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CHIARA GOIA

КЬЯРА ГОЙЯ

Chinese Artist Reproducing Classical Sculptures

Chiara Goia chinese artist reproducing classical sculptures

source: tyylit

In her series “sculptors village”, italian photographer Chiara Goia documents the labor of intensive, highly-specialized, and surreal reproduction of copies of more or less famous sculptures.

The sight of the local artisans chiseling out faux reproductions of Michelangelo’s David and replicas of the ancient greek masterwork Venus de Milo under layers of white powder give the photos an ethereal feel.

Dong Cheng, in China, is a village where every commercial activity turns around the reproduction of more or less famous sculptures. In this context, the creators of these “fakes” assume a marginal position and then almost disappear behind the “real” authors that they copy. Even more oddly, they end up blending with the same reproductions they have been molding and portraying. Reproductions of something that is already reproducing something else. A person in most of the cases.

What is “fake”? Couldn’t we define these people “artists”? Aren’t the hands and the craft of these living sculptors, who are fullfilling a very physical and tangible job, making these objects? What is the boundary between art/craft/reproduction/fake? In Dong Cheng this borderline seems to vanish and shade to the eyes. Nothing is completely legitimate, or fully illicit.

Born and raised in Italy, after classical studies Chiara graduated in Communication and Political Science in Milan while started to grow her passion for photography. In 2006 she moved to New York where she attended the one-year certificate program in documentary photography and photojournalism at the International Center of Photography. In 2008 she was selected for Reflexions Masterclass, a long-term seminar held by Giorgia Fiorio and Gabriel Bauret, experience that has been giving her the opportunity to reflect on different themes and develop new bodies of work.

Amongst her recognitions are the Sony World Photography Award in Arts and Entertainment, the Canon prize for emerging photographers and she was named as one of the PDN’s 30 in 2009. Her work has been exhibited in numerous venues in USA, Europe and Asia. Her clients include The New Yorker, The New York Times Magazine, National Geographic, Time, Le Figaro Magazine, Vanity Fair, among many others.
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source: weiart

美术院校或公共场所大量使用的石膏雕塑来自哪里?摄影师Chiara Goia用镜头记录下了中国某地雕塑村里的繁忙景象。整个村镇好似脱色的世界,满满都是灰白。浮尘中工匠们的头发上、衣服上也落满了尘土。高大健硕的雕塑与工匠们佝偻的背形成了鲜明对比。
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source: e-skop
Neredeyse tüm ticari faaliyeti, tanınmış klasik heykellerin kopyalarının üretimiyle sınırlı bir köy. Burası kendine özgü, tuhaf bir yer. Mükemmele yakın kopya heykeller alelade atölyelerde, molozlarla çöplerin arasında. Biricik başyapıtların birkaçı birarada; besbelli ait oldukları yerde değiller. Fakat her şeyi ve her yeri kaplayan mermer tozundan örtünün altında garip bir şiirsellikleri var. İtalyan fotoğraf sanatçısı Chiara Goia’nın Dong Cheng’de çektiği fotoğraflar bu şiirselliği yansıtıyor.
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source: propertikompas

Pemandangan itulah yang dipaparkan oleh fotografer Italia, Chiara Goia. Goia menangkap serangkaian gambar yang mendokumentasikan kegiatan padat karya dan sangat khusus, yang menurutnya sebagai komunitas aneh, terdiri dari para pematung desa.

Goia memotret kerja mereka membuat patung-patung klasik dengan cara “menyamarkan” dalam lapisan tebal bubuk putih yang menyelimuti lokasi kegiatan. Ia menggambarkan suasana para seniman lokal di tengah-tengah kesibukan mereka memahat atau lebih tepatnya “mereproduksi” patung-patung seperti “David”, salah satu masterpiece Michelangelo dan replika dari karya besar Yunani kuno “Venus de Milo”.

Memang, terbilang aneh menyimak subyek foto-foto di sekitar lokasi ini. Sebutlah misalnya, hadirnya patung “David” yang berdiri di depan sebuah bangunan tradisional China, berdekatan dengan sepeda motor yang dipakai. Tak diragukan lagi, benar-benar terasa aneh!

Goia merasa, para pengrajin yang bekerja di situ melakukan kerja memotong dan mengukir dengan hampir sempurna dari patung-patung aslinya. Namun, menurut dia, peran mereka sebagai pencipta, lepas dari urusan produk palsu yang mereka berikan, tetaplah sebuah seni.

Ia mengaku, dari perjalanan ini dirinya merenungkan batas-batas antara seni rupa, kerajinan, imitasi, dan kepalsuan.

“Tidak bisakah kita mendefinisikan seniman orang?” ujarnya.
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source: artfashion

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