​劉振祥

劉振祥為台灣重要的攝影家之一，長年耕耘新聞與表演藝術攝影，尤以與雲門舞集的合作，以及多位知名導演所執導的電影劇照聞名。他影像中的強烈紀實質地，源自於他的攝影記者採訪生涯：在雜誌與報社任職期間，他以獨特視角貼近街頭第一線，在言論仍受限制的年代持續拍攝，為當時社會提供不同於官方主流的觀點，也為台灣民主化進程留下了一頁頁的珍貴影像。

本次朝代畫廊於T3 PHOTO ASIA 2025展出的作品，以民眾現場出發的觀看為核心，非從官方或政治人物切入，而在群眾之間近距觀察。在那個難以充分表達意見的時代裡，畫面中的身體姿態、對呼喊與阻礙的回應，凝縮了時代的張力；即便我們不必然知曉每一張臉孔的姓名，然而這些身影對台灣政治與社會的影響不容忽視。劉振祥以冷靜而克制的距離，讓相機成為見證的器具，將現場積累為可被記憶與傳承的歷史片段。

劉振祥1963年生於台灣台北，復興商工美術科畢業。1986 年進入《時報新聞週刊》，1988 年擔任自立報系《台北人》月刊攝影主編，後升為自立早報攝影主任，同年舉辦第二次個展「解嚴前後」。1987年起開始參與雲門舞集的攝影工作至今，並為國內大小表演團隊劇照操刀。1993年離開自立，成立工作室，曾負責侯孝賢《戀戀風塵》、楊德昌《恐怖份子》及鍾孟宏所有電影長片劇照拍攝。2010年為第33屆吳三連獎藝術獎攝影類得主。著有《台灣有影》（2000）、《前後—雲門影像敘述攝影專集》（2009）、《風塵前後—一部電影、一個攝影者、一個時代的風塵》（2025）等攝影專書。

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Recognized as one of Taiwan’s leading photographers, LIU has long worked across photojournalism and performing-arts photography, and is widely known for his collaborations with Cloud Gate Dance Theatre and for film stills with acclaimed directors including HOU Hsiao-hsien, Edward YANG, and CHUNG Mong-hong. The distinctive documentary texture of his images stems from his years as a photojournalist: during his tenure at magazines and newspapers, he worked at the very front lines of the street, continuing to photograph when speech remained constrained, offering perspectives that diverged from official narratives and leaving a vital visual record of Taiwan’s democratization.

Centered on a people-first, on-site viewpoint, the works on view at T3 PHOTO ASIA 2025 do not approach events through officials or political figures; rather, they observe up close from within the crowd. In an era when opinion could not be fully voiced, bodies in motion—and their responses to shouts and obstruction—condense the tension of the times. Even when individual names are unknown, these figures’ impact on Taiwan’s politics and society is undeniable. With a restrained, steady distance, LIU allows the camera to become a witnessing instrument, accumulating the scene into historical fragments that can be remembered and passed on.

Born in Taipei, Taiwan, in 1963, LIU Chen-Hsiang graduated from the Department of Fine Arts at Fu-Hsing Trade and Arts School. He joined China Times Weekly in 1986; in 1988 he became Photo Editor of Taipei People at the Independence Evening Post group, later serving as Photo Chief at the Independence Morning Post, and held his second solo exhibition, Before and After the Lifting of Martial Law, the same year. Since 1987 he has photographed for Cloud Gate Dance Theatre and produced production stills for numerous performing-arts groups. In 1993 he left the Independence Press Group to establish his studio; his film-stills credits include Hou Hsiao-hsien’s Dust in the Wind, Edward Yang’s The Terrorizers, and all feature films by Chung Mong-hong. In 2010 he received the 33rd Wu San-Lien Award (Art—Photography). His publications include Taiwan You-Ying: Taiwan Photography Files (2000), In between the moments：Cloud Gate In a photographer’s memory (2009), and Before and After the Wind and Dust (2025).