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野望——陈荣辉个展（厦门站） 联合主办：三影堂厦门摄影艺术中心三影堂+3画廊
艺术家：陈荣辉策展人：张涵露展期：2021年1月23日至4月11日 (2月1日至19日 休馆)开幕式：2021年1月23日 15:00 地点：厦门市集美区杏林湾商务营运中心2号裙楼301（从连接1号楼、2号楼之间的大平台进入）
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· 展览前言 · 陈荣辉出生于浙江丽水，他的摄影视界随着他的足迹，从县城来到城市，留连国际大都会，再抵达衰败的地域，完成一次有关野心的周期。这种野心或许与“发展”相连，其巨大而无声，在中国的土地上投下一道阴影；摄影是光的书写，陈荣辉的镜头在这暗影中描刻出一些次要或微小的征状：被污染的河流、被遗弃的故乡、一座又一座游乐园、恢弘的山寨建筑、收缩的城市、野火、难融化的冰、疲惫的青年……
选自《空城计》系列 From Freezing Land series陈荣辉 Ronghui Chen
此次个展“野望”主要展出三个系列作品。《Petrochemical China》拍摄了江浙一带被工业废墟和城市化入侵的乡村地景，对于大多数城市居住者来说这些地方至多是高铁上一晃而过的风景。野心在加速。在《摩登上海&脱缰的世界》中，艺术家将夸张的游乐设施及人造景观和都市青年的居家肖像并列：外部内部、静和动、社会与人，在视觉和观念上上辩证交织，互文见义。
选自《空城计》系列 From Freezing Land series《空城计》系列是陈荣辉创作周期最长、最为投入的作品：连续四年的冬天，他造访冰封的黑土地，记录东北地区如今经济和人口都在萎缩的旧工业城市及仍居住在那里的人。艺术家不止步于一种轻易而就的景观复刻或废墟美学，他通过快手平台认识本地的年轻人，并且与他们一起拍摄大画幅肖像。大部分关于东北的文艺表现专注于其压缩了太多荣耀和伤痛的过去，而陈荣辉将镜头对准当下的人，试探这个地区可能呈现出的未来面貌。
选自《圣诞工厂》系列 From Christmas Factory series 陈荣辉 Ronghui Chen
陈荣辉是记者出身，他从《圣诞工厂》这个获奖系列开启一趟旅程，从纪实的新闻摄影迈向通过深挖摄影媒介本体来进行的自主艺术表达。此次展览体现了这一探索进程，也是艺术家2019年赴美深造前的创作的一次阶段性回顾。在超媒介化的今天，摄影如何对信息过载和视觉饱和的现实保持敏感，并同时能够承载现实中不同人和事件相遇时的具体性和复杂性——陈荣辉的思考和创作轨迹提供了一条独到的路径。 选自《Petrochemical China》系列 From Petrochemical China series 陈荣辉 Chen Ronghui
陈荣辉，摄影师，现工作生活于上海和纽黑文。他的作品主要关注中国的城市化，探讨个体经验与城市化、工业化中的关系。已经出版了同名图录《陈荣辉》，属于中国当代摄影师合集中的一本。同时陈荣辉曾获得世界新闻摄影大赛、第六届BarTur Award摄影奖、2018年度三影堂摄影奖ALPA奖、侯登科纪实摄影奖等众多国内外知名摄影奖项。
艺术家专访
张涵露是一名写作者、策展人和编辑，于芝加哥艺术学院修毕艺术历史、理论和评论硕士学位。她参与策划的展览包括“展览的噩梦（下）：双向剧场”（上海当代艺术博物馆）、“都市折叠”（北京央美术馆）、“偷单车的人”（香港Para Site艺术空间）、“Cosmopolis #1.5: 延展智慧”（成都）和“Cosmopolis #2: 重新思考人类”（巴黎蓬皮杜中心）、“那看见万物的、知道万物的，就是万物”（画廊周北京2020）。文章发表于ARTFORUM、瑞象视点、LEAP、Flash Art及art-agenda等媒体。她是44剧场的成员。
《野望》
Land of Ambition
陈荣辉
Ronghui Chen
语言：中英双语
Langugage: English & Chinese
出版：三影堂+3画廊
Press: Three Shadows +3 Gallery
出版时间：2020年9月
Publication Date: Sep 2020
尺寸 Size：260 x 210mm
页数 Page：129
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Land of Ambition: Ronghui Chen Solo Exhibition (Xiamen)Organizers: Three Shadows Xiamen Photography Art CentreDuration: 23rd Jan - 11th Apr, 2021 (closed from 1st Feb - 19th Feb)Opening: 23rd Jan, 2021 15:00Location: No. 301, Building 2, Xinglinwan Business Operation Centre Jimei District,Xiamen(Entre from the large platform connecting Building 1 and Building 2)
Due to the prevention and control of the Covid-19 pandemic, the number of admissions is limited. Please make an appointment in advance to participate in the opening ceremony. Also, visitors are requested to wear masks and maintain social distancing. Please show your health QR code when buying tickets, accept temperature monitoring and register.Scan QR code to make appointment.
Ronghui Chen was born in Lishui, Zhejiang Province. His photographic vision has followed his footsteps from counties to cities, lingering in metropolises, and reaching decaying regions, and that completes a full circle about certain ambition. This ambition at stake, silent but immense, perhaps relevant to “development”, casts a broad shadow on the land that is called China. Etymologically, photography is the writing with light, and in this shadowy obscurity, Ronghui Chen's lens turns to subtle and neglected symptoms of ambition: polluted rivers, abandoned hometowns, one amusement park after another, grandiose shanzhai architectures, shrinking cities, melting ice, wildfire, weary youngsters...选自《脱缰的世界》From Runaway World series The solo exhibition "Land of Ambition" mainly presents three series of works by Ronghui Chen. Petrochemical China captures rural landscapes in Jiangsu and Zhejiang invaded by industrial ruins and urbanization. For most city dwellers, those places are just scenery passing in a flash on high-speed trains. Ambition is accelerating. In the project Modern Shanghai & Runaway World, the artist juxtaposes flamboyant amusement facilities and man-made spectacles with indoor portraits of urban youths. Various visual and conceptual perspectives, exteriority and interiority still and moving, social and human, intercontextualize within the frames.选自《脱缰的世界》From Runaway World series Freezing Land is by far the artist’s most devoted project. For four consecutive winters, Chen visited the frozen Northeast to document the old industrial cities where the economy and population are decreasing and the people still living there. The artist is not drawn to spectacle-remaking or aesthetics of ruins, approaches commonly found in works with similar subject matter. Instead, he contacts local youngsters through Kwai, a live streaming platform popular in the region, and invites them to take large-format portraits. Through portraiture-making, the artist attempts to take a glimpse of what future might look like in a region where too many glories and trauma are hastily packed in the past.选自《空城计》系列 From Freezing Land seriesRonghui Chen was a journalist by training. He embarked on a creative journey since the award-winning photojournalist series Christmas Factory, moving from documentary photography to autonomous artistic expression by digging deep into ontological aspects of the photographic medium. This exhibition manifests this exploratory process and is a short term retrospective of the artist's practice before he went pursue further studies in the US in 2019. In today's hyper-mediated world, how photography can remain sensitive to a reality characterized by information overload and visual saturation, while also being able to address the specificities and complexities of real-life encounters with people and events, Ronghui Chen's thinking process and creative trajectory have provided a unique and insightful approach.Yale MFA Photography 2021Ronghui Chen is a Chinese photographer and storyteller based in Shanghai/ New haven, whose work focuses on China’s urbanization. Known for his interest in the issues arising from the position of the individual within the urbanization and industrialization of China, Chen published his first collection of photographs named Chen Ronghui, now part of China’s Contemporary Photography Catalog. He was won a number of awards including World Press Photo; BarTur Photo Award; 2018 Three Shadows Photography Award & AlPA special prize and Hou Dengke Documentary Photography Award.Hanlu Zhang is a writer, curator, and editor. She received her MA in Art History, Theory and Criticism from the School of the Art Institute of Chicago. She has curated or co-curated “Through the Parlour” at No Longer Empty (New York), “Nightmare of Exhibitions II: Two-way Theater” at Power Station of Art (Shanghai), “Rebel Cities” at Yang Art Museum (Beijing), “Bicycle Thieves” at Para Site (Hong Kong), “Those who see and know all, are all and can be all.” at Gallery Weekend Beijing, "Cosmopolis #1.5: Enlarged Intelligence” and “Cosmopolis #2: rethinking the human” with Centre Pompidou (Chengdu & Paris). She writes for ARTFORUM, LEAP, Flash Art, and art-agenda. Hanlu is a member of Theater 44.