《A Trillion Sunsets: A Century of Image Overload》——ICP的摄影作品展_the_Since_works

摄影自产生以来，尤其是自柯达相机推出后，摄影作品激增，可以拍的题材主题基本都拍过了。摄影要出些新意，还真不太容易。毕竟，又有几位摄影师能像刚刚获得荷赛奖项的摄影师能深入土著民族，能见证山火，遇到骚乱呢？

Since the birth of photography, especially since the introduction of the Kodak camera, there has been a surge in photographic works, and basically, all the subjects that can be photographed have been photographed. It's not easy to come up with something new in photography. After all, how many photographers can go deep into indigenous peoples, witness wildfires, and encounter riots like the photographers who just won the World Press Award?

纽约资深摄影导师Christopher Giglio 在他的教学中大量地演示前人经典的摄影作品，60分钟的课程甚至达到上百张图片让学生观摩。其中，有一节课程的主题叫做：像，而不是。专门讨论大师们相似之作，初看，像，再看，却不一样。有可能大师之间真的在相互模仿，也有可能真的是“撞车”，毕竟，那时候的网络不够发达，信息传递不像现在一样容易，轻轻一点鼠标，是否雷同并不是特别清楚，但是，拍摄出来的作品却有相似之处。

Christopher Giglio, a senior photography instructor in New York, demonstrated a large number of classic photography works of the predecessors of photography in his teaching, and the 60-minute course even reached hundreds of pictures for students to observe. Among them, there is a lesson on the topic: like, but is not. It is dedicated to discussing the similar works of the masters. At first glance, they look alike, and then look at them again, they are not the same. Maybe the masters are really imitating each other, or it is just a coincidence because the network of communication was not as developed, making information sharing hard. It is unclear if they are the same but the works that were produced have things in common.

Christopher Giglio 曾经评价ICP创作的项目很时尚，下面介绍的ICP的展览的确有让人大开眼界之感。

Christopher Giglio once commented that the projects created by ICP are very fashionable, and the ICP exhibition introduced below is indeed eye-opening.

近期，国际摄影展览中心（ICP）International Center of Photographer同时举办了两场展览《A Trillion Sunsets: A Century of ImageOverload》和《Actual Size！Photography of Life Scale 》,由纽约国际摄影中心的策展人、作家和项目董事总经理，《论照片》（2020 年）作者David Campany 策划完成的，他是这样推荐这两个展览的：

Recently, ICP held two exhibitions A Trillion Sunsets: A Century of Image Overload and Actual Size! Photography of Life Scale. They are planned by David Campany, the curator of ICP, a writer, project managing director, and the author of On Photographs(2020). He recommends the two exhibitions:

A Trillion Sunsets: A Century of Image Overload

Are there too many images in the world? Too many of the wrong kind? Too many that we don’t like or want or need? These feel like very contemporary questions, but they have a rich and fascinating history. A Trillion Sunsets: A Century of Image Overload takes a long look at our worries and compulsive fascination with the proliferation of photographic images.

世界上有太多的图像吗？错误的种类太多了？太多我们不喜欢、不想要或不需要的东西？这些感觉像是非常现代的问题，但它们有着丰富而迷人的历史。A Trillion Sunsets: A Century of Image Overload研究了我们对摄影图像扩散的担忧和强迫性迷恋。

In the 1920s, with the rapid increase in illustrated magazines and daily newspapers, commentators asked whether society could survive the visual inundation. Artists looked to mass-media imagery and archives of all kinds to rethink the world around them.

在 1920 年代，随着插图杂志和日报的迅速增加，评论家们质疑社会能否在视觉泛滥中幸存下来。艺术家们通过大众媒体的图像和各种档案来重新思考他们周围的世界。

The artists of Dada, surrealism, pop, situationism, conceptualism, and postmodernism were all, in different ways, horrified and mesmerized by the seemingly endless supply of images. They cast a critical eye over the clichés, stereotypes, and repetitive images, and looked to unearth alternative histories and counter narratives. From scrapbooks to internet memes, from collage and image appropriation to art made by algorithms, A Trillion Sunsets highlights unlikely parallels and connections across distinct decades.

达达主义、超现实主义、波普、情境主义、概念主义和后现代主义的艺术家都以不同的方式被看似无穷无尽的图像供应所震惊和着迷。他们对陈词滥调、刻板印象和重复的图像投以批判的眼光，并寻求发掘替代历史和反叙事。从剪贴簿到网络表情包，从拼贴和图像挪用到算法制作的艺术， A Trillion Sunsets突出了不同几十年间不太可能的相似之处和联系。

Actual Size！Photography of Life Scale

How big can a photograph be? From postcards to giant billboards, they are almost any dimension, but what happens when they are the very same scale as their subject matter? A photo of a bus the size of a bus? An actual-size image of Muhammad Ali’s fist? Actual Size! Photography at Life Scale is a playful yet philosophical exhibition that offers viewers a diverse group of images that all share the same dimension as life itself. Conceived especially for ICP’s unique double-height gallery, it is a rethinking of the fundamental qualities of this perplexing and elastic medium.

摄影可以有多大？从明信片到巨型广告牌，它可以是任何大小，但是如果它们和所拍摄的主题是一样大小的时候呢？巴士大小的巴士照片？穆罕默德阿里拳头的实际大小图像？“真实大小！实体尺寸摄影” 是一场有玩趣又有哲学意义的展览，为观众展示多组与所拍摄物体一样的实体大小照片。专为 ICP 独特的双高画廊而构思，它重新思考了这种复杂而富有弹性的媒介的基本品质。

Imagemakers of every kind, from fine artists to advertisers, have explored the strange magic that happens when the photograph becomes an uncanny double for the world it depicts. Works by Jeff Wall, Ace Lehner, Laura Letinsky, Kija Lucas, Aspen Mays, Tanya Marcuse, and others share the walls with anonymous posters, magazine spreads, and book covers.

从优秀的艺术家到广告商，各种各样的图像制作者都探索了当照片成为它所描绘的世界的一个不可思议的替身时发生的奇怪魔法。Jeff Wall、Ace Lehner、Laura Letinsky、Kija Lucas、Aspen Mays、Tanya Marcuse 和其他人的作品与匿名海报、杂志宣传和书籍封面共享展示墙。

In 1946, the renowned writer Jorge Luis Borges described a society that wanted a map of its land so detailed that it eventually covered the land itself. Of course, the map was useless, and the inhabitants took to living on it as it disintegrated. Actual Size! is an homage to Borges’s wild but serious idea, showing us new ways to consider what a photograph is, and what it can be.

1946 年，著名作家豪尔赫·路易斯·博尔赫斯 (Jorge Luis Borges) 描述了一个社会，该社会想要一张非常详细的土地地图，以至于最终覆盖了土地本身。当然，该地图是无用的，随着它的瓦解，居民们开始在上面生活。真实大小！是对博尔赫斯狂野而严肃的想法的致敬，向我们展示了一种思考照片是什么以及它可以是什么的新方法。

作为观众，完全被震撼到了，大开眼界。在我看来这两个展览既是对摄影在100年历史中发展的归纳总结，对摄影的新认知，更是一种以摄影为媒介的创新。

As an audience, I was completely shocked and my vision is broaden. In my opinion, these two exhibitions are not only a summary of the development of photography in its 100-year history and a new understanding of photography, but also an innovation using photography as a medium.

拼接：找相似

Splicing: find similarities

与真实汽车尺寸一样的照片

Photo that is the same size as the real vehicle

图片来自ICP

与真实生物相同尺寸的照片

A photo of the same size as the real creature

ICP两层楼高的摄影作品 The two-level tall photography work in ICP

摄影海报 Photography poster

摄影作为宣传媒介

Photography as a promotional medium

展览中出现了各种摄影作品有过的印刷（制作）方式，大小尺寸，摄影作品的种种用途，利用以前作品进行各种各样的拼贴，然后形成全新的可以冲击视觉感官的新作品。这两个展览，让人更多地关注到摄影可以拥有的形式，进而，实现对主题内容的关注。

In the exhibition, there are various printing (production) methods, sizes, and various uses of photographic works that have been used in various photographic works. Various collages are made using previous works, and then new works that impact the visual sense are formed. These two exhibitions make people pay more attention to the forms that photography can have, and then focus on the subject content.

图片来自ICP

摄影师Nakeya Brown是这样介绍自己的创作：

Photographer Nakeya Brown described the creations this way:

看到一些引入注目的物体，有一些好的记忆，就想把它们变成照片。这些物体可以是杂志、美容器具，老照片。我把他们分离出来，相当多的改变，填充，基于它们特征的重要性，颜色，形状等做一些移动。

Saw some striking objects, had some good memories and wanted to turn them into photos. These objects can be magazines, beauty appliances, or old photos. I separated them out, changed them quite a bit, filled them, and adjusted them based on the importance of their features, colors, shapes, etc.

摄影师以“photo”“foto”为词根，在网络上查找，然后，用一种计算机算法将结果组合起来，形成用相机制作的最早的照片。

Photographers take the words “photo” and “foto” as the roots, look them up on the web, and then use a computer algorithm to combine the results to form the earliest photograph ever made with a camera.

“摄影：不是一张照片，而是关于一个东西的本身。”

"The Photography: Not a Picture of. but an Object about Something,"

——Robert Heinecken

摄影师在日本拍电视节目的影像。在家庭视频和暂停按钮出现之前，随着节目的展开，摄影师“实时制作”拼贴图。他做出了自己的新闻，电影，和纪录片。

The photographer shoots images of a TV show in Japan. Before the home video and the pause button existed, collages were "produced live" as the show unfolded. He made his own news, films, and documentaries.

从不同的相册书里选择自己需要的，构建新的图片，赋予变化的世界新的形式和内容。

Choose whatever is needed from different album books, build new pictures, and give new forms and contents to the changing world.

图片来自ICP

Dye-Transfer Print 染料转移印花

Offset lithograph 胶印平版印刷

图片来自ICP

Robert Frank Gelatin silver print 明胶银盐印刷

摄影师采用公用照相亭，改变人物衣服，表情等外表，为一个人创造出四百多种身份，来对面向进行研究。脱离了以前护照式人像的固定模式。

The photographer uses a public photo booth to change the appearance of the character's clothes, expressions, etc., to create more than 400 kinds of identities for one person, in an attempt to study facial features. It breaks away from the fixed pattern of the previous passport-style portrait.

图片来自ICP

Walker Evans路过一个摄影工作室，发现他们在一张胶片中，进行15次单独曝光，一卷胶卷有15张胶片，显示出来的就是一共225张肖像照片。类似公共照相亭护照人像的效果。有的人出现了两次，但是，有上百种不同的母照片，被标准化的摄影方式统一起来。

Walker Evans passed by a photography studio and found that they had 15 individual exposures on a single film, a roll of 15 films, showing a total of 225 portrait photos. Similar to the effect of passport portraits in public photo booths. Some people appear twice, but there are hundreds of different raw photos, unified by a standardized way of photography.

所有艺术家都是图像的收藏者。

All artists are collectors of images.

——Walker Evans

摄影师把自己喜欢照片的放在盒子里，一段时间后查看盒子，把喜欢的扔在地上，再看其他盒子，当发现两张可以配对的，就把它们放在一起。

The photographer puts the one he likes in the box, then checks the box after a while, throws the ones he likes on the ground, looks at the other boxes, and when he finds two that can be paired, he puts them together.

把从以前项目中未发布过或印刷过的照片作为标准用GOOGLE的“Search by image”寻找，肯定是没有的，但是，GOOGLE 会推荐相似的图片，把这两张图片拼接在一起。

Using GOOGLE's "Search by image" to find unpublished or printed photos from previous projects is impossible, but GOOGLE will recommend similar images and the photographer stitches the two images together.

摄影师在暗室里用多个底片进行多重曝光。

The photographer makes multiple exposures with multiple negatives in the darkroom.

摄影师一天内上传35万张照片。重新按照年、地方进行排序，许多观众没看过这个设置，但是，通过在线计算出来的结果知道了它。

The photographer uploaded 350,000 photos in one day. Reordering by year and place. Many viewers haven't seen this setting, but know it through the result calculated online.

图片来自ICP

白人妇女是美德及美容产品市场的代言人，但是，当摄影师将影像重新组合后，意思就变化了。

White women were marketed as representatives of virtue and beauty products, but the meaning changed when the photographer reassembled the image.

这本两面的书是从同性恋色情杂志拼贴的。

This two-sided book is a collage from gay porn magazines.

The New York Times 当年的一份编辑草稿和正式出版时的排版，内容几乎相同，而不同形式，以摄影的见证性、记录性、叙述性、真实性让观众体验到摄影带来的强大的视觉冲击力。

An editorial draft of The New York Times that year and the layout when it was officially published, the content is almost the same, but in different forms, with the witness, record, narrative, and authenticity of photography, the audience can experience the powerful visual impact brought by photography.