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西蒙·贝克｜良秀：尽头的火

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三影堂+3画廊将于6月29日举办良秀首次摄影个展《从有到冇》。曾作为2017年（第九届）三影堂摄影奖国际评委团成员，原英国泰特现代美术馆（Tate Modern）摄影和国际艺术部的资深策展人，现任巴黎欧洲摄影博物馆馆长西蒙·贝克专为本次展览撰写文章。

尽头的火

—西蒙·贝克

“为何我总是想象着一团火？以及，为何是黑夜？……这个世界仅以固态般的‘风景’出现在我的面前，如同塑料般的光泽。尽管这对于我的身体与感知来说并非好的预兆，但我也可说，这正是我持续拍摄照片的确切缘由……”

—中平卓马，《对风景的反抗：我永恒凝视尽头的火。。。》，东京，1970年

中平卓马曾是极具影响力的日本先锋杂志《挑衅》的创始成员，这本杂志集结了一批在日本1960年代末以摄影图像的价值和使用为核心问题的艺术家和作家。作为一位颇具天分的摄影师和评论家，中平卓马长期艰深地思考关于拍摄照片背后的动机、以及摄影与电影图像对于观者以及他们所处的世界的效力等问题。他对于“尽头”或社会边缘等概念同挑衅群体的艺术家们（比如他自己以及森山大道等）相一致，试图在更为极限的方向上推动他们的视觉语言。彼时的日本仍处在一片混乱之中，学生抗议、反主流文化以及美国流行文化持续带来的影响（包括正面和负面的）统统作用于当时年轻一代的艺术家和思想家们。但挑衅群体的回应方式从未像他们同辈那样过分的政治化，比如走上街头去记录那些动荡不安。相反，他们试图扰动那种他们所处世界自身被观看和理解的方法。

出自《边缘》系列，守望

良秀并非出生在中平卓马和森山大道共同“挑衅”日本社会的那种年代。然而，她为自身获得认知的中国当下，同那一（日本）前卫运动时期和语境仍有着关键性的联结。例如，在《挑衅》的“Eros”（爱神）那一期中，森山大道拍摄了他最早的（也是最为著名的）裸照：虚晃、失焦、亲密，却又好似女性身体献祭于相机镜头的圣坛般的观念再现——图像言说着暧昧的效果而非解剖学式的精确计量，也由此，这些图像作为结果同“爱神”产生着有效关联。在良秀这些仍在进行的作品中，我们同样通过其另类（alternative）视角，寻找到了一种充满力量和令人信服的声音：这位年轻女性出生在的社会，仍未全然接受关于个人以及创作的自由，尽管这样的自由对于别处来说被当成理所当然之事；可供争辩地，相似的情况曾在1960年代末的日本演变。

出自《边缘》系列，蛹

良秀的作品呈供了艺术家本人的身体以及她即刻的凝视：在一个俨然是当下世界中最强有力的政治经济体的社会中，于社会边缘燃烧着的火焰，但不论是在当下还是刚刚过去的时刻，却也持续面临着关于平等、性别、艺术家身份的基本考验。她的实践也包含着任航（任航曾受到诗人以及剧场先锋寺山修司（森山大道最早的合作者之一）的直接影响。）般激烈的行为修辞，以及可在同代日本先锋群体中发现的黑暗而另类的青年视觉。但除了这些表面上的比照之外，正如任航以其自我的方式，良秀无疑并全然是一位中国艺术家。在他们共同所处的社会位置中，这两位令人信服且具有启发性的艺术家立刻具备了象征意味却又处于边缘的地位。

出自《如是我火》系列，粉色骷髅

“为什么”，中平卓马曾问，“我总是想象着一团火？”作为对这一问题的回应，我们或许也可问道，为何良秀将自我比作这一最为危险却又迷人的元素：（火）激发着光芒、色彩、热量、危险、生命、死亡、纯化以及重生。对中平卓马来说，火似乎是给予他的身体和感知无限吸引力的源泉；某种无法将其目光挪移开来之物：或许比良秀称之为”具形之物“更为”真实“。我们也可说，这也是良秀多数作品中的真实，它迫使我们去看、去想以及重新思考，我们对于当下中国新一代艺术家中燃烧着的野火的成见与假设。

西蒙·贝克简介

西蒙·贝克（Simon Baker）2017年（第九届）三影堂摄影奖国际评委团成员，原英国泰特现代美术馆（Tate Modern）摄影和国际艺术部的资深策展人，现任巴黎欧洲摄影博物馆馆长。他从2009年就职以来，负责泰特美术馆和泰特不列颠美术馆的收藏和展览，并且担任泰特圣艾夫斯美术馆和泰特利物浦美术馆的顾问。他策划的大型展览有：2012年的《威廉姆·克莱因+森山大道》、2014年的《纷争、时间、摄影》以及2016年的《为相机表演》。他还与他的同事们一起创立并管理泰特美术馆的收藏委员会，并负责监督和拓展策略。

从有到冇：良秀个展

主办：三影堂+3画廊

艺术家：良秀

开幕时间：2019年6月29日 16:45

艺术分享会：2019年6月29日 15:45

展期：2019年6月29日 – 2019年7月28日

（周一闭馆）

地点：三影堂摄影艺术中心

(北京市朝阳区草场地155A）

相关阅读：+3画廊展讯｜从有到冇——良秀个展

Something to Nothing

Organizer:

Three Shadows +3 Gallery

Artist: Liang Xiu

Opening: 29th June 2019, 16:45

Artist Talk: 29th June 2019, 15:45

Duration: 29th June 2019 - 28th July 2019 (Closed on Mondays)

Location: 155A Caochangdi, Chaoyang District, Beijing

Fire at the Limits

—Simon Baker, Director, MEP, Paris

‘Why do I always imagine a fire? And why night? ...the world only appears before my eyes as asolid ‘landscape’, lustrous like plastic. While this does not bode well for mybody and my senses, I could also say that it is precisely for this reason thatI continue to take photographs…’

(Takuma Nakahira, Rebellion against the landscape: Fire at the Limits of my Perpetual Gazing… Tokyo, 1970)

Takuma Nakahira was a founding member of the influential Japanese avant-garde magazine Provoke, which brought together a group of artists and writers around the central question of the value and use of the photographic image in late 1960s Japan. Agifted photographer and critic, Nakahira thought long and hard about themotivations behind taking photographs, as well as the effects of the photographic and filmic image on their viewers and on the world in which they lived. His notion of the ‘limits’ or fringes of society was completely in tune with the artists grouped around Provoke, who like both himself and Daido Moriyama, sought to push their visual languages in ever more extreme directions. At that time Japan was a country in turmoil, a place of student protests, counter-culture and the increasing impact (both positive and negative) of American popular culture on a young generation of artists and thinkers. But the response of the Provoke group was never as overtly political as that of many of their peers, out in the streets documenting unrest. Instead they sought to disturb the ideas underlying the ways that their world presented itself to be seen and understood.

Liang Xiu was not born when Nakahira and Moriyama came together to ‘provoke’ Japanese society. But, nevertheless, there remain key associations between that avant-garde moment and the context within which she is establishing herself in China today. Think for example of the issue of Provoke dedicated to the theme of ‘Eros’ for which Moriyama produced some of his first (and still best-known) nudes: blurry, out of focus, intimate but tough representations of the female body sacrificed conceptually at the altar of the camera’s lens: images which speak of the effects of proximity rather than a precise account of anatomy, and which were, consequently, all the more effectively concerned with ‘eros’ as aresult. In the still-developing work of Liang Xiu we likewise find a powerful and convincing voice with its own alternative perspective: that of a young woman born into a society which has yet to fully accept notions of personal and creative freedom, which are taken for granted elsewhere; and which likewise, arguably, had yet to evolve in late 1960s Japan.

Liang Xiu’s work offers up the body of the artist and the gaze of the artist at once: a burning fire at the fringes of a society which is at once the most powerful political economy in the world, and yet continues to encounter essential challenges around equality, sexuality and artistic identity, both in its present and recent past. Hers is a practice which encompasses the radical performative rhetoric of Ren Hang, who was directly inspired by the poet and theatrical innovators Shuji Terayama (one of Moriyama’s first collaborators), and the dark, alternative vision of youth found in the Japanese avant-garde of that same generation. But despite all appearances to the contrary, Liang Xiu, like Ren Hang himself in his own way, is emphatically and wholly a Chinese artist. Both are compelling and inspiring figures whose shared position in relation to the society that produced them is at once emblematic and marginal.

‘Why’, Nakahira asked, ‘do I always imagine a fire?’ And why, we might ask in response, does Liang Xiu also identify with this most dangerous and fascinating element:(fire) which evokes at once light, colour, heat, danger, life, death, purification and rebirth. For Nakahira, fire seems also to have been a source of endless fascination, for both his body and his senses; something that it was impossible to tear his eyes away from: more ‘real’ perhaps, than what Liang Xiu calls ‘things with form’. And this too, we might say, is already true of much of the work of Liang Xiu, which likewise compels us to look, think, and re-consider our preconceptions and assumptions about the wild fires burning bright in the new generation of Chinese artists today.