周慶輝 (1965-)

CHOU Ching-Hui

Throughout his career as a photographer that has lasted almost three decades, Chou's subject matter has shifted from captivating journalistic events to creatively theatrical scenes, and his style has changed from documentary photography to fabricated photography. In his latest project, Animal Farm, Chou changed the role of photographer as a “hunter” and turned himself into a “director,” and amazed his audience with a bizarre and unsettling sense of existence in his characteristic way.

Photography as a Mode of Clutching and Suckling (A Glimpse into Our Hearts -The Leper)

Chou Ching-hui, bewildered by the uncanny sights and scenes of the world, has planted s seed in his heart, the wonderful budding of which we are only just beginning to witness.
Art Critic Huang Han-ti

Letters to Chou Ching-hui’s Photographers

Chou Ching-hui not only how you work hard to survive just like people outside in society at large, and that he truly entered a different kind of life by capturing your “steadily shrinking bodies.”
Novelist Chang Ta-chun

The Last Night

Things all around and outside us are always disturbing the hidden box of the camera, while the hidden camera on my mind is constantly interfering with the things going on around me. If there were a purpose to my photography it wouldn’t be so confused and nebulous.
CHOU, Ching-Hui

人類世界的影像標本

在世界上,人類或許是唯一一個有能力將自己與世界萬物轉化成影像的物種。人類在影像中照見自己、捕捉世界,也在影像中追求永恆。只不過,人類或許也是唯一在影像中看見孤獨、看見死亡、看見影像的無效性,卻始終不懈地製造影像的物種。
文/李立鈞

動物園的人類寓言

回溯他過去的作品,由風格演變的角度來看,周慶輝的創作一直是以特定專題的報導攝影見長。
文/林志明

非關影像非關台北:台北浮白

從另一個角度來看此作,「台北浮白」也充滿小人物對無奈的(台北)生活發出阿Q式的自我揶揄、嘲諷與逃逸,具有典型的周氏幽默感。
撰稿/張芳薇 (策展人‧台北市立美術館研究員)

周慶輝談周慶輝

「人在這世界上不就是演一場戲嗎? 人一直不停的在試圖瞭解自己,分析、解剖自己,但還是無法了解全貌 一個是透過他人看見自己,一個是藉由自己看見他人 我是悲觀主義者,常常讓一件事看起來是憂傷的,一件憂傷的事看起來是殘酷的 我的作品有如黑暗報告,在自己內心的方寸之間找到獨處之處」
採訪整理/ 杜綺文
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