2020“异域·同天”
中日韩高校摄影邀请展-日本高校
策展人：张辉、吉川直哉(日本)、柳银珪(韩国)
学术主持：姚璐
联合策展人：董钧
西安美术学院
西安美术学院影视动画系摄影专业创建于1988年，为陕西省特色专业。现下设纪录摄影工作室、艺术摄影工作室、实验影像工作室，同时拥有传统银盐暗房实验室、数字摄影实验室、摄影拍摄实验室。摄影专业注重培养学生独立思考与创作的能力，不断激发学生在新技术与新观念上的实验与探索精神，旨在创作出更具当代视野与人文关怀的作品。摄影专业在夯实基础教学环节质量，深化内涵式发展的理念，关注并践行本专业学术前沿，不断提升教学水平的同时；以其国际化的媒介优势，先后多次聘请国内外知名专家学者前来进行讲座、授课，开办工作坊，并积极组织策划了一系列的重要展览与学术交流活动，有效地提升了摄影专业在国内的学术地位和影响力。自上世纪90年代以来，摄影专业师生先后获得数百个国内外重要奖项。
Xi’an Academy of Fine Arts
The photography major of the Film and Television Animation Department of Xi'an Academy of Fine Arts was established in 1988 and is a specialty of Shaanxi Province. Now there are documentary photography studios, art photography studios, experimental image studios, as well as traditional silver salt darkroom laboratories, digital photography laboratories, and photography shooting laboratories. The photography major focuses on cultivating students' independent thinking and creative ability, and constantly inspires students' experimentation and exploration spirit in new technologies and new concepts, aiming to create works with more contemporary vision and humanistic care. The photography major is consolidating the quality of basic teaching links, deepening the concept of connotative development, paying attention to and practicing the academic frontier of the major, and continuously improving the teaching level; with its international media advantages, it has repeatedly hired well-known experts and scholars at home and abroad. Come to give lectures, give lectures, open workshops, and actively organize and plan a series of important exhibitions and academic exchange activities, which effectively enhance the academic status and influence of the photography profession in China. Since the 1990s, photography teachers and students have won hundreds of important domestic and foreign awards.
董 钧 DongJun
艺术家、策展人，西安美术学院影视动画系摄影专业主任，1839摄影奖发起人。曾在长征空间举办个展，作品在美国布罗德美术馆、美国Morono Kiang 画廊、韩国ARKO美术馆、台湾诚品画廊、澳门牛房艺术中心、UCCA尤伦斯当代艺术中心、长征空间、深圳OCAT美术馆、上海美术馆、银川当代美术馆、南艺美术馆、湖北美术馆、清华大学、中国独立影像年度展（CIFF）、云之南纪录影展、北京独立影展等展出及放映。
《贫乏于世的它性》
海德格尔曾在他1926年出版的《存在与时间》中，就提及动物问题。他认为动物只会消亡，而不会死亡。人建构世界，动物贫乏于世界（poverty inworld），石头则是无世界的。生物学家乌克威尔Johannes von Uexküll 通过蜜蜂的实验得到“动物迷醉于其无碍之环（its disinhibiting ring）中，它们与照面的一切东西都有所关联，恰是这一点才使得动物不能与人比邻而立，不能拥有世界。阿甘本认为，对动物来说，存在者是敞开的，然而也是不可通达的。也就是说，它们在一种不可通达和晦暗中开放……无‘去-蔽’的敞开（openness without disconcealment）将动物的贫乏于世与人类的建构世界区别开来。于我而言，在我们生活的广袤而丰富的世界里，“动物”更像是一个与人类共生弥久的时间遗产，我试图通过镜头和它们相遇在现实与历史中，也相识在真实与虚幻里。
《The Otherness That Is Poor in the World》
Heidegger mentioned the issue of animals in his "Being and Time" published in 1926. He believed that animals would only die, not die. Humans construct the world, animals are poor in the world, and stones are worldless. Biologist Johannes von Uexküll obtained through experiments with bees that “animals are fascinated by their disinhibiting ring (its disinhibiting ring). They are related to everything they face. It is this fact that makes animals unable to Standing next to people, you cannot own the world. Agamben believes that to animals, beings are open, but they are also inaccessible. In other words, they are open in a kind of inaccessibility and darkness... -The openness without disconcealment distinguishes the poverty of animals from the constructed world of humans. To me, in the vast and rich world we live in, "animals" are more like a human being The long-lasting time heritage of symbiosis, I tried to meet them through the lens in reality and history, and also in reality and illusion.
苏 晟 SuSheng
西安美术学院副教授、硕士生导师，影视动画系摄影专业第二工作室负责人。中国摄影家协会会员，陕西省摄影家协会理事、摄影教育委员会主任，西安市青年摄影家协会副主席，陕西高校摄影学会副秘书长，陕西省文艺志愿者协会理事，陕西省文联文艺工作者职业道德建设委员会委员，陕西省美协实验艺术委员会委员，陕西百名青年文学艺术家扶持计划成员（百青人才）。
《原境》
对这一主题的关注来源于巫鸿先生的论著《中国古代艺术与建筑中的纪念碑性》中提到的“contextual”一词。虽是误读，却也使我对某些特定的场域产生了兴趣。我在各地的行走中，与某个空间偶然相遇，有些形象、符号会使历史与现实发生有趣的联系。这种联系可能基于场景中的物与当下现实混合出的隐喻特征，也可能仅仅是我个人的臆想。同时，这些照片是语焉不详的，不构成严谨的上下文关联。拍摄的动力源于我本人的迷失，在无法遭遇“联系”的大多时间里，我对自己的身份和处境总感到莫名的焦虑与不安。当我把这些景物从原有语境中截取出来，使某些形象和符号被放大，在新的语境中凝视，场景中的物的处境与我的处境获得短暂的连接，这些照片就是获得连接的证据。我的迷失需要在这样的连接中去释放。
《Original》
The focus on this subject comes from the term "contextual" mentioned in Mr. Wu Hong's work "Monumentality in Ancient Chinese Art and Architecture". Although it was a misunderstanding, it also made me interested in certain fields. When I walk around everywhere, I meet by chance in a certain space. Some images and symbols make interesting connections between history and reality. This connection may be based on the metaphorical characteristics of the objects in the scene mixed with the current reality, or it may be just my personal imagination. At the same time, these photos are ambiguous and do not constitute a strict contextual connection. The motivation for filming stems from my own loss. During most of the time when I was unable to encounter "connection", I always felt inexplicably anxious and uneasy about my identity and situation. When I cut out these scenes from the original context, some images and symbols are enlarged, and I stare in the new context. The situation of the objects in the scene is briefly connected to my situation, and these photos are obtained. Evidence of connection. My loss needs to be released in this connection.
宋 毅 SongYi
西安美术学院影视动画系摄影专业教师，2016年硕士研究生毕业于北京电影学院摄影学院，陕西省摄影家协会摄影理论专业委员会委员。专注于《纪实摄影》等课程的教学和研究。2016年，作品《忽然之间》入选中国摄影家协会举办的“日常·遇见——中外青年摄影大展”；2020年，作品《抗疫痕迹》入选第九届陕西省艺术节全省优秀美术书法摄影作品展。在《艺术与设计》、《北京电影学院学报》、《摄影与摄像》等杂志发表论文数篇。
《疫痕》
疫情期间，封闭式居家隔离是最重要和主要的抗疫方式。居民在几个月的时间里缩小活动范围，与日俱增地在空间地面上留下了痕迹，例如消毒水灼烧的痕迹，孩童在有限游戏的地面上留下的划痕，公共场所的间隔标记等。作品将这些抗疫痕迹与人物的环境肖像并置，记录疫情的同时，更想突出表现人们在此特殊时期的状态。
《Scars o》
During the epidemic, closed home isolation is the most important and main way to fight the epidemic. Residents have narrowed the scope of activities in a few months, and increasingly left marks on the space floor, such as the burn marks of disinfectant water, the scratches left by children on the ground with limited games, the interval markings in public places, etc. . The work juxtaposes these anti-epidemic traces with the environmental portraits of the characters, and while recording the epidemic, it also wants to highlight the state of people in this special period.
沈孝怡 ShengXiaoyi
1994年4月生于湖南，现为西安美术学院教师。本科毕业于北京电影学院，硕士研究生毕业于纽约视觉艺术学院。作品以摄影、视频、行为表演等综合媒介进行自我身份探索及当代影像本体语言研究。作品曾参展于美国明尼苏达Weisman 博物馆、纽约SVA切尔西画廊、华沙Nowolipki画廊及各大国际摄影节。
在这个系列中，摄影师设置了一个单身女人独处的若干情景，刻意营造出只有悲伤和消极的情绪。运用电影的视觉语言去讲述一个失恋后的女人，所经历的情感上的“抑郁期”和“调整期”，以及她与周遭环境的隔离。这些女性形象，并没有明确的职业、身份、生活环境和成长背景。她们是一个个模版，可被命名为“爱情片中女主角的日常”。这些“伤感的日常”加重了社会对于单身女性的刻板印象以及对其生活状态的误解。
《Waiting alone》
In this series, the photographer set up a number of scenes of a single woman alone, deliberately creating only sad and negative emotions. Use the visual language of the film to tell about the emotional "depression" and "adjustment period" experienced by a woman after a broken relationship, and her isolation from the surrounding environment. These female images do not have a clear career, identity, living environment and growth background. They are a template, which can be named "the daily life of the heroine in the romance film." These "sentimental daily routines" aggravate the society's stereotypes of single women and misunderstandings about their living conditions.
《西西弗笑了》
我的作品是一个摄影与行为表演结合的视频装置作品。作为中国独生子女一代中普通而具有社会共性的个体，我通过我的作品，在大洋彼岸的纽约，在另一种完全不同的社会意识形态下，进行了一场自我身份定位的探索。关于过度的自我关注与虚体自恋之间的矛盾、封闭与打破封闭之间微妙的挣扎、向往冒险与过度保护之间奇妙的氛围…. 视频试图去传达一种悲喜交加的荒诞感。
《Smiling Sisyphus》
My work is a video installation that combines photography and performance. As an ordinary and socially common individual among the only-child generation in China, through my works, I have conducted an exploration of self-identification in New York on the other side of the ocean under a completely different social ideology. Regarding the contradiction between excessive self-attention and incorporeal narcissism, the subtle struggle between closure and breaking, the wonderful atmosphere between yearning for adventure and overprotection... The video attempts to convey a sense of absurdity that is mixed with joy and sadness.
何 坤 HeKun
1992年4月生于甘肃武威，现于西安美术学院摄影艺术研究专业硕士在读。2018年，参加陕西省第十八届摄影艺术展，获得优秀奖；2019年，获得陕西省大学生文化艺术节摄影专业组一等奖；2019年参加2019仁川国际海洋媒体艺术节，获得优秀奖；2019年参加2019第19届国际平遥摄影节，获得“优秀摄影师”奖；2019年参加“70华诞·盛世光彩”——“庆祝中华人民共和国成立70周年”第十二届全国高校摄影教育成果展，作品被收藏；2019年参加2019丽水摄影节《第三届高校“教·学”摄影作品展》。
《幻乐场》
我们的社会高速发展，城市化的加快使大众对娱乐生活和消遣方式的追求也越来越高。于是，在现实生活中就出现了千奇百怪、各种各样供人们消遣娱乐的的场所以及设施。这时，商家们想尽一切办法满足消费者，消费者同时也乐在其中。于是，形形色色的人群出现在形形色色的空间中，这些场景看似奇妙而又新鲜，却也真实而又有趣。
《Phantom Music Field》
With the rapid development of our society and the acceleration of urbanization, the public's pursuit of entertainment life and pastime is also increasing. As a result, in real life, there have been various places and facilities for people's entertainment and entertainment. At this time, businesses are trying their best to satisfy consumers, and consumers are also enjoying it. As a result, people of all kinds appear in all kinds of spaces. These scenes seem strange and fresh, but they are also real and interesting.
曾 星 ZengXing
1995年10月生于湖南。2020年毕业于西安美术学院摄影专业实验影像工作室。2020年《迎河而上》作品获第五届丝路影博会暨西安国际影像节青年朱鹮奖，参加“建构过，保存过、删除过Created,Saved and Deleted”群展。
在我们县城有泠、疑、舂、仁四水，他们流贯宁远全境，自南、北向西注入潇水。我拍的是泠江河，因为这条河流包含着太多的情感和故事，所以我想以洄游的方式来记录她，观察她最真实的样子。我拍摄的是生活在这条河流的人和不断变化着的河流景观。这些照片是由下游到上游而拍的，河流中游是我最熟悉的城市，是我长大的地方，拍摄这条河流也是一次对童年的缅怀吧。所以我想好好的记录下这条河流的当下景观。
《Upward the River》
In our county, there are four waters: Ling, Dou, Chong, and Ren. They flow throughout Ningyuan and pour Xiaoshui from south to north to west. I was shooting Lingjiang River, because this river contains too many emotions and stories, so I want to record her in a migratory way and observe her truest appearance. I photographed the people living in this river and the ever-changing river landscape. These photos were taken from downstream to upstream. The middle reaches of the river is the city I am most familiar with and the place where I grew up. Taking this river is also a nostalgia for my childhood. So I want to record the current landscape of this river.
1996年2月生于陕西，2020年毕业于西安美术学院摄影专业。2020年作品《LSG女孩》入围首届Aperturist Talent摄影奖、入选第二届《中国摄影》“摄影毕业季”、第二届1839摄影奖提名奖。
LSG是袖状胃切除术的简称，主要用于减重和治疗2型糖尿病。我做过这项手术，之前的肥胖不仅带给我外表的打击，甚至影响我的健康。通过调查得知，这项正规的手术被舆论倾向负面地传播，我拍摄同样做过LSG手术的女性，感受到她们如今的自信感。拍摄的重心不是放在宣扬手术与减肥上，更想让人看到的是女性因为肥胖所承受过多的压力，直观的去感受到肥胖带来的影响，给予她们更多的包容与理解，女性应该有选择自己喜好和保持健康的权利。
《LSG Girl》
LSG is short for sleeve gastrectomy and is mainly used for weight loss and treatment of type 2 diabetes. I have had this operation, and the previous obesity not only brought a blow to my appearance, but even affected my health. Through the investigation, it was learned that this formal operation was negatively spread by public opinion. I photographed women who had also undergone LSG surgery and felt their confidence today. The focus of the filming is not to promote surgery and weight loss. What I want people to see is that women are under too much pressure due to obesity, intuitively feel the impact of obesity, and give them more tolerance and understanding. Women should have the right to choose their preferences and maintain their health.
秦姣羽 QinJiaoyu
1998年9月生于陕西，现为西安美术学院2017级摄影专业学生。
一天回家，我发现家里被莫名的装饰填的满满当当:空洗衣液瓶里长出的 绿植，黏满果核的置物盒，用饮料瓶和丝线做的晾衣夹...我开始观察这些作品 的创作者——我的母亲。当我凝视她的时候，就像看着一面镜子，有时陌生有时熟悉。于是我拿起自己手中的“缝纫线”将她琐碎的生活一针一针的串联起来。
One day when I went home, I found that my home was filled with inexplicable decorations: green plants growing out of empty laundry detergent bottles, storage boxes filled with fruit pits, clothespins made of beverage bottles and silk thread... I began to observe The creator of these works-my mother. When I stared at her, it was like looking at a mirror, sometimes strange and sometimes familiar. So I picked up the "sewing thread" in my hand and connected her trivial life stitch by stitch.
