朱韻蓉 / 何予 雙個展：看這邊 Duo Solo Exhibition of Chun Yun-Rung / Ho Yu : In Place Posted

朱韻蓉的「PHOTO BY」作品，透過家庭相簿回望過去面對鏡頭的經驗，對比現今角色轉換成為拍攝者所捕捉的生活片段，以孔版絹印重製舊時影像，並置相館沖洗的旅遊與日常隨拍。
手工裝幀的相簿將記憶小心翼翼地收納於書殼內，保護著觀看的私密性，盛裝著過去與現在。以版畫再製照片回應命名，網點的失真象徵記憶的模糊；可抽換的頁面與非線性的時序呈現家庭相簿的共有狀態；經揀選的影像跳脫了原始的快拍及家庭攝影性質，並列放置、相互參照。從被攝者到攝影者，位置的改變，如雙屏幕錄像般，於內在記憶層面與外在環境結構上開啟詼諧的對話。

何予的「The Sign Holders」作品，關注舉牌工作中人被視而不見的處境，刻意利用無效的書頁裝訂邊緣，巧妙隱匿影像中的人力行為，示其不可見、不可移動的工作型態；亦指向舉牌人位處社會、街頭邊緣，難以被識別之處境。張開的書脊呼應Ａ型廣告牌的功能型態，凸顯人力與房屋銷售牌間的互動張力。

朱韻蓉以手工裝幀相簿收納私人記憶，何予則以書籍裝訂邊緣的限制，點出舉牌人力隱蔽於公共場域社會現象，兩人皆透過書籍形式盛裝影像內容，以裝幀為觀者引導閱讀。「看這邊」既是對被攝者的呼喚，也是向觀者提供刺點的索引。透過畫面的構圖、影像的揀選與紙上的編排，攝影者與被攝者在身份、角色和物理上重新各就定位。

“PHOTO BY” by Chu Yun-Rung is a series of works created with screen printing and photography. Flipping through family albums, the photographer today, who captures everyday life, was once the subject in the photos. The artist screen-printed old photographs and juxtaposed them with daily pictures developed by photo labs.
Collecting the past and the present memories carefully in a handmade hardcover, the artist builds a private reading space for viewers. Recreation of old photos responds to the title “PHOTO BY”; the loss during the screen-printing process symbolizes the blurring of memories. Furthermore, flexible and nonlinear arrangement presents the sharing feature of a family album. Through selection and juxtaposition, images are no longer limited to snapshots and family photos. From a subject to a photographer, two characters demonstrate the interplay between memories and environments like a dual-channel video.
“The Sign Holders,” presented by Ho Yu, points out the working condition of ignored sign holders. The book hides the workers between pages, signifying their invisibility and motionlessness. Meanwhile, it implies they are living on the margin of society, hard to be recognized. The open book cover echoes the function of A-shaped advertising signs and the tension between a worker and a real estate sign.
Chu Yun-Rung preserves personal memories in a handmade album, and Ho Yu indicates a social phenomenon of invisible workers in the public space with bookbinding limitations. Both artists present their works in a book as guidance for viewers. “In Place” is a call to the subjects and an index of punctum for the viewers. Through composition, selection, and layout of the images, the artists redefine the roles and positions of the photographer and the subject and once again put them in place.