For English，please scoll down地点：厦门市集美区杏林湾商务营运中心2号裙楼301进入陈澜个展现场，如同进入一个“常明”的场域内，所见之景在时间无垠的荒野中，等待光的渐入。在陈澜的每一幅影像作品中，时空是交叠存在的。如他形容的，作品表现的情感和记忆囊括在时空范畴内，是“空间上的远乡，时间里的旧处”1 他的拍摄以纯粹的景观、或是隐藏着生命痕迹的事物为对象，将自我栖居在照片之中。陈澜在作品中注入一种徘徊的生命状态。在看似无序的图像叙事中，呈现出意义和情感的中间地带——日或夜、生或死、此处或彼处，他选择不触碰那些过于明确的定义，让所有光景处于矛盾与暧昧之中，并在影像上试图捕捉一种“静谧的清醒感”。2在这次的展览现场，原本片段式呈现的图像，在叙事上有了连续——观看从一幅马的侧面开始，其眼神凝视的光点连结着明月、村庄以及河流。刹那间马匹倒下，叙事转向了一种悲调，并由白天走入暗夜。时间叙事参与到影像当中，图像与文字相互牵引，呈现一次细致入微的观看体验。陈澜作品表现的时间，不仅是一种叙事逻辑，更是每一幅作品隐藏的一种时间延续（Duration）。在当下，人们被现代时间的标准化所桎梏，将时间认知为一天一时、每分每秒。在摄影里，时间被切分成了更精确的1/N 秒，不同刻度影响了光进入相机的显像。然而，在柏格森的哲学讨论里，时间是一种延续，它无关静止，并将我们认知中习以为常的空间化时间，与真正的时间进行了区分。陈澜的作品回到了更本质的时间感知中。时间像褶皱般延展开来，这种表现与前文所提到的，无论是情感意义上的时空观点、或是时间叙事的连贯性，将带给观者多层并且逐渐深入的感受和想象。无言的风景、转瞬即逝的烟火，或者物象连结的离别，陈澜的作品指向了精神上的过往。对陈澜作品的观看，与罗兰·巴特在《明室》中观看母亲照片的经验相似，照片的本质是指涉过去，而不仅仅是符号学意义层面的细节指示。“除了‘细节’，还有另外一个刺点。这个新的刺点不再是形式的，而是有强度的，这就是时间”。3正因为如此，作品呈现一种抽离的情绪，观者从这些照片看向了静默的彼时，或许也才能更了解自己在此刻与周遭、与时间的关联。感谢陈澜两位朋友朱文杰、何浩楠，对本次展览项目提供的帮助。
陈澜，艺术家和独立导演、编剧。1995年生于中国广东省海门，目前生活和学习于法国马赛。创作媒介主要为摄影与电影，他目前专注于从个体经验出发结合影像人类学方法展开实践探索。（他于2019年毕业于中央美术学院影像系，电影与影像艺术专业获本科学士学位，并从2019年至今就读于法国马赛国立高等美术学院ESADMM当代艺术硕士方向）。Chen Lan Solo Exhibition —— Rousing from the Tender Light
Artist: Chen Lan
Curator: Xiao Ruiyun
Art Director: Teng Qingyun
Organizer: Three Shadows Xiamen Photography Art Center
Exhibition period: November 21-December 20, 2020
Location: No. 301, Podium Building 2, Xinglinwan Business Operation Center, Jimei District, Xiamen
(Enter from the large platform connecting Building 1 and Building 2)
Walking into Lan Chen's solo exhibition is like entering a field that is “Rousing from the Tender Light.”Everything in front of your eyes is waiting for light to enter with a slow tempo in the infinite wilderness.In each one of Chen’s works, time and space overlap. As he described, the emotions and memories expressed in his works are captured in the scope of time and space, which are "a distant home in space and an aged corner in time". 1 Chen takes pure landscapes or things with hidden traces of life as objects and buries himself in them. A wandering state of life can also be found in his works. Ina seemingly chaotic narrative, Chen presents the middle ground between meaning and emotion---day and night, life and death, here and there. Chen keeps a distance from those unnecessarily clear definitions and leaves all situations in contradiction and ambiguity in order to capture a "quiet consciousness" in his works. 2In this exhibition, the original fragmented images receive a continuous narrative—the viewing starts from the side of a horse, and the light spot of its gaze connects the bright moon, the village and the river. All of a sudden, the horse falls, and thus the narrative picks up a sad tone and rolls from day to night. Time narration is involved in the image. Image and text speak to each other, presenting a viewing experience full of details. The time expressed in Chen's works is not only a narrative logic, but also a kind of duration hidden in each piece. Nowadays, people are shackled by the modern standardization of time and read time as hours, minutes and seconds. In photography, time is precisely divided into 1/N seconds. Different scales affect the display of light entering the camera. However, according to Bergson, time is a continuation. It has nothing to do with stillness. Bergson also distinguishes the spatialized time that we take for granted in our cognition from the real time. Chen's work returns back to the nature of time perception. Time unrolls itself like folds. This kind of performance, together with the emotional view of time and space and the continuity of time narrative as mentioned above, invites the audience to feel and imagine with multi-layers and depth. With the presence of silent landscapes, fleeting fireworks, or farewells of linked objects and images, Chen's works turn to the spiritual past. The viewing of Chen's work is similar to Roland Barthes's experience of viewing his mother's photos in Camera Lucida. The essence of photos refers to the past, not just the detailed instructions in the sense of semiotics. "There exists another punctum than the ‘detail.’ This new punctum, which is no longer of form but of intensity, is Time." 3 Precisely because of this, Chen’s works present detached emotions. Through his photos, the audience is looking at the moment of silence, and thus perhaps grasps a better understanding of their relationship with the surroundings and time.1, 2 Introduction to Lan Chen's works3 Roland Barthes, Camera Lucida: Reflections on Photography. 96Thanks to Chen Lan's two friends, Zhu Wenjie and He Haonan, for their help in this exhibition project.Chen Lan, Born in Haimen, Guangdong Province, China in 1995, currently lives and studies in Marseille, France. His creative media are mainly photography and film, and he is currently focusing on practical explorations based on personal experience combined with imaging anthropological methods. (He graduated from the Video Department of the Central Academy of Fine Arts in 2019, with a bachelor's degree in film and video art, and has studied at the ESADMM Master of Contemporary Art at Les Beaux-Arts de Marseille , France since 2019).