當俄羅斯龐克樂團「暴動小貓」(Pussy Riot)成員因為以音樂行動抗議普亭政權而遭拘禁判刑，我們更加確切地知道當權者有多害怕藝術的反叛力量。
今年八月逝世的著名藝評家Robert Hughes曾在《新世界的震撼》這本論著中質疑，只有早年威瑪德國和列寧主義的蘇聯時代藝術家深信藝術在道德上可以影響世界，但在大眾傳播發達的今日，這個觀念卻被遺棄；藝術變成一種投資物，成為可換錢的商品，以致「大部分的藝術追求的都是要成為一種背景音樂，為權力在幕後哼唱。」他認為，前人深信藝術影響世界雖源於天真瀾漫，但我們若不相信則肯定是一種損失。
在這期的《攝影之聲》中，我們試圖喚起攝影反叛的可能，重新思考影像藝術介入政治與社會的方式。日本攝影家北井一夫以紀實攝影觀點，洞察早年記錄日本社會運動時期的政治性現實；英國藝術家Peter Kennard的攝影蒙太奇，卸下文化霸權隱匿的面目，成為反抗運動的經典圖像；台灣藝術家陳界仁，則以自身經歷與文化碰撞，解構並再建構台灣當代懸而未決的歷史問題與政治精神狀態。
另外，本期的Artist’s Showcase則特別介紹兩位年輕攝影師——223與細倉真弓。在觀看青春的同時，他們有著截然不同的視覺質地與想像。
When the Russian punk-rock group Pussy Riot was taken into custody due to their music activist movement against the Putin government, it served to re-affirm that those in power indeed fear the power of the arts. The late art critic Robert Hughes, who passed away this August,
stated his doubts in his book The Shock of the New, “It seems obvious, looking back, that the artists of Weimar Germany and Leninist Russia lived in a much more attenuated landscape of media than ours, and their reward was that they could still believe, in good faith and
without bombast, that art could morally influence the world. Today, the idea has largely been dismissed, as it must in a mass media society where art’s principal social role is to be investment capital, or, in the simplest way, bullion.” What was the result of most art
becoming “the background hum for power”. He believed that even though “it was a certain naivete” that made the artists in the 1920s think that the arts could change the world, “but it is certainly our loss that we cannot”.
In this issue of “VOP”, through rethinking how visual art engage with politics and society, we try to conjure up the possibility of a photography rebellion. Japanese photographer Kazuo Kitai was able to see through the political reality of the early days of the Japanese social movement through his documentary photography perspective; British artist Peter Kennard’s photo montages revealed the hidden side of a cultural hegemony, and became the classic symbol of the resistance movement; Taiwanese artist Chen Chieh-Jen de-constructed and re-constructed Taiwan’s unresolved contemporary historical issues and political mental states through his personal life experiences and cultural clashes.
In addition, this week’s Artist’s Showcase featured two young photographers – 223 and Mayumi Hosokura. When approaching the same theme of youth, the two of them look at it with utterly different visual textures and imagination.
As we approach the month of September, it will mark the first anniversary of VOP’s launch. We truly want to thank our readers who have been with us throughout this time, allowing us to slowly eke out a road for ourselves in the tough and rebellious world of independent publishing. If you are new to VOP and wish to subscribe to us, you can find the information for subscription here. Do join us and welcome to the rebellion!
本期目錄 Contents
Features
北井一夫 Kazuo Kitai
訪談｜石塚洋介 Interview by Ishizuka Yosuke
Peter Kennard
訪談｜李威儀 Interview by Lee Wei-I
陳界仁 Chen Chieh-Jen
訪談｜林心如、李威儀 Interview by Sylvie Lin, Lee Wei-I
● 獨立攝影書庫 Indie Photobooks Library
《Before Tomorrow》
《The Ninety-Nine Percent》
《Concresco》
《The Election Project》
文｜Larissa Leclair Text by Larissa Leclair
● 再寫攝影
攝影的政治性
文｜郭力昕 Text by Kuo Li-Hsin
● 雙月書記 Book Review
政治的影像 影像的政治
文｜顧錚 Text by Gu Zheng
● 專欄 Column
再談水俣病及系列作品
文｜沈昭良 Text by Shen Chao-Liang
Artist’s Showcase
編號223 No.223
訪談｜錢怡安 Interview by Lili Chien
細倉真弓 Mayumi Hosokura
訪談｜李威儀 Interview by Lee Wei-I
● Forum
紀實，是對前一刻現實的回應——攝影本體論的再解讀
文｜蔡欣懿 Text by Tsai Shin-Yih
Q
怪獸的歷史想像辯證──專訪2012台北雙年展策展人安森．法蘭克 Anselm Franke
訪談｜林心如 Interview by Sylvie Lin
刺點畫廊──專訪創辦人秦美娜 Blindspot Gallery: Mimi Chun
訪談｜李威儀 Interview by Lee Wei-I
Books
《Poppy: Trails of Afghan Heroin》
文｜陳含瑜 Text by Chen Han-Yu
《Liebe Grüsse Aus 18500m Höme, Michelle》
文｜陳依秋 Text by Chen Yi-Chiu
《Sans Titre, M. Bertillon》
文｜李威儀 Text by Lee Wei-I
Exhibitions
dOCUMENTA(13)
文｜郭力昕 Text by Kuo Li-Hsin
日本當代書展
文｜劉浩濬 Text by Hao Liu