Chongqing - Constructions and Identifications 重庆 – 构造与身份
Bernard Langerock / Photography
艺术家自述
The first part of the show is about catching light in the reflections of Chinese ink which has been brushed onto paper. Some brightly coloured Chinese stools that are typical for the street restaurants emerge from the dark, too.
展览的第一部分：一组关于反射光的摄影，摄影机尝试去捕捉刷在纸面上的墨汁所反射的光，另外的照片是来自夜晚街边小吃摊的典型的颜色鲜艳的塑料凳子，是关于色彩的记录。
The second part of the show is about people. You cannot look into people’s heads, you cannot read their minds – but it’s a fact that each person has their own thoughts – memories, ideas and dreams. Each person creates - constructs - their own
reality just like the reflections of light on Chinese ink.
第二部分的内容是关于‘人’：你不能观察人脑的内部，你也没有读心术。但是事实是每个人都有自己的想法，回忆，观点，梦想。每个人都像那些水墨的反射光一样“构造”他们的现实世界。
艺术家自述
The first part of the show is about catching light in the reflections of Chinese ink which has been brushed onto paper. Some brightly coloured Chinese stools that are typical for the street restaurants emerge from the dark, too.
展览的第一部分：一组关于反射光的摄影，摄影机尝试去捕捉刷在纸面上的墨汁所反射的光，另外的照片是来自夜晚街边小吃摊的典型的颜色鲜艳的塑料凳子，是关于色彩的记录。
The second part of the show is about people. You cannot look into people’s heads, you cannot read their minds – but it’s a fact that each person has their own thoughts – memories, ideas and dreams. Each person creates - constructs - their own
reality just like the reflections of light on Chinese ink.
第二部分的内容是关于‘人’：你不能观察人脑的内部，你也没有读心术。但是事实是每个人都有自己的想法，回忆，观点，梦想。每个人都像那些水墨的反射光一样“构造”他们的现实世界。
The third part of the show is about the spirit of the exhibition hall of Organhaus Art Space. Its three-dimensional reality has been reduced to two-dimensional pictures and then taken back to the three dimensions again.
第三部分的内容是公共展厅的，关于它的存在，它的精神：把三维的展厅转化为二维空间的照片，然后再次把它放回到三维空间里。
The fourth part of the show consists of pairs of photographs. The things shown in the two photographs that are hung up next to each other are meant to start a conversation in the visitor’s head. The topics are taken from everyday life e. g. people in the streets, food, animals, vegetation, traffic, construction sites and industries.
第四部分是关于‘对比’：包含一些由两幅照片组成的“照片组”，相邻照片的拜访，所意图构建的是与观者的意识对话。照片主题来自每天的日常生活。比如街上的行人，食物，动物，植物，交通，建筑，工地和工厂。
All these photographs work as aesthetic statements on their own inviting the visitor to discover their different layers of meaning – in a surrounding that in itself is a metaphor for the complex texture and vividity of life.
这些摄影作品作为各自美学的陈述，让观者去发现其中不同层次的意义：周围的存在对于自身而言是一种如复杂纹理与生动鲜艳般存在，是源自生活的隐喻。
第三部分的内容是公共展厅的，关于它的存在，它的精神：把三维的展厅转化为二维空间的照片，然后再次把它放回到三维空间里。
The fourth part of the show consists of pairs of photographs. The things shown in the two photographs that are hung up next to each other are meant to start a conversation in the visitor’s head. The topics are taken from everyday life e. g. people in the streets, food, animals, vegetation, traffic, construction sites and industries.
第四部分是关于‘对比’：包含一些由两幅照片组成的“照片组”，相邻照片的拜访，所意图构建的是与观者的意识对话。照片主题来自每天的日常生活。比如街上的行人，食物，动物，植物，交通，建筑，工地和工厂。
All these photographs work as aesthetic statements on their own inviting the visitor to discover their different layers of meaning – in a surrounding that in itself is a metaphor for the complex texture and vividity of life.
这些摄影作品作为各自美学的陈述，让观者去发现其中不同层次的意义：周围的存在对于自身而言是一种如复杂纹理与生动鲜艳般存在，是源自生活的隐喻。