Artneuland
艺术世界

Israel is a crossover of most different identities and cultures, a meeting of Orient and Occident, East and West, Traditions and Modernity as well as of ethnic groups of different origins.
以色列是一个多种民族和文化聚集的十字路口，东方与西方、传统与现代，以及来源各不相同的族群在此地相逢。

A multi-cultural society with fragmental identities, facing at present new challenges and questions.
这是一个多元文化的社会，一个由不同的族群拼凑而成的大拼盘，因而在今天它面临着新的挑战和问题。

The context of Western Time - Eastern Time:
西方时代与东方时代的背景：

How does the dimensions of Time appear in photography in relation to eastern and western ways of Israeli urbanity, which in itself contains different cultural perceptions?
以色列都市中的东、西方不同的生活方式涵盖了不同的文化感知，这又会怎样影响在摄影中所体现出来的时代维度？

There are Jewish, Arabic and Christian cities, each with a different character and emphasizing on the Time as a religious element.
这里有犹太人、阿拉伯人以及基督徒的市镇，它们各自带有自己不同的特色，并在时代维度上强调了自己的宗教内涵。

There are old cities, oriented to the East, there are new cities, oriented to the West and cities with both orientations, simultaneously.
有发祥于东方文化的老市镇，有来源与西方文明的新城市，还有的城市是东、西方的文化同时并存。

Tel-Aviv, also called the "white city" (Bauhaus) is faced to the sea, i.e. to the west and wants to be part of Europe.
特拉维夫也叫做“白城”（包豪斯主义的白色建筑），它面向着大海，朝着西方遥望着欧洲，希望成为欧洲的一部分。

Jerusalem, constructed with local stones, is faced to the desert, i.e. to the East.
用本地的石块砌成的耶路撒冷则面向沙漠，朝着东方眺望。

The eastern part of Jerusalem is called the Old City and represents the religious time, spirituality and phantasm.
耶路撒冷的东半部分叫做老城，代表了宗教年代、精神与幻觉。

Photographers:
摄影师：

Roi Kupper, Guy Raz, Simcha Shirman, Eyal Ben- Dov, Giad Ophir,
Roi Kupper、Guy Raz、Simcha Shirman、Eyal Ben- Dov、Giad Ophir

Curator:
馆长：

Yael Katz Ben Shalom, director of Artneuland Tel- Aviv – Berlin
特拉维夫－柏林艺术博物馆馆长Yael Katz Ben Shalom

Pierre Bourdis and Xavier Testelin
Pierre Bourdis 及 Xavier Testelin

« Lights in France »
《法兰西的灯光》

Today, the light exceeds its original function of lighting; mastered, carved, the light surprises, calls for contemplation, appeals to our imagination.
如今的灯已经超越了原先的照明用途，它们成了艺术品和雕刻品。灯使人们惊叹，使人沉思，或激发起我们的想象力。

Masters of these scenographies, the French light designers, for a few years, have developed their creations in France and abroad.
法国的灯具设计师是运用透视法技术的大师，他们在最近几年里，在法国以及国外开发出了自己的原创作品。

The exhibition, which scenography is by itself a light installation, shows the urban landscape new night identity and the modernity of its scenography.
在这个展览中，透视法本身是一种光线布置。该展览体现了都市风景、新的夜间感知，以及现代性的透视画法。

This work, on the world of the light, is a photographic trip in Metropolitan France, re-transcribed in fixed images or slide shows:
在光线的世界中，这件作品是法国大都市的摄影采风，在静止的图像或活动的幻灯片中予以重新改编：

here, footbridge, quays, landscaped banks, buildings, warehouses, medieval streets, further, axes of circulation, factories, further still or higher even, the airy level (stained glasses of the cathedrals, arches, towers...).
这里有步行桥、码头、景色宜人的河岸、建筑物、仓库、中古时代的街道等。远处是生态循环之轴，工厂什么的。而更远的地方，或更高些的地方是天际线，如大教堂的彩色玻璃、圆形拱门，高塔。。。

The project is to demonstrate the embellishment of the urban environment through the light.
本作品用光线来装饰都市中的环境。

David Damoison
David Damoison

Caracas
加拉加斯（委内瑞拉首都）

Martiniquais, Born in 1963 in Malakoff, he studies photography in various workshops in Paris, as student and assisting.
Martiniquais于 1963年出生于Malakoff，他曾以见习生和助手的身份在巴黎的多个工作室学习过摄影。

He begins a personal project, within the West-Indian community of Paris.
在巴黎的西印度群岛人聚集的社区里，他创办了一个个人项目。

Then in 1991, he collaborates and travels with the "Revue Noire", he starts his first illustrations and begins to meet Caribbean artists.
然后在1991年，他与“黑色杂志”结伴旅行，并与其开展合作。此时，他开始做自己的首个图片集，并开始接触加勒比地区的艺术家。

Since, he continues to follow, by round trip, the human trends that irrigate the Caribbean.
从那时起，他在多次的往返旅行中，继续观察着滋润了加勒比地区的人类时尚潮流。

It is thus naturally that he undertakes to immerse himself in Caracas thanks to a grant of the French Cultural centre, which asks him to organize photographic workshops for the teenagers of the city.
他获得了一家法国文化中心的赞助，该机构要他为该城市的青少年创办起摄影工作室，于是，他在加拉加斯全身心地从事该事业。

His fascination for the mix of Hispanic, Caribbean and even African cultures will push him to remain there several months to conclude the workshops and his own need to visually explore the complexity of this city.
由于他着迷于不同文化的相互混合，即中南美的印欧混血文化、加勒比文化，甚至还包括非洲文化之间的相互混合，使他在那里逗留了好几个月的时间。他的目的是完成工作室项目，以及满足自己的想亲身探索该城市的复杂文化的需要。

Claude Dityvon
Claude Dityvon

Nocturnal
夜晚

Dityvon roams the streets with jazz tunes which always accompany him in his head, those of Monk and Coltrane whose this humanistic likes the swing and "the silence suspended between two notes".
Dityvon在街上游荡，脑子里一直在回响着爵士乐的旋律。这些音乐有些是僧侣音乐，有些是由柯川创作的旋律，这位人文学者很喜欢这些音乐的节奏，比如像乐曲“悬停在两个音符间的静默”。

He does not really know that this is what he seeks to photograph, but he feels it.
他并不清楚自己想拍摄些什么内容，但凭着感觉找到了它。

And contrary to others, he accumulates the images of the intervals, significant but not very spectacular instants.
与其他人不一样的是，他收集过渡性内容的图片，那些有意义、但并不十分张扬的瞬间。

He wants "to show what is in between, which is not seen and which resembles the music of the words and the rustle of the street".
他想把“夹在中间的东西，那些不可见、但类似于音乐世界和街上的沙沙声”显示给世人。

He already knows that "reality, for the photographer, is a pretext on which one improvises, as in jazz".
他知道，“对摄影师来说，所谓的事实只是他即兴创作的一种托词，就如同爵士乐一样。”

He also knows, as he always knew, that he must preserve as much as possible the share of childhood who is in us, to keep the capacity to be astonished...
他还知道，就像他一直知道的那样，他要尽量留住自己心中的童贞，这样才能使自己保持住语出惊人的境界。。。

A "will to find the innocence" which always leaves him filled with wonder, in the dark room, by the image which appears and is fixed on paper.
他“渴望发现纯真”，这使他充满了好奇心 － 被暗房里的事物所激励，被显影出来的照片所激动，由定格在纸上的影像所鼓舞。

Jean-Pierre Favreau
Jean-Pierre Favreau

Japan
日本

In the horizon of a street that disappears, the imprints left on a graffiti wall or the tight face of a motionless pedestrian, Jean-Pierre Favreau questions the city.
街道上空消失的地平线、墙上的涂鸦、神色凝重的行人呆若木鸡。。。

Jean-Pierre Favreau
正在探究着这座城市。

Multiple, various, it remains, singular here.
许许多多、各种各样。。。但在这里只有一个。。。

No one needs to know where we are, in New York, Havana, Rome or Tokyo; we are traveller of the edges, of the fringes, at the borders between light and dark.
我们不需要知道，为何我们来到这里 － 纽约、哈瓦那、罗马，抑或东京。。。我们是四处流浪，我们是边缘人，在边际线上、在边缘处、在亮与暗之间游荡。。。

The thin thread which connects each city, it is this moment of madness perceived in an attitude, this expression of abandonment found in another; the share of darkness encountered at the corner of a street, a spoke of light seized at the foot of a building.
一根细线将城市连接起来，某种态度察觉到了疯狂的时刻。瞧那些人，那些自暴自弃的面孔。。。街角上邂逅的是黑暗，在大楼的脚跟才有一抹亮色。

The places change, loneliness remains intact, the interrogation without answer, the search in becoming.
人是物非，寂寞依旧，追问无果，探究何益？

Then, it is necessary to go further or return, catch again a lost glance, try to capture a passing thought; and then beyond, discover the strange when the city shows decorations of Finisterre.
继续前行，抑或是返回？回眸张望，我们漏过了什么？想抓住那一晃而过的念头。。。我们朝着远处张望，啊，城市的荣耀，菲尼斯特雷角的荣耀，正在那里闪烁。。。

As we go along, we become this walker that the photographer can behold image after image.
走着走着，他就成了行者。是的，行者无疆，行程无限，他拍摄那一幅又一幅的照片。。。

François Fontaine
François Fontaine

Without Land
无地的农民

These women and these men that we called the "Without Land" ("Sem Terra") militate for an equitable land reform for all.
我们把这些男人和女人称为Sem Terra，就是“没有土地的”农民。这些人强烈要求发起一场分田地、均贫富的土地改革运动。

They strongly defend an ideology strongly tainted by Marxism-Leninism and Christianity that would make it possible for each one to cultivate a plot of land taken off the immense properties that a handful of powerful men hold and refuse to yield to the poorest.
他们积极地为一种意识形态辩护，这种主张带有强烈的马列主义、基督教的色彩。那一小撮富人拥有大量土地，但又不肯分给穷人。于是他们主张，把他们的土地夺过来，实现耕者有其田。

Today, the majority of them live without any income, inside sordid huts covered with plastic, without water or electricity.
如今，这些人之中的大多数没有任何收入，住在肮脏的棚屋里，房顶上遮着塑料布。那里没有自来水，没有电。。。

Only some ONG, like Médecins of the World with whom I produced this report, help by giving them a significant material and psychological support.
只有少数几个组织，比如刊登我的这份报告的“Médecins of the World”，向他们提供很大的物质上和精神上的帮助。

Within the "Without Land", where there is a strong will to overcome misery and injustice, an extraordinary solidarity is a daily occurrence.
在这些“无地农民”之中，他们的强烈愿望是消灭痛苦、不公，他们同仇敌忾，群情激昂。。。这样的事每天都在发生。

It is this force of character and this thirst for justice that François Fontaine wanted to capture on the faces of these peasants "Without Land", in the heart of the shantytowns in which they try to survive.
François Fontaine正在贫民窟中抓拍照片。这些人只是想活下去，仅此而已。你看那些“无地农民”的面容，他们渴望公正，可望获得人的权利，这难道不是正义的力量吗？

Martin Kollar
Martin Kollar

Ordinary days
普通的日子

It took Martin Kollar quite a while to understand that nothing he wanted to photograph required a search for the extraordinary.
过了很久Martin Kollar才明白过来，他想要拍摄的东西随处可见，根本无需刻意寻找。

He realized that “he who can see” could find it anywhere.
他认识到，“只要眼睛不瞎的人”就看得见它们，它们到处都是。

In housing estates where his friends live, in small towns where he stops to have a warm lunch while on a trip, in villages, in the countryside that flanks the road to his destination.
在他朋友们居住的组屋里，当他在旅行途中在某个小镇停车、吃上一顿热饭菜时，在乡下的村落里，在公路两旁的广大农村。。。

Kollar’s topics are simply everywhere that people live their everyday, ordinary lives.
Kollar的主题是普通人，所有地方的人们，他们的日常生活。。。

These topics emerge both incidentally and inevitably from the most diverse environments and the most banal situations that capture his attention, appeal to him, excite him or move him.
这些主题来自于所有的场合、各种各样的情形。它们最最普通的现象，但引起了作者的关注。它们吸引了他，使他激动，使他感动。。。

Martin Kollar has discovered the capricious magic of everyday life.
Martin Kollar在人们的日常生活中发现了变化莫测的魔术。

His photographs document our times and his search for them represents a kind of contemporary archaeology.
他的摄影作品记录了我们这个时代，他的探索实际上是一种针对当代的考古学。

It is his own kind of archaeology:
这种考古是他自己独创的：

very non systematic, very private, and absolutely personal because the photographer and his camera enter reality very discreetly and inconspicuously.
没有系统性、很强的私人性质、完全是个人行为，因为作者带着照相机小心翼翼地寻找真实，丝毫不张扬。

Lau Pokchi
Lau Pokchi

“Portraits”
“肖像画”

The sky as a backdrop in July 1997 in Hong Kong was heavy.
1997年7月，铅灰色的天幕笼罩在香港的上空。

It poured daily and peoples’ hearts were heavy and depressed.
每天都下着雨，人们情绪压抑，心里沉甸甸的。

China was about to take Hong Kong back after over 100 years of British colonization.
被英国统治了100多年之后，香港的主权将由中国收回。

Lau Pokchi wanted to take his family’s portraits for this occasion but they had all left for America.
在这个时刻，Lau Pokchi 想拍一张全家福的照片，但他的家人全都去了美国。

Some had come back because America was not for everyone.
其中的几个人又回来了，因为美国并不适宜于他们每个人。

This disjointed-family situation became a common phenomenon in Hong Kong with a population of 6.5 million.
香港有650万人口，在那里，家庭成员各奔东西是很普遍的现象。

Housing was dense, tiny and hideously expensive.
居住密度稠密，房子的空间狭小，还贵得要命。

Home, to many people there, was a cage.
对那里的不少人来说，所谓的家，其实不过是一个鸟笼。

They preferred to roam the streets.
所以他们喜欢在街上游荡。

The photographer used the reality of street frenzy in Hong Kong as a backdrop for the exterior portraits.
摄影家拍摄了香港街道上的颠狂景象，将此作为他室外人像摄影的大背景。

As for the foreign workers he used interiors where there were usually Chinese objects behind.
在为外国工人拍摄室内照片时，他经常在他们身后放一些中国的东西。

A pull-down white curtain worked as a separation and boundary.
把一条白色的幕布拉下来，就成了分隔和边界。

Oblivious to the reality around them, the subject were free to interpret themselves as they appeared in between the camera and the curtain, between the real and the artificial.
拍摄对象对四周的环境一无所知，于是他们就自由发挥，摆出了各种姿势；孰不知，他们处于摄影镜头和幕布之间，游离于真实与虚幻之间。

Lisette Model
Lisette Model

Born Elise Amélie Félicie Stern on November 10, 1901, in Vienna (Austria), Lisette studies music and the piano, she is in particular the pupil of Arnold Schönberg.
Elise Amélie Félicie Stern 于1901年11月10日出生于奥地利的维也纳，她幼年时代学习音乐和钢琴，是Arnold Schönberg的得意门生。

In 1926, Félicité, the mother, leaves Vienna with her daughters, Lisette and Olga, to settle in France (in Paris then Nice).
她的母亲Félicité于1926年携带着她的两个女儿Lisette 和Olga，离开维也纳、前往法国定居。她们先是住在巴黎，后来又搬到了Nice。

Lisette lives in Paris and continues her music and singing lessons and experiments with painting.
在巴黎的那段日子，Lisette继续学习音乐和钢琴，还开始练习绘画。

She discovers photography through Olga, her sister who teaches her the rudiments of the techniques of photography in the dark room.
她还从姐姐Olga那里学到了摄影技巧，还在暗房中学会了摄影的初步技巧。

Far from the studios, the street is her learning ground.
她还在远离摄影工作室的大街上学习摄影。

She then gives up definitively music and singing, to devote herself professionally to photography as early as 1933-34. While in France, her first subjects are travelling musicians, beggars, merchants, middle-class man, of which she voluntarily crops the frame during the printing process.
早在1933－1934年期间，她彻底放弃了音乐和歌唱，全身心地投入了职业摄影的事业。在法国期间，她的首批摄影主题是流浪音乐艺人、乞丐、生意人、中产阶级等，她宁愿为这些人冲印、剪裁相片。

In 1934, she begins a series of portraits on the boardwalk in Nice.
1934年，她开始在Nice的木板人行道上拍摄人像系列作品。

It is during this period that she meets Evsa Model, a Russian born painter.
在这一时期，她邂逅了Evsa Model － 一位在俄国出生的画家。

In 1937, they get married in Paris.
他们在1937年结为伉俪。

In order to flee the tensions of Europe at the dawn of the Second World War, they obtain their visas for the United States and settle in New York in 1938. Fascinated by the energy of her new environment, Lisette Model photographs street scenes (Lower East Side, Running Legs, War Rallies, Pedestrian, Shadows), and store windows (Reflections)...
二次大战爆发的前夕，欧洲的局势越来越紧张，为了躲避即将到来的战乱，他们申请了前往美国的签证，并于1938年在纽约定居。Lisette Model对充满活力的新环境十分着迷，于是她拍摄街道景色（下东区、人们在匆匆赶路的腿、战争动员集会、行人、光影），以及商店橱窗等（反射光）。

1940 to 1947, her most productive years, the city is her favourite subject.
1940－1947年期间是她的多产年份，在这段期间她最喜爱的题材就是这座城市。

n 1951 (and until the year of her death), she teaches at the New School for Social Research in New York, which will name her Doctor of Fine Art in 1981. Diane Arbus was among her pupils.
1951年，她开始在纽约的社会研究新学院教书，直到她逝世。该学校于1981年授予她艺术教育博士的称号，因为她的学生可谓桃李满天下，其中包括Diane Arbus。

Pictures courtesy Gallery Baudoin Lebon – Paris
由巴黎Baudoin Lebon 画廊提供的免费图片

Christian Poveda
Christian Poveda

Las Maras
Las Maras

In Central America, one calls them maras.
在中美洲，人们称他们maras。

These groups of young people, built on the model of the gangs of Los Angeles, become frightening, sow terror in El Salvador.
这是一群年轻人，他们仿效洛杉矶的黑帮建立起自己的组织。他们在萨尔瓦多播撒下种子 － 骇人、恐怖的种子。

This is a study of a violent phenomenon imported from the United States.
这个研究的主题是：来自美国的暴力。

The gangs, las maras, made up of young people, covered in tattoo and dedicated to the traffic of weapons and drug, colonize little by little all of Central America.
las maras帮派由年轻人组成，他们的 身上绣满了纹身，专门从事武器和毒品的走私，他们的活动逐渐地扩散到了整个中美洲地区。

An Indirect effect of globalization, it is in Los Angeles that the young Latinos immigrants started both principal gangs who clash today in Central America:
这是全球化带来的一个间接的副产品，年轻的拉丁裔移民先是在洛杉矶的大街上相互斗殴，其主要帮派如今又扩展到了中美洲，在那里爆发武装冲突。

Mara Salvatrucha (known as MS) and M18, each have their own coded language, their rites and their tattooing and they hated one another.
这其中有Mara Salvatrucha帮派（简称MS）和M18帮派，他们各自有自己的密语、宗教仪式、纹身方式。此外，他们之间相互仇恨。

No ideological or religious differences explain this fight to the death whose origin, lost in the Hispanic barrios of Los Angeles, is forgotten by all.
意识形态或宗教原因都不能解释他们为何会相互间战斗到死。真正的原因已经迷失在洛杉矶的拉美裔居住的小区里，再也无人知晓。

But the reasons for the displacement of the "battle field" southwards seem clearer.
然而，“战场”南移的原因却是越来越清楚了。

More than a quarter of the population of El Salvador lives today in the United States.四分之一以上的萨尔瓦多人如今生活在美国。

Each week, a federal plane coming from Texas or California, brings back, to San Salvador, a hundred "deportees" chained to their seat.
每个星期都会有一架联邦政府的飞机从得克萨斯州或加州起飞，前往圣萨尔瓦多。飞机上装了一百名“被驱逐出境者”，他们带着脚镣，脚镣用铁链锁在椅子上。

Illegal immigrants for the majority, arrested during a simple road control, or mareros (between 2 and 5%), sentenced in the United States and expelled once their sentence is carried out.
大多数非法移民都是在简单的道路控制行动（也叫mareros）中被抓获的（抓获率为2－5％之间），然后在美国被判罪，服刑期满后被驱逐出境。

These massive expulsions contribute to the development of the MS and M18 in Central America.
这种大规模的驱逐行动造就了中美洲地区的MS帮派和M18帮派。

Marc Riboud
Marc Riboud

Leeds 1954 2004
利兹 1954 2004

"Go to London, see the girls and learn English,” said Capa as a welcome to Magnum finding him too shy.
Capa在为Magnum接风时，发现他很害羞，就对他说：“到伦敦去，在那里可以找女人，学英语。”

Marc Riboud reaches Leeds in 1954; he does not meet the girls and does not learn English.
Marc Riboud 于1954年抵达利兹，但是，他既没有找到女人，也没有学会英语。

The greyness and the sadness of this industrial town which seemed stuck in the 19th century reminded him of Lyon where he was born.
这座灰色的工业城市笼罩在哀愁的气氛中，似乎仍旧停留在19世纪，这使他想起了自己的出生地里昂。

He returns to London, gives his films to a picture editor, which before even greeting him, declares to him:
于是他回到了伦敦，将胶卷交给一位摄影编辑。然而，那位仁兄二话没说，就先说了下面这句话：

"Capa is dead".
“Capa死了。”

Under shock, Riboud returns to Paris.
大惊失色之下，Riboud又返回了巴黎。

And there he forgets all:
然后，他把所有的事情忘得干干净净：

Leeds, films and girls remained in a dream.
利兹、胶卷，以及那里的梦中情人。。。

Until, mysteriously, the photographs reappeared today, to prove him that he really saw and photographed Leeds fifty years ago.
如今，这位摄影家又神奇般地复活了。他的作品证明，50年之前这位摄影家确实看见了利兹，拍摄了利兹。

Klavdij Sluban
Klavdij Sluban

In parenthesis
在括号中

In 1995, he created a photography workshop for teenagers in the Juvenile Detention Center in Fleury-Mérogis (South of Paris, biggest jail in Europe).
1995年，他为Fleury-Mérogis青少年拘押中心（欧洲最大的监狱，位于巴黎南部）的年轻人创建了一所摄影工作室。

The adolescents are taught a creative approach, development and printing.
年轻人在那里学习了独创性的取景、显影和印制方法。

Their work is regularly shown inside the jail.
他们的作品在监狱里定期展出。

Henri Carier-Bresson has been coming since the beginning of this project several times a year, William Klein and Marc Riboud also attended to encourage them.
自这个项目开始以来，Henri Carier-Bresson 一年要来这里好几次，William Klein和Marc Riboud 也曾会见这些少年犯，鼓励他们继续努力。

Since 1998,following these projects, he started working with young prisoners in the former Soviet-Union (Russia, Ukraine, Georgia, Moldova, Latvia), with a similar photographic exchange.
在这些项目之后，他从1998年开始又与前苏联地区（俄罗斯、乌克兰、格鲁吉亚、摩尔多瓦、拉脱维亚）的监狱犯人一起工作，项目内容也是类似的图片交流活动。

In 2000, Klavdij Sluban created a photographic workshop in Celje, Slovenia, in the only national prison for teenagers.
2000年，Klavdij Sluban在斯洛文尼亚的Celje监狱开办了一所摄影工作室，这是那个国家中唯一的全国性青少年监狱。

Tangophoto
Tangophoto

Tangophoto Is a group of young authors made up of different nationalities.
Tangophoto团体由一群来自不同国度的年轻摄影师组成。

The members support a free photography and share the same interest in photographing life.
该团体的成员支持自由摄影，在摄影世界中他们有着相同的兴趣。

Beyond the variety of styles, the cohesion of the group articulates around collective and individual actions, which allows a crossing of styles, approaches, multiplies the points of view and favor exchanges.
在风格的多样性之外，该组织的凝聚力联系了集体及个人的行动，造就了跨风格、跨取景方法的特点，增进了观点及喜好的交流。

Tangophoto was created in 1996. These ten photographers grouped up to produce and distribute their images.
Tangophoto组织创立于1996年，由十名摄影师组成，他们以团队方式制作及销售自己的摄影图片。

They question the way of photographing reality, exploring an in between style of documentary photography through journalism and contemporary art photography.
他们对摄影业的现状和方式提出了质疑，试图通过新闻报道和当代艺术摄影的方式探索出一种纪实摄影的中间风格。

Their unity is based on a shared desire to capture reality such as it is, such as men live it in everyday life, to better understand it or simply to confront their sensitivity.
他们的团结建筑在一个共同愿望之上，就是抓住事物的本来面貌，比如人们的日常生活，从而更好地了解真实，或者仅仅为了拷问自己的良知。

The group explores an alternative way of organization and distributing pictures:
该团体探索出了一个全新的制作及销售摄影图片的方式。

a very light structure based on an international open network that is linked to photo agencies, freelance photographers, editors, publishers, photographic and cultural institutions.
这是一个轻型结构，建筑在国际化、开方式的网络之上，该网络连接了摄影工作室、自由摄影撰稿人、编辑、出版商、摄影及文化机构等。

Since 1998, the Internet site www.tangophoto.net offers a multimedia showcase for our documents and photographic researches.从1998年起，网站http://www.tangophoto.net/为我们的文档和摄影研究作品开办了一个多媒体展示专栏为我们的文档和摄影研究作品开辟了一个多媒体展示专版。

Pablo Carrera Oser (Buenos Aires, Argentina), 错误！未找到引用源。 (Paris, France), Frédéric Jacquemot (Paris, France); Thierry Kleiner (Bern, Switzerland), Esther Levine (New York, United States), Jan Michalko (Berlin, Germany), Hisashi Murayama (New York, United States), Filippo Romano (Milan, Italy), Olivier Thébaud (Paris, France), Cyrille Weiner (Paris, France).
Pablo Carrera Oser （阿根廷，布宜诺斯艾利斯）, 错误！未找到引用源。 （法国，巴黎）, Frédéric Jacquemot（法国，巴黎）; Thierry Kleiner （瑞士，伯尔尼）, Esther Levine （美国，纽约）, Jan Michalko （德国，柏林）, Hisashi Murayama （美国，纽约）, Filippo Romano （意大利，米兰）, Olivier Thébaud （法国，巴黎）, Cyrille Weiner （法国，巴黎）

Edward West
Edward West

South Africa is in the midst of dramatic transformation.
南非正处于急剧变革的途中。

For its communities of color – long cast in the role of shadow to the white population – this is a time when identities and borders are in the process of redefinition.
对那里有色人种的社区来说，其扮演的角色 － 白种人的影子，早就被铸就。如今，族群的角色身份以及社会分工的边界必须作一番重新定义了。

In this provocative body of photographic work, Edward West uses the metaphorical power of shadow to foreground the shifting visibility of South Africa’s black population post apartheid.
南非进入了后种族隔离时代，它的黑人大众正在转换自己的角色定位，Edward West 在极具鼓动性的摄影作品中运用光影的隐喻力量，凸现该社会现象。

In focusing on the private moments of these newly empowered people within their own communities, West has created a complex, visually compelling study of the ways in which identity is inextricably linked to environment.
West将镜头对准这些“翻身得解放”的人们，拍摄他们在自己社区中的私人瞬间。他创立了一种复杂的、视觉上引人注目的研究方式，表明了角色转换不可避免地要与客观环境相连。

With the authenticity of full frame street photography, the images reveal moments in which the gesture – of people, place and shadow – becomes an essential way of knowing.
全画面的街道照片使人信服，这些图片揭示了在一瞬间事物的的姿势 － 人、地方及光影，这些成了我们了解事物的必要方式。

This work bears testimony that there is much to be found in the shadow, if we are willing to enter the darkness.
本作品见证了一个论点，即只要我们愿意进入阴影，就能发现很丰富的内容。

CHINESE PHOTOGRAPHERS
中国摄影家

Chang Qing
常青

Chang Qing lives in Taiyuan, Shanxi.
常青目前生活在山西省太原市

While traveling the cities of his province, he photographs local theatre troupes and specifically the ugliness of their deformed actors.
他在该省的各个城市旅行，拍摄地方上的小剧团，着重拍摄那些心理上扭曲、畸形的演员，以及他们的丑陋面。

Using harsh lighting and strong composition he gives an intense image of these outcast characters.
他运用刺目的采光、对比强烈的构图，拍摄那些被遗弃在社会边缘的流浪艺人，使人深有感触。

Chang Qing’s lens shows them totally immersed in their stage roles and outlines physical strength but also pride and assertiveness.
常青用摄影镜头显示，这些人彻底进入到所扮演的角色之中，作品不仅展现他们的外形轮廓，还显示了他们的骄傲和自信。

Dai Mouyu
戴牟雨

Born in Guangdong, Dai Mouyu now works as a journalist in a Shanghai newspaper and spends all of his sparse free time observing urban phenomenon of little interest to most.
戴牟雨出生在广东，如今是上海一家报纸的记者，他花费了全部的业余时间来观察社会现象：那些绝大多数人都不感兴趣的都市现象。

Through a powerful individual point of view and innovating pictorial composition, his color photographs reveal how strange and puzzling the city can be and also show how lonely man can be with a desperate kind of poetry especially within his combinations of early morning shots.
他通过一种有力的、个人化的视角，以及革命性的图片编排方式，使他的彩色照片揭示出，城市会变得多么的陌生和令人费解，人会变得怎样的孤独。尤其当他将绝望的诗句加入到清晨拍摄的图片集之中时，就更加凸现出了这样的效果。

Du Yingnan
杜英男

During a three years stay in London, Du Yingnan started to photograph the city at night.
杜英男曾在伦敦生活了三年时间，他在那时开始拍摄，拍摄那座城市的夜景。

Staying away from post card cliché, he offers a vision where the complexity of human feelings disappear.
他摒弃了明信片的陈腐题材，提供了一个新的视角。在这个视角之下，人类情感的复杂性消失了。

Under the streetlight, within a foggy atmosphere people look like ghosts giving of London a lonely feeling.
街灯之下，在雾霭茫茫的夜色之中，蹒跚的人影变成了鬼影曈曈，使伦敦笼罩在深深的孤独感之中。

Rambling the streets with his camera, Du Yingnan did not try to photograph the scenic spots but tried to find a harbour to rest his wandering soul.
杜英男带着照相机在街上游荡，他不打算拍摄风景名胜，而只是想找到一个平静的港湾，使他的流浪者的灵魂得以歇息。

When back in China, Du Yingnan followed a similar track, offering of Shanghai at night, the portrait of an uncertain, sleepy and delusive city with its own peculiar flavour.
回到中国以后，杜英男走上了一条相同的道路。他拍摄夜间的上海，展示出一个飘忽不定、昏昏欲睡、怪诞虚妄的城市，这个城市还独具一种奇怪的风情。

The murky and quivering images show a very personal state of mind, a certain fascination for nocturnal strolling.
阴沉的、颤抖的图像体现出一种十分个人化的思绪，一种对夜间行走的痴迷。

Hai Bo
海波

Hai Bo is an internationally known Beijing based artist.
海波的主要工作地点是北京，他是一位国际知名的艺术家。

In a knowingly ordinary style, the author investigates the concepts of Time and Life.
作者以朴实的艺术风格而为人知晓，他探究时间与生命的意义。

While mixing old and recent photographs, the show “Love” tries to approach human nature.
他的摄影展“爱情”将老照片和新照片混合摆放，试图接近人的本性。

Many small-framed prints show the range of amorous expressions in contemporary cities.
许多小尺寸的图片显示了当代城市一系列的情色表情。

Next to these pictures of love couples he juxtaposes his parents in enlarged photographs accentuating the old time atmosphere.
在这些一对对摆放的爱情图片旁边，他将放大了的他父母的照片并排摆放，强调着旧时代的氛围。

The whole, tainted with sadness, pinpoints the changes in love behaviour in different times.
整个作品集带着忧伤的色彩，反映了不同年代的人们在爱情行为上的变化。

Han Lei
韩磊

Han Lei is a Beijing based artist.
韩磊是一位北京艺术家。

At first glance his pictures look ordinary like snap shots without strength or style.
乍一看，他的照片似乎很普通，缺乏力度和风格，就像随意的抓拍。

Hanlei looks at the world as a spectator, waiting.
韩磊以一个旁观者的身份观察世界，他善于等待。

He gives us the “authentic” part of reality and all the overwhelming side contained in triviality.
他给予我们的是现实之中的“可信”部分，以及包含在细微之中的压倒性多数一方。

Without expressing himself, he shows us our daily life environment as if it is estranged from us so we can perceive a different reality, more authentic but often hidden behind the theatrical scenery of the decisive moment.
他将日常生活不加评论地展示给我们，似乎我们对这些已经日行渐远，所以能察觉出其中的另一番真实。尽管它们更为可信，但由于被决定性时刻的戏剧性所掩盖，而经常不为人知。

In his carefully arranged triptychs, through ingenious juxtapositions of three images with a personal common denominator, he forces us to discover and understand another side of the realm.
他将三幅带有个人化共性的照片巧妙地并排摆放，小心地组成一组三联幅照片，这样就迫使我们去发现和理解事物的另一方面。

Hong Hao
洪浩

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