6.6.2018

展訊|鄧南光 : Beauty on a Summer Day
Exhibition | Teng NanKuang: Beauty on a Summer Day


Taipei Children’s Amusement Park, 1960, Gelatin silver print, contact print, mounted on brown paper, handwriting of technical details on verso, 10.8 x 14.8cm

鄧南光:Beauty on a Summer Day
June 9 – July 15 2018

開幕|June 9, Sat. 3PM

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Each Modern 亞紀畫廊非常榮幸將於2018年6月9日起展出知名台灣前輩攝影家-鄧南光先生(Teng NanKuang, a.k.a. Deng NanGuang)的vintage原作「Beauty on a Summer Day」,此為家屬-鄧南光長子鄧世光先生所藏,題目取自鄧南光親手寫下的照片題名。展覽並出版同名畫冊。

展覽包括兩部分:鄧南光使用迷你相機製作的原作,以及珍貴的早期銀鹽作品。早在1950年代,鄧南光便強調攝影家的本體論,同時著重攝影機材的他也多次於《台灣攝影》雜誌講述相機的技術性質。作為一位身兼浪漫感性與機材理性的攝影家,鄧南光於1950年代末期開始使用迷你相機創作,必然是經過縝密思考。迷你相機俗稱間諜相機,它的極小特性不易讓被攝者察覺,鄧南光因而更自若地穿梭生活周遭,記錄下人與人親密的關係時刻,拍攝的隨興感也造就了影像的私密性:牛皮台紙上已銀化的銀鹽照片,與迷你相機才有的極小印樣,安靜並列著。台紙背面註記拍攝當時的情狀與技術資料。這種時代感與當代感並存的作品並不多見。

不同相機拍攝、不同形式呈現的兩部分作品中-如陳學聖博士文章所論(附件),可發現不少重複的畫面與主題,其中尤讓人驚豔的是,鄧南光對於靜物、風景的靜懿詮釋-這是我們前所未見的鄧南光。這些靜物風景在鄧南光普遍評價的鄉愁抒情、社會寫實、女性肖像之後的1950年代晚期至60年代初期出現,畫面講述了鄧南光個人與時代的背景:首先多幅作品可見其對構成、超現實等前衛攝影的實驗,此可推論至留日時期受日本新興攝影的影響,亦反映當時他用心撰寫攝影美學論述的實踐;其次在前述突破之上又瀰漫東方與中國氣質-鄧南光與郎靜山為兩大攝影學會領導者,私下有著互相敬重交流的君子情誼,鄧南光在不考慮發表的私下創作中嘗試綜合各學會特色並不意外,數量上也顯示此種融合沙龍與紀實的風格是鄧南光當時最主要的工作內容之一(另一為延續酒室風情的女性模特兒肖像,亦是展現極高作者意識與美學意識的肖像作品);最後這些由鄧南光親手沖洗的銀鹽作品展現極高的攝影質量,說明其對於器材與品質的把握與要求。

無論迷你相機作品,或鮮見的早期銀鹽作品,都能讓觀者深刻體會英文裡 a hidden gem的耀眼珍貴-尤其它們這次的重見天日,幾乎已是一甲子後。Each Modern亞紀畫廊盼藉由此展與攝影集,展現關於鄧南光這位重要的台灣前輩攝影家更多藝術史研究與定位的面向,同時提供更多台灣50、60年代歷史的史料-包括攝影史與社會史。

此展的完成必須誠摯感謝鄧世光先生的大力支持與合作,學術指導陳學聖博士的引領,以及展覽前後惠賜指導的陳祐明先生、全會華先生。


Taipei Children’s Amusement Park, 1960, Gelatin silver print, contact print, mounted on brown paper, handwriting of technical details on verso, 10.8 x 14.8cm

Teng NanKuang: Beauty on a Summer Day
June 9 – July 15 2018

Opening Reception | June 9, Sat. 3PM

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Each Modern is pleased to present the exhibition of legendary Taiwan photographer Teng NanKuang ( a.k.a Deng NanGuang, 1907 -1971) . With the full support of the artist family, the last group of vintages from the Estate will be shown to the public for the first time.

Famous for realism documentary and female portraits, Teng was among the first generation of pioneering Taiwan photographers studied in Tokyo. After returning to Taipei, he opened his studio and led the photography societies in Taiwan until his death. As a leader, an activist, an educator, a critic and a camera enthusiast, Teng was the great figure holding both rationality and sensibility to create fresh photographs with innovative individuation.

Beauty on a Summer Day invites new insights into Teng’s extraordinary oeuvre through his late adventure. Executed from 1956 to his death in 1971, the two different type of prints documented with detailed technical information allow the viewers tracing the threads of the photographer’s daily practice. The works by Minox IIIS, the spy camera Teng frequently used in the 50’s and 60’s, were printed both 11×14 print and a tiny contact print, mounted on a paper and chronicled its technical information on verso. The other group of prints are rare large gelatin silver photographs finished in intense poetic quality. Alongside these works we discover tranquil still-lifes and landscapes one had never seen in Teng’s works before. They reflects not only his background of avant-garde photography when studying in Japan, but also his deep friendship with Long ChinSan who was although the leader of pictorialism society – Teng exploited and integrated different styles boldly and achieved inventive masterpieces of Taiwan photographs.

The gallery will publish a fully illustrated hardbound catalogue of Teng’s late oeuvre.
The gallery would like to extend special thanks to artist family and the son Teng ShiKuang, Dr. Chen HsuehSheng, Chen Yu Ming, and Chuan Huihua for their generous supports to the exhibition.