台北攝影與數位影像藝術博覽會2009展出圖錄

401 上海七藝術中心 TANGRAM ART CENTER SHANGHAI
402 superstore Inc.
403/404 也趣藝廊 AKI GALLERY
405 GALLERY KOGURE
406 R□NTGENWERKE AG
407/408 德鴻畫廊 DER-HORNG ART GALLERY
409 貴賓室 VIP ROOM
410 ZEIT-FOTO SALON
411-414 特展- 台灣青年藝術家推薦展
415 1839 當代藝廊 1839 CONTEMPORARY GALLERY
416 八大畫廊 PA TA GALLERY
417 典菁畫廊 DIAN JING GALLERY
418 自由人工作室 FREEDOM MEN STUDIO
419 其玟畫廊 CHI-WEN GALLERY
420 易城志業股份有限公司 EASIGRAPH ART GALLERY
421 AISHO MIURA ARTS
422 絕版影像館 UNIQUEPHOTO GALLERY
423 ACT2 PHOTOGRAPHIE
424 台灣國際視覺藝術中心 TIVAC
425 MUSEUM X OF CONTEMPORARY ART
426 亦安畫廊 AURA GALLERY
429 索卡藝術中心 SOKA ART CENTER
430 威廉當代 WILLIAM CONTEMPORARY ART SPACE
501 寒舍空間 MY HUMBLE HOUSE
502 東門美術館 LICENCE ART GALLERY
503 GALLERY BARRY KELDOULIS
504 布查當代藝術空間 BUTCHART CONTEMPORARY ART SPACE
505/506 朝代藝術 DYNASTY GALLERY
507/508 TAIWAN PHOTO BAZAAR
511 藝術家雜誌 Artist magazine 　
512-514 新苑藝術 GALERIE GRAND SI□CLE
515 威泰創意 ORIGINO ART SPACE
516 站台中國當代藝術機構 PLATFORM CHINA CONTEMPORARY ART INSTITUTE
517 東家畫廊 BOSS ART GALLERY
518 科元藝術 KE-YUAN GALLERY

推薦序１

　　【Photo Taipei 2009 台北攝影與數位影像藝術博覽會】是第一屆以新媒體藝術（包含攝影、錄像、裝置藝術等）為主的國際藝術博覽會，不僅是台灣當代藝術連線的第一次，也是全台灣的第一次，我們旨以健全台灣攝影與數位影像環境、打破數位收藏舊觀念、擴展國際交流平台、目標與國際領先新媒體領域接軌。

　　深獲國內外藝術界朋友與先進支持，

　　【Photo Taipei 2009 台北攝影與數位影像藝術博覽會】
　　將呈現卓越、多元的藝術表現，不僅促進國際間藝術相互交流，更期望豐富國內大眾的數位視覺影像觀念，一改制式展覽會型態，以五星級飯店為展示場地，讓零距離的觀賞空間增進民眾與藝術的對話。

　　台灣當代藝術連線社致力於台灣當代藝術的發展與國際推廣，涵蓋各領域與媒材的藝術創作，極大化當代藝術價值。我們相信，台灣第一次的新媒體藝術博覽會，就要以【Photo Taipei 2009 台北攝影與數位影像藝術博覽會】對國際發聲，以國內頂尖藝術家為號召，集結國際知名畫廊高度參與，為台灣當代藝術歷史記錄下全新的扉頁。

　　Photo Taipei 2009, the leading international art fair for photography, digital, and new media art in Taiwan, presents a panoramic overview of photographic expression in Asia and all over the world. Being a notable art fair, Photo Taipei endeavors to integrate national Taiwanese photographic arts, and link them to the global stage.
Taiwan Contemporary Art Link has the resolution and confidence to display vintage
photograph, prints, and cutting edge art works from Taiwan and other significant areas.

　　In this 2009 exhibition, a major portion of participants are from international regions like Japan, America, Australia and China.

　　Photo Taipei 2009 is Taiwan Contemporary Art Link's first step into the unique
but rapidly growing photographic, digital, and new media art field in Taiwan.

　　This one, steady and decisive move will take Taiwan to a new and more mature level of art industry.

台灣當代藝術社 社長 王瑞棋
President of Taiwanese Contemporary Art Link Rick Wang

推薦序２

蓽路藍褸，以啟山林－向台灣前輩攝影家致敬

　　今年適逢攝影術發明問世(1839) 以來的一百七十週年，而今天台灣攝影的普及和在社會各層面的應用與發展，比起先進的歐陸和美、日等國，可以說已經不遑多讓；飲水思源，這一切都應歸功於百餘年來，有無數的台灣前輩攝影家，他們為了生活和興趣，不顧環境的艱困全心投入；

　　除了在技術上努力學習，在工作上實踐應用，同時更在藝術表現上不斷自我追求、開發與突破，才能一點一滴，為台灣今天的攝影，累積下這樣堅實的基礎。

　　如果我們對百餘年來台灣攝影的發展作一粗略地歷史性回顧，則可發現大概可以分成下述的四個時期：

　　一、從1839-1870 攝影術誕生後的三十年，亦即從清道光十九年，經咸豐到同治九年這段時間，剛好是中國遭受鴉片戰爭和英法聯軍的攻擊而發生驚天動地變化的年代。當時海禁雖已被迫開放，攝影術也因此傳進中國大陸；或許台灣因為偏處海隅的關係，以致這段時間尚乏信實有徵的例証，能夠証明攝影術已於此時正式傳入台灣。

　　二、 從1871-1894 這段時間，則因英國旅行探險攝影家約翰．湯姆生(John Thomson 1837-1921) 於1871 年正式造訪台灣，並且在南台灣台南、安平、高雄、六龜和荖濃溪一帶，拍攝下許多珍貴的影像。於此同時還有法國攝影家貝托(Bethaud)，以及早期在台傳教的教士像馬偕(George Leslie Mackay 1884-1901) 和一些外國商人，也開始利用攝影紀錄下若干有關宣教、醫療、當地民眾和當時建築的照片，不過這時的台灣民間，大概還無法真正接觸和使用到攝影。

　　三、 1895-1945，從甲午戰爭清廷戰敗，台灣被日本佔領，一直到對日抗戰勝利，日本投降，台灣光復為止，台灣被日本整整統治了五十年。初期所有關於台灣的影像，大多是為了統治者的需要，由官方委託日本攝影家如鳥居龍藏、森丑之助等人，針對台灣地理、產業、民俗、原住民、動植物、平地和山地景觀等題材所作的紀錄性調查攝影；一般說來照片大多不具攝影者的個人觀點和特殊的表現手法。後來由於民間對攝影的認識漸多，而社會又對肖像攝影的需求和使用與日俱增，於是導致民間寫真館行業的興起。這對當時許多有遠見、有勇氣、同時又具備相當才氣和財力的攝影愛好者，便造成以日本在台經營寫真館的日籍攝影者作為師法對象，或從畫師轉業，或到海外留學，或者就在本地拜師學藝等途徑，紛紛成立起自己的寫真館，正式踏進這個需要相當技術才能營運的新行業；而好幾位台灣第一代的攝影師像彭瑞麟、張清言、羅訪梅、和林草，便是這樣開啟了屬於台灣民間自有的攝影專業的。其實真正對台灣攝影藝術後來發展產生影響的，應該要算在日據後期才開始嶄露頭角，並且有傑出表現的攝影家，像鄧南光、張才、李鳴鵰、林壽鎰、李釣綸、陳耿彬、黃則修和黃伯驥等人，他們有些到海外留學，有些在家鄉承繼上一代所開創的攝影事業，有些跨足和攝影有關的傳播媒體，有的則根本只是業餘的興趣和愛好者；但是因為他們的作品，不但紀錄下光復前後台灣社會的真實樣貌，並且無論取材內容、攝影角度和作品所呈現的手法，有意無意間都蘊含著作者的個人觀點與創作性思維，使後來的台灣攝影，即使是紀實的題材和內容，但在表現上也能溶入美感的考量和屬於個人獨有的風格與氣質。

　　四、 光復以後的發展：1945 年台灣光復，整個民間受到大陸的影響日深，尤其到1949 年因國共內戰，政府遷台，使整個台灣再一次遭逢史無前例的巨大改變與拓展契機，攝影受到的影響自不待言。如果從台灣攝影藝術發展歷程的角度來看，則此時許多大陸優秀的攝影家追隨政府遷到台灣，尤其1928 年在上海發起「華社」，並在1948 年創立「中國攝影學會」的我國藝術攝影先驅者郎靜山先生，他於1953 年將「中國攝影學會」在台北復會之後，把旨在探究中國傳統畫理，追求攝影的畫意之美的理念和風氣，不僅帶進台灣，甚至藉由各級業餘攝影學會的成立和推廣，很快地便成為台灣藝術創作攝影價值取向的主流思維。事實上從上個世紀50 年代一直到70 年代，唯美的沙龍風攝影，幾乎席捲了以業餘藝文休閒活動為定位的全部攝影創作表現舞台；甚至透過不同屬性的攝影團體或學會組織，也影響到許多以拍攝社會寫實為主要取材內容的傑出攝影者( 例如前述台灣第二代的優秀攝影家們)，在光復以後紛紛加入「中國攝影學會」或成立新的攝影團體，並且在創作觀點和呈現方式上產生微妙的變化。相對的，從大陸來台的許多優秀攝影家，除了完全服膺唯美畫意創作觀點的像水祥雲、徐德先、傅崇文和周志剛等先生；其他的人，像同樣認同紀實表現的湯思泮和周鑫泉，擁有新聞攝影專業背景的吳紹同和秦凱，以及本省籍的余如季和鄭桑溪等人，他們無論在紀實或特殊專題的天地裡，都有影響後進甚大非常傑出的表現。

　　70 年代以後，由於攝影界年輕一代的自覺和反思，以及受到社運和學界，甚至傳播媒體對於人文紀實攝影價值的特別肯定與提倡，使得紀實報導攝影，一時之間躍上媒體舞台，儼然成為獨領風騷大眾矚目的耀眼明星。可是隨著社會的大幅開放，以及更多年輕攝影者由於受到國際現代藝術思潮的影響，開始以自我為中心不斷從事攝影藝術的實驗性創造、突破與開發，終於造成80年代以後，台灣的攝影創作，逐漸從畫意唯美和人文紀實這兩大主軸，進入價值多元，各有喜愛和擁護者的百家爭鳴、百花齊放的自由發展境地。當然，如果加上90 年代數位影像的崛起與迅速佔有取代傳統攝影的器材、材料、顯現方式( 即相機、軟片、相紙、暗房) 和呈現效果，甚至引發創作思維和創作方法的根本改變，則新世紀台灣的攝影藝術道路，不僅會發生更大的轉變，甚至我們還可以預言它的未來，無論形式或內容，必然會朝更國際化的方向去演變和發展。只是如果要想在國際上佔有一席之地，所有國內的攝影創作者，恐怕都必須靜下心來好好思攷，我們影像的特色與特質是什麼？它們的根源又在哪裡？…必須作如此深切的自省自問，未來台灣的各型影像藝術創作（包括傳統攝影、數位攝影、錄像、複合媒材….），才能找到自己的定位和方向，才會真正有枝繁葉茂，花燦果碩的一天。

　　蓽路藍縷，以啟山林；但願藉著這次大會主辦「PHOTO TAIPEI 2009 第一屆台北攝影與數位影像藝術博覽會」，同時並策辦「向台灣前輩攝影家致敬」寓意深長的主題展的機會，不僅能讓遠道前來參展的各國影像藝術愛好者和從業者，能夠認識台灣攝影的過去；更希望藉著這次對台灣前輩攝影家作品為數有限的展出，讓國內所有從事影像藝術創造的工作者們，都能因此有所體會和啟發，並且對未來台灣的影像藝術創作，能夠像一塊已經開墾並且播下種子的豐饒土地，永遠有源頭活水注入，並且汩汩長流。

TAIWANESE FRONTIER SPIRITS - Paying Respects to the Pioneers

　　This year is the 170th anniversary of the invention of photography (1839). Compared to the developed countries in Europe, or America and Japan, photography has been widely used and developed in Taiwan. This should be attributed to the pioneering photographers who persisted their dream, regardless of their predicaments in life. Besides sharpening their skills, the pioneers also challenged themselves in artistic values, which helped Taiwan build up Photography step by step.

　　If we look back at the history of Taiwanese Photography, we can divide it into four phases:

　　1. 1839-1870
　　It was the time China was in War of Opium, attacked by France and UK. Although the prohibition towards travelling through seas had been canceled, and photography had been transported into China. Allegedly, the technology of photography was passed to Taiwan, however, there is no evidence to prove it because Taiwan was at the edge of the territory.

　　2. 1871-1894
　　The British photographer John Thomson (1837-1921) visited Taiwan in 1871, and took
a lot of precious photos in southern Taiwan. At the same time, French photographer Bethaud, Missionary George Leslie Mackay (1884-1901) and some foreign businessmen recorded their experience concerning religion, medicine, local people and contemporary architecture in Taiwan with photography as well. Nevertheless, photography was still out of Taiwanese people’s reach.

　　3. 1895-1945
　　Taiwan was the colony of Japan during this period. Most of the images about Taiwan were recorded for the purpose of domination. The colonial government hired Japanese photographers like Torii Ryuzo and Mori Ushinosuke to photograph Taiwanese geography, industry, custom, aboriginals, fauna and flora, etc. Generally, the photos did not carry photographers’ personal views and individual style. Afterwards, since portrait photography became in demands, many wealthy and talented photography lovers had founded photo studios. Some of them were apprentices of Japanese photographers, some transferred from painters, some went abroad for further studies, and some learned the skill in Taiwan. Many Taiwanese photographers of the 1st generation began their career.

　　in this way. For instance, Peng Ruey-Lin, Chang Chin-Yien, Lo Fang-Mei and Ling Tsao. This led to the very beginning of Taiwanese photography. As for a significant influence on the ‘art’ of photography, it happened in later years during this period. Brilliant photographers Teng Nan-Kuang, Chang Tsai, Li Ming-Tiao, Lin Shoh-Yi, Li Tiao-Luen, Chen Keng-Ping, Huang Tse-Shou and Huang Po-Ruey. Their works not only kept a record of the authentic image of Taiwanese society at that time, but also showed personal perspective and creative thinking through the choice of topics, angles and presentation. Even though the works recorded reality, they were consisted of aesthetics and personal styles.

　　4. After 1945
　　Many excellent photographers from China moved to Taiwan due to the war in 1949. Among all, Lan Ching-Shan was the most celebrated one. He founded Chinese Photography Association in 1948, and he re-founded it in Taipei in 1953. The main idea of his photography was to explore Chinese painting tradition and pursue the beauty of photography. This soon became the dominant value in Taiwan. From 50s to 70s, Salon Photography was prevailing, and it even had an influence on Reality Photography. Via different associations, photographers presented their works in different perspectives and styles. Some excellent photographers from China also agreed with Reality Photography, and they had great performance whether in Reality or Special Topics. For example, Tang Szu-Pan, Chou Hsin- Chuan, Wu Shao-Kai, Chin Kai, Yu Ju-Ji and Cheng San-Hsi. After the 70s, the young generation focused on on-the-spot report photography, and made it a sensation in media. When it came to the 80s, under the influence of the international contemporary art, more and more photographers created experimental works with their own thinking. Therefore, mainstream photography in Taiwan had turned to valuing a great variety. In addition, the rise of digital photography in the 90s has made more changes to the thinking and method of creation. With this change, photography in Taiwan will turn to a new page and we can predict that it will become more international. All the photographers in Taiwan have to figure out the feature and the root of photography in Taiwan, in order to locate
ourselves and find our directions for the future.

　　I sincerely hope that PHOTO TAIPEI and the special exhibition Paying Respects to the Pioneers will make visitors know more about the history of Taiwanese Photography. Meanwhile, I also expect the pioneers will inspire the contemporary artists, and make photography ever lasting in Taiwan.

文|莊靈Ling CHUANG

序

PHOTO TAIPEI Chairman  Richard HK Chang

　　從2008 年起，北京、首爾首先成立影像博覽會，今年起東京與新加坡也陸續加入了該行列，說明了攝影以及新媒體藝術在亞洲地區的產業漸臻成熟。亞洲的收藏家也會逐漸投入該領域的收藏，這種趨勢將使亞洲正式和全面的與國際的市場發展聯成一氣。

　　PHOTO TAIPEI 作為今年亞洲博覽會最後一場盛會，並且受到各國藝廊的踴躍支持，也代表台灣收藏實力受到肯定，此外，以台灣極低的稅制、與收藏作品種類的多元性與環境的開放性，將使台灣具備成為亞洲「攝影以及新媒體藝術」最重要的交易平台。

　　台灣當代藝術連線自2006 年成立，以推展台灣當代藝術與國際接軌為宗旨，這些年來，已經改變台灣藝術市場的生態，從2009 年開始，我們陸續的舉辦了「YOUNG ART 2009」，與出版英文版「藝術之島- 台灣當代藝術名人錄」，一切均為台灣當代藝術的創作者，尋找以及拓展國際舞台。未來我們也將本此宗旨繼續前進。

　　In 2008, Beijing and Seoul held photography art fair, and this year, Tokyo and Singapore also joined the team. Apparently, Photography and New Media Art have been in the spotlight, and Asian collectors have gradually stepped into this field, which has made Asian Art Market and International Art Market aligned.

　　PHOTO TAIPEI is the last grand art fair in Asia. With support from galleries domestic and overseas, Taiwan’s low tax, various collecting styles and open environment, PHOTO TAIPEI will become the most important trade platform for photography and new media art.

　　Taiwan Contemporary Art Link was founded in 2006, aiming to promote Taiwanese
contemporary art to the international. Through these years, we have influened the market in Taiwan. In 2009, we held YOUNG ART TAIPEI 2009, and published Island of
Art – Taiwan Contemporary Art Who’s Who . Based on the spirit of introducing Taiwan contemporary artist to the international market, we will keep on striving.

PHOTO TAIPEI 主席 張學孔