具本昌攝影展《徘徊久》北京站

具本昌攝影展《徘徊久》北京站演出信息

徘徊久——具本昌攝影（1990-2021）

Lingering in Time: Koo Bohnchang’s Photography (1990-2021)

藝術(shù)家：具本昌

展覽總監(jiān)：榮榮&映里

學(xué)術(shù)主持：顧錚

聯(lián)合策展人：齊燕、任柏玉

Artist: Koo Bohnchang

Exhibition Directors: RongRong&inri

Academic Host: Gu Zheng

Co-curators: Yan Qi, Ren Baiyu

展覽時(shí)間：2021.09.04- 2021.11.14（周一閉館）

Duration: 2021.09.04- 2021.11.14 (Closed on Mondays)

開(kāi)幕：2021.09.04

Opening: 2021.09.04

主辦：三影堂攝影藝術(shù)中心

Organizer: Three Shadows Photography Art Centre

聯(lián)合呈現(xiàn)：三影堂+3畫(huà)廊

Co-Presenter: Three Shadows +3 Gallery

地址：北京市朝陽(yáng)區(qū)草場(chǎng)地155號(hào)A

Location: 155A Caochangdi, Chaoyang District, Beijing

三影堂攝影藝術(shù)中心榮幸地呈現(xiàn)展覽“徘徊久-具本昌攝影（1990-2021）”。本展覽是韓國(guó)攝影家具本昌在中國(guó)的個(gè)展，以藝術(shù)家早期作品“初始”為起點(diǎn)，梳理了其近三十年來(lái)的“面具”、“息”、“白瓷”、“金”等系列作品。

具本昌作為攝影家和策展人的身份活躍于韓國(guó)當(dāng)代攝影領(lǐng)域。自商業(yè)管理專業(yè)轉(zhuǎn)向攝影藝術(shù)實(shí)為天性使然。具本昌在入職商業(yè)公司后抽身離開(kāi)，前往德國(guó)學(xué)習(xí)藝術(shù)，在那里，自幼被深埋的內(nèi)斂、敏感和細(xì)膩與攝影相遇。背離家族期待投身充滿不確定性的藝術(shù)，具本昌早期的作品暗涌著每一個(gè)選擇做出時(shí)的掙扎與苦楚—觸手時(shí)的渴求，回望時(shí)的空無(wú)一物。

二十世紀(jì)末期是具本昌人生和創(chuàng)作的轉(zhuǎn)折點(diǎn)。隨著病榻上父親呼吸與精神的消散，具本昌的目光與視角投向失落的空間中，他的思考從沉重的個(gè)體意義的追求，釋放到渺小但永恒的存在?！懊\(yùn)之于生命的不確定性、生物與非生物的腐朽與消逝”成為藝術(shù)家后續(xù)創(chuàng)作探討的主題，焚燒的相紙和傳統(tǒng)祭祀的面具成為在現(xiàn)實(shí)世界與精神世界之間擺渡的靈媒。具本昌是時(shí)間殘骸的收藏者：溶解的香皂、古老的白瓷、墻壁的灰塵，被藝術(shù)家置于無(wú)色無(wú)光無(wú)影的虛空，在消逝與永恒的迷宮中徘徊不散。

Lingering in Time: Koo Bohnchang’s Photography (1990-2021)

Three Shadows Photography Art Centre is proud to present “Lingering in Time: Koo Bohnchang’s Photography (1990-2021).” The exhibition is noted Korean photographer Koo Bohnchang’s first solo show in China. Starting with In the Beginning, the exhibition presents thirteen important series created over the last thirty years, including Mask, Breath, Vessel, and Gold.

Koo Bohnchang has long been active in the South Korean contemporary photography scene as a photographer and curator. His transition from a business administration degree to a photography practice was quite natural. After he quit his job at a large corporation, he traveled to Germany to study. There, the restraint, sensitivity, and refinement that had been buried deep within him from a young age found its match in photography. After deviating from his family’s expectations and immersing himself in the uncertainty of an artistic career, Koo’s early work was imbued with the struggle and suffering of every decision when it was made—the longing for touch and the emptiness of looking back.

The 1990s were a turning point in his life and work. After his father’s breath and spirit slowly left him, Koo’s gaze turned to spaces of absence, and his thinking shifted away from the pursuit of weighty individual meaning and toward insignificant yet eternal presences. In his later work, he has explored the uncertainty of fate in our lives and how living and non-living things decay and fade away. Burning photo paper and masks from traditional ceremonies have become mediums between the earthly and spiritual realms. Koo Bohnchang is a collector of vestiges of time. He places dissolving bars of soap, ancient porcelain, and dust on walls into voids without color, light, or shadow; they linger in the labyrinth of the vanishing and the eternal.

本展覽由韓國(guó)文化體育觀光部、韓國(guó)藝術(shù)經(jīng)營(yíng)支援中心和韓國(guó)海外藝術(shù)基金支持，鳴謝成都金沙遺址博物館的授權(quán)支持。

This exhibition is supported by South Korea’s Ministry of Culture, Sports, and Tourism, the Korean Arts Management Service, and the Fund for Korean Art Abroad. The Jinsha Site Museum in Chengdu has also provided licensing support.