雨果·德维切尔 Hugo Deverchère 参加影像上海艺术博览会『点亮屏幕』线上项目“蓝晒印相术”

通过使用同一种图像采集技术来描绘这些景象，由组合图像创造的的全景图处在已知和未知的十字路口，让“近”与“远”、即我们身处的环境与遥远的太空区域，以及可见的与不可见的事物间产生了共鸣。

通过技术被再现的两个地域以此相互呼应，创造出了一个新的城市视野，将我们包围。由于这些光景是通过揭示不可见光下的观察获得的，它们仿佛是虚构的，如同凝结的时间，把我们对城市变迁的观察带入了一个新的视角。

By depicting these landscapes through the same capture process, the combination of images creates a new panorama that brings into resonance the near and the distant - our immediate environment and the remote areas of space, the visible and the invisible - at the crossroads of the known and the unknown.

Through the technique that enables their representation, these two areas now echo each other, creating a new vision of the city that surrounds us. As it is revealed by the observation of invisible light, it now looks unreal, as frozen in time, bringing the question of its becoming as we see it through a new perspective.

远方 The Far Side｜2019｜蓝晒印相法，印制于 Bergger COT 320纸，裱于铝板 Cyanotype print on Bergger COT 320 paper mounted on aluminium｜白木框 white wood frame｜164 x 104 cm｜©Hugo Deverchère

By combining these two techniques of capture and representation, (Near-Infrared imagery and cyanotype) - one sending us back to the beginnings of photography, to the origins of modern imagery - and the other, a cutting edge process used for spatial observation, the project challenges the way in which science, technology and their new modes of representation shape our eyes, our knowledge, our consciousness and the perception of our close and distant environment.

雨果·德维切尔 Hugo Deverchère｜“万象”展览现场 @ 西岸艺术与设计博览会，上海｜Cosmorama installation view @ West Bund Art&Design 2019，Shanghai

《万象》系列致力于探索并将不可见的光谱层可视化。这一系列被分为几个不同类别，与位于西班牙特内里费岛的泰德天文台合作完成。恒星星团由望远镜拍摄，图像由宇宙暗物质绘图法绘制而成：与某颗流星的组成相似的火山石碎片，在NASA测试火星探测器好奇号的熔岩沙漠里采集到的动物信息，在见证大陆五千万年变迁的原始森林里收集到的植物形状—这一系列将历史与当下接轨，重建起一个超越空间和时间限制的世界。

Cosmorama series explore and give tangible form to an inaccessible stratum of the lighting spectrum. Divided into a few subsections, this series of cyanotypes has been produced in collaboration with Teide Observatory, an astronomical observatory on Mount Teide in Tenerife, Spain. Stellar star clusters were shot by a telescope, images recreated from data trying an impossible cartography of the Universe dark matter: pieces of volcanic rocks which composition is similar to the one of some meteors, signs of animal presence collected in a lava desert where NASA tested Curiosity rover before sending it to Mars, plant shapes gathered in a primal forest witnessing the state of our continent 50 million years ago : this series rebuilds a world out of the world disrupting and transcending spatial and temporal scales.

万象 - 记录（暗物质测绘图G9）Cosmorama - Recording (Dark matter map G9)｜2017｜蓝晒显影法，Arches水彩纸裱于铝板 Cyanotype print on Arches Platine paper｜杨木胶合板 poplar plywood｜122 x 86 x 6 cm｜© Hugo Deverchère with the support of Neuflize OBC

关于艺术家 | ABOUT THE ARTIST

© Diane Arques / ADAGP, Paris, 2018

雨果·德维切尔1988年出生于法国里昂，从国立高等装饰艺术学院毕业后，他于2016年-2018年进入位于图尔宽的法国国立当代艺术中心(Le Fresnoy - National Studio for Contemporary Arts)进修，以“研究院杰出贡献”称号荣誉毕业。德维切尔的作品曾在巴黎东京宫，法国当代艺术基金会(敦刻尔克)，上海明珠美术馆，鹿特丹国际电影节，哥本哈根国际纪录片节(CPH:DOX)，奥地利林茨电子艺术中心(Ars Electronica)以及蒙特利尔的新兴电影艺术节 (the Festival du nouveau cinéma)等机构展出。

在近乎科学逻辑的引导下，雨果·德维切尔的作品试图通过提供一系列形同踪迹的经历来质疑和重新评估我们与世界的联系。从故事到收集的数据，再到图像拍摄、搜集或创造，他的研究涉及多种方法，如建模、转置或转换等。 

作品中的形状仿佛是现实与其表现之间的棱镜，折射出了我们对世界的看法和我们所掌握的知识之间的差距。通过质疑想象力和集体记忆对我们感知现实的作用，艺术家想要强调现象和事件拥有不确定的、令人质疑的无形属性。 

Born in 1988 in Lyon, France, Hugo Deverchère graduated from ENSAD Paris (École Nationale Supérieure des Arts Décoratifs) and from Le Fresnoy - National studio for contemporary arts. His work has recently been exhibited and screened in Palais de Tokyo (Paris FR), FRAC Grand Large (Dunkirk), Pearl Art Museum (Shanghai), the International Film Festival Rotterdam, CPH:DOX (Copenhagen), Ars Electronica (Linz) and the Festival du nouveau cinéma (Montreal).

Driven by an almost scientific approach, Hugo Deverchere’s work attempts to set up a body of experiences which are just as many ways to question and evaluate our relationship with the world. Whether based on stories, collected data, captured or simply found images, his research often involves processes such as modelization, conversion, and transposition.

The resulting forms act as a prism between reality and its representations, revealing the interval which separates our perception of the world and the knowledge and awareness we have of it. By questioning the role of imagination and collective memory in our approach to reality, the artist wishes to highlight phenomena and events which by their very nature are intangible and therefore remain subject to doubt and uncertainty.