永恒之城 雷納托·圣蒂基亞Citta eterna by Renato Sarticchia

11月15日至19日舉行的2017麗水攝影節(jié)上，一個名為ITALY TASTE OF BEAUTY的展覽，以30位意大利優(yōu)秀攝影師的300幅精選攝影作品，呈現(xiàn)出意大利人眼中獨有的審美，吸引了眾多攝影人和普通觀眾的目光。

展覽的策劃組織者，是意大利職業(yè)攝影師協(xié)會秘書長克勞迪奧·布魯福勒，他是麗水攝影節(jié)的國際“忠粉”。早在1999年，他就到過麗水。那年，正是麗水攝影開啟新紀元的時候，承辦第四屆中國攝影藝術(shù)節(jié)，被中國攝影家協(xié)會授予首個“中國攝影之鄉(xiāng)”。此后，克勞迪奧·布魯福勒又多次到麗水，先后帶領(lǐng)上百個意大利攝影家參加麗水攝影節(jié)的展覽和采風活動，還促成了麗水攝影節(jié)與意大利奧爾維耶托攝影節(jié)的長期友好合作。

這么多年麗水的發(fā)展變化，克勞迪奧·布魯福勒看在眼里：“城市各項基礎(chǔ)設(shè)施建設(shè)水平很高。我曾經(jīng)在上海看到過一個標語——‘城市，讓生活更美好’，這和現(xiàn)在的麗水非常符合?！倍?017麗水攝影節(jié)，共有1050個展覽，匯集50多個國家和地區(qū)的攝影作品，在15個展區(qū)內(nèi)展出，數(shù)量和規(guī)模均創(chuàng)下歷史之最，這更讓克勞迪奧·布魯福勒感嘆：“我從沒見過這么大規(guī)模的攝影活動，我們沒有能力在一個城市舉辦這么大的攝影節(jié)?！彼J為，只有在麗水，只有在中國，才能辦得到。

作為意大利EBlu圖片機構(gòu)創(chuàng)始人，又曾在國際攝影基金會任職，克勞迪奧·布魯福勒去過很多國家。他坦言：“中國是唯一一個在政策上非常促進攝影發(fā)展的國家?！彼f：“我去過湖南、河南、深圳等很多地方，看到當?shù)卣己苤С謹z影，特別是在資金上。但是在其他很多國家，他們的攝影活動大都是自己辦的，很少能得到政府的支持”。

在麗水攝影節(jié)觀展時，克勞迪奧·布魯福勒發(fā)現(xiàn)，一些中國攝影師更喜歡實驗性的攝影，而不是傳統(tǒng)的攝影。他說，從意大利的文化歷史來看，包括文藝復(fù)興時期的很多藝術(shù)名家的創(chuàng)造來看，很多當時覺得是實驗性的藝術(shù)，現(xiàn)在看來并不是真正好的藝術(shù)，而只是一種混雜的、讓人比較迷惑的東西。所以，實驗性的和傳統(tǒng)的相比，不見得實驗性的一定就更好。

克勞迪奧·布魯福勒還發(fā)現(xiàn)了中西方攝影人在展示照片時的一些不同之處。他說，在歐洲，在Facebook上，照片都是大量地鋪上去，沒有篩選，好照片和壞照片沒有一個界定，“沒有人告訴你什么是好的什么是壞的，你必須得有一定知識上、技術(shù)上的基礎(chǔ)和專業(yè)背景才能辨識。但是在中國，也許是因為沒有傳播廣的照片類的網(wǎng)站，所以攝影師會先告訴你什么是好的照片，展示的也是挑選過的好的照片，不用你從大量照片中自己去識別，這是一個耐人尋味的現(xiàn)象”。

“我所在的意大利職業(yè)攝影師協(xié)會，在離羅馬一個小時路程的一個很古老的小鎮(zhèn)上。我很早就來中國，請中國攝影師在那里辦展?！笨藙诘蠆W·布魯福勒表示，攝影是文化的橋梁，給當?shù)厝苏f中文，他們看不懂，但是給他們看圖片，就很容易懂。克勞迪奧·布魯福勒還特別提到，中國的“一帶一路”倡議，其中一項重要內(nèi)容就是民心相通，攝影這種跨越語言障礙的藝術(shù)正好能在這方面發(fā)揮更好的作用。

An exhibition with the name ITALY TASTE OF BEAUTY, displaying 300 pieces of selected artworks of 30 fine Italian photographers while showcasing the unique aesthetics of Italian people, has drawn attention from many photographers and common viewers during the 2017 Lishui Exhibition Festival on 15-19, November.

Claudio Brufola, Secretary-general of Italy Expo Photo, is the event organizer, a Diehard Fan of the Lishui Exhibition Festival. He has been to the city as early as 1999, during which the festival has started a new era, undertaking the fourth Chinese Photography Festival with an laurel of "home of Chinese photography" by the Chinese Photographers Association for the first time. Since then, Claudio Brufola has visited Lishui for many times, bringing over a hundred photographers from Italy to participate into the Lishui Photography Festival exhibition and other photo-taking activities and contributing to the long-term friendly cooperation between the Lishui Photography Festival and the Orvieto Photography Festival in Italy.

To Claudio Brufola, all the development and changes of Lishui in the past few years are in his eyes: the infrastructure construction level of the city is very high. I have seen a slogan in Shanghai - a city, making a better life, which is in line with the present Lishui. For the 2017 Lishui Exhibition Festival, some 1,050 minor exhibitions, convening photos from over 50 countries and regions in 15 separate exhibiting areas, have created the highest level in both amount and scale in history, for which Claudio Brufola exclaimed: I've never seen such a large scale of photography event, and we don't have the ability to hold such a large photo festival in a city. Only in Lishui, in China, in his opinion, can this happen accordingly.

Claudio Brufola, founder of EBlu, an institution of photos in Italy and once held a position in Manuel Rivera-Ortiz Foundation, has been to a number of countries, however, he confessed: China is the only country that promotes photography in terms of policy.He said: I have been to Hunan, Henan, Shenzhen and other cities in China, and local governments all support photography very much, especial in fund. But in many other countries, the photography events are mostly sponsored by private sectors, rarely receiving support of government.

He found, during his tour in the festival, that some Chinese photographers prefer experimental photography, not the traditional. According to Claudio Brufola, from the cultural history of Italy and artworks of many famous artists in the Renaissance,many experimental arts at that time are not truly good art, but just confusion. Hence,compared with the tradition, experimental may not be the better choice.

It is also discovered by Claudio Brufola that the way of displaying the photos by Chinese and western photographers was quite different. He said, in Europe, photos are uploaded to facebook in a large number without screening, there is no definition between good and bad photos. Nobody tells you what is right or wrong, you can only identify with a certain amount of knowledge, technical basis and professional background. But in China,perhaps there is no website focusing on photos with much influence, so photographers will tell you about the good photo first, and all the exhibits are also selected photos, you don’t have to identify by yourself, which is an intriguing phenomenon.

The Expo Photo, where I work, is in a very old small town, an-hour drive from Rome. I have been to China very early, and introduced Chinese photographers to hold exhibition in that town. According to Claudio Brufola, photography is a bridge of culture, locals don’t under if you speak in Chinese, but much easy if you show them the photos. And he mentioned in particular that one of the most important contents is people-to-people bond in China’s Belt and Road Initiative, photography, an art crossing the barrier of language, just plays a better role in this area.

水、天空與大地 馬西莫·布里科利Acqua, Cielo, Terra by Massimo Briccoli

光與影 米爾克·馬切蒂Lights and Shadows by Milko Marchetti