唐妮诗9月新展｜马良 & 埃文·奥拉夫双人展｜Maleonn & Erwin Olaf @DANYS...

唐妮诗9月新展｜马良 x 埃文·奥拉夫双人展

Maleonn x Erwin Olaf duo show coming soon  @DANYSZ-Shanghai

唐妮诗画廊-上海空间荣幸地宣布，即将在9月7日重磅呈现中国知名艺术家马良与荷兰国宝级摄影师埃文·奥拉夫双人展《故事走私者》。本次展览将首次呈现马良的两组全新系列摄影作品。而此次他作为策展人，还甄选了埃文·奥拉夫多个不同系列的摄影作品，例如最新的《上海》和《棕榈泉》系列。双个展的形式将促进艺术家之间交流的同时，亦将促成东西方摄影镜头下不同人文视野间的一次对话。

Danysz gallery - Shanghai is honored to announce that the duo show “Story Smuggler” with Chinese artist Maleonn and renowned Dutch photographer Erwin Olaf will be opened on the 7th September. This exhibition will include two brand new photography series by Maleonn. As the curator of this show, Maleonn also selected different artworks of Erwin Olaf, from several series such as the most recent “Shanghai” and “Palm Springs” series. The format of a duo show will not only promote communication between the artists, but also facilitate a conversation between Eastern and Western humanistic visions captured by their cameras. 

马良解读到：“这个标题来自于英国艺术史家约翰.伯格的一句话，在传记纪录片《昆西的四季》里，他聊到自己的经历，二战期间在英国步兵服役，作为文员协助那些不擅书写的士兵代笔，将他们口叙的战事写下来成为家书。约翰伯格自我评价说：从某种意义上说，我后来一直都在这样做，我转述着别人的故事，讲给另外一些人听。对我来说，一个讲故事的人就像一个过客在边境上走私。”而马良和埃文·奥拉夫恰恰就是这样的两位“走私者”。

Maleonn explains, “The title comes from one of the words of John Berger. In his biographical documentary The Seasons in Quincy: Four Portraits of John Berger, he mentioned his own experience as an infantry during the Second World War. As a clerk, he transcribed oral stories about warfare into letters for soldiers who were unfamiliar with writing. Evaluating himself, John Berger said, ‘In some sense, I’ve always been doing this afterwards, I retell others’ stories to a different bunch of listeners. For me, a story-teller is like a passer-by smuggling across the border’.” Maleonn and Erwin Olaf are like two “story smugglers”.

马良，《做法的道士》，2017，数码摄影与喷墨打印，60 x 160 cm, 图片由艺术家和唐妮诗画廊提供

Maleonn, Daoist priest doing mysterious ritual, 2017, digital photography & inkjet print, 60 x 160 cm, courtesy of the artist & Danysz gallery

马良的两组摄影作品诉说了一首对渐远的精神故园之挽歌，寄托了我们对传统中国的乡愁。其中，《故境幽探图谱》是一组长卷宽幅摄影作品共计十张，由马良和他的好友，艺术家吕晓冬在 2017 年共同创作完成。另一组摄影作品是马良近期刚完成的《一炷香的99000个刹那》，由九张摄影作品组成，每一张的曝光时间是30分钟，纪录了一支支香在无人供奉的神像前，燃烧时留下的光影轨迹。

马良，《一炷香的99000个刹那 - 3》，2019，数码摄影与喷墨打印，90 x 50.5 cm, 图片由艺术家和唐妮诗画廊提供

Maleonn, 99000 Ksana of one Incense - 3, 2019, digital photography & Inkjet print, 90 x 50.5 cm, courtesy of the artist & Danysz gallery

Through two brand new art series that have never been exhibited before, Maleonn presents a fable built upon the nostalgia of traditional China. Among them, A Flash Between Memory and Disillusion is a group of ten wide-cut photographs in a long scroll format. They were done in 2017 by the cooperation of Maleonn and his friend, artist Lyu Xiaodong. The other photography series, 99000 Ksana of one Incense, which was finished recently, is composed of 9 photographs. The exposure time for each piece is 30 minutes. Each piece records the traces of light left by every incense burning in front of statues of gods that are no longer worshipped. 

马良，《小憩的配军》，2017，数码摄影与喷墨打印，60 x 160 cm, 图片由艺术家和唐妮诗画廊提供

Maleonn, A sleeping banished offender, 2017, digital photography & inkjet print, 60 x 160 cm, courtesy of the artist & Danysz gallery

埃文·奥拉夫的镜头则聚焦人文关怀与社会现象。在《上海》系列中，他展现了那些生活欣欣向荣城市里，挣扎求生的年轻人，在大城市里奋斗生存的一个缩影。同时，这一系列的作品，也启迪我们思考城市发展与人的生存状况存在的一种反差，让更多人去关注现代都市的生活以及人文关怀。而在最新系列《棕榈泉》中，埃文·奥拉夫通过阶段式的照片，他描绘了一个充满歧视，排斥和种族主义的美国。

埃文·奥拉夫，《Shanghai Fu1088 Portrait 03》，2017-2018，彩色打印，75 x 56 cm，图片由艺术家和唐妮诗画廊提供

Erwin Olaf, Shanghai Fu1088 Portrait 03, 2017-2018, chromogenic print, 75 x 56 cm, courtesy of the artist & Danysz gallery

Erwin Olaf’s photography focuses on humanistic care and social phenomenon. In Shanghai series, he shows how difficult it can be to find one's place in such a booming megalopolis. Meanwhile, this series inspires us to think about the contradiction between the development of a city and the living situation of its people, and draws our attention to the living experience in a city and the demand for humanistic care. In his most recent series Palm Springs, through his staged photos, Erwin Olaf portrays an America full of discrimination, exclusion and racism.

埃文·奥拉夫，《风筝》，2018，彩色打印，100 x 177.8 cm，图片由艺术家和唐妮诗画廊提供

Erwin Olaf, The Kite, 2018, chromogenic print, 100 x 177.8 cm, courtesy of the artist & Danysz gallery

摄影的定义远不只是大众认知中一个凝固的瞬间。马良与埃文·奥拉夫向这些看似安静的场景中注入了戏剧性。在他们的手中，摄影不再只是开拓了人类视野范围的道具，它承载了永恒，却并非故事的终点。摄影是历史或当下的静态呈现，同时也标志了下一个故事的开端，在永恒的轮回中，被转述、流传。

The definition of photography is no longer the equivalent of a fixed moment in the knowledge of the general public. Maleonn and Erwin Olaf infuse the atricality into these seemingly peaceful scenes. In their hands, photography is not only a tool which has expanded the range of human vision; it carries eternity, but it does not symbolize the end to a story. While photography is the static representation of the history or the present, it also marks the beginning of the next story. In the eternal cycle of time, a story is retold and passed on. 

埃文·奥拉夫，《Kasteel van Gaasbeek Johanna, Dochter van de Graaf van Egmond》，2012，彩色打印，80 x 60 cm，图片由艺术家和唐妮诗画廊提供

Erwin Olaf, Kasteel van Gaasbeek Johanna, Dochter van de Graaf van Egmond, 2012, chromogenic print, 80 x 60 cm, courtesy of the artist & Danysz gallery