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。



ART.ZIP: When did you begin to focus on monumental architectures?

WG: In fact when I was a young boy, I was always wondering why the ancient buildings I had learnt were very different from the ones surrounding me, and why the buildings from different periods were so different. I was too young to keep pursuing the answer, and the only impression left in my mind is the great difference. These impressions bothered me for many years, and I was able to begin recognizing and understanding them as time goes by. China Utopia serves as one of the answers that I have found, and I am very glad that I was invited to share my answer in the Second Seoul International Media Art Biennale 2002.


WG:其實我在很小的時候就在思考古代建築和身邊的建築為 什麼不一樣,為什麼不同時代的建築會有所差異,但那時候只是 意識到這種差異,不可能思考的很深。這樣的問題一直困擾了我 很多年,隨著年齡和知識的增長,也就對這個問題有了理解與認 識。在2002年我參加的在韓國舉辦的第二屆漢城國際媒體藝術 雙年展上我展出了錄像作品《中國·烏托邦》就涉及到了這些建 築問題。


ART.ZIP: What is your understanding of the architectures constructed in accord with socialist ideology?

WG: There is no match for architectures that clearly show the contrast between order and chaos of human world. Any splendid architecture does not only reveal human wisdom and the civilization itself, but also embody humanity. This is especially true of monumental architecture. For instance, the Pyramids in Egypt, the Greek Parthenon, the Roman Pantheon and Coliseum, and the Medieval Gothic churches, traditional Chinese architectures, etc. I am always deeply moved by those majesty, stateliness and intricacy. When I stand in front of these kinds of architectures, I become speechless; the feeling makes me forget that this is some- thing provided for us to live in. For me, architectures have already surpassed simple needs for surviving. Architecture has its soul. Therefore, I chose architectures as my subject, and I am definitely obsessive about their beauty. Actually, power, glory and being magnificent are always the themes of architecture. Nietzsche Friedrich used to say, “In architecture, the pride of man, his triumph over gravitation, his will to power assume a visible form. Architecture is a sort of oratory of power by means of forms.”

ART.ZIP: 您是如何理解這些社會主義意識形態化的建築?

WG:在人類文明中,沒有任何東西能像建築一樣清晰地展示出 無序與有序之間的對比。輝煌的建築背後不僅展示著人類的文 明與智慧,同時也包含著更多人性的東西。尤其那些具有紀念 碑意義的建築更是如此。比如西方古代建築:古埃及金字塔、希 臘帕臺農神廟、羅馬萬神廟、鬥獸場、以及中世紀的哥特式教堂, 也包括中國的古建築等等。建築的崇高、莊嚴以及建築工藝的高 超,無時無刻不讓我們為之感動。我站在這些建築面前,有時說 不出話來,那種感覺,你好像忘了這是供人居住的東西,建築在這個時候已經超出了簡單的生存的需要。它似乎有了自己的靈魂。所 以建築作為我的作品題材,是我個人潛意識中的願望。其實權力、壯 觀、榮耀、記憶和身份是建築永恆的主題。尼采有一句話:“在建築中, 人的自豪感、人對萬有引力的勝利和追求權力的意志都呈現出看得 見的形態。建築是一種權力的雄辯術。”



ART.ZIP: It seems quite a mysterious and rare opportunity to do a photo shooting in North Korea. What motivates you to come up with such a creation plan there?

WG: Since 2005, I have been concerned and continuing to photograph buildings of global socialist ideology under the influence of the former Soviet Union’s political form in the mid 20th century, where North Korea is an important part of the shooting plan. North Korea is generally known as a closed socialist country, where it is very difficult for a foreigner to be allowed to take photographs there. I have spent more than three years in applying for the permission and communicating with the relevant North Korean government departments, but without any success. Eventually, through a rather special means, my request was approved by the North Korean central government to achieve this particular shooting plan. There- fore, this is an exceptional opportunity. According to the accompanying North Korea Foreign Cultural Relations Committee staff, it is the first time that a foreign artist is permitted to use such professional equipment and conduct so much content for a photo shooting.

ART.ZIP:此次去朝鮮創作和拍攝在很多人眼中是非常神秘而且難 得的機會,能不能給我們介紹一下促成此次朝鮮之行的前因後果?

WG:從2005年以來,我一直在關注並持續拍攝上個世紀中葉受到 前蘇聯的政治模式影響的全球社會主義國家的意識形態建築,其中 朝鮮是我拍攝計劃的一個重要部分,我們都知道朝鮮是一個沒有開 放的社會主義國家,如果一個外國人想到那裡拍照是非常困難的事 情,所以在之前我與朝鮮政府的有關部門進行過三年多的申請和溝 通,一直沒有得到允許,最後通過了一個比較特殊的渠道,得到了朝 鮮中央政府的特別批准才得以實現這個拍攝計劃。所以,這個機會非 常難得。據陪同我工作的朝鮮對外文化聯絡委員會的工作人員講, 他們建國以來,第一次批准一個外國藝術家,使用這樣專業的設備 和進行這麼多內容拍攝。

ART.ZIP: For Westerners, North Korea is a very mysterious place, which is little known by the public. Have you come across any interesting or unique experience when working there? Would you share one or two stories with our readers?

WG: Due to very complex reasons, North Korea has been remaining in a state of seclusion, where foreigners are very restrictedly limited to gain access into the country, and the local people are also restricted to leave the country. When working in North Korea, I was accompanied by five different departments personnel to assist my work. Every subject matter I intended to take photographs of has to get the prior approval of the North Korean government, while those with no approval are absolutely not allowed to photograph. There impresses me most that North Korean people are all very passionate about their leader. My first arrival in North Korea is at noon on March 12, 2011. Immediately after I got off the plane, the staff drove me to the Mansudae Grand Monument in the city centre of Pyongyang as to send flowers to the bronze statue of former North Korean president Kim II Sung. There al- ways come a lot of people (including school children and kindergarten children) in front of the statue for presenting flowers and mourning. Their love for their leader is genuinely sincere from their heart. The other thing also quite impresses me is that all the North Korean people possess a very high level of happiness. When I talked to the accompanying staff, every one of them felt very fortunate and proud to live in such a country, and they reckoned themselves as the happiest people in the world. That is a place you will find the people’s senses of values are astonishingly alike.

ART.ZIP:對於西方人來,朝鮮是一個極為神秘莫測的地方,大眾 對於朝鮮的了解也是極少的,您這次在朝鮮的工作當中有沒有什麼 有趣或者獨特的經歷,可不可以講一兩個小故事和讀者們分享?

WG:由於非常複雜的原因,朝鮮一直以來還處於一種閉關鎖國的狀態,外國人不能隨便進入,本國的百姓更不能隨便走出國門,我在朝 鮮工作時,他們有來自五個不同部門的工作人員陪同和協助我的工 作。我所拍攝的內容也是事先經過朝鮮政府審批過的,沒有審批過 的內容絕對不允許拍攝。在那裡給我印象最深就是每一個朝鮮人都 非常熱愛他們的領袖,我第一次到朝鮮是2011年3月12日的中午, 一下飛機,他們的工作人員就開車把我帶到了位於平壤市中心的萬 壽台給金日成主席的銅像獻花,在那里永遠會看到有很多人(包括 小學生和幼兒園的小朋友)來到銅像前獻花、默哀。他們對領袖的熱 愛是發自內心的。另外一點讓我感受很深的就是所有的朝鮮人內心 的幸福指數非常高,我與陪同我的工作人員聊天,他們每一個人都 表示生活在這樣的一個國度裡感覺非常的幸運和自豪,他們認為自 己是全世界最幸福的人, 在那裡你會感受到人們的價值觀是驚人 的一致。

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