刷屏/劳作:2017 AMNUA 国际摄影展

Screen Refreshing/Labor: 2

017 AMNUA International Exhibition of Photography

时间：2017年11月10日——12月20日

Time: November 10, 2017 – December 20, 2017

出品人：李小山

Producer: Li Xiaoshan

策展人：郑闻、海杰、陈正

Curator : Zheng Wen\Hai Jie\Chen Zheng

主办机构：南京艺术学院美术馆（AMNUA）

Organizer: Art Museum of Nanjing University of the Arts (AMNUA)

摄影作为一个动词,无缝衔接起当代人的日常生活与艺术创造。摄影在新的千年以来,已经不 仅仅是布勒松“经典瞬间”的图像叙事,也不仅仅是对于社会景观的“客观凝视”。摄影在信息化 与网络化的现实中存在,成为一种新的义肢般的条件反射,也是当代人类一种新的异化行为。如果 说本雅明呼唤的图像的“灵光”在纸媒时代就已岌岌可危的话,那么在屏幕时代则随着像素的不断 提高进一步烟消云散。

在千万兆的高速以太网连接起来的网络空间中,由通讯终端发起的快速拍照、后期处理、公开 发布、迅速刷屏,这所有过程几乎在同一时间完成,这一过程意味着一种新的条件反射,手机/相机 作为人的延伸,每一次拍照与刷屏都意味着一次新器官的自发性痉挛、一次官能综合症的爆发。在 以视觉为先导的娱乐经济中,劳作与消费的边界也在瞬间崩塌并合而为一。

南京艺术学院美术馆作为中国最重要的学院美术馆之一,2017 年度即将推出的《刷屏/劳作: AMNUA 国际摄影展》针对当下全球社会生活中图片与影像的生产现状,旨在打造出最具新媒介时 代特征的摄影大展。展览由策展人郑闻、海杰、陈正策划,以“恐惧流沙”、“阴谋的云”、“无效生 产”、“自溺镜中”、“捏造与排演”、“开源代码”等多个展览版块邀请中国以及国际范围内近百位艺术家参展，勾勒出当代世界最鲜活生猛的图像生活与影像历险。

时至今日,我们既是移动互联网中具有强烈参与意识和渴望被关注的居民,又是终日刷屏,进 行无效生产的屏幕劳工。这种技术神学与数字弥赛亚主义驱动的新媒介并没有改变我们的命运—— 被奴役的命运。而且正是屏幕,让这一切控制程序的运行在视觉上变得隐匿。在这些数字网格中, 我们既要变成踊跃的秃鹫,进行分尸,又要作为一切事件的背景,变成浮尸,被分解和分发。“朋 友圈”就是数字催眠版的古拉格,控制与榨取、消耗,“朋友圈”也是图像的碎肉机。只是这些机 制都通过技术的消费变成隐秘的指令。

显而易见的,屏幕成为我们的义肢,是今天身体的准确处境。在早前的商品时代, “禁止我 们触摸商品的玻璃柜台上的反光是拜物教”(田崎英明),而在今天,在屏幕带领身体浮游的情境中, 那层“反光”以更为隐蔽的形式提前接近甚至贴面而来,这就是屏幕之光,人变成了游魂,浮游于 图像的流明之中,身体被数字征用。

“刷屏”作为一种基于屏幕的技术形态操控下的生存方式,成为今天我们所面临的看似美好, 却无比残酷的现实,人们脱离线下,转战线上,离地三尺,刷屏并进入屏幕,变成新的替代景观。 在今天,消费主义全面洗劫,并且成功安抚了我们的不适感。我们随人流前行,不知疲倦。刷屏已 然成为新的现实基础,刷屏是轻松的娱乐和劳作,正是这种轻松与娱乐,屏蔽了劳作评价本身的艰 辛和奴役,成为存在的幻象与消耗。

而摄影,或者延伸为图像,在此刻具有特别的意义。它既是我们消费的对象,是我们消费的通 道,同时也是我们用来进行自我反思和媒介批判的有效工具。也就是说,它是双料间谍。在今天, 图像的身份和命运,就是我们自身的命运的写真。没人会强行把自拍杆塞到对方手里,而是我们自 己,主动地索要,然后把自己一次次地撕碎,扔向那些数字分发机制,期待听见回响。 现在,有 必要呈现这些图像了。

Screen Refreshing/Labor: 2017 AMNUA International Exhibition of Photography

Photographing as a verb seamlessly connects the daily life and artistic creation of modern people. Photography in the new millennium is no longer just the "classic moment" imagery narrative of Bresson, nor is it just "gazing objectively" at the social landscapes. Photography exists in the reality of information and internet as a new prosthetic limb-like conditional reflex. It is also a new alienating behavior of contemporary human beings. If the "spiritual light" Benjamin was calling for had been precarious in the paper media era, then is being further dispersed step by step as the pixels continue to improve in the era of screens.

In a cyber space interconnected by high-speed Ethernets of over 10 Gigabit per second, the creating and post-processing of a snapshot, posting and its swamping in the internet can be launched with the telecommunication end devices almost instantaneously. This process demonstrates a new type of conditioned reflex. The smart phone/camera is an extension of the human body. Each act of photo shooting and posting means a spontaneous spasm of this new organ and an outbreak of a functional syndrome. In the visual-oriented entertainment economy, the border between labor and consumption is also instantly collapsed. The two merge into one.

The Art Museum of Nanjing University of the Art (AMNUA) as one of China's most important college museums will soon launch the "Screen Refreshing / Labor: AMNUA International Exhibition of Photography" in 2017, addressing the state of photographic and imagery production in the current context of global social life. The event is designed to present works of photography marked with strongest characteristics of the era of new media. The exhibition is curated by Zheng Wen, Hai Jie and Chen Zheng. It will showcase the most vivid and overwhelming pictures of life and video experience of our times in several thematic sessions such as "Fear of the Floating Sand", "Cloud of Conspiracy", "Production to No Avail", "Self-drowning in the Mirror", "Fabrication and Rehearsal" and "Open Source Code".

Nowadays we are all dwelling in a mobile internet space, being very willing to get involved in this community and demanding attentions from others. At the same time we are laborers in front of the screen, refreshing our social media pages and producing images to no avail. This new media, driven by technical theology and digitalized Messianism, does not change our destiny - our fate to be enslaved. And it is no other than the screen that makes the running of all the controlling programs visually hidden. In the digital grids, we have to become diligent vultures and devour the corpses, at the same time we are becoming the corpses ourselves, lying around decomposing and being devoured, forming the background of all that is happening. "Circle of Friends" is the digitalized hypnotizing version of Gulag. It controls, extorts and consumes. It is the meat grinder of images. These mechanisms are all turned into secret instructions through the consumption of technology.

Obviously, the screen becomes our prosthetic limb. This is the exact situation of the body today. In the early days of the commodity era, "the reflection on the glass counter that forbids us to touch the commodity is fetishism". (Tazaki Hideaki) And today, in a situation where the screen always gives the body a joy ride, that layer of "reflection" approaches us and even thrusts itself into our face in a more subtle way. This is the light of the screen. Humans turn into wandering spirits floating in the currents of the lumens from images, while their bodies are digitally commandeered.

"Screen refreshing" as a form of living under the screen-based technological manipulation is the seemingly beautiful but very cruel reality we are facing today. People depart from real life and move to the internet. They are off the ground and refreshing the screens to enter into a new surrogated landscape. Today, consumerism looted the world completely and placated our discomfort successfully. We follow the flow of people, tirelessly. Screen refreshing has become a new fundament of reality. Refreshing the screen is easy entertainment and labor. It is such easiness and entertainment that covers up the hardships and slavery in labor evaluation itself and becomes the illusion and consumption of existence.

And photography, or image in a larger sense, has a special significance at such moments. It is not only the object of our consumption, the channel of our consumption, but also the effective tool for self-reflection and media criticism. In other words, it works as a double agent. Today, the identity and fate of images arethe portrayal of our own destiny. No one will force the selfie stick into anyone's hand. It is us that always reach out for it, and then tear ourselves apart again and again, throw the pieces to the digital distribution systems, expecting to hear an echo.

Now, we need to render these images.

首届 AMUNA 国际摄影展

流沙恐惧
从齐格蒙特·鲍曼(Zygmunt Bauman)的“流动的恐惧”到数字屏幕的“流沙恐惧”,“恐惧”依然存在,只是变换了介质。这种基于数字的身份焦虑,以及对于死亡(做不成网红,只能成为普通网民,即成为基础数据)的肆虐性铭写与反对,在后人类时代,尤其胶着。人远离现实,身处电子图 像流沙之中,沉浮寄生,恐惧如影随形。

阴谋的云 

云,数字漂浮的空间幽灵,储存空间的乌托邦,计算和算计的两面,不间断生产和囤积、图像流的 重负、废弃和闲置物的外包商。但去库存化依然是客户端的强烈请求,网民需要空间现金流。替我 们保管,是云对我们的承诺,也是对我们的挟持,是托管,也是窥视,它并没有隔离“操控”的词 根。事实上,云,变成了墙的弥散状态。云在天上舞蹈,命令我们上传。

无效生产 

在屏幕前,我们乐此不疲,重复两个动作:拍摄和删除。屏幕培育和扫描我们,我们变成了数字转 基因。于是,就有了两种人——现实的人和图像的人(或者说屏幕化的人)——交错出现,最终变 成数字的碎屑与电子的粉末,并被迅速清理。所以,生产,变成了模式化的再生产,一种惰性的、 沉迷于消费景观的再生产。

自溺镜中 

“我”是镜像中的水仙,在图像的泳池里狂欢。“我”是图像的生产者,也是图像生产出的客体。 所有的内容都被改写,包括身体和历史。自我争相展示,我是我的观众。是寻找自我,还是在沉溺中搜救自我?是自我操控自我,还是他者(观看者)操控自我?自拍,能否作为一种自我的打捞途径?

捏造与排演 

人人皆表演,那么,排演就是声明。图像能否助我们抵达真实?真实是否存在?对所谓“真实”的 排演是否就一定不真实?捏造是摆脱现实控制,确立主体的出口吗? 但我们需要踩在现实之上,捏造和排演,这作为现实的拟像和主体的镜像,被反复制造,对现实进行评价和反击。现实,以剧场的形式,被重构。

开源代码(作品征集板块)

The First AMNUA International Photography Exhibition

Fear of the Quicksand
From the "fear of the liquid" of Zygmunt Bauman to the "fear of the quicksand" of the nonphysical digital screen, the "fear" always exists. Only the medium has changed. This digital-based anxiety of identity is especially obsessive in the post-human era. People is estranged from reality and over flown with the currents of electronic images. People lives in a parasitic state, or as if walking on quicksand with the eminent fear of being carried away.

The Cloud is the spatial extension of the digital UFO, a utopia of saving space. It has the double-sided quality of calculation and conspiring. It leads us to store our information, to surrender an unaffordable volume of information. This is the commitment of the cloud to us, as well as our being held-up by it. It is an entrustment and an adoption, as well as voyeurs and supervision on its part. It does not isolate itself from being a "manipulator". In fact, the cloud is turning into a dispersed type of wall. The Cloud dances in the sky and orders us to upload all.

Ineffective Production
Not all production is meaningful. It is this meaninglessness that pleases us endlessly at this moment. Two types of people - the people in reality and the people in images (or in the screen) show up consecutively and finally become digital debris and electronic powder and were quickly cleaned up. Therefore, the production is turned into a formalized reproduction, an inert reproduction addicted to the scenes of consumerism.

Self-Drowning in the Mirror
"I" is a narcissus in the mirror, reveling in the pool of images. "I" is the producer of images as well as the object of image production. The selves rival to show off. The "I"s are the audience of an "I". Are we to go looking for the self, or rescue the self in such drowning decadence? Is the self running itself, or is it being manipulated by others (the viewer)? Can selfie snapshots be a way of salving the self from drowning?

Fabrication and Staging
Data is becoming a substitute of free will. Technology helps us to fantasy and fabricate, to stage a simulacra of the reality. It is repeatedly manufactured and it evaluates and counterattacks reality. Reality is reconstructed in the form of the theater.

Open Source Codes: (recruiting works) Thematic Directions: as described above.

主办机构

南京艺术学院美术馆(AMNUA),作为中国最具艺术影响力与学术前瞻性的美术馆之一,在国际艺术的语境中展开研究与策展。馆体总建筑面积为15000 余平方米,展览面积6000 余平方米。具有太空美学特征的建筑外观与多元化的内部空间结构,为不同种类的艺术媒介提供了充满活力的展示舞 台,促发新体验与新思想的生成。作为百年艺术名校的美术馆,AMNUA 坚持敏锐的学术立场、开 阔的国际视野、高规格的展览水准与严格的收藏制度,着力于当代大学美术馆的主体性建构,突出 自主研究与策划能力,并持续针对当下艺术生态的问题,展开对于政治、经济、媒体等宏观背景的 关联性研究。

AMNUA 至今已举办了近百场展览与学术活动,比如:奥托•迪克斯、弗朗西斯•培根、乔-彼得•威金、 L.S.洛瑞、肖恩•斯库利、毛焰、周春芽、缪晓春、邱志杰等国内外重要艺术家的个展;以及《 AMNUA 国际计划——外包|内销/ 丝路国际》、《复调:中国艺术生态调查》、《德国:艺术之域》、《不在现场: 感官阈值与一种在地性的漂移》、《荷兰平面设计百年展》、《新的旧物—处于传统与革新张力关系 中的德国设计》等大型群展,同时还不遗余力推出:AMNUA“0”方案、AMNUA 影像档案、AMNUA 国际影像论坛等长期研究性项目,持续关注和支持青年艺术家和策展人的成长。

Organizer:

Art Museum of Nanjing University of the Arts (AMNUA) is one of the most influential Chinese fine art museums with forward-looking academic visions. Its art researches and exhibitions have been conducted in international contexts. The facility occupies over 15,000 square meters, offering 6,000 square meters' exhibition space. With an outer space appearance and diverse inner layout, AMNUA has presented different kinds of display platforms for various types of arts, which doubtlessly has offered brand-new experiences and promoted the birth of new ideas. As an art museum of a university with the history of over a hundred years, AMNUA has been insisting on a serious academic attitude, an open international vision, a high-standard exhibition level and a strict collection system. AMNUA concentrates on the independent construction of a contemporary university art museum, emphasizing its independent research and planning capability. The museum focuses on current art issues and has conducted researches on politics, economics, media, etc..

AMNUA has already hold nearly a hundred exhibitions and academic activities, including solo exhibitions of important artists from home and abroad like Otto Dix, Francis Bacon, Joel Peter Witkin, L.S.Lowry, Sean Scully, Mao Yan, Zhou Chunya, Miao Xiaochun, QiuZhijie, etc..At the meantime, AMNUA has made every endeavor to present some long-term research projects such as AMNUA “0” Program, AMNUA Image File, AMNUA Image Forum. From the very beginning, AMNUA has paid much attention and contributed to the growth of young artists and curators.

策展人

郑闻

郑闻,策展人、南京艺术学院美术馆馆长助理、学术部主任,负责展览策划、学术研究、馆藏规划, 以及美术馆管理。郑闻的策展强调美术馆级别的展览品质,开阔敏锐的艺术视野和鲜明的学术立场。 既策划了多个国际现当代大师展览,也不遗余力关注与推广中国青年艺术的发展。迄今,其策划的重要展览达到 40 个,应邀巡回至伦敦、不莱梅、慕尼黑、香港、巴黎、上海、北京、广州等地, 带领纪录片团队拍摄纪录片5 部。曾担任 CIFF、四川美术学院油画系年展、新星星艺术节等多个艺术活动的评委。于南京大学、日本关西大学、上海 K11 艺术中心、四川美术学院、苏州市美术馆等多个院校和机构举办学术讲座 30 余场。于国内外重要媒体与刊物,如《三联生活周刊》、中国国家博物馆官网、中央美术学院艺讯网、加拿大《寰球华报》等,发表研究和评论文章40多篇,30 余万字。

Zheng Wen

Zheng Wen, Assistant to the Director of the Art Museum of Nanjing University of Arts (AMNUA) and Head of the Academic Department of the Museum, is a curator of contemporary art. Mr. Zheng became Assistant to the Director of Qinghe Contemporary Art Museum in 2009. He was appointed head of the academic department of AMNUA in 2012. Since 2015, Mr. Zheng is Assistant to the Director of AMNUA. His responsibilities are the planning and curatorship of exhibitions, academic research, collections management and administrative management of the museum.

Mr. Zheng has curated up to 40 exhibitions. Some of the exhibitions were invited to London, Bremen, Munich, Hongkong, Paris, Shanghai, Beijing and Guangzhou. Zheng led his documentary team and produced 5 films. He held over 30 academic seminars in colleges and museums in Nanjing, Japan, Suzhou, Sichuan and Shanghai among others. He is author of more than 40 articles amounting to 300,000 words in various major media and publications in China and worldwide, such as Sanlian Life Weekly, China National Museum Hompage, China Central Academy of Fine Arts, Global Chinese Press in Canada.

海杰

海杰,策展人、影像批评家、作家。成功策划“自助餐”2014艺术家工作室开放计划等大型项目。曾 任 2011、2012、2013 三届平遥国际摄影大展资助奖评委会执行主任、2012、2014 西双版纳国际影像展学术主持,第七届AAC 艺术中国年度影响力评选摄影组初评评委,2013 第三届成都纵目摄影双年展学术主持,2013 北京国际摄影双年展爆名展策展人,2014 浙江省摄影新锐评委,2014 第十 届连州国际摄影年展专家见面会嘉宾,“2014 瑞象校园系列讲座”主讲嘉宾,2015 集美×阿尔勒国际摄影季策展人。主要关注中国当代摄影个案研究、中国当代摄影口述史、中国摄影思潮分析与反思、中国当代摄影传播媒介与模式研究。出版有《照镜子的人》、《表态》和《屏幕生存》等书。

Hai Jie (Curator, Photography Critic, Writer)

He has successfully organised many large-scale artistic events, such as Buffet in 2014, in which he provided the public an opportunity to visit multiple artists’ studio, presented exhibitions and held photographic conversations on the famous Chinese social media. He has worked as curator and member of academic and review committees for many international photography festivals and art institutions in China, including Jimei× Arles: East West Encounters International Photo Festival (2015),Ray Art Centre (2014), Lianzhou Photo Festival (2014), Award of Art China (2013), Chengdu Multi-dimensional View Photo Exhibition (2013) and Pingyao Photography Festival (between 2011 and 2013). His research interests include case studies and oral histories of Chinese contemporary photography, analysis and reflections on ideological trends in Chinese photography, as well as analysis of media and communication models in Chinese contemporary photography.

Publication
Living in Screen:a dimension of Chinese Contemporary Photography after 2000,Beijing:China Nationality Art Photograph Publishing House, 2016
Declaration: Talk with 14 Chinese Contemporary Photography Artists, Beijing: China Nationality Art Photograph Publishing House, 2013
The Person Look at Himself in the Mirror: Interviews of 16 Chinese Contemporary Photography Artists, Beijing: China Youth Publishing Group, 2012

陈正

陈正:策展人,艺术评论人。 现为南京艺术学院美术馆(AMNUA)影像方向策展人,公教部项目负责人,南艺摄影系教师,英国 Nottingham Trent 摄影专业硕士。韩磊“时差”&冯立“白夜”双个展策 展人;一分钟影像南京之旅策展人; “极地光影”策展人;乔-彼得•威金 JOEL - PETER WITKIN 个展执行;AMNUA 微影像计划——中国实验短片影像展执行。从事影像创作与理论研究工作,长期关注当代青年艺术家发展及状况。

Chen Zheng(curator, art critic, curator of AMNUA Photography Department, director of Public Education Department, lecturer of photography department in NYA, Master of photography department of Nottingham Trent)
The Curator of Han Lei & Feng Li’s exhibition;

The Curator of the One Minutes on Tour in Nanjing;
The Curator of “Beyond Frozen Point”;
The Executive of Joel Peter Witkin’s Solo Exhibition;
The Executive of the Show of Chinese Experimental Video.
Chen Zheng works in image creation and theory research, focusing on the development of contemporary young artists.

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