课程介绍

 

如今铂金印相技术日益成为一种数字图像技术。古典工艺技术与数字图像的结合，甚至可以看到一些铂金印相作品是用iphone的摄影！那种图像表面有着更好的质量和更好的耐久性，但这与用数字微喷获得的并没有不同。如中国山水画家石涛所强调的意境 “夫画者，从于心也”，他们无法令摄影“ 看不见的部分 ”变成“可见”。

这次在三影堂的工作坊里会给出铂鈀印相技术的基础知识，并最大可能的严格关注获得一张最好品质的菲林负片，与此同时不失去摄影美学的目的与看不见的神秘。

Today the technique of platinum palladium print becomes increasingly a technology for digital images. It is nothing more than a way like any other to print a digital file. Today we can even see  palladium platinum prints made from iPhone! Such images are not different from what we can be obtain with a jet ink print. They earn only a semblance of extra quality and improved durability over time, but they are unable to   «  make visible what is invisible », what was the purpose of the Chinese painting as Shitao say.

The workshop offered by Three Shadows give the basics of this technique with the greatest possible rigor with a focus on achieving a film negative with optimum qualities and without ever losing sight of the aesthetic purpose of the photograph, which lies not in the « représentation » as think digital images that become immaterial, but rather in the "matter" of the image that gives its "aura", its mystery. "The proximity of a distance » t, in the words of the philosophe,Walter Benjamin r. This spirit I stated in the introduction to the Chinese edition of my ebook "Palladium".

报名方式

课程咨询：education@threeshadow.cn / 180 3013 7230  

在线报名：三影堂艺术商店

 

作品：

讲师简历：

Mougin Jean-Claude ，尚-可路德 . 默山，生于1943年，来自法国。

 

Jean Claude MOUGIN从1969年到2004年教授哲学，1971年开始摄影创作。1980年，Jean Claude MOUGIN在巴黎的Zabriskie画廊里看见保罗·斯特兰德的铂金工艺，开启了他的铂金摄影生涯。从皮齐盖利和Hübl的作品中，他决定重新再现此工艺过程，对技术不断尝试与完善，后多次在法国组织授课，也曾在中国鲁迅美术学院教学。

 

Jean Claude MOUGIN作品曾在法国尼埃普斯博物馆，英国福克斯·塔尔博特博物馆，美国Tilt画廊，美国亚利桑那州凤凰城现代艺术博物馆等众多美术馆展出，同时也被尼埃普斯博物馆，福克斯·塔尔博特博物馆等多个艺术机构和个人收藏。

 

个人网站：www.platine-palladium.com

 

 

关于鈀金

 

钯金在中国

中国与钯金图像的会晤是必然的。

 

中西方文明是世界上仅有的两个超越了单一的理性科学知识，通过以图片和绘画的手段来获取真理的文明。

 

如塞尚说过的：“绘画展示真理”，那些西方画家追随最具有中国味的苦瓜和尚石涛，就因其“简洁的笔触”产生“万物之根本”的规律。中国画可引导道家至高冥想，塞尚的后期作品“圣维克多”及它们的“色彩感觉”也一样，这些画布中的空白超越了单纯的代表性空间，引领我们通向一种近乎神奇的忘我历程。

 

现为中国摄影师介绍的钯金印刷技术，可以让中西方这两种相距遥远的审美领域更加亲密接近。

 

 就如传统中国画以墨的黑色和灰色来展现色调的无限，钯金图像也是根据涂抹于纸上的不同厚度的金属颜料，而产生无可比拟的无限的深层次的明暗变化。

 

中国绘画风格多样，包含的主题却比石涛在他语录中描述的笔触来得少，而且主题或多或少总是相同，尽管如此，正如钯金印相以它们的“永久性”提醒我们：艺术作品不光是一个图像，更是由图像中的主题引发的情感和诗意的体验，是“宁静”之源----如哲学家海德格尔的一个中国式的定义：“心静平和视万物，奥秘敞开向心灵”。

 

这不可言说的“奥秘”属于中国文化。钯金印像也可以向我们表明数码印像长河中隐藏的秘密，为我们提供真相， 这不是被计算出来的真理，这是既被显示又被隐藏的不可言说的真理： 天和地的冲突与联合；日光之下所显现和所隐藏的冲突与联合；黑夜笼罩着必朽之物也同时产生着成千上万新生事物。

 

这篇可以用中文阅读的“钯金”小论文，只是为了让中国摄影师接触并使用这既古老又新颖的，具有持久性的，并有中国画般无与伦比之效果的钯金印相。

 

北京 2013 年 5 月 30 日

 Jean-Claude Mougin

 

Palladium in China

The meeting of China with the picture palladium was unavoidable.

Chinese civilisation as Western civilisation are all over the world two only civilisations the painting  have thought pictures as means of access to the truth beyond simple rational or scientific knowledge must have thought of pictures and « Painting tells the truth» asserted Cezanne, the most Chinese of the Western painters who so joins Shitao the Monk Bitter Pumpkin, whose rule «the only brushstroke» procreates, «origin of any things». As well as painting is for the taoïst monk the highest degree of meditation which leads to "Dao", also last Cezanne's " Sainte Victoire " and their «coloured feelings», beyond of simple representation, drive us to a quasi mystical experience of dispossession of one facing areas remained empty of the cloth.

The technology of the printing palladium, from now on offered to the Chinese photographers can so help in the rapprochement of the Chinese and Western aesthetic worlds so much moved away and however so close.

 Just as Chinese traditional painting with its inks in infinite nuances of black and of grey, the picture palladium is made of an endless number of stocks of an incomparable depth according to the various thicknesses of metallic pigment introduce in the paper.

The diversity of Chinese painting is less fond of the diversity of its subjects, which are more or less always the same, that to that of keys of the brush so well described by Shitao in its treaty. Also printing palladium in their "Inactuality" reminds us that a work of art is not simply a picture, but also a matter at the origin of an emotional, poetic and source experience of "serenity": «equanimity in front of things and mind opened to secret» according to a very Chinese definition of the philosopher Heidegger.

This dimension of "secret", of what cannot be said, belongs to Chinese culture. The picture palladium can so become for her the instrument to say that hides us the uninterrupted flux of the digitized pictures, to know the truth; not this truth which results from a calculation but the one who at once reveals and hides what cannot be says:

conflict and alliance of the Sky and of The Earth, conflict and alliance of which shows itself and appears in the clarity of day with what remains standing aside; at night which envelops the lethal and allows the birth of thousand new creatures.

Bejing on May 30th, 2013

Jean-Claude Mougin