Foam gallery in Amsterdam is offering a striking billing of photography exhibitions this spring, including Kaveh Golestan's 'The Citadel', Taiyo Onorato and Nico Krebs' 'Adding, Adding, Adding' (pictured) and Richard Mosse's 'The Enclave'. Photography: Christian van der Kooy

解释太多会毁了艺术。幻象破灭了，魔法化为乌有。但有时，走到幕后看看假象是如何创造出来的，这实际上是一件好事。这就是在阿姆斯特丹的泡沫摄影博物馆闲逛时发生的事。

除了Richard Mosse的“飞地”设施，神奇的洋红和红色的梦魇般的风景，神奇的魔法，在旧运河的房子里还有两个展览的空间（虽然我们不能忘记Ola Lanko在楼上图书馆里的小展示）。在去年赢得年度泡沫保罗HUF奖之后，瑞士多奥Taiyo Onorato和Nico Krebs提出了“添加、添加、添加”。这一全新的展览，特别是泡沫，证明是一个温和的，但非常有效的示范摄影的方式可以使现实的显示，好像它无疑是真实的。

除了摄影，Onorato和Krebs使用安装艺术和雕塑，有很多镜子和电影照明来证明他们的观点。这对夫妇的方法是层次分明的，同时表现出幻想和创造，同时又不影响作品的兴奋感。事实上，一个人很容易被墙上一张移动的海报迷住，展示一种实时的形式和颜色的舞蹈，面对作品的背面，只有旋转的玻璃、TL照明和一台旧相机的结合才能做到这一点，一秒钟都没有被迷住。现实、魔法和幻灭-所有这些都是非常显著的。

在泡沫的另一部分，伊朗摄影师Kaveh Golestan(2003年在伊拉克工作时被地雷炸死)的作品展览也揭示了这一机制。“城堡”展示了戈莱斯坦生动地描绘了1979年在德黑兰被纵火并被摧毁的Shahr-e No的妓女。这些都是70年代的黑白照片，这些照片都是被历史摧残的。他们有一个过去，这是徘徊在他们之上。

那些过去是展览的一部分。在这里，你可以看到神奇的创造通过精心的历史资料分层(剪报，日记，联系表格，纪录片)，与图片相伴。馆长兼研究员瓦利·马卢吉(Vali MahLouji)通过多年来受到伊朗政府的压迫，使人们对戈莱斯坦的照片产生了混乱的看法。解释太多了？不可能，这一切加起来了。

Oronato and Krebs' exhibition has been created especially for Foam with a multi-media installation that combines sculpture, mirrors and film lighting to manifest the materiality of image-making. Photography: Christian van der Kooy

One can easily be mesmerised by what seems like a moving poster on the wall, displaying a real time dance of forms and colours. Photography: Christian van der Kooy  

Installation view of the 'Adding, Adding, Adding' exhibition. Photography: Christian van der Kooy

'Banners', 2009. Courtesy of Raebervon Stenglin, Zurich and Peter Lav Gallery, Copenhagen

A still from Oronato and Kreb's film, 'Blockbuster', 2012. Courtesy of Raebervon Stenglin, Zurich and Peter Lav Gallery, Copenhagen

'Marzahn', 2009. Courtesy of Raebervon Stenglin, Zurich and Peter Lav Gallery, Copenhagen

Oronato and Kreb's 'Untitled' film, 2014, is shown on three screens in a dark room. Photography: Christian van der Kooy

Stills from 'Untitled', by Oronato and Kreb, 2014. Courtesy of Raebervon Stenglin, Zurich and Peter Lav Gallery, Copenhagen

Stills from 'Untitled', by Oronato and Kreb, 2014. Courtesy of Raebervon Stenglin, Zurich and Peter Lav Gallery, Copenhagen

Meanwhile, photographer Kaveh Golestan presents presents 45 photographs from the series 'Prostitute', 1975-77, for his 'The Citadel' exhibition. It is the first time these works have been seen since a brief showing at the Tehran Art Fair in 1978. Photography: Christian van der Kooy

The Iranian documentary photographer, who was killed by a landmine in Iraq in 2003, captured women working in the red light district of Shar-e No, Tehran between 1975-1977. Pictured is 'Untitled', by Kaveh Golestan, 1975-77. Courtesy of Kaveh Golestan Estate

'Untitled', by Kaveh Golestan, 1975-77. Golestan's photographs are the last traces of these women and the urban space of the city, which is now buried under a park. Pictured is 'Untitled', by Kaveh Golestan, 1975-77. Courtesy of Kaveh Golestan Estate

'Untitled', by Kaveh Golestan, 1975-77. Courtesy of Kaveh Golestan Estate

'Untitled', by Kaveh Golestan, 1975-77. Courtesy of Kaveh Golestan Estate

Rounding out Foam's programme of spring exhibitions is a showing of Richard Mosse's 'The Enclave'. The series, which captures the war-torn eastern Democratic Republic of Congo on specialist infrared film, is being shown concurrently at London's The Vinyl Factory. Pictured is 'Thousands are Sailing' 'Stalemate', 2012

'Stalemate', 2012 © Richard Mosse

'Lost Fun Zone', 2012 © Richard Mosse

keywords:Amsterdam's Foam museum, Taiyo Onorato and Nico Krebs, Kaveh Golestan, Richard Mosse

关键词：阿姆斯特丹泡沫博物馆，Onorato和Nico Krebs，Kaveh Golestan，Richard Mosse