开幕时间：2019-08-24 17:00-18:00

展览地址：上海武康路376 号（靠近泰安路）

参展人员：蔡东东

展览介绍：

前言

朱朱

“造相术”，指涉了蔡东东对于摄影这一媒介的运作机制及其图像生产的反思、解构和再造。几乎是从停止拍摄的那一刻起，蔡东东成为了摄影艺术家，更准确地说，成为了一位关于摄影的艺术家。他退出了图像生产者的行列，进而针对已经存在于现实中的照片开始工作，“像一个外科大夫一样对这些照片做起了手术”。

它们部分地来自他过去拍下的废片，更多地来自旧货市场，他从那里搜集到各种各样的旧照片和底片，将它们带回“暗房”，不时地琢磨可行的手术方案；卷曲、打磨、移植、刮擦、撕扯、灼烧等等，这些手法俨然具有手术刀式的暴力感，但目的在于挽救：发现僵化的图像背后的某种“戏剧性结构”，赋予它们以新的生命力，而这要取决于在他和图像相互审视的过程中，是否出现了增设一个“刺点”的可能。

我们身边的摄影，仍聚焦于如何以纪实、角色扮演及数字化后期制作等方式生产出一张新照片，而蔡东东“尝试扩展了一幅（旧）照片的外延”：照片可以异化为绘画、雕塑、装置甚至一处剧场空间，某种程度上也使得摄影从工业生产重返手工形式，外延的扩展伴随着图像的解构，对于蔡东东而言，也许他的刺点首先意味着解构的快感，解构图像的原有语境，及其背后的意识形态传播。

尽管在类似《卷起的路》那一部分作品中，他以扭转画面事态的方式实施着某种社会干预，但在我看来，蔡东东最具批判力的那部分，不在于视觉表层的介入与重构，而是针对作为图像的摄影来颠覆单向的观看运动。当你看照片时，照片也在看你--这是他随时会提醒自己和我们的要点，为此他通过在作品中不断植入镜面或照相机镜头，来凸显图像对于人的凝视与侵占，这等于在两者之间建立了一种旋转关系，而人的主体性就此被取消了：镜面重新将我们圈入了图像，镜头--我们制造出镜头，但我们成为了镜头的奴仆或牺牲品。

他对图像的形而上思虑也催生了另一件装置《罐子相机》，镜头被嵌合在一只在他故乡出土的古陶罐上，潜台词似乎是在说：早在照相机被发明之前，我们的历史就已经充满了各种照相术……

2019年8月

Foreword

Curator / Zhu Zhu

"Photography Reforged" refers to Cai Dongdong's reflection, deconstruction and reconstruction of the operational mechanism and the image production of the medium of photography. Almost from the moment that he stopped shooting photographs, Cai Dongdong has become a photography artist, and more accurately, become an artist who works on photography. He quitted being a image producer, instead, he started to work on photos that already exist in reality, or, "surging these photos like a surgeon."

The photographs are partly taken from the discarded photos he took in the past, but more from the flea markets where he collects a variety of old photos and negatives, bring them back to the "darkroom", and think about possible "surgical" solutions from time to time. Curling, sanding, transplanting, scratching, tearing, burning and else, just like operating with a scalpel which has a sense of violence, but in fact the goal is to save, is to discover some kind of "dramatic structure" behind the rigid images and offer them new vitality. This process depends on whether there is the possibility of creating a new "punctum", as he looks into the images and the images look back into him.

The photography around us is still mainly focused on how to produce a new photo in the form of documentary, role-playing and digital production, yet Cai Dongdong "tries to extend an (old) photo" - in this way, a photo can be alienated into a painting, a sculpture, an installation and even a theatre space, to some extent, it transforms photography from industrial production to manual form. The extension of the image is accompanied by the deconstruction of the image. For Cai Dongdong, perhaps his "punctum" means the pleasure of deconstruction - the deconstruction of the original context of the image, as well as the ideology behind it.

Although some of the works like "The Rolled-up Road", he implemented some kind of social intervention in the way of reversing the image, but in my opinion, the most critical part of Cai Dongdong's work is not just the visual intervention, but the complete overturn of the one-way photography viewing method. When you view the photos, the photos also view you - this is the point that he always reminds himself and us at any time, for which he always put in mirrors or camera lens in his works, to highlight the gazing and encroachment from the images. Therefore, a rotational relationship between the viewer and the image is established, and the human subjectivity is no longer there - the mirror re-encloses us into the image, and the lens - we make the lens, but we become slaves or victims of the lens.

His metaphysical thinking about the image also gave birth to another installation, "A Jar Camera", as a lens was framed in an ancient pottery pot which was unearthed in his hometown. The subtext seems to tell the story that the human history is already full of all kinds of "photography" even before the invention of the camera...