罗杰拜伦——寄宿公寓

    开幕时间 | 10月17日（周六）15:00 – 18:00
    opening | 3 - 6pm. sat. oct. 17
    date | oct. 17 – nov.7, 2009
    展览地点：亦安画廊 北京市朝阳区酒仙桥路2号大山子798艺术区798东街

    罗杰拜伦描绘的是抽象的想象空间，这个空间有动物和人居住。空间里大部分物体是灰色的，像死去的细胞。噩梦般的场景，在这种环境压迫下所创造的空间中，人物、动物的隐喻和象征性的相互作用，家具和其他内部物体质感的互相碰撞，事实上帮助创造了这个世界。
 

    对于拜伦，他的灵感来源于美国20世纪60年代和70年代初的“户外画家”的作品，一切在视野内驻留的形式对他的启发是很大的。因此，拜伦不是仅仅描绘主体与客体，主题和背景的摄影师。拜伦的黑白照片在世界范围内被公认为是最强烈、最具视觉挑战性的部分，甚至令人震惊。他的摄影世界中的人类、动物和无生命的物体排列在紧绷的画面中，生与死互为表里，互为底色，或者说，如果生是一张照片的话，那么死就是这张照片的底片。
 

    ——2008 Ann Biroleau / Robert Cook专访“罗杰拜伦：离奇动物”

    Roger Ballen depict an abstracted imaginary space that is inhabited by both animals and people. Mostly within grey, barren cell-like structures, nightmarish scenarios, which are unspecific in their narrative, are enacted. The oppressive intensity of this environment is created by the metaphorical or symbolic interplay of the spaces, the figures and animals, and the furniture and other paraphernalia that exist within – and in fact help create – this world.
For Ballen, inspired by the American 'Field painters' of the 1960s and early 1970s, everything that resides within the visual field is significant. Accordingly, Ballen is not a photographer for whom standard divisions like subject and object, motif and background, make any sense: the drizzle and lilt of a wire, the shuffle of a shoe, the smear of sand on a wall are as important to the reading of the work, to its distinct power, as gestures more humanly communicative like a smile or grimace. This expanded pictorial focus produces a kind of animism where objects that might be mute in another photographer’s work speak in a chaotic and compelling tongue, making even the most ostensibly naturalistic image more surreal than real.
 

    ——the Interview in 2008“Roger Ballen: Uncanny Animals”by Ann Biroleau and Robert Cook