简单的图像 Simple images

简单的图像 Simple images

策展人:廖文峰

参与此次展览的艺术家, 都并非以摄影作为他们的主要工作媒介。以其最基本的功能——纪录为基础,摄影被当成一种可以被简便使用的工具。它使得艺术家们可以对现实世界的物通过图像投以关注,并改造它们的关系,使它们在清晰的外貌下呈实出不确定的状态。或者,通过机械之眼,捕捉和凝固时间的痕迹,使其能为我们的肉眼所感知。或者,作为测量的工具,来度测、检验和更新我们的所见所知。

通过摄影直接产生的图像,或者通过对于现有图像的组织,个人化的观看方式和经验得以传达和显现,并呈现出不同的气质。这些图像邀请我们的双眼对它们进行着辨认,并同时对我们现有的意识进行重新编排。有时候,我们的所见越是一目了然,我们的所知就越模糊,越来越不确定。它们迫使我们调整看法,并暂时地使这种悖论得以调和。由此,图像以这种方式植入了我们的记忆,并在我们遭遇相似的现实情景时显现。

艺术家:

Monika Brandmeier (德国)

Judith Karcheter(德国)

Sven Stuckenschmidt(德国)

Max Sudhues(德国)

Evgenija Wassilew(法国–德国)

Bignia Wehrli(瑞士–德国)

廖文峰 (中国)

 

照片回收 Recycled

《照片回收》动画项目

动画:雷磊+苏文

声音艺术:张安定

在过去的几年中我们从北京附件的垃圾站回收老百姓丢弃的相机胶卷,多达五十万张左右的35毫米彩色胶片记录了过去三十年首都老百姓的居民生活。我们从中选择了三千张左右的照片制作为动画。

Recycled

Animation by Lei Lei + Thomas Sauvin

Sound Art by Zafka

The following images were sourced over the years from a recycling zone in the outskirts of Beijing. This archive of more than half a million 35mm color film negatives is a photographic portrait of the capital and the life of her inhabitants over the last thirty years.

Here, we selected 3000 photos to create the animation you are about to see.

被遗弃和占有的那束光

被遗弃和占有的那束光

策展人:马楠

艺术家:蒋鹏奕、陈维、邵一、管怀宾、施政、川内伦子、杨哲一

目/光鎖定之處物被照亮、被佔有、被遺忘,成為彌散的記憶⋯那看似一束的籠罩光亮於每個個體都是獨一的,單注游離的光被捕獲,關進黑匣,形成無限交疊的散射⋯

 

引擎:一种由图像引发的艺术生产机制 Engine: The Image-triggered Mechanism of Artistic Production

引擎:一种由图像引发的艺术生产机制

Engine: The Image-triggered Mechanism of Artistic Production

策展人:海杰

Curator: Hai Jie

艺术家:蔡东东、陈红汗、高岩、任瀚、汤南南

Artists: Cai Dongdong, Chen Honghan, Gao Yan, Ren Han, Tang Nannan

越来越多的创作实践正在危及惯常意义上的图像的主体地位,而将它变成一个艺术家创作过程或一种新的艺术生产机制里的意义触发装置。艺术家,在此刻,调用各种媒介来与图像谈判,并进而像巫师一样对图像与其他媒介进行图像语言与跨界内容上的衔接和转换。

Creative practice is increasingly endangering the traditional subject status of the image, turning it into a detonator that triggers the meaning in artist’s creative process or a new mechanism for artistic production. Currently, artists employ various materials to negotiate with the image and proceed to, like a sorcerer, link and transform the pictorial language and trans-media content of images and other media.

图像的主体地位因此消失了。附着其上的被动观看行为也不得不成为一次次调整姿势的行动。图像具有了一个新的身份——“意义诱发者”,它的绝对权力被分解。

放置在具体的实践中,由直接拍摄变为图像“拓扑”装置,由图像与文字信息位置互换而生成新的语境,甚至图像被评论、被涂写,成为文本或素描,并延展到它本身不具备的社会学指向。

The subject status of the image is thus dissolved. The inherently passive act of image viewing thereby becomes a performance of constantly balanced posturing. The image possesses a new identity—“inciter of meaning”, its fundamental rights revoked. Set in the midst of a specific practice, it changes direct image capture into an implement of pictorial topology, a new context created from swapping image information with textual information. Image has even been critiqued, endlessly scribbled about, becoming something written or sketched, and extending into fields of sociology, a direction which originally the image doesn’t go.

QQ截图20150704114637蔡东东利用了摄影,他将自己拍摄的废片或者收购的照片进行阅读,将其进行“拓扑学”处理,重新激活其性能良好的部分,处理方案有如下:利用图像符号本身具有的属性进行语意的联想、符号的嫁接、直觉的诱导、视觉的捣乱、媒介的位移。最后形成图像装置。表现在材料上,他的尝试体现在对于照片做出划线、涂抹、编织、折叠、堆积、撕扯、扎孔、遮挡、描摹、打磨、拼贴、卷曲、灼烧、镂空、翻转等干预性动作。蔡东东拒绝接受图像自成一体的意义,他将这种干预行为进行到极致,使图片从它天生的平面优势和意义自恰中被唤醒。

Cai Dongdong works with photography. He begins by reading discarded negatives he shot himself and found photographs. By subjecting them to “topographical” treatment, he reactivates those positive parts of their inherent function. The methods of treatment include: utilizing the inherent attributes of pictorial symbolism to carryout semantic associations, symbolic grafting, intuitive guidance, visual disturbance, and displacement of medium. The ultimate result is image installation. Expressed in the materials, his attempts are realized by a variety of intervening actions such as drawing, painting, weaving, folding, stacking, tearing, poking, copying, abrading, collaging, crimping, burning, hollowing, and reversing images. Cai Dongdong refuses to accept the inherent meaning of an image and by taking these interventional actions to the extreme, he makes pictures awaken from their innate two-dimensional superiority to realize their true meaning.

陈红汗作品《克丽丝蒂娜》陈红汗作品《克丽丝蒂娜》选取了一个名叫克丽丝蒂娜的法国妓女的照片,他将这张照片镂空,抽离了图像本身所具有的色情表象,同时,他将克丽丝蒂娜在网站上招客的陈述文字和她的心得体会填充进被他镂空的图像轮廓之中。在这个作品里,我们看到了图像现成品、文字装置,在这些行为之外,我们看到的是一系列社会学的图景:交易(指向消费)、妓女(指向身份)、肉体经验(指向消费心理和身体)。

In Chen Honghan’s work Cristina, he takes a picture of a French prostitute named Cristina and hollows out the image, creating distance from its inherently sexual imagery. Simultaneously, he fills Cristina’s outline with textual statements sourced from internet recruits about her experiences. In this work, we see pictorial ready-mades and textual installation, but aside from this we see a series of sociological scenes: the transaction (alluding to consumerism), the prostitute (alluding to identity), and corporeal experience (alluding to consumer mentality and body).

005艺术家高岩通过对网络下载或者自己拍摄的照片进行命名,虚构作者、主题、创作方法、呈现方式和创作年代,并通过煞有介事的艺术评论来将图像转化为文本,从而来对当代艺术及其评论体系进行质疑。

Artist Gao Yan uses images that he downloaded from the internet or photographed himself and (re)names them, fabricating an author, title, production method, display method and year of production, even generating feigned art criticism to transform image into text and thereby call into question contemporary art and its system of critique.

dfa250232b4206150a87fd531d4bce17b7660a65b0b6-mjvQPP(雪山系列), 布上铅笔、乳胶漆, xcm, 2014任瀚将网络下载的雪山登山探险图像处理为黑白素描,这一动作解除了原来图像所具有的丰碑感。同时,在作品命名上,他沿用下载图像实施“另存为”这个动作时出现的乱码文件名作为作品的名称。

Ren Han downloads pictures of snowcapped peaks and adventure mountaineering from the internet and transforms them into black and white sketches. This single action removes the monumentality of the original image. Simultaneously, for the title of the piece, he maintains the random file name generated when using the “save as” function to download images online.

《铸浪为山》录像截屏汤南南的作品《铸浪为山》,用四千格高速电影摄像机拍摄自己制造的海浪,这一行为直接导致了所拍摄的海浪在图像、雕塑、录像等媒介上延展和模糊性,也从而促发了海浪与山脉的文化身份置换。

Tang Nannan’s video Faith Mountain uses 4000 high-speed filmed frames of waves he generated himself, which directly results in the extension and ambiguity of these waves captured in image, sculpture and video media. Additionally, it encourages transference of the cultural identity of waves and mountains.

一个世界正在建设中 A World is Under Construction (2013)

一个世界正在建设中 A World is Under Construction (2013)

互动装置 Interactive Installation

胡介鸣再次将月球指向一个和现实互动的纬度,从图像识别到乌托邦场域的转化,让作品看起来的荒诞和幽默,有着无比现实的忧伤,图像一闪即没的出现在月球的表面,试图看清一个图像或是否看见一个图像,都成为整个作品存在的悖论,是否还有人或是实践,从遥远处眺望,也不过都是像素般的数据尘埃。

胡介鸣长期以来在多媒体和实验艺术领域工作,此作品为一个独特的系列,2013版本更强调观众的互动和数据尘埃化之观念。

*此作品首次展出于上海K11 Chi Art Space,为《真实、美、自由和金钱》展览委托创作。

未定关系

未定关系

刘杰

在这个全球化浪潮席卷世界的时代,人类以其所拥有的现代科技能力,先进的电子计算技术,精密的制造能力,推动当代社会以一种未曾有过的速度发生着改变。无论是散落世界各个角落的现代都市空间,还是当代人类自身的行为,思想和生活方式,甚至人类社会所依赖依附的自然世界都以快速的方式不间断地发生改变。在这样一个数据化时代背景下,以现代计算机运算能力为基础,当代建筑和都市景观被以程式化的方式设计和制造出来。具备数据时代背景的普遍性特征的都市建筑及其所构成都市空间,其外观呈现出程序化,抽象化的,乌托邦式社会景观现象。而在程式化和抽象化的建筑及其景观表皮之下,隐藏其中的现代社会框架构造下的社会具象思维模式,和人类当代价值观则被紧密的体现出来。

square succession XII 2010 180 x 231 cm Lightjet Print with Diasec, wooden frame
square succession XII
2010
180 x 231 cm
Lightjet Print with Diasec, wooden frame

现代建筑结构框架下的花房内部空间中,姿态各异的植物不仅仅是一种对自然的隐喻,其呈现出的无序与恣肆的姿态,也在这里对都市建筑景观所代表的人类社会秩序与理性构成映衬。具有文化艺术代表性的芭蕾舞,其舞蹈肢体艺术语言经过长时间积累和提炼,舞者无论从动作语言的创造或是肢体的塑造方面, 都无意的呈现了时代进程中人类对自身所加以的塑造和改变的一个侧面。人类造就了不断前行,飞速发展变化的时代,其自身也同时被不断前行的时代影响和改变。

ephemeral efflorescence II 2007 180 x 145 cm Lightjet Print with Diasec
ephemeral efflorescence II 2007
180 x 145 cm
Lightjet Print with Diasec

通过建筑都市空间,花房植物,芭蕾舞者的看似外在没有关联的景观现象组合,我以艺术家的个人视角,研究挖掘隐藏其下的当代社会框架内的关联性的存在。借助呈现其所产生的都市社会景观现象,进行艺术思考和艺术语言探索的同时,在社会学思想层面对当代人类社会行为及其影响后果进行思考与反思。

Youth Vision 青年视觉


www.youthvision.cn

VISION is a leading art and fashion magazine showcasing the international visual art, fashion and culture to Chinese readers. With its unique visual expression, VISION has seen tremendous development of the Chinese creative industry since 2002, exerting
great influence on the new talents in fashion, art and design in China.

VISION cannot be interpreted as a traditional magazine, because it is so visually exuberant and sensational that only sedated value will be filtered after in readers’ mind. What is the spirit of fashion? What is lifestyle with international taste? What is the individuality among the trendy flock? What is the true beauty people look for? VISION never offers definite answers, but provoking these questions is what we always wish to do.

On top of a circulation of 286,000 per month, VISION actively appears in various public events, giving support to the growing industry in China of visual culture, while more importantly, inspiring a mentality toward a creative lifestyle to the Chinese readers.

Curated by Zhou Yi


《VISION青年视觉》作为国内领先的艺术时尚杂志,自2002年1月创刊至今一直将国际艺术、时尚、人文以独特视觉传播形式传递给中国的读者,让读者看到生活中不一般的视野,引发对生活新的思考及激发新的生活方式!

《VISION青年视觉》是一本知道应该出现在什么地方的杂志,读者可以认真欣赏,也可以随意翻阅;可以沉浸其中,也可以在某一刻被吸引,被感动,如同偶遇,随意而真实。因此,她不是一本按照传统编辑逻辑操作的杂志,她是一本按视觉逻辑编辑的杂志,她是感性的,流动的,她的理性价值存在于读者内心的感动和惊讶之中。

《VISION青年视觉》传递给读者的是:什么才是溶化在精神之中的真正时尚,什么才是有国际品位的物质生活,什么才是潮流中独具的个性,什么才是你看到的美!

《VISION青年视觉》除了每月286,000册的全国发行让读者去感受非一般的视觉之美外,现在更以国际的视野关注视觉文化在中国发展。通过支持,组织,策划多形式的艺术人文活动让更多的公众去感受生活中不一般的视野。

策展人:周逸

日常快拍 Daily Snapshot

http://toutiao.com/a4593501764/

日常快拍
文:杜曦云

摄影是按动快门。

摄影术的出现,把画家生产图像的特权,让手持相机的人们共享。但很长时间内,相机价格昂贵,能拥有相机,本身就是特权。数码相机的出现和普及,让生产图像的成本越来越低,摄影家生产图像的特权,被手持数码相机的人们共享,人人都可以做摄影师。互联网,尤其是移动互联网的出现和普及,把传统媒体传播信息的特权,让使用互联网的人们共享,人人都可以有媒体平台。

以民主精神为内核的这些科技发明,让每个使用者平等的享有拍摄和传播的权利。人人都是摄影师,已经是事实。今天的日常生活中,每个人都几乎随时随地在拍照,表现各自的视角和对生活、图像的理解。

碎片艺术时代
文:萌系大叔

进入移动互联时代,我们正处于一个“碎片时期”,整个世界碎片化了,每个人的时间碎片化了,行业碎片化了,渠道碎片化了,艺术和文化也碎片化了。“人人都是艺术家”似乎通过影像工具即将成为可能,影像已然成为当代个体不可缺失的一种记录工具,每个个体用丰富多彩的视角,向我们展示当下社会生活的各个角落。

PEG


http://pegpegpegpeg.com/

一个通过艺术家和观念生长的项目,基于app系统的对艺术项目、样式和观念的日常拓展。Peg在已经存有的艺术作品中探寻根据时代、互动性和视觉的再创作,基于每位艺术家的研究和艺术实践,推导出艺术和新媒体的整合,并强调项目的易用、交互和传播。

PEG is a project developed through artists and concepts, as the daily expansion of art projects, styles and concepts based on APP system. PEG is pursing re-creation work based on contemporaneity, interactivity and vision among existing art works, and is promoting the integration of art & new media as well as emphasizing on usability, interactivity and diffusion according to the research & practice work made by all related artists.

卡塞尔: 记忆与重构 Kassel: Memory and Reconstruction


卡塞尔: 记忆与重构

卡塞尔是一座与中国有着千丝万缕联系又声名不显的德国城市。1955年在此创办的卡塞尔文献展不仅是当代艺术最重要的展览之一,同时也见证着德国文化与经济在战后的重新崛起。卡塞尔的艺术学院可能不是德国最著名的艺术学院,但却是一个时期内对中国艺术家最为友好的德国艺术院校。80年代以来的30多年中,众多中国艺术家在这里学习过艺术,并对日后中国当代艺术的发展产生过各种层面的影响,其中周春芽、缪晓春、邱黯雄等等都是中国当代艺术中耳熟能详的名字。
然而卡塞尔究竟是怎样的一座城市?是生命中一个全新的起点,还是伴随着阵痛与愁绪在离开后又不断去回忆的一个地方?它是否已不再是一个具体的地点,而是建立在向往、回忆与个人碎片化感知中的一个概念?在卡塞尔生活和学习近10年之后,我邀请一些参加过文献展的艺术家们和卡塞尔艺术学院我曾经的导师及同学们一起,以影像的方式和最为个人化的角度去重新展现和阐释这座城市。他们各自完全不同的生活与体验将搭建一个真实的和想象中的城市,也可能是一个我们从未见过和想过的卡塞尔。

策展人:唐晶

Kassel: Memory and Reconstruction

Kassel ia a German city which has an inextricably connection to China yet not signifcant enough to the Chinese. Founded in 1955, the Documenta Kassel has become one of the most important contemporary art exhibitions in the world and meanwhile witnessed the post-war revival of German culture and economy. The Institute of Fine Arts Kassel may not be the most famous in Germany, but it is the most friendly one to Chinese artists within a certain period. Since the 1980s many Chinese artists have studied here and had an impact of various levels on the development of Chinese contemporary art, including some significant positions like ZHOU Chunya, MIAO Xiaochun, QIU Anxiong etc.
However, what kind of city is Kassel exactly? Is it a new starting point in life, or some place accompanied by pains and sadness after leaving with constantly memories? Should it become a concept upon dreams, memories and perception of personal fragmentation, which beyond a concrete place. After studing and living for nearly ten years in Kassel, I want to invite some artists, who have attended the Documenta, and some of my former professors and classmates in Kassel, and hope to review the city with photographs and videos in a most individual perspective. The completely different lifestyles and experiences of these artists will build a real and imaging world. That could be a Kassel which we have never seen or thought of.

Curated by Tang Jing