Through creating huge panoramic colorful photographs, the artist Wang Guofeng presents, under the socialist ideology of the 20th century, a global cultural product: the politically identified and exceptionally spectacular buildings, which reflect and condense the human social system patterns, and the ‘collective unconsciousness’ of the centralized system. Wang Guofeng combines both documentary photography and expressive painting, not only to make his enormous photographic works leave a strong visual impact and shock to viewers, but also to enrich their readability and narrative with rich and exquisite details.

藝術家王國鋒的攝影作品是通過巨幅的全景彩色照片 來呈現20世紀全球社會主義意識形態下的文化產物:一 種標識化的奇異壯觀的大型政治建築,這些建築和景觀 濃縮和體現了人類社會制度的模式化,以及集權體制下 的“集體無意識”。王國鋒將攝影的紀實性與繪畫的表現 力相結合,使得他的巨幅作品不僅給觀者強烈的視覺衝 擊和震撼,同時其細膩豐富的細節也增加了作品的可讀 性和故事性。



As an artist, in 2001, Wang Guofeng was invited by the North Korean government to Pyongyang for work, an unusual opportunity that triggered his latest series of works North Korea 2012. For the shooting, Wang Guofeng employed the large format camera and high definition digital technology, while con- ducting unique techniques in postproduction to create gigantic photographic works, giving global viewers a striking opportunity to sneak a peek in great details at the real life scenes happening in North Korea.

作為一個藝術家,王國鋒在2011年受到朝鮮政府的邀請 前往平壤進行工作,這個難得的契機催生了他最新的一 系列作品《北朝鮮2012》。王國鋒將大畫幅相機及高清數 碼技術運用於其前期的拍攝,然後通過他獨特的後期處 理工藝而創作出巨大的攝影作品,這給了全球觀眾一個 千載難逢的機會來如此細緻和清晰的觀看當下發生在 朝鮮的一幕幕“景觀”。

In this issue, we have the great honor to interview Wang Guofeng, where readers can learn more about the artist and the details of creating his series of works.

本期雜誌我們有幸採訪了藝術家王國鋒,觀眾也可以通 過我們的採訪了解更多的關於他,關於此組作品創作的 點點滴滴。

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