攝影書角 —迢迢行走，迢迢迷路 Walking far, wandering lost

講者 Speaker | Dorothy Wong Ka Chung & Benjamin Ryser

日期 Date | 02.5.2025 (六 SAT)

時間 Time | 15:00-17:00

地點 Location | 貫文空間 Koon Man Space

講者 Speaker | Dorothy Wong Ka Chung & Benjamin Ryser

語言 Language | 廣東話，並以英文輔助 Mainly Cantonese with English support

費用全免 Free Admission

本次分享會由藝術家 Dorothy Wong Ka Chung & Benjamin Ryser 策劃及主講。

這次的攝影書角，由幾個從我的學生時期到近年，開啟我從對攝影之想像的藝術家所組成。認識陳順築的作品是在大學本科時期，印像深刻的是第一次在陳順築出版的《迢迢路》封面看到寂靜孤獨又焦燥不安的黑白相片，那是一條對於作為觀者的我通往未知何處的道路。之後的幾年因為讀書、創作計劃等不同原因穿梳於和居住在好幾個不同的城市，來來回回，才明白這於陳順築的攝影裡常出現的無名之路，是通向著我們離去或被留在時間裡的地方，可以是一個家、一座城市，那裡在創作者心中有重要的路標。

在穿梭於不同的城市工作的幾年，只能帶一個行李箱，行李箱裡有我的日常、攝影器材、作品、和一間流動工作室，所以作品（相片）不能以框裝錶好的狀態出現和帶離開。這令我思考攝影和相片如何可以離開平面，以流動的姿態走進世界和我們創作的社區裡。陳順築的《花懺》地景裝置系列，他用相框將花的相片，把家族墓地變成了長年開花的花園；而Dayanita Singh的《Museum Bhavan》和《Museum Of Chance》則把相片變成一本細長可攜帶的書、又或是一座用像殖民地政府用的柚木書架砌成的立體流動檔案館。這兩份作品都給了我很大的啟發，以致於之後的影像作品常以聲音相片書藉配答城市漫步、地影裝置的形式呈現。

到後來在創作影像書藉時常常要跟不同的設計師和印刷專業合作，有一次設計師朋友分享給我看藤田はるか的《竹廣倫》，用大量的黑色墨和少量顏色去描繪黑夜中的各種生靈。這次的攝影書閣還有山本昌男的幾本作品。

有幾位藝術家的作品和書藉很需要在現場觀看，如何大家想聽我們分享更多與各位藝術家作品的相遇和啟發，邀請各位參加2/5在貫文空間的攝影書角分享會。

“Walking far, wandering lost”
This photography book corner brings together artists who, from my student years to the present, have shaped my imagination of what photography can be. I first encountered Chen Shun-Chu’s work during my undergraduate studies. What struck me most was the cover of On The Road—a quiet, solitary yet restless black-and-white image, like a path leading me, as a viewer, toward an unknown destination. In the years that followed, as I moved back and forth between different cities for study and creative projects, I came to understand that the anonymous roads recurring in his photographs lead to places where we depart or are left behind in time—a home, a city—marked with significance in the artist’s inner landscape.

During those years of working across cities, I could only carry a single suitcase. Inside it were my daily life, photographic equipment, artwork and a mobile studio. My works (photographs) could not exist as framed, fixed objects to be transported. This led me to think about how photography might move beyond the flat surface—how images could enter the world and our communities in a fluid form. In Chen’s Flower Ritual site-specific photographic installation series, framed photographs of flowers transform a family graveyard into a garden that blooms year-round. Meanwhile, Dayanita Singh’s Museum Bhavan and Museum of Chance turn photographs into portable, elongated books, or into a mobile archive constructed from teak bookshelves reminiscent of colonial government offices. These works deeply inspired me, leading me to present my own image-based works through combinations of audio-photobooks that include city walks, and site-specific photographic installation.

Later, while creating photobooks, I often collaborated with designers and printing specialists. On one occasion, a designer friend shared Haruka Fujita’s Torikumo, which uses dense black ink with minimal color to depict the many beings inhabiting the night. Besides, the photography book corner also includes several books by Masao Yamamoto.

Some of these works and books truly need to be experienced and read in person. If you’d like to hear more about our encounters with these artists' work and the inspirations behind them, you’re warmly invited to join the photography book talk on February 5 at Koon Man Space.