城事－上海
关于上海拍摄的几点
端倪：近三十年来，上海乃至中国的发展，当是五千年来的大改变。因为走得太远，有时会忘了自己为什么出发。在大规模城市改造中，消失了许多值得珍视的东西，以致于我们要问：我们从哪儿来？我们在做什么？我们将到哪儿去？也许只有艺术才能连接那些消失了的城市记忆，激起文化断层深处那些有历史意义的浪花。
构思：我一直想探求少数人和多数人的哲学关系，这种关系在中国近现代的历史中尤为显得重要。由此将这次上海拍摄分为三个时段：灰白民国时期、红色经典时期和金色当代时期。在这三个时段中，灰白民国时期少数洋人和买办以他们的摩登生活方式影响了多数人，红色经典时期是少数人的理想通过多数人而得以扩张和实现，而金色当代时期则是多数人和少数人相互影响、互为依存的时代。而贯穿其中的，始终有对于未来社会及生活的梦想。
方式：主要是采取了三种方式拍摄：一是用捕拍的方式。何谓捕拍呢？就是在我们所选取的每一个场景中，按构思让演员现场开演，演到符合构思和精彩之时叫停，并保持其所演出的姿态，在镜头中调整各个演出组团的位置，使之达到最佳效果。如此反复几次，直到满意才按下快门。这样的好处是人和景的关系能够达到相互融合，形象生动而无摆拍的呆板。二是用活报剧的方式。我们知道，活报剧就是活的报纸时事，是起源于上海的戏剧方式。抗战时期，上海的左翼文化人考虑到当时的国民多为文盲，对抗日救国和时事消息解读困难，就用活报剧的方式来宣传抗日。今天我们用此方式来演绎场景故事，可以和现场观众形成互动而达到历史穿越的效果，使摄影作品成为上海的前世今生文化影像。三是用虚实相生的方式，就像中国的书法，有楷、行、草等不同形态，其书写速度和可辨识程度各不相同。现在全球摄影追求的都是超实超细，就像书法中的正楷，而我们要做是用拍摄速度的快慢和演员结合，拍出虚实相间的影像，就像书法中的行草，以此来表达城市记忆和对历史的追思。
陈家刚
2013

A Tale of a City-Shanghai
A Few Points Regarding the Shanghai Shoot

Beginnings: In the past thirty years, China, Shanghai in particular, has seen great development, one of the greatest shifts in thousands of years. But one must never forget why he set out in the first place, simply because he went too far. In this large scale urban reconstruction, many things have been lost, to the point that many people have begun to ask, where did we come from? What are we doing? Where are we going? Thus, we need to use artistic methods to connect those disappeared memories of the city, to explore those meaningful tangents in this cultural rift.
Concept: I have always wanted to seek out a certain philosophical relationship between the majority and the minority. This relationship seems to figure importantly in modern Chinese history. Our photo shoot this time is split into three historical phases: the black-and-white Republican era, the red classic era and the golden contemporary era. During the black-and-white Republican era, a minority of foreigners and Chinese compradors influenced the majority through their modern lifestyle. In the red classic era, the ideals of a minority were realized through the majority, and the foundation was laid for today’s soaring growth. The golden contemporary era is one where minorities and majorities influence each other and depend on each other, realizing the Chinese dream of economic strength.
Methods: This photography project mainly employs three methods. The first is capture photography. What is capture photography? In this method, we have our actors and extras randomly play out their assigned roles in a chosen setting, and when they reach the desired effect, we order them to freeze. We then make slight adjustments in positioning for greatest effect, repeating the process several times until we are satisfied enough to take the picture. This method allows for a union between people and place, creating a vivid image rather than a dull, arranged effect. The second is the living news drama method. The “living news drama” is a dramatic form with its roots in Shanghai opera. It arose in the years of Japanese occupation, when Shanghai leftists, aware that much of their audience was illiterate, produced plays to promote the resistance against Japan. Today, we use this method to act out the stories in their various settings and to interact with audiences to effect a passage to history, creating a cultural image of Shanghai past and present. The third method is both real and virtual, akin to the regular, cursive and wild scripts of Chinese calligraphy. Global photography today always pursues super-realism and fineness, like the regular script of Chinese calligraphy. We use varying speeds and actors to create photographic images that rest somewhere between the real and virtual, much like the cursive script of calligraphy, in an expression of our pursuit of history and the memories of a city.
Chen Jiagang
2013

La maison française s’associe au célèbre artiste graffeur américain le temps d’une collection d’exception, entre savoir-faire olfactif et sensoriel et street art. Le fruit de ce partenariat presque improbable sera proposé à la vente dès le 4 janvier prochain.

La rencontre insolite entre l’artiste new-yorkais et la maison française au sein du laboratoire créatif des Exclusifs Guerlain donnera naissance, dès janvier 2016, à trois flacons d’exception. Il s’agit plus particulièrement d’une réinterprétation de l’iconique flacon aux Abeilles, créé par Pierre-François-Pascal Guerlain en 1853 dans le cadre d’une commande spéciale pour le mariage d’Eugénie de Montijo avec Napoléon III.

Le flacon d’un litre a été confié à JonOne tel un mur vierge pour lui permettre de s’exprimer librement et d’inventer “sa grammaire colorielle”. En résulte une explosion de couleurs, déclinée en trois tons différents : bleu pour “Shalimar, Extrait”, rose pour “La Petite Robe Noire, Extrait” et orange pour “Rose Barbare, Eau de Parfum”.

Tous les flacons proposés ont été réalisés dans l’atelier de JonOne à Paris. Ils ont été revisités un à un et signés de la main de l’artiste, faisant de chaque bouteille un objet d’exception unique. La touche Guerlain demeure sur ces flacons aux Abeilles grâce au ruban de satin qui vient entourer le col du flacon de chaque fragrance.

Dans le cadre de ce partenariat exclusif, la maison Guerlain proposera du 4 janvier au 28 février 2016 une exposition de JonOne dans la boutique mythique du 68, avenue des Champs-Elysées (Paris VIIIe).

Ce n’est pas la première collaboration du graffeur avec un acteur du monde de la mode ou de la beauté, puisqu’il s’est récemment associé avec la marque Lacoste le temps d’une capsule de prêt-à-porter.

La collection Guerlain x JonOne sera proposée dès le 4 janvier prochain. Chaque flacon aux Abeilles sera numéroté et signé, et édité en 34 pièces pour “Shalimar” et 32 pièces pour “La Petite Robe Noire” et “Rose Barbare”. Prix : 9000€

HERE THE LINK: http://www.ladepeche.fr/article/2015/12/09/2234697-guerlain-donne-carte-blanche-jonone-reinventer-flacon-abeilles.html

After having received and having approved Proofs of the Chinese artist 223 this summer 2015, I received email of the Chinese printer saying to me that the book was censured: see the message below from the printer:

Dear Pierre " I understand, as you know, in China the printing is very strict 
which controlled by the government. The nude and pornographic image can 
not printed in China.
 
I explained to the government this is an art book, but it relates to the pornographic content. "

AND NOW since this “tragedy” event all my Publish Agreement  has were changed, on all my contracts/publish agreement I have a new paragraph about the censure:  According to Chinese government regulations, prior to printing we are required to submit materials containing sensitive content for approval to export. Sensitive content includes: politics, maps, nationalism, religion, and overtly sexual images. Please notify us if your publication includes sensitive content so that we may apply for approval early to avoid delays. We reserves the right to decline any orders which include sensitive content as mentioned above. Thank you for understanding.

Voilà pourquoi j’ai pris du retard sur ce livre, nous l’imprimons en Italie, j’attends les nouveaux proofs de l’imprimeur pour lancer le OK to Print!

Censured in China we decided with Ramon Pez, the great designer to print this one in Italy

EXtrait:

" I understand, as you know, in China the printing is very strict 
which controlled by the government. The nude and pornographic image can 
not printed in China.
 
I explained to the government this is an art book, but it relates to the pornographic content. "

Censured in China we decided with Ramon Pez, the great designer to print this one in Italy

EXtrait:

" I understand, as you know, in China the printing is very strict 
which controlled by the government. The nude and pornographic image can 
not printed in China.
 
I explained to the government this is an art book, but it relates to the pornographic content. "

EXTRAIT: Double Rhapsody
–    On the two Chinas most widely disseminated across the world

Two statements: two stories of China. One is about Chinese manufacturing, the other about China’s cultural landscape. The photos in the first statement were taken at the Yiwu Small Products Market, a major logistics and trading centreer for consumer goods in China. I wanted to photograph the material fantasy of the production and trade of consumer goods. The photos of the second statement were taken in Hangzhou and Huangshan. I wanted to photograph the storied past of these two places, cutting across the natural and human legends of the ages. How did I do that? How do you capture great wisdom in minutia, or look upon the ancient through the contemporary? I thought about it for nine months before finally finding the “three- shot” method. Ancient China had this idea of the triple screen, and in the West, they had the triptych. Lao Tzu said: the Dao begets one, one begets two, two begets three, and three begets the myriad things. In ancient Chinese philosophy, three was infinity, the greatest number, so by taking three independent yet related photographs, I am able to engage in a penetration of space and time into history. I think that this is a breakthrough, an expansion of the boundaries of photographic vision.

Chen Jiagang, March 17 2012

二言三拍
——关于在世界上传播最广的两个中国

二言：就是讲两个中国故事，一言是讲关于中国制造，二言是讲人文风月。一言这组照片就是在中国小商品的集散批发地义乌小商品城拍摄的。我想拍出小商品的制造和交易的物质幻象。二言这组照片是在杭州和黄山拍摄的。我想拍出历史上和这两个地方有关的风花雪月的往事。穿越人文与自然的千年传奇。那怎么拍呢？怎样拍小而知大，怎样拍今而怀古。我想了九个月，终于我找到三拍的方式，古代讲三屏，欧美讲三联。老子曰：道生一，一生二，二生三，三生万物。故在中国古代的哲学概念中，三是无数，就是最大，故拍三张既独立又关联的三张照片就能实现空间的穿越和时间的历史。我想：这就是摄影视觉的边际增长与突破吧。

2012-3-17 陈家刚

‘Paris Photo’, la principal cita fotográfica de Europa en otoño, tuvo este año su edición más triste y efímera por los atentados del 13 de noviembre. Aun así, el festival conoció momentos mágicos y especialmente emocionantes que demuestran que unos Kalashnikov no pueden callar la vitalidad cultural de París. Es momento de repasarlos.

El 13 de noviembre, París enmudeció de nuevo ante el ruido de los Kalashnikov. Un macabro déjà-vu que, con el recuerdo del atentado contra el semanario Charlie Hebdo aún reciente, dio por concluidas las principales manifestaciones artísticas de una ciudad que continúa llorando a sus muertos.

Noviembre suele aparecer en el calendario de cualquier amante de la fotografía junto a un billete con destino a la cuidad europea que mejor ha acogido este arte: París. En este sentido, el Festival Photo Saint-Germain, organizado por la periodista Virginie Huet y la comisaria independiente y cofundadora de TEMPLE, Aurélia Marcadier, fue el primero en reunir a algunos de los grandes actores del mundo de la fotografía en la conferencia La page imprimée: la photographie vue par les éditeurs, en la que editores independientes y especialistas en fotolibros como Pierre Bessard (Éditions Bessard), Clément Kauter (Plac’art Photo) y Marcel Feil (Foam Magazine) debatieron principalmente sobre el papel del editor ante el auge de la autoedición. Centrado en la exclusiva rive gauche, el festival trató de reivindicar una edición más el potencial artístico del barrio de Saint-Germain-des-Prés frente a otros enclaves culturales como LE BAL, ubicado en el norte de París.

No obstante, el grueso de las exposiciones de Paris Photo sigue concentrándose en el Grand Palais. En su interior, Daido Moriyama y Nobuyoshi Araki desafiaron el tradicional minimalismo japonés con dos propuestas tan megalómanas como interesantes. El primero, representado por la galería Jean Kenta Gauthier, mostró el set definitivo de Farewell Photography (1972) con las 80 fotografías de los negativos que sobrevivieron a la quema, mientras que Araki (Taka Ishii Gallery) se decantó por una imponente instalación formada por 2.016 polaroids.

The Self-obsessed photo series, which explores Hester Scheurwater’s desires, obsessions and fears sparked media hype in the Netherlands. The explicit imagery shocked many and fueled debate on the sexualization of society. Zurich-based curator, writer and contemporary photography specialist Walter Keller compares it to Rober Mapplethorpe’s sexually-charged imagery or Francesca Woodman’s erotic mise-en-scene.”Scheurwater’s visual self-explorations extend the boundaries of another main topic in art history and photography – the pose. But in her pictures, model and artist are one,” says Keller. “Yes, this is sexually explicit work, but even more, it is a curious and smart research about herself, where the artist looks at herself from both sides of the mirror.”

Loring Knoblauch about the book:

« While this photobook may be more sexually explicit than some readers will be comfortable with, it’s a natural extension of Kim Kardashian’s Selfish, but seen with the acerbic and questioning eye of an artist. She’s hyperbolized and hypercharged the kind of female objectification and fake identity we have become accustomed to seeing, and yet it somehow passes for almost normal; its satire is so convincing that it persuasively stands in for the real thing, and that dissonance is powerful. For those who have been waiting for a photographer to critically engage the wider phenomenon of the selfie,  Scheurwater’s bluntly audacious photobook is memorably biting. She’s given us the mannered freedom and sexiness we’re supposed to want (or want to be), incisively exposing the two poles of exhibitionism and voyeurism that now dominate the Facebook-age. »

From the review by Loring Knoblaub for Collector Daily

A “Turgenev girl” is a particular type of female character invented, or rather documented, by the 19th century writer Ivan Turgenev.

Photographer Philippe Herbet tells the story of his project: « A few years ago, in Vladivostok, my friend Irina had spoken to me about the Turgenev girls, with whom she felt very close. »

Comparaison de l’état de terrains appartenant à Marc Veyrat à Manigod avant et pendant les travaux à la Maison des Bois. Photo satellite de gauche prise avant les travaux, Google Earth, 2009. Photo satellite de droite prise pendant les travaux, Géoportail, IGN, 2013.

here the link: http://journaldelenergie.com/environnement/marc-veyrat-saccage-la-nature-pour-batir-un-complexe-ecolo-dans-les-alpes/