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曾毅接受阿爾巴尼亞國家電視臺及國家主流媒體聯合采訪

日期:2019-10-10 09:11來源:風尚文化傳媒作者:孫富責編:王宗堯閱讀:14017
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《鄉土》

——曾毅攝影作品展世界巡展之阿爾巴尼亞

"《鄉土》一一曾毅攝影作品巡展",2016年5月22日在阿爾巴尼亞國家歷史博物館隆重開幕。展覽得到阿爾巴尼亞各大主流媒體的高度關注,阿爾巴尼亞國家電視臺、國際電視臺、阿最大的私立電視臺TOP-CHANNEL等十余家電視臺和各國家電臺及大報刋、網站紛紛在展場進行了釆訪。國家電視臺第一次在演播室現場采訪中國藝術家并制作專題節目。TOP-CHANNEL電視臺在演播室進行了二十分鐘的現場釆訪直播,各大媒體也同時作了新聞報道,在阿爾巴尼亞產生了廣泛影響。

1---Che ricordi hai quando eri piccolo e aiutavi il tuopadre a svilupare le foto.

曾毅先生,從有關資料了解到您十幾歲的時候,就跟著父親拍照和洗照片,想問您有怎樣的記憶?

Mr. Zeng Yi, from the relevant information, we've learned that you had followed your father to take photographs and develop them since you were a teenager,, what kind of memory do you have?

曾毅:

     上個世紀六十年代初,還在我的中學時代就經常晚上在家里幫父親洗照片。我父親是位中學老師,攝影是他的業余愛好,他經常為學校的運動會、學生畢業照及文藝演出拍照,有時候父親也讓我幫他拍些照片,其中就有1962年我13歲時用雙鏡頭相機,為小伙伴拍照時留下的我的第一張“工作照”,這張照片我保存了已整整半個多世紀。父親對我學拍照要求很嚴格,從選擇不同的光線、角度到構圖、焦距等等都耐心的給我輔導。教我拍照時應該注意的事項,比如拍人物要首先注意人的眼睛和人的各種手勢,要注意背景與人物的關系等等,當年父親對我的教誨至今仍記憶猶新。

Zeng Yi:

     At the beginning of 1960s, I always helped my father to develop photos at home in the evening while I was still in middle school. My father was a teacher in the middle school, and photography was his hobby. He often took photos for the school sports meeting, student graduationand theatrical performance,etc. Sometimes, he also asked me to help him take photos. One of the photos I took for some childhood friends with double lens camera in 1962 was when I was 13 years old, and that was my first “working photo”. I have saved it for more than half a century. My father was very strict with me when it comes to taking photos, but he was also very patient to give me guidance in terms of lighting, composition, the focal length and so on. He also taught me the many other tips and tactics in photo taking. For instance, you should pay attention to the human eyes and gestures first before taking photographs of people, and you shall pay close attention to the relationship between the background and characters. My father’s teachings are still clear tome in my mind.

 2--lei non solo e il presidente della associazione dei fotografi in Cina mae anche il fondatore della rivista piu grande a della fotogafia al mondo , comesi sente dentro di aver creato cosi due cosefantastice , non soloper i fotografi  cinesi ma anche  per i fotografi nel mondo.    

您不但擔任過攝影協會的主席,您還是中國攝影界權威雜志的創始人之一,您作為著名的策展人不僅在中國攝影界,而且在國際上都有很大影響,在這些方面取得了重要成就,請問您有什么感想?

 You served as the President of the Photographer Association, and was also one of the founders of most reputable Chinese Photographic Authoritative Magazine. You, as a well-known curator, have a great influence on photography in China as well as around the world. You have made important achievements in these areas. So, what’s your thought on that?

曾毅:

    自上個世紀八十年代以來,我先后擔任過一些攝影組織的負責人,這是一種職務工作。協會負責人的職責是為協會的發展和廣大會員的利益服務的,并不是一種什么地位和權力,主席只有奉獻和付出,不能借機索取個人利益。1986年我策劃舉辦了“國際和平年全國青年攝影大獎賽 ”,1988年策劃了“中國孔子文化攝影展”在世界各國的巡展,1989年我參與創辦了《中國攝影家》雜志。在上個世紀七八十年代,我還是一個滿腔熱血的攝影青年,躊躇滿志,我還創辦過《青年攝影家報》,編著了《大哉孔子》《天命集》《當代國際優秀攝影作品集》等各類攝影類的書刊畫冊。還策劃過詹姆斯·納切威、張照堂、薇薇安·邁爾等攝影師的展覽,這些實際上也都是一種業務工作,也談不上是什么個人成就。一個攝影家最大的成就,應當是他能長年堅持用相機去發現生活、去記錄生活,去改變生活。就像美國攝影師路易斯·海因(Lewis Wickes HIine)那樣,他用手中的相機去記錄二十世紀初美國工人特別是童工生存和工作狀態,引起美國乃至世界的極大震動,從而促使美國國會立法禁止聘用童工,推動了社會進步與人類文明,這才應當是一個攝影師最偉大的成就。

Zeng Yi: 

       Since the 1980s, I have served as director in some photographic organizations successively. Director’s responsibility is to serve the development of the Association and the benefit of general membership. It’s not showing certain status and power. As a President, you can only dedicate and contribute without personal benefits or return. In 1986, I planned and organized the“National Youth Photography Competition in International Year of Peace”; in 1988, I curated “China Confucius Culture Exhibition” and toured that exhibit all over the world.  And in 1989, I participated in the co-founding of journal《Chinese Photographers》.  In the 70s and 80s, I was still a young photographer with wholehearted enthusiasm and dreams.  I also started the “Young Photographers Newspaper”, and compiled “the Great Confucius Book”, “Fatality Collection”, “The Contemporary International Outstanding Photographic Works ” and many other photographic books and publications. And I curated many photographers’ exhibitions as well, such as exhibitions featuring James Natchwey,  Zhaotang Zhang, Vivian Maier and so on. I don’t see that as personal achievement, but part of my responsibilities and passion.The greatest achievement as a photographer is that he can find life, record life, and change life through his lens throughout his life.  Just like American photographer Lewis WickesHine, he used his camera to record the living and working conditions of American workers, especially the child labor in the beginning of the 20th Century, which made great impact in the United States and the whole world. His works have caught congress’ attention and help passed the law to prohibit the employment of the child labor.  It has help promoted the social progress and mandkind civilization. This should be the greatest achievement of a photographer.

3-- Ti ho incontrato sempre conuna machina fotografica in mano , sia a pechino  e anche in italia ,e un vizio o e un grande problema tuo peronale.

聽說您經常手里拿著相機,似乎拍照已成了您的一種生活方式,這是您的個人習慣嗎?

I heard that you often keep camera in your hand, and it seems that taking photos has become a way of your life. Is this your personal habit?

曾毅:

    可以說自上個世紀七十年代初開始,四十多年來相機幾乎從來未離開過我,用一個詞來表述就叫“形影不離”,因為相機和鏡頭是我觀察社會和觀看人生的第三只眼睛。日常生活中隨時會發生各種事情,任何機會和“決定性瞬間”都只會留給有準備的人。被稱為“街拍女王”的美國保姆攝影師薇薇安·邁爾就是一個典型的例證,她一生幾乎都在拍照,在上個世紀五六十年代的膠片時代,她竟為社會留下了15萬張極其珍貴的影像資料,去年年底我策展的薇薇安的作品展剛剛在北京和濟南等地進行了巡展,在中國引起了廣泛的影響,現在我正在對她及其影像進行深入的學習和認真的研究。

Zeng Yi:

 It can be said that the camera has almost never left my sight for more than 40 years since the beginning of the 70s in the last century. “Inseparable” is the word for it, because the camera and lens is my third eye for observing society and life. All sorts of things can happen in our daily lives, and any opportunity and “decisive moment” will only be left for the prepared ones.  Vivian Maier, known as “Street PhotographyQueen”, is a typical example.  She spent most of her life taking photos in the 50s and 60s of last century when it was film era.  She unexpectedly left 15 0,000 precious image for the rest of the world. At the end of last year, Vivian’s exhibit that I curated just made a tour in Beijing and Jinan, and created widespread influence and impact in China.  We are doing more in-depth studying and research on her work.

4--- nella tua carriera artisticacome fotografo hai conosciuto due tipi di foto , sia con le altremachine fotografice , anche quelle di oggi  digjitale , quale emeglio  per esprimersi  come artista contemporaneo.

在您作為攝影師的藝術生涯中,您分別拍攝過兩種類別的照片,一種是用傳統膠片相機,另外一種是數碼相機。您認為對于當代藝術家來說哪一個更適合于表達自己?

As a photographer in your career, you have taken two categories of photos, one is with the traditional film camera, and the other is with the digital camera.  Which one is preferred to express yourself as a contemporary artists?

曾毅:

   攝影師就像戰士打仗一樣,各種武器都應該熟練地掌握和使用,一個目的就是要出奇制勝。傳統膠片相機就像傳統老步槍,打一發子彈拉一次栓,速度慢、命中率低。而數碼相機則像現代化新式武器,不管白天黑夜,還是風雨交加,都可以是全天候。對個人而言當然數碼相機更適合我,因為數碼相機為一個攝影者在各種復雜的情況下提供了無限的可能,而這些是傳統膠片相機無法替代的。

Zeng Yi:

        A photographer is like a sodier in a battle, you have to master different tools and equipment.  The only purpose is to taking great images. The traditional film camera is like a traditional and old-fashioned rifle with low speed and low accuracy rate.  Digital camera is like a modern weapon,regardless of day and night, wind and rain, they can be used in all-weather.  So I think the digital one is more suitable and versatile.  The digital camera provides much more possibilities for a photographer in various complex situations, which can not be achieved by traditional film camera.

5---Mr, Zeng , vedendo i tuoi scatti capolavori quale emeglio lo scatto bianco-nero o a colori.

曾毅先生,在您所有的作品中,您認為黑白照片更好還是彩色照片?

Mr Zeng, among all your works, which kind of photo do you like better? Black and White, or Colored images?

曾毅:

    任何攝影作品都不能用黑白和彩色,來作為評判一幅作品優劣的標準。黑白與彩色各有千秋,互不可替代。當然我本人更喜歡用黑白影像去表現人物和場景,因為它可以剃除生活中那些五彩繽紛的各種色彩的侵擾,使我們能夠更深刻、更專一地去觀賞作品的內容,感悟作品的思想,領會作品的精神。當然彩色照片在很多情況下也能有效地去表現作者的意圖。不同題材的作品,有著不同的表達方式,兩者應當是各有千秋,不分伯仲。當然我個人大多數還是拍攝黑白照片,這主要是與我拍攝的題材有關。

 Zeng Yi: 

 The quality of any photograph can not judged by its color.  Both of them have their own merits and values. They are mutually irreplaceable. Of course, I personally prefer to use black-and-white images to express characters and background. That is because it can shave off the intrusion and noices from all kinds of colors in our lives, and allow us to admire the content of work, understand the thought of the work and appreciate the spirit of the work more deeply and exclusively.  Likewise,color images can also express the author’s intention effectively in many cases. Different theme works have different ways of expression. These two should be on a par because each of them has its own merits. But as for me, I mostly take black-and-white images, which is mainly associated with my subject.

6---Come ti senti oggi essere il primo artista Cinese che sie riuscito a fare una grande mostra personale al Museo Nazionale ditirana in Albania.

作為在阿爾巴尼亞地拉那舉辦大型個人作品展的第一位中國藝術家,您有什么感觸?

As the first Chinese artist showing a large scale personal exhibition in Tirana, Albania. What thoughts do you have?

曾毅:

   作為第一個在阿爾巴尼亞舉辦大型個人展覽的中國藝術家,我感到非常榮幸!因為作為一個年近七旬的中國攝影師,我親眼見證并經歷了中阿兩國人民半個多世紀以來的友誼和發展歷史。這次展覽是在我的策展人米洛特先生的積極努力和策劃下完成的,這也是我個人作品世界巡展的第九站。近十年來我先后在美國佐治亞州立大學美術館、意大利都靈國家博物館、美國亞特蘭大圖書館、意大利佛羅倫薩展覽中心、比利時布魯塞爾美術館、米蘭勞拉·佩盧索(LauraPeluso)畫廊、馬耳他中國文化中心、美國卡特總統博物館、馬耳他圣詹姆斯藝術中心做了巡回展出。這次在地拉那的展覽得到了阿爾巴尼亞文化部、國家博物館、地拉那市政府、中國駐阿爾巴尼亞大使館、意大利皮埃特羅桑塔市政府等部門的大力支持,在此我要對所有為此次展覽作出努力和提供幫助的朋友,包括博物館MELSILAB館長和我的策展人米洛特先生,借機向他們表示衷心的感謝!

   我非常希望今后有更多的攝影家、藝術家在中國和阿爾巴尼亞兩國之間經常進行交流與合作,希望在中阿兩國之間能架起一座文化交流的橋梁,塔建一個雙方藝術家進行交流的平臺。

Zeng Yi:     

 I feel very honored to be the first Chinese artist to hold a large personal exhibition in Albania! As a nearly seventy-year-old Chinese photographer, I witnessed and experienced the friendship and development between the two countries for more than half a century.The exhibition is completed by my curator Mr. Milot’s with his great effort and planning.  It is also the ninth stop of my personal exhibit as a world tour. Over the past decade, I have made a tour successively in these places as follows: University of Georgia Art Museum in USA, National Museum of Turin in Italy, Central Library and Fulton County Library in Atlanta, Georgia, Exhibition Center in Florence Italy, Brussels Art Gallery in Belgium, Milan Laura Peluso Gallery, Malta Chinese Culture Center, the Museum of United States President Jimmy Carter, Malta St James Art Center. The exhibition in Tirana has been supported by Albania’s Ministry of Culture, National Museum, the Municipal Government of Tirana, the Chinese Embassy in Albania, PietroSanta Municipal of Italy and so on. Here I will take the opportunity to express my heartfelt thanks to all those friends who made their efforts and provide help for this exhibition, including the curator of the museum—MELSILAB and mycurator---Mr. Milot. 

I do hope that more photographers and artists can participate in exchange and collaboration frequently between China and Albania in the future. And I wish I serve as a cultural exchange bridge between China and Albania, and build a platform for artists from the both sides to communicate in the future.

7---Oggi per i artisti europei la Cina  con questogrande svilipo sia economico e artistico e il centro del mondo contemporaneo come lo spieghi.

對于歐洲來說,您是如何理解中國經濟、文化以及當代世界的中心地位的崛起和繁榮,對世界會有何影響?對你的影響是什么? 

For Europe, How do you understand the rise and prosperity of Chinese economy, culture and the central position in the contemporary world? What impact will it have for therest of the world? And how would it influence you?

曾毅:

中國作為世界上最大的發展中國家,在經濟、文化方面的崛起和發展令世人矚目,作為一個中國藝術家當然感到很自豪。幾十年來我親身經歷和目睹了改革開放給中國帶來的巨大變化的全過程。中國經濟的崛起和發展,必然帶來中國文化藝術的繁榮和復興,這對中國、對歐洲、對全世界都是一件非常利好的事情。不但中國的藝術家,而且包括阿爾巴尼亞在內的世界各國的藝術家都會受益。道理很簡單,不然今天我也不可能在阿爾巴尼亞國家博物館舉辦這個展覽,這本身就是一個很鮮活、很現實的例證。

無論是中國還是哪個國家的藝術家的命運,都是與他們的國家的發展與興衰息息相關的。尤其作為一個攝影師更需要有對國家對社會的擔當,都有責任真誠地去反映社會現實,表現百姓生活以及他們的喜怒哀樂。可以說幾十年來我一直深受美國攝影大師路易斯·海因的影響,我的鏡頭始終都是面對著中國廣大農村、特別是那些偏遠的鄉村中一直守護著那一片黃天厚土,居守在那片窮鄉陋舍之中的貧苦百姓和父老鄉親們。由于歷史的原因,他們都沒有受過良好的教育,但他們卻傾力供養他們的子女兒孫,讓他們離開故土,去城里讀書、打工或出國留學和工作。他們自己卻不愿意跟著兒女們到城里去爬樓梯、住高樓,舍不得離開那片老宅,正所謂“故土難離”。這是一個國家發展進程中無法避免的歷史現象和必然過程,包括西方國家在內也是如此。對他們始終保持著的那種與命運抗爭、與生存相伴的生活方式和生存狀態,特別是他們那種安貧樂道的人生本色和堅毅達觀的民族精神。作為一個有良知、有愛心的攝影師應當去直面現實去記錄歷史,為那些即將消失的村莊和那群離我們漸行漸遠的老人和鄉土,為了那種讓人牽腸掛肚魂牽夢縈的那片鄉愁和思念,留下歷史的印痕和永恒的記憶。

Zeng Yi:

 China, as the largest developing country in the world, has made great progress and development in the area of economy and culture. I am very proud as a Chinese artist. For decades, I have personally experienced and witnessed the tremendous changes and development of the whole country. China’s economic rise and development will inevitably bring the prosperity and renaissance of Chinese culture and art after opening reform. It is a very good thing to China, Europe and even the rest of the world.  It benefited not only Chinese artists, but also artists from Albania and all over the world. The reason is very simple, otherwise, I cannot hold the exhibition in the National Museum of Albania today, which itself is a very fresh, and realistic example.

The destiny of the artist is closely related to the development and the rise and fall of their country, whether it is China or any other country. Especially as a photographer, we need to have more social responsibilities in order to reflect the social reality, express people’s lives as well as their emotions realistically.  It can be said that I have been influenced by American photographer-Louis · Hine for decades. My camera is always facing China’s vast rural areas, especially those poor people and folks who are in the remote villages and always guarding the homeland with yellow sky and thick soil, and living in the humble home of the poor countryside. Due to the historical reasons, none of them received good education, but they make great efforts to support their children and grandchildren. And they encourage them to leave their homeland to study in the city, work or go abroad. However, they themselves are not willing to follow their children to the city.  It’s so-called “Difficult to leave their homeland”. Actually, this is an unavoidable historical phenomenon and inevitable process in the national development, just like the western countries as well. As a conscientious and caring photographer, we should face the reality and record the history for those fading villages, older generation and the local for the deep nostalgia and longing, leaving the trace of history and eternal memory to us. 

8--- questo anno lei anche il presidente della biennale dellaforografia di jinan , quanti artisti  internazionali hai invitato inquesto grande evento internazionale.

今年您同時將作為濟南國際攝影雙年展的組織者,今年雙年展與往年有何不同,會有多少位世界各國的藝術家來參加這一國際盛會,今年的雙年展會有什么新的特點?

This year, as the organizer of Jinan International Photography Biennale again, can you share with us the difference between the Biennale today compare with previous years? How many artists around the world will participate in this international event? And what’s the new features of this year’s biennial exhibition?

曾毅:

    濟南國際攝影雙年展已連續舉辦過五屆了,十多年來先后有國際攝影藝術聯合會(FIAP)、美國職業攝影師協會(PPA)以及五十多個國家的攝影組織和世界著名攝影大師先后參加了雙年展。現在雙年展在歐美各國已有著廣泛影響的影響。但阿爾巴尼亞的攝影家還沒有參加過,我很希望今年能有阿爾巴尼亞的攝影家能參加濟南國際攝影雙年展。濟南國際攝影雙年展是山東工藝美術學院作為中國的一個大學來主辦的攝影節,得到了國際攝聯(FIAP)和美國攝影師協會(PPA)世界上最大的兩個國際攝影組織的大力支持和參與。根據國內發展的需要,今年雙年展將會實行“互聯網+”的模式,以網上展示交流與現場實體展覽相結合的辦法進行。國外攝影家的邀請正在聯絡與協調之中,最終人數要到八月份才會有確切的人數。但總的來講今年的濟南國際攝影雙年展會以一個完全嶄新的面貌和展示方式呈現在國內外廣大攝影師的面前。

Zeng Yi: 

      Jinan International Photography Biennial has been held for fivetimes.  In the last ten years, the major international participants include the Federation of International Art Photography(FIAP), Professional Photographers of America (PPA) and the photographicorganizations of more than 50 countries and the worldly renown photographers. Now the Biennial have made a far-reaching impact in Europe and the United States. But Albania's photographer has not participated yet.  I do hope that Albanian photographers can participate in Jinan International Photography Biennial Exhibition this year. Jinan International Photography Biennial Exhibition is hosted by Shandong University of Art and Design as one of Chinese art institute.  And It has received generous support and participation of the two biggest international photography organizations in the world--- the Federation of International Art Photography(FIAP) and ProfessionalPhotographers America(PPA). Based on the needs of domestic development, the Biennial Exhibition will apply the mode of “internet plus” to combine online exchange exhibition with the onsite exhibition.  We are still in the process of collecting RSVP from foreign photographer organizations and photographers, and will have a more accurate number by August. But generally speaking, this year’s Jinan International Photography Biennial Exhibition will be presented in a new way. 

9. Maestro Zeng Yi , speriamo che questa tua mostra personale, sia solo l'inizio dello scambio artistico culturale tra i nostridue popoli amici Cina e Albania e ti aspettiamo sempre per esporrere da noi .

曾毅大師,我們希望您這一次的個人展覽只是我們兩國友好人民之間藝術文化交流的一個開始,我們會一直期待您的到來。

Mr,Zeng Yi, We hope your personal exhibition is just the beginning of the of art and culture exchange between two friendly countries. We will always look forward to your arrival.

曾毅:

我非常希望今后中阿兩國有更多的藝術家展開互動和交流,并以此次展覽作為一個開端,我也會為促進兩國藝術家的交流與合作,積極聯絡和組織更多的中國藝術家到阿爾巴尼亞來舉辦展覽和學術交流活動,同時也歡迎阿爾巴尼亞的藝術家到中國去辦展覽搞交流,共同為推動兩國文化藝術事業的繁榮與發展做出更大的努力!                               

Zeng Yi:

       I do hope there will be more dialogue, interaction and exchange program between the two countries in the future.  This is just a good start. In order to promote exchanges and cooperation of artists between the two countries, and I will actively reach out and organize more programs, and involve more Chinese artists to go to Albania for exhibition and academic exchange programs. At the same time, I would like to extend my invitation and welcome Albanian artists to come to China. Let’s make more efforts together to promote the prosperity and development of arts and culture between our two countries!


來源:風尚文化傳媒

編輯:孫富


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