相關(guān)展覽將在4月10日上海鯤鯉畫廊展出，敬請(qǐng)關(guān)注。

You grew up in Peru, I guess from your work Zapallal|Yurinaki that your childhood must have great influence on your photography style, could you share with me?

你在秘魯長大，你的作品薩帕亞爾與尤利納奇讓我感覺你的童年一定對(duì)你的攝影風(fēng)格產(chǎn)生了很大影響，能和我們說說嗎？

When I was a child I loved to tell stories. Sometimes, these stories only happened in my imagination...I remember how my mother got worried about me telling lies. That might be something pretty natural in a child, but looking back on that I realized that what I do nowadays with photography is pretty similar, of course I don't think I'm telling lies with my images - don't get me wrong, but with time I've learned how to channel my imagination in order to create a visual narrative that is based on actual social and political issues. I believe, that another major influence has been Latin American literature, I remember my school times when we had to read poems of Cesar Vallejo, 100 years of solitude by Gabriel Garcia Marquez (several times), Pablo Neruda, Jose Maria Arguedas, Mario Vargas Llosa and Jorge Luis Borges.

當(dāng)我還是個(gè)小孩子的時(shí)候我就很喜歡講故事，這里面有些故事完全出于我的想象。我還記得當(dāng)時(shí)我媽媽非常擔(dān)心，因?yàn)樗X得我這是在說謊。我想這是每個(gè)小孩子都會(huì)有的天性，但現(xiàn)在回首我發(fā)現(xiàn)我今天所做的攝影和當(dāng)初有很多相似之處。當(dāng)然我不覺得我在用鏡頭說謊，不要誤會(huì)我，我只是在歲月中懂得了如何運(yùn)用自己的想象力，通過影像來反映實(shí)際的社會(huì)和政治問題。我相信拉丁美洲文學(xué)對(duì)我也有同樣重大的影響，上學(xué)的時(shí)候我們要求誦讀巴列霍(Cesar Vallejo,)的詩，馬爾克斯(Gabriel Garcia Marquez)的百年孤獨(dú)(讀過幾遍)，聶魯達(dá)(Pablo Neruda)，阿格達(dá)斯(Jose Maria Arguedas)，巴爾加斯?略薩(Mario Vargas Llosa)和博爾赫斯(Jorge Luis Borges)的作品。

I was always a visual person and that's why I didn't find the idea of reading these books so attractive back then. But since I believe there are a lot of similarities to the way I interact with images and Latin American literature, I have been re-reading books written by these authors in the last years and I've been trying to analyze them from another perspective. I mean from a story-telling perspective: how to handle the characters, how to show or describe surroundings and moods; how to invite the viewer deeply into the story.

我是一個(gè)注重視覺的人，所以當(dāng)時(shí)我并不覺得這些文字的東西有什么迷人之處。但當(dāng)我開始發(fā)覺影像和拉美文學(xué)之間的相似之處，去年我重新拾起了這些書，我試圖用新的觀點(diǎn)來分析他們。從敘事的角度出發(fā)，理解文學(xué)作品如何塑造人物形象，刻畫人物內(nèi)心；如何引導(dǎo)讀者深入故事內(nèi)在。

I've found a intense tendency in your work to show the natural state of your subject, is that the name "As they Are" comes from? How do you get into this kind of style.

我覺得你的作品十分傾向于去表達(dá)被攝對(duì)象的自然狀態(tài)，這是本次展覽名字彼處人生的由來嗎？你如何形成這樣的風(fēng)格？

Well the process is rather a straightforward one, most of my images are staged, kind of set-ups of the everyday, of the familiar and the ordinary. Most of the time, I make an appointment with my subject, shoot several rolls of a specific image or situation that I want to explore. Generally speaking, I'm interested in my subjects’ sense of vulnerability. I feel that it is something that is alive in a lot of people, and in order to get them into a state of embracing this feeling in front of the camera, we have to go trough an up-building process of trust and confidence. But to be completely honest with you, I don't have a fixed method I repeat every time I shoot, since I have to approach different people in different ways, and with time, this process gets really intuitive. Now I'm actually more interested in when to stop shooting!

這是一種自然而然形成的表現(xiàn)形式，我的大部分作品都是擺拍的，日復(fù)一日的生活構(gòu)成了這些照片的場(chǎng)景。大部分時(shí)候聯(lián)系好拍攝對(duì)象后，我會(huì)就我感興趣的一個(gè)影像或情景反復(fù)拍攝?；\統(tǒng)的說，我喜歡表現(xiàn)我被攝對(duì)象脆弱的一面。我想每個(gè)人都有自己脆弱的一面，為了讓他們進(jìn)入狀態(tài)在相機(jī)前展現(xiàn)這一面，我們需要進(jìn)行很多的溝通建立相互之間的信任關(guān)系。坦白的說，我每次拍攝時(shí)并沒有既定的條條框框，而是跟著感覺走，依天時(shí)地利達(dá)到最終的人和。事實(shí)上我現(xiàn)在更希望知道我應(yīng)該何時(shí)停止拍攝。

You've mentioned truth, lies, everyday life and staged life. How do you tell them apart? How do you get to know your subject's living, and how do you ask they to act as they are?

你提到了真實(shí)和謊言，現(xiàn)實(shí)與擺拍。你如何將他們區(qū)別開來？你如何了解你對(duì)象的真實(shí)生活，讓他們?cè)阽R頭中展現(xiàn)他們的彼處人生？.

Well I will definitely not tell them to act as they are! As a result I would have a picture of someone trying really hard to act normal...

我并沒有要求他們展現(xiàn)自己的生活，我只是想要讓他們表現(xiàn)的盡可能正常。

Truth in photography can be really trivial since it's one of the closest reproductions of reality.
I rather see photography as an expression of a mental process, that being said, all I can do with my images is suggest. I can suggest what might it be to experience a narrative about Identity, as I did with "Conditions", for example.

真實(shí)這個(gè)概念對(duì)于攝影來說并沒有必要過度強(qiáng)調(diào)，攝影本來就是最接近真實(shí)的再現(xiàn)手段之一。我更愿意把攝影視作一種表現(xiàn)內(nèi)心活動(dòng)的手段，或者說這是我的作品唯一能做到的。例如說讓人們以視覺化敘事來體驗(yàn)身份的概念，這就是我在作品“狀態(tài)”中想要表現(xiàn)的。

I don't look for truth with photography, but I strongly believe in the messages I try to convey with my images. When I'm photographing someone rather than trying to show who this person really is, I try to create an intimate atmosphere where the viewer is invited to reconsider new aspects that he normally wouldn't.

我并非以攝影來尋找真實(shí)，但我堅(jiān)信我以影像所試圖傳遞的信息。我在拍攝一個(gè)人的時(shí)候我并非想要表現(xiàn)這個(gè)人的真實(shí)一面，而是想要?jiǎng)?chuàng)造一種曖昧的氛圍誘使觀眾思考他通常所不能表現(xiàn)出的一面。

Where do the images in the show in kunst.licht named “As they Are” come from, it's not included in your existing project.

在鯤鯉國際影廊的展覽《彼處人生》包含了哪些作品？這并不是你已有的攝影項(xiàng)目。

"As they are" is a compilation of two of my series, "Zapallal|Yurinaki" and "Conditions" but the gallery was in charge of the presentation and edit...

彼處人生是薩帕亞爾與尤利納奇和狀態(tài)兩組作品的綜合，但是由畫廊決定作品的布置和編輯。

As I know, most photographer don't like others to pick up images for personal exhibition. How do you see that? Will you feel uncomfortable about this? If their editing failed you, will you keep silence or tell them your idea?

就我所知，很少有攝影師愿意他人插手決定自己個(gè)展中的作品。你怎么看待這個(gè)問題？你是否會(huì)因此感到不適？如果他們挑選的作品讓你不滿，你會(huì)保持沉默還是實(shí)話實(shí)說？

It's a very tricky question, I think that if someone would like to make a show with (some) of my images, they already are informed what my work is about. There has to be a good communication between the photographer and the Gallery, but the photographer has to be aware what kind of show is the one he is taking part of.

這個(gè)問題很難回答，我想如果有人愿意展出我的作品，那么他們至少首先應(yīng)該了解我的作品。攝影師和畫廊之間應(yīng)該有一個(gè)良好的溝通，攝影師也應(yīng)該了解自己所參加展出的性質(zhì)。

There are shows where a photographer is invited to take (almost) 100% of the decisions regarding the presentation on the wall, and there are other shows, where the curator and Gallery team have a vision and would like to invite you and your images to communicate a certain idea. I feel comfortable with both of these approaches as long as there is good communication but if I notice some misunderstandings I definitely try to clarify things.

有些展出攝影師基本能完全決定掛在墻上的每一幅作品，但有些展出策展人和畫廊團(tuán)隊(duì)有自己的預(yù)想，他們邀請(qǐng)你是為了用你的影像來傳遞這種理念。只要溝通得當(dāng)，我覺得兩種情況我都能接受。但如果我覺得大家之間出現(xiàn)溝通問題，顯然我會(huì)盡量把問題說清楚。

You've mentioned workshop in Shanghai, is workshop another important way of your style? What's your workshop alike?

你提到希望在上海展出的同時(shí)舉辦一次研討會(huì)，研討會(huì)是你風(fēng)格中另外一種很重要的部分嗎？這是一次什么樣的研討會(huì)？

My work deals with norms of behavior in their cultural and social context. Interacting with people is one of my motivations! That's why giving a workshop can be very exciting for me; I can't only review others people's work, something which I have to do in order to understand their approach to photography. But the workshop gets really interesting when we start working as a group and channeling our creativity and knowledge in the same direction, depending on the aims of the work that is to be presented. It would be great to get enough people interested in the workshop in Shanghai! If we make this happen, the workshop will have a theoretical and technical side, a part of the workshop will be about external lightning and staged photography.

我的作品著力于人們?cè)谔囟ㄎ幕鐣?huì)背景下所表現(xiàn)的行為規(guī)范，和不同人打交道是我的最大興趣之一。這就是研討會(huì)讓我興奮的地方。我不僅僅是評(píng)價(jià)人們的作品，我還想要去了解他們對(duì)攝影的看法。當(dāng)我們把自己看做一個(gè)團(tuán)隊(duì)，朝著共同方向溝通我們的靈感與知識(shí)，研討會(huì)才真正變得有意義。我很希望上海的這次研討會(huì)能吸引更多人的興趣。如果可以的話，我會(huì)將一些攝影理論和隸屬方面的東西，會(huì)談到人造光源的運(yùn)用以及攝影擺拍。

I conjectured that it would be a workshop about communication, because I've seen a lot of that in your portfolio, but you also mentioned technical side. How do you see technology in photography? Is this an important part for you?

我在你的作品中看到了很多的溝通與交流，所以我猜想這會(huì)是一次關(guān)于溝通的教學(xué)交流。但是你剛才也提到了技術(shù)層面的問題，那么你如何看待攝影中的技術(shù)？這對(duì)你來說重要嗎？

Well, technology is really not that important for me...the results are what I'm interested in. However, I do think it is important to take consequent decisions regarding the technology (cameras/lenses - digital/analog) you use to develop a project.

事實(shí)上技術(shù)對(duì)我并沒有那么重要，我關(guān)心的是結(jié)果。但我覺得你在項(xiàng)目推進(jìn)以前必須首先考慮好技術(shù)因素，例如說所需要的相機(jī)及鏡頭、拍攝數(shù)碼還是膠片等等，這些確實(shí)很重要。

Money is a big issue in photography, it can get really expensive to develop a project, print it, frame it and (maybe) create a book out of it. (And here we are not taking into consideration all the money you’ve already invested in equipment.)

錢對(duì)于攝影來說是個(gè)大問題，先不提在器材上所需的投資吧，拍攝要花錢、輸出作品要花錢、裝裱要花錢，如果你計(jì)劃出書還得要花錢。

But don't just start shooting digital because you want to save money, and don't present only big prints in a show because you happened to have the money to do so. Every picture has its size, it can be small or big, but I strongly recommend NOT to take these decisions depending on how big or small your income is.... It can be a really long and painful process but it is important that at the end the results (the images and the presentation on the wall) reflect your intentions and ideas behind the project.

但是不要為了省錢就去拍數(shù)碼，不要因?yàn)槟阌泻芏噱X就把照片做得很大。所有照片都有適合自己的尺寸，有的大有的小，但這并不是由你荷包的尺寸決定。這是一個(gè)蠻長而痛苦的過程，但只有這樣才能最終結(jié)果(懸掛在墻上的影像)反映出你項(xiàng)目背后的意圖。

But as the galleries push the images bigger and bigger, how could you keep conscientious about this problem? How do you decide your works size?

但畫廊正推動(dòng)著攝影作品向著更大的趨勢(shì)發(fā)展，在這種情況下你如何警醒的面對(duì)這一問題？你是怎么樣確定自己作品尺寸的？

The Gallery shouldn't push the images...they photographer/artist should do it.

作品尺寸不應(yīng)該由畫廊決定，而是由攝影師或藝術(shù)家決定。

There are even photographers who have 3 different sizes for one picture...I really don't quite understand that. Well, I do understand that, but only from a marketing point of view. It seems that people start playing with several sizes just to attract more potential buyers, but that's not the point of doing a photographic project. Selling is important, since we all have to cover our expenses, but on the other hand, I have colleagues that are starting to shoot landscapes just because portraits don't sell that well, that is just ridiculous. 

有些攝影師甚至一幅作品會(huì)制作三個(gè)不同尺寸的版本，我很不理解這是為什么。當(dāng)然，從市場(chǎng)角度來說我還是能理解他們的。也許他們覺得不同尺寸的作品能夠吸引更多的潛在買家，但這并非做攝影項(xiàng)目應(yīng)有的態(tài)度。作品銷售確實(shí)很重要，因?yàn)槲覀兌家窟@過活；但當(dāng)我眼看著一個(gè)個(gè)同行們就因?yàn)槿讼褡髌凡缓觅u就開始改行拍風(fēng)光，我感到十分可笑。

When I start thinking about a size for my images, I try to look back on the ideas behind the project. That's why every project has his size.

我在確定自己作品尺寸之前，首先會(huì)考慮這組作品背后的理念，所以我的每組作品都有屬于自己的尺寸。

For the series "Zapallal|Yurinaki" I was interested in social development within the slums in Perú and the similarities with the life in the countryside. Every single element and the characteristics of those surroundings was relevant, that's why the print size is pretty large (at least in my standards!- 120cm wide)."Conditions" was printed in three different sizes. That allows me to present the work more poetically, I wanted to mark some accents on the wall, no beginning nor end, just create spaces within a space where the viewer has to take his own decisions regarding his approach towards the work. "Conditions" is about that, about making decisions, about ones we might or might not have taken, about claiming a stake.

對(duì)于薩帕亞爾與尤利納奇這組作品來說，我首先感興趣的是秘魯貧民區(qū)的發(fā)展?fàn)顩r及其與鄉(xiāng)村生活之間的相似之處。照片中的每一點(diǎn)元素都有自己的特點(diǎn)，都與環(huán)境相關(guān)，所以我必須把照片做到很大。一米二寬對(duì)于我來說真的很大。而狀態(tài)這組作品有三個(gè)完全不同的尺寸(見圖)，這樣做能以更加詩意的方式呈現(xiàn)我的作品。我希望作品能在墻上表現(xiàn)出平仄韻律而不是開始或結(jié)尾，空間與空間之間的空隙讓觀眾有余地選擇觀看作品的方式。這正是狀態(tài)這組作品想要表現(xiàn)的，關(guān)于決策，關(guān)于我們害怕做出的決策，關(guān)于我們勇敢做出的決策。