看見的時代 : 影會時期的影像追尋 1940s-1970s

看見的時代 : 影會時期的影像追尋 1940s-1970s

內容簡介

台灣「影會時期」主要是指攝影術或攝影藝術/趣味在台灣光復前後，由本土攝影愛好者或照相業者在日本戰敗後與從中國撤退來台的攝影愛好者，二者相互接軌、融合交錯所形成的時代意象。彼時在不踰越戒嚴時期〈人民團體法〉的前提下，民間文化藝術人士組織學會團體進行有限度的藝文展演活動。

這一段「影會時期」的時代意象，有因吸吮戰後日本新興攝影雜誌新知觀念、深受日本文化薰陶的台籍人士向大中國傳統畫意古典美學進行的挑戰、競合，也有戰後世界攝影潮流的轉移；現代攝影的觀念以及交融現代攝影思潮之一的寫實攝影，使當時攝影產生多面性的探究，伴隨著個人意象的表現，成為攝影的轉捩。

此外，影會時期透過攝影同好會的聯誼、國際沙龍競賽，也創造出了不同的影像文化景觀。攝影人透過沙龍攝影比賽，相互又各自實踐、詮釋著現代「寫實攝影」與傳統「畫意攝影」的精髓，以及他們眼中的土地記憶與情感。那一代的攝影人除了縱情於攝影藝術外，更用智慧及熱情衝破政治現實的圍籬，在幽微的光線中定格歲月，看見他們的時代意象。

本書原為2014.11~2015.01策畫之展覽，後將展覽內容編冊為寫真集。

The ‘Days of the Photo Club’ here mainly refers to the interregnum of ‘photography’ and ‘photographic art or implications’ between the periods of Taiwan’s restoration from Japan and the full retreat of Japanese forces from Taiwan, and how local photographers and photographers from China were blended and entwined, and thus created a spectacular consciousness of the specific times. As long as ‘photography’ and ‘photographic art or implications’ followed the Organic Act of the Civil Associations, it was permitted by the government for civilians to establish cultural and artistic organizations dedicated to the practices of the related art and culture.

During the particular ‘Days of the Photo Club’, Taiwanese photographers, being deeply influenced by Japanese culture, naturally sought their photographic nourishment from the new concepts of the Japanese photography magazines, and subconsciously challenged and competed with the aesthetics of traditional Chinese pictorialism. Moreover, the tides of global photographic knowledge changed around WWII, and modern photographic concepts hence gradually shifted towards Photorealism, and the versatile explorative nature of photography, thus accompanied by each individual photographer’s inclinations, eventually set to a new direction.

‘Days of the Photo Club’ in association with other photographic enthusiasts and international salon competitions, the photo clubs made outstanding, differentiated and spectacular achievements; such ‘daily life viewpoints’ as presented in the international salon events, not only competed with each other, but also individually fulfilled and interpreted the essences of modern photorealism and traditional Chinese pictorialism, recording their memories and love of the land of the time. That generation of photographers, in addition to their indulgence in self-centered photographic expression, also broke through the political barriers, and through their viewfinders, recorded the images of the difficult times.

目錄

館長序　國立台灣美術館館長｜黃才郎
策展人序　策展人｜簡永彬
晃動的身影－日治皇民化運動下的視覺凝視1940～1945
「快門三劍客」的登場及其影響－光復初期的攝影狀態1945～1960s
影會時代的開啟1953～1970s
影會時代的精髓－競賽與榮銜
影會之外
自己主張到另一種聲音－都會與地方的攝影群對寫實主義主張的差異
人體攝影在台灣發展的軌跡
彩色攝影在台灣發展的軌跡
後影會時期的來臨－現代攝影思潮的開啟
V-10視覺藝術群的登場到自由攝影者的濫觴
被遺忘的現代紀實攝影大將張世賢(1925～1968)
台灣攝影年表1940s～1970s
參展作者名錄

簡永彬、楊永智撰文
封面: 日本進口紙材、黑色鉛字印刷
內頁:日本進口雪銅紙

ISBN：9789868641297
出版社：夏綠原國際出版
規格：穿線裝訂 / 432頁 / 23 x 28 cm / 普通級 / 部份全彩 / 初版
出版地：台灣