集美·阿尔勒国际摄影季 | 在地行动：可视恰巧是造成忽视的情境
“2017 集美 · 阿尔勒国际摄影季”将于 11 月 25日开幕，呈现共计30多个展览版块，覆盖摄影作为当代艺术一个重要组成部分的方方面面。“集美 · 阿尔勒国际摄影季”将陆续推出展览单元简介。
集美·阿尔勒国际摄影季“在地行动”单元，主要希望探索摄影基于本土文化发展的有机特征，以及作为一个地缘关系的文化体现，与在地艺术家／策展人／艺文机构的互动合作交流，让城市与摄影季融合在一起。
海报图片 / Conception of poster：黄臻伟，《无时境》系列，摄影，2017，图片由艺术家提供 / Huang Zhenwei, Timeless Boundary Series, photography, 2017, courtesy of the artist
项目一：退化图像公司
展览时间 / Exhibition Period：11.26-12.18
展览地点 / Location：中骏大厦（厦门）/ Zhongjun Building, Xiamen
海报图片 / Conception of poster：康迪达·赫弗，《剧院与歌剧院》，2011，图片由艺术家提供 / Candida Höfer, Theatres and Opera House, photography, 2011, courtesy of the artist
项目二：电影院
展览时间 / Exhibition Period：11.26-12.2
展览地点 / Location：思明电影院（厦门）/ Siming Cinema, Xiamen
可视恰巧是造成忽视的情境
策展人：王琦
艺术家：
陈溢（中国）程然（中国）
退化建筑研究室（中国）黄臻伟（中国）
蒋瀚鸣（中国）迪娜·可尔伯曼（美国）
金·劳顿( 英国) 梁半（中国）
林科（中国）佩内洛普·布里科（美国）
吴曦煌, 代磊（中国）
坎迪达·赫费尔（德国）
陶辉（中国）、 王海清（中国）
文 / 王琦
让我们先抛开摄影内部的语言，想象一下今天的日常生活——你乘坐电梯从公寓大楼出来，划过智能手机上的当日新闻；进入地铁后，目光在面无表情的人和五颜六色的广告上切换；写字楼里的工作继续围绕互联网展开，手机上的社交生活则填充了休闲时间；下班后若路过商场，大面积橱窗里的时装图像在提醒你新的夏天快来了。而摄影，在当中如何存在？
仍然仅仅是回家后坐在沙发瞄上一眼的那幅装饰照片吗？还是某个周末在美术馆里看的一次展览？在这些当代生活的场景交替中，我们被置入大量图像信息所覆盖的工作、娱乐、消费网络。这些图像来自你手机1500 像素的摄像头、社交软件，或随处可见的各种产品广告，你阅读、搜索、使用、制造、篡改、评论或忽视它们。无论愿不愿意承认，我们跟摄影的关系在今天已经发生了一些变化。现代商业在我们所处的这个时代建立了另一套图像生产机制，将我们推向一个图像的浪潮。互联网科技的持续发展，则让个人、社会与图像的连接变得强烈和多元。我们一方面作为图像的生产者、消费者和传播者，另一方面则不自知地将自身暴露在这种图像生产、消费与传播所形成的可视景观中。
程然，《信》，2014，图片由艺术家提供
Cheng Ran, Always I Trust, 2014, courtesy of the artist
在这种当代生活样态下，摄影的外延被图像扩张了，它提供了一种前所未有的观看情境。在当代艺术和白盒子之间关系仍旧暧昧的时候，摄影看起来像率先一步？大众媒体宣扬的“人人都是摄影师”似乎比博伊斯的“人人都是艺术家”更可信。在这种论调下，当你打开手机摄像头，以平行线原则将作品边框与取景框对齐，将展览中的一幅摄影作品拍摄下来，并在朋友圈中以你所理解的图片关系布列了九宫格的这一系列行为，好像与面前这幅展示中的摄影作品并无太大不同。但毫无疑问，基于快速、消费化、令人愉悦的本质生产出来的大众图像，与包含了个体表达或社会观看的摄影艺术依然存在巨大差异。可是在今天将这两者完全隔绝和把它们混淆一样，都是表征的、脱离各自语境的。事实上，一部分摄影艺术创作者已经开始借用大众图像手段展开他们的创作，而消费世界生产的大众图像也在不断吸纳着摄影艺术的形式。
程然，《信》，2014，图片由艺术家提供
Cheng Ran, Always I Trust, 2014, courtesy of the artist
在这次集美·阿尔勒摄影季中，这场名为“可视恰巧是造成忽视的情境” 的在地行动，目标是进入更广泛的社会情境，试探和讨论摄影艺术与图像生产、艺术创作与商业机制的边界。我们其中的一项工作就是套用商业图像的阅读，将这些摄影艺术家的作品置于一个完全不同的情境中——置入你的日常生活，它们或许将取代电梯里的房地产广告或你的电脑桌面。这种情境套用附带着观看条件的改变，除了装裱方式，它们还将暴露在后工业时代粗糙的照明中——办公大楼、商场、马路上的光，或一辆车驶过投射出的一束短暂的光。和美术馆里那种精细地投射在一幅作品上引诱着你凑近的光可完全不同，它们是临时且无机的。当然你也不再是一个做好了亲近艺术准备的观众，你回到那个日常的你的身份，一个商业机制中快速切换场景的人，你能做的是，在这些场景中更谨慎地甄别这些摄影艺术，或者无视它们。
迪娜·可尔伯曼，《I’m Google》，2011至今，图片由艺术家提供
Dina Kelberman, I’m Google, 2011 - ongoing, courtesy of the artist
在这种看似简单粗暴的情境套用中，包含着着对图像机制（包括图像繁殖、版权等等）的探索，艺术作品也在考验着消费时代的耐心。人们在电影院里观看一幅Candida Höfer 的古典剧场照片，它在巨大屏幕中长久定格的过程里，观众与作品相互观看着，你可以充分阅读其中的丰富信息，也可能随时捧着爆米花起身离开。这种互相的可视还发生在另一些艺术家那里，他们将社交网络中的图像信息作为个人生活的线索和入口，追踪出一个具体的身份，作为其参与图像时代却忽视自己生产者角色的回馈。比起将这个在地行动看作另一次观看，我们更愿意将它描述为，让摄影艺术和它的观众们在一个彼此忽视的情境中重新相互可视起来。
黄臻伟，《无时境》系列，2017，图片由艺术家提供
Huang Zhenwei, Timeless Boundary Series, 2017, courtesy of the artist
在地！行动！
这次名为“可视恰巧是造成忽视的情境”的在地行动的其中一项工作是套用商业图像的阅读，将这些摄影艺术家的作品置于一个完全不同的情境中——置入你的日常生活。我们将主展场设置在一栋写字楼中。在一个办公室里，它们与“使用中”的办公场景并峙，你需要从电梯房地产广告、电脑桌面、会议室投影、打印机或档案柜里甄别出它们，以及它们所隐含的互联网时代关于图像版权、图像繁殖或隐私的探讨。它们不是为了装饰这个空间而存在，它们是摄影艺术的另一个界面，透露着摄影艺术在社会图像时代的界限与行为信息。
退化建筑，《退化公园》，2017，图片由艺术家提供
DevolutioN, DevolutioN PARK, 2017, courtesy of the artist
在展览期间，我们安排了一台途经在地行动各个展场的网约车，观众可通过预约乘坐这台车。它同时是一个临时的展场，乘客将通过遗落在车上的手机或其他线索进行图像阅读，这种阅读随机且偶发。
吴曦煌，代磊，《咪咪流浪记》，2017，图片由艺术家提供
Wu Xihuang, Dai Lei, Nobody’s boy: Remi, 2017, courtesy of the artist
Visuality is the Scene of Negligence
Curator: Wang Qi
Artists:
Chen Yi(CN), Cheng Ran(CN),
DevolutioN(CN), Huang Zhenwei(CN)
JIang Hanming(CN), Dina Kelberman(US),
Kim Laughton(UK), Liang Ban(CN)
Lin Ke(CN), Penelope Umbrico(US)
Wu Xihuang, Dai Lei(CN)
Candida Höfer(GER)
Tao Hui(CN), Wang Haiqing(CN)
Text / Wang Qi
Let us first put away the internal language of photography, and imagine what could be your daily life - you take the elevator down from your apartment and leave the tower block, swipe your way through the day’s news on your smartphone; enter the underground system and switch between looking around at expressionless people and at the colourful ads. Office work continues to revolve around the Internet. Your leisure time is filled with social media. If you pass a shopping mall after work, the window display will remind that a new summer season is fast approaching. And photography? Where does that come in?
蒋瀚鸣，《我们所处的游戏！》，2017 ，图片由艺术家提供
Jiang Hanming, Game we playing right now!, 2017, courtesy of the artist
Maybe you just got home and are sitting on the sofa glancing at a pretty photo? Or you go to an art exhibition in the weekend? In alternating these scenes of contemporary life, we are placed in an atmosphere surrounded by a huge amount of image information, entertainment, and consumer networks. These images were made on your 1500 pixel phone camera, a piece of social software, or a variety of product advertisements. Everywhere you read, search, use, manufacture, tamper with, comment on or ignore these images. Whether or not you are willing to admit it, our relationship with photography has changed. In this era, modern business has set up another image production mechanism, and we are being pushed on a wave of images. The continuous development of Internet technology, and the personal, social and image connections that come with it, will become strong and diverse. On the one hand, we are producers, consumers and communicators of images, and on the other hand, we are not aware of ourselves in the visual landscape of the image’s production, consumption and dissemination.
蒋瀚鸣，《我们所处的游戏！》，2017 ，图片由艺术家提供
Jiang Hanming, Game we playing right now!, 2017, courtesy of the artist
With this kind of contemporary lifestyle, photography’s reach has been expanded by the image, which has provided an unprecedented perspective on things. When the relationship between contemporary art and the white box is still ambiguous, is photography the first step? The mass media’s statement that "Everyone is a photographer" seems more credible than Beuys’, "Everyone is an artist". If you think this way, when you swipe open your phone camera, line up the border with the viewfinder frame, and post your images in nine connected frames on WeChat moments, your actions are not all that different from those of the exhibitors you see here. There is no doubt that the fast, fun, consumer images produced by the public are very different from photographic art that is imbued with individual expression or social perspective. Yet today, the two are completely isolated and confused with each other when taken out of their respective contexts. However, a number of photographic art creators have begun to borrow imagery from the public, while the consumer world is in turn producing popular images that are constantly absorbing photographic artforms.
Visuality is the Scene of Negligence is shown at Jimei x Arles International Photo Festival, with the aim of tembracing a wider social context, exploring and discussing photographic art and image production, artistic creation and the boundaries of commercial mechanisms. One of our jobs is applying a reading of commercial images that puts these photographers' works in a completely different context - in your daily life, they may replace your elevator’s real estate advertising or your computer desktop image. The viewing conditions will also change. Next to different mounting methods, they will be exposed to the rough lighting in the post-industrial era - office buildings, shopping malls, street lights or the beam of a car light passing through a projection. This takes you far away from the light you are accustomed to as you stand before an exhibit at the museum. You are no longer a well-prepared art spectator, and you go back to your daily identity, someone able to quickly switch scenes and apply business mechanisms to your life. What you are able to do now is screen the photographic art you see, or simply ignore it.
The application of this seemingly simple and rough condition is about exploring the image mechanism (including image reproduction, copyright, etc.) and testing consumers’ patience with the art works. People watch a Candida Höfer classical theater photo on a huge screen in a long-held freeze. The audience and works watch each other. You can fully read the incapsulated information, and can also hold popcorn in your hand. This kind of mutual visualization also occurs in other artists, who use image information in social networks as a clue and access way to one’s personal life, tracking a specific identity, as feedback to participants in the image era who ignore their own role in its production.
Looking at this action in another way, we prefer to describe it as a way for photographic art and its audience to go from overlooking each other to actually seeing each other again.
Local ! Action !
This local action work, “Visuality is the Scene of Negligence”, explores the reading of commercial imagery, seeing the work of these photographers in a completely different light -- in your daily life. We will set the main exhibition in an office building. The works are displayed in offices, identified as advertising, computer desktops, conference room projections, or printer or filing cabinet images. We use them to discuss image copyright, reproduction and privacy in the Internet era. They do not exist as merely space decorations, but rather are another interface of photographic art, revealing the boundaries and behavior of the art in the era of the social image.
The exhibition includes an online chauffeur service to take you between venues. The car is also a temporary exhibition hall, where passengers can view images on a mobile phone that has been left behind or other clues in the car. Together, this creates a random and incidental viewing experience.
关于策展人：
1985年生于厦⻔，毕业于福州大学工艺美术学院；曾任《生活》杂志民艺编辑、《搜街》杂志执行主编；2011年创办厦⻔平等艺术中心；2012年参与筹建设计酒店「无垠」，同时负责平等艺术中心、喂空间艺术项目策展执⾏与合作；现为「退化建筑DevolutioN」合伙人。
About the curator:
Born in 1985 in Xiamen, Fujian. Graduated from Xiamen Academy of Fine Arts, Fuzhou University, Onceserved as Folk Art Editor of Life Magazine and the former Chief Editorof the SO GUIDE Magazine. Founded the Equality Art Center in Xiamen in 2011, participate in the construction of art hotel "hotel WIND” (Responsible for the design and culture planning of the project) in 2012, worked as the curator of Equality Art Centre and We Space. Founded the Magazine WE PAPER in 2013. One of thepartner of DevolutioN.
第三届“集美·阿尔勒国际摄影季”
2017年11月25日—2018年1月3日
地点：集美新城市民广场展览馆、三影堂厦门摄影艺术中心、
城市跨区域空间等
主办方：三影堂摄影艺术中心、厦门市天下集美文广传媒有限责任公司
集美是镶嵌在厦门经济特区的一颗璀璨明珠，是被誉为“华侨旗帜、民族光辉”的爱国侨领陈嘉庚先生的故乡，这里经济发达、人文荟萃、环境优美、生态宜居，是中国著名的侨乡和厦门市重要的产业区、文教区、新城区，嘉庚先生创办的集美学村闻名遐迩，“一精神三文化”（嘉庚精神、华侨文化、闽南文化、学村文化）的文化特质独具魅力。当前，集美区正以“创新、协调、绿色、开放、共享”五大发展理念为指导，深入实施人文集美发展战略，打造“产城学人”深度融合的区域创新中心。灵玲国际马戏城、嘉庚剧院、诚毅科技探索中心、厦门老院子景区等一批高端文化产业项目串珠成线，城市文化演艺中心规模初显，海峡两岸龙舟文化节、厦门（集美）草莓音乐节、集美新城荧光夜跑等高规格品牌活动连番上演、精彩纷呈，集美的人文魅力日益彰显。本活动得到厦门市集美区委、区政府的大力支持，由三影堂摄影艺术中心与厦门市天下集美文广传媒责任有限公司联合主办。以打造中国最具专业品质的国际摄影节和向公众推广介绍摄影文化为己任。
集美·阿尔勒官方网站：www.jimeiarles.com
微博：集美阿尔勒国际摄影季官方微博
Facebook: facebook.com/jimeiarlesphoto
DOORS Agency: www.doors-agency.com
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