Jiguang Pianyu 吉光片羽 – Chinese Female Photographers Showcase

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Jiguang Pianyu 吉光片羽 is a showcase of 5 young female photographers and artists in China.

The works reflect a new approach where themes explored centre around contemporary self and identity in China, without traditional notions of gender nor the ‘female perspective’. Jiguang Pianyu was first presented at the Guizhou Photo Festival and is curated by Beijing-based Zhang Lijie 张立洁.

Photographers featured include:

Ma Yinni 马寅妮

Ma Yinni was born in Xi’an and holds an MA Photography from the University of the Arts London. She now lives and works in Beijing and London. Website: http://cargocollective.com/myn

Zhu Lanqing 朱岚清

Zhu Lanqing (b.1991) was the winner of the prestigious Three Shadows Photography Award 2014. She was born in Zhangzhou, Fujian Dongshan Island and is a photojournalism graduate from Renmin University of China. Website: www.julanching.com

Li Xinzhao 李馨曌

Li Xinzhao (b.1980) has been documenting the Tajik ethnic minority in Xinjiang since 2009. Xinzhao’s work has received numerous awards including the Dali ‘Garuda’ New Photographers Award. Website: https://xinzhaoli.see.me

Ju Duoqi 洁多淇

Ju Duoqi (b.1973) was born in Chongqing and graduated from the Sichuan Academy of Fine Arts. Duoqi became a freelance artist in 2005 and moved to Beijing. She is most known for her art and photography with common vegetable. Website: www.juduoqi.com

Du Yanfang 杜艳芳

Beijing-based Du Yanfang (b.1984) was born in Hunan and graduated from the Central Academy of Fine Arts Photography Department. Yanfang was also winner of the 2013 Woman of The Year Award. Website: www.artist.cn/yanfangdu


MaYinni6

Curatorial Note:《吉光片羽——青年女摄影师联展》

女性,一种与生俱来的身份,无所谓强调,或是回避。但是一个以“女性”为标签的展览难逃被标签化的险境,正如40多年前琳达•诺奇琳曾质疑的“为何没有伟大的女性艺术家”?“女性艺术“所呈现的女性特质一直是一个悬而未决的难题。《吉光片羽》作为国内为数不多的青年女摄影师联展,集合了杜艳芳、桔多淇、李馨曌、马寅妮、朱岚清五位活跃于艺术市场的摄影师的最新作品,展示了她们作为女性的独特体验,更展示着她们作为艺术家的独立表达,与性别无关,与大胸翘臀无关。
身份之外,支配着我们的日常生活和具体思考的似乎还有更宏观的东西,它更多的来源于我们所受的教育,那些我们一直被教导和灌输的东西。于是,在90后摄影师朱岚清的作品中,我们看到的是年轻一代对于故乡记忆的缅怀,对文化身份的认祖归宗;在李馨曌的肖像组照里,除了特意遴选出来的女性影像外,更多的是男人、老人和群像,是对整个群族生存状态的关照;马寅妮“夜游者”式的猎影则更加与性别无关。
另一方面,尽管并不刻意强调女性的身份,但是艺术家创作的灵感源自其成长过程中的独特体验,这一点亦毋庸置疑。人的社会化过程中,女性有着与男性不同的感受,正如同性恋、少数民族、外来移民有着不同的生命体验一样,女性的身份仍然为艺术家带来某种独有的话语资源。在杜艳芳的系列“手绘+摄影”的作品中,展现的童年乡村生活、大学毕业后打工妹的经历都与其“乡村女孩”的独特经验有着隐秘而直接的关联;桔多淇的“蔬菜”系列作品,似乎充满了作为女性社会身份象征的材料——蔬菜,但其探讨的主题却是“皇帝”、“孔子”,这些早已超出狭隘的女性主义视角可以结解读的范畴。她们的艺术实践再次验证,单纯的自我生命体验和女性本体欲望的表达,并不能提高女性艺术家作品的层次。相反,她们策略性的将“性别”作为叙事的起点——这一被建构的意识形态身份,接着,指向的是更加广阔的意象和主题。
与消费社会相匹配的是随机应变的当代艺术策略。如果说,上世界60年代伊始的女性主义思潮意在争取两性之间的平等对话,今天的女性艺术家的目标已经不再是重新被看待、被纳入艺术史,她们放弃了“性”的隐喻和身体叙事,选择了一条更加自由的个体性道路。
正如《吉光片羽》中五位女性摄影师,她们把视野与主题从“性”癖好中抽离出来,将被认定的女性审美特征抛诸脑后,进入一个艺术情感先于性别、自觉自为的阶段。从这些自由的作品中,我们看到的是艺术家对个体主体性的强调,抑或说,所谓的“女性摄影”已经终结。光影流转中,她们搜寻着属于自己的吉光片羽,这恰恰正是人和人之间彼此迥异的生存状态的自然呈现。

张立洁
2014年8月 于北京


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