Voices of Photography - 攝影之聲 2018年第22期

Voices of Photography 攝影之聲
Issue 22 : #高重黎專號
The Kao Chung-Li Issue

「攝影是時間的機器／攝影是存在的機器／攝影是遺忘的機器／攝影是鬥爭的機器／攝影是詩的機器／攝影是秩序的機器／攝影是快感的機器／攝影是機器的機器」___高重黎

一個幽靈——影像機器的幽靈——在島上遊蕩。

從實驗電影、攝影、動畫、雕塑、影像裝置、視覺玩具發明乃至影像論述書寫，高重黎源源不絕、型態多樣而難以被歸類定位的創作展演，正體現了觀看、影像與歷史的複雜纏繞，以及對於影像不曾止歇、永無終點的提問與思考，是台灣影像藝術創作圖景中極具實驗性與顛覆性的刺點。

高重黎對於「影像生產」如何影響攝影史發展的敏銳問題意識，使他在一個沒有屬於自己的影像生產工具的攝影島嶼裡，透過自行發明、手工產製影像機械裝置，嘗試在只熱衷「生產影像」並由影像消費主導的貧血的視覺文化中，尋索解答；他甚而將眼睛化為攝／放映機，使腦袋變成底片，將嘴做揚聲器，讓自己徹底變成一台人肉影像機器，以他的身體與影像實踐，試圖翻攪、超克當前攝影史發展中看似難以撼動的權力構型。

「攝影是什麼？電影是什麼？看是什麼？」高重黎張大眼睛問。「為什麼我們沒有屬於自己的攝影搖籃、童年、電影的黃金時代？為什麼我們沒有自己的視覺感知、神經的論述原理？為什麼我們沒有自己的影像機器工業呢？⋯⋯」在這份專號裡，我們將探索這些問題的答案，沿著高重黎的創作理路，踏上這一趟影像思索的長征。

為了準備這份專號，我們反覆造訪、整理高重黎經年累積、龐大而散落的創作資料，在他堆滿各類影像器械機具而難以探底的影像庫房中，挖掘他早期的八釐米影片、幻燈片與手稿，收錄他未曾曝光的照片、物件、動畫繪稿、工作筆記與私房收藏，並輯錄他的多篇論述。

此外，我們特別邀集影像研究者張世倫、許芳慈、郭昭蘭、劉永晧與陳煒宗，析論高重黎的影像觀與創作構成，以及藝術家林鉅對高重黎其人其事的白描素寫；同時收錄已故作家陳映真以高重黎作品論辯現代主義藝術與批判意識的評述文字，還有高重黎的長篇訪談。

製作藝術家專號對我們來說永遠是一項艱鉅的挑戰，在此要特別感謝高重黎先生對我們的信任、支持與寬容，無私地與我們分享他的創作生活。我們難以完整呈現他豐富的面向，僅能在有限的條件能力下，做為跨步初探高重黎的一份創作紀錄，並將我們從一位藝術家的影像思考中獲取的啟發，分享給我們親愛的讀者朋友。

A spectre is haunting the island - the spectre of the imaging machinery.

Through experimental films, photography, animation, sculptures, image installations, visual toy inventions and even essays on visual imagery, Chung-Li Kao exemplifies the complex relationship between viewing, imagery and history, and has never stopped questioning and reflecting on imagery through diverse forms of creation that defy classification. Kao is indeed the most experimental and subversive punctum in Taiwan’s visual arts scene.

Acutely aware of how "image production" influences the development of the history of photography, Kao tries to look for a solution within the anemic visual culture dominated by a preference for "produced images" and the consumption of imagery, on this photographic island that possesses no means of its own to produce images and instead relies on inventions of the imaging machinery. He even transforms himself into a human imagery machine - his eyes a projector, his brain a negative, his mouth a loudspeaker. Using his body and putting imagery into practice, Kao attempts to overturn and surpass the seemingly unmovable power structure that is so deeply entrenched in the development of contemporary photographic history.

"What is photography? What are films? What is it to ‘see’?" Kao asks, his eyes wide. "Why do we not have our own cradle of photography, childhood, or golden age of movies? Why do we not have our own theories of visual perception and neurology? Why do we not have our own imaging machinery industry?" In this special issue, we attempt to answer these questions as we embark on this long journey of reflection, along the lines of Kao’s principles of creation.

In preparation for this issue, we visited Kao several times and compiled his vast and scattered collection of work which has accumulated over the years. We uncovered his earlier 8mm films, slides and manuscripts as we dug through his storeroom, filled to no end with all sorts of imagery machines. We also included in this issue never-before-seen photographs, animated drafts, working notes, objects from his personal collection and several of his essays.

In addition, we invited imagery researchers Shih-Lun Chang, Fang-Tze Hsu, Jau-Lan Guo, Yung-Hao Liu and Wei-Tsung Chen to discuss Kao’s imagery perspective and processes, and artist Ju Lin to talk about Kao and his work. At the same time, we also included the late author Ying-Zhen Chen’s commentary on modernist artwork and critical awareness through the lens of Kao’s works, as well as an in-depth interview with the artist himself.

It will always be a daunting challenge to us when it comes to preparing an artist issue. We would like to express our gratitude to Mr. Chung-Li Kao for his trust, support and generosity, and for sharing his life of art creation with us without any reservations. With our limited capability, we are unable to put into print the entirety of the rich orientation of his art, but what we can do is to share with our beloved readers a record of Kao’s creations and the inspiration we got from the imagery reflections of an artist.

《Voices of Photography 攝影之聲》是一份攝影藝術獨立刊物，2011年9月在台灣創刊。每期介紹當代攝影作品與攝影藝術家，藉由訪問藝術家、藝廊、策展人、出版人與相關藝術工作者，以及提供攝影專欄、攝影書評與攝影展覽資訊的介紹，探索攝影藝術的創作概念、文化與思潮。並獲文化部2013年第37屆金鼎獎雜誌類最佳主編獎。

Voices of Photography is an independent publication dedicated to contemporary photography. Launched in September 2011 in Taiwan, VOP features contemporary photographers and artists, as well as interviews with artists, gallerists, curators, and publishers and other related professionals worldwide, to share and explore the creativity and philosophy of photography.