Timekeepers / 时间纪录者
Matjaž Tančič

Size: 160 x 240 x 30mm
72 pages, Hardcover
First Edition: 400, Published in May 2015
35 USD, buy here

Click here for the Special Edition

尺寸/160 x 240 x 30mm
规格/72页,裱纸精装
限量/400本,2015年5月出版
200元,点击购买

特別收藏版点這里

[about photographer]

Matjaž Tančič (1982) is a Slovenian photographer of the younger generation, who lives and creates between Beijing and Ljubljana. He began his path as a photojournalist for Mladina magazine. He has 60 group and 24 solo exhibitions behind him. He won a Sony World Photography Organisation 2013 contest in 3D category, and won a Slovenia Press Photo award 2012. He was among the 6 finalists in the 2009 "Google Photography Prize" contest.

[about the book]

Matjaž Tančič went to Yi County, Anhui Province in 2012 for the first time. He took portraits for over 20 peasants in their living rooms by 3D photo technology. This is way Tančič took two pictures in each villager’s home. One is the clock on the table, and another is the people sitting in the hall. Because there was a clock in almost every family, he called the series “Timekeeper”.

As a refraction of the tearing, the chime clock in Huizhou house was a symbol of modernization, and now is placed in the center of traditional living space. The decoration of the hall is strictly restricted by Confucianism, ethic and social institutions. The wall in the center is used for hanging ancestors’ pictures. When the offspring prays before the pictures they will fell the strong and solemn sense of purpose. Regardless of the time, generations can coexist in the space created by etiquette, forming a life chain in which time goes endlessly. The modern linear time represented by the chime clock has come to nothing. Televisions, DVDs appear as new symbols of modern life. However, the clock still exists in people’s superstition in the good meaning of “All life is smooth and quiet”.

Tančič went to Yi County again in 2014; he walked into around 50 families in Yi County’s villages. In the residents’ private living spaces, he shot their furnishings, and let them face to the lens in their own halls. These faces ravaged by farm work or changed by outward travels, together with their houses and used goods, help Tančič to change the abstract time into a visible pictures, sniffable breath, and tangible hand feeling. They are bodies rolled by modernized car wheels. Though living in remote villages, they also have connections with the crowded cities. The cereals they grow, the labor force they provide, and their homes which may be demolished one day, accomplish the country’s progress. These neglected subjects are revealed in Tančič’s photographs.

[关于摄影师]
马蒂阿士·坦契奇,1982年出生,斯洛文尼亚摄影师,现居北京和卢布尔雅纳。他从《Mladina》杂志开始成为一名摄影记者,至今已举办24个个展,参加过60个群展。他在2012年入围“谷歌摄影奖”,2013年获得索尼世界摄影大赛3D组大奖,以及斯洛文尼亚新闻摄影奖。

[关于本书]
2012年,坦契奇来到中国,使用3D摄影的技术拍摄了20多位安徽黟县农民的客厅摆设和他们的肖像。他在每个村民家里都要拍摄两张照片:一张是条案上的钟表,一张是厅堂中的人。他把这个拍摄项目命名为“Timekeeper”(守住时间的人)。

徽派民居中的自鸣钟,在器物层面折射了这种心理撕扯:它曾经是现代化的符号,被置入传统居住空间的心脏,厅堂的空间布局是受儒家思想和理学礼制严格约束的,太师壁在重要节日要用来悬挂祖容,子孙要在此上香,家族绵延的使命感强大而肃穆,不管经历多少代人的繁衍,子孙和祖先总能共处于这个礼制空间,形成一个环形的生死链条,时间在此总是周而复始地运行,架空了自鸣钟所代表的现代线性时间。自鸣钟的现代性象征功能今天早已被电视机、DVD机之类电器取替,它之所以仍能成为一种持续的风俗摆设,完全是因为大家迷信“终(钟)生(声)平(瓶)静(镜)”的美好寓意。

2014年坦契奇再次来到黟县,完善了整个项目。他一共进入了黟县不同村庄的50多个家庭。这些被长期在故乡土地上劳作催老的面孔,或在外面闯荡世界被改变了的容颜,和他们居住的空间、使用的物品一起,帮助坦契奇把抽象的时间变成可以看见的图像,可以闻到的气息,可以触摸的手感。他们是被现代化的车轮辗过的身体,虽位处偏远乡间,但并非与火热的大城市毫无关系,他们生产的粮食、输送的劳动力或有一天会被拆毁的家园,成就了这个国家的发展。他们是被忽略的主体,在坦契奇的摄影里却得到显现。

(节选自欧宁评论文章《时间纪录者》,略有增删)

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