藝術(shù)家：魏子涵

策展人：肖瑞昀

藝術(shù)總監(jiān)：滕青云 

主辦：三影堂廈門(mén)攝影藝術(shù)中心 

展期：2021年3月13日 - 4月11日

開(kāi)幕時(shí)間：2021年3月13日  15:00 

地點(diǎn)：廈門(mén)市集美區(qū)杏林灣商務(wù)營(yíng)運(yùn)中心2號(hào)裙樓301

（從連接1號(hào)樓、2號(hào)樓之間的大平臺(tái)進(jìn)入）

對(duì)某些人來(lái)說(shuō)，

山頂是一個(gè)用來(lái)征服的地方。

對(duì)那座山來(lái)說(shuō)，

它是下雪的地方。 

—— 阿巴斯·基阿魯斯達(dá)米 《一只狼在放哨》

關(guān)系性不止是一方通行，更是一個(gè)雙方向的相互關(guān)系。不同關(guān)系的形成也是基于有著各自不同的立場(chǎng)和視角。事物的存在意味被轉(zhuǎn)換為視覺(jué)語(yǔ)言，形成一個(gè)巨大信息庫(kù)然后被人類利用。其本質(zhì)是“看”與“被看”。生活中的景觀在我的理解中有兩條路：人類用視覺(jué)語(yǔ)言去表達(dá)感情，以及視覺(jué)語(yǔ)言背后所暗示的關(guān)系性。 

展覽前言

文/肖瑞昀

魏子涵個(gè)展呈現(xiàn)了一個(gè)移除人類的動(dòng)物園世界，將“關(guān)系”植入到了作品敘事中。 

在動(dòng)物與人的視角之間、在虛構(gòu)故事與真實(shí)的場(chǎng)景之間，魏子涵在作品中進(jìn)行了一次有效的轉(zhuǎn)化。從動(dòng)物的角度而言，動(dòng)物園與人類生活環(huán)境似乎是兩個(gè)界限分明的空間。當(dāng)我們的視角脫離人類，而是跟隨著展覽中12只猴子的眼睛，從空無(wú)一人的動(dòng)物園逃入同樣四顧無(wú)人的人類空間，這樣一些視覺(jué)圖像將引導(dǎo)我們思考：人類與動(dòng)物的關(guān)系是什么呢？ 

“人類中心主義”使得我們習(xí)慣將動(dòng)物視為他者，作品《逛動(dòng)物園是一件正經(jīng)事》（動(dòng)物園を見(jiàn)てまわるのは真面目なことだ）將主觀視角發(fā)生轉(zhuǎn)換，同時(shí)提醒我們的是，人類和動(dòng)物正在共同塑造彼此。人們普遍認(rèn)為人類與動(dòng)物是“垂直”的進(jìn)化關(guān)系，魏子涵作品則呈現(xiàn)了“水平”的相互關(guān)系，不僅取消了人類的主體地位，并且“以動(dòng)物為切入基點(diǎn)表達(dá)對(duì)這一關(guān)系性問(wèn)題的認(rèn)知。”1 

魏子涵的另一個(gè)系列《情動(dòng)的味道》（情動(dòng)の匂い），聚焦于動(dòng)物的形態(tài)、局部或是周遭環(huán)境。動(dòng)物以視覺(jué)、觸覺(jué)乃至味道等細(xì)微之處喚起我們的情感，形成了每個(gè)人檔案式的感知記憶庫(kù)。在后現(xiàn)代理論中，動(dòng)物與人的二元關(guān)系在逐漸打破。當(dāng)代哲學(xué)家貝爾納?斯蒂格勒（Bernard Stiegler）認(rèn)為，人類沒(méi)有屬于自己認(rèn)知的“本能”，而是借由模仿各種動(dòng)物的特性以習(xí)得“本能”。2《情動(dòng)的味道》某種程度上也回應(yīng)了這個(gè)問(wèn)題，也就是說(shuō)，人類與動(dòng)物本來(lái)的差異性，根本在于人類的匱乏。動(dòng)物本身的視覺(jué)奇觀與感觀刺激，彌合了我們作為人類的部分想象、情感與欲望。 

注：

1 魏子涵專訪

2 貝爾納?斯蒂格勒（Bernard Stiegler）文章《技術(shù)與時(shí)間》（La Technique et le temps, 1994）

猴山《逛動(dòng)物園是一件正經(jīng)事》系列

猴子的反常行為《逛動(dòng)物園是一件正經(jīng)事》系列

沒(méi)有動(dòng)物的動(dòng)物園空間《逛動(dòng)物園是一件正經(jīng)事》系列

動(dòng)物園中的合影《情動(dòng)的味道》系列

關(guān)于藝術(shù)家

魏子涵

1994年出生。

2016年畢業(yè)于中國(guó)傳媒大學(xué)攝影專業(yè)。

2020年畢業(yè)于武藏野美術(shù)大學(xué) 大學(xué)院 寫(xiě)真專業(yè)。

現(xiàn)工作生活于東京，研究方向主要以寫(xiě)真手段探索人與人、人與空間、人與周?chē)挛锏年P(guān)系性。 作品在國(guó)內(nèi)外畫(huà)廊及博物館展出發(fā)表。

2020　東京銀座306號(hào)Project 受賞（大西みつぐ  選）

2020　Reminders Photography Stronghold 「COVID-19」公募展 受賞（後藤由美 選）

2020　武蔵野美術(shù)大學(xué)大學(xué)院修了展 小林のりお賞 受賞

2019　細(xì)江英公 清里美術(shù)館 作品購(gòu)入館藏

2019　第二回 CANON SINZA presents 「SHINES」受賞（町口覚 選）

2019　第21回1wall寫(xiě)真 Finalist

2018　Imageless Dummy Photo-Zine Awards Finalist China 

Text/Xiao Ruiyun

Wei Zihan's solo exhibition presents a zoo world where human beings are removed and "relationship" is implanted into the narrative of her works.

Between the perspectives of animals and humans, between fictional stories and real scenes, Wei has made an effective transformation in her works. From the perspective of animals, the zoo and the human living environment seem to be two clearly defined spaces. When our viewpoint goes from humans and to the eyes of the 12 monkeys in the exhibition, escaping from the empty zoo into the equally empty human space, such visual images guide us to question: what is the relationship between humans and animals?

While "anthropocentrism" has made us accustomed to seeing animals as the Other, Wei’s work "Going to the Zoo is Serious Business" shifts the subjective perspective and reminds us that humans and animals are shaping each other at the same time. While it is commonly believed that humans and animals are in a "vertical" evolutionary relationship, Wei’s work presents a "horizontal" interrelationship, not only abolishing the subjectivity of humans, but also "taking animals as the entry point to present the perception of this relational issue.” 1

Wei's other series, "The Taste of Emotion," focuses on the form, locality, and surroundings of animals. Animals evoke our emotions with subtleties such as sight, touch and even taste, forming an archival memory bank of each individual's perception. In postmodern theory, the binary relationship between animals and humans is gradually breaking down. The contemporary philosopher Bernard Stiegler argues that humans do not have their own cognitive "instincts", but acquire them by imitating the characteristics of various animals.2 "The Taste of Emotion" echoes this question to some extent, that is, the fundamental difference between humans and animals lies in the deficiency of the former. The visual spectacle and sensory stimulation of animals bridge part of our imagination, emotions and desires as human beings.

Notes

1 Interview with Wei Zihan

2 Bernard Stiegler, La Technique et le temps (1994)

About the Artist

Wei Zihan

Born in 1994 in China, Based in Tokyo.

Her career in photography began while she went to Communication University of China.

She Graduated from Musashino Art University,  Department of Imaging Arts and Sciences.

Now,She worked as a freelance photographer in Tokyo.Her works mainly focus on the distance

between people, the way people are connected to other spaces, and the relationship between

people and the things around them.

Selected Awards

2020    Photography 306 Review Award

2020    Reminders Photography Stronghold ‘COVID-19 Pandemic’ Finalist

2019    Kiyosato Museum of Photographic Arts

2019    Canon Ginza Presents Shines Award

2019    21st "1_WALL" Photography Finalist

2018    Imageless Dummy Photo-Zine Awards Finalist China

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