｜以往的再尋 I Will Not Abandon You as an Orphan｜
李泳麒 重鉻酸膠質顯影個展
A Gum Bichromate Solo Exhibition by Kalen Lee
李泳麒 重鉻酸膠質顯影個展
A Gum Bichromate Solo Exhibition by Kalen Lee
緣起－承德空間落成
因應承德空間的落成，我們不僅邀請來自香港的李泳麒（Kalen）老師進行攝影書編制系列 Workshop，
也邀請 Kalen 帶來耗時三年的重鉻酸膠質顯影作品（古典顯影）來到台灣，
並在承德空間短期展出，開放給想來 Onfoto 承德空間參觀的朋友。
《以往的再尋》
1960年代的香港是什麼模樣？一卷內容未知的拾獲底片，開啟了一連串追尋與故事再現的影像歷程。
”I Will not Abandon You as an Orphan“ 這組作品的開端，是香港攝影教育家暨藝術家李泳麒，
使用蒐集到的二手底片，反覆檢視、實驗、印製，耗時三年產出的一組系列影像作品。
一組 36 格影像的膠卷，在暗房顯影出兩位男性攝影師與其拍攝的兩位女性模特兒。
然而有些只曝光半格的影像、疑似故障的快門，以及未知的主角們，讓李泳麒決意透過接觸印樣、重複曝光、拼貼的形式與淺淡的色調，
賦予他們嶄新的詮釋角度，重新引導式視覺。影像本身探討著香港的舊時景色人文，也帶著我們窺探攝影在香港早期時候的面貌。
整組作品使用古典技法之一的重鉻酸膠質顯影（Gum Bichromate Process）印製而成，優雅的灰色基調與淺色顏料，
影像就如浮雕般呈現在觀者眼前。相較於其他暗房技法，重鉻酸膠質顯影製作過程最為漫長，且成品極其脆弱，不穩定性極高，
直接強調此系列影像當中，曖昧與模糊的時間性。
Artist Statement
In the past five years, I have been obsessed with collecting unwanted, abandoned film negatives - those celluloid imprinted with personal history and memory that do not belong to me yet I am immensely curious of. Amongst them there is a roll of film negatives particularly intrigues me. It shows 36 frames of monochrome photographic images depicting two male photographers picturing two female friends in Hong Kong from the 1960s. Nearly half of the frames were malfunctioned, partially exposed, something was wrong with the shutter. (Let’s hope the ruined images did no harm to the relationship.)
I made a contact print in the darkroom. Trough a close reading of the images and how they were sequenced, more questions emerge. How relationship was imagined in photography before the time I was born? What was a ‘selfe’ in the 1960s? Why the female counterparts never had the chance to hold the camera?
How male photographers framed the existence of woman? These questions and subsequent imageries in my head became the source of inspiration.. I created a set of gum dichromate prints to response to my urge to contextualise and authorise some interpretations of what I envisage from found photography through direct printing, collage and double exposure. Gum dichromate printing is an alternative and historic photographic printing process that is nearly abandoned because of the laborious process – yet it is the laborious process that allows me to be investigative. In this exhibition proposal, I include a black-and-white silver gelatin print and fourteen gum dichromate prints to juxtapose my experience as a film negative detective to look for romance and other anecdote.
This body of work (formerly titled ‘I will not abandon you as orphans
(work-in-progress)’ was included in the ‘Photography as Methods’ exhibition (curated by Carol Chow and Paul Yeung) in 2016 in Hong Kong, a collateral exhibition of the 4th Hong Kong International Photography Festival.
1960年代的香港是什麼模樣？一卷內容未知的拾獲底片，開啟了一連串追尋與故事再現的影像歷程。
”I Will not Abandon You as an Orphan“ 這組作品的開端，是香港攝影教育家暨藝術家李泳麒，
使用蒐集到的二手底片，反覆檢視、實驗、印製，耗時三年產出的一組系列影像作品。
一組 36 格影像的膠卷，在暗房顯影出兩位男性攝影師與其拍攝的兩位女性模特兒。
然而有些只曝光半格的影像、疑似故障的快門，以及未知的主角們，讓李泳麒決意透過接觸印樣、重複曝光、拼貼的形式與淺淡的色調，
賦予他們嶄新的詮釋角度，重新引導式視覺。影像本身探討著香港的舊時景色人文，也帶著我們窺探攝影在香港早期時候的面貌。
整組作品使用古典技法之一的重鉻酸膠質顯影（Gum Bichromate Process）印製而成，優雅的灰色基調與淺色顏料，
影像就如浮雕般呈現在觀者眼前。相較於其他暗房技法，重鉻酸膠質顯影製作過程最為漫長，且成品極其脆弱，不穩定性極高，
直接強調此系列影像當中，曖昧與模糊的時間性。
Artist Statement
In the past five years, I have been obsessed with collecting unwanted, abandoned film negatives - those celluloid imprinted with personal history and memory that do not belong to me yet I am immensely curious of. Amongst them there is a roll of film negatives particularly intrigues me. It shows 36 frames of monochrome photographic images depicting two male photographers picturing two female friends in Hong Kong from the 1960s. Nearly half of the frames were malfunctioned, partially exposed, something was wrong with the shutter. (Let’s hope the ruined images did no harm to the relationship.)
I made a contact print in the darkroom. Trough a close reading of the images and how they were sequenced, more questions emerge. How relationship was imagined in photography before the time I was born? What was a ‘selfe’ in the 1960s? Why the female counterparts never had the chance to hold the camera?
How male photographers framed the existence of woman? These questions and subsequent imageries in my head became the source of inspiration.. I created a set of gum dichromate prints to response to my urge to contextualise and authorise some interpretations of what I envisage from found photography through direct printing, collage and double exposure. Gum dichromate printing is an alternative and historic photographic printing process that is nearly abandoned because of the laborious process – yet it is the laborious process that allows me to be investigative. In this exhibition proposal, I include a black-and-white silver gelatin print and fourteen gum dichromate prints to juxtapose my experience as a film negative detective to look for romance and other anecdote.
This body of work (formerly titled ‘I will not abandon you as orphans
(work-in-progress)’ was included in the ‘Photography as Methods’ exhibition (curated by Carol Chow and Paul Yeung) in 2016 in Hong Kong, a collateral exhibition of the 4th Hong Kong International Photography Festival.
展覽時間｜2017/8/25 起至 2017/9/3 每週五六日 14:00-19:30
展覽地點｜Onfoto 承德空間 台北市大同區承德路三段 90 巷 14 號 3F
展覽地點｜Onfoto 承德空間 台北市大同區承德路三段 90 巷 14 號 3F
李泳麒 Kalen Lee
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參展者
李泳麒 Kalen Lee 香港攝影研究員與教育家，作品曾在台灣、香港、英國、德國、奧地利以及拉脫維亞展出。 Kalen 現為香港浸會大學視覺藝術院助理教授，同時以文字及出版工作者的角色活躍於藝術界，作品散見於媒體、藝術節及博物館專刊、攝影書，以及攝影史文選集。 |
