Photographic Narrative between the Real and the Posed

• Main Authors: Chin-pao Chen, 陳敬寶
• Other Authors: Kai-Huang Chen
• Format: Others
• Language: zh-TW
• Published: 2013
• Online Access: http://ndltd.ncl.edu.tw/handle/724q7c

碩士 === 國立臺北藝術大學 === 美術學系碩士班創作組 === 101 === I was invited to participate in the curatorial project of “Art with Wind” on June, 2011. Six artists, foreign and local, were expected to make art in accordance with interaction of some people live in a small urban renewal site located in Tienmu, Taipei City. It was a quiet and peaceful area I visited from time to time. I was thinking that who were the people living in the buildings with high price? How did they decorate their home? What did they do in their houses? Was there any story going on? I then conceived the project of “Ordinary Household”. Simultaneously, I was wondering it is hardly to find Taiwanese photographers dealing with such domestic subject matter while it was quite common in photography history. I then decided to make the photographic project of “Ordinary household”. There are four chapters in my thesis: Firstly, I want to formulate the specific and social meaning of the term of “domestic”, and to launch a study of compendious Genealogy toward domestic photography. I then orientate the project of “Ordinary household” as “posed document” and discuss the relations between photographers and sitters and issues between reality and truth by discussing different photographic practices ranging from “sneaked”, “snapshotted”, “posed” and “staged” photography in the second chapter. The gist of the third chapter is to probe the meaning of time and space in multi-frame photography which consist the main visual form of “Ordinary Household” project. Last but not least, I intend to clarify the possibility to transcend immutable and listless “everydayness” through the strategy of “reenactment” which I have applied since my previous project of “Circumgyration”.