风车、郁金香、自由城之外，荷兰是什么模样？在跨越三个代际的时间之河中以十一位艺术家的镜头为眼抛却地域、身份、历史的刻板印象重新“想像荷兰”
展期：2023年04月21日至2023年06月11日
开幕：2023年04月20日
地点：舍得·成都复星艺术中心
2023年4月21日至6月11日，舍得·成都复星艺术中心将呈现荷兰当代摄影艺术调查展《想像荷兰》，展出在荷兰生活和工作的11位资深艺术家与新秀的创作。这些作品不仅仅批判性地考察了艺术家们对荷兰历史、社会、文化等议题的及时回应，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。
《想像荷兰》是荷兰驻华大使馆就2022中荷建交50周年在文化领域开展的特别项目与重要文化组成部分。由中国策展人何伊宁和荷兰策展人鲁小本共同策划。历经两年的筹备，展览于2022年首次呈现于上海摄影艺术中心，随后巡展至三影堂摄影艺术中心（北京），本次于成都复星艺术中心的展出是《想像荷兰》巡回至西南地区的首次呈现。值得特别指出的是，该展览是对2020年荷兰布雷达摄影节《想像中国》的回应，展现了中荷两国摄影艺术领域持续的交流。深化中国和荷兰之间的对话这一目标是展览项目背后持续的关键动力。
《想像荷兰》的作品来自跨越三个代际的摄影艺术家——马万·巴西奥尼、约翰内斯·博斯格拉、汉斯·艾克尔布姆、马维尔·哈里斯、埃瑞克·卡瑟斯、黛娜·利申博格、科琳娜·诺登博斯、欧文·奥拉夫、波林·奥斯登、薇薇安·萨森和吉勒姆·特拉彭伯格。参展艺术家们借助不同的创作手法，将神圣空间、自然保护、社区与日常、殖民与身份认同、性别与亲情等内容作为反思的议题，借此开启中国观众对于历史与当下，现实和想像中的荷兰的对话。
展览中最早的照片可追溯至1936年。荷兰艺术家、设计师和策展人埃瑞克·卡瑟斯的作品《在几乎每张照片里》从射击游乐场的角度展现了一个在荷兰家喻户晓的平凡女孩“气枪里亚”的故事——1936年，来自蒂尔堡的16岁女孩里亚·范·迪克拿起一把枪，向射击场的目标射击。每当她击中目标时，就会触发相机的快门，拍下一张女孩射击姿势的肖像作为奖品，女孩与射击游乐场的终生情缘开始。该系列几乎记录了里亚至今每一年的成长。“气枪里亚”的照片从一个不同寻常的角度展示了荷兰的社会，同时也揭示了摄影在数十年间的变化，而在经年累月，只有里亚·范·迪克和她射击的姿态不曾改变。
《在几乎每张照片里#7》,埃瑞克·卡瑟斯，摄影，2016
In almost every picture #7 , Erik Kessels, photography, 2016
在汉斯·艾克尔布姆的摄影作品《数字中的阿姆斯特丹》中，艾克尔布姆规定自己在五个星期内走遍阿姆斯特丹的大街小巷，缜密地寻找衣服上印有从1到100号数字的人，并对他们进行拍摄。期求捕获难以捉摸的数字这样的奇思妙想与抓取一百个瞬间的机会肇始了艾克尔布姆的摄影作品的诞生。人们总被认为是熙熙攘攘的乌合之众，而汉斯·艾克尔布姆透过该作品，触碰到由偶然的数字所记录的个体与其他人群的某种微妙关系，同时在对阿姆斯特丹街头的真实还原中呈现出时尚工业下的众生态。
《数字中的阿姆斯特丹》，汉斯·艾克尔布姆，摄影，2011
Amsterdam By Numbers, Hans Eijkelboom, photography, 2011
马万·巴西奥尼镜头下的《新荷兰风景》讲述了构成荷兰6%人口的穆斯林的故事；约翰内斯·博斯格拉则将相机转向天空与自然，纪录大流行病时期百万只椋鸟飞过深蓝色的天空；马维尔·哈里斯将目光投向自身，表达在理解自我复杂身份时无法诉诸言语的情绪……摄影师们手中的镜头在记录当下、存档历史的同时也证明、松动着当下与历史，展览旨在搜寻和延展在现实与当下可能存在而未被与不易发觉的想法，从而展现荷兰当代社会的真实影像，以及荷兰摄影所关注的议题，在观众的脑海中构筑关于荷兰的新图景。
《新荷兰风景》，马万·巴西奥尼，摄影，2018
New Dutch Views, Marwan Bassiouni , photography, 2018
与此同时，展览在试图展示当代荷兰形貌的同时，也意图对当代摄影进行再度诠释，展览中包含众多摄影师们对自身身份的反思与技术上的突破。荷兰跨领域艺术家欧文·奥拉夫在1988年以他的“Chessmen”系列进入国际的视野。在他的艺术摄影作品中，奥拉夫时常将时尚摄影的规则用于精美且复杂的人像中，并在这些极具个人风格的光鲜叙述下他以潜台词探讨社会问题、社会禁忌和性别政治。在欧文·奥拉夫的定格动画《生活——献给母亲》中，一簇郁金香在凋谢后复又重新焕发生机，无穷无尽。郁金香既是艺术家的母亲生前喜爱的植物，亦是荷兰国家的象征。为了创作该动画，奥拉夫在为期11天的创作中每分钟都拍摄一张照片，用这组作品探索摄影和电影媒体之间的界限。
《生活——献给母亲》，欧文·奥拉夫，定格影像，2018
承蒙上海丹尼斯画廊惠允
Life - For Mom, Erwin Olaf, stop-motion, 2018
Courtesy Danysz Gallery, Shanghai
薇薇安·萨森是居住在阿姆斯特丹的荷兰艺术家，她的作品巧妙运用抽象几何的形状描摹身体，蜚声时尚圈和美术界。在作品《急驰》中，萨森摆脱时尚摄影师的身份桎梏，以单声道投影的表现方式，通过一系列发人深省的传达，将影子作为焦虑和欲望的隐喻、记忆和未来希望的象征，以及作为想象力和幻觉的召唤。
本次展览中，还将呈现由荷兰王国驻华大使馆文化处出借的，来自六家荷兰出版社以及其他机构出版的50本当代荷兰摄影书。荷兰摄影书因其在摄影师、印刷商和平面设计师之间的创新和合作方式而享誉世界。展览亦包含罕见的自出版摄影书以及与荷兰摄影相关的博物馆出版合集，这些由博物馆编撰的图录呈现了当今摄影书领域的独特概述，并为观众了解荷兰摄影师在国内与国际的创作提供了更多案例，由此搭建出层次更为丰富的围绕荷兰的新想象。
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参展作品介绍及艺术家介绍
《新荷兰风景》——马万·巴西奥尼
马万·巴西奥尼（Marwan Bassiouni）
《新荷兰风景》，马万·巴西奥尼，摄影，2018
New Dutch Views, Marwan Bassiouni , photography, 2018
伊斯兰教是荷兰景观的一个重要组成部分。今天，荷兰约有6%的人口是穆斯林，在全国范围内约有400多座清真寺。这些宗教场所受到了多元的文化和艺术影响——它们是荷兰本土设计师使用当地砖材建造的，适应当地的气候并且遵循该国的建筑要求，形成了它们特殊的建筑特色。2018年1月开始，巴西奥尼在荷兰各地旅行寻找穆斯林礼拜场所，从礼拜场所的祈祷室内拍摄荷兰风景。巴西奥尼期望通过“新荷兰风景”这一长线项目提出另一种“西方的伊斯兰”景观，让镜头透过神圣的伊斯兰建筑来记录荷兰的风景。随着作品的逐步深入，巴西奥尼的足迹遍及城市、郊区、工业区、乡村乃至一些偏远的地带。该系列目前约为50多张，均以大型摄影版画和专题出版物的形式呈现。
马万·巴西奥尼是一位驻阿姆斯特丹的瑞士摄影师和艺术家。他拥有Vevey摄影学校的CFC学位和海牙皇家艺术学院的摄影学士学位。巴西奥尼在荷兰海牙摄影博物馆举办了一次个展，并出版了《新荷兰风景》一书。目前，他的作品已在温特图尔摄影博物馆（瑞士）、光圈（美国）、巴黎摄影（法国）、雅典摄影节（希腊）和荷兰摄影博物馆（荷兰）等机构和摄影节展出。另一方面，巴西奥尼的作品已被众多收藏家和艺术机构收藏，如纽约的ICP、伯尔尼艺术博物馆、鹿特丹荷兰摄影博物馆和海牙艺术博物馆。同时巴西奥尼也是W. Eugene Smith学生资助金、Harry Pennings奖和Prix Circulation(s)-Fujifilm奖等奖项的获得者。
Islam has become an integral part of the Dutch landscape. Today, around six percent of the Dutch population is Muslim and the Netherlands counts more than 400 mosques. These places of worship combine diverse cultural and artistic influences: they are Dutch-designed, constructed with local bricks; adapted to the weather, and conforming to national building requirements. It can be said, that they have developed an identity of their own. In January 2018, the artist began to travel across the Netherlands in order to photograph the Dutch landscape from inside the prayer rooms of Muslim places of worship. Bassiouni wanted to suggest an alternative image of 'Islam in the West'. As his search for mosques progressed the artist was led into cities and suburbs; industrial zones and countrysides; villages and remote areas. Eventually, Bassiouni was led throughout most of the Dutch landscape.New Dutch Views is an ongoing long-term project and photographic record of the Dutch landscape as seen through the lens of sacred Islamic architecture. The series currently counts more than 50 images and is presented as large-scale photographic prints and in a monographic publication.
Marwan Bassiouni (CH, 1985) is a Swiss photographer and artist based in Amsterdam. He holds a photographer CFC from the Photography School of Vevey and a BA in photography from The Royal Academy of Art in The Hague. Bassiouni presented a solo exhibition at The Hague Museum of Photography (NL) and published the book ‘New Dutch Views’. His work has been exhibited in venues such as Fotomuseum Winterthur (CH), Aperture (USA), Paris Photo (FR), Athens Photo Festival (GR) and Nederlands Fotomuseum (NL). His photographs are held in private and public collections, including the ICP in New York, Kunstmuseum Bern, Nederlands Fotomuseum Rotterdam and Kunstmuseum Den Haag. Bassiouni is the recipient of amongst others the W. Eugene Smith Student Grant, the Harry Pennings Prize, and the Prix Circulation(s)-Fujifilm.
《喃喃》——约翰内斯·博斯格拉
约翰内斯·博斯格拉（Johannes Bosgra）
《喃喃》，约翰内斯·博斯格拉，摄影，2020
Murmurations, Johannes Bosgra, photography, 2020
大流行病迫使约翰内斯·博斯格拉于2020年和2021年待在家附近。在荷兰靠近家中的一个自然保护区，他看到近百万只椋鸟有节奏地飞过深蓝色的天空，它们的剪影就像音乐运动的小黑点。这些椋鸟以俯冲、复杂协调的模式飞行，在天空中形成抽象的景观，形成一种崇高的音乐节奏。
博斯格拉完全被这不断展开的编排迷住了，他并不仅仅只是记录鸟群的行为，而是以自己的极简主义风格呈现它们的“芭蕾舞”。在图像的抽象形式中，博斯格拉强调了椋鸟的节奏和流动的能量的本质。自1990年以来，由于我们的物种对地球的影响椋鸟的数量减少了40%。通过椋鸟这种美丽生物的消失，博斯格希望诱导人们讨论这种生物多样性丧失的根源，寻找为传承一个更好的星球做出贡献的方法。
在约翰内斯·博斯格拉的新系列作品《喃喃》中， 百万只椋鸟有节奏地飞过深蓝色的天空，并在画面中留下如同音乐律动般的细小剪影。博斯格拉被这群椋鸟的舞蹈深深吸引，它们的编舞有着抽象的、绘画般的质感，于是在2020年3月Covid-19大流行之初他创作了这个系列作品。在博斯格拉的抽象图像中，他庆祝着椋鸟种群数量的美丽爆发，并希望以作品为契机，引导人们讨论大流行病的起源和为创造更好的环境、预防大流行病作出贡献的方式。
约翰内斯·博斯格拉的主要创作灵感来自于当代古典音乐。当他看到风景时，他的脑海中就会出现音乐，反之亦然。它们相互交融，音乐和图像源于同一来源。通过与菲利普·格拉斯等作曲家和音乐家的合作，博斯格拉将他的视觉艺术和古典音乐创作成综合艺术。他还自己弹钢琴。他曾被评选为2020年FRESH EYES欧洲新秀和2020年GUP荷兰摄影新秀。他所获得的的其他奖项包括巴黎摄影奖、国际摄影奖、国际色彩奖、莫斯科国际摄影奖。博斯格拉曾在国际上展出和表演他的作品，特别是在瓦塞纳尔（荷兰）的Voorlinden博物馆、迈阿密的新世界交响乐厅、莫斯科摄影中心、鹿特丹的De Doelen音乐厅、伯克利的ACCI画廊、阿姆斯特丹的Muziekgebouw aan 't IJ和杜塞尔多夫的Tonhalle。
The pndemic forced Johannes Bosgra to stay close to home in 2020 and 2021. He saw a large swarm of one million starlings flit rhythmically across a deep blue sky, silhouetted like tiny black specks in musical motion at a nature reserve close to his home in the Netherlands. The starlings fly in swooping, intricately coordinated patterns and form abstract landscapes in the sky in a sublime musical rhythm.
Utterly mesmerized by the unfolding choreography, he did not seek to merely document the behavior of the swarms but to render their ballet in his own minimalist style. In the abstract forms in the images, Bosgra emphasizes the essence of the rhythm and flowing energy of the starlings. By pointing the camera completely upward, he could isolate the swarm from the ground and use the Yves Klein blue hour sky as a canvas. “When I see a landscape, I hear music in my head and vice versa; they flow into each other. Seeing the starlings dancing through the sky, changing direction at any moment to escape a falcon attack, I heard a pulsating quick-dance rhythm and totally engulfing ballet music like Khatchaturian's 'Sabre Dance'.”
Since 1990 there is a 40% loss of the number of starlings due to the impact our species has on our planet. With this beautiful explosion of biodiversity of the starlings Bosgra wants to entice people to discuss the origins of this loss of biodiversity and the ways we can all contribute to leave behind a better planet.
Johannes Bosgra’s main inspiration is contemporary classical music. When he sees a landscape, he hears music in his head and vice versa; they flow into each other. Music and image originate from the same source. In collaboration with composers and musicians such as Philip Glass, Bosgra creates Gesamtkunstwerke of his visual art and classical music. And he plays piano himself. Johannes Bosgra is selected as FRESH EYES European Emerging Talent 2020 and GUP New Dutch Photography Talent 2020. Among his other awards are the Prix de la Photographie Paris, International Photography Awards, International Color Awards, Moscow International Foto Awards. Bosgra has exhibited and performed his works internationally, notably at Museum Voorlinden in Wassenaar (NL), New World Symphony Hall in Miami, Moscow Photocenter, concert hall De Doelen in Rotterdam, ACCI Gallery in Berkeley, Muziekgebouw aan ‘t IJ in Amsterdam, Tonhalle in Düsseldorf.
《市长》——黛娜·利申博格
黛娜·利申博格（Dana Lixenberg）
《奥德沃特先生和夫人的60周年结婚庆典，代尔夫特》, 2011
Mr and Mrs Onderwater’s 60th anniversary celebration, Delft， 2011
2011年，摄影师黛娜·利申博格接受荷兰国立博物馆的年度摄影项目的委任，为荷兰市长拍摄照片。在拍摄过程中，她对这些公务员居住的世界、举行会议的房间以及他们放在办公桌上的简讯产生了兴趣。在一年的时间里，她走遍了荷兰的各个城市，从阿姆斯特丹到泽沃尔德，拍摄荷兰市长的日常活动。利申博格通过捕捉每个市长的肖像、记录他们的工作场所和景况，向观者提供一个与这些与同样是普通人的公职人员亲密接触的机会，并让观者了解他们对公共服务责任的看法。这些照片阐明了荷兰内部细致的行政管理，并揭示了：市长的本质是连结公民与政府之间的关键纽带。
1984年至1986年，利申博格曾在伦敦印刷学院学习摄影，但她的主要创作是在美国完成的。黛娜·利申博格常使用大画幅相机进行创作，她标志性的肖像手法采用减法的逻辑，突出被拍摄对象的基本特征，强化肖像表现。其中，最具标志性的作品便是Jay-Z、Donald Trump和说唱歌手Tupac的肖像。
除了广泛的编辑实践，黛娜·利申博格的创作还会着眼于长期项目，关注边缘化社区，例如《印第安纳州杰弗逊维尔》（2005年）和2015年获得德意志交易所摄影基金会奖的《帝国法院》。她的作品由阿姆斯特丹及纽约的GRIMM进行代理，并曾在纽约光圈基金会（美国）、鲁昂摄影中心（法国）、伦敦摄影师画廊（英国）和阿姆斯特丹Stedelijk博物馆（荷兰）等机构展出。
In 2011 photographer Dana Lixenberg was asked to portray Dutch mayors for the annual photography assignment of the Rijksmuseum. She got especially intrigued about the world these public servants inhabit, the rooms where they hold their meetings, and the ephemera they keep on their desks. For one year she travelled throughout the Netherlands to capture the everyday activities of Dutch mayors in a variety of cities, from Amsterdam to Zeewolde, illuminating the meticulous administration of the Dutch state and uncovering the mayoral role as a critical link between citizens and government. With portraits of each mayor, as well as their workspaces and landscapes the project provides an intimate encounter with these otherwise ordinary people, as well as their views on the responsibilities of public service.
Dana Lixenberg is based in Amsterdam but studied photography at the London College of Printing from 1984 to 1986 and has been predominantly active in the United States. She is known for her stripped-down portraits that revel in the elemental characteristics of her subjects. She uses a large-format field camera. Iconic portraits include those of Jay-Z, Donald Trump and rapper Tupac.
Her work is collected widely and has been exhibited at institutions such as Aperture Foundation, New York (US); Centre Photographique, Rouen (FR); The Photographers’ Gallery, London (UK) and Stedelijk Museum, Amsterdam (NL). Her work is represented by GRIMM in Amsterdam/New York.
《数字中的阿姆斯特丹》——汉斯·艾克尔布姆
汉斯·艾克尔布姆（Hans Eijkelboom）
《数字中的阿姆斯特丹》，汉斯·艾克尔布姆，摄影，2011
Amsterdam By Numbers, Hans Eijkelboom, photography, 2011
《数字中的阿姆斯特丹》是艺术家汉斯·艾克尔布姆为自己设定的艺术任务。在五个星期的时间里，艾克尔布姆走遍了整座城市为衣服上有数字的人拍照。随着项目的进行，这成为艾克尔布姆的一场解谜游戏——在混乱的日常生活中发现某种严格的模式。这一系列的摄影图像作品呈献了一种艺术人类学研究。艾克尔布姆缜密地寻找了衣服上印有从1到100的一百个数字的一百人进行拍摄，随着工作的推进，艾克尔布姆集齐了一系列富含趣味又发人深省的图像。期求捕获难以捉摸的数字这样的奇思妙想与抓取一百个瞬间的机会肇始了艾克尔布姆的摄影作品的诞生。人们总被认为是熙熙攘攘的乌合之众，而汉斯·艾克尔布姆透过该作品，触碰到这些由偶然的数字所记录的个体与其他人群的某种微妙关系。
汉斯·艾克尔布姆于1971年开始从事艺术创作。他的艺术生涯始于他与约瑟夫·博伊斯和埃德·拉斯查共同参与的一场群展。自那时起，这位概念艺术家和摄影师便开始了对身份结构与解释的持续探索。目前艾克尔布姆已出版了作品40余册，如《报纸上的故事》（1978年）、《10欧元的服装》（2010年）。在2014年，费顿出版社收集了他在50个不同城市拍摄的照片笔记，为他出版了《21世纪的人》。安静而不张扬的他创造了一个非凡的世界，思考我们是谁以及如何描绘我们自己。
Amsterdam By Numbers is the result of a task artist Hans Eijkelboom had set himself. Over a five week period, he walked around the city taking pictures of people with numbers on their clothing. This soon became a game uncovering a strict pattern in our apparently chaotic everyday life. The series of images represent a kind of artistic-anthropological study, a meticulous effort to find and photograph one hundred people wearing numbers on their clothing, 1 through 100. Working within the confines of this task, Eijkelboom has generated a collection of images that are both playful and revealing. His photographs, taken together, are as much driven by the whimsical “need” to capture elusive numbers as they are an opportunity to snapshot a hundred moments. People are often seen in the chaos of the crowd. In that way the project touches on how these individual lives, notated by an incidental number, exist in delicate relation to all the rest.
Hans Eijkelboom began his artistic career in 1971 with an installation that was part of a group show that included Joseph Beuys and Ed Ruscha. Since then, this conceptual artist and photographer’s work has been a continual exploration of the structure and interpretation of identity. Eijkelboom has produced over 40 books, gaining renown in Europe for self-publishing many of them like In de Krant (1978) and 10-Euro Outfits (2010). Phaidon published People of the 21st Century (2014), a collection of his Photo Notes made in fifty different cities. Quiet and unassuming he has created an extraordinary body of work that questions who we are and how we portray ourselves
《马维尔》——马维尔·哈里斯
马维尔·哈里斯（Marvel Harris）
《马维尔》，马维尔·哈里斯，摄影，2021
MARVEL, Marvel Harris, photography, 2021
摄影师马维尔·哈里斯在遭受饮食失调和抑郁症的折磨时，决定用一台相机拍摄自己，从而表达一些无法诉诸言语的情绪。摄影帮助他理解自己复杂的身份，由此诞生了他正在进行的长期项目“内心之旅”。这组作品有一种惊人的真实和坦率之感，拍摄的对象没有丝毫装饰，径直展现在镜头前，被一束单色光优雅地捕捉下来。出于一种强烈的想要与世界发生联结的渴望，这组摄影作品向观众展示了摄影师自身的脆弱，并且向他们提供了一条进入他心灵世界的道路。在这组自传性质的作品中，摄影和作者的人生缠绕、交织。在五年的时间里，马维尔·哈里斯使用单色光叙述自己与精神疾病、自爱、自我接纳以及性别认同等问题斗争的历程。创作这些肖像作品让哈里斯在最需要支持的时候与世界建立联系。
马维尔·哈里斯是一位在荷兰出生成长的摄影师。2018年，马维尔·哈里斯从阿佩尔多恩应用摄影大学毕业。多年来，马维尔的摄影作品主要围绕着他作为一个自闭症艺术家与精神健康问题作斗争的经历展开。凭借其作品，马维尔荣获了包括Zilveren Camera（2018年，纪实摄影类一等奖）等多个奖项，并被LensCulture评选为新兴人才（2019年）。同时，马维尔的作品还曾在多个国际博览会和展览会上展出，如Melkweg博览会（阿姆斯特丹）、世界新闻摄影博览会（鹿特丹）、巴黎摄影和韦伯画廊（伦敦）。
While suffering from an eating disorder and depression, photographer Marvel Harris started capturing himself with a camera to manage emotions he could not adequately put into words. Photography helps him understand his own complex identity. The resulting images are part of Marvel’s ongoing long-term project entitled Inner Journey and they hit you with a raw honesty – the subject bare and unadorned, elegantly captured in monochromatic light. Stemming from a personal craving to connect with the world around him, this autobiographical story, where photography and life entwine and merge, allows others to participate in his vulnerability, offering them an insight into his mind. The process of making these portraits allowed him to connect to the world around him at the time he needed it most.
Marvel Harris is a photographer born and raised in the Netherlands who graduated from the University of Applied Photography in Apeldoorn in 2018. Marvel’s photographic work revolves around his experiences as an autistic, non-binary transgender artist who has struggled with mental health problems for many years. Marvel has since won several prizes with his work, including the 1st prize of the prestigious Zilveren Camera in the documentary category (2018), and was chosen by LensCulture as one of the Emerging Talents (2019). Marvel’s work is shown both in the Netherlands and abroad at fairs and exhibitions, such as Melkweg Expo (Amsterdam), World Press Photo Expo (Rotterdam), Paris Photo and Webber Gallery (London).
《在几乎每张照片里#7》——埃瑞克·卡瑟斯
埃瑞克·卡瑟斯（Erik Kessels）
《在几乎每张照片里#7》,埃瑞克·卡瑟斯，摄影，2016
In almost every picture #7 , Erik Kessels, photography, 2016
《在几乎每张照片里#7》从射击游乐场的角度，讲述了一个荷兰女人的故事。这个按时间顺序发生的系列伊始于1936年，当时一个来自蒂尔堡的16岁女孩——里亚·范·迪克拿起一把枪，向射击场的目标射击。每当她击中目标时，就会触发相机的快门，拍下一张女孩射击姿势的肖像作为奖品。于是女孩与射击游乐场的终生情缘开始了。这个系列几乎记录了里亚至今每一年的成长。2008年，收集与设计者埃瑞克·卡瑟斯出版了该影辑，至2016年仍在更新每一年的射击照片新版本。数年后，101岁高龄的里亚留下了她的最后一枪。埃瑞克·卡瑟斯的《在几乎每张照片里#7》中，“气枪里亚”的照片从一个不同寻常的角度展示了荷兰的社会，让我们见证了她所生活的时代，同时也揭示了摄影在这数十年间的变化。而在经年累月，只有里亚·范·迪克和她射击的姿态不曾改变。
埃瑞克·卡瑟斯是一位对乡土摄影有着极大的兴趣但荷兰艺术家、设计师和策展人。他曾被授予阿姆斯特丹艺术奖，并被普遍认为是荷兰最有影响力的创意人之一。同时，他也是阿姆斯特丹通信机构KesselsKramer的共同创始人和创意伙伴。作为一名艺术家和策展人，卡瑟斯已经出版了70多本“再挪用”图像的书籍。其中，他与多名合作方共同编辑的长期系列《有用的摄影》，以及他的独立《在几乎每张照片里》和国际畅销书《失败了！》最为著名。在他所有项目中，幽默是作品中一道共同的暗流。在最近的一次采访中，他说道：“我们被淹没在漂亮的创意作品中，它们技巧娴熟并且经过高度的修饰。但或许，普通人的创意比它们更有启发意义。”
In almost every picture #7 tells the story of a Dutch woman whose life is seen from the point of view of a fairground shooting gallery. The chronological series begins in 1936, when a 16-year-old girl, Ria van Dijk from Tilburg, picks up a gun and shoots at the target in a shooting gallery. Every time she hits the target, it triggers the shutter of a camera and a portrait of the girl in firing pose is taken and given as a prize. And so, a lifelong love affair with the shooting gallery begins. This series documents almost every year of the woman’s life up until present times. In 2008 collector/designer Erik Kessels and Joep Eijkens collected Ria's photographs and published the book 'In almost every picture #7’, with an updated version including 8 new shots in 2016. A few years later at the age of 101 she made her final shot. The photographs of ‘Airgun Ria’ show Dutch society from an unusual perspective, one which allows us to witness the times she lived in, as well as a revealing look at the changing face of photography through the decades. Only Ria van Dijk herself and her shooting stance remained a constant factor.
Erik Kessels is a Dutch artist, designer, and curator with great interest in vernacular photography. He is the co-founder and creative partner of communication agency KesselsKramer in Amsterdam. As an artist and curator Kessels has published over 70 books of his 're-appropriated' images. Notable works include the long-running series Useful Photography, which he edits with others, and his own In Almost Every Picture and the international bestseller Failed it! Humour is the unifying undercurrent within all his projects. In a recent interview he describes: “We are submerged in slick, beautiful, highly-produced creative work. But perhaps, even more inspirational than this, are examples of ordinary people’s creativity”. He was awarded the Amsterdam Prize of the Arts Award and is generally considered one of the most influential creatives in the Netherlands.
《现代圣母》——科琳娜·诺登博斯
科琳娜·诺登博斯（Corinne Noordenbos）
《现代圣母》，科琳娜·诺登博斯，摄影，1992
Modern Madonna, Corinne Noordenbos, photography, 1992
正如大多数女性一样，成为母亲完全改变了摄影师科琳娜·诺登博斯的生活。母亲这一身份不仅改变了她对社会的看法，也改变了她的日常生活和摄影的可能。在这个契机之下，诺登博斯开始在阿尔梅勒这个全新的城市进行拍摄。阿尔梅勒是一座通过人工填海打造的城市，坐落在阿姆斯特丹附近。和大多数郊区一样，这是一个为年轻家庭设计的地方，绿意盎然且辽阔宽广。在阿尔梅勒，诺登博斯找到了描绘母亲和孩子以及一个新开发的城市的最佳地点。在这片土地上，她能够在社会的背景之下讨论母性。在确定作品的风格和不同的作品尺寸时，诺登博斯参考了文艺复兴时期的画作中圣母（Madonna）和婴儿耶稣的形象和画作色彩艳丽的特征。现在，基督教似乎已经失去了在西方世界的现代社会中的主导地位，相关的主题在当代艺术中日渐减少，我们只会在在广告和宣传的世界里看到它被崇信。虽然这个系列作品已完成数十年，但 "母性 "这一话题在现代社会中的作用使这个系列比前所未有地更具讨论意义。
科琳娜·诺登博斯是一位驻阿姆斯特丹的摄影师和教育家。自1970年代以来，诺登博斯作为一名自由职业者为荷兰各个杂志拍摄了大量肖像和纪实作品。她的创作的主题往往以个人为出发点的日常为主导。在她的作品中，最独特的是她的拍摄方法和她的视觉化过程中连贯的女性角度：在任何时候，诺登博斯都不想让观众觉得自己是一位窥视者。相反，她试图赋予观者属于自己的价值。她的摄影作品能够激发观众的共鸣，它们展现出的私密的个人世界也由此获得了普世性。作为海牙皇家艺术学院（KABK）的摄影系主任，诺登博斯对教育做出了巨大的贡献，她的许多学生现在都处于当代实践的最前沿，影响着国际摄影的发展。
2014年，诺登博斯在获得了英国皇家摄影学会颁发的奖项后，又于2016年获得了荷兰皇家勋章。如今，她仍然以自己的独特视角影响着世人观看的角度。
As it will for most women, becoming a mother changed the life of photographer Corinne Noordenbos completely. Not only did it change her view on society, it also changed her daily routine and photographic possibilities. Noordenbos started to photograph in the totally new city of Almere, built near Amsterdam on newly recovered land from the sea. Like most suburban areas it is a place designed for young families, green and spacious. In Almere she found the best spot to portray mother and child as well as a new developed city. It enabled her to show motherhood in its social context. The style and different sizes of the portraits refer to the paintings from the Renaissance, a 15th century European art movement, picturing Virgin Mary (Madonna) and baby Jesus in bright colours. Now that the Christian religion seems to have lost its dominant position in modern society in the Western world, this motif is not seen any more in contemporary art. We only see it idolised in the world of advertising and publicity. Although the series was made some decades ago, the role of ‘motherhood’ in modern society makes the series more relevant than ever before.
Corinne Noordenbos is a photographer and educator based in Amsterdam. As a freelancer she has worked for a large variety of Dutch magazines making portraits and documentaries since the 1970s. Daily matters, often with a personal starting point, dominates her topics. What stands out in her work is the constant feminine angle in her approach as well as in her visualisation: at no time, Noordenbos wants you to feel a voyeur. Instead, she tries to grant people their own worth. Her photographs therefore evoke recognition. The intimate private world in most of her projects attains a universal character.Her contribution to education as Head of Photography at the Royal Academy of Art (KABK) in The Hague has impacted on the development of photography internationally. Many of her former students are now at the forefront of contemporary practice.
In 2014 she receiving an award from the Royal Photographic Society followed by received a Royal Dutch decoration in 2016 in honour of her work. Today, she continues to influence the way the world sees from her own unique perspective.
《生活——献给母亲》——欧文·奥拉夫
欧文·奥拉夫（Erwin Olaf）
《生活——献给母亲》，欧文·奥拉夫，定格影像，2018
承蒙上海丹尼斯画廊惠允
Life - For Mom, Erwin Olaf, stop-motion, 2018
Courtesy Danysz Gallery, Shanghai
定格动画《生活——献给母亲》，是欧文·奥拉夫对他过世不久的母亲的致敬。奥拉夫选择用一簇郁金香来象征母亲的形象，这是母亲生前喜欢的植物，也是这个国家和母亲乐观个性的象征。正如生命之轮，郁金香在凋谢后又重新焕发生机，无穷无尽。为了创作这个黑白的定格动画，奥拉夫在为期11天的创作中每分钟都拍摄一张照片，用这组作品探索着摄影和电影媒体之间的界限。在他的作品中，观者可以将美丽和衰败的关系视为中心主题。“我想在我的照片中看到的是一个完美的世界，但这个世界里有一条裂缝。我的工作是首先使图像有足够的吸引力，让人们乐意听我的故事，随后给他们一记耳光。”
荷兰跨领域艺术家欧文·奥拉夫在1988年以他的“Chessmen”系列进入国际的视野。在他的艺术摄影作品中，奥拉夫时常将时尚摄影的规则用于精美且复杂的人像中。在这些极具个人风格的光鲜叙述下他以潜台词探讨社会问题、社会禁忌和性别政治。2019年，奥拉夫在其作品中的500件作品被纳入荷兰国家博物馆的收藏后，成为荷兰狮子骑士勋章的一员，在当代摄影的浪潮中夺得一席之地。
With his stop-motion Life - For Mom, Erwin Olaf wanted to pay tribute to his mother who recently passed away. His mom loved flowers and so it is with a bouquet of tulips, a symbol of her country and her joyful personality, that Erwin Olaf wanted to represent her. Like the circle of life, the bouquet withers and then comes to life again, endlessly. To create this black and white stop-motion, Olaf took one photo every minute during 11 days. The work explores the boundaries between the media of photography and film. The relation between beauty and decline can be seen as a central theme within his work: “What I’d like to see in my photographs is a perfect world with a crack inside. My job’s to first make the image attractive enough to make people want to look at the story I tell them, and then to give them a slap in the face.”
Dutch multidisciplinary artist Erwin Olaf was first recognised internationally in 1988 with his series ‘Chessmen’. In his art photography he often puts the conventions of fashion photography into the service of beautifully complex portraiture. The highly stylised, polished depictions always have a subtext, addressing social issues, societal taboos and gender politics. In 2019 Olaf became a Knight of the Order of the Lion of the Netherlands after 500 works from his oeuvre were added to the collection of the Rijksmuseum. Erwin Olaf is one of the leading living contemporary photographers in the world today.
《保持健康》——波林·奥斯登
波林·奥斯登（Paulien Oltheten）
《保持健康》，波林·奥斯登，15个视频片段，30分钟，2020
Stay Healthy, Paulien Oltheten, 15 video fragments, 30mins, 2020
《保持健康》是波林·奥斯登在阿姆斯特丹新冠疫情爆发的第一时间拍摄的15个视频短片。城市被*锁封**，奥斯登在新冠病毒所带来的沉默和无菌环境中寻找人类互动接触的例子。作品展示了人们在新冠疫情中寻找新的方式与他人、与周围重新相联结。与其他国家相比，荷兰允许个人按照自己的想法采取不同的保护措施。在样一种语境下，人们被迫找到与彼此和周围环境产生联系的新方式。带着强烈的好奇心，奥斯登出色地寻找到了一些富有诗意和节奏的蛛丝马迹。在辨别确认了人们的行为模式和程序后，奥斯登用镜头将其捕捉，再将这些研究材料进行结构化和注释，以一种与众不同的精心叙事，向观众描绘一个正在以荷兰方式践行新冠防疫规则的城市。
波林·奥斯登于2006年毕业于阿姆斯特丹国立美术学院。自毕业起，奥斯登便开始了带着相机和笔记本的环球旅程。在她的作品中，在一个在录像、摄影和绘画之间摇摆的持续过程中，观察人们在公共空间的行为和移动方式，记录了人与物相遇时的视觉和概念模式，揭示两者之间的转变和断裂。她的作品在阿姆斯特丹市丽博物馆、巴黎的国立网球场现代美术馆和莫斯科博物馆等地展出和表演。她的出版物包括《街道的理论》（2007年）、《来自日本的照片和我的档案》（2011年）和《非》（2019年）。她曾获得荷兰文献奖，并在2018年获得阿尔勒摄影节的新发现奖。
Stay Healthy is a series of 15 short video portraits Oltheten made during the first period of the COVID-19 situation in Amsterdam. With the city in lockdown, Oltheten looked for examples of human contact amidst the silence and sterility surrounding the COVID-19 virus. The work shows a range of different ways of how people relate to the pandemic, in which we were all forced to find new ways of relating to each other and our surroundings but compared to other countries, The Netherlands allowed individuals to adopt the measures to one's own idea.
With an eager sense of curiosity Oltheten brilliantly seeks out situations that allow her to highlight poetic and rhythmic details. She identifies patterns and routines, captures it on camera and then structures and annotates the research materials to craft a narrative like no other. Stay Healthy paints a picture of a city that is adopting the corona rules in a Dutch way.
Paulien Oltheten graduated from the Rijksacademie van Beeldende Kunsten in Amsterdam in 2006 and has travelled the globe with her camera and notebook ever since. In her work she observes the way people behave and move through public spaces. In an ongoing process that oscillates between video, photography, and drawings, she records visual and conceptual patterns in the encounter of people and things, revealing the shifts and ruptures between them. She exhibited and performed her works at the Stedelijk Museum in Amsterdam, Jeu de Plume in Paris and Museum of Moscow among others. Her publications include Theory of the Street (2007), Photos from Japan and my Archive (2011) and Non (2019). She was the recipient of the Dutch Doc Award and in 2018 the Nouveau Prix Découverte at the Rencontre d’Arles photofestival.
《急驰》——薇薇安·萨森
薇薇安·萨森（Viviane Sassen）
薇薇安·萨森，《急驰》，2014
带声音的单声道投影，3分钟
Viviane Sassen, Hurtling，2014
Single channel projection with sound. Duration: 3 minutes.
短片《急驰》是由弗里茨·杰斯特伯格（Frits Gierstberg）在鹿特丹荷兰摄影博物馆策划的展览“Umbra”中的一件作品。该短片聚焦于萨森作品中的共同主题：阴影。摄影师通过一系列发人深省的方式，将影子作为焦虑和欲望的隐喻；作为记忆和未来希望的象征；以及作为想象力和幻觉的召唤。
薇薇安·萨森是居住在阿姆斯特丹的荷兰艺术家，她的作品巧妙运用抽象几何的形状描摹身体，蜚声时尚圈和美术界。2007年，薇薇安·萨森获得了荷兰艺术奖——罗马奖。2011年，萨森又成功斩获了纽约国际摄影中心的应用/时尚/广告摄影的无限奖。同年，萨森被列入现代艺术博物馆新摄影展的名单，并为Miu Miu、Stella McCartney和Louis Vuitton等公司创作广告。2015年，她被授予德国摄影学院的大卫-奥克塔维斯-希尔奖章，并因其展览“Umbra”而被提名为德国交易所摄影奖。
The short film Hurtling has been created as one work within the exhibition Umbra curated by Frits Gierstberg at the Nederlands Fotomuseum in Rotterdam. It focusses on a common theme in Sassen’s work: shadow. The photographer leads us through a series of thought-provoking takes on the concept shadow as metaphor for anxiety and desire; as a symbol of both memory and hope for the future; and as an evocation of imagination and illusion.
Viviane Sassen is a Dutch artist living in Amsterdam who works in both the fashion and fine art world, known for her use of geometric shapes, often abstractions of bodies. Sassen was awarded the Dutch art prize, the Prix de Rome, in 2007, and in 2011 won the International Center of Photography in New York's Infinity Award for Applied/Fashion/Advertising Photography. In the same year, Sassen was included in the 2011 New Photography exhibit at the Museum of Modern Art and has created campaigns for Miu Miu, Stella McCartney, and Louis Vuitton, among others. In 2015 she was awarded the David Octavius Hill Medal from the German Photography Academy, and was nominated for the Deutsche Börse Photography Prize for her exhibition Umbra.
《这肯定是天堂》——吉勒姆·特拉彭伯格
吉勒姆·特拉彭伯格（Gilleam Trapenberg）
《这肯定是天堂》，吉勒姆·特拉彭伯格，摄影，2020
This Surely Must Be Paradise，Gilleam Trapenberg, photography，2020
《这肯定是天堂》是吉勒姆·特拉彭伯格的一个以圣马丁岛为背景的摄影项目。目前居住在阿姆斯特丹的特拉彭伯格出生于库拉索岛。年轻时，特拉彭伯格经常前往他父亲工作所在的圣马丁岛。在《这肯定是天堂》项目中，特拉彭透过对风景图像和当地人像的批判性选取，捕捉这个岛上的生活形态。他将岛屿的方方面面并列排放在一起，构成了一幅更为细致的圣马丁图景。《这肯定是天堂》的标题启发自波莉·帕图洛的一本书《最后的度假村：加勒比海的旅游业代价》，在书中，她引用了一位游客在巴哈马的绿海龟礁旅行时发出的感叹：“这肯定是天堂”。这类评论展现出外国游客对于加勒比地区的集体想象。特拉彭伯格以这句话为契机，将这种惊叹的情结复杂化，从而表达对加勒比当地现状更具批判性的看法，以超越过度简化的旅游业吹捧。
吉勒姆·特拉彭伯格本科就读于皇家艺术学院摄影专业。并曾在W杂志、i-D杂志、Volkskrant杂志、Refinery 29和It's Nice That等杂志上发表作品。另一方面，特拉彭伯格的作品曾在乌特勒支的Fotodok、阿姆斯特丹的Unfair和巴黎的La Cité中展出，并于2020年底在阿姆斯特丹的Foam成功开办他的首次个展。在摄影类奖项方面，特拉彭伯格于2017年赢得了Lensculture新兴人才奖，并在2020年成为佛罗伦萨Riem Vis Grant的获得者。
This Surely Must Be Paradise is a photography project set on the island of Sint Maarten that addresses the imaging and imagining of the Caribbean. Gilleam Trapenberg, currently based in Amsterdam, was born in Curaçao and frequently visited Sint Maarten, where his father’s business is located, as a youngster. His photo installation contains portraits of personal acquaintances and friends, images of Sint Maarten’s landscapes and residential areas, as well as panoramas that are commonly featured in travel brochures. The work’s title is inspired by the book Last Resorts: The Cost of Tourism in the Caribbean by Polly Pattullo. “This surely must be paradise,” was a hotel review cited in the book, written by a tourist about her trip to Green Turtle Cay in the Bahamas. Such reviews illustrate how the collective foreign imagination essentializes the Caribbean. Trapenberg uses this tourist’s quote as an opportunity to complicate such sentiments, and to suggest a more critical view of the Caribbean that goes beyond oversimplified tourist depictions.
Gilleam Trapenberg (b. 1991) received his bachelor's degree in photography from the Royal Academy of Art. His work has been published in W magazine, i-D magazine, Volkskrant Magazine, Refinery 29, and It's Nice That, among others. Exhibitions of his work have taken place at Fotodok in Utrecht, Unfair in Amsterdam, and La Cité in Paris. In 2017 he won the Lensculture Emerging Talent Award and he is the 2020 recipient of the Florentine Riem Vis Grant. His first solo exhibition will be on view at Foam, Amsterdam at the end of 2020.
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关于舍得·成都复星艺术中心
成都复星艺术中心 建筑外观图 ©成都复星艺术中心
舍得·成都复星艺术中心地处高新区复星国际金融中心区域内，是一栋地上三层地下一层的独立建筑，由日本建筑师藤井洋子和青山周平联合创办的BLUE Architecture Studio担纲设计，建筑的亮点是将历史悠久的蜀都底蕴与日新月异的城市发展织汇，设计师希望通过建筑、室内、艺术等设计元素，寻求一个城市环境的共鸣点并诠释于这座艺术中心里。
成都复星艺术中心为公众呈现国内外优秀艺术家的展览与公共项目，结合成都独特的地域性、文化历史底蕴和时代发展脉络，以高品质、先锋艺术内容打造西南地区新文化艺术地标。
除精选高品质艺术展览，引领观众接触全球先锋思想和艺术实践之外，成都复星艺术中心还会举办各类公共教育活动，通过讲座、论坛、电影放映、工作坊等形式推出覆盖不同年龄层、多元化的公共项目，将复星艺术中心丰富的文化艺术内容转化为优秀的社会美育资源，为公众提供与艺术亲密接触的机会。
“作为一座休闲之城，成都一直在不断融合焕新。成都复星艺术中心将是一个能向成都、向世界展现传统与现代兼容并蓄、具有广泛包容性和延展性的文化中心。”复星艺术中心及复星基金会主席王津元女士说道，“它不仅仅是中国西部中心的文化亮点，更致力于为全社会提供优质的艺术文化资源。它将不仅是一个艺术场馆，更将成为一个时尚地标，一个创意与灵感迸发的源泉。”
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