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霍尔木兹:外面的城市(Hormoz:The city outside (Extérieur ville)

添加时间:2017年08月03日 访问次数:


 

作者简介:

1996年:霍尔木兹个人摄影作品在法国杂志和纽约画廊上展出。短片《蓝唇》的选材来源于各个节日, 运用超现实主义手法展现了色情而又病态的形象。

2000年,他担任Nova杂志、e.m@le杂志、Qweek杂志及De l’air杂志的摄影记者,报道了夜总会存在的问题。他的夜间故事片《我在水中做梦》在多个国家的节庆日上映,影片讲述了一个渴望爱情的男人的故事。2009年,尼维特·卡尔宗画廊展出作品野兽,讲述了动物和人类的故事。

过去十年,除了他的专刊《洗礼》和《另一个》,霍尔木兹还继续在国家摄影之家、艾格尼丝 B和节庆上展出照片,同时,他还举办艺术研讨会,探索社会人类学问题。

 Artist Bio:

1996: Hormoz’s photography is shown in French magazines and New York galleries. “The blue lips”, his short film is selected in festivals. His imagery is erotic, morbid, surrealistic.

In the years 2000, Hormoz covers as a photojournalist nightclubbing issues for Nova Magazine, e.m@le, Qweek and De l’air. Released in several countries and festivals, his nocturnal feature film “I dreamt under the water” relates the story of a man starving for love. In 2009, the Nivet-Carzon Gallery exhibits “Bestial”, a tale bringing together animal and mankind.

       This last decade, aside his monography books “Baptême” and “Another”, Hormoz continues showing pictures at the Maison Internationale de la Photographie, Agnès B and festivals, while organizing artistic workshops and exploring socio-anthropological issues.

 

 

 


 

展览前言:

阿波利奈尔曾说我见过的这些城镇都像疯子一样生活着。霍尔木兹之前从未有过这类体验,和这些城市自由不羁的生活相比,他更喜欢挖掘隐藏的事物。小巷里黑暗的幽灵、玻璃塔吞噬的尖叫、阳台上飘忽不定的影像:城镇的秩序是隐而未能见的。只有透过摄影师的目光,才能把这些事物神秘的面纱揭开。角度、曲线、反射与它的神秘感都像古代防御型城堡中的女杀手们一般被释放出来;而见证无名之城的小秘密必须以放弃自行决定权为代价。对霍尔木兹来说,下面这些标志是无关紧要的:大街后的一块空地、控制生活的都市化所受到的斥责。别处一只困在钢筋水泥中的小狗哀嚎着,孤独愤怒,一座赤道上的小岛在暖夜中挂起彩色的油灯。隐藏在其喧嚣与孤独背后的,是一种只能在摄影中显现出的有机生活,是我们真实的日常生活。

这座城市和欧洲、亚洲、中东或美国没什么不同。这里既没有壮观的景象,也不存在廉价的异国情调,都是我们平日在陈旧而不起眼的城市景观里共享的一些平凡瞬间,从不在旅游指南和明信片中出现。

这些场景虽司空见惯,却有一种难以琢磨而又矛盾的深沉之美。最终,霍尔木兹的镜头见证了平日的疯狂,和他作品推赞的狂野派对不同,这之前就已存在,而且应当是在临时居民的喧闹之后出现的。溪中嬉戏的野猪让我们明白,所有华丽建筑的背后都潜藏者一种并不遥远的古老秩序,万物皆有定数。

                                                                                                                                         马克思·罗宾

 Project Introduction:

       “The towns I have seen were living like mad men,” once said Apollinaire. Nothing of the sort in Hormoz’s vision, more interested by the concealed rather than the unbridled life of the cities he comes across. A black ghost in a lane, a scream swallowed by glass towers, the unsteady presence on a balcony: the order of a town is invisible, hidden. It only exists through the glimpse of the photographer that tears away its mystery. The angles, the curves, the reflections and its veils open up like murderesses in ancient fortified castles; and discretion is the price paid for being a witness to tiny secret events in nameless cities. For Hormoz, these are a multitude of unrelated signs: an empty lot succeeds a boulevard, a snub at the urbanism that claims to harness our ways. Elsewhere a dog trapped in concrete howls his lonely rage, the colored oil lamps deck out in the warm night on an equatorial island. Behind the bustle and the solitude it conceals, an organic life takes place that only photography can reveal, the real everyday life of ourselves.

This city is the same in Europe, Asia, The Middle East or the US.  No place for the spectacular nor cheap exoticism, these are ordinary moments we all share in trite, neglected urban landscapes left out of tourist guide books and post cards.

These scenes are commonplace but their beauty runs deep, unpredictable and paradoxical.  And ultimately Hormoz's shots are witness to a daily madness, which contrary to the wild parties celebrated in his works, was there before and shall exist after the din of the temporary inhabitants. A boar frolicking in a stream reminds us that behind all glitter or construction is an ancient hidden order, and not far off, nature awaits its hour.

                                                                                                                         Max Robin

 


 

作品欣赏:

 

 

 

 

 

 

 

 

 

 

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