Happy Tonight 欢乐今宵
(2004)

Taking Happy Tonight was an accidental start. When those fasion photographer fellows of mine regarded this deserted Karaoke hall as the gorgeous background for shooting fasion belle,I saw in their pictures those lonely ghosts hiding in the dark seemed to be anxious to open their mouths and talk,I was suddenly seized by a whim and bought a 4X5 camera which I had never used before. Then I sneaked into this gloomy and still kingdom alone,put up my camera,infixed into the cover cloth,focused and discerned every detail carefully bit by bit,contracted to the smallest aperture,pressed the shutter release to expose for a long time. Just like the early photography described by Walter Benjamin in the 19th century,because of limited technology,the pictures must be exposed for a long time,they agglomerated a kind of "aura" which made the pictures possess a weirdness connected with a conjurator. I began to wallow in shooting the divine light emerged from the dark fastidiously which made the true images reflecting the realistic world minutely seem to overflow the abnormity.

The weird pictures taken at the obsolete Karaoke hall is more like the arranged setting than "on-the-spot record". These pictures illustrate the absurdity of the reality itself. They prove that even the most rational life style can walk into the unimaginable quaintness at any minute. The rising of Karaoke and the KTV culture in Asian conform a kind of comsuming style of spirits in the mass media era----the individual fulfills the double functions: he confirms himself by making use of the right of choice and reconstruction,while he keeps the value communication between the individual and the mass. In south and north,when people go to karaoke,they say they would like to "relax",which well demonstrates the function of the activity: the decompression valve of the excessive and almost overdraft city life. The function of the space is to let people run wild, besides the offering of the large charge of howling,spirituous liquors and the excited opposite sex,the space had better be the more grosteque the better, the farther away from the office and family the better,because people come here to forget. The demand opens out an interesting competition among the fitment circle of bar and Karaoke hall,which turns out to be the caverned picture of magical realism. Relaxation itself is a rational behavior to keep away the overdraft,however, relaxation walks up to the sensible overdraft,ease becomes overstrain. This simple truth can be seen at these places at a certain time.

拍摄《欢乐今宵》是一个偶然的开始,当我那些时尚摄影师朋友们,把这个废弃的卡拉OK当作拍摄时装美女的艳丽背景时,我却从他们的照片中看到了那些躲藏在暗处的落寞幽灵好象急欲开口说话。所以我突然心血来潮地买下了从未使用过的4乘5大画幅移轴相机,一个人偷偷溜进这幽暗沉静的王国中,将相机一架,钻进蒙头冠布中,一点一点仔细对焦辨清每一处细节,将光圈缩到最小,长时间地按住快门线爆光。就像本雅明描述19世纪的早期摄影,由于技术限制必须长时间暴光,从而在照片上凝聚了“灵光”,让照片看起来似乎有一种灵媒沟通的秉异,这些从黑暗中一丝不苟地浮现出来的现实世界之分毫毕现的真实影像仿佛也泛漾着诡异的灵光,让我从此不可救药的沉迷于此道。

荒废的卡拉OK厅摄影中怪异的画面如同是精心设计的置景摆拍,而不像是“纪实”。这些图片援引了现实本身的荒诞性。他们证明,最理性的生活方式自身,随时都会走到不可思议的离奇之中。卡拉OK和KTV文化在亚洲的兴起,整合出一种大众传媒时代的精神消费模式——个人在那里实现了双重的功能:既利用了对流行的选择权和改造权来肯定自我,又保持了个人和大众价值之间的交流。在南方和北方,人们说他们要到卡拉OK厅去“轻松轻松”,这很好地揭示了这种活动的功能:是过度理性的近乎透支的城市生活的减压阀。这个空间的功能就是让人胡闹,除了提供嘶吼的快感、带酒精的饮料和兴奋的异性,空间本身当然越怪诞越好,离办公室和家庭越远越好,人们到这里来就是为了遗忘。这种要求在酒吧和卡拉OK厅的装修业展开了趣味的竞赛,最终便是我们所看到的魔幻现实主义洞窟一般的画面。休闲本身是防范透支的理性行为,然而休闲在这里也走向感性的透支,放逸又成为一种过劳。这个简单的真相,只需要换一个时候来到这些场所就可以看到。

http://zeng-han.com/files/gimgs/27_happy-01.jpg
Happy Tonight #1 欢乐今宵 #1
140cm×180cm,Inkjet Print
http://zeng-han.com/files/gimgs/27_happy-02.jpg
Happy Tonight #2 欢乐今宵 #2
140cm×180cm,Inkjet Print
http://zeng-han.com/files/gimgs/27_happy-03.jpg
Happy Tonight #3 欢乐今宵 #3
140cm×180cm,Inkjet Print
http://zeng-han.com/files/gimgs/27_happy-04.jpg
Happy Tonight #4 欢乐今宵 #4
140cm×180cm,Inkjet Print