中国美术学院
中国美术学院电影学院摄影系成立于2002年，围绕“视觉艺术东方学”内涵建设，立足媒介全球化、普及化时代前沿，始终聚焦于摄影作为艺术的媒介语言探索，视觉美学的创新与开发，影像文化内涵的表现与挖掘，旨在培养具备精深影像创作技艺、实验精神与国际化视野的创新型摄影人才。
该系以摄影媒介表达的实验性探索凸显美术学学科背景特色，以回溯摄影媒介语言本体的纪实性，拓展摄影媒介内在价值与文化内涵的实验性，探索摄影与科技载体多样融合的应用性，充分挖掘影像介入视觉文化研究的功用与价值为专业特色，建构了系统的摄影艺术专业教学模型和精锐的教学与创作团队。2020年摄影专业获评国家级一流本科专业。
China Academy of Art
China Academy of Art the Department of photography was established in 2002. From that time, we’ve been focusing on the main point of "Oriental Visual Art" while standing on the ground of contemporary digital culture and media popularization. Photography here is regarded as a kind of visual language of art, the innovation skills and a way of visual aesthetics understanding. Thereafter our students are encouraged to explore the possibilities of photography, as well as the theory and connotation of visual cultural. Profound knowledge on contemporary digital culture, creative skills with photography, experimental spirit as well as international view are all that our students develop with our courses.
The Department is based on the background of fine arts meanwhile concentrating on the experimental photographic languages and its possibilities simultaneously. Not only tracing back the traditional techniques of photography, we also pay much attention to the experimental way of the internal value and cultural connotation of photographic media. Thus the student can employ the diversified integration of photography and its technological carriers in use, including fully excavate the function and value of image intervention in visual culture research. Our hope is to build a systematic teaching model of photography and to develop an effective teaching staff. In 2020, the Course of Photography was rewarded as the National First- rate Undergraduate Major.
辛宏安，陕西西安人，2006年毕业于英国肯特大学肯特艺术学院(UCA)，硕士研究生，研究方向：当代摄影与实践；中国美术学院副教授，硕士研究生导师，电影学院摄影系副主任；近年来研究与创作主要以摄影形态艺术学为核心，注重观察视觉人类学、社会学与当代摄影的融汇与交叉呈现。
马克姆·安德森（Malcolm Andrews）在其著作《寻找如画美》（The Search for the Picturesque）开篇有一段话：“游客想要发现未经人类触动过的大自然，但是，一旦发现了这样的所在，他就无法克制自己的冲动要去“改造”它，哪怕只是在想象中。” 也许正是这种想象中的“改造”冲动，在今日之时的数字影像技术助力之下，悄无声息的改变和颠覆了摄影在器械时代所具有的真实与客观性特征，进而使摄影图像与它所纪录与表现的客观现实之间的悖论关系，变得越来越明显。
这组作品即是在无意之间触及并意识到这一可能之后，在图像形式及数字影像视觉可能性上所进行的实验与探索。
有一天穿行终南，夹道两侧时现奇峰林立、氤氲之气升腾的幽然奇境。然而更惊异的，却是那遍布的开山炸石、粗暴蛮横的人工废墟与遗迹。这景观绝不优美，却又从形式上藐视一切画笔和镜头，带着某种张扬跋扈的崇高宏伟，屹立或横袒于天地之间。那一瞬间惊觉，这种“改造”的冲动与实施，个人力量也许可以无视，群体力量，却可以产生极其令人惊惧的结果。这就是拍摄以终南山为母题这个系列作品的最初思考。
这一拍摄计划开始于2015年，以现场拍摄素材为核心的后期制作至今仍在延续。本次参展系列作品为第二阶段素材完成部分，2022年7月第三次调整、校色定稿。
《Transform Impulse and Imagination》
Malcolm Andrews begins his book The Search for the Picturesque with the words: "The visitor wants to discover nature that has not been touched by humans, but once he discovers such a place, he cannot restrain his impulse to "transform" it, even if it is only imaginary." Perhaps it is this imaginary impulse to "transform" that, with the help of today's digital imaging technology, quietly changes and subverts the real and objective characteristics of photography in the device age, and then makes the paradoxical relationship between the photographic image and the objective reality it records and represents, more and more obvious.
This group of works is the experiment and exploration of the visual possibilities of image form and digital image after inadvertently touching and realizing this possibility.
One day through the end of the south, on both sides of the road, there is a strange wonderland lined with strange peaks and rising breath. What was even more surprising, however, was the rubble and ruins of rocks and rough and brutal man-made rubble. This landscape is by no means beautiful, but it despises all brushes and lenses in form, with a certain lofty grandeur, standing or standing between heaven and earth. At that moment, it was realized that the impulse and implementation of this "transformation" may be ignored by individual forces, and the power of the group can produce extremely frightening results. This was the original thinking of shooting this series of works with the theme of Jungnan Mountain.
The shooting program began in 2015, and post-production with live footage as the core continues today. The series of works exhibited in this exhibition is the completed part of the second phase of materials, and the third adjustment and color correction will be finalized in July 2022.
刘阳 Liu Yang
“洞见”一词除其字面意义及引申含义外，还饱含着两重视觉经验，一层是表象的从洞中向外观，而另一层则是由外观而转移到的内察。“时间的缝隙——洞见”系列试以针孔摄影的方式与山水自然景观之间建立一场跨时空的视觉对话，借由洞穴与石缝的自然之眼，以及摄影的直接记录特性，留存自然的内观与外显共存的状态，探索理性控制与不确定性视觉表达之间的融合边界。拍摄在寻找群山之间的洞穴与石头的缝隙间展开，画面内容涉及杭州瑞石古洞、青林洞、龙泓洞、玉乳洞、青衣洞等石洞与自然景观。在光线源源不断地涌入针孔相机时，银盐相纸上被刻下自然流淌的时光痕迹，时间在山水景观中的延绵也从影像中缓慢溢出。
《The Cracks of Time --“Dongjian” (Viewing from Holes)》
In addition to its literal and derived meanings, the title "Dongjian"(meaning ‘viewing from holes’) also involves two visual experiences. One is viewing from the inside of the holes to the outside world, and the other is the introspection transformed by the outward viewing. “The Cracks of Time -- Dongjian ” series of photography attempt to establish across time and space a visual dialogue between people and the natural landscape through the pinhole camera. Through the natural cracks of the caves and holes, the series explore the boundaries between the rational control and indefinite visual expression by faithfully recording both the inside and outside images of the nature. The shooting was carried out in search of the caves and stone crevices on the hills and mountains in Hangzhou, involving Hangzhou Ruishi Ancient Cave, Qinglin Cave, Longhong Cave, Yuru Cave, Qingyi Cave and other stone caves and natural landscapes. As natural light poured through the pinhole camera, traces of the flow of time were etched on gelatin silver print, and time is thus bit by bit visualized through the recording of the landscapes.
本作品以当代青年女性群体为主要研究对象，基于女性身体的规训与被规训，以“女性”“欲望”“救赎”等为关键词，批判青年女性因为社会、历史、文化和自身因素的影响，从心甘情愿的沉湎于各种欲望陷阱到挣扎再到自我救赎这一过程中的现象。名称的 “熵”来源于物理学中的热学的一个物理量，其本质则是一个系统“内在的混乱程度”，它让我联想到当代女性在各种社会规训、欲望中沉湎、挣扎，渴望被定义的一种复杂混乱的心理状态。
Based on the discipline and discipline of the female body, this work criticizes the phenomenon of young women due to the influence of social, historical, cultural and self-factors, from willingly indulging in various desire traps to struggling to self-redemption due to the influence of social, historical, cultural and self-factors. The name "entropy" comes from a physical quantity of heat in physics, and its essence is a system of "intrinsic chaos", which reminds me of a complex and chaotic mental state in which contemporary women indulge in various social disciplines and desires, struggle and desire to be defined.
李玟玟 Li Wenwen
李玟玟，女，1996 年1月出生于云南省昆明市，中国美术学院影视与动画艺术学院摄影系硕士在读，实验影像小组“异见”发起人，现生活学习于杭州。作品关注个人情感与外界共情，作品多通过以植物为载体，以意象化的方式及超视域的媒材进行表达。
日光洒落，抚摩花肌肤的每寸，红外下的植物通体洁白无瑕，造就乳般纯净的姿态，如彼岸之物完美充盈，叶绿素——蓬勃的生命的象征，通过反射大量的红外光营造出超凡的鲜活能量，褪去浮华色彩却一无所失，如阑夜下目力无法触及之处，植物悄然蔓延、生长、皈依于自然的怀抱。
《Night》
The sun sprinkles, caressing every inch of the flower skin, the plants under the infrared are all white and flawless, creating a milky pure posture, such as the perfect fullness of the things on the other side, chlorophyll - the symbol of vigorous life, by reflecting a large amount of infrared light to create extraordinary fresh energy, fading the glitz of color but nothing is lost, such as the invisible place under the night eye, the plant quietly spreads, grows, and takes refuge in the embrace of nature.
周子杰，1995 年 11 月生于深圳，2014 年毕业于中国美术学院附中，2018 年本科毕业于中国美术学院建筑艺术学院环境艺术系，2022 年硕士毕业于中国美术学院摄影系。作品基于摄影的图像媒介关注个体、场所精神与存在的关系。
《穿山》
《穿⼭》系列是我的⾝体和意识在离开城市⽣活的⽇常时空，去往浙江东部的⼭林间穿梭时溢出的碎⽚。杉本博司相信⼈类意识产⽣的现场是海景，我觉得或许古时中国⼈的⾃我就曾觉醒于⼭⽔之中。⻦鸣、流⽔、闪光树⽊的呼啸声在我四周聚集。⼭⽔静谧的呼吸，使其间的事物变得分明起来。
The "Through the Mountains" series is a fragment of my body and consciousness as I leave the daily time and space of city life and travel to the mountains and forests of eastern Zhejiang. Hiroshi Sugimoto believes that the scene of human consciousness is the seascape, and I think perhaps the ancient Chinese self was awakened in the landscape. The whistle of chirping, running water, and flashing trees gathered around me. The quiet breathing of the mountains and rivers makes things clear in between.
济南国际摄影双年展第三届高校邀请展“微芒成阳-亚太地区高校摄影邀请展”
美国参展院校：旧金山艺术大学
日本参展院校：大阪艺术大学、东京造形大学、日本九州产业大学
韩国参展院校：中央大学、弘益大学、中部大学、大邱艺术大学、韩国放送艺术教育学院
土耳其参展院校：萨班哲大学、科克大学
新加坡参展院校：拉萨尔艺术学院、南洋理工大学
中国参展院校：北京印刷学院、湖北美术学院、黄河科技学院、鲁迅美术学院、南京艺术学院、清华大学美术学院、山东工艺美术学院、上海工程技术大学、上海美术学院、上海师范大学、上海视觉艺术学院、四川美术学院、天津美术学院、西安理工大学、西安美术学院、西安欧亚学院、浙江传媒学院、中国美术学院、中央美术学院
主办单位：中国济南国际摄影双年展组委会
指导单位：中国摄影家协会教育委员会、中国高等教育学会摄影专业委员会
承办单位：西安理工大学艺术与设计学院 、山东工艺美术学院
媒体支持：《中国摄影家》杂志
艺术总监：曾毅
总策展：张辉、黄荣华(土耳其)、柳银珪(韩国)
联合策展人
Agatha Bunanta(印度尼西亚)、Ampannee Satoh(泰国)、Ang Song Nian(新加坡)、敖国兴、白晓丹、戴菲、邓岩、董钧、Eiffel Chong(马来西亚)、Erzan Adam(新加坡)、胡晓阳、吉川直哉(日本)、贾方、矫健、Lachlan Gardiner(澳大利亚)、Laleper Aytek(土耳其)、李小舟、林简娇、刘阳、Nadia Oh Sueh Peng(新加坡)、Oh Soon-Hwa(韩国)、Salleh Japar(新加坡)、沈洁、史民峰、Tan Tay Guan(马来西亚)、Ugrid Jomyin(泰国)、王培蓓、王帅、杨赫、姚璐、张朴、张省会、中里和人(日本)
艺术委员会
鲍昆、百濑俊哉(日本)、曹珽、顾铮、方肃、胡钢锋、李树峰、林路、计卫舸、宿志刚、王保国、王川、王传东、武小川、谢爱军、徐国武、阳丽君、张成义、张希红、钟建明
执行委员会
执行策展人：张一天、高帆
展场设计：吕梦星
微信推广：胡敏瑞、吕梦星、赵懿平
视频拍摄：王天俊、王登轩
英文翻译：张心睿、常永鑫
展览时间：2022年10月25日-11月25日
展览地点：山东工艺美术学院美术馆
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