Polaroid

2009.07.01 - 2009.07.19

参展艺术家：杜杰、G.Y、葛磊、黄小璐（绿绿）、孟可、彭杨军&陈姣姣、仇晓飞&胡晓媛、苏文祥、兀鹏辉、d-N (杨大为&卢婷婷)

策展人：仇晓飞

开幕日期：2009年7月1日4pm

展览地点：站台中国当代艺术机构-B展厅

站台中国将于2009年7月1日推出由仇晓飞策划的13位青年艺术家用Polaroid (宝丽来) 作为媒介创作的作品或纪录的瞬间的群展《Polaroid》。

在数码时代到来之前，随着底片的流失与相纸的破旧发黄，家庭照片会逐渐成为时间和图像的“孤本”；与此同时，这些脆弱的相纸也慢慢脱离了它作为图像附属品的身份，而作为一件独立物品的特性逐渐清晰起来。这个由承载图像的一张纸转而成为与图像及退色痕迹融为一体的“物”的过程是随着时间缓慢演变的。与此不同的是，Polaroid在一开始的时候，即未拍摄之前，就明确了它作为“物”的身份。首先，无需经历时间与战争，它就是“孤本”；其次，从爱德华·兰德（Edwin Hland)发明这个东西的开始，他的目的就是要“一次成像”。然而这种简便性却也带来了诸多的瑕疵而无法解决，例如无法精确控制的光圈和快门，使照片不是曝光过度就是暗黑沉重，还有机械与色温问题导致的卡壳和显影不匀。但这些瑕疵却反而成为了它独一无二的美学特性，十分神秘的保持了它与被摄物象的适度距离，从而在图像附属品的基础上加上了一层使其独立存在的物性特征。

与这种物体化的魅力所并存的，是Polaroid作为偶然性动机的载体而让人着迷。从达达主义以来，“偶发性”作为艺术的一种“原始动力”早已被接受并衍生出各种各样的形式，但Polaroid从动机的发生到看到结果而不能更改仅仅是几秒甚至不到一秒钟的时间，如此短暂的过程在很大程度上挑战了艺术品惯有的深思熟虑和理性特征。也就是说无论怎样思考，最终的一瞬都是无法完全预见的。与更多的偶发艺术形式相比，它的表现形式并不激进，但作为在巴掌大的一个小方块儿上建立的图像试验，它的意义却早已超越了它本身仅仅作为一张照片所蕴含的含义，它微弱地、温和地给过于理性的、过度由大脑人为操控的世界提供了一个简便的出口。我们极其直观的看到那些物、人、风景是如何通过光而转移附着在另一物体之上，这种神奇的转化似乎神助般的在一瞬间内所完成。

Polaroid

2009.07.01 - 2009.07.19

Artists: Du Jie, G.Y, Ge Lei, Huang Xiaolu, Meng Ke, Peng Yangjun & Chen Jiaojiao, Qiu Xiaofei & Hu Xiaoyuan, Su Wenxiang, Wu Penghui, d-N (Yang Dawei & Lu Tingting)

Curators: Qiu Xiaofei

Opening Reception: July 1^st, 2009, 4pm

Venue：Platform China Contemporary Art Institute - Space B

Platform China is pleased to present its next exhibition in 2009 on July 1^st  - Polaroid，a group exhibition curated by Qiu Xiaofei with 13 young artists will demonstrate their creative works or moment as the medium of  using  Polaroid.

When the digital era arrives, family photos gradually become the “Only Existing Copy” of time and images with the loss of films and the damagment of photo papers. Meanwhile, these fragile papers slowly stand apart from their identity of image’s accessories, and the characteristics as an independent object clear up. The process that a piece of paper with images printed on it transformed into an “object” together with images and faded traces is slowly evolved over time. What different is, at the beginning of time, before taking a photo, Polaroid’s identity as an “object” was made clear. Firstly, no need to witness time and wars, it’s indeed “Only Existing Copy”; Secondly, when Edwin H land invented Polaroid, he had a purpose of having an “instant photograph”. However, this simplicity has also brought many problems which could not be resolved. For example, the aperture and shutter cannot be controlled precisely, so that the photo is either over-exposure or too dark, and also the machine and the color warm cause the images to get stuck and develop uneven. But these imperfections had become the unique aesthetic characteristics; mysteriously keep a distance from the photographed object, making the images more independent above its accessories attribute.

What coexists with the object-oriented characteristics is that Polaroid charms people as a carrier of occasional motivation. Since Dadaism, “contingencies” as an original power of art has been accepted and led to a variety of forms. But it need only several seconds even less than one second for Polaroid from having a motive to see the result which can not be changed. Such short process in a large extent challenges the usual thoughtfulness and rational characters of art works. This means that no matter how we think, the ultimate moment is not fully predictable. Compared to other more occasional art forms, it’s not much radical. But as an image test set in a palm-size box, its significance has transcended the concept of the meaning of a photo; it weakly and softly opens out a convenient exit for the world that over rational and over-manipulated by human being’s brain.  We intuitively saw how those objects, persons and landscapes move and attach on another object through light, the miraculous transformation completed in the blink of an eye seems like it got the God’s help.