å¸¶ä½ å¼µé–‹å¤¢æƒ³çš„è¬èƒ½ç¿ è†€ - Jan von Holleben

PHOTOGRAPHY ART
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PHOTOGRAPHY ART
還 記 得 小 時 候 做 過 什 麼 夢 嗎 ? | Jan von Holleben 帶 你 張 開 夢 想 的 萬 能 翅 膀
1977
30
Dreams of flying
1977
Cologne, Germany. Lives and works in
London and Berlin.
Awards
2007
Anuário do clube de Criação, São Paulo
Art for Aid Award, Unicef & Sothebys, Amsterdam
DPIC Award, Hellenic Photographic Society,
Athens
Winner - Best Corporate Publishing Award
/ Munich
Finalist - Cedefop Award/ Thessaloniki
Gold Winner - PX3 Photography Award /
Paris
2006
International Photography Award, Los
Angeles
Pilsner Urquell Ambassador for Contemporary
German Photography, Cologne
Young Portfolio Award, Kiyosato
Magenta Award, Toronto
Honours - Hyeres Festivale de la Photographie,
Hyeres
Gold Winner - Life Style - Lead Awards,
Hamburg
Festimage, Chaves
還 記 得 小 時 候 做 過 什 麼 夢 嗎 ?
Jan von Holleben
帶 你 張 開 夢 想 的 萬 能 翅 膀
Selected Solo Exhibitions
2007
Wir werden immer grösser, Galerie Robinson,
Paris*
Wir werden immer grösser , Peter Hay
Halpert Fine Art, New York*
11 -21, NeunPlus, Berlin (book)
Dreams of Flying, V&A Museum of Childhood,
London
Public Collections
Kiyosato Museum of Photograhic Arts,
Kiyosato
Victoria & Albert Museum of Childhood,
London
在 Jan von Holleben 的 作 品 中 想 像 力 完 全 沒 有 侷 限 , 創 意 可 以 征 服 一 切 ! 長 大 以 後 你 最 想 做 什 麼 ?
泰 山 或 太 空 人 ? 小 精 靈 或 超 人 ? 就 讓 魔 法 師 Jan 揮 揮 魔 法 棒 , 讓 你 的 夢 想 通 通 成 真 !Jan 運 用 獨 特
的 巧 思 和 技 巧 , 在 平 面 上 建 造 出 如 畫 般 的 立 體 場 景 , 他 歡 迎 大 家 試 著 自 己 拍 拍 看 , 將 照 片 寄 給 他
就 可 以 成 為 他 「 飛 翔 之 夢 」 計 畫 的 一 份 子 唷 !
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01 Dreams of FlyingThe Peter Pan
xyz@janvonholleben.com
www.janvonholleben.com
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還 記 得 小 時 候 做 過 什 麼 夢 嗎 ? | Jan von Holleben 帶 你 張 開 夢 想 的 萬 能 翅 膀
傳 承 自 父 親 的 攝 影 魔 法
dpi
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沒 有
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www.photodebut.org.
dpi: Please tell us how you got involved with the photographic
world? Who inspired you to become a photographer?
My father studied photography and eventually became
Director of Photography at a German Television Station.
In his early years, before he started working with moving
images, he produced a lot of very exciting photography
which was rather personal and non commercial. He experimented
a lot with the technologies of photography
and his work was always on display at home. I was fascinated
by the magic of it and was keen on learning more
about it, I wanted to become the wizard’s apprentice and
learn everything about the medium, tell stories, work with
people and make even greater magic! With the age of
13 I got my first camera and started shooting. For the next
10 years I spent an enormous amount of time, energy and
money on documenting not only my entire environment
and my friends, but also learning the trade, the techniques
and the secrets of photography. I researched and enjoyed
many great photographers and tried to understand
their visual voices. I assisted a commercial photographer
for 3 years and learned the technical skills and how to run
a business. He was a brilliant commercial photographer
and teacher. For him: No idea or commission was too difficult
or impossible.
Age 23 I went to University in England and studied: ‘History
and Theory of Photography’ .. that was it.. I was lost and
found in photography.
After that I moved to London and started working in
photography as picture editor in a photo-agency, photographic
director for a magazine and later on at an exciting
agency for photographers and creatives. I set up
my own photographers collective: www.photodebut.org.
From my very first day in the UK I already did smaller editorial
commissions.. and over the years they became more
and more.
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67
dpiWhen did your current photographic style begin?
How did you come about it?
During my Assisting Years (20-23 years old) and at University
I tried everything in photography I could think of..
and then, suddenly.. I was fed up with all techniques.
I wanted to reduce everything.. just work on my ideas
and my visual grammar. I picked up a snapshot camera
and started shooting without looking through the view
finder… just guessing the picture.. I did this for a year..
and just worked very hard on the editing of the images
afterwards. .. that was an amazing practice and trained
me in distancing myself from my work. Then I started
looking through the viewfinder again… and I found a
style which I liked.. but still needed to work on it for another
3 years until I really understood what I was doing
and why I was doing it. It became a very personal and
emotional journey (All these years I kept working with
4x5inch cameras, 6x7 and Digital alongside my own
snapshot-camera experiments… I didn’t feel confident
enough to test my newly discovered style on editorial,
commercial or test shoots)
按 下 快 門 前 的 自 我 思 辯
dpi
dpiWhat elements of a picture do you care the most
about when you take it?
It’s the entire image as a whole. I neglect the technicalities
(as I can rely on them anyway). I just think: THE PIC-
TURE and the VIEWER. I think with every image I do: Does
this picture work for someone else? Do they understand
what I want to say? Would I understand this picture if
someone else would have show it to me? … Why does it
not work just yet.. ahhh .. that’s how it works.
And then I have a new picture!
關 於 「 飛 翔 之 夢 」 系 列 作 品
dpi
dpiRegarding your ‘Dreams of Flying’ Series: What’s
your main motive for this series?
It is that the idea of ‘Childhood’ is always a joint experience
between grown ups and children. Children do not
know what it means: Childhood - they are in the middle
of it and don’t really care about it. Grown ups have
purely nostalgic memories of that time of which they are
no longer part of.
It is also about the amazing time of life when everything
is free and amazing and great and new and everything
is possible. I believe that we don’t need to loose that
freedom when we grow up. We can still keep it. Just in
a different frame work... BUT WE CAN KEEP IT FREE and
AMAZING and can learn something new every day and
have adventures every day!
dpi
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逃 出 技 術 的 牢 籠
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04
02
05
02 Wir werden immer grösser stuck
03 Dreams of FlyingThe Superman
04 Dreams of FlyingThe Strong Men
05 Dreams of FlyingThe Tarzan and Jan
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還 記 得 小 時 候 做 過 什 麼 夢 嗎 ? | Jan von Holleben 帶 你 張 開 夢 想 的 萬 能 翅 膀
dpiIn your work, the scene of every picture is really
unique; would you please tell us how you create a
scene? Do you always premeditate a story before taking
a picture?
Yes. I always have the idea of a story first. Then I spend
a lot of time sketching out the image and thinking
about the best trick how to do it. I try to make it a
worthwhile picture with a hint of magic, for people to
stay with the image for a bit and maybe even understand
something of what I want to say. I don’t want to
avoid creating any image that has been taken before.
That’s a waste of time and too many people waste
their energy copying others. I need sketches to be sure
about what I do – it’s a visual rehearsal. Looking at my
sketches: The better they turn out, the more confident
I am taking the picture afterwards. With a sketch in my
hand, a shoot usually takes 15 to 30 minutes only.
dpi
dpiNone of your work is taken in a straight forward
way, but you make children act like they are really moving!
That’s really amazing and interesting! How do you
direct them? Do you have any secrets in order to get
them involved in your scene? What’s the most important
aspect while directing your children?
We are friends, they are my neighbors, and we trust
each other and we know that we can only manage
this work together. It is a game and they understand the
rules perfectly. They have loads of fun and usually come
running as soon as I am home and ask when we take
the next picture.
Another vital aspect is that before studying photography
I was involved with a different education. Over
years I wanted to become teacher for handicapped
kids (my mum being a child therapist). I thought photography
is too tough and challenging, but hey, at some
point I suddenly understood that Photography is it. Nowadays
I can use my skills to work with kids really well! I
also understand that teaching can be much tougher at
times than photography!
dpi
Wir werden immer grösser
dpiiDo you always choose children as your actors? Have
you ever thought about choosing adults? Why or why not?
I work a lot with grown ups. See my work: ‘Wir werden
immer grösser’
But it is a very different way of working. However both
ways of working inform each other. Kids teach me ‘Freedom’
and with grown ups we exchange ‘Knowledge &
Experience’. Mixing both is a great pleasure and both
are essential parts of my work. It always depends on
the concept of the recent work. I am very anal about
the details.. and the casting for my images is very vital.
So sometimes kids are the best, sometimes grownups…
sometimes my best friends.. or sometimes complete
strangers.. it really depends on the project!
06 07
08
09
06 Wir werden immer grössersuper roly
07 Wir werden immer grösserbig fat white lady long leg
08 Wir werden immer grösserThe Muckiest
09 Wir werden immer grösserfeeeeeet
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還 記 得 小 時 候 做 過 什 麼 夢 嗎 ? | Jan von Holleben 帶 你 張 開 夢 想 的 萬 能 翅 膀
dpi
Syphnos
Sodawaterfireworks
wir
werden immer grösser
dpiWhen you create a series of new work, how long
do you spend on it in average? What is the most difficult
thing while you are working with photography?
The times I spend on projects can vary from a project
which I think of in the morning and shoot in the afternoon
(The Sodawaterfireworks – I woke up, contemplated
about the idea for an hour before getting up,
talked to my nearby friend, went shopping Sodawater,
asked two more friends and off we went and took these
pictures – I love them.. also just for that instant result of
happiness). Or it can take forever.
The ‘Dreams of Flying’ started 5 years ago and I still keep
on shooting. This is a similar approach with ‘Wir werden
immer groesser’ and other projects.
There is hardly any project which I would call: Finnished.
There is no need for it!
Difficulties?? For the Photography: There are no difficulties.
The only challenges are inside my own head and
obviously the administrative part of my work. I just want
to shoot and wish for my own producer and manager to
materialise very soon. Having a gallerist and an agent is
sadly not enough!
影 像 跑 馬 燈 ‧ 一 年 一 百 本
dpi
dpiWhat inspires you in daily life?
Just everything. I am mostly inspired by the people surrounding
me, contemporary music and arts. There is an
exciting and fruitful tension between the places I move
between. Living and working in big cities exposes me
to all sorts of culture. It’s very fast and colourful. In opposition,
spending time in my home country side, I am
confronted with a socially strong and relaxing environment
with neighbors, friends and nature. I am a visual
and emotional person and not too good in general politics
and numbers or names. I can easily forget things but
I never forget an image. Commercial advertising is very
exciting to me. At its best, commercials are the highest
art of visual magic. I look at any bill board in the street
(this is probably a very annoying habit for my friends, as I
keep on stopping in front of any other poster when walking
in the streets). I look at 100s of magazines a year, just
the images, and I try to understand how they all work
and communicate. I deconstruct them and work out
their recipes.
I guess if I have a particular focus, it is looking at various
forms of communication and relationships and how
both work together. Language is fascinating to me
– spoken, written and visualized!
最 放 鬆 的 美 好 時 刻
dpi
dpiTo you, what would be the best moment of a
day?
The Morning.. when I have sooooooooooooooo much
time to think of soooooooooooooo many pictures! I
have usually very relaxed mornings and give myself time
for waking up and get going. (I usually work very late at
night)
the astronauts
dpiWhich work is your most impressive one of this series?
Have any interesting things happened while taking
those photos?
I think that ‘the astronauts’ are a great shot.
There are about 6 kids on the set having fun. When we
set up the background, they already started the game
of planets circulating (which I obviously had to stop
them doing at some point in order to take a still image)
We had two helmets, so the kids had to take turns. Then
they started playing StarWars and floated trough Outer
Space, hiding behind planets and shooting each other.
I took a lot of images and all in all it probably took us an
hour. That was a very funny and long shoot!
與 靈 感 相 撞 的 事 發 現 場
dpiItll happen here
dpiFrom the series “It’ll happen here” which one is
your favorite and why?
It is the one with the red goal post called ‘Syphnos’. I
took it on a Greek Island on a very sad day. I was sad.
We had a car and drove across the island when I saw
the goal post in that bleak countryside and the blue
sky… and I had to get out, crab my camera and take
this picture. Afterwards I was only half as sad as before.
It actually made me very happy!
不 要 管 我 怎 麼 成 長 !
dpiwir werden
immer grösser
Wir werden immer grösser
dpiCould you talk about the series “Wir werden immer
groesser”? What do you emphasis the most in that
project? Where did you take the images? Which one
could represent your concept the most?
‘Wir werden immer grosser’ is about me, where I come
from, my friends, what I think of the world and a few
things I would like to tell my friends and other people.
I grew up in a rather alternative and left political environment
- in a commune in the South Western German
country side. Life was easy, beautiful and extremely adventurous.
It was all in all very playful and rich. I learned
a lot over those few years. I was happy.
There is a song from my childhood called: ‘Wir werden
immer groesser’ (we keep on growing). It talks about
how we keep on growing - no matter what, and that
we can do whatever we want to do... reach the highest
heights if we only want to and nobody can tell us what
we should be doing - That we grow taller, stronger and
greater every day!
The pictures are taken everywhere in my life, with friends
and people I met and enjoyed. It took me 4 years to
get to the conclusion of these images and I keep on
shooting.
瞬 間 到 永 遠 ‧ 煙 火 蘇 打 水
dpi
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10 It ll happen hereSyphnos
11 Dreams of FlyingThe Astronauts
12 Sodawaterfireworks
strawberry grape orange
13 It ll happen hereDevonong
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Jan von Holleben
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