如果说从2021年延续至2023年之初的 “黎晓亮：三个展” 是在呈现摄影与人的三种距离，那么此次 “黎晓亮：1/3 个展” 则是在讨论摄影作为一种视觉生产是如何在物质形态及文化关系上镶嵌于整个社会系统中的。在这里，摄影并不只是最终的那张照片，它是由摄影棚、灯光、胶片、相机、CCD、硬盘、暗房、相纸、打印机、屏幕、展厅、媒体等等场所与材料，以及布景、化妆、拍摄、编辑、传播等一系列行为所连接成的整体。有趣的是，黎晓亮作为一个跨领域的摄影工作者，正好构成了一个极佳的案例，让我们可以借机把这个摄影系统拆解开来再专门分析。
在坪山美术馆的部分中，黎晓亮展出的是 “孤独星球” 与 “艺术订单” 两个系列，前者是他一直用手机拍摄多年的看手机的人，用一种直接的手法（抓拍、数量）呈现出了一个普遍的社会现象：手机屏幕已经占据了每个人绝大部分的注意力时间；后者是他与深圳大芬村画师合作的产物，他拍摄画师的肖像，再让对方画成绘画，让他们自己的图像首次成为了订件的内容。两个系列的作品从不同的层面与角度讨论着当代社会的观看症状，并把摄影当做了一种有效的介入途径与工具。
与一般意义上的摄影展览不同的是，此次展览把重心落在了观看场景的重建上，我们像舞台布景一样设置了一系列日常环境，机场、地铁、公交站、自动扶梯、会议室、卧室与沙滩。这些虚位以待的场景试图让观众进入一个个情景剧，而唯一的情节就是看手机屏幕。在情景再现的展览逻辑中，“艺术订单” 的部分也重建了一个大芬村画室，让 “作品” 与 “生产” 同时成为展览的内容。
Compared with Alexvi: Three Distance, an exhibition spanning from 2021 to the early months of 2023 with an aim to present three distances between photography and people, Alexvi: 1/3 Solo Exhibition puts more emphasis on the intricate interplay of photography, as a visual medium woven into the fabric of social structure, encompassing both tangible manifestations and cultural connections. In this context, photography transcends the mere capture of a final image. It is a whole consisting of interconnected elements ranging from studio, lighting, film, camera, CCD, hard disk, darkroom, photo paper, printer, screen, exhibition hall, media, and various other physical places and materials, to the realm of scenery, makeup, photography, editing, and dissemination. Interestingly, as a cross-field photographer, Alexvi serves as an exemplary case study, allowing us to dissect and meticulously analyze this intricate system of photography.
Alexvi displayed two series, “Lonely Planet” and “Art Commission” in Pingshan Art Museum.The former features his extensive collection of photographs captured over the years using his mobile phone, depicting individuals engrossed in their own digital realms. He leveraged a direct method (snapshot, quantity) to present a prevalent social phenomenon: the pervasive dominance of mobile phone screens consuming the majority of our attention; On the other hand, “Art Commission” emerges as a remarkable collaboration between Alexvi and painters in Dafen Village, Shenzhen. He took photographic portraits of the painters in the village, which were then transformed into stunning paintings by their own hands. With this unprecedented approach, the painters’ own visages have become the very content of the commissioned paintings for the first time. The two series discuss the symptoms of contemporary society’s viewing habits, offering diverse perspectives and insights, and take photography as an effective medium and tool for intervention.
Different from conventional photography exhibitions, 1/3 Solo Exhibition focuses on the reconstruction of viewing scenes. We have meticulously crafted series of lifelike settings, reminiscent of stage backdrops, including airports, subways, bus stations, escalators, meeting rooms, bedroom and beach. These vacant scenes beckon the audience to partake in a theatrical experience, where the only narrative revolves around gazing at their mobile phone screens. In the exhibition’s framework of scene reenactment, the part of “Art Commission” also reconstructs a studio in Dafen Village, seamlessly intertwining the realms of “work” and “creation” as integral components of the exhibition’s thematic fabric.
