25年前，英國策展人、作家瓦爾·威廉姆斯(Val Williams)的《誰在看這個(gè)家庭?》該展覽于1994年在巴比肯博物館開幕，這次新展覽將這個(gè)問題帶入了現(xiàn)代語境。 備受贊譽(yù)的英國藝術(shù)家，如大衛(wèi)·摩爾(David Moore)、特里西·莫里西(Trish Morrissey)和Léonie漢普頓(Léonie Hampton)等，都是首次在倫敦展出的藝術(shù)家，其中包括墨西哥城的瑪麗拉·桑卡里(Mariela Sancari)、泰國出生的藝術(shù)家阿爾巴·扎里(Alba Zari)、伊朗藝術(shù)家阿馬克·馬哈茂迪安(Amak Mahmoodian)和來自南非的勒博漢·卡干耶(Lebohang Kganye)。 其中的一些亮點(diǎn)包括路易斯·奎爾(Louis Quail)的《老大哥》(Big Brother)，它將他哥哥與精神分裂癥的日常斗爭濃縮成一幅親密的肖像照片，以及湯姆·布里奇(Thom Bridge)的《一只耳朵》(One Ear &“兩眼”是展出的兩張照片，這樣就不會(huì)被同時(shí)看到，重新記錄了他和他的孿生兄弟14歲時(shí)在護(hù)照上拍照的時(shí)間。 瑪麗埃拉·桑卡里的莫伊塞斯沉思了她的父親，她的父親在她和她的雙胞胎妹妹14歲時(shí)自殺了，她在媒體上登廣告尋找和她父親年齡和外貌相同的男人，后來她的父親成為了她工作室重現(xiàn)的模特。 與此同時(shí)，勒博航·卡甘耶的電影《客拍騰》也提出了一個(gè)重要的觀點(diǎn):家庭照片不僅僅是對(duì)已經(jīng)發(fā)生的事件的記錄，它們也是一個(gè)空間，讓我們投射我們可以回憶的東西，甚至是重新創(chuàng)造歷史。 策展人蒂姆·克拉克(Tim Clark)說:“家庭不僅是人們之間的一個(gè)偉大的平等，而且作為一個(gè)主題，為當(dāng)今攝影實(shí)踐和視覺文化中的知識(shí)探索提供了一個(gè)非常豐富的領(lǐng)域。”“這里展示的藝術(shù)家們都展示了令人興奮的和創(chuàng)造性的講故事的方法，提供了敘事的門戶，我們可以通過它來反思家庭經(jīng)歷的輪廓。” 現(xiàn)在是誰在看著這個(gè)家庭?將于2019年1月16日至20日在倫敦藝術(shù)博覽會(huì)上展出。

25 years on from British curator and author Val Williams’ seminal Who’s looking at the family? which opened at the Barbican in 1994, this new exhibition puts the question into a modern context. Acclaimed British artists such as David Moore, Trish Morrissey and Léonie Hampton are featured alongside artists on display for the first time in London, including Mexico City-based Mariela Sancari, Thai-born artist Alba Zari, Iranian Amak Mahmoodian and Lebohang Kganye from South Africa. Just some of the highlights include Louis Quail’s Big Brother, which distils his brother’s daily struggle with schizophrenia into an intimate photographic portrait, and Thom Bridge’s One Ear & Both Eyes, a pair of photographs exhibited so that they cannot be seen simultaneously, restaging the time he and his twin brother had their passports photographs taken, aged fourteen. Mariela Sancari’s Moises offers a meditation on her father who committed suicide when she and her twin sister were fourteen years old - she advertised in the press for men that would have been the same age and appearance as her father, who then became her models for studio re-enactment. Meanwhile, Lebohang Kganye’s film Ke sale teng frames an important point: that family photographs are more than just documentation of an event that has occurred, they are also a space for us to project what we can recall, or even to reinvent histories. "Family is both a great leveller amongst people and as a theme, offers a very rich terrain for intellectual exploration within photographic practice and visual culture today,” says curator Tim Clark. “The artists presented here all demonstrate exciting and inventive approaches to storytelling, offering narrative portals through which we might reflect on the contours of familial experience.” Who’s looking at the family, now? will show at the London Art Fair 2019 from 16 to 20 January.