For Immediate release
/ 可直接发表
Thomas
Rusch
Behind ‘后面’
photographs 摄影
June 19 - July 18 2010 /
06月19日 - 07月18日2010年
Opening
reception: June
19, 2010. 5pm - 9 pm at
stage候台BACK.
开幕派对：2010年6月19日晚上5点到9点，stage候台BACK。
Thomas Rusch, Paris and Hamburg based photo
artist, is showing BEHIND. It is a series of portaits - although the identities
of the portrayed subjects are unrecognizable behind make-up, texture and
material.
By overlapping different layers Thomas
Rusch evokes an irritating intensity of emotions. Masks are used to protect or
hide but masks can also work as an intensifier or converter.. As an interface
between inside and outside they enhance the possibility of increasing
expression or emotions. And in many situations a mask is the medium to cross
borders.
Masks have their seeds in rituals. Since
prehistoric times they are used for the rites of passage. They are the
companion for an African boy who is about to become a man, for the shamen's
trance as well as for the body's last journey. In ancient Greek theatre masks
were used to intensify the actor's expression, in Beijing Opera the characters
and attitudes of the protagonists are encoded in mask and colour.
With BEHIND Thomas Rusch shows us
archetypes of emotions: dissolution, fear, delight, anger, lust, grief,
spirituality.
Thomas
Rusch,一位工作在巴黎和汉堡之间的摄影艺术家，为我们带来‘后面’。这是一个人物摄影系列，然而，在多样化的化妆，织物和其它材料后面被摄影主体的身份如此难以辨认。
但是，通过不同层次相互交叠，Thomas Rusch意在唤醒某种极端激烈的情绪。面具曾被用来保护或遮掩，但面具同样可进行加剧或变形的实验功用。作为内在与外在的中介，面具探索了加强表达与情绪的可能性。同样，在一些情境里，面具可作为穿越界限的媒介。
面具根植于各种仪式中。史前时代，它们被用作传递信号的载体。它们出现在非洲男孩转变为男人的仪式里，在萨满教的催眠术和遗体告别式里。在古希腊戏剧里，面具被用来加强演员的表情。在中国京剧里，人物的性格和观念也同样符号化在面具的图案与色彩间。
通过‘后面’系列，Thomas
Rusch为我们展现了诸种原始情绪：分裂，恐惧，愉悦，愤怒，诱惑，忧伤，灵性。
Click HERE to visit Thomas Rusch's
website
