“从长安到罗马”中意高校摄影邀请展—中央美术学院- 大数跨境

“从长安到罗马”

中意高校摄影邀请展—中央美术学院

总策划：曾毅

策展人：张辉、Athos Collura（意大利）、

Alfred Mirashi(意大利)

联合策展人：姚璐

中央美术学院

Center Academy of Fine Arts

中央美术学院摄影专业介绍

中央美术学院摄影专业2001年正式开始本科教学。该专业的教学理念突出“专业性、多元性和当代性”，强调将摄影放置于宏观的当代视觉艺术背景下进行解读。摄影专业以培养最具创造力的影像艺术家、职业摄影师、跨领域影像媒体人材为培养目标，在注重摄影的专业性与职业精神的同时，更着力于对学生艺术审美与判断、原创精神、社会责任感与横向拓展能力的培养，使之真正成为未来最具竞争力的人材。目前该专业具有完备的设备体系与教学空间，教学手段先进多样、注重艺术、理论、科学三者的有机结合。教学模式上突出循序渐进式的理论－思维－实践的方式，中央美院深厚的学术积淀、准确的教学定位和科学的课程设置使该专业教学获得了国内同行的认可，在中国高校摄影教育领域以精品教学、品质教学著称，在读学生多人多次在国际国内重大比赛展览中获奖，毕业生在纯艺术和商业应用领域均扮演着极具影响力的重要新人的角色。

The Photography Department of CAFA was built in 2001officially.The teaching principle is emphasized on “professional, diversified and contemporary”, stresses that the photography should be placed in the context of the contemporary visual arts, and make the interpretation subsequently. The Photography Department of CAFA aims at cultivating the most creative image artists, professional photographers, interdisciplinary image and video expert professionals.we focus on the specialty and professional spirit of photography, and meanwhile, we put the emphasis on developing the students’ aesthetic judgment, the originality, the sense of social responsibility and the ability of expanding knowledge scope.so that the graduates will be the most competitive ones in the future. At present, the Photography Department of CAFA has the complete equipment system and teaching space, the teaching methods are becoming more and more advanced and diversified, we pay attention to the combination of art,theory and technology.

”Theory--Thinking--Practice”,the gradual teaching theory is highlighted in our teaching pattern. Under the background of the profound academic accumulation and the accurate and scientific curriculum of the Central Academy of fine arts, the Photography Department of CAFA won the domestic peer recognition and produced so much favorable comment. The students of the Photography Department have won many prizes in international and domestic competitions or exhibitions, the graduates are playing an important influential role in both fine art and commercial applications domains.

姚璐 YaoLu

我的作品是运用传统中国绘画的形式表现当代中国的面貌，中国在不断的发展着，在不断的建设过程中有许多东西产生同时也有许多东西消失了，那些“防尘布”覆盖的土堆和垃圾是一个普遍的现象。

我希望：我们所做的一切都使世界形成良性转变。我们必须保护环境，我们努力工作意味着，世界将变得更加和谐。

摄影可以理解为非常传统的，它可以记录很多以前的历史，让人们回到了以前的某一个时代；摄影也是非常当代的，它可以非常清晰的把见到的东西重新组合再编辑整理，让人们在作品前产生时间和空间的错觉，可以看到既真实又不真实的影像。

在作品的风格上，我主张维护画面的美感，这其中包括画面的构图、线条、疏密等等一切绘画规律，一幅好的作品是由多方面因素构成的，他应该能体现出艺术家的修为和能力，一幅好的作品是有智慧的。

摄影的这种延展性为我提供了非常大的表现空间，让我可以有更多的手法去创作。

Generally speaking, my works use the form of traditional Chinese painting to express the face of China. China is developing dramatically today and many things in China are under constant construction. Meanwhile many things have disappeared and continue to disappear. The dumps and rubbish covered with the 'shield', the green netting, are a ubiquitous phenomenon in China.

I want the world to be able to make a benign transformation. People must protect the environment. This work implies that the world should become more and more harmonious.

Photography can be understood in traditional ways : It can 'record' many histories long before our own time, and it can take people back to times and situations many years ago. But photography also is very contemporary. It can re-assemble and re-edit the things that we actually see in order to produce illusions that people see when they are in front of such photographic works. In these works, you see images that are true and fictional.

Concerning the style of my works, I believe in maintaining a beautiful feeling in the framing of the image, including composition, line, density and its framing, all the elements regularly contained in painting. I think a good art work is composed of many elements, and it should reflect the knowledge and the skill of the artist. A good art work has intelligence.

The flexibility of photography provides a big expressive space for me, I can work with it in many ways in making my creations.

宫哲 GongZhe

随着年龄的增长，我们有了更多的往事去回望。在回忆的过程中，我惊奇的发现，有些事情，有些人，有些物品，亦或是有些细微的感觉，都还在记忆深处的某个角落里静静地躺着⋯⋯当我的神经在某一个场景无意中被触动的那一刻，那种种黯然静默的回忆便不经意的一个个悄悄溜了出来，萦萦绕绕笼罩在我心间，挥之不去。做为一个摄影师，我选择了用拍照的方式把它还原出来。我拍摄了身边8个好朋友的卧室，并对他们进行了简短的访问。在我们轻松的谈话中，我发现了他们心里的“秘密”，这是属于他们的回忆。在被允许的情况下，我通过照片的方式，把他们的回忆呈现了出来。每一张照片中的物品，是他们无论怎么搬家，都不会丢弃的东西，这些物品甚至跟随了他们好多个春秋。回忆是美好的，回忆是淡淡的，回忆是轻浮在心间的那一丝微弱的光亮⋯⋯

Along with the growth of the age, we have more things to look back. In the memories of the process, I found surprising, some things, some people, or some feelings, are all still to lie quietly in a corner of the depths of memory. When my nerves in a certain scene inadvertently touched at the moment, that sadly silent memories will inadvertently slipped out , lingering around shrouded in my heart. As a photographer, I chose to use the way of taking photo to revert it. I shot the bedroom of around eight good friends, and had a brief interview on their. In our conversation, I found the "secret" of them , this is their memories. Circumstances be allowed to, I by the way of the photo presents their memories. Each thing in the photograph , they are no matter how to move, not discarded, these things even follow them so many years. The memories are beautiful, memory is the light, memory is the light in the heart of the weak light can be done.

李砚辞 LiYanCi

我的作品试图将人类的行为置换到太空空间中，在这个空间里发生了战争、建设、迁徒、谈判等事情，通过在新空间内对人类行为的再次诠释，反映出人类文明中固有的发展状态和人性的特点。

This body of work displaces human activities such as war, construction, migration, and negotiation into outer space. Through reinterpreting human activities in this new space, these images reflect the inherent patterns of civilization development and characteristics of human nature.

刘昶 LiuChang

作品《岸边》拍摄于2017年我在黄山下沿着新安江的一段徒步的旅行，在这个旅行过程中，我像一个来自北方的流浪者，感受南方的潮湿和雨气，但在湿润中也看到很多同北方一样的粗普的建设。在愈加趋同的环境中，我在想透过岸边的现代的遮挡，找到心里传统的南方烟雨水岸的诗意。

The work “River Bank" was made in 2017. I was on a hiking trip under Huangshan mountain along the Xin 'an River. During this journey, I felt like a vagrant from the North, experiencing the moist and rainy air in the South. In the increasingly convergent same environment, I am trying to find the poetry of the traditional southern misty and watery through the modern build on the River Bank.

柳笛 LiuDi

自然界的物质性与精神性，自然法则与社会，自然定律的遵守与违背，物质性与精神性，作品的思考是基于这些概念之间的微妙关系。

所以，我将动物变形放大，让他们出现在城市中而不是森林里，因为这种突兀的，让人不适应的视觉感受会给人们以一种刺激，引发思考与联想，将自然界与人类社会，物质与精神，自然定律的遵守与违背这些相对的概念之间的关系传达出来。将人们的联想引入大自然，人类，不变的自然定律，发展中的城市这些概念中。

我一直在寻找一种可以将人暂时抽离出无关紧要的琐碎现实，哪怕是隐约感受到某种超越眼下的现实而存在的更真实的客观世界。

The work based its idea on the subtle relationship between a series of opposite concepts, such as the materiality vs. spirituality of nature, principles nature vs. society and obedience vs. violation to the principles of nature.

Accordingly, I magnify the animal’s body, putting then into a city instead of a forest. This contradictory visual impact offers people a stimulus which can evoke thinking and imagination and convey the relationship between nature and human society, between material and spirit, between obedience and violation to the law of nature.

I’ve been seeking for a new objective world that can temporarily distract people from the unimportant and trivial realities, even though it only makes a vague sense beyond the reality in front of our eyes.

彭靖 PengJing

照片呐喊的方式是沉默的，声音是巨大的。历史上有很多让人印象深刻的照片，但今日我们每时每刻被大量的照片轰炸，每一年却只能记住极少数，绝大多数照片都被淹没，照片的声音也在一点点地消亡。

The voice of photos is silence but huge. There are a lot of impressive photos in history, nowadays we are bombed by endless photos all the time but only can remember a few in every year, most of the photos are submerged in the sea of the internet and the sound of photos are dying slowly.

孙洋 SunYang

在消费社会中，消费品从被制造出来的那一刻就注定成为废弃物，就像一枚硬币的正反两面。面对消费品与废弃物的循环世界，作品结合日常事物，运用宝丽来胶片独特的美学特质以及自身的消费特征，呈现出恒河沙数般消费品背后的景观。

Each coin has two sides; in the consumer society, consumer goods are destined to be wasted the moment they are produced. Considering the destination and the distribution process of consumer goods, the author utilized things from day to day life and the unique aesthetic trait of Polaroid film to display innumerable consumer goods.

王燕妮 WangYanNi

伴随摄影技术的发展，摄影的真实性不断受到质疑。我的创作试图从影像的真实性上作为突破，不仅仅拍摄的是真实的雾霾，影像本身也是由真实雾霾制作而成。在对收集到的北京各处的尘埃和各种空气净化系统中提取的灰尘进行分类、研磨、筛选、蒸馏、再研磨、调和的过程中，通过反复印制、反复试验，调整不同的制版方式来手工印制北京标志性景观，即表现真实的景象又表达观者对雾霾的强烈感受。利用摄影的记录性还原真实，不再停留在影像背后隐藏的拍摄信息上，更重要的是在呈现和观看上更加接近霾的实质，寻求摄影作品真实性的超越。

With the development of photography technology, the doubt on photographic authenticity has never stopped. My creation has tried to take the authenticity of images as a breakthrough, not only filming the real haze and fog, but also producing the images by real haze and fog. Through classifying, distilling, grinding, mixing, printing and testing the dust collected from different places of Beijing, I manually print the landmarks of Beijing by adjusting different playmaking methods, to express the real landscape and also the strong feeling of the viewers. I did this to restore reality by using documentary photography, rather than focus on the photo information behind the images, which is more important to present the essence of haze and fog and pursue the authenticity of the photographic works.

闫宝申 YanBaoShen

《有关时间的命题》来源于作者青少年时的生活回忆。作者选取具有代表性的典型物品，利用特殊的流质物在其表面进行反复加工，通过形态上的再造来隐喻“时间对物质生活的影响”。物品经过反复加工，经历了长时间的过程。在外表形态上，只留下了造型的基本轮廓，在拍摄上，作者借鉴类型学摄影的方式，将物品置放于统一的环境中，利用相同的机位和构图，最大程度上的减少其它视觉因素的干扰，力求忠实地还原物品加工后的形态。

《The Form of time》 sources to the youth memories in the real life. The author selects a representative of typical objects, using special liquid materials on its surface were processed repeatedly, by morphological reconstruction to metaphor " The influence of time on real life."

張开 ZhangKai

乌有园是指因城市的矛盾压力等，人们逃离现实生活困境的动机。

研究生阶段我对艺术史进行了系统地梳理，其中对十九世纪法国画家布格罗的作品很感兴趣，并进行了研究。他有一种源于自然的天性，作品中充满了浓厚的乡土气息，作品里的孩子们也宛如天使般的存在。这与当下人类城市发展进程中所出现的各种常态有很大的区别和反差。于是我带着一种个人理想化的追求和对当下生存环境的理解进行了一些列的创作行为。

首先我对布格罗的作品进行了再次临摹绘制，留存了作品背景，抽离出了天使般的人物。

然后我带着油画拜访了城市里的一些家庭，与那些家庭成员进行了关于都市生活的对话，然后在这些家庭附近进行了都市景观的选择，把油画放置在了都市景观里。最后让家庭里的孩子在油画面前，用摄影的方式对其进行拍摄和记录。

通过这样一组摄影作品的呈现，使当下的都市生存环境与个体追求的理想状态之间，产生了对比和结合。我们可以借助于画面，来思考我们当下的生存环境所呈现出的问题，来思考我们能给未来一代人带来怎样的发展变化？