原标题：9.8-10.20青年摄影艺术家塔可最新个展《福地》@前波画廊塔可：福地2018年9月8日至10月20日开幕：2018年9月8日（周六）下午4-6点北京朝阳区草场地红一号院D座TacaSui:GrottoHeavensSeptember8–October20,2018OpeningReception:4-6pm,Saturday,September8,2018RedNo.1-D,Caochangdi,ChaoyangDistrict,BeijingXishuiCave锡水洞,2018Archivalpigmentprint收藏级艺术打印前波画廊北京诚挚地宣布将于2018年9月8日推出青年摄影艺术家塔可的最新个展《福地》。这也是塔可在前波画廊北京的第三次个展。自从五年前在前波的首次个展《诗山河考》以来，他走遍中国各地，探寻与重要宗教传统和哲学思想有着深厚渊源的偏远地区，通过它们来追溯中华历史文明。在《诗山河考》中，他展现了一系列深受中国最古老的诗歌启发而创作的作品。像十九世纪的先锋摄影家一样，塔可背着沉重的装备，造访了《诗经》中提及的地点，拍摄了富有诗意的风景和令人浮想联翩的细节。接下来的两年里，塔可为2015年的展览《碑錄——黄易计划》作准备，创作主题是在中国文献史上扮演了重要角色的石碑，而其主要灵感来源是清朝乾嘉时期的科举官员兼业余考古学家黄易（1744-1802年）。塔可在计划自己的访碑之旅时，借鉴了黄易的《嵩洛访碑日记》和《岱岩访古日记》。CaveinWudangMountains武当山洞,2018Archivalpigmentprint收藏级艺术打印2017年塔可开始了另一次远征，此次为探访自古被称为洞天福地的名山胜地，其中包括五岳等。洞天被学者傅飞岚描述为“庇护、修炼与得道升仙之所”，在道教思想和文化中极其重要，最早出现在晋朝上清派的道书之中。洞天福地的理论后来被唐代司马承祯（647-735年）和杜光庭（850-933年）发展完善，现分为“十大洞天、三十六小洞天、七十二福地”。如今塔可学会了驾驶，他离京数月，造访了江苏楚王陵、河南嵩山和河南中条山分支王屋山；陕西商洛、太白山、秦岭、安康和汉中；湖北宜昌、十堰、神农架和恩施。未来还将有两次行旅以完善他的考察。CaveofWhiteJade白玉之洞,2018Archivalpigmentprint收藏级艺术打印SanyouCave三游洞,2018Archivalpigmentprint收藏级艺术打印本次展览将分为两部分，一部分展现洞天福地所在的风景，另一部分则表达了洞穴的诗意。展览中的风景系列是艺术家第一次在作品中运用色彩，他捕捉到可以传达整体印象的细节，如洞穴内部的一堆龟壳，另一堆几乎被风化殆尽，又或证实晚唐画家荆浩生前居所的字迹。与之形成对比的是表现洞穴诗意的黑白摄影作品，神秘的洞穴内部散发出一份敬畏之情，似乎观者都设身变成了古时候的朝圣者，让我们感受到他们在洞天福地中渴望通达上天、获得顿悟的期望。塔可使用当代的类比方式把洞天与虫洞相比较，后者是穿越时空的通道，理论上可以实现洞天福地中贯通不同世界的神秘之旅。BashanMountainandChuWater巴山楚水,2018Archivalpigmentprint收藏级艺术打印WhiteCloudCave白云洞,2018Platinumandpalladiumprint铂钯印相YinxuRuins殷墟遗址,2018Platinumandpalladiumprint铂钯印相InionofHuangTingjian黄庭坚题刻,2018Platinumandpalladiumprint铂钯印相与同辈的当代摄影家不同，塔可对过去的而不是现在的中国充满着无穷的兴趣。除了在本次展出作品中洞穴里的一个折叠梯，或偶尔闪现了援引过去宗教习俗的荒凉遗物，其作品中几乎不涉及任何当代甚至现代的事物。他不是一个纪实摄影家，而是用摄影带回了对偏远地区的记载，透过自己独特的视角记录旅行中发现的那些不复存在和早已被遗忘的文化风俗痕迹。而在经济迅速崛起的中国，这显然不是大多数人所关注的对象。塔可对于不起眼的、被忽视的事物的偏好以及对倏忽无常的接纳，不禁令人联想起在日本美学发展中起到重要作用的“侘寂”思想。TerracottaArmy兵马俑,2018Archivalpigmentprint收藏级艺术打印塔可的作品曾先后于纽约大都会博物馆、中国美术馆、北京尤伦斯当代艺术中心、上海民生美术馆、浙江省美术馆、北京三影堂艺术中心等机构展出，并被纽约大都会博物馆和费城美术馆永久收藏。ZhongnanMountainCave终南山洞,2018Platinumandpalladiumprint铂钯印相ChambersFineArtispleasedtoannouncetheopeningonSeptember8ofTacaSui:GrottoHeavens.Thiswillbetheartist’sthirdsoloexhibitionatthegallery.Inthefiveyearssincehisfirstexhibition,Odes(2013),TacahastraveledextensivelythroughoutChinainsearchofremotelocationsthatresonateinChinesehistorythroughtheirassociationwithimportantreligiousandphilosophicaltraditions.InOdes,hepresentedabodyofworkthatwasinspiredbytheancientpoeticheritageofChina,specificallytheBookofOdes(ShiJing).Ladendownwithhisheavyequipment,likepioneeringphotographersofthenineteenthcenturyhetraveledtoremotelocationsthatwereassociatedwiththeseancientlyrics,photographinglandscapesandevocativedetailsthatwereremarkablefortheirpoeticintensity.DuringthenexttwoyearsinpreparationfortheexhibitionSteles:HuangYiProject(2015),histhemewasthestonestelesthathaveplayedsuchacrucialroleinthedocumentationofthehistoryofChina.HerehewasinspiredbythelateQingdynastyimperialbureaucratHuangYi(1744–1802)whoinhisleisuretimewasalsoadedicatedamateurarchaeologist.Inplanninghisowntrips,TacaconsultedHuangYi’sdiaries,DiaryonVisitingStelesnearMountSongandtheLuoRiverandDiaryonVisitingHistoricalStelesfromJiningtoTai’an.Manifold流形,2018Archivalpigmentprint收藏级艺术打印HuaShiLangSite花石浪遗址,2018Archivalpigmentprint收藏级艺术打印In2017Taca,embarkedonyetanotherextendedjourney,thistimeinsearchofthegrotto-heavensthatwiththeFiveGreatMountainsoccupyaprimordialpositionwithinthesacredgeographyofChina.DescribedbyscholarFranciscusVerellenas“placesofrefuge,initiation,andoftranscendentalpassage,paradisialmicrocosms,”thesesacredsites(dongtian)wereparticularlyimportantinDaoistritualandcosmography,andwerefirstmentionedintherevelationsofShangqingaround360CE.TheywereorganizedsystematicallyintheTangdynasty(618-907CE)bySimaChengzhen(647-735)andDuGuangting(850-933)andarenowdividedintotwocategories,thetengreatergrottoheavensandthethirty-sixlessergrottoheavens.Nowthathehaslearnthowtodrive,TacawasawayfromhishomeinBeijingformanymonths,visitingtheMausoleumoftheKingofChu,SongshanMountain,andZhongtiaoMountianWangwuinHenanprovince;Shangluo,TaibaiMountain,Qinling,AnkangandHangzhonginShaanxiprovince;andYichang,Shiyan,Shennongjia,andEnshiinHubeiProvince.Twomoreexpeditionsareplannedinthefuturetocompletehissurvey.WangchuanVillaSite辋川别业旧址,2018Archivalpigmentprint收藏级艺术打印GuanyinCave观音洞,2018Archivalpigmentprint收藏级艺术打印Theexhibitionisdividedintotwoparts,oneofwhichisdevotedtothelandscapeinwhichthegrottoesaresituatedandtheothertothepoetryofcaves.Usingcolorforthefirsttimeinthelandscapesectionoftheexhibitionhefocusesdetailsthatconveytheimpressionofthewhole,apileofturtleshellsintheinteriorofacave,anothersodamagedthatalmostnothingremains,orcalligraphyindicatingthatthelateTangdynastypainterJingHaolivedthereuntilhedied.Incompletecontrastaretheblackandwhitephotographsthatconveythepoetryofthecaves,mysteriousinteriorsthatsuggestthesenseofawetheyinspiredbypilgrimswhovisitedtheminfullexpectationofachievingpowerfulinsightsintoanotherworld.Usingacontemporaryanalogy,Tacahascomparedthesegrottoheavenstowormholes,passagewaysthroughspace-timethattheoreticallywouldpermitjourneysasmysteriousasthoseachievedingrotto-heavens.KongwangMountainCave孔望山龙洞,2018Platinumandpalladiumprint铂钯印相SaltpetreCave硝洞,2018Platinumandpalladiumprint铂钯印相AmongcontemporaryphotographersofhisgenerationTacaisunusualinhisoverridinginterestChinaasitusedtobe,notasitexiststoday.Therearevirtuallynoreferencestothepresentoreventherecentpast,theexceptionsbeingastepladderinoneofthephotographsinthecurrentexhibitionortheoccasionalappearanceofforlornrelicsofpastdevotionalpracticesleftbehindinthesecaves.Farfrombeingadocumentaryphotographer,however,bringingbackreportsfromremoteareas,heusesphotographyasawayofestablishingarapportbetweenhisownuniquevisionandthesparseevidencehefindsinhistravelsoflong-goneandlargelyforgottenpractices,farfromtheconcernsofthegreatmajorityoftheinhabitantsofanewlyprosperousChina.Hispreferencefortheunassumingandtheoverlooked,theacceptanceofimpermanence,canbecomparedwiththeconceptofwabi-sabiwhichplayedsuchanimportantroleinthedevelopmentofJapaneseaesthetics.Tace’sworkhasenteredthecollectionsoftheMetropolitanMuseumofArt,NewYorkandthePhiladelphiaMuseumofArt.SoaringDragonCave腾龙洞,2018Archivalpigmentprint收藏级艺术打印网站：www.chambersfineart.com微博：前波画廊北京Instagram：chambersfineartgallerybeijing邮箱：bj@chambersfineart.com电话：+86(10)52370742责任编辑：