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“想像荷兰”是一场围绕荷兰当代摄影艺术的调查展，共呈现11位艺术家的摄影作品。展览不仅批判性地考察了艺术家们对荷兰历史、社会、文化等议题的回应，同时挑战了荷兰摄影传统中固有的范式、语言和技术，反映出艺术家们重塑荷兰当代摄影的努力。
作为该文化项目中的重要组成部分，“想像荷兰”系列公共教育将分为四个板块——“荷兰摄影观察站”“荷兰高等艺术教育行”“荷兰艺术家实践场”与“荷兰摄影机构论”，围绕荷兰摄影的现状、教育、创作和机构实践等议题展开线上、线下的分享与讨论。“想像荷兰”于三影堂摄影艺术中心展览期间的第二期讲座将围绕荷兰摄影策展人艾瑞丝·希金（Iris Sikking）过往的策展实践，以及她加入海牙摄影博物馆后的工作内容展开。艾瑞丝将在讲座中重点探讨当代纪实摄影的发展趋势，尤其是艺术、新闻与行动主义相结合的摄影实践。
「 讲座信息 」
荷兰摄影机构论：摄影项目和展览中的视觉故事
- 观看方式 -
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如果这一代的纪实摄影师要去讲述这个时代的故事，他们需要怎样的条件和工具呢？工作方法上，富有想象力地，以独特视角体察事件的能力和探寻事实、进行深度研究，对于他们来说同样的重要。艾瑞丝·希金将会在讲座里提到的几个案例中，艺术创作的核心在于主动介入社会以及影响公众讨论。在这个充满了图像的世界，拥有表达和叙事能力的纪实摄影师们，使用着不同的方式和与之相关的媒介，通过展览和摄影书，提出重要的社会议题，并在公众范围内引起关注。无数的选择——印刷、图像编辑、文字、历史及原始材料、影像及声音，组成了丰富多样的叙述。在策展工作中，艾瑞丝也会以作品之间的关系串联起叙事，组建摄影群展。与此同时，观众可以找到属于自己的进入展览叙事的路径。
Thomas Kuipers, Volume, installation Biennale für aktuelle Fotografie 2022, Wilhelm Hack Museum Ludwigshafen ©Miriam Stanke
何伊宁是一位活跃在全球影像艺术领域的研究者与策展人。在策展方面，她擅长挖掘当下全球具有挑战性的视觉艺术实践，并将其编织在政治与文化的双重视野下。她曾在中国和欧洲策划过大型的主题展览，包括“图汇未来”、“想像中国”、“在群山、丘陵与湖泊之间”、“记忆寓所”、“港口与影像”、“混合的公共性与私密性”与 “虚构叙事的转向”等。
艾瑞丝·希金
艾瑞丝·希金是居住在阿姆斯特丹的摄影策展人，也是一位摄影史学家和电影剪辑师。2022年9月，她开始在海牙摄影博物馆担任作品修复师一职。
2022年春季，她受邀作为在曼海姆、路德维希港和海德堡等城市举行的“现代摄影双年展”（Biennale für aktuelle Fotografie）的策展人。与双年展同期，担任了安特卫普摄影博物馆（FOMU）《Trigger#3 Care》杂志的编辑工作。2018年，她与人合编了由Fw:books出版的《为何展出？展览摄影作品的立场》（Why Exhibit? Positions in Exhibiting Photographies ），为二十一世纪摄影作品的展示提供了更广泛的讨论基础。目前，希金正在蒙德里安基金（Mondriaan Fund）项目资金的支助下，撰写和制作她的新书《图像策展，基于照片策划展览的一些观点》（Curating Images, Perspectives on Photo-based Curation）。
从2012年到2020年，她在布雷达的圣约斯特艺术与设计学院（St. Joost School of Art and Design）摄影、电影和数字媒体系任教。于2007年开始的在Paradox基金会的工作，为她积累了丰厚的领导团队、策划展览和制作跨平台项目的经验。
海牙摄影博物馆
今天的视觉文化中，我们身处在不断流动的图像信息里。许多人把这些图像当作真理来接受。但是，摄影关乎真理的概念是一个渊源已久的误解。摄影是一种艺术形式。海牙摄影博物馆希望为人们提供一个宁静的空间，去发现摄影不同的层次、意义和语境。
基于摄影是一种艺术形式的理念，海牙艺术博物馆（Kunstmuseum Den Haag）作为荷兰首批博物馆之一，于20世纪50年代末开始展出摄影作品。2002年，摄影博物馆分馆成立。与同样成立于2002年的KM21当代艺术博物馆位于同一建筑内，海牙摄影博物馆自此举办了许多大型个展、历史和主题展览。近期举办的个展包括：罗杰·拜伦（Roger Ballen）、朱迪思·乔伊·罗斯（Judith Joy Ross）、阿科·达（Arko Datto）、莎莉·曼（Sally Mann）和比克·德波特（Bieke Depoorter）; 群展如“父母”（Parents）。
NL Imaginedis a survey exhibition of contemporary Dutch photography featuring the works of eleven artists. In addition to critically examining the artists’ responses to historical, social, and cultural issues in the Netherlands, the exhibition challenges the inherent traditional paradigms, visual languages, techniques, and methods, reflecting the artists’ efforts in reimagining and reshaping the contemporary scene of photography.As an essential part of this cultural project, four sections comprise the education and public program series: Dutch Photography Observed, Higher Arts Education in NL, Practice Space for Dutch Artists, and NL Photographic Institutions. Both online and offline lectures and seminars will be held to discuss topics including current trends, education, artist, and institutional practices in the Netherlands. The second lecture during the exhibition NL Imagined at the Three Shadows Photography Art Centre focuses on the Netherlands’ curator Iris Sikking's previous curatorial projects and her current work at Fotomuseum Den Haag. The lecture will focus on Sikking’s knowledge of current trends in documentary photography. She will look at those practices where art, journalism and activism meet.
NL Photographic Institutions：On Visual Storytelling in Photographic Projects and Exhibitions
Iris Sikking
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What conditions and tools are needed for this generation of documentary photographers to capture the stories of the times in which they live? The ability to shine a different perspective on an issue through their imagination is as present in the working methods of these photographers as is the felt need for facts and doing in-depth research. In the examples, I will bring forward, the urge to activate the public and influence public affairs is central to their practice. In a world saturated with images, such artistic expressions and the ability to tell a story can raise the necessary questions in public and lead to awareness. Documentary photographers choose different formats and related media for exhibitions and photo books to achieve this. The almost infinite number of choices regarding printing images, adding graphics, texts and (historical) source material, or choosing video and sound, offer fascinating ways to tell a story. In addition, as a curator, I like to apply narrative structures in group exhibitions to create meaning through links and associations between the selected works and to let the visitor find their way through the presented projects.
· Guests ·
Iris Sikkingis a curator of photography based in Amsterdam, educated as a film editor and a photo historian. Since September 2022, she has a full-time position as a conservator in photography at Fotomuseum the Hague.In the Spring of 2022, she acted as the guest curator for the Biennale für aktuelle Fotografie which took place in the cities of Mannheim, Ludwigshafen and Heidelberg. In the context of the Biennale she was guest editor for Trigger#3Care (FotoMuseum, Antwerp). In 2018 she co-edited the volume Why Exhibit? Positions in Exhibiting Photographies (Fw:books) to provide a foundation for a broader discourse on the presentation of photographic works in the twenty-first century. To write and produce her new book Curating Images, Perspectives on Photo-based Curation (working title), she received a Project Grant from the Mondriaan Fund.From 2012 to 2020, she held a teaching position at the BA Photo, Film & Digital at the St. Joost School of Art and Design in Breda. Her work at the Paradox foundation, where she started in 2007, gave her the experience to lead creative teams, curate thematic exhibitions and produce cross-platform projects.
Yining He (b.1986, China) is a researcher and curator in photographic art. In terms of curatorial practices, she specializes in uncovering contemporary photographic practices and weaving them within a dual vision of politics and visual culture. Yining has curated more than 40 cross-cultural exhibitions for museums, art institutions, and photography festivals in China and Europe, many of which have gained international reputations, including "Imaging Our Futures", "China Imagined", "Between Mountains, Hills and Lakes", "The Abode of Anamnesis", "The Port and The Image" and "A Fictional Narrative Turn".
· Museum ·
In today's visual culture, we see a stream of images passing by every day. Images that many people accept as truth. But the notion that photography is about truth is a longstanding misconception. Photography is an art form. The Fotomuseum Den Haag wants to be a place where people can find the space and tranquillity to discover the layeredness, different meanings and contexts of photography.Based on the idea that photography is an art form, Kunstmuseum Den Haag began exhibiting photography as one of the first museums in the Netherlands in the late 1950s. In 2002, a separate museum for photography was established. Fotomuseum Den Haag, is since then housed in the same building as KM21 Museum of Contemporary Art, also established in 2002, and has seen major solo exhibitions, historical overviews and thematic group presentations. Shows of Roger Ballen, Judith Joy Ross, Arko Datto, Sally Mann, Bieke Depoorter, and recently Parents are just a few examples.
相关链接：
【展讯】一场关于荷兰的想像｜北京
【讲座】在摄影中认知他者：反思正典（Canon）与文化转译的困境
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