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艺术家 | 有机·奥诺黛拉个展：热切的渴望

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艺术家 | 有机·奥诺黛拉个展：热切的渴望奥诺黛拉个展艺术家空间公众人们大门口影像技术性时代崇真艺客

12月05日起，"热切的渴望"有机·奥诺黛拉个展将于之禾空间与公众见面。这次的个展旨在将人们重新拉回到摄影的大门口，在这个由影像主导，形成顽固的技术性影像崇拜的时代里，对于影像的认知、人与影像、世界与影像的关系进行一次梳理与思考。展览将持续至2021年01月31日。

From December 5th, Burning with Desire, the solo exhibition of Yuki Onodera, will make its first debut in Icicle Space. Striving to bring people back to the world of photography. in the era of image-dominated worship of technical images, this exhibition aims to sort out and ponder over people’s cognition of images and the relationship among human beings, the world and images. The exhibition will last until January 31, 2021.

关于展览 About Exhibition

热切的渴望

1828年，路易·达盖尔给尼塞福尔·尼埃普斯写了一封信，信中他这样说道：“我怀着热切的渴望，想看到你用大自然做的实验。”在这里，他渴望的对象正是“摄影”。就在一年前，1827年夏天，尼埃普斯在铅锡合金板上涂上白蜡和沥青的混合物，做成感光板，利用阳光和原始镜头，拍摄窗外的景色，经过长达八小时的曝光，获得了人类拍摄的第一张照片《窗外风景》。虽然这张照片并不像1839年公布的达盖尔摄影术拍摄的照片那样清晰细致，但是这张照片却意味着当时大量科学研究者所努力想要实现的事情,通过机械技术将现实事物如实地复制下来将成为可能。这张照片为人类打开了一扇神奇的窗口，从此以后人类对世界的认知不再依靠魔法而是通过真实的依据进行想象。于是，原本存在于暗箱之中的影像被明室化了，成为可以在世间传播的信息载体；然而影像也开始对现实世界进行裁切、提取，让我们对现实的认知片断化，在无形中对我们的意识进行彻底的改造。

或许让达盖尔燃烧起“热切的渴望”的，正是摄影所具有的这种神奇力量。显然这种渴望的隐喻不仅可以指向科学技术，同时也可以指向人类的认知意识——人们渴望实在地进行想象。也正是在这种“渴望”的推动下，我们迎来了影像的大发展，肖像照、电影、画报、电视……在短短不到两百年的时间里，我们已经完全被影像所包围。我们的认知也在影像构成的拟像世界中逐渐发生变化。影像不仅是我们日常生活与工作中沟通交流的一个重要手段，认识现实世界的一个媒介，甚至在一定程度上取代了现实世界成为了一个拟真的存在，我们不再通过影像进行观看并认知世界，而是认为观看影像就是在观看世界本身。这样技术性影像的崇拜，让人逐渐沦为影像的奴隶，在影像生产与传播中不断复制并模仿影像。影像已经不再是帮助人们理解这个世界的媒介了，相反成为一种控制人的工具。

今天，我们再一次站在了寻找“摄影”的十字路口，需要重新去考察摄影究竟是什么？摄影与人的关系是什么？摄影与世界的关系又是什么？在我看来，有机·奥诺黛拉的这个展览就是要促使人们直面上述这几个问题。展览从尼埃普斯的《窗外风景》开始，将人们拉回到摄影的大门口，并通过大量的作品建构出围绕摄影展开的关系网络，让人置身其中，感受我们与摄影的关系、理解摄影与世界的关系。如果说，1828年达盖尔怀揣的是一种对技术的渴望，一种用影像叙述历史的渴望，那么有机·奥诺黛拉这个展览所激发的，可能是一种在影像一统天下，形成顽固的技术性影像崇拜的时代里，重新认知影像、重新梳理人与影像、世界与影像关系的渴望。

策展人林叶

Burning with Desire

In an 1828 letter to his partner, Nicéphore Niépce, Louis Daguerre wrote, "I am burning with desire to see your experiments from nature."Here, what he longed for was photography. In the summer of 1827, Niépce shot the scenery outside the window in natural light with hand-made photographic plates which coated with the mixture of wax and asphalt. After eight hours of exposure, he got the first photo in human history called View from the window at Le Gras. Althought this photo is not as clear as the one taken by Daguerre in 1839, its significance lies in that the dream to copy real things by mechanical technology that a large number of scientific researchers had been fighting for in those days, seems to be possible.This photo leads human beings to a new world. From then on, their cognition of surrounding no longer depends on magic, but on imagination based on reality.The images that orignally exist in camera bellows are shown to the public, serving as the carriers of information which can be spread every corner of the globe; meanwhile, their edition and extraction of the real world have fragmented our cognition,thus changing our consciousness impercepitbly and thoroughly.

It is probably the magical power of photography that makes Daguerre burn with desire.The metaphor of burning desire refers to both technology and mankind's cognition - human' s keen desire to imagine realistically. Driven by such a desire, we, human beings, have witnessed a great leap of images, such as portraits, film, pictorials, television. Within less than two centuries, we are now surrounded by images.Our coginition also keeps changing in the world of images. Images are the imporat channels of communication in daily life and work, a medium to know the real world, and even to a certain extent, the virtual subsitution of the real objects. Nowadays, we are more convinced that viewing images is to see the world itself, rather than to observe and learn about the world through images. Due to the blind worship of technical images, people have been gradually reduced to their slaves who copy and imitate the images during their production and dissemination. The image is no longer a medium to help human beings to understand the world, but a tool to control people.

Today, standing at the crossroads of seeking for photography, we have to reconsider its true meaning, and the relationship among photography, human beings and the world. In my point of view, Yuki Onodera's exhibition aims to encourage people to face up to the questions mentioned above. The exhibition starts with Niépce's View from the Window at Le Gras, which draws people back to the world of photography; and then, constructs a network with a large number of photographic works. Immersing ourselves in it, we can feel the relationship between human beings and photography, or photography and the world. If Daguerre's desire in 1828 is to develop a technique and narrate history with images, the desire inspired by Yuki Onodera's exhibition, in the era of image-dominated worship of technical images, might be something that requires recoginition of images and re-organization of relations among human beings, photography and the world.

Curator : Lin Ye

部分展出作品 Selected Works

艺术家 | 有机·奥诺黛拉个展：热切的渴望奥诺黛拉个展艺术家空间公众人们大门口影像技术性时代崇真艺客

《如何制作珍珠 No. 19》, How to make a pearl No.19，银盐打印于纸基相纸，Gelatin silver print on fiber base paper,

215 x 125 cm, 2000

艺术家 | 有机·奥诺黛拉个展：热切的渴望奥诺黛拉个展艺术家空间公众人们大门口影像技术性时代崇真艺客

《看窗外 No. 19》 Look out in the window No.19, 银盐打印于纸基相纸，Gelatin silver print on fiber base paper ,

59 x 49 cm, 2000

艺术家 | 有机·奥诺黛拉个展：热切的渴望奥诺黛拉个展艺术家空间公众人们大门口影像技术性时代崇真艺客

《日环食 - 鸡》，Annular eclipse - cock, 绢印, Serigraphy, 235 x 150 cm, 2007

艺术家 | 有机·奥诺黛拉个展：热切的渴望奥诺黛拉个展艺术家空间公众人们大门口影像技术性时代崇真艺客

《二手衣服肖像 No. 19》, Portraits of second hand clothes No. 19, 银盐打印于纸基相纸，Gelatin silver print on fiber base paper,

70 x 61 cm, 1994

艺术家 | 有机·奥诺黛拉个展：热切的渴望奥诺黛拉个展艺术家空间公众人们大门口影像技术性时代崇真艺客

《世界并不小-1826 No.20》, World is not small -1826 No.20, 照片，收藏级喷墨打印，Archrival pigment print on fiber base paper,

148 x 190 cm, 2012

关于艺术家 About Artist

艺术家 | 有机·奥诺黛拉个展：热切的渴望奥诺黛拉个展艺术家空间公众人们大门口影像技术性时代崇真艺客

1962年出生在日本东京，现生活工作在法国巴黎。

有机·奥诺黛拉是一位以当代艺术的方式驾驭摄影的艺术家。她会采用剪报等手法来制作作品，对照片进行加工的同时也用银盐摄影来创作；她曾将玻璃球放入相机之中进行拍摄，根据事件与传说来构建故事、并据此来到地球的背面进行拍摄等等。对她而言，照片不仅仅只是素材，而是应该对其本质进行探求的对象，她运用所有的手法，创作了很多探讨“摄影是什么”、“摄影的意义是什么”等问题的实验性作品，并发表了很多独特的、不为摄影这个框架所限制的系列作品。她的作品被蓬皮杜中心、旧金山当代艺术博物馆(SFMoMA)、保罗盖蒂美术馆、上海美术馆、东京都摄影美术馆等世界各地的多家美术馆收藏。

Yuki Onodera was born in Tokyo, Japan in 1962. Now lives and works in Paris.

Yuki Onodera is an artist who masters photography that takes form in contemporary art. She uses methods such as clipping newspaper and machining the works while completing her creation using silver salts photography. She uses any possible method to realize her works, whether this means taking photographs with a marble inside her camera or creating a story out of a legend and travelling to the ends of the earth to shoot it. Onodera’s experimental works, which does not fit within schemas of “photography” often poses two questions: what is photography, and what can be done through it? Her works are held in collections around the world, including those of Centre Georges Pompidou, San Francisco Museum of Modern Art, The J. Paul Getty Museum, Shanghai Art Museum and Tokyo Metropolitan Museum of Photography.

部分展览 Selected Exhibitions

艺术家 | 有机·奥诺黛拉个展：热切的渴望奥诺黛拉个展艺术家空间公众人们大门口影像技术性时代崇真艺客

Exhibition view at Vanguard Gallery

艺术家 | 有机·奥诺黛拉个展：热切的渴望奥诺黛拉个展艺术家空间公众人们大门口影像技术性时代崇真艺客

Exhibition view at Yumiko Chiba Associates

艺术家 | 有机·奥诺黛拉个展：热切的渴望奥诺黛拉个展艺术家空间公众人们大门口影像技术性时代崇真艺客 Exhibition view at Tokyo Metropolitan Musuem of Photography (东京都摄影美术馆)

艺术家 | 有机·奥诺黛拉个展：热切的渴望奥诺黛拉个展艺术家空间公众人们大门口影像技术性时代崇真艺客

Exhibition view at Musée Nicéphore Niépce (法国尼普斯摄影博物馆)

更多讯息 For more Infomation

艺术家 | Yuki Onodera有机·奥诺黛拉摄影展 - 京都摄影美术馆

Vanguard画廊 | 有机.奥诺黛拉个展“脱影而行”

艺术家｜有机奥娜黛拉（Yuki Onodera)作品参加旧金山MoMa新展

有机·奥诺黛拉 & 阿琦·路迷双个展《千面镜子的森林》@ 法国国立艺术中心

策展人林叶
艺评人、译者。主要从事视觉文化的研究与摄影理论翻译工作，译作有杉本博司文集《艺术的起源》、《现象》、《日本摄影50年》、《私摄影论》，选译《日本艺术摄影史》等。文章发表于ARTFORUM、腾讯·谷雨、澎湃、《信睿周报》、《艺术当代》、瑞象视点、《书城》、《中国摄影》等媒体。

Curator: Lin Ye

Art critic and translator. He is Mainly engaged in the research of visual culture and translation of photography theory. His translations include the collection of Hiroshi Sugimoto's "The Origin of Art", "Phenomena", "50 Years of Japanese Photography", "Private Photography Theory", and selected translations of "Japanese Art Photography History". Articles were published in ARTFORUM, Tencent·Guyu, The Paper, "The Thinker Weekly", "Art Contemporary", Ray Art Centre, "Shu Town", "Chinese Photography" and other media.

艺术家 | 有机·奥诺黛拉个展：热切的渴望奥诺黛拉个展艺术家空间公众人们大门口影像技术性时代崇真艺客