The Feeling Structure of Contemporary Image: Frame, Arrangement and Seriality


The Statue As an Observer:Reflections on the Visibility and Mystery of Chang Chao-tang's Photography


「時間」和「空間」一直是張照堂長久以來未變的主題。在黑白的主旋律中,時間的本質乃是人之意義而非物體之運動;從現實中尋找非現實,是一個介於看的見與看不見的曖昧空間。一系列「投影」的作品,寓意著主體的此曾在,又同時指涉一個「缺席的客體」,它給我們的是兩個空間,包括「直接的場景」以及「延伸的場景」。張照堂歷經青年至成年的階段,正是社會局勢相當多變的時代,從一個「閒逛者」到一個影像紀實工作和影片編輯者,跨越平面與動態兩種攝影的操作思維。他內在的奔放與吶喊內聚成一個無頭的軀體,身體—非身體;背影,逼視著一種窒息的存在。19歲時的張照堂揚棄了傳統的畫意或紀實攝影,拍下了第一張至今仍揮之不去的幻景意象。他的黑白影像讓我們跌入歲月的深淵、靈魂的暗夜。以影像方式挑戰都會長久以來的沉默,總 是飄遊在城市與郊區進行一種遊蕩與冥想,又像鳥一樣的高度來觀視這個城市。看見廢墟世界中的精神力量,尋找聖化與世俗之間的矛盾。凝住待發的群眾和攝影者自身的投影,像是起程前往一個集體抵抗命運的旅程。

「雙影」、「身體感」、「不定形」、「現代廢墟寓言」、以及「攝影檔案展示」是本文主要研究張氏影像的視角;同時借以攝影、繪畫與哲學的觀點,分別提出「存在的線索:虛、無」、「邊界,飄游在近郊與城市間」、「祭司和他的面具」、「觀看的衝突與超現實之眼」、「檔案—裝置:當代的攝影展示」、「一個no-body(sans corps)的奧德賽之旅」六段進程與探討;試著走入張照堂影像風格中的歲月迷宮、進而探索那可見性之謎。




Time and Space are the unchanged theme that Chang Chao-tang has lived up to for years. In the main melody of black and white, the nature of time is the meaning of human being instead of the object's movement. Looking for non-reality in reality is a fuzzy space that stands in between visibility and invisibility. A series of work of projections implies a subject's ça-à-été (it has been) as well as an object that is absent. It presents two spaces, i.e. a direct scene and an extended one. Chang Chaotang grew up in an era of a changing society. He turned from a "flâneur" to an image documentary and film editor, which included the operational thoughts of both cinema and photography. His unleashed inside and scream formed a headless figure. It was body vs. non-body; a view of somebody's back stared at the existence of suffocation. At the age of 19, Chang Chao-tang abandoned the Salon photography or Documentary photography and took his first picture that up to date is still an inevitably fantastic image. We fell into bottomless abysses of time and dark night of soul with his black and white images. He challenged the metropolitan's long standing silence with his images. His work has been floating around city and suborns implementing a kind of wander and meditation, and yet observing the city with a bird's eye view. The spiritual power of ruins has been seen and is looking for the dilemma between sanitization and secularization. A ready-to-go crowd of people was held up along with the photographer's self-projection. A journey to collectively fight against destiny is just about to begin.

In this article, Chang Chao-tang images were studied in accordance to the following major points of view: Double, Corporeality, Informe, Modern ruins fables and Photographic archives on display. Meanwhile, the standpoint of photography, painting and philosophy were adopted and a 6-step progress and study was presented including "The existing clues: emptiness and nil," "Boundary, floating in between suburban and city," "Priest and his mask," "Conflict of viewing and the surreal eye," "Archives-Dispositif: contemporary photographic demonstration" and "A no-body (sans corps), the Odyssey's journey." Readers would try to walk into the maze of time of Chang Chao-tang's image style and discover the visibility and mystery.


Chang Chao-tang, photography , corporeality, surreal, visibility