内心事件

根据自己在展厅里观察所获得的经验，人们在作品面前时往往会以“意图”作为关键词进行提问，仿佛只有说明了意图，才可以开始解读这些图像。长期以来视觉语言教育本身的欠缺以及观看方式的惯性，使得观众宁愿相信关于这件作品的一堆话语，即便这些话语可能比作品本身更加深刻；或者几乎偏离作者思路。不可否认，有相当一些阐释显得生动而且可靠，然而创作的意图本身是难以清晰地借语言而呈现的。这样的悖论，在很多作品产生之时就已经端倪初见。

因此，当我想象人们遭遇“水族馆”这样的作品，还是先行给予一个浅显却有助的提示：我们的所见所闻，才是真正的依据。常常导致谬误的“意图”，就暂时搁置一旁吧。

很显然，“所见所闻”告诉我们周宏彬的图像从来不具备一般意义上的合理性。水族箱里，陶然畅享“鱼水之欢”的，是各色兔子，还有怀孕的艺术家自己。在城市花园中优游漫步的，是淡定的白马。从这样一个出乎意料的视角观察世事，决定了周宏彬图像的颠覆性。

所谓“颠覆性”，是针对过去人们通过大量的影像获得的结论：摄影是作为对现实世界的准确复制而存在的。罗兰·巴特在讨论摄影的现实主义模式的时候，曾经宣称摄影是“一种魔术，而不是一种艺术”，其出发点在于影像所散发的过去的真实是一种可靠的存在。如果说，罗兰·巴特建立摄影理论的方法是现象学的，我们可以推断周宏彬的创作基点有一部分是心理学的。她制造了一个特别的通道，在视觉上构成新的情境与事件，最终会令我们相信，此情此景，是周宏彬图像自我意识的产物，我们能够被她引领，进入这样的思维领域，就获得了理解世界的多一条通道，品尝到另一种趣味。

从技术层面而言，这样的颠覆在于创作者对相机的记录功能的诚信度进行了反方向的修正。周宏彬的创作，是具有一定的连贯性的。视觉上的追求，情节的处理，都具有自身的生命力。图像都带有预谋的含义，将荒谬的图像转译为诗意的呈现，周宏斌一直坚持自己独特的方式。

作为影像构成重要元素的“事件”，在周宏彬的创作中可以说并不存在，但是充满诱惑、涌动的图像本身，构建了大量的“内心事件”，这不仅是属于周宏斌的个人联想，从结构中漂浮出来的个人含义，以及真实中带有虚幻的场景，都对我们产生影响。这些影响意味着关于摄影的新方向和可能。

樊林

Inward Event

According to my experience in galleries and exhibitions, people tend to use “intention” as a key word in their questions, as if an artwork can be decipher only when the intention is explained. For a long time, due to lack of the education of visual language and inertia in our way of seeing, the audience prefer believing clumsy explanations to the works themselves, though they may either be profounder or some how irrelevant. No doubt that many of the interpretations seem to be both vivid and reliable, but the intention of creation itself is beyond words. These paradoxes have started at the very beginning of many works.

Therefore, to approch works like “Aquarium”, I had better offer a simple but helpful hint in advance: rely on the true evidence - what we see and hear, put aside the misleading “intension”.

Obviously, what we see and hear tell us that we can never draw general sense of rationality from Zhou Hongbin’s works.  It is the rabbits of different colors and the pregnant artist herself that enjoy the pleasure in the aquarium and it is the calm white horses that wander elegantly in the city garden. This surprising view of seeing decides the subversiveness of Zhou’s images.

This so called “subversiveness” comes from the experience that people have gained from abundant pictures: photography works as accurate copy of reality. When discussing the realism of photography, Roland Barthes once claimed that “photography is not an art but a magic”. The point is that the past it represents is a reliable existence. If we regard Roland Barthes’s theory on photography as phenomenological, then Zhou Hongbin’s is somehow psychological.  She creates a special pathway to form new visual situations and events, which would finally make us believe that all these come from her self-consciousness. Once led into her mind, we gain another way to understand the world and to appreciate another taste.

In terms of the techniques, the subversiveness lies on artist’s modification of the honesty of camera’s documentary function in a reverse way. There is a certain kind of continuity in Zhou’s works. The visual effect and dramatic arrangements all have vitality of their own. All the images contain deliberate plots. Here, translating absurd images into poetic expressions, Zhou Hongbin has always been insisting her own unique ways.

“Event”, the crucial element in a photograph, does not seem to exist in Zhou’s works. However, the photos full of temptations and surges construct large amounts of “inward events”. They are not merely Zhou Hongbin’s personal imagination. Both the individuality flowing from the structure and the scenes real but illusive all influence us, which implies new directions and possibilities for photography.

Translated by Frida Fan