Failure and Responsibility in Photography 摄影的失败与责任
About the Event 关于活动
We are honored to invite the artist Marine Hugonnier to have a dialogue with Larys Frogier, the Director of Rockbund Art Museum and the co-curator of “Walking on the Fade Out Lines”. The conversation between the artist and the curator will lead us to behind-the-scene stories of the artwork as well as the practice of the artist. Through the discussion based on the artwork, we hope to discuss when the artist sees photography as an experience, when the camera lens is an extension of the artist’s eye or subjectivity, how the “failure” of the photography attempts actually made it possible for the artists to question the original meaning of viewing.
Marine Hugonnier (Paris, France, 1969)
Ariana, 2003, HD video, 16:9, color, sound, 18'36''. Courtesy of Sandretto Re Rebaudengo Collection
The film details artist’s travel to Afghanistan in the summer of 2002. The artist, set out with her companions, seeks to reach the Pandjsher Valley, located in the northeast of the country; however, Afghan authorities deny access to the area due to its strategic value: filming this landscape becomes a way of controlling it. Although Hugonnier finally obtains permission to reach a TV hill overlooking Kabul, she chooses to turn the eye of her movie camera elsewhere. This film investigates the relationship between landscape and history, and shows how our perception is always influenced by political and cultural preconception.
The Last Tour, 2004, HD video, 16:9, color, sound, 14'17''. Courtesy of Sandretto Re Rebaudengo Collection
The film takes place in an imaginary future in which natural sites are closed to the public in order to preserve them from mass tourism. As the title says, the spectator is invited to take a last tour of the Matterhorn National Park in Switzerland, both overland and on a balloon. In this film, the editing juxtaposes shots of the Swiss mountains with those of Disneyland's roller coaster, which is curiously called Matterhorn. In today's experience of tourism, the landscape always offers itself as a pre-built image, as something that is difficult to avoid, and the feeling of a déjà-vu is common even in the most exotic situations.
Traveling Amazonia, 2006, HD video, 16:9, color, sound, 23'52''. Courtesy of Sandretto Re Rebaudengo Collection
The Trans-Amazon Highway was a huge road network project which aimed to connect the whole territory of Brazil from east to west. The construction begun in the 1970s under the military dictatorship and was left unfinished. The film documents the artist's attempt at making a tracking shot along a specific point of the road, with the help of local workers and by resorting to the same materials that were used at that time. In the camera shoot, the process of rail building alternates with the voices of several inhabitants expressing their point of view on the Trans-Amazon.
These three works constitute a film trilogy—shot in Afghanistan, in the Swiss Alps and in Brazil—devoted to the anthropology of images and ways of seeing.
《阿里亚纳》，2003 年，16:9 高清彩色有声单频录像， 18 分36 秒
影片详述了艺术家 2002 年夏天的阿富汗之行。艺术家与同伴一起，前往阿富汗东北部希望俯拍潘杰希尔山谷却遭到当局禁止。她意识到，拍摄风景是某种形式的控制权。获许登上一座电视塔后，她选择了转开镜头，不去俯拍当地城市。影片探究了风景与历史的关系，展现了我们的感知无时无刻不受到政治和文化成见的影响。
《最后的巡礼》，2004 年，16:9 高清彩色有声单频录像，14 分17 秒
《亚马孙之旅》，2006 年，16:9 高清彩色有声单频录像，23 分52 秒
About the Speakers 关于讲者
Marine Hugonnier, is a Franco-British filmmaker and artist. She lives and works in London (United Kingdom). Informed by her academic background in philosophy and anthropology, Marine Hugonnier's films explore the "politics of vision", referring to a belief that images are inextricably bound to the historical, social and cultural legacies. Weaving history, geography and narrative her works (films, work on paper, sculptures and photography) helps us understand how our perception is influenced by pre-existing political and cultural conditions.
Larys Frogier is the Director of the Rockbund Art Museum (RAM) in Shanghai. Curator, critic and art historian, he is involved in artistic and social challenges in post-global contexts where ongoing social, economical, cultural transformations demand new ways of interrelations, citizenship and reinvented creativity.
He curated numerous exhibitions and published extensive essays on the works of international artists: Adel Abdessemed, Nan Goldin, Felix Gonzalez-Torres, Paola Pivi, Ugo Rondinone, Wang Du, Yang Jiechang. Larys Frogier taught art theory, history of art and curatorial studies at the University of Rennes, while he was also researcher at the École des Hautes Études en Sciences Sociales (EHESS) and at the Archives for Art Criticism.
Previously the Director of the contemporary art centre La Criée in Rennes (France), he curated long-term projects (symposiums, residencies, exhibitions, publications) which question the links and ruptures between broadening transcontinental areas. Chair of the HUGO BOSS ASIA ART jury since 2013 at the Rockbund Art Museum, he is conceiving this new award, exhibition and research program as an evolving platform to promote emerging artists and to question Asia as a construction to investigate rather than a monolithic area or fixed identities.
他曾担任法国雷恩市La Criée当代艺术中心总监，策划过长期的研讨会、驻地、展览与出版物项目，不断挑战广泛的全球地域之间的联结与断裂。作为2013年首届HUGO BOSS亚洲新锐艺术家大奖的评委会主席，他将该项目构想为一个全新的奖项、一场展览与一系列研究项目，作为一个持续演变的平台，推广新锐艺术家，将亚洲作为一个持续的构建和亟待调研的问题而非一个单一的地区和固定的身份。