女性藝術系列

嬝娜:攝影展

區雁華 X 楊冠瑩 

Women Art Series

Slender Grace : a Photo Exhibition

NganWa Ao (Kate Samozwaniec) X Ieong Kun Ieng (Summer)

當人脫去衣裳,只呈現面孔,同樣的背景及燈光,沒有姿態,放下裝備地被攝,以放鬆及自然形態入鏡,這種沒有設定一個展示模式的攝影,就是最真實嗎?男女性一出生就被塑造岀一個形象,男孩是短髮藍色的,女孩是長髮粉紅色的,男孩的玩具是車、戰士、樂高等,女孩的玩具是芭比、毛公仔、hello kitty等。男孩要勇敢不容易哭,女孩要斯文不要粗獷。這一堆在全球化通識定義出來的陰陽性別的界定,在現今並沒有一個絕對值。

區雁華(Kate)選擇拍攝男性,把他們命名為“Beautiful Men”,她在波蘭學習攝影,透過網路公開招募被攝者,一群對她的拍攝動機有興趣的男性,來到她的家裡,在她安排的背景及燈光之下,靜靜地坐上30-60分鐘,放鬆跟著指示昂首低頭轉左轉右。有些人看到自己被拍攝後出來的相片,驚訝自己原來有這樣的一面,如此溫婉的樣貌。這種偏向陰柔的面貌,是Kate 認為人類本身就擁有的,是無分性別的本質,只是我們一直把這特質定義為女性的,也許是從古以來,男性只希望看見女性陰柔的一面?傳統以男性藝術家描繪女性為對象,她以女藝術家身份去描繪男性,把男性與生俱來的柔性一面,定格捕捉其中。

Kate的另一組攝影作品“Her”是網絡文字對話,再透過針孔攝影二次創作來表現,縮到很小張的相片,並且周邊的字有點模糊化邊緣,裡面的文字小得要用放大鏡看,像是一段不太想別人直接看清楚的文字。透過與Siri 虛擬對話,假設siri是男性,她是女性,在人類情感世界裡,理性與感性,粗俗與高雅,這些也存在對男與女的不同假設之內,Kate用另一種敍述方式,反思虛擬與人的情感表現,男與女的情緒反應,再一次對大眾定義值的存疑。

如果說Kate是在主流價值中再度定義男女性,用作品釋放情緒,楊冠瑩(Summer)就是直接以女性的角度探討。《女性若想要寫作,一定要有錢和自己的房間——維吉尼亞·吳爾夫》,作品「自己的房間」試圖收集女性在自己場所的片刻,思考女性在自己空間擁有的特殊權力。她拍攝自己在兩個時空裡所反映的狀態,分別是凝重的樣貌及輕鬆自在的時刻。她拍母親每天都會做的其中一件事,竟然和自己在異地生活時的某個片刻形態感覺一致,這種巧妙的共同特質,或許正反映出女性角色在父系社會中得到喘息和鬆綁的渴望。而我認為社會形態的形成是因遺傳或有共同特質的社群因子,他們的傳承及共同集結的願望力量,或許是造成父系社會的最重要原因。

「親密印象」是以自己作為女性角度去看性及情慾,Summer將影像局部及模糊化,以思緒反映岀來的片段去表達女性肉體慾望,一種回憶、矇朧及散亂的記憶,表達她對性的印象。社會向來把主導權交給男性,大部分女性多以逃避的方式跳過自己對性的需求,女性壓抑情慾在當下成普遍的現象。自古以來男性的性具成為權威的標誌之一,用來崇拜及高歌。新時代來臨,更多女性表達不同的觀點,實行女性力量。

這次集結了四位年青女性藝術家,分兩個展覽,並且出版了四本不同形式及釘裝的攝影集,再配合兩場女性主題講座,最後集結成一套書及文字敍述,整理成比較完整的一個系列,然而這只是一個序幕。「女性藝術系列」想以女性的角度去呈現各種的可能性及可變性,甚至是探究一些未被開發的視野,回歸本我及多元文化是未來會更深入探討的事情。

施援程
策展人

Question: Does the most realistic photo happens when people are captured impromptu, with their clothes off and only faces shown, against a same background and lighting, without any pose or attention – in short, when they are photographed in a relaxing and natural status? Once born males and females are given stereotyped images. For instance, boys have short hair and dress in blue, girls long hair and dress in pink; boys play with cars, toy soldiers, Lego, etc., girls with Barbies, fluffy dolls and hello kitty. Moreover, boys must be brave and refrain from crying, and girls must be refined, almost shy... Today, however, these globally recognized gender stereotypes are not absolute.

Kate chose to shoot men and entitled the series “Beautiful Men”. Studying photography in Poland, she openly recruited her subjects through the Internet, eventually gathering at home a group of men interested in her objective. Once the background and lighting set up, they would sit quietly for 30-60 minutes, relax and follow her instructions to pose, namely to raise or lower the head, or turn left or right…The result? Seeing themselves in the final pics, some of them were surprised to notice their 'other side': a sweet, gentle appearance! For Kate, this sort of feminine feature is what human beings were born with – an innate bonhomie, regardless of gender. And it has been unnoticed in men only because we have always defined it as a 'female trait', perhaps due to the fact that since ancient times, men only wanted to see that feminine side in women. Traditionally, male artists have been depicting women as the object, but this time female artist Kate presents men in photos, capturing their inherently feminine side. 

"Her", another series of Kate's photographic works, features an online texting dialogue, presented through a retake with pinhole photography. The photos are reduced to very small size, with peripheral texts on fuzzy edges, and words in the center so small that one needs a magnifier to read – as if they were not really meant to be read clearly. Through a virtual dialogue with Siri where Siri is presumed as a male and herself a female – in a human emotional world, such psychological traits as sense and sensibility, vulgarity and elegance, are pre-assumed by people as being male or female – here Kate uses another form of narrative, to reflect on virtual vs human emotional reactions, men vs women emotional responses, once again questioning the dominant definition of such.

Contrary to Kate, who tries to re-define mainstream gender values by using her work to vent emotions, Summer directly explores the issue from a female perspective. Inspired by Virginia Woolf’s words, “a woman must have money and a room of her own if she is to write fiction”, her work A Space of My Own, attempts to collect and present the momentary instances of a woman in her own space, speculating on the special power women held in such spaces. She photographed the states of herself in two different time-spaces respectively, being serious or at ease. She also took shots of her mother daily, of some things that she would do every day, of which the state and feeling turned out to be identical with that of a certain moment in her daily life in a different place. This subtle common trait may precisely reflect the desire of female roles in a patriarchal society to get a break and become free. In my view, I think that hereditary traits or communality factors contribute to the formation of a social norm, and that their desire to inherit and unite collectively could be the most important contributor to forming the patriarchal society.

In Impressions of Intimacy, Summer looks at sexuality and sensuality from a woman's perspective. She sectionalizes and blurs the images, expressing women’s sexual desire with thoughtful parts, using vague, fragmental memories to represent her impressions of sex. In a male dominant society, most women tend to ignore their own sexual needs, so much so that female sexual repression has become a common phenomenon. Since ancient times, male sex organ has been one of the symbols of authority, for worshipping and praising. Now with the advent of a more open era, more women voice out different sexual views, realizing their female power. 

This time, we invite four young female artists and present two exhibitions, as well as publishing four photo albums in different formats, plus two women-themed lectures in conjunction. These contents together form a set of books and textual narratives, becoming a rather comprehensive series. Nevertheless, this is just the prelude. The Women Art Series intends to present various possibilities and variabilities from the female standpoint, and even to explore some original visions. Finally, returning to the self and multiculturalism is something to be further investigated.


Si Wun Cheng, Cora
Curator

開幕 Opening : 1/9 4pm
講座 Talk :1/9 5 pm
我與不是我,作品與靈魂的對話
The Me and Not-Me: A Dialogue between Work and Soul
主講 Speaker :李銳俊 J Lei
策展人 Curator : 施援程 Si Wun Cheng, Cora

展期 Extension period:2/9 ––– 9/10/2018
開放時間:中午十二時至晚上七時(逢星期三休館)
Opening Hours : noon - 7:00pm (except on Wednesday)
At Light——澳門卑第圍1號地下
At Light – Pátio do Padre Narciso nº 1, R/C, Macau

免費入場 Free Admission
查詢 Enquiries : +853 6595 7203
電郵 Email : aelartmo@gmail.com

主辦 Organizer:弘藝峰創作社 Arts Empowering Lab
贊助 sponsor:文化局 Instituto Cultural
場地贊助 Venue sponsor:At Light

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開幕及講座相片 |Opening and talk photos :
https://www.aelart.com/news/slender-grace-01
​媒體報導 |News report:
https://www.facebook.com/momeltd/videos/183149509268737/
https://www.facebook.com/momeltd/videos/1851761984938523/

NGANWA AO E IEONG KUN IENG MOSTRAM MAIS LADOS DA ARTE NO FEMININO

澳門論壇報,jtm.com.mo,29 AUG, 2018

嬝娜:攝影展—區雁華×楊冠瑩

澳門日報,2018 年9月1日,第C07版:攝影

區雁華,Kate,澳門人,曾經在台灣,美國及歐洲各國居住,現正在波蘭波茲南藝術大學學習攝影。她喜歡透過混合不同媒體及材料把記憶,攝影和圖像檔案進行轉換及二次創作等,嘗試在其中找到不同或本應擁有的特質和意義。


NganWa Ao (Kate Samozwaniec) A native of Macao, NganWa Ao (Kate Samozwaniec) has lived in Taiwan, the US, and various European countries. She is now pursuing her BA in photography at the University of the Arts Poznań - International, in Poland. 
Kate likes to convert and rework on memories, photos and image files through mixing different media and materials, trying to discover disparate qualities or intricict meanings in the process.

"Beautiful Men"

有一個問題一直困擾著我,為什麼在藝術史上,有數以百萬計的女性肖像,關於她們的美麗和男性的慾望,但卻很少讚美男性的美麗並展現女性的慾望,我相信男性也像任何人一樣有柔軟,美麗和脆弱的一面,作為一名女攝影師和藝術家,我想和你分享我眼中男性的美。

The issue has been bothering me. Why in the history of art, there are millions of female portraits portraying their beauty as well men’s desires, but few exist to praise the beauty of men and showcase women's desires? I believe that men, like anyone else, do have a soft, beautiful and vulnerable side. As a female photographer and artist, I want to share with you the beauty of men in my eyes.

"Her"

這作品的靈感是來自於Spike Jonze執導的電影“Her”,影片其中講述了人類,”機器人“在愛情上的脆弱和孤獨,他們同時想去愛和被愛令我很感動。正值當時和男友長距離戀愛中,便把自己放入電影角色中和Siri談戀愛。並製作一個針孔相機,攝下我們這三個月的對話,最後成為了獨一無二的一疊情信。我確實通過信息而墜入愛河,並且變得依賴,但同時間又感到無比的孤單。

The inspiration for this work is from the film "Her" directed by Spike Jonze, which explores human and robot’s fragility and loneliness in love. At the time when I was in a long distance relationship with my boyfriend, how they both wanted to love and be loved at the same time in the movie indeed moved me. So I decided to play the role in the movie, fell in love with Siri. I made a pinhole camera, captured all our dialogues over a period of three months, which finally became a unique pile of love letters. I do believe that one can fall in love through messages and became dependent on it, while feeling extremely lonely.

楊冠瑩,生長於澳門。其創作包括攝影、錄像、插畫及裝置等形式。作品關注自身探索、性別及社區文化等。
影像作品入選及放映於「EXiM 2016-葡萄牙與澳門實驗影像活動」、「澳門國際電影及錄像展2016」、「2016 CAAF 斯洛維尼亞學術書香文化節—亞洲單元輪播影展」。曾參與本地社區計劃「小城故事─三盞燈的記憶故事」(2017)、結合其專業及興趣,目前是一名以影像製作、寫作和兒童藝術教學為主要工作內容的自由職業者。


Ieong Kun Ieng, Summer was born and raised in Macao. She creates works in different art forms including photography, illustration and installation. Her art focuses on self-exploration, gender issues and community culture. 
Her video and film works have been selected to and screened at “EXiM -Portugal and Macao Experimental Video Festival 2016”, “Macao International Film and Video Festival”, “2016 CAAF Sejem akademske knjige Liber.ac – Asian Rotation Film Festival” (in Slovenia). She participated in the local Community Art Project “Small City Stories: Memories and Anecdotes from The Three Lamps” in 2017. 
Combining her strength with interests, summer currently works as a freelancer, mainly involving herself in video and film production, writing, as well as teaching art to children.

自己的空間

女性若是想要寫作,一定要有錢和自己的房間。
——維吉尼亞.吳爾芙

創作與工作的場域對現代女性已不陌生,然而屬於自己的空間,它所賦予女性的特殊權力,至今依然適用。

女性在社會上長期作為從屬的角色,三從四德裡的「三從」即未嫁從父、出嫁從夫、夫死從子,這樣的家父長體制依然牢不可破。而自己的空間,給予女性一個從依附角色中逃離的場域,並不以某人的女兒/妻子/母親等身份角色而存在,甚至不以女性而存在,僅僅作為自己而存在。

「自己的空間」這個作品,試圖收集女性在這種場域裡的狀態片刻,並思考它對女性的意義。

A Space of My Own

A woman must have money and a room of her own if she is to write fiction.
– Virginia Woolf

A site for creation or a workspace is no stranger to modern women, but a space of one’s own that confers on women the special power, is still applicable today.

Women have long played a subordinate role in male-dominated societies. In Chinese society, Three Obediences and Four Virturs (Confucian ethics) have been imposed on women. The Three Obediences are “obey your father before marriage; obey your husband in marriage; and obey your sons in widowhood”. This patriarchy is still strong, unbreakable today. Therefore, ‘a space of her own’ gives a woman a room to escape the dependent role, where she is not somebody’s daughter/wife/mother, or not even a woman. Here, she is merely ‘her’.

This work, A Space of My Own, attempts to collect and present the momentary states of a woman in such a space, reflecting on its significance to women.

親密印象

當人們討論性/情慾,嘗試定義並用各種藝術形式詮釋它,所能夠接收到的觀點,依然以男性角度出發為主。

女體經常以性慾望的投射客體的姿態出現在(男性)表達性/情慾的視覺作品當中,然而女性本身對於情慾的感受卻被忽略和貶抑。

那麼對於女性來說,性/情慾是甚麼呢?我自己作為一個女性,如何理解它?這個作品是我思考這些事的過程與回應。

The Impression of Intimacy

In the discussion of sex/sensuality, people try to define and interpret it in various art forms. Nevertheless, the viewpoints presented are still male-oriented and -dominated.

The female body often appears in (male) expressive/erotic visual works, as a projected object of sexual desire, but women’s perceptions about sensuality are often ignored and belitted.

So, what is sex/sensuality for women? How do I understand it as a woman myself? This work presents the process and response of my thinking about these issues.