Introduction Whirling currents, murky depths, windy chop, and rippling, reflective surfaces; these watery characters are captured in Roni Horn’s photographs of the River Thames, London. Horn’s images of the river suggest the mutable quality of water, its fluid ability to occupy all manner of spaces, its changing colours and textures, and its ability to suggest a variety of moods. Each closely cropped image presents an intimate portrait of the river’s surface, reflecting the particular weather conditions at the moment the photograph was taken. The images give no sense of geography, offer no focal point and give little clue to scale. As such, they are visually engulfing images. The cumulative effect of the photographs, each with its differently rendered surface, is one that emphasises the impossibility of fixed identities. Like the water they represent, these photographs are chameleon-like, having been presented in a number of different configurations. Still Water (The River Thames, For Example) (1999) (Figures 1, 2, 3), is a series of 15 photo-lithographs, in which the seductive surfaces of the river are augmented by a series of footnotes printed at the bottom of each photograph that each correspond to superscript numbers discretely located somewhere on the image itself. The footnotes convey Horn’s thoughts on the nature of water and the Thames in particular, as well as reciting poetic extracts, historical details, and references to other texts that provide an oblique commentary on the liquid materiality and cultural significance of the river. In Another Water (The River Thames, for Example) (2000) the same annotated pictures are compiled into a modestly produced book in which photographs are interspersed with a series of Thames suicide accounts gathered from police officers and other individuals working on the river. The same year, Horn installed a

中文翻译：

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罗尼·霍恩的水面：身份、过度和崇高

介绍 涡流，阴暗的深处，刮风，涟漪，反射表面；这些水汪汪的人物被罗尼霍恩拍摄的伦敦泰晤士河照片所捕捉。Horn 的河流图像暗示了水的可变质量、它占据各种空间的流动能力、它不断变化的颜色和纹理，以及它暗示各种情绪的能力。每张经过精细裁剪的图像都呈现了河流表面的亲密肖像，反映了拍摄照片时的特定天气条件。这些图像没有地理意义，没有提供焦点，也没有提供比例的线索。因此，它们在视觉上吞噬了图像。每张照片都有不同渲染的表面，这些照片的累积效果强调了固定身份的不可能性。就像它们所代表的水一样，这些照片就像变色龙一样，以多种不同的形式呈现。Still Water (The River Thames, For Example) (1999)（图 1、2、3）是一系列 15 幅平版画，其中河流的诱人表面通过印在底部的一系列脚注来增强每张照片都对应于离散位于图像本身某处的上标数字。脚注传达了霍恩对水的性质和泰晤士河性质的看法，并背诵了诗歌摘录、历史细节以及对其他文本的引用，这些文本对河流的液体物质性和文化意义进行了间接评论。在另一种水中（泰晤士河，例如) (2000) 相同的带注释的图片被汇编成一本制作适度的书，其中穿插了一系列从警察和其他在河上工作的人那里收集到的泰晤士河自杀事件的照片。同年，霍恩安装了一个