国外作品

Ahlam Shibli

阿兰·希比丽

Since her emergence as an artist, in the late 1990s, Ahlam Shibli has been making photographic series that convey heartfelt sympathy for those who are marginalised, usually by international politics. Not surprisingly she took her own community, Palestinians of Bedouin descent, as an early subject, focusing particularly on the inhabitants of towns ‘unrecognised’ by the Israeli government. Despite abject living conditions, the resilience of these people shines through Shibli’s imagery, thus reflecting her determination not to portray them as victims. Later series also dealing with the urgent dilemmas of her native land, such as Goter (2002–03) and Trackers (2005), are more bleak due to their less domestic focus.

九十年代晚期，阿兰·希比丽以艺术家的身份进入人们视野。她的摄影作品以国际社会的边缘人物为对象，表达了由衷的同情之感。身为巴勒斯坦的贝都因人，阿兰·希比丽的早期作品自然而然地把她所在的社区作为主要对象，尤其关注那些未被以色列政府承认的定居城镇。尽管生活在水深火热之中，当地人坚韧的适应力在希比丽的作品中一览无遗，这也反映出她决定不以受害人的身份来描摹他们。后期的系列也以她祖国所面临的迫在眉睫的困境为题材，如“去那儿”(2002-03)和“追踪者”(2005)皆因它们跨国界的视角而更显阴郁。

More recently Shibli has broadened the scope of her artistic enquiry into notions of home and belonging, dealing with subjects such as Eastern lesbian, gay, bisexual, transgender people in London, Zurich, Barcelona, and Tel Aviv (Eastern LGBT, 2006), immigrant care workers in Barcelona (Dependence, 2007), and young orphans in Poland (Dom Dziecka: The House Starves When You Are Away, (2008).

最近，希比丽将她艺术探索的范围扩展至家和归属的概念，开始涉及的题材包括：生活在伦敦、苏黎世、巴塞罗那和特拉维夫的来自东方的同性恋者、双性恋者和变性人(“Eastern LGBT”,2006)，巴塞罗那外来的家政服务者(“独立”，2007)，和波兰的孤儿(“儿童教养院”，2008)。