北京弗朗西斯卡伍德曼中國首次同名個展

北京弗朗西斯卡伍德曼中國首次同名個展演出信息

弗朗西斯卡·伍德曼中國首次同名個展

Francesca Woodman : A SOLO EXHIBITION

展 期 Duration：2021.10.13 - 12.31（公眾開放）

地 點 Venue：光社影像中心

北京市順義區(qū)竺園路12號院56號樓（天竺綜合保稅區(qū)東門進）

LightSociety, Building No.56, No. 12, Zhuyuan Rd., Shunyi District, Beijing

關(guān)于展覽

ABOUT EXHIBITION

光社影像中心將舉辦美國攝影藝術(shù)家弗朗西斯卡·伍德曼(1958–1981)的展覽，這個具有里程碑意義的展覽是她在中國舉辦的首展，將從2021年10月12日持續(xù)到12月31日。

此次展覽展示了超過35張代表藝術(shù)家不同系列的精選攝影作品以及視頻作品。這些圖像和視頻是對她的作品所體現(xiàn)的主題和關(guān)注點的重點描繪，也是對這位非凡的年輕藝術(shù)家攝影歷程的短暫體驗與回顧。弗朗西斯卡·伍德曼因其具有開拓性的關(guān)于性別、表象、性和身體的攝影作品而聞名。她總是她作品中的主體（"我總是能靈活運用自己 "她說），常常利用空間的既定結(jié)構(gòu)和各種技術(shù)手段產(chǎn)生幻影和消失的效果從而創(chuàng)造了具有神秘和戲劇性的自拍像。她精心拍攝的作品借鑒了超現(xiàn)實主義的意象，同時具有文學(xué)和繪畫的元素。

此次展覽中的作品跨越了她短暫卻又豐富的一生。弗朗西斯卡·伍德曼13歲時，父親給予了她人生中的第一臺相機，三年后，她就讀于普羅維登斯（Providence）的羅德島設(shè)計學(xué)院（Rhode Island School of Design）。她曾在佛羅倫薩和羅馬待過一段時間，并于1980年在新罕布什爾州的麥克道爾殖民地（MacDowell Colony in New Hampshire）擔(dān)任駐地藝術(shù)家。雖然她的大部分作品都是在學(xué)校課題和作業(yè)中產(chǎn)生的，但她對攝影史的敏銳理解以及圍繞女性主義和攝影問題的獨特看法，顯露出了超越她年齡的成熟和先見。

這次展覽展出了這位藝術(shù)家開創(chuàng)性系列作品'Swan Song'中的五幅作品，最初這些作品是她為1978年在羅德島設(shè)計學(xué)院的畢業(yè)展而創(chuàng)作的，與伍德曼的其他作品大不相同。藝術(shù)家通常會使用8 x 10英寸相對較小的印刷比例，而這些大尺寸照片采用的是1 x 1米的規(guī)格。在這些作品中，相機位于場景上方，一條白色的長凳水平地劃過厚厚的地板。伍德曼將紙張、織物、版畫放置在她的身體和坐的平面上，從而創(chuàng)造鮮明的結(jié)構(gòu)以探索攝影帶來的雕塑感。

Light Society is delighted to present Francesca Woodman, a solo presentation of selected works by American photographer Francesca Woodman (1958–1981). This landmark exhibition is the first presentation of her work in China and will run from October 13th through to December 31, 2021.

Francesca Woodman presents over 35 photographs, representing selected works from the artist’s varied series, alongside selected video works. These photographs and videos are a portrait of the themes and preoccupations her work embodies, as well as a glimpse into the working process of this extraordinary young artist. 

Francesca Woodman is well-known for her pioneering photographic work, which explored gender, representation, sexuality and body. She was often the subject within her works (“I am always available” she stated), creating enigmatic and theatrical self-portraits that often utilize the given architecture of a space and various technical means to effect apparitions and disappearing acts. Her carefully orchestrated compositions draw on Surrealist imagery and have a literary and painterly pulse. 

The works in the exhibition span her short and highly productive life. Francesca Woodman was first given a camera by her father at age 13 and three years later enrolled as a student at the Rhode Island School of Design in Providence. She spent time in Florence and Rome, and in 1980 was an artist-in-residence at the MacDowell Colony in New Hampshire. While much of her work grew out of school projects and assignments, her keen understanding of photographic history and distinct take on questions surrounding feminism and photography display a sophistication and prescience beyond her years. 

The exhibition features five works from the artist’s seminal series Swan Song, initially produced for her thesis exhibition at Rhode Island School of Design in 1978. These works are distinct within Woodman’s oeuvre. The artist typically printed at a relatively small scale, using 10 x 8-inch format, while these large-scale photographs are one meter squares. In these works, the camera is positioned above the scene, with a white bench cutting horizontally across the thick floorboards. Woodman arranges paper, fabric, prints over her body and the structure on which she sits to create stark constructions that explore the sculptural aspects of photography.