蔡峰：心向蜀汉
2013-07-08 09:01阅读：
心向蜀汉
The Return of Art
蔡峰
Cai Feng
据我所知，去龚滩与凉山州作摄影的人很多，也经常可以在形色纷繁的画册、报纸、网络看到他们的作品。来来去去的人多了，呈现也就大同小异，也就由起初的惊喜，转而为视觉的负担。可艺术家们却依旧乐此不疲，尹兴明亦身处这方“曹营”。
As far as I know, many photographers have taken photos in
Gongtan and Liangzhou, and people can find these similar photos in
many albums and newspapers as well as on the Internet. As a result,
at first we often feel surprised when we see these photos, but the
more and more related works become our visual burden. However, it
seems that some artists, for example Yin Xingming, are never bored
with it.
尹兴明是我“熟悉”的艺术家，虽未谋其面，作品却看了一些。最早是零散的澳洲风景，记录着太平洋最大岛国的风土人情，不功利，纯粹的兴趣使然；而后是这一组龚滩、凉州系列，同样纪录，却多了份关于这片山水的牵肠挂肚，情感之下，图像的叙事脉络也逐渐清晰。作品回归底层人群，记录即将消失与边缘状态下的百姓生活。无论是放学归来的孩童，还是奔波岸边的纤夫，均直接呈现。平实无华的生活场景，在后期处
理的参与下，使得温暖的人物主体与冷峻背景在同一平面博弈，于色温、明暗的张力中获取体验空间，从而导致视觉观看与内心情绪的拉锯，最终在反复的心理运动中重构更为深度的个人体验。
Yin Xingming and his works are very familiar to me, although
I have never seen him. Most of his early works, pure and
non-utilitarian, are scattered landscapes photographs taken in
Australia which record the local conditions and customs of the
largest island in the Pacific Ocean. His following works are taken
in Gongtan and Liangzhou. Although both of the works in the two
periods are photo documentaries, they are different in some way:
photographs taken in Gongtan and Liangshan are featured with clear
train of thought, and at the same time reveals greatly Yin’s
worries. He pays his attention to people in the bottom of society
and records their lives which would disappear soon. He shows the
people there directly, including the children after school and the
boat trackers along the rivers. All these ordinary everyday scenes
offer us a contrast of the warm people and the cold scenery by
after-treatment. While feeling the color temperature as well as the
light and shade, we can get our deep personal experience on the
basis of psychological movement.
龚滩，已荡然无存；纤夫，对于龚滩，也只有在历史的记录里存在。“最后”，总是隐含着无奈，就如屈原在《哀郢》中咏叹：民离散而相失兮，方仲春而东迁。去故乡而就远兮，遵江夏以流亡。最后的逆行者，便是龚滩历史最后的证据。苏珊·桑塔格曾言，当你越是强调证据的时候，你就必须应付客观性的问题。因此，纪实摄影便只能在混乱无序的时空中完成最简单的表达，也就是说，以牺牲技术手段为代价，以求相对的客观——始终无法避免摄影师经验养成导致的视觉选择，毕竟机器仍归人类统御。尹兴明以简单的明暗处理完成了个人经验的注入，以尽客观性保持图像的真实，达到记录历史并作为证据的功效。同样的方式，在凉州系列中也有所体现。少年、老者、妇女的影像都作为描述彝人村落的元素，多线索架构彝人生活，微调背景色彩与明暗，最大限度的还原一个留守的、贫困的、弱势的、边缘的，但又不乏幸福、生机、希望的少数民族聚居地的生活景象。而作品的完成则意味着尹兴明对“曹营”的叛逃——这蜀汉便是你我生活的当下，还有转瞬已逝的过去。
Gongtan has disappeared, and thus the boat trackers can only
exist in the history. The word “last” reveals a sense of
helplessness, just like what Qu Yuan, a famous poet in the Period
of the Warring States, wrote in his Ai Ying:“ Men are
scattered and friends separated. Early in the spring, eastwards we
started. Setting out from my home for places far away; the Yangtze
and Xia were my paths into exile.” The last retrograde people
become the last proof of Gongtan’s history. Thus documentary
photography can be used to express the photographer’s feeling in a
state of confusion and disorder, that is to say, he can only ensure
relative objective expression at the cost of abandoning some
techniques. It is not easy for photographers to abandon their
traditional visual selection which is formed based on their
experience. Yin expresses his individual experience and records the
history through shading his pictures, trying to shoot the realities
objectively. It is the same with Liangshan series. The young
people, the old people and the women are elements of the Yi
Nationality. By using fine-tuning of the background color and the
lights, he does his utmost to restore the original state of the
daily lives in such a minority area, which is conservative, poor,
disadvantaged, but also happy, energetic and hopeful. After
finishing the Gongtan and Liangshan series, Yin Xingming is
different froM general artists, for he is now concerning about our
daily lives and the past history.
在现实中记录当下与历史，需要勇气，更需要判断力。尹兴明的勇气，是他搁置奢华的生活，回归到贫穷与羸弱的底层人群中，真实的记录，并敢于担当个体之于社会的那一点责任。而判断力说到底，就是保持对生活持续的敏感与热情的质疑，就是凯鲁亚克在《达摩流浪者》中所说的永远年轻，永远热泪盈眶。之于尹兴明，则是在身份转换之后，创作主题的转向，亦是从商人到艺术，再到一个面对生活的艺术家的回归。
Courage and good judgment are needed in recording the present
and the past times. Yin’s courage lies in his giving up his
luxurious life and returning to the poor and weak classes in the
lower social ladder, making a real record and accepting his
responsibility as a part of the society. Good judgment, after all,
is to keep doubtful towards the sensitiveness and enthusiasm of
life continuously. Just like what Kerouac said in The Dharma
Bums:“O ever youthful, O ever weeping.” After changing his
identity and creation themes, Yin Xingming transfers his attention
from business to art and becomes an artist who boldly face the
life.
