The Tin Mine Landscapes are arguably the seminal Malaysian photographer, Eric Peris’ (1939-), most significant contribution to Malaysian art history. The series, taken in the late 1970s, originally numbered sixty images published by Peris in a limited edition book by the same name in 1980. Twenty-three negatives from that published series survived and were transferred to digital format. This digital transfer not only rescued memory and narrative but also provided a contemporary format for these iconic works (Fig. 1). The exhibition at Shalini Ganendra Advisory in Petaling Jaya, Selangor, Malaysia (15 September – 15 December 2018) showed a portion of these original silver gelatin prints, hand printed by Peris in his home darkroom fifteen years ago. Peris no longer works in analogue nor does he print. Currently in his eighties, he stopped printing work in 2003. The Tin Mine Landscapes is significant for a number of reasons, not least of which is strong aesthetic content. The images speak to the history of a nation, since a significant portion of the region’s early wealth and thus, nation building resources were derived from tin mines. Ironically, the tranquillity of the images belies the contentious historical association with the mines as sources of wealth, predominantly, for the ethnic Chinese. The Chinese were the main victims of 13 May 1969 race riots, which opposed uneven wealth distribution and led to Malaysia’s New Economic Policy heavily favouring Malays (Fig. 2). The still images capture none of that angst. These landscapes have been lost to development, because continuing economic prosperity contributed to their erasure. The concept of “impermanence” (or Anicca as it is termed in Buddhism) has been explored repeatedly in this body of work and throughout Peris’ expansive and illustrious career. The clarity and tranquillity of the images indicates Peris’ state of mind at the time of photographing. He embarked on this journey, specifically to

中文翻译：

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埃里克·佩里斯 (Eric Peris) 的田敏风景，银明胶精选，艺术家印刷图像。参加 Shalini Ganendra Advisory

The Tin Mine Landscapes 可以说是开创性的马来西亚摄影师 Eric Peris（1939-），对马来西亚艺术史上最重要的贡献。该系列拍摄于 1970 年代后期，最初编号为 Peris 于 1980 年在同名限量版书中出版的 60 张图片。该系列中的 23 张底片幸存下来并转为数字格式。这种数字传输不仅挽救了记忆和叙事，而且还为这些标志性作品提供了一种当代格式（图 1）。马来西亚雪兰莪州八打灵再也的 Shalini Ganendra Advisory 展览（2018 年 9 月 15 日至 12 月 15 日）展示了这些原始银明胶版画的一部分，这是 Peris 十五年前在他家的暗室中手工印刷的。佩里斯不再以模拟方式工作，也不打印。如今八十多岁，他于 2003 年停止印刷工作。锡矿景观之所以重要，原因有很多，其中最重要的原因是强烈的美学内容。这些图像讲述了一个国家的历史，因为该地区早期财富的很大一部分以及国家建设资源都来自锡矿。具有讽刺意味的是，图像的宁静掩盖了与作为财富来源的矿山的有争议的历史联系，主要是华裔。华人是 1969 年 5 月 13 日种族骚乱的主要受害者，这场骚乱反对财富分配不均，导致马来西亚的新经济政策严重偏袒马来人（图 2）。静止图像没有捕捉到那种焦虑。这些景观已因发展而消失，因为持续的经济繁荣促成了它们的消失。“无常”（或佛教中称为无常）的概念在这部作品中以及在佩里斯广阔而辉煌的职业生涯中被反复探索。图像的清晰和宁静表明了佩里斯在拍摄时的心态。他踏上了这段旅程，专门为了