尚誌——后台、手势与装饰物
地点：Modern Studio,上海市建国中路10号（八号桥创意园一期）
艺术家：
蔡辉、崔韩秀、顾晨晨、罗浩、述禾、张哿、张家诚、郑婷
成焕发、李晖、罗洋、林志鹏、隋建博、颜肇祈、汤庭、许闯、于聪、曾无
“摄影与时尚必然以完全相同的方式与时间联系在一起” ——西格弗里德·克拉考瑟
前言
时尚摄影的图像语言承载了时装、艺术、社会与生活的交织记忆，在今天这个后网络、后图像、后消费、后疫情的社会中，为视觉表达、身份认同和生活方式的传播构建起层叠的意义，并不断塑造着自20世纪中叶以来时尚摄影的发展和变革。
时尚摄影既激发人们的欲望，体现时尚精品的深刻灵魂，更彰显出时代独有的艺术眼光。在此基础上，当代青年摄影师的身份认同，如何为他们在艺术、摄影和时尚、创意之间的位置确立坐标？
尚誌——后台、手势与装饰物”聚焦亚洲青年摄影师近些年来在时尚和创意摄影中的实践。参展摄影师们通过创作，视觉化的回应摄影与时尚、艺术和商业之间的关系，并试图通过作品的丰富语言来回答诸多当下议题——艺术家如何平衡商业可行性和他们自己的创意视野？新摄影语言如何对时尚和创意行业的图像传播起到重要作用？活跃在时尚和创意产业的青年摄影师如何通过创作来反思时尚和日常生活？
Numéro
《大都市Numéro》所代表的新法式风尚志在成立十周年之际精选十位合作摄影师作品，通过镜头的线索展现十年间中国时尚的持续变迁。女性作为镜头的聚点，包裹着各种矛盾的状态：物化的、独立的，被束缚的、有张力的，静穆的、乖张的。她们是中国女性，是超模、是演员、是意见领袖或普通人，在全球化的语境下逐渐形成对身份的探索和裂变。
摄影师镜头下，女性除了形貌和姿态，还有繁复的情绪、能量及环境所共同构建编织的隐喻。一张照片中凝聚的不再只是简单扁平的一瞬间，“影像”概念被叙事无限拓展，边界消弭。灵动的、立体的生命形态被放大，游走在斑驳的光影、青翠的丛林、和肆意生长的建筑群中。摄影师精巧地捕捉了女性在不同身份建构下的模样，或是没有任何身份加持的，纯粹的模样。
Brownie Art Photography
Brownie Art Photography签约的艺术家中汇聚了多位聚焦时尚和创意的摄影师。在蔡辉的《模式化观念》中，他始终在寻找视觉隐喻来描绘自己对“身份”这一概念模糊不清的感受，使影像成为情感和心理状态的外在表现；顾晨晨将《UFO》系列的场景设置在未来的地球，融入了装置、表演等多元化元素，延续了一贯的叙事性视觉风格；崔韩秀的《她》系列延续了他极具辨识度的高饱和色彩风格，图像中女性形象逃离了观者的凝视，我们看不到模特的面部和表情，但却在精心构筑的空间中感受到摄影师自我情感的释放。
The Fashion Issue
Backstage，Gesture and Adornments
2020.7.18-8.30
“Photography is bound to time in precisely the same way as fashion.”
- Siegfried Kracauser
The photographic language of fashion photography bears the twisted memories of fashion, art, society with life. In today’s post-network, post-image, post-consumption and post-epidemic society, it builds a cascade of significance for the expansion of visual representation, identity and lifestyle, shaping the development and the transformation of fashion photography since the mid 20th century.
Fashion photography not only arouses people’s desire, embodies deep spirit of fashion products, but also highlights distinct visions of art under different periods of time. Based on this perspective，how does identity help a new generation of photographers establish the coordinate between art, photography, fashion and creativity?
“The Fashion Issue — Backstage, Gesture and Adornments” will focus on young Asian photographers who respond visually to the relationship between fashion, art and commerce through creation — how to balance the commercial feasibility with their originality? How does new photography language lead an important role in the image communication of fashion and creative industries? How do young photographers that are active in the fashion and creative industries use creativity to reflect back on fashion and everyday life?
Numéro
And Numéro China, as the leading New French Style magazine, selects and displays the works of ten photographers on its 10th anniversary, using lens to demonstrate the ever-changing fashion trend in China throughout the past ten years. As the focal point of the lens, women –presented in various contradictory states: materialized, independent, bounded, strained, solemn and perverse— gradually underwent their exploration and transformation of identity under the context of globalization.
Under the photographer’s lens, in addition to appearance and posture, women also have metaphors woven together by complex emotions, energy and environment. What is condensed in a photo is no longer just a simple moment. The concept of “image” is infinitely expanded by narrative, and the boundary disappears. Active, three-dimensional life forms are magnified, swimming in mottled light and shadow, verdant jungle, and wantonly growing buildings. The photographer delicately captured the appearance of women under different identity structures or the pure appearance without any identity blessings.
Brownie Art Photography
Among the artists represented by Brownie Art Photography, many focus on fashion and creativity. In Cai Hui’s “Stereotype” he continuously searches for visual metaphors to illustrate his vague feelings toward the concept of “identity”, which makes the image become the external representation of emotion and psychological state; Gu Chenchen sets the scenes of “UFO” series in the future Earth, integrating elements such as installation and performance to continue the consistent narrative visual style; Cui Hanxiu’s “Her” series continues his highly recognizable and saturated colour style. As the female figures escape from the gaze of the audiences, we cannot see any faces or expressions of the models. And yet, we can feel the release of the photographer’s emotions in the carefully constructed space.
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