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다큐멘터리 사진가 김녕만 씨, 히가시가와(東川)국제사진페스티벌 해외 작가상 수상 |
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김녕만 (월간 사진예술 대표, 사진가)
다큐멘터리 사진가 김녕만 씨, 히가시가와(東川)국제사진페스티벌 해외 작가상 수상
일본에서 가장 권위 있는 사진상 가운데 하나인 히가시가와국제사진페스티벌 해외 작가상 부문에서 한국의 다큐멘터리 사진가 김녕만 씨가 제21회 해외작가상을 수상한다. 매년 여름 북해도의 작은 마을에서 개최되는 이 페스티벌에서 가장 중요한 행사인 사진상의 해외 작가상은 지금까지 죨 스턴팰드(미), 루시앙 크레르그(프), 죨 마이어로위츠(미), 루이스 볼츠(미), 얀 사우덱(체코), 시 샤오화(중), 그라셰라 이툴비데(멕시코), 올리보 바르비엘리(이태리), 윌리엄 양(호주), 미셸 캄보(캐나다), 군드라 슈르체(독), 카람 콜빈(영), 크라우디오 에딩거(브), 체마 마두스(스페인), 안드류스 그란츠(라트비아), 에드윈 즈와크만(네덜란드), 가이 틸림(남아공), 안토안느 다가타(프) 등 세계 각국의 저명한 사진가들이 수상했으며, 한국에서는 제11회 때 김수남 씨가 수상한 이래 두 번 째 수상자를 냈다.
금년도 심사는 오카베 아유미(美術評論家), 사토 토키히로(写真家), 스기우라 코오헤이(그래픽 디자이너), 치쿠시 테츠야(저널리스트), 나가노 시게이치(사진가), 히라키 오사무(사진평론가), 야마기시 쿄우코(사진 큐레이터)가 맡았으며 전원 일치로 김녕만 씨를 선정했다.
일본에서 가장 오랜 전통을 가진 이 페스티벌의 해외 작가상은 세계를 아시아, 아프리카, 유럽, 미 대륙 등 몇 개의 블록으로 나누어 매년 엄격한 심사를 거쳐 수상자를 선정해오고 있다.
다음은 5월 3일자 연합뉴스에 실린 기사 전문을 소개한다.
제21회 히가시가와(東川)국제사진페스티벌의 해외작가상 수상자로 한국의 김녕만(金寧万.56) 씨가 선정됐다.
히가시가와국제사진페스티벌은 일본 혹카이도(北海道)에 위치한 인구 7천 명의 작은 마을 히가시가와에서 시작됐으며, 매년 7월 말부터 약 한 달 간에 걸쳐 펼쳐진다.
이 페스티벌의 주요 행사인 히가시가와 사진상은 해외작가상과 국내작가상, 신인상, 특별공로상의 4개 부문으로 나눠 시상하며 수상작가들을 기념하는 작품전시와 포럼 등이 펼쳐진다.
시상식은 7월 29일이며, 해외작가상과 국내작가상 수상자에게 각각 50만엔(한화 약 500만원), 신인작가상과 특별공로상 수상자에게 각각 30만엔의 상금이 주어진다.
히가시가와상 심사위원장인 사진평론가 히라키 오사무(平木收) 씨는 김녕만 씨가 1999년에 출간한 보도사진집 '격동 20년'에 대해 "한국의 현대사회를 이해하는 데 지극히 중요한 시사성이 깊은 사진집으로 포토저널리즘의 보편적 필요성과 가치를 확인하는 데 알맞은 내용을 담고 있다"고 평했다. '격동 20년'은 80년대와 90년대 한국사회가 민주화로 가는 격동적인 모습을 기록했다.
중앙대 예술대학 사진학과를 졸업한 수상자 김씨는 1978년 동아일보에 입사해 2001년까지 판문점과 청와대출입 사진기자로 활동하며 다섯 번의 개인전과 아홉 권의 사진집을 펴냈다.
현재 월간 사진예술의 발행인으로 있는 김씨는 1985년 현대사진문화상을. 2001년 올해의 사진기자상, 2002년 대한사진문화상을 수상하기도 했다.
● 기사 출처: (서울=연합뉴스) 류창석 기자
The 21st Higashikawa Prize
Osamu HIRAKI
Higashikawa Prize Jury Member
When photography was invented 166 years ago, its novelty fascinated people. Today photography is one of the most common means of everyday communication, and it is used to tell modern history. It is also recognized as one of the most reliable media for the conveyance of messages to future generations.
The technology surrounding photography and audio-visual media is changing drastically. History shows that photography has grown in significance, and the International Photo Festival in Higashikawa has become increasingly important every year, providing an opportunity to reflect on photography's relationship to people, culture and regional communities. Higashikawa should be proud that it is sponsoring this photo festival and that the prominence of the Higashikawa Prize has increased. In light of this, the jury was keenly aware of the gravity of screening candidates and choosing prizewinners for the 21st Higashikawa Prize.
The jury has decided to award this year’s Overseas Photographer Prize to Kim Nyung-man, a news photographer from neighboring Korea. In the late 1970s, Mr. Kim joined Dong-A Ilbo, a leading newspaper in Korea, as a photographer and reporter. For more than a quarter of a century until retiring from active service in 2001, he was a career photojournalist who was always at the forefront of pictorial reportage, covering significant changes in Korean society. His photos are straightforward and humane in reporting various incidents and changes in the political situation to readers at home and abroad. The photographic style is marked by a gentle way of looking at things, a perspective that is flavored with humor. In light of his stature as a professional journalist and a photographer with a unique viewpoint, it may be fairly said that Kim Nyung-man represents the pinnacle of Korean photography.
The Overseas Photographer Prize has been awarded for Mr. Kim's Tumultuous Twenty Years, published in 1999. This evocative photographic collection is very important as a way to understand the modern Korean society. The photographs make us reacknowledge the universal need for photojournalism and the value of that pursuit.
The Domestic Photographer Prize has been awarded to Hotarou Koyama, who is not so much a photographer as he is an iconoclastic painter who happens to use photographic processes. Mr. Koyama is an associate professor who specializes in oil painting in the Painting Department of Tokyo National University of Fine Arts and Music, from which he earned his doctorate. Using photographic emulsions and processing chemicals in place of oil paints, he creates a distinctive world on canvas, a world that is realized by his touch, his sensibility, and the expressiveness of light. For what he creates, he enjoys a high reputation and is recognized internationally.
When talking about photography, people tend to focus on its reproducibility, as seen in the availability of multiple prints, and in the role of photographs in print media. However, as the Hungarian Bauhaus artist Laszlo Moholy-Nagy once noted, we must remember that photography is inherently able to use light and shadow as means of expression in figurative arts, which leads to an increased potential for visual arts. The photographic works of Mr. Koyama draw on this thinking. Light and colors casually put on canvas remind us of the warmth and vagueness of earlier days. Those who see his works firsthand are drawn into a different dimension. He gives us the opportunity to reconsider the relationship between the painterly works of photography's early days and the media-centered works of modern photography.
The New Photographer Prize has been awarded to another original artist. The prizewinner, Kenji Kohiyama, is over the age of sixty, but he is something of a photographic newcomer, having debuted impressively last summer in a personal exhibition at a gallery in Shinjuku, Tokyo. Currently a professor at Keio University's Graduate School of Media and Governance, Mr. Kohiyama has been long engaged in research and development of digital communication systems. He has been awarded the prize for his photo-exhibition “Insects: Micro Presence.” The exhibition is of insect photographs taken with advanced digital technology, but this description hardly does justice of Mr. Kohiyama. In the dynamic, vivid photographs, tiny insects look like primeval dinosaurs that all but pounce on the viewer. They undoubtedly represent the best of nature photography. At the exhibition hall, rice-grain-sized photographic subjects were displayed at the corner of each enlarged digital photo print. The unexpected sense of scale effectively conveyed the awesome course of evolutionary history. Kohiyama's unique works surpass those of other photographers, making his prize immensely well deserved.
The Special Prize, which is given to a photographer related to Hokkaido, has been awarded to Ryouko Suzuki, a resident of Sapporo. Suzuki has been publishing since the mid 1990s, garnering her international attention as one of the most active of all young contemporary artists. Her work is popular for its creative conceptual appeal, seeming to show familiar situations and to make a soft impression while delving into the depths of reality. Ms. Suzuki is particularly concerned with mother-daughter relationships. In Japan, mother and daughter are often called ichiransei oyako (identical twins), and the bond between them is solid. She depicts such relationships by means of composite portraits of mothers and their daughters. These touch on various issues, such as the structure of the contemporary family, and they bring a fundamental feministic view to the relationship between women and society at large. At first glance, her recent publication, Mama Doll, appears to be a collection of portraits whose subjects give the impression of being friendly. In fact, the portraits are provocative in raising questions. They were created by an artist whose great ability has earned her this year’s Special Prize.
On behalf of the jury, I would like to express my deepest appreciation to the many people who nominated candidates for the Higashikawa Prize.
● 기사 정리: 포테이토닷컴 웹진
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국내 최대의 사진전문 포털사이트인 아이포스 웹진에서는 각 미디어와 화랑의 전시담당자, 프로사진가, 전국의 각 대학 사진학과 교수 및 전공자, 미술계와 광고 디자인계, 출판 편집인, 의사, 변호사 등 전문직 인사, 국내 유수 기업의 최고경영자와 임원, 사진동호인 등 27만6,830명에게 사진문화에 관한 유익한 정보들을 제공하고 있습니다.
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