展览续篇｜｜Map of Daily Life日常地图——Michael Wolf迈克尔·沃尔夫

MichaelWolfMichaelWolfwasborninMunich,Germany,...



Michael Wolf

Michael Wolf was born in Munich, Germany, and grew up in the United States and Canada.He has lived in Hong Kong since 1994 and has worked extensively across China. His photographs explore the complex cultural identity of China, from commercial elements of this new global economy to the social and economic implications ofthe urban density in the city of Hong Kong.

Michael Wolf’s photography is that of an outsider. His unusual background has allowed him to make the ‘other’ his home. Wolf began his career as a photo journalist, spending over a decade working in Asia for the German magazine Stern. His willingness to explore different visual approaches, even abandoning the camera altogether to work with emerging image technology such as Google Street View, shows his ability to constantly renew and enrich his visual language. Although he is constantly exploring new subjects and visual approaches, Michael Wolf’s central theme has always remained the same, from his first series in a German mining village to his most recent work in Asia … people, and the reality of their lives in our ever-changing cities.



迈克尔·沃尔夫

迈克尔·沃尔夫出生于德国慕尼黑，在美国和加拿大长大，1994年定居香港，长年在中国进行拍摄。其摄影作品探索了中国复杂多样的文化特性，从香港在新全球经济下的商业元素，到城市密度对社会和经济所带来的影响，点点滴滴无所不及。

迈克尔·沃尔夫以局外人的视角进行拍摄。多国文化背景，也让他能够随遇而安。沃尔夫是从摄影记者开始起步，曾在亚洲地区的德国杂志《Stern》工作了十多年。他想要探索的是不同的视觉手法，甚至摒弃了相机，转而投身于“谷歌街头拍摄”的影像技术应用中，展现其不断更新、不断丰富的视觉语言能力。从他拍摄的一处以采矿为主的德国村落的系列照片，到最近拍摄的亚洲照片，他都在积极地寻找新的主题和新的拍摄视角，但迈克尔·沃尔夫创作的作品主题却从未改变——生活在日新月异的都市里的人和他们的日子。



A series of unfortunate events

Michael Wolf is best known for his large-size architectural shots from Hong Kong and chicago. Actually the series “architecture of density” and “The transprantcity” are part of a constantly growing oeuvre which deals with the conditions of the modern urban life under the title “life in cities”. With his recently published book “Tokyo compression”, which shows depressing impressions from the subway system in Tokyo, the photographer raises the question: in how far may, should or must photographers deal with the public today?

A final answer to this question does not exist, but it is clear that the question infront of the background of an unleashed flood of images, which is spread over the internet, and the automated image production by surveillance cameras androbot cams has to be negotiated completely new. This is all the more after recently a new stage of re-measurement of the world has been started with “google street view”.

Michael Wolf takes up this topic in his work “street view”, which has been started at the same time as “tokyo compression”, and reinterprets the genre of the street photography in a highly unconventional way by using the almost inexhaustible picture pool of the google tool as basic material for his own images. With the camera in front of the screen he gets “his” images out of the automatically generated, authorless google screens. Extreme details and geographical fade-ins of the software, which usually should serve the orientation, induce photographs which have an irritating as well as alarming effect like the underground portraits from Tokyo.



《灾 难》

迈克尔·沃尔夫所拍摄的香港和芝加哥的大尺幅建筑照片，让他享有盛名。“建筑密度”和“透明城市”系列作品，是“城市生活”系列中未完待续的两组系列作品，主要关注于现代城市生活环境的问题，其最新出版的《压缩东京》让人们看到了东京地铁上的拥挤生活，同时他也以作品提出问题：作为摄影师要选择何种距离来拍摄公众呢？

究其答案不一而终，网络上如潮水般的照片，让我们知道这个问题一直都明明白白地摆在那，而今天监控摄像头和摄像机有让我们的拍摄进入了一个全新的领域。这一切都是从“谷歌街景”开始之后，出现了一种全新丈量世界的方式，影像艺术进入了全新的领域。

迈克尔·沃尔夫在《街景》系列作品中将这个主题重新阐释，其创作之初同《压缩东京》一样，选取“谷歌街景”中数量庞大的照片作为基础素材，再运用非传统的制作方式重新呈现了不一样的街道——拍摄谷歌网站上的照片，从而“变成”自己的照片。

软件能通过精密的计算处理图像输出中的细节问题，而这样处理过的照片，不仅真实地还原了现场，还吸引了观众的目光，起到警示的作用，如拍摄于东京地铁的“众生相”。



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