荒诞与超现实:邓南光、张朝堂摄影作品作为台湾下层反公众的艺术自我建构

K. Su
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摘要

邓南光(1907-1971)和张朝堂(1943)是两位因对台湾摄影实践的发展做出巨大贡献而受到尊敬的摄影师。他们的名字和作品经常被引用为台湾现代艺术表现的基石。邓是两人中职位较高的一位,在日本在台湾的殖民时期(1895-1945)结束前后的几年里,他度过了最富有成效的时期。从1935年到1960年,他在岛上的逗留达到了高潮,拍摄了数千张照片,让人想起保罗·沃尔夫(Paul Wolff)在魏玛共和国(Weimar Republic)陷入困境的日子里拍摄的35毫米镜头。张戎的代表时期大致可以被他1960年前后的早期作品和1987年国民党政府解除戒严令所终结,他同样借鉴了欧洲街头摄影的人文主义传统,对Brassaï和亨利·卡蒂埃·布列松(Henri Cartier-Bresson)的认可,并将早期形式主义风格的L aszl o Moholy-Nagy和荒诞的Man Ray进行了令人兴奋的混合。对邓和张的讨论不可避免地与对台湾身份政治的批判性审视相交。1924年至1934年,邓作为日本帝国外围的局外人居住在东京,后来他回到台北(当时被称为台北),这在很大程度上符合他的殖民视角。同样,1945年以南京为基地的中华民国(ROC)对台湾的控制,以及随后在1949年末以流亡国家的身份占领台湾,也成为张德昌自己创造性观点的一个反复出现的背景。在这里,两位摄影师的作品都可以被认为是下层反公共话语的工具。
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The Absurd and the Surreal: Photographic Works of Deng Nan-guang and Chang Chao-tang as Artistic Self-Constructs of the Taiwanese Subaltern Counterpublic
Introduction Deng Nan-guang 鄧南光 (1907–1971) and Chang Chao-tang 張照堂 (b. 1943) are two photographers revered for their immense contributions to the development of photographic practice in Taiwan. Their names and works are regularly cited as cornerstones of modern Taiwanese artistic expression. Deng, the more senior of the two, enjoyed a most productive phase in the years surrounding the end of the Japanese colonial period in Taiwan (1895–1945). His sojourns across the island from around 1935 to 1960 culminated in thousands of photographs reminiscent of Paul Wolff’s 35-mm candids of life in the ailing days of the Weimar Republic. Chang, whose representative period can be roughly bookended by his earliest works around 1960 and the Nationalist 中國國民黨 (also known as the Kuomintang or KMT) government’s lifting of martial law in 1987, likewise drew from humanist traditions of European street photography with a passing acknowledgement of Brassaï and Henri Cartier-Bresson and a heady mix of the earlier, formalist tastes of L aszl o Moholy-Nagy and the absurdity of Man Ray. A discussion of Deng and Chang is one that inevitably intersects with critical examinations of Taiwanese identity politics. Deng’s years as an outsider from the peripheries of the Empire of Japan while residing in Tokyo (1924–1934) and his later return to Taipei (then known as Taihoku-sh u) greatly conformed his practice to that of the colonised perspective. Similarly, the Nanjing-based Republic of China’s (ROC’s) assumption of control over Taiwan in 1945 and its subsequent occupation of the island in late 1949 as a state-in-exile was to become a recurring backdrop to Chang’s own creative viewpoint. Here, the works of both photographers can be arguably recognised as instruments of subaltern counterpublic discourse.
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