总策展人：谭雅 江 Tanya kiang

   展览名称：对错之间——影之趣 Rites and Wrongs （Having Fun with Photography）

　　本次展览的灵感来源于丰富多彩的本土摄影。摄影师们欣然接受甚至由衷赞美快照摄影中出现的错误和失误——红眼，光斑，遮住镜头的手指。

　　奥地利摄影师赫尔曼 赛迪和德国摄影师麦克斯加尔扎罗利合作拍摄的《第一大死因》，在拍摄中“犯错误”，构建出新的“错误”美学。爱尔兰艺术家米利亚姆 奥康纳也乐于接受“错误”–她的小型数码相机摆脱了原有的摄影模式。其作品《出错的相机》用最简单的素材创造出了具有丰富色彩和视觉质感的照片。同样，斯蒂芬布尔的作品黑兹尔 斯托克斯的合影集通过拍摄黑兹尔斯托克斯和不同人的合影，展现了一个惊人的逆转：当年和她合影的明星早已被忘却，而黑兹尔却由此成为一代名人。这三组照片使我们重新审视拍快照的乐趣。正如摄影师们所认为的那样，错误和失误也可以成为创新的动力。

　　The rich field of vernacular photography is the source of inspiration for all the projects in this exhibition. They benignly accept, or even celebrate, errors and mistakes often made in snapshot photography – red eye; flash flare; fingers obstructing the lens etc.
Indeed Topkill, the collaborative project of Austrian/German duo Herman Seidl and Max Garzarolli, goes so far as to lovingly recreate mistakes, in the construction of a new 'aesthetics of the error'.Irish-born artist Miriam O'Connor also actively welcomes 'mistakes' – liberating her digital compact camera from its strait jacket of pre-set shooting modes. Her 'Misbehaving Camera' is a celebration of the riches of colour and visual texture made with the simplest of materials. Likewise, Stephen Bull's re-presentation of Hazel Stokes' collection effects a curious reversal: by their ritual repetition and their paparazzi aesthetic– it is Hazel Stokes, not the (now forgotten) celebrities she poses with, that becomes anointed with celebrity status. The three projects invite us to look again and take pleasure in the snapshot. They suggest that errors and mistakes are the engine of creativity.

　　策展人简介：
谭雅江是爱尔兰当代摄影的领军人物——摄影画廊的策展人和总监。谭雅是都柏林弗朗西斯联盟策展评委会成员、摄影画廊和爱尔兰当代先锋艺术奖——库帕画廊展览奖的评委会成员。
Tanya Kiang is Curator/ Director of the Gallery of Photography – Ireland’s leading centre for contemporary photography. Tanya is also a member of the curatorial selection panel for Alliance Francaise, Dublin. She is a member of the selection jury for the Gallery of Photography/Copper House Gallery Showcase Award – Ireland’s leading contemporary award.

　　摄影师：爱尔兰 米利亚姆 奥 康纳（Miriam O’ Connor）
作品名称： 出错的相机 （2012至今）The Misbehaving Camera (2012 – ongoing)

　　作品简介：

　　 出错的相机 系列作品颠覆了 “傻瓜”数码相机的传统功能。该系列作品是相机发生故障时拍摄的。拍出的景物，肖像，日落和特写镜头由于焦距不当具有一定的模糊性，由此产生的图片像漂浮在半空中，让人不知其拍摄模式，不确定其拍摄目的，也不清楚其归何处。

　　The Misbehaving Camera playfully explores and subverts the functions of an ‘easy-to-use’ digital compact camera.The project is based on the conceit that the camera has malfunctioned. The primary shooting modes – landscape, portrait, sunset, closeup etc – act up, loose focus and become hesitant of their roles.
The resulting images levitate in an in-between state. They appear suspended between the modes, uncertain of their purpose or where they might belong.

　　作品欣赏：

　　摄影师：英国 斯蒂芬 布尔（Stephen Bull）
作品名称： 《遇见黒兹尔 斯托克斯》 Meeting Hazel Stokes

　　作品简介：

　　自20世界80年代末，英国凯特伯雷马洛剧院的引座员黑兹尔斯托克斯常和来剧院的明星，歌手，喜剧演员和舞蹈演员合影。照片中，明星们拥着黑兹尔，面带微笑，这一标准明星拍照姿势使其更加光彩夺目。
在这个明星云集的时代，名人就像普通人一样无处不在，而普通人也渴望像名人一样风靡全球。 遇见黑兹尔 斯托克斯系列作品并不是对当代文化的一种质疑，而是其中不可分割的一部分。

　　From the late 1980s, celebrity-obsessed theatre usherette Hazel Stokes had herself photographed backstage with the actors, singers, comedians and entertainers who performed at the Marlowe Theatre, Canterbury, UK. The presence of Hazel Stokes in each picture begins to raise her to the status of a celebrity. This effect is increased by the standard pose that the stars are caught in: arm around Hazel and smiling at the camera.
We all now live in a celebrity-obsessed age. The famous are shown to be just like us, while we aspire to be famous just like them. Meeting Hazel Stokes does not challenge or question this culture. It is part of it.

　　作品欣赏：

　　偶遇阿尔文

　　偶遇斯特拉特福德

　　偶遇戈登

　　摄影师 ：奥地利 赫尔曼﹒赛迪（Herman Seidl）；德国 麦克斯﹒加尔扎罗利 （Max Garzarolli)

　　作品名称：《第一大死因》Topkill

　　作品简介：

　　《第一大死因》系列照片针对的是近年来人/鱼照片在互联网上泛滥的现象，是对“死亡”系列作品的深化。一批又一批人/鱼照片的出现，体现了大众自我炫耀的心理。
捕鱼者炫耀战利品的照片并不稀奇。但在“死亡”作品中，我们被一种非同寻常的现象吸引，通过对比分析从互联网上收集的10000幅类似作品，这个现象更加明显，那就是：一条鱼的存在 —— 当这一景象出现在业余摄影师面前，他们试图捕捉到渔夫胜利的瞬间 ——然而这些照片似乎一再陷入误区。鱼作为战利品真是有着不可思议的吸引力——鱼作为单一焦点，使照片产生独特的视觉效果，仿佛其它事物都被淡化。它创造了一种动态效果，用“巧合”的原则结合“失误”的构图，营造出全然不同的表现形式。而这些失误累加起来就构成摄影作品《第一大死因》的独特之处。
Topkill is a development of the visual study Fatalities which focused over the course of several years on the phenomenon of the proliferation of human/fish photographs on the Internet. The endless iteration of the human/fish motif appeared to be a unique expression of mass exhibitionism.
Trophy shots are nothing unusual; such photographs as 'proof' of success in hunting have always existed. But in the Fatalities study, we were especially intrigued by a very different phenomenon that became increasingly visible through the analysis of the 10,000 photographs we collected from the Internet: the presence of a fish - when presented to the amateur photographer attempting to capture the triumph of the fisherman – seems to precipitate a recurring error. The fish as trophy creates a strange attraction – it becomes the single focal point with everything else in the photograph becoming detached, in visual disarray. It creates a dynamic in which the principle of 'coincidence' is coupled with compositional 'error' resulting in a totally idiosyncratic form of representation. The collected error compendia became the dogma of the photographic work Topkill.

　　作品欣赏：