开幕酒会 ：3.7(Fri) 17:00
展会地点 :北京表画廊 (PYO GALLERY BEIJING) 北京市朝阳区安外北苑北湖渠酿酒厂
Tel : +86(010)52023814 / 52023815     Fax :+86(010)52023813 
E-mail: pyogallery@163.com           Url: www.pyoart.com
                                                                                            

                                            
展 会 简 介
金重晚1954年出生于韩国,曾在法国学习摄影艺术，之后一直醉心于摄影艺术，几十年间孜孜不倦，尤其

是他创作的花系列，更是带给观者一种不一样的感觉。
金重晚的花并不是以绚丽的色彩让我们振奋起来，而是让生活在匆忙中的我们心灵宁静下来。那不是倒映

在水面上的绚丽舞姿，而是一个个沉落到深海的欲望沉渣。虽然想挽留或者使它们苏生，可是艳花绽放的

那一刹那即是生命磨灭的开始。他的花意味着生命的循环，人生之哲学。
就如他所有的肖像，风景一样，金重晚的花也带有宁静和灵光焕发的色彩。那不是单纯的景象，可以说是

花之写照，他的花让我联想起东洋画中内涵的写真特色。东洋写真的照片中最重要的是眼睛，他的花中有

着幽黑的光影围绕着我们浮荡的空间，好似他用一双慧眼看透我们的心灵。
当我们静心观看，那一切都好似处于陶醉的情况下。枯萎凋谢即将面临死亡的花朵，好象陶醉于此，因而

超越存在的时空间。使循环的一切停滞那，把陶醉于无我境界的振奋时刻捕捉起来的，那便是照片。
“我的照片不是一种记录，我的照片是在我的摄影室完成。我总是欲求某种人造的氛围。对我而言对象或

内容比表达的方式更加重要，每一次我都好像在制作古典式的艺术作品，就如雕刻，油画一般要设几种要

素之后才能渐渐的描绘出线和图象。这需要动态和紧凑的曲线。这样一来，我是摄影家之前也是画家或是

雕刻家。”对于他的创作，金重晚如是说，照片虽然是瞬间，但它牵引着永恒而不可磨灭的刹那。虽然是

真实但要超越时空找出彩绘出的真实。因此照片并不是要传达事实的真实性，而是要抒发真实的情感。他

的真实性富有传统东洋画的遗貌取神的思想，金重晚他照片的花中有着更逼真的花，让人涌起无限的感动

。

             画廊代表 : 表美仙    策展人：金柔林  (Tel：+86(010)52023814 )
KIM JUNG MAN was born 1954 in Kouea, Studied art and photography in France, Now living in

Korea.

“My photography is not documentation. I make my photos inside my studio. I always have

desire for some kind of artificial mood. For me, the style of expression is more important

than the subject or content. I take photograph in a form of classical art. I display several

objects such as sculpture and oil painting and make lines and forum. Movement and tension is

required for the lines. I am an artist or a sculpture before calling myself a photographer.

”
- Robert Mapplethorpe-
Kim Jung Man’s flower is dark and silent. It does not excite us with brilliant colors but

conversely calms us down who are excited without good reasons. That is not the splendid

gesture which is reflected on the surface of the water but the residue of my desire which is

sinking into the deep water. It is a kind of life philosophy that paradoxically shows the

logic of life which implies the moment of full bloom is the beginning of termination of

life, although one wishes to grab and resuscitate it.
Kim’s flower has a nimbus around it with silent stillness, as all his other works of

portraits and landscapes have. The work cannot be categorized as a simple still-life but a

‘portrait of a flower’ and recalls the word ‘photograph’, which has a meaning of a

portrait in Oriental painting. While the eyes are the most important aspect in Oriental

portrait, Kim’s flower which exist in a space where dark lights particles floats around,

shines on the eyes of the onlookers to read our minds.
Kim makes the flower of a moderate size as the subject and puts his camera closely to it to

make his own secretive frame. His photography confirms that the significant part of his

photographs is not the subject itself but the application of the frame. A photographer

speaks everything or perhaps more about the subject with the frame. Some flowers are within

the frame and some bits are sliced outside the frame. The ratio and composition is superb

and reminds us the trimming of subject of Mapplethorpe’s photographs. 
The motion of the orchid which traverses the picture to touch the edge of the frame leads us

to feel the same earnestness which can be found in the picture of Mapplethorpe who is

present as half-naked and touching the edge of the frame with his fingertips. Whether the

background is black of white, Kim’s flower is enlivened with graceful trembling in the

endless negative space as can be seen in other Oriental flower painting. Although the flower

may come from the Western culture, the Oriental lines are in motion with Kim’s camera

angles. While the movement hides and exposes its body in the dark and light background, it

reveals the ‘vitality of life’ or the ‘fundamental breath’ that Kim is talking about.

President : Mi Sun Pyo    Chief Curator：Yu Rim Kim  (Tel：+86(010)52023814 )