“从长安到罗马” 中意高校摄影邀请展—湖北美术学院- 大数跨境

“从长安到罗马”

中意高校摄影邀请展—湖北美术学院

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：张朴

湖北美术学院

Hubei Institute of Fine Arts

湖北美术学院摄影专业介绍

湖北美术学院摄影专业建构在视觉传达设计系，以培养高层次图像人才为目的。课程设置和教学体系充分的利用了美术院校的资源优势，打通学科与学科之间的专业屏障，吸纳有助于专业发展的课程并导入到教学体系之中，将材料、载体、表现技法、图像语言等作为重点难点加以研究，使教学更具探索性和实验性。

教学内容以分为三大板块：一、以商业广告摄影教学为培养方向的教学板块；二、以新闻传播为培养方向的教学板块；三、以现当代图像观念艺术为培养方向的教学板块等。涉及广告图像创意设计艺术、新闻与现代传播、媒体与网络艺术、现当代艺术分析与批评及当代图像艺术表现等课程，旨培养具有当代意识的复合型图像设计人才。

Aiming to cultivate high-level image talents, in Hubei institute of fine arts, the major of photography is in Visual Communication Department. With the advantage of the resource of our institute, the curriculum and education system has broken the barrier between the subjects and lead in all the courses, which is helpful to the development of the major. Material, carrier, representation technique and image language are the emphasis and difficulty of our research which makes the teaching more exploratory and experimental.

Photography Education can be divided into three systems in Hubei Institute of Fine Art:

1. Commercial advertising photography

2. News and media

3. Contemporary image conceptual arts. Based on cultivating application-typed talents, the students are involved in creative design arts of advertising image, news and modern communication, media and internet arts, contemporary arts analysis & criticism and representation of contemporary image arts, etc., so that they can become compound-typed design talents with contemporary consciousness.

张朴 ZhangPu

张朴 ,1963年生于武汉1988年毕业于浙江美术学院（现中国美术学院）获学士学位，2008年获武汉大学硕士学位现为湖北美术学院教授硕士生导师摄影专业负责人中国摄影家协会会员湖北省摄影家协会会员

从事摄影、平面设计的教学和研究工作。论文、作品多篇幅发表于国内学术期刊和专业年鉴中，摄影、设计作品多次参加国内外摄影、设计展览并获奖。

19世纪中期，俄国人来汉口做起了茶叶生意，老汉口“巴公房子”的主人就是茶商俄国皇室贵族、沙皇尼古拉二世的表亲巴诺夫兄弟。“李凡诺夫公馆”的原主人李凡诺夫，也是当时汉口的著名茶商。这些俄国茶商与中国的茶叶贸易长达半个多世纪，开启了汉口作为“东方茶港” 黄金时代。这些老建筑与“江汉关”、“大智门车站”一道见证了汉口作为中国砖茶之都的辉煌。

In the mid-nineteenth century，Russians begin their business of tea in Hankou, the owners of the old Hankou's house is the tea merchant Russian noble czar Nicholas ii's cousin, the Banovs. Li Vanov, the original owner of "Li Vanov Mansion", was also a famous tea merchant in Hankou at that time. These Russian tea traders traded with China for more than half century, it opened the golden age of Hankou as the "Oriental tea port". Together with "Jianghan Pass " and "Dazhimen Station ", these old buildings witnessed the brilliance of Hankou as China's brick tea capital.

作品名称：《东方茶港》

作品材料：重铬酸盐工艺

作品大小：37*26cm

创作年代：2017

邓乾维 DengQianWei

通过传统摄影的手工转印形式与现代数字影像结合的创作方式，表现影像多维翻转后，经过对平面影像的解构与重构，单一视觉感受的逐渐多元化；并从中探究摄影在多媒介结合的创作方式中，其本体语言在不同层次下所表现出的特点与转变。

Through combining traditional photography manual transfer form and the modern digital image to perform image multi-dimensional flips, then through deconstructing and reconstructing the plane image to make the single visual feeling gradually multiplies, at the same time, exploring photography ontology language how to showing characteristics and changes at different levels in the multi-media combination context.

作品名称：《西北偏西》

作品材料：转印工艺

作品大小：36*24cm

创作年代：2018

张欢 ZhangHuan

张欢, 1991年5月生于湖北黄石。高中毕业后，进入到湖北美术学院学习摄影专业，毕业后在深圳学习深造，目前生活工作于武汉、深圳两地。

这组作品并不以记录现实为主要任务，所以画面中的实物自然也不是它们原本在客观现实世界中的意义，每一个拍摄元素、每一种无序的重复排列、每一种色彩样式都是作为一种承载着作者创作观念的视觉图像符号而存在于画面中的。作者希望通过这些纯粹的符号来制造“影像散文”，而这种“影像散文”是很难翻译为语言句子的，对于不同生活背景、不同年龄阶段、不同职业背景的不同观者，这些“影像散文”为其带来的一种情绪、一缕诗情、一些感性和些许突发性的审美意味都是千差万别的，而这些隐含着的意味最终也都是以一种对我自的反观和思考为前提和最终归宿的，所以这也是这组作品存在意义所在。

This group of works on-screen physical nature that they had not only bear with the real world in the objective sense , but every shot elements, each arranged in a disorderly repeated , each color styles are bearing the author as a creative the concept of visual images and symbols present in the screen , the authors hope that through these pure symbols to create " images prose" , and this " image prose" is difficult to translate the language of the sentence , for different life backgrounds, different ages different professional backgrounds of different viewers , these " video essay" bring to an emotion , a ray of poetry , some of the emotional and aesthetic meaning little unexpected are vastly different , and these implicit implication ultimately are in a right hand, and since I think the premise and the final fate .