无尽的勘探和命名
姜纬 

　　近几年以来，浙江年轻摄影师和艺术家群体崭露头角而引人瞩目，这得益于浙江摄影界大力推动的创新鼓励机制，营造出丰富多元的良好氛围。这些年轻人展露出了积极进取的精神状态和风格迥异的影像质地，既没有脱离现实感，又有着明晰的个性化认知的意愿和能力；既提供了摄影独特性的实际依据，同时也确认了摄影的种种可能性。他们的新视野在逐渐拓宽，新路径在不断开辟，新方法在踊跃实践，新思维在日趋成熟，他们已经显示出了毋庸置疑的实力。参加在北京举办的"浙江新摄影展"的唐咸英、李舜、陈荣辉、谭荔洁和谢桂香，就是其中的佼佼者。
　　唐咸英的《红地毯》系列描绘的，是我们对于生活的理解、周旋和践行，也是生活对于我们的干预和席卷。如何从中去整理和介入，辨析普遍处境，领会命运的坚硬与厚重，其照片有着令人印象深刻的表现力。唐咸英通过色彩的内聚与强调，使得视觉关系更注重于作品的整体，每一张照片都代表了现实环境的林林总总和视觉可能性的协作，所有拍摄对象及不同结构之间的呼应和补充，创造出延伸性的视觉意象密度。《红地毯》系列的色彩提炼和凝固有着恰到好处的自主性和系统性，饱满、结实的色彩在这些照片中，被赋予了驳杂却精准的种种感受，视角的取舍，结构的经营，分寸的把握，节奏的策略，概括的条理，思考的轨迹，眼前的事物不停地向外扩张，都来自于色彩的考量和处置，这有效提升了主题的含义，由此直达评估和审视我们生活的叙事核心。
　　陈荣辉是到目前为止获得世界新闻摄影比赛奖项的最年轻的中国摄影师。《主题公园》是他正在进行中的大画幅项目。这些照片很容易让我们联想起当年斯蒂芬·肖尔（Stephen Shore）等人的作品，不仅是叙事内容和语言结构，同时也是迫使观众注视这些栩栩如生场景和质感的策略，更是摄影阐述现实的某种方式：作为奇观。问题是从斯蒂芬·肖尔到如今，摄影到底变成了什么？答案只能是"其实也没有什么特别大的变化"。这种强迫式的"总在发生"和"无时无刻无处不见"，使得现实世界既非依存于图像而存在，也非被图像所创造，遂产生了阅读意识的另一个层面：摄影并无绝对的必要性成为社会公共意见的一部分，或当作形成和表达意见的场所，然而，公共意见无可避免地进入了摄影的视野，这在中国是一个意味深长的事实。
　　李舜一直试图突破对于摄影的通常定义，创建传统摄影无法想象的领域。他的作品内涵密集，对他而言，摄影艺术的目的，始终是如何专注于作为某种体验或感受的图像，为此应该去进行意念的生成和领悟的喻示，由接受性视觉印象走向积极性视觉表现。李舜与众不同的价值所在，就是他清晰意识到：摄影的一部分必要性就在于尝试扩展人或事物的内在性，将无意识的、没想到或想不到的化为意识和语言，事实上，这也是当代摄影最基本的文化功能之一。因此，阅读李舜的作品，不能把图像的再现理解为仅仅关乎它们自身，它们更需要在恰当的语境中被充分理解，在这种语境中，再现饱含着表现的功能。时至今日，摄影已不仅仅是单纯捕捉世界的反射，更可以赋予世界某种东西，这就需要利用既有的和正在产生的各种媒介手段，独立判断事物，而不是从固有观念和规范出发去运用摄影艺术的表现力。
　　谭荔洁的动态影像作品《海东青》和静态影像作品《无名之象》系列，有着明显的连续性，无论是在孤岛上，还是身处房间中，都强调"身体被物化"的想象和观念，都利用镜子建构出另一个自我的镜像。在她看来，关键的镜子既可以充当外部景观的投射物体，也能够成为内心世界的显现媒介；既起着遮挡自我身份的作用，又重新塑造了自我形体。在温迪·麦克默多（Wendy McMurdo）的《梦游症患者》中，为了表现一个女孩和她的"复本"，麦克默多使用了数字技术，在舞台上，两个女孩面带疑惑地互相注视着，照片产生的不安与陌生感同样也感染着观众。艺术家重新构筑自己的生活、愿望、心理感受，表达存在、恐惧、失落、欲望和希冀，影像作为了一种代用品或一种物化的事实。谭荔洁的这些作品并不传达事实的出现，而是指事实处在不断修复、再造或界定的过程中。这极大丰富了影像艺术的形式，种种真假难辨中，自我借助于影像的"再现"功能，在事实和想象的夹缝里展示新的自我，或者说是艺术家的自我。
　　谢桂香的摄影艺术创作，向来保持着独特而纯粹的思维方式和表达手段，并有效融会了其个人生活经验。他的新作《出土》系列，涉及到生命周期、能量转换等问题，在媒材的选取和运用方面很具个性风格，把体验、思绪、情感等等在时间的流动、生命的消逝、能量的转换里呈现出来，并促使其作为一种文化酵素而发生作用。《出土》这些作品的创作背景是一个历史悠久的信念，人们信奉生命来源于自然，又归化于自然。在如此信念笼罩下，消逝并不意味着彻底消亡，而意味着能量的转换、轮回和重生，生生不息。谢桂香把这种信念对他的影响从"不可见"转变成了"可见"，用摄影，更确切地说是用仪式化的审慎周详的显影方式，小心翼翼地想象、等待、注视和冥想，实现了对自我的观照，以及对世界的珍重、严肃的表达。
　　这些年轻摄影师和艺术家，他们有着不同的家庭环境、教育背景、成长经历、认知结构、生活方式、性格倾向、审美趣味、信仰意愿，但他们都非常勤奋好学，勇于挑战自我和传统，努力寻求着充分表达视觉感受的能力，感物造端，凭心构象，他们的作品与当代社会生活的发展形成了具体而鲜明的呼应。
　　摄影不是惰性的、被动的观看，而是应该主动去尝试、整理和表达的观察，世界纷繁幽邃，摄影的根本热情就是勘探何以如此，摄影是对人与世界相互关联的具体性进行"命名"的过程。这是颇为艰难的无止境的工作，目前还没有一条通向未来的现成便捷的康庄大道，但是，就像理查德·菲利普斯·费曼（Richard Phillips Feynman）说过的："我们非常幸运，能生活在继续有所发现的年代。"
　　Endless Exploring and Creating
　　Jiang Wei
　　In recent years, the emerging young photographers and artists in Zhejiang province caught our eyes. Thanks to the innovation and encouragement mechanism strongly promoted by the world of photography in Zhejiang province, which created a good atmosphere of rich diversity. The enterprising spirit and particular style of images presented by those young people not only show their willingness and ability to cognize their personalization clearly without divorcing from the reality, but also provide the actual evidence to prove the uniqueness of photography as well as the various possibilities of photography. The undoubted strength of them is revealed: their horizons are gradually widened and the new paths are opened up; they enthusiastically tried the new ways to practice and their thinking is increasingly mature. As the participated artists in exhibition Contemporary Photography in Zhejiang which held in Beijing, Tang Xianying, Li Shun, Chen Ronghui, Tan Lijie and Xie Guixiang are the outstanding emerging artists from Zhejiang province.
　　The series of Red Carpet by Tang Xianying shows our understanding, hesitation and practice of life. Moreover, this work also presents how we are intervened and overwhelmed by life. With impressive expression, his photographs try to organize and involve the elements of life, analyze the general situation and comprehend the hard and heavy of fate. By emphasizing the cohesive colors, he draws the visual focus to the whole work. Besides, each photograph represents its individual context and visual possibilities of collaboration - the different structures from different subjects echo and complement with each other, creating a kind of ductile density with visual images. The cohesion and rendering of colors in Red Carpet is appropriately independent and systemic, and the full and solid colors in the works are endowed with a sort of complex but accurate feelings. From his works, we can see the subjects in front of us are constantly expanding outward, because the choice of perspective, the management of structure and the strategy to control the visual rhythm and balancing the composition benefit from his considerations and processing of the colors, which effectively enhance the meaning of the theme and directly criticize and review the narrative core of our life.
　　As the youngest Chinese photographer who received the World Press Photo prize, Runaway World / Chinese Fun is Chen Ronghui's ongoing large format project. In this project, the photos are very easy to remind us the works by Stephen Shore not only because of the narrative content and language structure but also because of the strategy which force the audience watching these lifelike scenes and texture, and furthermore, because of the certain way of explaining the reality by photography - as a wonder. Here comes the question: from Stephen Shore till now, what change happened to photography? The answer can only be "nothing special changed". This obsessive ideas of "always happening" and "ubiquitous all the time" make the real world is neither attached to the image nor created by image. In so doing, another level of the reading consciousness is created: photography is not absolutely necessary to become a part of the social public opinion or as a platform to form and express opinions. Nevertheless, public opinions inevitably entered the sights of the photography, which is a meaningful fact in China.
　　Li Shun has been trying to break through the general notion of photography and create a field that traditional photography cannot imagine. His works are full of connotations, and for him, photography should always aim to explore how to focus on a certain experience or feelings of images. Thus, the idea generates and the metaphor comprehends, and the acceptable visual impression turns to the enthusiastic visual expression. What makes Li Shun extraordinary is his clearly awareness: a part of necessity of photography lies in the attempt to expand the internality of person or thing, tuning the unconscious and unexpected ideas into actual consciousness and visual language - in fact, this is also one of the most basic cultural functions of contemporary photography. Therefore, when we look at Li Shun's works, we should understand his works in an appropriate context instead of only through the photographed items as the context is involved into the representation of the image. Today, photography is not only a simple tool to capture the reflection of the world but can contribute the world something, which requires the use of all kinds of media - existing or to be produced - to judge things independently, rather than apply the expressive force of photography art from the inherent concept and specification.
　　Both the dynamic image work East Sea Island and the static image work Untitled Body by Tan Lijie possess a clear continuity: whatever in the lonely island or in the room, her works emphasis the imagination and ideas of "body is materialized" and construct a mirror image of the second self with the mirror. In her opinion, the key mirror not only can be the projector screen of the external landscape but also can be the medium to unfold the inner world; more specifically, it not only plays the role to cover the self identity but also reshape the form itself. In The Somnambulist, the artist Wendy McMurdo applies digital technique to present a girl and her "copy": on the stage, two girls are staring at each other with doubts, and the unease and strangeness generated by photo also infect with the audience. Wendy McMurdo rebuilt his life, aspiration, psychological feelings, expression, fear, loss, desire and hope by this work and the photo could be regarded as a substitute or a materialized fact. While for Tan Lijie, instead of showing the existence of the fact, she indicates that the fact is in the process of repairing, reconstructing or defining. In her works, it is difficult to distinguish the real and fake, which greatly enrich the forms of image art: in virtue of image's "reproduction" function, in the crack between fact and imagination, the self (or artist's self) shows the "new self".
　　Xie Guixiang's photography always maintains a unique and pure way of thinking and expression methods, and effectively combines his personal life experience. With an individual style of choosing media, his new series work Unearthed involves some issues like life cycle and energy conversion, using the flow of time, elapsing of life and the conversion of energy to convey his experience, thoughts and emotions, at the same time forging a kind of culture. The background of Unearthed comes from a belief with a long history, which people believe that life comes from nature and naturalized in nature, and death does not mean completely extinct but unexpected energy conversion, transmigration and rebirth without end. This faith influenced Xie Guixiang and he transferred the "invisible" effect to a "visible" way by photo. To be more precise, he carefully and comprehensively observed the visual development of the belief, gingerly imaging, waiting, and meditating, achieving the reflection of self, the cherishing of the world as well as the sincere expression.
　　Though those young photographers and artists have different family environment, educational background, life experience, cognitive structure, life style, character orientation, aesthetic taste, faith and wish, they are very industrious and have the courage to challenge themselves and traditions. They seek the ability to express the visual perception and create the artwork based on their individual and pure feeling about the reality, which specifically and distinctively echoes the development of contemporary social life.
　　Photography should not be viewed inertly and passively, but should be taken initiatively for observing and expressing. This world is complicated and comprehensive, and that's what photography should explore fundamentally. As the process of "naming" the concrete connection between people and the world, photography is rather difficult and endless without any convenient way or broad road to the future currently. But, just like Richard Phillips Feynman said: "The age in which we live is the age in which we are discovering the fundamental laws of nature, and that day will never come again. "