VIEW观看 | 第二届天水摄影双年展邀请展——观看艺术空间策展作品 | 自由微信

VIEW观看 | 第二届天水摄影双年展邀请展——观看艺术空间策展作品

Original VIEW观看流放地一一观看艺术小组圈 2021-02-13

第二届天水摄影双年展邀请展由观看艺术空间作为策展机构策划，由德国、法国、美国、中国和香港等国家和地区的著名策展人组成策展团队，邀请了国内外85位知名艺术家的900余幅（组）作品参加展览。

View Art Space is the curatorial institution of the invitational exhibition unit of the Second Image of Silk Road-Tianshui Photography Biennale. A curatorial team has been set up by famous curators from Germany, France, the United States, China and Hong Kong. This exhibition invited 85 well-known artists at home and abroad more than 900 (set) works to attend.

甘肃本土艺术家作品

WORKS OF GANSU NATIVE ARTISTS

策展机构｜CURATORIAL INSTITUTION

观看艺术空间

VIEW ART SPACE

艺术家 & 作品｜ARTISTS & WORKS

《失色——无寂的荒野》赵晋龙

OVERSHADOWS—RESTLESS WILDERNESS Zhao Jinlong

冷藏的种子吴平关

REFRIGERATED SEEDS Wu Pingguan

匈奴的名字刘劲勋

THE NAME OF THE HUNS Liu Jingxun

青海道张畯

QINGHAI ROAD Zhang Jun

似是而非王志军

SPECIOUS VISUAL IMAGERY Wang Zhijun

消费的影像刘明伟

PHOTOS CONSUMED Liu Mingwei

你就是我马应海

YOU ARE ME Ma Yinghai

心视王娟

HEART VISION Wang Juan

侧身与背影李大伟

SIDEWAYS AND BACK Li Dawei

佛国遗梦李佩臻

DREAM LEFT BEHIND FROM THE KINGDOM OF BUDDHISM Li Peizhen

寻荒刘延生

SEARCHING FOR THE WILDNESS Liu Yansheng

玩具牛恒立

TOYS Niu Hengli

地平线吴均

THE HORIZON Wu Jun

家庭日记蝎子& 伍月

FAMILY DIARY Xiezi & Wuyue

邂逅心灵的边界米林

MEET AND APPROACH THE SPIRITUAL BOUNDARY Mi Lin

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策展前言｜CURATORIAL PREFACE

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用影像思考的甘肃摄影师

张畯

天水摄影双年展是甘肃境内两个主要摄影双年展之一，人们自然想通过这个平台，了解一下甘肃摄影界的状况和甘肃摄影师的作品面貌。本届双年展的“甘肃本土艺术家”单元，集中展示了15 位比较成熟的甘肃摄影师的作品。

总体来说，近几年的甘肃摄影生态呈现出良性发展的态势。一是摄影家个体从主观上努力学习，创作热情不减；二是民间摄影团体、艺术机构、艺术空间发展蓬勃，在西北区域内，以及与外部的互动和交流次数增多，学术水准也有了很大的提升；三是连续性的本土双年展已经走上正轨，2014 年启动的兰州观看当代影像双年展已经举办到第三届，2016 年启动的天水摄影双年展也到了第二届，既推出了本土摄影师，也让本土摄影师在比较视野中开阔了眼界；四是与双年展、日常空间活动相配套的学术出版物，以及“流放地”微信公众平台等，都在推介和传播中发挥了积极的作用；五是摄影批评活动的健康开展和理论研究的扎实推进，甘肃本土成长起来的一些摄影批评家，特别是具有跨学科背景的批评家，在摄影批评和摄影理论研究方面，与摄影创作相得益彰。其他方面不再一一列举，这些都构成了本次15 位“甘肃本土艺术家”作品的摄影文化生态、学术研究氛围和思想认识层次的大背景。

回到作品，我们可以看到一个可喜的趋势，即他们自觉地运用影像来思考，不只将摄影当作记录表象的媒介，更以视觉图像作为开启“思”的手段，在图像的结构逻辑中运思，以引导和形成思想作为目的。具体到这15 组作品，米林的《邂逅心灵的边界》提醒我们在跨语际实践中必然遭遇的边界触碰问题，以及民族国家现实的生存境遇。赵晋龙的《失色——无寂的荒野》通过改造和装置工业遗址空间，激活了与历史对话的可能。吴平关的《冷藏的种子》通过冰冻保鲜野生植物种子，将影像创作过程分解为具有着多重寓意的行为艺术。刘劲勋《匈奴的名字》是一场故意由作品命名与图像表层不对应，而导致产生的深层思想裂谷，这个裂谷需要通过艺术想象和历史考证共同去打开图像中远未开发出来的深部矿藏去填补。张畯的《青海道》意在通过重返“古道”，揭示在重构现代世界新秩序、促进人类互通背景下的地方性自在形态。王志军的《似是而非》专注于对细微事物的洞察，打开了图像的边界，将视觉艺术拓展为全知觉体验艺术。刘明伟《消费的影像》以否定图像的句法，引发关于马克思的生产力理论中“生产直接是消费”“消费直接也是生产”两个命题的思考。马应海的《你就是我》探讨了“镜子问题”的一个方面，但却引起我们关于镜子问题的更深追思。王娟的《心视》是存在的自证，它却反过来证实：我们必然会在与时间的对抗中节节后退、败下阵来。李大伟《侧身与背影》站在对象的背面揣测对象的心理活动和微妙情绪，以“不可见”的方式呈现出意味深长的“可见性”。李佩臻的《佛国遗梦》基于手工作坊的“古法”，表达了对敦煌的心手膜拜，它通过慢制作启示我们，正是时间的包浆，让敦煌成为敦煌。刘延生的《寻荒》，亦即寻找荒郊旷野，为安置疲惫的目光和心灵，找到可供片刻栖息的地方。牛恒立的《玩具》做了一个有趣的实验，即人与他所宠爱的物之间，有着何种程度的精神相似性。吴均的《地平线》只是将地平线作为画面的形式要素，它关注的还是地平线视野内的人和物，这些被坐实了的时代气质和肌理。一提起孩子，就触碰到了每个人内心深处最柔软的地方，在这个意义上，我们感谢可儿的爸爸妈妈——蝎子和伍月夫妻摄影师饱含深情的记录。

这些作品不是甘肃摄影师的全貌，也不一定是最高的水准，这些以“思”为主的作品，起码让我们看到，他们对摄影的认识层次，以及更为多元的创作风气。在这个开放的局面下，甘肃的摄影仍然值得我们期待。

Gansu Photographers Thinking With Means of Images

Zhang Jun

The Tianshui Photography Biennale is one of the two major photography biennales in Gansu. People naturally want to know the current situation of Gansu photography circle and the works of Gansu photographers through this platform. The "Gansu native artists" unit of the Biennale shows the works of 15 comparatively mature Gansu photographers.

Generally speaking, Gansu's photography ecology has shown a positive development trend in recent years. The first reason is that the individual photographers work hard to learn, and their creative enthusiasm is undiminished. The second reason is the vigorous development of the folk photography group, art institution and art space. The number of interactions and exchanges within the northwest region and with the outside is increasing, and the academic level has been greatly improved. The third reason is that the continued local Biennale has been on the right track. The Lanzhou contemporary image Biennale, which was launched in 2014, has been held to the third session, and the Tianshui photography Biennale, launched in 2016, has also come to the second session. It has not only introduced local photographers, but also enabled local photographers to broaden their horizons in a comparative vision. The fourth reason was the academic publication supporting Biennale and daily space activities. Besides, the WeChat public platform, such as “Exile”, has played a positive role in the promotion and dissemination of photography. The fifth reason is the healthy development of photographical criticism and the steady progress in theoretical research. Some photography critics who have grown up in Gansu, especially those with interdisciplinary backgrounds, are making progress in both the field of photography criticism and theoretical research, which on the other hand facilitate and benefit from photographical creation. Other aspects we don’t list one by one. All of these factors constitute the big background of the cultural ecology, the atmosphere of academic research and the understanding of the ideological level of the works by the 15 "Gansu native artists".

Paying attention to the works, we can see a gratifying trend, that is, they consciously use images to think, not only taking photography as a medium of recording imagery, but also using visual images as a means of opening "thinking". They think in the structural logic of the image, taking guiding and forming ideas as a purpose. Talking about these 15 sets of works per se, Milin's "encounter of the boundary of the mind" reminds us of the boundary touch that we must encounter in interlingual practice, as well as the real living circumstances of nations and countries. Zhao Jinlong's "losing color - boundless wilderness" has activated the possibility of dialogue with history through the transformation and installation of industrial heritage space. Wu Pingguan's "refrigerated seeds " decomposes the image creation process into a behavior art with multiple meanings by freezing fresh seeds of wild plants. Liu Jinxun's "the name of the Huns" is a deep thought rift caused by the disaccord between the name of the work and the surface of the image. This rift needs to be filled by the far undeveloped deep mines in the image which must be exploited through art imagination and historical textual research. Zhang Jun's "Qinghai road" aims to, through returning to the “ancient road”, reveal the local form of freedom in the context of reconstructing the new order of the modern world and promoting the interchange of human beings. Wang Zhijun's "specious" focuses on the insight of subtle things, opens the boundaries of images, and expands visual art to full perception experience art. Liu Mingwei's "image of consumption" denies the syntax of the image, triggering the thinking of the two propositions in Marx's theory of productivity: "production is directly consumption", "consumption is directly production". Ma Yinghai's "you are me" explored one aspect of the "mirror problem", but it aroused our deeper reflection on this problem. Wang Juan's "heart view" is the self-evidence of existence, but it proves in turn that we are bound to retreat and get defeated in the confrontation with time. Li Dawei's "side of body and back figure" stands on the back of the object to speculate on the psychological activities and subtle emotions of the object, presenting a meaningful "visibility" in a "invisible" way. Li Peizhen's "the dream of the kingdom of Buddha" is based on the "ancient law" of the handmade workshop to express the heartfelt worship to Dunhuang. Through slow production, it indicates that it was time that made Dunhuang the Dunhuang. Liu Yansheng's "search for wilderness" is to find the wilderness in order to settle tired eyes and hearts in a place for momentary rest. Niu Hengli's “toy” has done an interesting experiment, which explores the degree of mental similarity between man and his pet. The “horizon” of Wu Jun only takes the horizon as a form factor. It is concerned otherwise with the people and things within the horizon, i.e. the fixed temperament and texture of the times. The mention of children touches instantly the softest place in the heart of everyone. In this sense, we thank the father and mother of Ke’er – the affectionate records by the couple: Xiezi and Wu Yue.

These works are not the panorama of Gansu photographers, nor are they necessarily of the highest level. These works, which are based on the theme "thought", let us see at least the level of their understanding of photography and the more diverse creative styles. In this open situation, Gansu's photography still deserves our expectation.

《失色——无寂的荒野》赵晋龙

OVERSHADOWS—RESTLESS WILDERNESS Zhao Jinlong

冷藏的种子吴平关

REFRIGERATED SEEDS Wu Pingguan

匈奴的名字刘劲勋

THE NAME OF THE HUNS Liu Jingxun

青海道张畯

QINGHAI ROAD Zhang Jun

似是而非王志军

SPECIOUS VISUAL IMAGERY Wang Zhijun

消费的影像刘明伟

PHOTOS CONSUMED Liu Mingwei

你就是我马应海

YOU ARE ME Ma Yinghai

心视王娟

HEART VISION Wang Juan

侧身与背影李大伟

SIDEWAYS AND BACK Li Dawei

佛国遗梦李佩臻

DREAM LEFT BEHIND FROM THE KINGDOM OF BUDDHISM Li Peizhen

寻荒刘延生

SEARCHING FOR THE WILDNESS Liu Yansheng

玩具牛恒立

TOYS Niu Hengli

地平线吴均

THE HORIZON Wu Jun

家庭日记蝎子& 伍月

FAMILY DIARY Xiezi & Wuyue

邂逅心灵的边界米林

MEET AND APPROACH THE SPIRITUAL BOUNDARY Mi Lin

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策展机构简介｜BIOGRAPHY OF CURATORIAL INSTITUTION

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观看艺术空间

观看艺术空间（View Art Space）是策划展览、推广文化艺术交流、输出制作收藏级摄影艺术作品的文化艺术机构，长期关注并支持当代摄影、文学、音乐、装置、电影、绘画等一切艺术形式的活动。2013 年以来，赞助并推动观看艺术小组在作为当代艺术摄影领域的探索与发展，赞助并主办了“观看当代影像双年展”与“观看艺术论坛”，赞助并出版了《观看》学术刊物。

观看艺术小组（View Art Group）成立于2013 年初春，倡导“寻求艺术灵光，回归摄影本真，崇尚主观表达”。长期以来，观看艺术空间赞助举行了各种当代摄影艺术创作和交流活动，逐步形成了一个勇于接纳新视角、新观念，影像风格各异的当代摄影艺术群体。他们始终行走在甘肃当代影像艺术的前沿，着眼国内外最新的艺术思想和作品，为甘肃乃至西北影像的探索与发展带来了新思想、新气息。观看艺术小组自成立以来，始终坚持“一本书，一个展览”的学术呈现方式，在观看艺术空间的赞助下，截至目前，已经成功举办了三届“观看当代影像双年展”，出版了三辑《观看》以及一本《观看别册壹——消费》学术刊物，举办了三届“观看艺术论坛”。

观看艺术空间自成立以来，积极参与各重大国际摄影节会，开拓视野，促进交流。先后策划参加了“2014 平遥国际摄影大展”“2014 北京国际摄影周”“2015 第六届大理国际影会”“2015平遥国际摄影大展”等重要国际摄影节会。

在2017 年的第七届大理国际影会上，观看艺术空间总策划、牛恒立总策展的甘青宁三省（区）当代艺术机构和艺术家作品共同亮相大理，共有17 位艺术家的22 组220 多幅作品展出，其中牛恒立策展的摄影师赵晋龙获得最佳摄影师提名奖，《“消费”影像》专题展策展人马应海获得最佳策展人提名奖。这次参加展览的所有作品都以博物馆收藏级标准输出制作，并在展览现场限量开版销售，共有40 幅（套）作品被知名收藏家、画廊总监和艺术家收藏。这一举措开创了西部影像艺术家集体参加大型艺术展览并在现场销售作品之先河，为促进大众对影像作品收藏的认知与传播，起到了十分积极的宣传和推动作用。

VIEW ART SPACE

View Art Space is an Arts and Cultural institution that specializes in organizing exhibition, facilitating artistic and cultural communication, and producing photographic and artistic work of high value. It constantly pays attention and offer support to activities of diverse artistic forms, including contemporary photography, literature, music, equipment, movies, and painting. Ever since 2013, it has sponsored and promoted the exploration and development of View Art Group in the field of contemporary art photography, sponsored and hosted "View Contemporary Image Biennale " and "View Art Forum", and sponsored and published the academic journal "View".

The View Art Group was founded in the early spring of 2013, advocating "seeking the aura of art, returning to the authenticity of photography and advocating subjective expression". So far View Art Space has sponsored various contemporary photography art creation and communication activities, gradually formed a contemporary photography art group that is willing to accept new perspectives, new ideas, and has different image styles. They always walk in the forefront of contemporary image art in Gansu, focusing on the latest art ideas and works at home and abroad, and bring new ideas and breath new life to the exploration and development of image in Gansu and even the whole northwest China. Since the establishment of View Art Group, it has always adhered to the academic presentation form of "one book, one exhibition". Under the sponsorship of View Art Space, "View Contemporary Image Biennale" has been successfully held three times, and three editions of "View" and one academic journal "View: special issue one -consumption" have been published. The Meanwhile "view art forum" has been held three times.

Since its inception, View Art Space has actively participated in major international photography festivals, opening up horizons and promoting exchanges. It has successively planned to participate in "2014 Pingyao International Photography Exhibition", "Beijing International Photography week 2014", "2015 Sixth Dali International Photography Conference", "2015 Pingyao International Photography Exhibition" and other important international photography festivals.

At the seventh Dali International Photography conference in 2017, a number of contemporary art institutions and artists' works of a united exhibition under the general planning of View Art Space and the general curator Niu Hengli made a joint appearance. All the institutions and artists were from Gansu, Qinghai and Ningxia. There were 22 groups and more than 220 works of 17 artists. The photographer Zhao Jinlong of the exhibition organized by Niu Hengli was nominated for the best photographer. "Consumer" image exhibition curator, Ma Yinghai won the best curator nomination award. All the works of the exhibition were produced presumably for museum collection and sold in a limited number at the site of the exhibition. A total of 40 pieces (sets) of works were collected by well-known collectors, gallery directors and artists. This initiative pioneered the collective participation and work-selling of Western image artists in large art exhibitions and. It has played a very active role in promoting the public's recognition and dissemination of the collection of image works.