<当代摄影－穆罕默德 布洛伊萨 Mohamed Bourouissa>

十多天以前在台湾高雄市买了一本《当代摄影的冒险》，里面介绍了许多有意思的摄影师。无奈书中篇幅十分有限，只有一些蜻蜓点水。有一些摄影师中文网站上的资料也很有限。趁着暑假还没有结束，自己整理一些国外网站的资料。
穆罕默德 布洛伊萨 Mohamed Bouroussa
图片来源 resource ressource：http://www.mohamedbourouissa.com
1.Peripheri périphérique 边缘
2005-2009 年，拍摄于“缺少资源的郊区，区域的帮派领袖，以及随处可见的暴力。他把一个能量饱满的区域，转换成视觉经验。为了保留影像的主体性，这个系列的作品，都是以类似定格的方式呈现，呈现一些相处的火花。”（引 《当代摄影的冒险》）
                
                
                
                
                
                
“What I am after is that very fleeting tenth of a second when the tension is at its most extreme. We have all known those imperceptible moments when the tension seems more violent than the confrontation with the other. At that extreme point where anything could happen, or nothing.” Mohamed Bourouissa has produced a number of works exploring social reality, working within contemporary urban environments to explore the stereotypes surrounding geographical and social spaces. Périphérique is a series focusing on the territories and issues of the suburbs in France where he grew up. A burnt out car, a playing field, a cafeteria, a housing project, a concrete slab-all become a theatre that juxtaposes ambiguity, disquiet and a latent, if dormant, violence. Often considered as the violent limits of progressive society, Bourouissa places these suburbs in the field of art, treating them as a visual, conceptual object. His photographs reference historical paintings, thus rendering them deeply connected to art history. He puts subjects in the vernacular of the French Revolution, each scene working to address the reality of prejudices within society. His pictures are staged like cinema shots and are rich with references to painters such as Caravaggio, Delacroix, Géricault and photographers such as Jeff Wall and Philip-Lorca diCorcia.
（引 http://www.prixpictet.com/portfolios/power-shortlist/mohamed-bourouissa/statement/）
参考自译：“我所追寻的恰是当紧张几乎到达极限的那纵逝的十分之一秒。我们都知晓当紧张看起来比正面的冲突更加暴力的那些难以察觉的时刻。在那一个节骨眼上任何事都可能发生，也可什么事都没有发生。” MB创作了许多探索世相的作品，在现代郊区城镇工作来探索一些在地理空间和社会空间中被笃信的概念。《边缘》是一系列聚焦恐怖主义者以及在他所成长的法国城郊中所发生事件的作品。一辆被烧毁的汽车，游乐野地，餐厅，房屋工程，水泥板－一切都成为并列类比着模糊、不安和潜在的舞台，或者是滞后的，或者是暴力的。经常性地被认为是城市进程中暴力发展的限度，布洛伊萨将这些郊区城镇作为艺术的主题并给予视觉性和概念性。他的摄影作品同样参考了历史上的绘画作品，因此给予他们深厚的历史联系。他也将作品置于法国革命的语言中去，每一个景像都表达出社会中偏见的事实。他的照片被标定为类似电影画面并且具有很多对CD,G,以及摄影师JW和PLC的参考痕迹。
Peripherique (meaning both peripheral and ring road in French) refers to both the place and the people who are marginalised both physically and socially by our societies. Bourourssa's images convey a sense of conflict without it being physically present in an image. The tension is there in the setting and the simple play of gazes and even in the situations of vacancy. The highly constructed images walk the lines between fiction and photo journalism.
（引 https://www.artfund.org/supporting-museums/art-weve-helped-buy/artwork/11174/photographic-prints-from-the-series）
参考自译：peripherique （在法语中意为 边缘 和 环形公路）指向那些无论是物理上还是社会层面上都被社会忽视和边缘化的人和地区。B的图片通过非肢体性的方式揭示了这些冲突感。紧张就在照片环境中，简单的对视甚至留白的情况下。精心的构图让照片仿佛处在小说以及纪实性照片(又有戏剧性又有纪实性？）中。
Although skirting a documentary aesthetic and using young inhabitants of the banlieues as subjects, the works are actually highly staged, often referencing painting. He describes his photographs as deriving from an ‘emotional geometry’ – a way of placing a subject in space to create a moment of heightened tension, when anything, or nothing, could happen.
（引 http://www.sitegallery.org/archives/1112）
尽管呈现出的是一种纪实性的审美，并且使用了郊区的青年作为拍摄主体，MB的作品实际上是高度构图化的，并经常性地参考绘画。他自己描述自己的作品灵感源于“情绪几何学”——一种用主体置于空间中的位置不同去营造高度紧张的时刻，在那段时间内什么都能可能发生，也可能什么都没有发生。
2. Temps mort 最终时间
“他撩发法理的边界，记录了一个对多数人而言相对陌生的社会真实，一个外人无从窥探，但充满生命力的世界。” （引 《当代摄影的冒险》）
这个专题是摄影师MB让两个监狱中的囚犯花费一年多时间，通过邮件的方式，用手机拍摄下监狱中的照片。
                
                
Comprising two parts, “Temps Mort” explored the hard-knocks reality of the French penal system. The first part consisted of eight untitled C-prints (all 2008-09, from approximately 18 by 22 to 43 by 53 inches) that document prison life. Bourouissa persuaded a male friend, incarcerated for a minor offense, to photograph his surroundings using a cell phone. The artist stipulated the types of scenes he desired via telephone conversations or e-mailed drawings. Since French prison authorities consider cell phones contraband, the inmate executed Bourouissa’s wishes surreptitiously. The artist rephotographed the low-resolution images he received and made prints in which the objects and individuals are presented at life size. Despite banal subject matter (a weathered pot on a table, a slumbering man, prisoners loafing around), the hazy, pixelated images exude grace and beauty.
由两部分组成的《最终时刻》探索了法国刑事监狱中的高压现实。第一部分由八张未命名的记录着监狱生活的C幅照片组成。B说服一位轻刑的男性朋友来用手机记录下他周围的环境生活。MB用电话交流或者邮件图样来保证他能得到他想要的这些场景。鉴于法国监狱认为手机是违禁品，监狱中的朋友只能秘密地进行MB的计划。MB翻录了他收到的这些低像素照片并且按照现实生活中物品和人物的尺寸将这些照片印刷了出来。除去物品反复重复的问题（桌子上氧化破旧的水壶，昏昏欲睡的男人，漫无目的闲逛的囚犯），这些雾蒙蒙的，像素化的照片散发出祥和和美感。
                
                
Bourouissa displayed each photograph at a height that reflects the subject’s location in space. An image of barbed wire along the top of a fence hung flush with the gallery’s ceiling. Another, depicting a buff, shirtless prisoner head-on as he does push-ups, was positioned low on the wall near the floor, while a third showing two detainees from behind in a doorway was placed at eye level. This literal spatial presentation transformed the gallery into a virtual prison, casting the viewer as an inmate in an attempt, perhaps, to confound the seemingly categorical distinction between the guilty and the innocent.
B以一种可以展示着被拍摄主题空间位置的方式呈现出这些照片。一张拍摄着监狱篱墙上带有尖勾铁丝的照片被高高挂到展览馆的天花板位置。另一张，描述着一个赤身做着仰卧起坐的囚犯，被放置在靠近地板的位置。第三张，从背后展现两个在门廊上的被拘留者的照片被放置在和视角平齐的位置。这样文学化的展示方式将整座展览馆转变成了一个虚拟的监狱，将参观者变成一位监狱中的人，试图着去混淆那些表面上罪恶和无辜的绝对区分。
                
                
The second part of “Temps Mort” featured the title work, an 18-minute video from 2009 that was the result of a yearlong dialogue between Bourouissa and a second convict. In numerous telephone exchanges as well as over 300 text and video messages, Bourouissa again directed his collaborator to secretly film snippets of his environment with his cell phone. The prisoner made similar demands of the artist, who sent him short clips of the outside world likewise captured by cell phone. Temps Mort intersperses grainy, cacophonous urban scenes with equally low-tech footage of the detainee making coffee, smoking, cooking pasta, watching traffic from his cell, killing time. Throughout, Bourouissa inserted recordings of their phone conversations and shots of text messages, all of which attests to the trust and intimacy that developed between the two men. With a sincerity devoid of pathos or romanticism, Bourouissa’s video, like his photographs, offers a humane portrait of a dehumanizing milieu marked by violence and degradation.
《最终时刻》的第二部分，是一段2009年拍摄的长达18分钟的短片。这是MB和第二个罪犯长达一年对话的结果。在众多的电话来往以及多达300条文字和视频讯息中，MB又一次指导了他监狱中的合作者用手机拍下了他周边环境的短片。囚犯也对MB作出了类似的要求，要求MB也用手机拍下外面世界的片段送给在监狱中的他。《最终时刻》散布着粗粝、尖刺的城市场景，与其对应的是记录着被拘留者制作咖啡、吸烟、烹制糕点、从囚室中凝视外面的车流、打发时间的低技术镜头。贯穿短片的是MB插入的他和监狱中罪犯通话的录音以及文字讯息的截图，这些都证实着MB和监狱中这位囚犯不断发展出的信任和熟络。伴随着一种缺少着同情和浪漫主义的真诚，MB的视频，如同他的照片一样，展现出了一种被标记上暴力和落魄的，处在去人性化社会环境中的群体肖像。
（引 http://www.artinamericamagazine.com/reviews/mohamed-bourouissa/）
There is no sensationalism or pathos – merely a nakedness and a simplicity which place the viewer/voyeur in a situation of humility.
（引 http://www.kamelmennour.com/）
作品中并没有感觉主义或者是很强的感染力——仅仅是将观众置于一种谦逊的环境中的赤裸与简单。
3.shoplifter 扒手
At the LYON, Bourouissa is presenting his series Shoplifters, which consists of portraits of thieves caught in the act in a Brooklyn grocery store. These photographs were taken by the shopkeepers at the time of the crime and then displayed in the store as a deterrent. By presenting these photographs to a wider public (they have never previously been seen outside New York), Mohamed Bourouissa is keen to highlight an illegal activity – the theft of food –, which is harshly dealt with by the economic system and the law.
(引 http://www.biennaledelyon.com/uk/la-vie-moderne-home-eng/artists/mohamed-bourouissa-eng.html）
在里昂，MB展示了他的《扒手》系列作品，由在布鲁克林杂货店中被抓住小偷的肖像组成。这些图片是店主在小偷们行窃时拍下并且之后作为威慑展示在店铺里。通过将这些图片展示给更广大的公众（他们从未在纽约外被展示过），MB热衷于强调违法的行为－对食物的偷窃－也是经济体系和法律所棘手的。
                
                
                
                
4. Nous sommes "halles" 我们即“市场”
                
                
                
                
                
                
                
                
这一组图片在互联网上没有特别明确的介绍，包括MB自己本人在个人网站上也没有过多的解释。然而个人觉得图片的主题与其代表作 peripheri 是类似的，依然是一些被边缘化的青少年。Nous sommes "halles" 在法语中的意思是“我们即市场”，估计作者意在表达这些或集成帮派，有着自己行为准则，相信自己未来但同时却并没有多少过人资本的青年人的原始生存（Teenage Wildlife)状态？有点像小混混团体啊。
5. Screen
这一组图片也很有意思，拍摄的是一组被砸碎屏幕的电视机。
                
                
                
                
这组照片个人感觉隐喻性很强啊，同样是一组没有太多介绍的照片。电视机在家庭中是一个必不可少的物件，电视机在MB的作品中也并不是第一次出现。在作品集 peripheri 中就有这样一张图片。
                
                
periphery 中电视机作为背景，主题是“反省”，screen当中的被砸碎的电视机，可能也有类似的含义。
MB这个人除了摄影之外，还搞过一些装置艺术 Installation ，从上文的一些评论来看，他的摄影展对于空间的布置方式其实也能看出装置艺术的影子。
2016-8-12