2020 荷兰海牙皇家艺术学院摄影毕业展 / KABK

原创 光圈×林俊耀 Aperturist光圈

尽管2020年欧洲的疫情尚未结束，作为荷兰最古老的艺术学院—海牙皇家艺术学院，刚刚开幕的毕业展览仍一票难求。近250位学生的作品在6000m2的校区空间呈现，成为海牙的一大亮点。

除了本科学士（BA）各领域包含时尚、平面设计、建筑、字体、摄影等丰富作品呈现外，海牙皇家艺术学院的硕士项目（MA）除了着重在理论上的研究，部分科系也希望学生在自己的研究深化到创作当中，并与其深入探讨之论点有所呼应。

2020 KABK毕业展现场 ©林俊耀2020 KABK毕业展现场 ©林俊耀2020 KABK毕业展现场 ©林俊耀

在2020年迈入第二届毕业的摄影硕士项目——Master of Photography & Society，与本科课程对摄影的初探与训练的不同，其硕士课程更着重透过摄影的实务与理论分析，与社会议题交互作用。

在庞大的导师群引导与阅读、研究之下，进而产生作品与观者更为精确地对话，在展览现场的简介当中，可以看见每一件作品所要探讨的主题，且媒介不局限在摄影。摄影成为了「其中」的一种方法，研究生自由且精准地使用了雕塑、灯光、装置甚至是表演，将观者从摄影中更轻易地依循着脉络，在不同的社会议题中进行反思。

2020 KABK毕业展现场 ©林俊耀

KABK的「摄影与社会」硕士项目，自成立以来，着重聚集来自各领域的研究人士亦或是创作者，能够在2年期间以自已的专业作为出发，进而去与摄影发挥作用。在毕业展中，来自艺术史、工程、电脑科学、视觉研究、书本设计等领域的研究生交互影响，最终在毕业展中萌芽。

2020 KABK毕业展现场 ©林俊耀

作为工程、文化遗产、纪实摄影背景出身的Ana Núñez Rodríguez在毕业展览当中获得了KABK的肯定，得到「WINNERMASTER PHOTOGRAPHY & SOCIETY DEPARTMENT AWARD 2020 」的殊荣，她在「Cooking Potato」的创作中透过纪录片与装置、田野调查的方式，透过空间带领观者去讨论马铃薯的起源，与个人、集体的记忆，摄影在媒材中，重新建构了自我、家庭、亲戚、殖民者、社会与自然界之间的关系。

2020 KABK毕业展现场 ©林俊耀

Guglielmo Giomi 的「The Eventual Island」，以地理空间、制图、地图绘制、数据、印刷、表演与摄影等多种媒材的形式，研究观光对于厄尔巴岛的无形破坏，他特地在当地居民俗称的「冬眠期」（旅游淡季）常驻在岛上，去搜集与研究在经济严重失衡的状态下的证据，石板墙、散落的橘子、当地孩子们的帐篷，他试图以这些证据呈现在展场，让观者轻易地进入议题。

2020 KABK毕业展现场 ©林俊耀

其他研究生作品结合议题包含身体、监控、性别、身份认同、历史、艺术品贩售等，作品与研究论文的相辅，都一再证明除了摄影以外，不仅能够让人看见，阅读与听觉、装置、文本都能够唤醒在社会前进的人们，停下脚步，轻易地进入问题进而反思自己。

2020 KABK毕业展现场 ©林俊耀2020 KABK毕业展现场 ©林俊耀2020 KABK毕业展现场 ©林俊耀

图文作者/林俊耀：过去曾为摄影记者，离职后前往荷兰乌特勒支艺术学院就读Fine Art硕士。

光圈数据：本届KABK摄影硕士毕业人数共计13人，本科摄影项目共计39人。

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2020 KABK 摄影硕士毕业作品赏析

安娜·努涅斯·罗德里格斯（b.1984，哥伦比亚）

#KABK-Photo 优秀作品获得者

安娜·努涅斯·罗德里格斯（Ana Nuñez Rodriguez）来自哥伦比亚，是2020 KABK 摄影研究生项目奖项的获得者。作为一名跨专业的创作者，安娜的经历非常丰富。她于2008年从西班牙马德里自治大学的工业工程本科毕业。15年开始学习纪实摄影课程，并于17年从哥伦比亚的波哥大国立大学摄影研究生课程毕业。次年，继续申请了荷兰皇家艺术学院的摄影硕士项目。期间，她的作品在各大当代摄影平台上曝光，在2017年获得Fotográfica Bogotá 最佳作品集奖。同年，安娜前往日本和马德里参与艺术驻地，并在两地都举办了个展。

从学习纪实摄影开始，安娜在她的摄影实践中，就试图不同社会背景下创作，以探索身份建构的复杂性以及由此产生的权力形式。她与不同的人群一起工作，涉及并关注不同的社会问题：从女户主，酒店清洁工，寻求庇护者到祖母绿的矿工。无论如何，她一直在寻找新的合作方式，始终将与人的关系视为创作过程的核心。

她将自己的创作定位在摄影与社会的交汇处，认为图像是个人记忆和集体记忆（重建）必不可少的工具。安娜使用摄影开启新对话，并在社会的不同成员之间建立新关系，以产生替代性的知识运动。她创作方法将纪实摄影与当代艺术实践联系在一起，提出了可以增强感觉归属感的图像的概念，使每个观者都能在社交环境中追寻自己的路线。通过空间，物体和主题重新描绘并重新思考以建立自己的视觉论述，从而在图像和社会想象之间找到一条道路。她最近的一个项目受到欧洲和拉丁美洲现实生活如何融合的影响，在生活中质疑自己的身份，并根据她以流动性和脆弱性为基础的经历反思了公民政治。

毕业作品：

COOKING POTATO STORIES

COOKING POTATO STORIES 马铃薯能告诉我们些什么？它对民族身份的建立有何看法？它周围的新叙事在社会是如何想象自己和其他世界中扮演的角色的？这些是我围绕这个项目所收获的问题。

这个项目的创作根源在于个人和社会身份之间的张力以及对其形成的历史文化影响。安娜将加里西亚和哥伦比亚的马铃薯角色作为一个生动的叙述，根据自己在拉丁美洲和欧洲之间迁移的经验，对身份认同背后的权力结构提出了质疑。这是一种混合了“这里”和“那里”的跨大西洋食谱，其中包括遗产，历史，想象，传统和自传等不同成分，以反思一个社会如何想象自己以及根据他们讲述的故事来想象其他世界。我们都通过叙事的组合来理解我们的生活，这是一种模糊的观念体系，可以激发人们的反应，以确定价值观、判断力、观点和行为。

安娜试图围绕马铃薯在加利西亚和哥伦比亚之间进行叙述，这产生了一个具有替代性的故事，质疑了叙述背后的意识形态、力量和主观性。她还开发了一些“知识食谱”，这些知识展现了“马铃薯”历史的各个方面，从而推动了“马铃薯”创造新的社会记忆。这个项目驱使人们进入一个复杂的过程，即我们如何个体和集体地构造、理解和理解自己的。

毕业论文：

Cooking Potato Stories

The history of potato is marked by the obstacles in its adaptation and acceptance as a food crop. A long process of transformation through time where many conflicts, beliefs and traditions stood in its way. Difficulties that did not prevent that the potato sprouted on the world food scene, adapting and adopting to different places resignifying itself according to the expectations of each society. Its journey and its long process of adaptation, reveals how plants have served us to manifest our power over nature and people, and here it is a way of opening a conversation about identity and politics and their complexities, the difficulties to overcome to adapt to a new context and the forms of power derived from it. The potato unpacks a universe of symbols such as identity, domination and the idea of social differentiation that I also use to reflect on the effects of colonization in our subjectivities and in the production of knowledge and critical thinking. Cooking potato stories proposes recipes of knowledge that unfold different aspects of the potato's history to push a new social memory about it.

In the first place, I introduce the colonial history of the potato, revealing its long path of acceptance and how despite the initial prejudices and the class dynamics the potato was established worldwide and has had a huge impact on societies. Secondly, I propose a collection of field notes intertwined throughout the text, based on my research and experience on the topic. I used very varied material resources: from alterations of traditional recipes, guest´s writings, a script of audiovisual documentary, Galician literature, botanical definitions, oral transmitted knowledge, conversations, to the exchange of stories. When collecting these materials on the different socio cultural practices around the potato I push the reflection on the need for including new narratives around the potato between Colombia and Galicia to question the ideologies, power and subjectivities behind the historical narratives and contribute to a decolonization of thought. This writing method has allowed me to configure my alternative story of the potato in a polyphonic and polymorphic way. It is an organization of elements that does not follow lines of hierarchical subordination, and that represents a rhizomatic model of understanding the organization of knowledge. It has neither beginning nor end, but an in between that grows and overflows and that constitutes linear multiplicities.

Finally, I reflect on how narratives are implemented in our psyche and how they influence the construction of social imaginaries and how we see ourselves and the others. I conclude reflecting on my use of photography as a tool to can produce critical knowledge and confront ongoing legacies of colonialism, reconfiguring relationships with self, family and kin, colonizer, community and the natural world.

亚历山大·卡贝扎·特里格（b.1993，西班牙）

亚历山大·卡贝扎·特里格（Alexander Cabeza Trigg）出生于1993年，是来自西班牙巴塞罗那的摄影师和电影人。他在巴塞罗那大学获得了社会文化人类学的文学学士学位，最近从海牙皇家艺术学院的摄影艺术与社会硕士项目毕业。他的作品试图将人类学的反思性和参与性特征，与一种更具艺术性的方法所允许的自由和模糊性相结合，产生的一种共享的纪录实践。该实践以当地环境为基础，并与创作过程中的参与者紧密联系。从事一种有趣且富有想象力的实践，在这种实践中，人们将真实的经历、地点和人物作为探索传统纪实范围之外的一种手段。

毕业作品：

TRIGG LA TRAMUNTANA

La Tramuntana La Tramuntana是一种北风，吹过加泰罗尼亚地区Empordà。在这个项目中，风成为与该地区人民建立关系的载体。Tramuntana周围的对话揭示了记忆，故事和经历，然后通过游戏和共同构想重新发现它们。在碰撞中创作了这个摄影作品和一个短片。一个住在透明盒子里的女人，橘子在海边漂浮，石头在晃动，这些故事在短片中“纠缠”。与风和讲故事的人一起，我们研究了一种描述性较低的即兴创作的共享纪录实践。

毕业论文：

WHEN OLIVE TREES GLISTEN

When olive trees glisten is an attempt to understand my own practice and has been a way to come to terms with my relatively recent position as a maker- of photographs and film- in relation to my anthropological background.

This thesis reflects on my experience in the search to make visible the invisible, namely the wind of tramuntana and how people relate to it. It has been a way for me to question the boundaries and disciplinary conventions of anthropology through a photographic and film practice. I have been able to look into a more shared and imagined kind of anthropology, one that is less interested in mirroring the world and that acknowledges the camera as a tool to generate new meanings and new worlds in the making. In this sense I hope that this thesis will bring insights into new ways of thinking about anthropology by trying to respond to the question:

How can a photographic and film practice contribute to opening up the disciplinary conventions in anthropology? Can it serve as a reflexive tool to generate a more imaginative and shared documentary practice?

德米特里·科斯秋科夫（b.1984，俄罗斯）

我总是在不同的地方和社会团体中穿梭。在一个城市呆了半个星期，然后又搬到另一个城市，然后又回来。当我观看不同社区内的互动时，它激发了我的灵感。我不是完全属于他们中的任何一个，因此从广义上讲，“边界”的概念并在这个群体与那个群体之间找到交集的原因，不断激发我自身探索障碍和交流的可能。

之前当我从事摄影记者的工作时，我意识到故事本身并不是我最着迷的地方，周遭的东西才是。作为记者，拍照对我来说是一种视觉研究方法，来到这里的原因是理解背景及其边界的起点。在我的作品中，不仅照片，而且三维物体、文本、材料和设计也同样重要。在我最近的工作中，我对人类与类人技术之间的关系以及这些联系对社会的影响特别感兴趣。

毕业作品：

MY COMPUTER THINKS I AM A WOMAN

毕业论文：

Down the rabbit hole

The topic of these theses is a nature of human – human-like relationship and artistic reflection on this topic. They are written in the form of letters from father to son from the current moment (2019-2020) to the moment when he will want/able to read them. The primary method used in the research is looking at the topic from the different angles to create a complete mosaic picture. There are ten letters formed by two principles: 1)letters dedicated to one of the issues in humans relationship with technologies and all together they are creating versatile view at the same topic; 2) chronologically document experiments and researches which were made.

Main statements made in the thesis are:

1、Technologies are neutral; this is humans who use them in a constructive or destructive way.

2、There is a straight link between patterns which traditional society has for centuries and the models which new technological world use.

3、One of the driving reasons for technology development is "just for fun" (as the opposite of consciousness).

4、Since we are not very conscious about the impact of new technologies, the future generation will need to resist very hard to maintain a little bit from what we are leaning back now. The same way as it already happened with an ecology.

The Thesis also includes two interviews taken during field research in Germany and France. These conversations may be of interest to those who are interested in specifics of the topics they discuss - history of of the "Unknown Woman of the Seine" mask and relationships between sex-workers and sex-dolls in the brothel. Their full transcription includes in the appendix.

古列尔莫·朱米（意大利）

Guglielmo Giomi是跨学科方法的视觉研究人员和设计师。在他的创作中，他探究了代表现象和反代表策略在不同规模（从个人到国家，从全球到特定）之间移动。他的研究专注于地理标识、空间赋权、摄影投机和叙事地图绘制，尤其关注虚拟空间和物理空间之间的摩擦和承受能力。朱米在他的专业实践中，通过开发工具和方法使观众积极参与设计过程，从而解决了艺术总监在复杂社会系统中的混合和灵活角色。除了对图形和摄影语言的掌握，他的创作还涉及对数据、制图、电影、印刷和数字媒体以及表演的运用。他最喜欢集成设计的方式去做项目，可以在相互联系的社会系统中产生影响并蓬勃发展。

毕业作品：

The Eventual Island

岛屿是Guglielmo Giomi度过童年和青少年假期的地方。在过去的60年中，该岛的经济体系已完全从农业转向夏季的旅游业。每年冬天，由于缺乏冬天的工作，人口急剧减少，商店关门，工人失业。据许多居民和游客称，该岛进入大约六个月的冬眠期。Giomi对此并没有任何作为，只是带着心中所想的愿景过着日子。

在2019年至2020年的冬天，他回到了厄尔巴岛，决定住在那儿，试图就他多年以来的愿景进行探索，包括被人忽视和利用的空间。在一次灾难之后，岛上的大多数居民都离开了，岛上的环境似乎处于一种健忘状态。Giomi通过摄影试图“放弃”所谓的“小岛”，“居住”在造的新岛，感受被破坏的环境，并指导度过一个想象中的乌托邦。

通过解决旅游开发与环境感知之间的关系，朱奥米面临着空间与地方之间最深层的摩擦。在一个空无一人的海滩上，一些孩子开始建房，在山上，一家人在大火后修理一堵石墙，两个戴面具的人爬上一扇锁着的门，从封闭的酒店花园里取些橘子。冬季，在剥削空间中被遗弃的东西，在一个安静的社区居住，该社区的痕迹通过某些运动和路径的体现可见。从远处看这个小岛可能会被忽视，但如果您近距离观察，您会发现大海中的未来：the Eventual Island

毕业论文：

The Place and the Places Within

If our existence and understanding of the world is deeply entrenched in and through place, what position does place occupy when relating it, from the position of a photographer and visual designer, to other disciplines? This thesis contributes to an understanding of place that aims to break established boundaries between disciplines and foster a progressive conception of place as common ground for people from different practices and theoretical realms to cross-pollinate each other. Drawing from the writing of geographers Tim Cresswell and Je Malpas, and of anthropologist Tim Ingold, I will stress the interdisciplinary nature of place, that allows place knowledge to be developed along a path, instead of in dierent disciplinary clusters. I first explore the emergence of place through theory and literature of geography and photography, two disciplines which seemed unrelated in my interests and practice until the beginning of this research. Through discussing the confrontational aspects of place, the shared processual nature of it will manifest itself in spatial studies and photography, showing the particular aordances of photography in place-making. In the second part of the thesis four redacted and transcribed conversations with four different practitioners that took place on my initiative give insights into dierent practices working with place. At the same time the dialogic form of the text shows an important method —the verbal exchange— that characterizes my practice, alongside photography.

马德思·霍尔姆（丹麦）

霍尔姆（Mads Holm）是居住在丹麦哥本哈根的艺术家和纪录片创作者，从事摄影、文字和视频工作。2011年在美国国际摄影中心（ICP）学习纪实摄影，2016年从英国格拉斯哥艺术学院艺术摄影本科荣誉毕业，2018年前往荷兰海牙皇家艺术学院就读摄影硕士项目。霍尔姆曾入围了2017年MACK第一本书大奖，以及RSA Adam Bruce Thomson Award 2017, Edinburgh Art in Healthcare Purchase Prize 2017, Edinburgh Jill Todd Photographic Award 2016, Edinburgh Selected Artist for Royal Scottish Academy New Contemporaries 2017, Edinburgh Danish Embassy Art Prize 2016。

毕业作品：

Heartland

大规模示威活动的第二天，数十名抗议者在床上被警察叫醒并被逮捕。使用Facebook进行调查，将事件参加者在社交媒体上的个人资料与在抗议的镜头中出现的人进行比较。与此同时，我坐在工作室里，也在用电脑看图像。我浏览桌子上成堆的小字时，试图解析一个悖论：技术入境作为一项服务来帮助发现一个活动并参加其中，同样技术也会助攻你第二天被抓捕。这确实是我们今天的困境：我们周围万物的似乎掩盖了它们实际的双重功能。我们在危机的狂野海洋中，被丢下了一件救生衣。

而危险和威胁四处蔓延，对无限安全的需求为建立，对我们社会的无形军事化控制的新范例铺平了道路。与以前不同，我们现在发现自己每天都处于低强度的战争中，这并非是在野战士兵和偏远森林之间进行的战斗，而是在我们城市的街道、智能手机、汽车、基础设施和社会行为中进行战斗。

我们如何才能知道我们是受到保护还是受到控制？

从战争博物馆到未来的训练场再到日常生活，Heartland 这个项目试图思考安全，军事化和城市生活之间的联系。

毕业论文：

Essays on War and Images

Essays on War and Images is a venture into the corrupted space between images and reality in the cultivation and legitimisation of imperial war. In this thesis I ponder the functions of, what I refer to as, military simulacra and how they serve to dissociate from any tangible reality. I reflect on the spaces in which war and military ideology are generated: the war museum, military public relations, a military training facility and militarisation of civil society. The thesis consists of three essays each opening with personal experiences I have had while researching and making photographic work on the same theme. Throughout the paper I apply my observations and discoveries to my recurrent attempt at establishing a critical photography practice. The text thus comes to reflect the challenges I continue to face while positioning myself as an image-maker and working in contexts where images seem to first and foremost serve to distract and obscure reality.

The first essay, Imagined Spaces, begins as a recount of my childhood experience visiting the local war museum with my grandfather. Dwelling on the museological separation of artefacts from daily life I approach the war museum in my writing as a space that generates glorifying images of war. A more recent experience at an open day event onboard a Danish NATO warship becomes the occasion for a further reflection on the symbolic alteration of weaponry in the meeting between state military and the public. Conceiving of them as simulacra, as defined by Jean Baudrillard, I argue that the exhibited and displayed armaments function like images with no relationship to an existing reality and that they effectively dissociate from the weapons’ actual function in the world.

It is the same dissociating effect I try to uncover in the second essay, Self-fulfilling Prophecy, during a visit to a future urban military training facility in Germany. I find that the military mock-city, Schnöggersburg, is an image of the future that, rather than reflecting an existing reality, generates a more militarised one. Its alienating features constitute its power to transform the world around it and thus, I try to stress, attempts to come to grips with Schnöggersburg’s impact on society by means of images must first reject its otherworldliness and insist on its placement within the world it is intended to exclude.

In the third and final essay, Excess of Reality, I am overcome by doubt while photographing an escalating clash between a group of protestors and riot police. An internal moral dispute with myself turns external in form of a dialogue with a friend at the protest. The exchange reflects fundamental dilemmas that continue to emerge when I try to couple my political motivation with my skills and interests as image-maker. However, from the great depths of uncertainty novel possibilities arise, and my search for an opening to the reality behind the obscuring images seems to move towards an unforeseen resolution.

诺拉·米诺菲（b.1988，意大利）

诺拉·米诺菲（Nola Minolfi，生于1988年）在KABK学习摄影研究生项目之前，在意大利米兰的CFP Bauer institute学习摄影。她致力于纪录片项目，重点关注社会和文化问题。她的作品曾在各种杂志上发表。

我最喜欢的颜色是青绿色。我喜欢树木，偏远的岛屿和企鹅。我喜欢收集老式的古怪物件。我喜欢跳蹦床，也喜欢飞机。我喜欢地图和明信片。我喜欢地球仪。

在90年代初，诺拉父母决定离开家乡布宜诺斯艾利斯，搬到意大利。在可能的情况下，他们通常会进行长途旅行回到家乡度过假期，但那时，距离和缺失感主要通过邮政信件来处理。信封里堆满了闪光明信片，日常生活中的手写故事，印刷的照片，图画和剪报。甚至在阅读和写作之前，诺拉就已经学会了与自己的家庭联系，并通过阅读照片来处理自己的亲密情感。对她来说，看印刷的图片意味着与他们见面，识别和认识住所和家庭成员。

这样的相遇肯定不足以取代缺席，距离和渴望的感觉，但是这些照片对诺拉来说是神奇的，并且可以告诉她熟悉的一切。这成为了诺拉的实践之源，也是为什么她成长为摄影师的原因。诺拉用相机来熟悉周围的事物，但这是基础知识，而在视觉过程的基础上，它是制作部件，可以通过构建和处理不同的图层来获得进一步的最终结果。暗室的使用和诸如绘画的补充实践，使用不同纸张，纹理，物体和档案材料的拼贴干预，提供了必要时完成摄影框架的方法，让想象力与内心自由地融为一体。诺拉作品反映了边界，身份，亲密关系和记忆的问题，试图通过探索介于两者之间的时空褶皱来联系人们和故事，通过作品使得拉丁美洲可以和发达世界进行对话。

毕业作品：

Momentaneámente Para Siempre（永远永远）

Momentáneamente Para Siempre是对我父亲去世后回答我提出的一些问题的回应。摄影如何（或者不可以）起到催生记忆的作用？摄影的媒介如何挑战并表现记忆的真实性？该作品旨在反映家庭照片所扮演的角色，尤其是当它们看起来是处理距离，缺失和丢失的唯一途径时。它的目的是通过重塑和协商家族的记忆和身份，传达照片是如何成为更好地理解和处理死亡的含义以及对留守者的工具。

整个项目观察记忆与照片之间的关系，并着重探讨如何将摄影的作用与个人记忆的本质，可靠性和切实性进行对话。既是对个人心理预测的有形翻译，也恰恰相反，是限制了描述记忆的内容框架。Momentaneamente Para Siempre是我对此的研究结果，涉及对照片意义的内在反思，这些意义是记忆的过渡对象，它们断言自己是遥远或逝去的亲人的永恒替代品，并代表永恒和永生。

毕业论文：

Momentaneámente Para Siempre (momentarily forever)

Summary Thesis The thesis and the annexed visual work aim to reflect on the role played by family photographs, especially when they constitute the only access to deal with distance, absence and loss. Building on personal stories, this work challenges how photography can be the appropriate tool to better comprehend and deal with the meaning of death and rebirth by reshaping and negotiating familial remembrances and identities. The research and its subsequent process aim to explore the functioning, the meaning, the boundaries and the tangibility of human remembrances together with the imaginary through visual language. As a photographer, I am particularly interested in observing and reflecting on the relationship between memories and photographs, both as a tangible translation of individuals’ mind projections as well as a framed limitation in depicting the entire substance of remembrances. In order to develop my theoretical and visual documentation, the work will frame personal family anecdotes based on long-distance family relationships and the departure of the family members. By considering and unfolding the components of familiarity, love, imagination, remoteness, absence and loss, I aim to talk about how departures can also generate new beginnings as chances to reshape, relay and reinstate new boundaries, existences and tangible memories. The thesis will therefore question the meaning and the role of photographs as transitional objects of memory which assert themselves as immutable substitutes for loved ones who are far or gone and as representations of eternity and immortality. The first chapter will begin by revealing a specific confidential failure on the day of my father’s death, in which I was unable to find a suitable photograph to publicly represent his entire existence at his wake. This particular case study will be appropriate here to frame the spatial-temporal conflict between the time suspended in a photograph and the time I experienced in person. In this first section my reflections will build on remarks made by French philosopher Roland Barthes in his book Camera Lucida, after which I will step out from the personal anecdote to welcome a wider debate about private and public mourning in relation to photographs. The text will therefore invite the development of two voices, the daughter voice and the photographer voice, instinctively becoming the writing style of this paper. The second chapter will suggest a possible solution for the first chapter by introducing the box of memories as a starting point and a key element for my artistic research. The concept of the box will primarily define the work area but mainly it will be essential as a space where to argue and center the tangibility of the archival material in relation to the substance of remembrances. The third chapter will design, unfold and unveil the process of making by looking closely at the search, the selection and the deconstruction of loss through the healing of the self. The arguments will be accompanied by introducing the process of ‘therapeutic photography’ developed and experienced by the British photographer Jo Spence. The fourth and final chapter will lead the arguments out of the box as extensive reflections on how to break the limitations of the photographic frame by welcoming broader visual scenarios. Through the reappropriation, reinterpretation and intervention between what is depicted in a family photograph and how the imaginary can relate to a more complete essence of memories, this chapter will reveal the subsequent conclusion in the potentiality of the possible tangibility and visualization of new shapes of memories.

沙德曼·沙希德

沙德曼·沙希德（Shadman Shahid）是一位在孟加拉国首都达卡出生和成长的摄影师。他的作品是关于当代社会物质和精神人类状况。他的摄影方法在纪录片和小说之间徘徊，通常在他的作品中，内容驱动了美。他非常依赖magic-realism作为讲故事的方法。他曾获得World Press Photo’s Joop Swart Masterclass, BJP ones to watch in 2016, Burn emerging photographer of the year in 2018 以及Winner of Bird in Flight prize。在移居荷兰之前，他曾在Pathshala South Asian Media Institute 任教三年，并于2015年获得专业摄影学位。他的作品目前由East Wing Gallery代理。

我讲的故事是反映了塑造我们现实的叙述。我有兴趣揭露这些叙事为我们带来的物质、精神和心理上的不稳定。我非常依赖摄影的不同分支作为讲故事的媒介。我的作品介于纪录片和小说之间，使我能够分析每个领域可能产生的不同影响，作品中的内容带动了美学，且深受魔幻现实主义概念的影响。

毕业作品：

Chimera

在过去的几个月中，新冠迫使我们不得不花费几乎所有时间盯着屏幕。图像成为我们所有心理和精神寄托的源泉。我们对娱乐，知识，社会认可，创造力和对现实的一般理解的需求都取决于图像。但是，这不是大流行期间所独有的现象。我们的现实已经被图像占据了一段时间，我们的感知现实的机制也是如此。图像决定了我们如何看待现实，如何思考和感受。它们帮助树立了我们的核心价值观，并决定了我们的期望。图像取代实物，并将其恢复为仿真品。通过对外观的垄断，要求我们接受被动。它们创造了一个取代真实的现实，正如鲍德里亚将其称为超现实。但是，我们如何理解我们所处的这个新现实呢？我们有意识地塑造了多少？超现实在多大程度上利用了我们？为了创造自己，超现实破坏了什么？它对我们的心理有什么影响？Chimera将基于让·鲍德里亚在他的《Simulacra and Simulation》一书中提出的超现实思想，并反思我们的超真实存在方式。该作品调查了建构现实的本质及其对我们心理的操纵能力。因为控制一个人对现实的感知就是对他们的存在拥有最终的主权，而被动地接受它则是接受我们心灵的束缚。

毕业论文：

CHIMERA

The term hyper-reality was coined by Jean Baudrillard in his book Simulacra and Simulation in an attempt to characterize the image laden post-modern electronic media culture. As the hyper-real grows to the point that we are left with almost no referents of reality anymore, humanity seems to meet it with passive acceptance. My thesis seeks to analyze to what extent does hyper-reality affect the human psyche and what role does imagery and storytelling play in it. By looking into specific case studies I seek to have a greater understanding of the mechanisms that create certain aspects of hyper-reality, namely Advertisement, Social Media, News and Gaming. The essays are written primarily from the perspective of an image maker and a storyteller combined with cross-disciplinary research in the field of psychology, philosophy and media studies. By the end of the paper the reader begins to realize that hyper-reality is an intentional construction, designed to rob us of our sovereignty by manipulating the way we perceive reality.

蒂斯·范·斯蒂格特（荷兰）

毕业作品：

HAPPY FISH

Happy Fish 是一部荒诞的自然纪录片，在欧洲大陆和Google Earth的国际水域上拍摄。从保护区到科学实验室，从虚拟的海洋到最古老的植物园，从荷兰的低地到波兰的山区，都在寻找可以积极尝试创建更易接近、更具延展性和更令人愉悦的地方。这些照片显示出一个貌似正在上演的世界，里面充斥着匿名的人，有时还有匿名的动物。题为“快乐的鱼”的意思是对斑马鱼的焦虑研究，其最终目的是消除痛苦。这种尝试是所有图像的奇怪潜台词。该系列充满了我的摄影灵感以及叙事元素之间许多联系中的某些联系。我将所有内容放在一起，在其中我着重介绍了成像技术，帧率，渲染和图像分层，在毕业典礼上可以看到一个虚拟的版本。

、毕业论文：

As natural as possible

My thesis is an analysis in three parts on ways in which photographs have been used to establish boundaries between the natural and unnatural. I discuss examples in art, advertisement and science where photographic images are produced and employed with the aim of naturalistic representation. I try to analyze what assumptions they rely on and, as a result, also touch on additional aspects of the conditions under which photographs are made and used. The first essay considers scale figures, the miniature humans used to illustrate computer renders of architecture.This essay points out the difference between ‘natural’ understood in the technical, photo-realistic sense versus natural understood in a normative sense. The second essay concerns the representation of natural science in documentary art. I compare the work of several artist photographers making work about scientific research environments, and take a close look at one series by German photographer Thomas Struth. The third essay relates the history of landscape photography to the most expansive landscape photography project to date, Google Earth, and to the visual language that informs our perspective on the climate crisis.

更多毕业作品可前往KABK毕展官网观看。https://graduation2020.kabk.nl/

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原标题：《2020 荷兰海牙皇家艺术学院摄影毕业展 / KABK》

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