《非凡现实主义》艺术家｜勒博亨·坎耶 Lebohang Kganye

《非凡现实主义》展览现场，2024??Fotografiska影像艺术中心

还有一周，开创性非洲影像艺术展《非凡现实主义》即将闭展。作为亚洲首个也是规模最大的非洲摄影展，本次展览呈现了一幅别具一格、色彩斑斓的非洲画卷，超越了传统的非洲印象。

在本篇中，我们将介绍参展艺术家之一，勒博亨·坎耶（Lebohang Kganye），带大家走进她的创作历程及其作品背后的故事。

勒博亨·坎耶

Lebohang Kganye

生于1990年，生活工作于约翰内斯堡。

Born in 1990 ; Lives and works in Johannesburg, South Africa.

|黑人故事中的身份、记忆和韧性之旅

Journey into Identity, Memory, and the Resilience of Black Stories

勒博亨·坎耶出生于约翰内斯堡，在南非的一个小镇卡塔翁长大。虽然坎耶主要是一名摄影师，但她一直对摄影的物质性感兴趣，并通过雕塑、表演、戏剧和移动影像等多种方式进行探索。坎耶的作品探索了个人历史和祖先的主题，同时与南非及种族隔离的历史产生了共鸣，她通过将档案资料和表演性元素融入实践，聚焦于讲故事和记忆的过程，尤其是在家庭经历中展开。虽然坎耶的作品可能与南非的特殊经历产生共鸣，但也批判性地将口述传统作为一种形式和记忆，作为一种有形的原始材料。

Lebohang Kganye was born in Johannesburg and grew up in Katlehong, a township in South Africa. Although primarily a photographer, her interest in the materiality of photography is ongoing and explored in myriad ways, through her use of the sculptural, performative, theatrical and the moving image. Kganye’s work has explored themes of personal history and ancestry whilst resonating with the history of South Africa and apartheid, by incorporating the archival and performative into a practice that centres storytelling and memory as it plays itself out in the familial experience. While her work may resonate with a particularly South African experience, it critically engages with oral tradition as form and memory, as a tangible source material.

Moketeng wa letsatsi la tswalo la hoqala wa moradi waka ll, 2013 ??Lebohang Kganye

坎耶的摄影艺术之旅始于她母亲去世的那一年。她在二十岁时失去了母亲，而母亲是她与大家庭的主要联系。面对如何保存她们之间联系的挑战时，她将目光投向了母亲的照片，作为创作的起点。随后，她意识到母亲的照片是其共同历史的关键，这促使坎耶开始了对照片如何承载记忆和生活经历进行创造性探索。通过三维的摄影拼贴，她利用叙事手法讲述关于家园、庇护和家庭成员的故事。她从未见过其中一些祖先，但通过重新讲述他们的故事，她与这些人建立了某种熟悉感。正如坎耶所说：“我的作品探讨了个人历史和祖先的主题，同时与南非历史和种族隔离的历史产生共鸣。”

坎耶的姓氏拼写是这位艺术家作品的另一个组成部分。种族隔离制度迫使南非黑人家庭搬到远离市中心的指定地区。南非黑人的姓氏经常被法律官员错误地记录或拼写错误。坎耶的姓氏拼写从“Kanye”变成了“Kanyi”，最后变成了“Kganye”。正如坎耶解释的那样，通过重新审视她的家庭旅程，她发现身份无法追溯：“这是一种发明，由真实，半真实和不真实的叙述，希望，梦想和恐惧组成。”坎耶的实践结合了动画电影、装置、大型雕刻纸和剪纸，作为重新体验过去的方式，并质疑历史和记忆的虚构本质。

Kganye's artistic journey into photography began when she lost her mother. She lost her mother when she was twenty years old. Her mother was her main connection to her extended family. Faced with the challenge of preserving their connection, she turned to her mother's photographs as a starting point. She then realized that her mother's images held the key to their shared history, prompting Kganye to embark on a creative exploration of how photographs carried memories and lived experiences. Using three-dimensional, photographic collage, she employs narrative to tell stories of home, refuge and family members. She has never met some of these ancestors, yet gains familiarity with them through the retelling of their stories. Kganye said, “My work explores themes of personal history and ancestry whilst resonating with the history of South Africa and apartheid.”

The spelling of Kganye's surname is another component of the artist's work. The apartheid regime forced black South African families to move to designated areas away from city centres. Black South African surnames were often recorded incorrectly or misspelt by law officials. The spelling of Kganye's surname changed from "Khanye" to "Khanyi", and eventually, "Kganye". As Kganye explains, by revisiting her family journey, she discovered that identity could not be traced: "It is an invention, constructed of true, half-true and untrue narratives, hopes, dreams and fears". Kganye's practice incorporates animated films, installations and large-scale sculpted papers and cut-outs as ways to re-experience the past and question the fabricated nature of history and memory. As the artist explains: "a large part of history and memory is in fact fantasy."

|从个人到集体：家族档案的重新演绎

From the Individual to the Collective: Reinterpreting the Family Archive

Setshwantso le ngwanaka ll,2013 ??Lebohang Kganye

在最早期的作品《Ke Lefa Laka: Her-Story》（2012-2013）中，坎耶直面了母亲去世后的悲痛。“我很害怕自己开始忘记我母亲的样子，她的声音，以及她的标志性姿势，”坎耶在作品的一份声明中写道。在翻阅已故母亲的遗物时，坎耶发现了讲述母亲生活的照片和衣服。为了将自己的记忆与这些照片和服装联系起来，坎耶打扮成母亲的样子，在相同的地点模仿她的姿势。然后，她用数字技术融合了这些图像，将自己置身于家庭老照片中，如同幽灵一般。“蒙太奇照片代替了记忆的缺失、伪造的身份和想象中的对话，”她写道。照片合成不仅没有模糊原始图像，其超凡脱俗的重现反而将观众的视线重新聚焦在原始图像上。该技术让人联想到历史上的幽灵摄影，为视觉效果增添了多层含义。而这样制作出来的图像既保留了原作的真实性，又具有当代意义，是讲述故事的有力媒介。

In the earliest work, Ke Lefa Laka: Her-Story (2012-2013) Kganye confronts the grief she experienced following her mother’s death. “I was scared that I was beginning to forget what my mother looked like, what she sounded like, and her defining gestures,” Kganye writes in a statement that accompanies the work. Looking through her late mother’s belongings, Kganye discovered photos and clothes recounting her mother’s life. To connect her own memories with those associated with the images and clothing, Kganye dressed as her mother and mimicked her poses in the same locations. She then digitally fused the images, placing herself on a ghost-like level within the old family pictures. “The photomontages became a substitute for the paucity of memory, a forged identification and imagined conversation,” she writes. Far from blurring the original image, its otherworldly recurrence refocuses the viewer’s eyes on the original. This technique, reminiscent of historic ghost photography, adds layers of meaning to the visuals. The resulting images retain the authenticity of the originals but carry a contemporary significance, making them a powerful medium for storytelling.

Lenyalong la Thobi ll, 2013 ??Lebohang Kganye      

事实上，在这个系列中，童年的一些片段，其中有很多未被说出口的东西，被坎耶拼凑在一起。这同样适用于南非巨大的政治障碍，这个国家的许多家族历史都是与之抗争的。它也由许多碎片组成，其中有许多缺失的部分被冲走或压制。谈到种族隔离的影响，关键字是“破坏”。被赶出土地的家庭（坎耶的家人也曾经被“重新安置”）。亲人流离失所，社区在移民劳工手中被摧毁。坎耶使用摄影、剪辑、电影和装置等多种技术，重新创造了一个不存在但应该存在的世界。

In fact, in the series, the fragments of a childhood in which so much remained unspoken are brought together, as it were, by Kganye. And that applies just as much to the immense South African political décor against which so many family histories in that country are played out. That too consists of fragments with many missing parts that were swept away or suppression. Disruption is the key word when it comes to the impact of Apartheid. Families driven from the land (Kganye's family was also once 'resettled'). Displaced loved ones. Communities dismantled at the hands of migrant labor. Using diverse techniques such as photography, editing, film and installation, Lebohang Kganye re-created a world that was not but should have been.

Shadows of Re-Memory, Film Still, 2021 ??Lebohang Kganye

坎耶的作品《记忆中的阴霾》(2021),正在《非凡现实主义》展览中展出。“后记忆”和“记忆”（分别由玛丽安·赫希和托尼·莫里森定义）的概念在这位艺术家的作品中扮演着特殊的角色。坎耶经常在她的作品中呼唤自己家庭的影子，并看到了它治愈的一面，同时也打开了与之相伴的回忆过程。在《记忆中的阴霾》中，勒博亨·坎耶为鬼魂搭建了一个舞台而非基于家庭叙事，是基于文学作品：阿托尔·富加德的戏剧《麦加之路》（1984）和《火车司机》（2010），以及劳伦·比克斯的非虚构作品《特立特立者：来自南非过去的非凡女性》（2004）—— 所有这些都通过有趣的女性角色的出现联系在一起。

Marvellous Realism exhibition features Kganye’s work Shadows of Re-Memory (2021). Concepts of “postmemory” and “rememory” (as defined by Marianne Hirsch and Toni Morrison respectively) play a special role in the artist’s oeuvre. Kganye, who often calls for shadows of her own family in her works and sees the healing side of it, also initiates the process of rememorising that goes along with it. In the case of Shadows of Re-Memory (2021), the Lebohang Kganye builds the stage for the ghosts to arrive at not based on familial narratives, but on literary pieces: plays The Road to Mecca (1984) and The Train Driver (2010) by Athol Fugard, and the non-fiction Maverick: Extraordinary Women from South Africa's Past (2004) by Lauren Beukes — all connected through the presence of interesting female characters.

Shadows of Re-Memory, Film Still, 2021 ??Lebohang Kganye

Shadows of Re-Memory, Film Still, 2021 ??Lebohang Kganye

坎耶花了几个星期的时间，沿着富加德工作过的新贝特斯达的碎石路行走。在逗留期间，艺术家采访了当地居民：一位修复师、一位养蜂人、一位小提琴弦匠和一位富加德书籍的翻译。艺术家向村民讲述的与《麦加之路》有关的故事构成了《记忆中的阴霾》中的场景。这些故事随着文学情节、记忆——与幻想以及个人叙述与集体后记和回忆而变化。

Lebohang Kganye spent weeks walking along the gravel roads of Nieu Bethesda where Fugard worked. During her stay, the artist interviewed the local residents: a restorer, a beekeeper, a violin string maker, and a translator of Fugard’s books. Stories of villagers narrated to artists in relation to Road to Mecca constitute the scenes shown in Shadows of Re-Memory (2021). These stories morph with literary plots, memory — with fantasy, and individual accounts with collective post- and rememory.

|多媒介方法：创造另一种时间

Interdisciplinary Approaches：Creating An Alternative Time

TV at the taxi rank, 2022 ??Lebohang Kganye 

坎耶的创作实践解构了档案图像的殖民背景，并将其意义置于对当代历史叙事作者身份的当代拷问之中。她的艺术创作过程主要以研究为主，研究摄影的物质性以及记忆与幻想之间的关系。通过将摄影的“非虚构”假设与戏剧和文学的“虚构”世界构建能力进行对话。

虽然摄影仍然是坎耶作品的核心组成部分，但她将对物质的兴趣扩展到了传统界限之外。她的艺术作品经常将摄影元素与雕塑和表演实践融合在一起，形成了挑战传统媒介限制的沉浸式装置。坎耶的创作方法的特点是将戏剧和动态影像完美融合，使她能够以全新的、令人回味的方式探索记忆和历史的主题。12年来，她的作品不断演变，并继续尝试不同的尺度和材料。

通过她的艺术，坎耶记录了她家族的历史，并将其与南非复杂的历史背景交织在一起。种族隔离法和土地法导致的家庭迁徙和重新安置成为作品的核心主题，突出表现了历史不平等对个人和集体身份的深远影响。坎耶始终站在当代艺术的前沿，重塑着我们对过去的认知和参与。

《非凡现实主义》展览现场，2024??Fotografiska影像艺术中心

Kganye’s practice deconstructs the colonial context of the archival images and situates their meaning in a contemporary interrogation of the authorship of historical narratives in the contemporary. Her artistic process is mostly research intensive and investigate the materiality of photography and the relationship of memory and fantasy. By positioning the “non-fictional” assumption of photography in conversation with the “fictional” world-building capacity of theatre and literature.

While photography remains a central component of Kganye’s work, she extends her interest in materiality beyond traditional boundaries. Her art often merges photographic elements with sculptural and performative practices, resulting in immersive installations that challenge the conventional limits of the medium. Kganye’s approach is characterized by a seamless integration of the theatrical and the moving image, enabling her to explore themes of memory and history in new and evocative ways. Over the 12 years, the work has evolved and she have continued to experiment with different scales and materialities.

Through her art, Kganye documents her family's history, interweaving it with the broader context of South Africa's complex past. The uprooting and resettlement of families due to apartheid laws and land acts become central motifs, highlighting the profound impact of historical inequalities on personal and collective identities. Kganye remains at the forefront of contemporary art, reshaping our perceptions and engagement with the past.

即将闭展｜《非凡现实主义》

Closing Soon | Marvellous Realism

开创性当代非洲影像艺术展《非凡现实主义》是亚洲首次也是规模最大的非洲摄影展。《非凡现实主义》聚焦撒哈拉以南的非洲国家，采取跨国视角，展出知名与新兴艺术家的摄影和影像作品。通过这些作品，艺术家设想了当代非洲文化特征作为一种持续可能性的状态，在这种状态中，神话、记忆和运动交织成一幅丰富多彩的想象艺术画卷。参展艺术家的作品将非洲描绘为一种天然包容世界的状态,这与哲学家阿奇勒·姆本贝对非洲大陆的描述相似,即"一个由重叠的血统、多种的交集应运而生形成的运动躯体"。

展览即将于12月1日闭展，最后一周，一起来探索超越传统印象的非洲世界。

Focused primarily on sub-Saharan African countries, the first and largest exhibition of African photography in Asia "Marvellous Realism" is transnational in outlook, the exhibition presents work by established and emerging artists using photography and film as a means to envisage contemporary African cultural identity as a state of ongoing possibility, in which myth, memory and movement weave together into a rich tapestry of expansively imaginative art works. The featured artists in the exhibition invoke Africa as an innately cosmopolitan condition that is closer in kind to the philosopher Achille Mbembe’s description of the continent as ‘a body in motion born out of overlapping genealogies, at the intersections of multiple encounters with multiple elsewheres.’

The exhibition will run through December 1st, come and explore an unconventional world of African contemporary art.

关于 Fotografiska

来自瑞典斯德哥尔摩的Fotografiska，是当代影像、艺术和文化生活的国际性地标，始终致力于向公众呈现全球顶尖的影像作品、重新定义当代影像艺术新体验，同时也关注来自中国本土和亚洲地区的影像艺术创作者，旨在塑造充满活力、创新与包容的国际性文化艺术社区。

Fotografiska影像艺术中心提供精心策划的展览、活动、音乐派对、沙龙主题讲座等一系列文化活动，以提升中国本土艺术家的国际知名度，在全球舞台上展现其才华。冰淇淋店、咖啡馆、露天酒吧和餐厅等生活消费场所也遍布展馆内的四层楼空间。Fotografiska影像艺术中心日常将开放至深夜11点，观众可以更灵活安排时间探索和体验。