| 藝術家巴德爾‧艾爾‧哈瑪密來自摩洛哥，他對於邊界感興趣，在查閱地圖時他看見的不是國家或其他形式的區域，而是分隔彼此的「線」，然而摩洛哥在歷史上一直都是非洲和歐洲之間的交通要道，也成為多方勢力角逐之地。他的作品直接地或隱喻式地透過文字、影像、聲音、裝置等討論邊界相關的議題，將邊界的多樣及其不穩定狀態具體呈現。〈記憶#2〉以一張黑白靜態照片為主，照片中一群摩洛哥的孩子手拿著各式鏡子，反射著來自鏡頭方向的陽光。在時間的推移之下，孩子的面容、動作與姿態完全凝聚在一瞬間，影像的變化僅在於反射光線的角度、陽光刺眼的程度與反光的範圍。在此作品，鏡子做為邊界測量之工具，它的反射恰恰展現基於外在環境而產生的極大變動性。鏡子也做為其對立面觀看鏡頭的某種抵抗，對映的是光的渙散，而非影像的生產。 |
The artist Badr EL HAMMAMI comes from Morocco, and his interest in border makes him see no nation or any other form of region but boundaries that separate each other when reading a map. Nevertheless, Morocco has always been the key channel between Africa and Europe in history, and thus become a land at the mercy of various powers. His works explicitly or metaphorically touch the issue of borders via texts, images, sounds, and installations, vividly displaying the variety as well as the inconsistency of borders. Memory #2 based on a black-and-white photograph, in which a group of Moroccan children hold mirrors to reflect the sunshine coming from the direction of the camera. As time moves on, the facial expressions, movements, and gestures of the children are frozen in an instant. The only change of the image lies in the angle of the reflected beams, the glares of the sun, and the area of the reflection. In this work, mirror serves as the measuring tool of borders, the reflection of which demonstrates just how dynamic it could be due to the variation of the external environment. The mirrors act as some resistance to the camera in front, while its reflection brings about the diffusion of light, instead of the production of image. |
