• 2019.9

    不要让悲伤逆流成河

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     "Body theater" is a series of photography works derived from Lin Ran's research on new media drama therapy "immersive drama". Lin ran believes that the body, as the most instinctive and real perception carrier of human beings, connects with the world through five senses of body movements (vision, hearing, smell, taste and touch). The cognition of the world is constructed by the body actions of self and others. This series of photography works takes the body as the medium to change the theater from a space environment to any place, and the body itself is a theater, and every action has a plot. There is a dramatic conflict between the performer's body and body. And the plot clue is not from the story of the photographer, nor the story of the performer, but every audience reading the picture. The plots strung up in the mind of the viewer, and everything related to the viewer's knowledge, experience and emotion, become the picture for the viewer to interpret and create his own story. It explores an open and boundless plot.


       Under the guidance of photographer Lin ran, it presents a natural group performance. The props held by actors are also the most common cheap masks in daily life, such as balloons, umbrellas, raincoats, pajamas, etc. The performer shows the character as strange and turns the daily life into abnormal, while the audience views the performer and the final photography with a distance (alienation) and surprise (strangeness) attitude. These performances come from Lin RA's research on Brecht's "alienation" and "Defamiliarization". Defamiliarize an event or a character, strip away the self-evident, well-known and obvious things of the event or character, which makes people surprised and curious. "Defamiliarization" is also a kind of understanding (Understanding - not understanding - understanding), negation of negation.


       Hegel pointed out in phenomenology of spirit that "generally speaking, what we know well is not what we really know because it is well known. One of the most common self deceptive things is to assume that something is familiar when we know it, so we don't care about it. " In Brecht's view, the process of separation is the process of man-made estrangement from familiar things. In this way, on the surface, these people or things suddenly become unusual, surprising and puzzling, which naturally leads to people's deep thinking and eventually new understanding. The reflection of "Defamiliarization" is such a reflection - it can make people know the object, but at the same time make it feel strange.


       In general, aesthetic experience itself is aroused to make a utopian suspension. In modernism, aesthetic value is often regarded as a call for fundamental innovation, whether as a call for modernization or innovation, whether as a substitute for modernization or revolution, or on the contrary, as a reinforcement of one or both, which has never been very clear, sometimes as a remedy for them. So what we study in these works is a kind of Brecht's theatrical aesthetic photography.

  • 2019

    以下系列摄影来自林苒个展《偷偷摸摸美术馆》- 《城市里的一套空置房究竟可以用来做什么?》

    Breast rights

    乳房的权利

    这个乳房是艺术家何雨的作品。她是一个单亲妈妈,这是她初为人母的时候用自己的乳汁做成的蜡烛。林苒收藏了她这件作品。然后在自己的摄影作品里再创作,点燃了这只蜡烛乳房,形成了这组《乳房的权利》系列摄影。年轻的女孩,由于各种不得已的原因,成为单亲妈妈。个中滋味,生活百态,难以言说。

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    《像婴儿一样嚎啕大哭》--- 这只硅胶乳房是取自林苒的装置作品

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    《像妈妈那样舞动自己》

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    《为了我所拥有的》

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    《如果可以安枕》

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    《看不见的伤痕》

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    《听不见的呐喊》

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    礼物

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    中国点赞

    Chinese thumbs-up

      黑格尔在《精神现象学》中指出:“一般来说,熟知的东西所以不是真正知道了的东西,正因为它是熟知的。有一种最习以为常的自欺其人的事情,就是在认识的时候先假定某种东西是熟知了的,因而就这样地不管它了。”在布莱希特看来,间离的过程,就是人为地与熟知的东西疏远的过程。这样一来,从表面上看,这些人或事突然变得非同一般,令人吃惊和费解,自然就会引人深思,并最终获得全新的认识。所似“陌生化“的反映是这样一种反映 --- 它能使人认识对象,但同是又使它产生陌生之感。   

          在通常情况下,审美体验本身就被唤起而作一种乌托邦式的悬置(utopian suspension)。而在现代主义中,审美价值往往被看作是根本革新的号召,无论是作为对现代化或革新的号召,无论是作为对现代化或革命的替代品,或相反,作为对二者之一或二者的强化,这从来都有不是非常清楚的,有时是对它们的弥补。所以在这些摄影作品里面研究的是一种布莱希特戏剧美学的摄影方式。

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  • 2019.9

    寻海

    search of the sea

     

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