书名：Aperture No. 250, Spring 2023: We Make Pictures in Order to Live / 光圈杂志第250期，2023年春季刊：我们为生存而造像
定价：188.0
ISBN：9781597115476
作者：Aperture
版次：1
出版时间：2023-03

内容提要：

书名：Aperture 250: We Make Pictures in Order to Live / 光圈 250：我们为生存而制造影像
作者：主编 Michael Famighetti
出版社：Aperture，2023年
装帧：平装，约136-144页
语种：英文
尺寸：约 20.5*23.4*1.5 cm（8.1 x 9.2 x 0.6 英寸）
ISBN：978-1-5971-1547-6

简介

本期《Aperture》杂志第250期以“We Make Pictures in Order to Live”为题，探讨了摄影与叙事跨越世代和地域的关系。本期标题致敬已故著名作家琼·狄迪恩（Joan Didion），她曾写道：“我们通过讲故事来生存。”本期收录的视觉故事令人兴奋、惊喜并照亮日常生活，撰稿人探索日常中静谧的诗意或喧嚣的失序，并证明制造影像是活着的其中一种方式。

主要内容包括：Brian Dillon在开篇长文中探讨如何通过摄影来观看狄迪恩，以及当我们想到她的写作时会浮现何种影像。Thessaly La Force介绍Bieke Depoorter，她将纪实摄影视为一种倾听练习和调查形式，模糊了作者身份、虚构与真相之间的界限。Alistair O'Neill审视Nick Waplington对大西洋两岸亚文化的生动记录。Lena Fritsch撰文介绍摄影师细江英公（Eikoh Hosoe）合作实践中“精致的世界建构”。Tiana Reid重新审视Charles "Teenie" Harris拍摄于20世纪中期匹兹堡黑人生活的生动肖像，其中多幅为首次发表。

在作品专辑中：Casey Gerald讨论Adraint Bereal描绘当今美国黑人大学生痛苦与狂喜的影像。Yvonne Venegas在墨西哥风景中寻找家族幽灵，诗人兼小说家Daniel Salda?a París将其描述为“一种自由与智识的练习”。Kamayani Sharma探讨Gauri Gill拍摄的印度马哈拉施特拉邦社区化装舞会影像，以及其颠覆“观看与被观看”中权力动态的潜力。Durga Chew-Bose沉思Mary Manning的照片（本期封面作品）及其对故事与日常的诗意敏感。在Endnote栏目中，《Aperture》向画家Jordan Casteel提出六个问题。

随每期附赠的《The PhotoBook Review》中：Bruno Ceschel与摄影师、书作家兼出版人Alejandro Cartagena对谈其工作。Lou Stoppard评述三本关于家庭空间的摄影书。《Aperture》编辑回顾一系列近期出版物。

This spring, Aperture magazine presents issue #250, "We Make Pictures in Order to Live," which explores the relationship between photography and storytelling across generations and geographies. Featuring visual stories that excite, surprise, and illuminate daily life, this issue‘s title is a nod to the late, celebrated writer Joan Didion, who declared, "We tell ourselves stories in order to live." Aperture contributors explore the quiet poetry—or clamorous disorder—of the everyday, and attest that making photographs is a way of being alive.

In a sweeping introductory essay, Brian Dillon asks how we might view Didion through photography, and what images come to mind when we think of her writing. Thessaly La Force profiles Bieke Depoorter, who sees documentary photography both as a listening exercise and a form of investigation, blurring the lines between authorship, fiction, and truth. Alistair O'Neill takes stock of Nick Waplington's vibrant records of subcultures on both sides of the Atlantic. Lena Fritsch writes about the "exquisite world-making" of photographer Eikoh Hosoe's collaborative practice. Tiana Reid reconsiders Charles "Teenie" Harris's vivid, midcentury portraits of Black life in Pittsburgh, several of which are published for the first time in this issue.

Among the portfolios, Casey Gerald discusses Adraint Bereal's images depicting the agony and ecstasy of being a Black college student in the US today. Yvonne Venegas searches for family ghosts in the Mexican landscape, which poet and novelist Daniel Salda?a París describes as "an exercise in freedom and intelligence." Kamayani Sharma looks at Gauri Gill's images of a community masquerade in the Indian state of Maharashtra, and its potential to reverse power dynamics inherent in seeing and being seen. Durga Chew-Bose meditates on the photographs of Mary Manning—also featured on the cover—and their poetic sensitivity toward story and the everyday. For Endnote, Aperture poses six questions for the painter Jordan Casteel.

In The PhotoBook Review—included within every issue of Aperture—Bruno Ceschel speaks with photographer, bookmaker, and publisher Alejandro Cartagena about his work. Lou Stoppard reviews a trio of photobooks about domestic spaces, and Aperture's editors review a range of recent publications.