2020上海国际摄影节·第十五届上海国际摄影艺术展览 2020 Shanghai International Photography Festival· The 15th Shanghai International Photography Art Exhibition
布克哈德父亲系列及电影德国疤痕
艺术家布克哈德。翻译：棉布（徐沛力）
布克哈德.冯.哈德的视觉（查询）工作，始于1984年的视觉故事讲述和摄影序列的开发，并采用了似乎适合每个新项目/阶段的新艺术策略。为了反映我对电影的早期兴趣，（摄影）系列/序列对他来说比单张摄影图像（通过积累场景创建视觉叙事）更重要（“父亲图片” 2002-2004）。相比之下，在大型照片装置“全景在“立陶宛”（2005-2008年）中，叙述（“电影”）被压缩为一个图像（“战斗绘画”）。回顾1942年，在考纳斯附近的地道古迹上，拍摄并跨越过去，存在和未来的十七个场景，历时一周。在分为两部分的电影项目NARBE DEUTSCHLAND / NARBE BERLIN（2009-2014）中，还探讨了德国历史的后果：沿着原德国内部边界的整个长度，不间断地进行了16小时的长时间运动。新的工作周期集中在发现的图像上，例如废弃的，被忽视的负片和恶化的负片，这些图像是前共产主义东欧发掘的（“垃圾袋中的冷战”，2010年）。 “无标题电影卷轴”（2014-2018年）将时间（电影）转换为空间（图像），并通过重新引入运动扩展了电影的概念。在我的“中国时期”（2013-2018年）之后，开辟了新篇章：所谓的“多稳态图像”或“非图像”是对（视觉）潜能的沉思，然后再决定内容的（视觉/图片/事物）以及我们希望在其中看到的内容（菩提迦耶系列，2019年/新冠病毒系列，2020年）。
Brief Description of Your Work(s) (200 words, in Chinese and English)
Burkhard Von Harder
Introduction (within 200 words) - brief work bio :
BVH’s visual work (inquiry) began in 1984 with visual storytelling and the development of photographic sequences, adopting new artistic strategies that seem fit for each new project/phase. Reflecting his early interest in film, the (photographic) series (seriel) / sequence was more important to him than the single photographic image, the building of visual narratives through the accumulation of scenes (‘Father Pictures’ 2002-2004). In contrast, in the large scale photo-installation ‘Panorama
for Lithuania’ (2005-2008), the narrative (‘movie’) was condensed into one single image (‘Battle Painting’). Looking at the year 1942, seventeen individual scenes spanning past, presence and future, were staged and photographed over a week at an authentic historic site near Kaunas. The consequences of German history are also explored in the two part film project NARBE DEUTSCHLAND / NARBE BERLIN (2009-2014) : an uninterrupted 16-hour long movement, following the entire length of the former inner German border. New work cycles concentrated on found imagery such as discarded, neglected and deteriorated negatives, unearthed in former Communist East Europe (‘Cold War in a Trash Bag’, 2010). The ‘Untitled Film Scrolls’ (2014-2018) translated time (film) into space (image) and by reintroducing movement expanded the notion of cinema. Following his ‘Chinese Period’ (2013-2018) a new chapter opened up : so-called ’multi-stable-images’ or ‘non-images’ are meditations on the (visual) potential before we decide on the content (of an image / a thing) and what we want to see in it (Bodhgaya Series, 2019 / Corona Series, 2020). BVH, 2020