥瞰景觀,遠處正是花都的地標——巴黎聖母院及巴黎鐵塔。展覽現場另一幅攝於1949年的《Le Nu Provençal》,也是其經典照片之一,捕捉其全裸妻子Marie-Anne Lansiaux在普羅旺斯家中的親密瞬間。

Lovers at the Bastille, Paris, 1957. Courtesy of Boogie Woogie Photography.

身為享負盛名的攝影師,Willy Ronis生前已把大多數照片捐予法國政府,並於1985年在巴黎東京宮舉辦回顧展。這次展覽展示的經典作品,則來自他孫子的私人收藏,這些黑白照片不僅見證他鏡頭下巴黎的魅力,同時提醒世人留意身邊的美好事物。

Capturing Life: The Photography of Willy Ronis

日期:2023年9月16日至10月21日

時間:下午2時至7時 (星期三至六) 

請電郵預約參觀:Info@bewephoto.com / PhotogStory@gmail.com

地址:黃竹坑道56-60號怡華工業大廈8樓 The Loft 

ImagesCourtesy of Boogie Woogie Photography and the S.Kovalsky collection

關於 Boogie Woogie Photography

2016年創立的Boogie Woogie Photography專門代理攝影藝術品及舉辦展覽,立足香港、放眼亞洲,為藝廊、收藏家、機構和攝影師提供一個平台,致力於區內推廣攝影藝術。

關於「顯影 PhotogStory」

顯影是一個關注影像及攝影師故事的平台,除了分享展覽資訊及採訪攝影師,也會從日常生活入手,重溫經典照片背後的故事,近年開始策劃攝影展覽。

【顯影策劃】《香港故事》——舊香港照片及攝影集展覽

Hong Kong Stories, A Photography & Photobook Exhibition

Photography was introduced to the world in 1839, and Hong Kong became British Empire’s colony in 1841. The coincidence and proximity in time connect photography to Hong Kong’s history. To a certain extent, photographic images construct our impression of Hong Kong. Especially in the 20th century, when many Hong Kong and foreign photographers roamed or passed through Hong Kong, they captured the city’s appearances differently.

PhotogStory is pleased to present “Hong Kong Stories,” a group exhibition of old Hong Kong images, along with more than 50 old Hong Kong photo books by multiple Hong Kong and international photographers, as clues to connect Hong Kong’s stories in the 20th century. 

Everyone sees and feels the city from their perspective. Hong Kong is a vibrant city under the lens of the late photographers Yau Leung and Ngan Chun Tung in the 1960s to 1970s. The fleeting moments captured by the French New Wave set photographer Raymond Cauchetier in 1954 reflect people’s simple life. Their photographs left a critical testimony of the precious era.

Hong Kong Stories

Date: 1 August – 17 September 2023

Time: 11am – 8pm

Site: House by Kubrick, 5/F, Cityplaza, Tai Koo

About PhotogStory

PhotogStory is an online Photography platform and Guest Curator based in Hong Kong. We focus on stories of local and international photographers and stories behind classic photos.

·

《香港故事》——舊香港照片及攝影集展覽

攝影術在1839年誕生,香港在1841年正式開埠,這種時間上的巧合與相近,令攝影與香港歷史無形中產生淵源。某程度上,攝影建構出我們對這城的印象,尤其在上個世紀,多位中外攝影師漫遊街頭或途徑香港時,捕捉下不盡一致的城市面貌。

由本地攝影平台「顯影 PhotogStory」策劃的展覽《香港故事》,以多位香港攝影師鍾文略何藩麥烽張焯翟偉良劉冠騰余偉建朱迅Hedda MorrisonMichael RoggeRedge Solley山內道雄等國際攝影師的逾五十本舊香港攝影集及相關書籍為線索,以小見大地串連起二十世紀的香港故事。已故攝影師邱良顏震東鏡頭下1960年代至1970年代的街頭掠影,以及已故法國新浪潮電影劇照師Raymond Cauchetier在1954年途徑這座小城時捕捉的片段,則讓我們感受大半世紀前的香江魅力。

《香港故事》

日期:2023年8月1日至9月17日

時間:11am – 8pm (每日)

地址:太古城中心5樓戲院House by Kubrick

關於顯影

一個關注影像及攝影師故事的平台,除了分享展覽資訊及採訪攝影師,也會從日常生活入手,重溫經典照片背後的故事,近年開始策劃攝影展覽及開設網上攝影書店「顯影·書櫃」

「顯影」策劃:攝影師秦偉個展《異域狂歡——香港的南看台》

由香港攝影平台「顯影 PhotogStory」策劃,著名攝影師秦偉個展《異域狂歡——香港的南看台》將於油麻地Kubrick書店舉行,展期由2023年7月3日至8月30日。 

大法官、紅衣主教、蝙蝠俠、汪洋大盗、宮廷中的貴族、衣冠不整的警察、迪士尼白雪公主、蹩腳的芭蕾舞者等,一一將於油麻地Kubrick書店粉墨登場。

香港攝影師秦偉的《異域狂歡——香港的南看台》內容既優雅又荒誕。自1995年起的二十多個年頭裡,他以嚴謹的影像觸覺,不懈地記錄每年一度的香港國際七人欖球賽上的小段落,他的鏡頭聚焦於狂歡活動背後的積極意義,並提取其內在的隱喻及意涵。

攝影師巧妙地借用水泥牆的冰冷背景,以中灰階色調,緩緩地推動圖片的內在張力。讓人逗笑的人物角色,漫畫化的視覺元素,恍若來自某個不可確定的時空。

PhotogStory is pleased to present “A Revelrous Heterotopia – The South Stand of Hong Kong,” a solo exhibition by Hong Kong photographer Chun Wai at Kubrick in Yau Ma Tei from 3 July to 30 August 2023.

The Chancellors, cardinal, batman, court nobles, disheveled policemen, Snow White, and a lame ballet dancer will be on stage at Kubrick bookstore, surprisingly.

Chun Wai’s photo project – A Revelrous Heterotopia – The South Stand of Hong Kong, is elegant and absurd. For more than 20 years since 1995, he recorded diligently the snippets of life that transpired in the Hong Kong Sevens. With his rigorous visual senses, each captured moment was examined for its inner meaning and metaphor.

The photographer cleverly used the cold background of the concrete wall with a medium gray scale color tone, slowly pushing the inner tension of the image. The hilarious character roles and the comic-style visual element as if they come from an indefinite time and space.

Image Courtesy of Chun Wai

展覽同時在 Kubrick書店推售 《異域狂歡 ——香港的南看台》攝影集。攝影集內載有百餘幅的肖像圖片及三篇文章,為讀者帶來多維度思考; 探索內容包括欖球賽的源起所啟發的逆向性思維、粉絲狂歡現象,以及前蘇聯文學理論家巴赫金所提出的「狂歡文化」背後意義的聯想、攝影與劇場的關係、攝影語言和思考等議題。

《異域狂歡 — 香港的南看台》既是一本輕鬆幽默的攝影集,亦是一本載有另類思考的影像文本。

《異域狂歡 — 香港的南看台》

日期:2023年7月3日至8月30日 

時間:11:30am – 10:00pm (每日)

地址:油麻地眾坊街3號駿發花園H2地舖Kubrick

The exhibition is accompanied by the homonymous photo book at the Kubrick bookstore.

The book contains over a hundred portraits and three essays that provide readers with different perspectives, exploring issues such as the reverse thinking inspired by the origin of rugby, the association between the phenomenon of raving fans and the meaning behind the “Carnival Culture” proposed by the former Soviet literary theorist Bakhtin, the relationship between photography and theatre and the language and thinking of photography.

A Reverlous Heterotopia -The South Stand of Hong Kong is a light-hearted, humorous collection of photographs and a photo essay presenting a different thought.

A Revelrous Heterotopia – The South Stand of Hong Kong

Date: 3 July – 30 August 2023

Time: 11:30am-10pm (Every day)

Address: Kubrick, Shop H2, Prosperous Garden, 3 Public Square Street, Yau Ma Tei

秦偉

出生及成長於香港。現任教於香港大學專業進修學院當代攝影深造文憑課程。早年畢業於法國米盧斯高等藝術學院,以當代西方的藝術造型表現和東方美學思維的結合,完成其修業研究。

秦偉曾多次獲頒人權新聞獎。已出版作品包括《異域狂歡》、《時間的漫遊》、《另一段的地平線》、《在天堂之下》及《板間人生》。作品獲香港大學美術博物館、香港文化博物館、法國Mulhouse市政府、阿根廷薩塔爾當代美術館(Museum of Contemporary Art of Salta,Argentina)收藏。

關於「顯影 PhotogStory」

顯影是一個關注影像及攝影師故事的平台,除了分享展覽資訊及採訪攝影師,也會從日常生活入手,重溫經典照片背後的故事,近年開始策劃攝影展覽。

Chun Wai (Hong Kong, 1958)

Born in Hong Kong and educated at the École supérieure des beaux-arts de Mulhouse in France, photographer Chun Wai’s perspective lies in his humanistic vision and macro-historical framework in interpreting the changing world. His project covered a vast area in the region, including Hong Kong. His work is full of a sorrowful yet romantic mood and reveals his personal landscape. The phantasmagorical image like a rhythm poem of a stray, is a unique work of art.

About PhotogStory

PhotogStory is an online Photography platform and Guest Curator based in Hong Kong. We focus on stories of local and international photographers and stories behind classic photos.

French+, A Group Exhibition featuring 11 French photographers and artists’ artworks

At the occasion of the French May Arts Festival 2023, Boogie Woogie Photography & PhotogStory are pleased to present “French+,” a group exhibition at the Loft in Wong Chuk Hang from 4th May to 3rd June 2023 together with the prestigious Kraemer Gallery from Paris presenting 18th-century French museum quality furniture and decorative art.

+ means more and extra, which also denotes infinite possibilities. French+ is not just about French art but also language, culture, and lifestyle. 

The exhibition comprises eleven French photographers and artists’ artworks. It is our first time exhibiting paintings with acclaimed Monaco-based expressionist painter Philippe Pastor. Using living matter, its transformation through time and immediate surroundings, combining soil, pigments, minerals, and plants of all kinds, Philippe Pastor represents his vision of life, environmental destruction, and Man’s involvement in society.

We are also happy to be representing Elsa Jeandedieu, Hong Kong-based muralist. On view is a personal tondo, inspired by the Mediterranean Sea, made of plaster and copper leaves.

Florence Levillain’s creative and humorous photos are eye-catching among the photography artworks. She takes the French expressions as inspirations and literally turns the metaphor phrases into pictures. This imaginative photography series aims to raise awareness of the lyricism and humor of French language metaphors. 

Additionally, French+ can be interpreted as a diverse photography style, like Sabine Weiss’s Dior dress, Willy Ronis’s Paris impression, Raymond Cauchetier’s Hong Kong journey, and Thierry Cohen’s surreal starry sky images, which represent the rich and unique French photography culture.

FRENCH+ 

Date: 4 May – 3 June 2023 

Time: 2-7pm (Wednesday – Saturday)

Address: The Loft, 8/F, E. Wah Factory Building, 

56-60 Wong Chuk Hang Road, Wong Chuk Hang. 

About Boogie Woogie Photography 

Boogie Woogie Photography is a company founded in Hong Kong in 2016 to promote photography in Asia. The mission is to act as a platform for galleries, collectors, companies, and photographers aiming to develop photography projects in Hong Kong and Asia. 

About PhotogStory

PhotogStory is an online Photography platform and Guest Curator based in Hong Kong. We focus on stories of local and international photographers, and stories behind classic photos.

 Thierry Cohen, Courtesy of Boogie Woogie Photography

Artists Profile

Bogdan Konopka (b. Poland, 1953-2019)

Born in Poland and an immigrant to Paris in 1989, Bogdan Konopka has been photographing cities he visits or lives in from Europe to China. His images are immediately recognizable whether the subjects are a fragment of nature or an interior space. Using large format or pinhole cameras, Konopka pays close attention to the quality of his photographs. His hand-made gelatin silver prints on chlorobromide paper are mostly contact prints, which have the same size as the original negative to achieve perfection. Konopka’s work was collected by Musée National d’Art Moderne and Centre Georges Pompidou, etc.

Elsa Jeandedieu (b. France,1983)

Hong Kong-based French muralist and visual artist Elsa Jeandedieu has been spreading her creative talents and bringing her beautiful, unique texture artworks and wall murals to spaces from Hong Kong, Shanghai, Paris, Italy, and beyond. Her inspiring energy and creativity have resulted in commissioned wall designs, artworks, and luxury art pieces for many high-profile clients, including CHANEL and Victoria’s Secret. Elsa moved to Hong Kong in 2008 and launched her eponymous atelier, Elsa Jeandedieu Studio, in 2015, where she now heads up a team of dedicated artists. 

Florence Levillain (b. France, 1970)

Florence Levillain began an independent career as a reportage photographer in 1994. She explores various territories ranging from the business world to the streets of the suburbs. She works for the press (Liberation, Le Monde, Paris Match, etc.) and carries out numerous reports abroad on social issues. She won the Kodak Prize in 1999 for reportage on women working at night in Rungis, a commune in the southern suburbs of Paris. Florence Levillain’s work has always focused on rediscovering the universes close to everyone but unknown or forgotten by many. Her new work, “au pied de la lettre,” is an unusual series of photographic works that aims to raise awareness of the lyricism and humor of French language metaphors.

Isabelle Boccon-Gibod (b. France, 1968)

Lives and works in Paris, Isabelle Boccon-Gibod was trained as Engineer in France (Ecole Centrale Paris) and the U.S. (Columbia University, NY). Her life has mixed art and industry throughout her career. Having first worked on collages and installations, she elected photography twenty years ago as her core medium. She attended the Photography School of Brussels, Belgium. Her work is project-based, photography offering the means to explore specific territories. She likes to employ ad-hoc techniques. Her work is collected by Centre Pompidou, Paris.

Jacques Henri Lartigue (b. France,1894-1986)

Known for dynamic photographs of car races and fashionable ladies, Lartigue made a decisive departure from the stiff formality that characterized early photography to capture joyful, carefree scenes of bourgeois leisure. Born into affluence, he documented the excitement of the final years of the Belle Epoque with a gimlet eye and photographed the wealthy vacationers on the French Riviera from the 1920s through the 1960s. Lartigue’s work was underappreciated until the Museum of Modern Art exhibited his photographs in 1963.

Patrice Bodenand (b. France,1958)

Born in France in 1958, Patrice Bodenand made his career in the textile industry, which gave him the opportunity to travel and the desire to discover other countries and cultures. He immigrated to Hong Kong in 2000, then to Mauritius Island and to China, in Qingdao, to return and finish his career in Hong Kong. “What is exciting in photography is to capture a precise moment to fix it in time, even without chronology, but just for memory, individual or shared.”

Philippe Pastor (b. Monaco, 1961)

Philippe Pastor was born in Monaco. He works between Monaco and Spain. Committed to the environment, Philippe Pastor has developed a personalized vision of nature through his work, translating Man’s interaction with the planet. Since 1990 his work has been recognized at Venice Biennale and has been shown around the world. He is the official artist of the Monaco Pavilion at the Universal Exposition EXPO Milano 2015.

Raymond Cauchetier (b. France, 1920-2021)

Raymond Cauchetier was the most famous photographer of the French New Wave. His first photographs were taken in his thirties while serving in the French Air Force press corps in Indochina. Cauchetier traveled through Hong Kong in 1954 and stayed for one week. He left a bouquet of memories, a little yellowed but always authentic. 

Sabine Weiss, Chez Dior, Paris, 1958 Courtesy of Boogie Woogie Photography

Sabine Weiss (b. Switzerland, 1924-2021)

Sabine Weiss decided to become a photographer when she was eighteen, during a time when being a photographer was not a common profession, especially for a woman. Sabine Weiss apprenticed under photographers Frédéric Boissonnas and Willy Maywald, and Vogue hired her as a photo reporter and fashion photographer in 1952. Robert Doisneau discovered her photography and asked her to join the humanist-leaning photo agency Rapho, allowing her to work and travel for many other publications such as Time, Life, Newsweek, and Paris-Match.

Thierry Cohen (b. France, 1963)

Thierry Cohen has been a professional photographer since 1985 and a pioneer in the use of digital techniques. He lives and works between Paris and Monségur, close to the Atlantic Coast. Since 2006, he has devoted most of his time to personal work. Thierry is interested in the impact of human activities, particularly on nature. His works are held in private and public collections and regularly exhibited in New York, Los Angeles, and Paris.

Willy Ronis (b. France, 1910-2009)

After selling his first photograph to the newspaper L’Humanité in 1935, Willy Ronis worked as a press photographer. Ronis always linked his personal experience to his work, which also developed and grew through contact with friends and family: portraits of Marie-Anne, his wife (including the famous Le Nu provençal), his son Vincent, his cats, his friends (Robert Capa) and personalities he met (Sartre, Brassaï, etc.) express the same poetics of the universal as the rest of his work.