熱流：臺非現當代攝影

Hot Flux: Modern and Contemporary Photography in Taiwan and Africa

       攝影術自十九世紀中後葉，從歐洲大陸隨著科技發展向外輻射，並跟隨全球化與工業化的進程迅速傳入世界上大部分地區，且開始蓬勃發展。世界各地的攝影工作室如百花齊放般展開，上述的攝影師和攝影技術的傳播者多是歐洲人，很快的在世界上大部分區域都出現了在地攝影師和他們經營的攝影工作室，當時世界上各個地區對攝影的需求逐漸增加，且在地的攝影藝術發展不僅有各自的特色，也每每有殊途同歸之處。近年來，不論是臺灣還是非洲學界與藝術界都對攝影史有了更加深入的研究。

        當我們立足臺南，觀望寰宇，西方世界以及亞洲的現當代攝影藝術是我們所熟悉的。相較之下，非洲則相對顯得陌生和遙遠。但是對比非洲諸國和臺灣，卻也可以探詢到全球發展大歷史以及藝術研究交互影響的脈絡。上述兩區域都屬後殖民地，可以分別從殖民及後殖民歷史與城市和全球化發展風貌上感受到到西方的影響，並且皆從上個世紀中開始逐漸發展出在地獨特的文化與藝術身份。攝影作為一種紀實和創作的雙重手段，值得讓我們關注。西方與各前殖民地之間的軸向關係是構建各地歷史敘述不可避免的話題，但是跳出中心框架之外，我們也希望可以探究全球南方國家間一些共通的性質和面臨的挑戰，以及其之間可能產生的關係。

        攝影術在藝術史上作為一種創作媒材被接受和研究時間並不長。西方以外的攝影史和攝影師被納入現當代藝術研究的範疇可以說是近年正在進行中的事件。非洲的攝影從1990年代開始進入歐洲的美術館和重要的私人收藏，並成為研究和展覽的對象。臺灣攝影從2000年代開始更加受到島內藝文界的關注和研究，在摸索和發現中逐漸開枝散葉。全球化的趨勢不僅可以打破中心的限制，也讓臺灣攝影史多一個對話的對象。《熱流》通過跨域兩大洲十數個國家，近七十年的脈絡及殿堂級攝影師的作品展開一次流動對話。

        本展覽分為三個展區。其中第一個部分「現代寫真館」展示的主要是現代攝影作品，其中包含早期寫真館的擺拍肖像，也有利用相機走上街頭後描寫社交及庶民生活場景的抓拍。第二部分「跨越大洋」從理論的角度出發，用三位當代藝術家的作品勾繪出洲際人口遷徙與交流錯綜複雜的面貌。第三部分，「南南互望」則是用對話的方式讓臺非當代藝術家的作品互相呼應對話，並且呈現了他們在創作中面對的諸多重要議題，其中包括種族、身分認同、傳承、環境等。

           Photography was invented in the second half of the 19th century and spread from European as its technology developed. It quickly reached most parts of the world, alongside the processes of globalization and industrialization, and began to thrive.

          Photography studios emerged around the world, blossoming like hundreds of flowers. Although the photographers and other disseminators of photographic techniques were mostly Europeans, very soon, local photographers and their studios appeared in most parts of the world. The global demand for photography gradually increased, and while local photographic artists developed their own style of photography, their styles and techniques often overlapped in various ways. In recent years, the academic and artistic communities in Taiwan and Africa have been conducting deeper research into the history of photography.

           When we stand in Tainan and gaze upon the world, contemporary photographic art in Asia and the West is familiar to us. By contrast, African photography appears unfamiliar and distant. However, by comparing these African countries to Taiwan, we can explore the global historical development and the mutual influences of art research. Both regions can be seen to have been influenced by the West due to their colonial and postcolonial history, as well as in the emergence of urbanization and globalization. However, since the last century, both regions have developed unique cultural and artistic identities. Photography, as a means of both documentation and creation, is worth our attention: the axial relationship between the West and its former colonies is an inevitable topic in constructing historical narratives for each region. However, stepping outside of this central framework, we also hope to explore some commonalities and challenges among countries in the global south, as well as the relationships that may emerge between them.

           The acceptance and study of photography as a creative medium in art history have not been longstanding. The inclusion of non-Western photographic history and photographers in contemporary art research is an ongoing process, one that only began in recent years. African photography entered European museums and significant private collections in the 1990s, becoming a subject of study and exhibition. In Taiwan, photography has garnered increased attention and research within the local artistic community since the 2000s, gradually influencing more photographers in exploration and discovery. The trend of globalization not only breaks the limitations of centralized artistic community, but also provides another subject for dialogue with the history of Taiwanese photography. The Hot Flux initiates a cross-continental dialogue by traversing over a dozen countries across two continents, tracing a dynamic conversation spanning nearly seven decades and featuring works by multiple acclaimed photographers.

           This exhibition is divided into three sections. The first, A Modern Photo Studio, primarily showcases contemporary photographic works, including staged portraits from early portrait studios and candid shots depicting social and everyday scenes taken as photographers hit the streets. The second section, Across Oceans, takes a more theoretical approach, using the works of three contemporary artists to depict the intricacies and complications involved in intercontinental population migration and exchange. The third part, South by South, facilitates a dialogue between contemporary artists from Taiwan and Africa, demonstrating how their works resonate with each other, and highlighting the significant issues they confront in their creative processes, focusing on themes such as race, identity, heritage, the environment, and more.

導覽手冊Handbook.pdf

指導單位：臺南市政府

Supervisor: Tainan City Government

主辦單位：臺南市美術館

Organizer: Tainan Art Museum

展覽顧問：戴爾菲娜‧布伊斯

Consultant: Delphine Buysse

特別感謝 Special Thanks：誠品畫廊Eslite Gallery, Galerie MAGNIN-A, OH畫廊OH Gallery, SKPEAC & the Jean Pigozzi African Art Collection, Virginia & Wellington Yee, Florent Mazzoleni, Loïc Quentin, Fati N'Zi-Hassane, Luc Da Silva, 高森信男Takamori Nobuo, 立木畫廊 Lehmann Maupin Gallery

參展藝術家Artists:

Alun Be

Ambroise Ngaimoko

Fabrice Monteiro

Ibrahima Thiam

J. D. 'Okhai Ojeikere

Laeïla  Adjovi

Malick Sidibé

Omar Victor Diop

Philippe Koudjina

Robin Rhode

Roger Da Silva

Sanlé Sory

Seydou Keïta

吳天章Wu Tien-chang

吳政璋Wu Cheng-chang

杜韻飛Tou Yun-fei

沈昭良Shen Chao-liang

陳伯義Chen Po-I

許淵富Hsu Yuan-fu

致穎 Musquiqui Chihying

黃海昌Wong Hoy-cheong

黃金樹Huang Jin-shu

劉博智Lau Pok Chi

魏澤Wei Ze

策展人：莫奴、林睿洋

Curator：Lou Mo, Lin Jui-yang

展覽執行：黃靖容、張鈺

Coordinator: Huang Jing-jung, Chang Yu