Alison Bennett 愛麗森．班奈特

Alison Bennett

 

愛麗森．班奈特

 

Alison Bennett is a visual artist investigating the theme of 'negotiated inhabitation'. She holds a BA (visual arts) majoring in photography from the UNSW College of Fine Arts and a research Master of Fine Arts from Monash University. Recent solo exhibitions include 'Cavity' at Horsham Regional Art Gallery January - March 2009, supported by the Victorian Government through Arts Victoria; the 'to occupy' series at the Vivid National Photography Festival in Canberra August 2008,  featured in the November 2008 issue of Indesign magazine and reviewed in issue 2.2 of Un magazine;  'Verticalism: gothic ceilings' reviewed in issue#24 of Artichoke magazine; 'In Ruins' exhibited at Platform2  featured on the cover of Arena magazine #78 and ANTIthesis journal #17; 'Woolsheds and Shearers' Quarters' reviewed by Philip Drew in Indesign #24; and 'Inside Hill End' reviewed by Charles Rice in Architecture Australia July 2004. Robert Nelson, reviewing 'Making Hay' in The Age 15 Nov 2006, compared her work to that of Walker Evans. She curated the group exhibition 'Frames of Reference' for Bathurst Regional Art Gallery 2005 and has works in the collections of the National Museum of Australia, the Historic Houses Trust of NSW and the City of Geelong.

 

愛麗森．班奈特是一位視覺藝術家，她藉著創作探討著「開通後的棲息地」主題。她於新南威爾斯大學的藝術學院主修攝影，並獲得視覺藝術學士學位，之後在蒙那許大學取得藝術學研究碩士學位。近年來的個人展覽包括：2009年一月至三月間於Horsham Regional Art Gallery的【Cavity】，由維多利亞省Victorian Government through Arts支助；2008年八月參與坎培拉Vivid National Photography Festival的【to occupy】系列展，此次個展為Indesign雜誌2008年十一月號的專題報導，而Un雜誌2.2號刊出此展覽的評論；Artichoke雜誌24期對【Verticalism: gothic ceilings】個展做出評論；【In Ruins】在Platform2 展出，成為Arena雜誌78期封面及專題，同時也是ANTIthesis期刊17期的專題報導；Philip Drew於Indesign雜誌24期中對【Woolsheds and Shearers’ Quarters】做出評論；而【Inside Hill End】的評論由Charles Rice執筆刊登在2004年七月的Architecture Australia中。Robert Nelson在2006年十一月十五日的The Age上評論【Making Hay】，並將她的作品與Walker Evans的作品相提並論。2005年她替Bathurst Regional Art Gallery策劃【Frames of Reference】團體展，工作經歷包括澳洲國家博物館收藏品部，新南威爾斯省歷史建築基金會，以及Geelong市。

 

 In addition to her visual arts practice, Alison also works as a scene photographer for a weekly street press newspaper and sometimes teaches digital imaging and screen culture at Deakin University and NMIT in Melbourne.

 

除了視覺藝術的創作外，愛麗森也替每週出刊的街頭報紙做風景攝影，並且在墨爾本的迪肯大學及北墨爾本技術學院兼職教授數位影像與影視文化。

 

http://www.facebook.com/l/dcf93;www.alisonbennett.com.au

http://www.facebook.com/l/dcf93;wp.me/pzFXx-aA

 

 

In addition to her visual arts practice, Alison also works as a scene photographer for a weekly street press newspaper and teaches digital imaging and screen culture at Deakin University and NMIT in Melbourne.

〔上面這一段是重複的，故無譯文。〕

 

"It's like an addiction, a compulsion. I search for these places, I network, I hustle. I read and I talk and I research. I'm good at it; its my special gift. I can be so charming, as only the addict or collector intent on their fix can be. I collect stories and memories in conversation and books. All in search of that moment of frisson, that shudder of intense excitement at encountering an extraordinary room, the thrill of being outside of regulated space. I know I'm not alone. You've left traces, you've written on the walls. Online zines such as Infiltration document your exploits, the evidence of being in places where you are not supposed to be. I am not so flagrant, unlike the boys who got inside the Roswell Silos or the man who collects photographs of hotel swimming pools. Those guys are practicing a more radical form of outsider archaeology. My challenge is to get people to say yes, to allow me into their ruins.”

 

「這像是一種癮，一種衝動。我找尋這些地方，我建立聯繫關係，我兜售著。我閱讀著且我訴說著又我探索著。這是我擅長的；這是我的獨特天賦。我可以是如此的迷人，就像只有當隱君子或收藏家專注於他們的勾當時所顯出的那樣。我收集言談中與書本中的故事與記憶。就是要求得那剎那間的震顫，遇見了令人意想不到的空間時那種極端興奮的顫慄，那種當再也不是處於規範空間中的激動。我知道我不是孤獨的。你已遺留下了軌跡，你曾於牆上書寫。就像Infiltration，個人網誌記錄著你的輝煌功績，證明了你曾身處在你不該出現的地方。我並不是如此的駭人聽聞，不像那些男孩們爬進了Roswell 圓筒榖倉，或像那男人收集著飯店游泳池的相片。那些人所做的是一種更為激進的外行的考古學。我肩負的挑戰在於使人們同意，讓我能進入到他們的廢墟之中。」〔譯註：Infiltration網站專門探索城市中限制一般大眾使用的空間，並曾出版Zine期刊，文中提及的Roswell圓筒榖倉與飯店游泳池相片是目前網站上的兩篇文章。〕

 

Review by The Age

Normally, photography also has the stability of a rectangle; but the photographic work of Alison Bennett stitches together many frames, so that you experience a surround-vision of interior space. The sense of the endless indoor panorama needn't be disorienting, but Bennett's inside world has no doors and has your head spinning as you look for co-ordinates.

 

The Age評論

通常地，攝影也有一種矩形的固定性；但愛麗森．班奈特的攝影作品將許多的畫面編結在一起，以致觀者所見的是內在空間的環景式影像。感受那種無邊際的室內全景不必然會使觀者喪失方向感，但班奈特的內在世界是沒有門的，當你開始尋求畫面協調時，暈眩感便開始出現。

 

Her images are made in the spookiest Victorian caves. There are signs that these rocky hermitages have been used at some stage for dwelling, perhaps by outcasts or bandits and certainly known by Aboriginal people for millennia. Given these wayward social, architectural and geographic dimensions, the conventional photographic rectangle no longer seems appropriate.

 

她的影像取材自維多利亞省最陰森詭異的洞穴。許多跡象顯示這些充滿岩石的荒野之地，在某個時間點曾被當成居所，也許是那些被社會驅逐的人或是盜匪之徒，而數千年前的原住民早已知道這些洞穴的存在。被賦與了這些難以處理的社會性、建築性與地理性觀點，傳統的矩形影像似乎再也不是適當的了。