“艺术兰州 • 2019兰州国际影像双年展”学术主题展“文献之上——当代语境下的中国纪实摄影”将于2019年10月26日下午2时在甘肃省兰州市雁儿湾当代美术馆开幕。
同时，将于10月27-28日在兰州市文创大厦北裙楼6楼路演中心举办为期两天的“文献之上 • 兰州国际影像双年展学术论坛”，邀请著名学者、文艺评论家、艺术家进行学术讲座、对谈与作品分享活动。
本届双年展学术主题为“文献之上”（TRANSCEND THE DOCUMENTARY）
学术主持 Artistic Director | 安德烈·胡耶（法国）
策 展 Curator | 藏策执行策展 Executive Curator | 牛恒立项目发起 Project Sponsor | 敖国兴 高岩 赵刚
学术委员会 | 藏策 安德烈·胡耶(法国) 敖国兴 鲍栋 成国琴 高岩 贝特朗 · 加丹纳(法国） 段炼(加拿大） 江融 木格 秦伟(中国香港） 宋修庭（韩国） 唐东平 王端廷 谢素贞 颜长江 袁园 曾翰 赵刚
展览地点 Venue | 雁儿湾当代美术馆(中国兰州）
展览时间 Duration | 2019年10月26-11月1日开幕时间 Opening Time | 2019年10月26 14:00
文献之上 | 藏 策
1955年，由爱德华·斯泰肯策展的《人类大家庭》，是人文主义摄影空前绝后的一次大合唱。然而这个由宏大叙事建构起来的幻象世界，终究无法遮蔽其间的差异性存在而自圆其说。在“新纪实” 摄影师们那里，人文主义方法已被视为一种伪善。世界，首先是为每一个个体生命所切身感知及体验的世界，在不同人的眼中都会有所不同。离开个人的视角，世界其实是无法想象的。此前的纪实理念，被实证主义所囿，片面强调其复制功能，以为图像的世界即是对真实世界的复制。然而照相机中的世界并不等同于视网膜所识别的世界，摄影的意义其实就在于以图像的维度来反观与重审我们司空见惯了的世界。
新一代的摄影师，以个人化的观看及态度，替代了以往貌似“客观”的文献性复制，超越了感伤主义式的人道主义。在此艺术家纪实的脉络上，中国大陆地区的新一代摄影艺术家亦以个人化的主观视域突破了传统纪实的所谓“实”，由记录观看对象，转向了对“观看”本身的体验与反思，凸显了个人视角与立场的在场性。观看的焦点也由所谓“重大题材”转向了对日常事物的开掘与深层思考——揭示那些显而易见之物背后的东西——进入文本性的深层文化编码，从而在视觉转向中完成由事件转述向问题意识的精神转向。
罗伯特·亚当斯在风景摄影中曾特别强调三种事实：地理、自传和隐喻。其中“地理”与“自传” 所对应的图像符号，大体相当于像似符号与指示(索引)符号，这是传统文献摄影的要素；而“隐喻” 的延展则可以将图像转换为规约符号，让图像成为文本，进入当代艺术的系统之中。无论是通过观看去探寻现实问题，还是借助图像反思深层的文化问题，纪实摄影在今天的中国都已经进入一个全新的阶段。然而“纪实”不会止步于此，必定还会在新的可能中不断地去开掘隐匿于历史地表之下的视觉记忆，并继续拓展作为摄影自身的边界。
作为双年展的主题学术展，“文献之上——当代语境下的中国纪实摄影”邀请了27 位艺术家的作品，试图对活跃于中国大陆地区的当代语境中的纪实摄影家——他们以重审现实为行动力，并让照片的内涵超越文献属性——进行全方位的学术梳理与展示，并以此纪念摄影术诞生180 周年。TRANSCEND THE DOCUMENTARY
The exhibition The Family of Man, curated by Edward Steichen in 1955, was an unprecedented chorus of humanistic photography. However, this illusory world constructed by grand narrative was unable to disguise the distinctness in it, let alone justify itself. In the eye of “new documentary” photographers, the humanistic approach is already some kind of hypocrisy. The world in the first place is the one perceived and experienced by all individuals, and therefore it is different in the eye of different people. It is truly hard to imagine the world if not from an individual’s perspective. The past ideas on documentary, limited by positivism, tended to only emphasize its replication function, believing the world in the pictures is the duplicate of the real world. However, the world in the lenses does not equal to the one scanned by our retinas. The meaning of photography is to help us observe and ponder on the familiar world once again with pictures.
Photographers of the new generation are substituting personal perspectives and opinions for the seemingly “objective” replication, and thus transcend the sentimental humanitarianism. Photographic artists from the Chinese mainland have also crashed the so-called “faithfulness” in traditional documentary with subjective perspectives, turning the focus from the objects observed to the experience and introspection during “observing”. The personal perspective and standing therefore stand out. The focus of their observation also turns from so-called “significant topics” to the exploitation and deep analysis of routine things—revealing those behind the obvious things—thus entering the textual deep cultural coding. This is a successful transformation from visual sense to spirit, i.e. from simply recording events to raising questions.
This exhibition, named "Transcend the Documentary: 2019 Lanzhou International Biennale of Photography", open at Yan'erwan Contemporary Art Museum in Lanzhou, Gansu province on October 26, 2019. There are 27 artists' works in the "Transcend the Documentary" academic exhibition. The exhibition and the related academic seminars aim to thoroughly analyze and exhibit those active documentary photographers in the Chinese mainland, who take the re-examination of reality as their motivation, and let the connotation of photographs transcend their literature attributes. It is also held in honor of the 180th anniversary of photography’s birth.
Robert Adams emphasized three facts in landscape photography: geography, autobiography and metaphor. The image symbols corresponding to “geography” and “autobiography” are roughly equivalent to iconic symbols and indicative (index) symbols, which are the elements of traditional documentary photography, while the extension of “metaphor” can transform images into conventional symbols, so that images become texts and enter the system of contemporary art. Documentary photography in today’s China has already entered a new stage: it is able to explore practical questions by observing and meanwhile reflect on deep cultural issues with images. But “documentary” will never stop thus far. It will continue to explore the visual memory beneath the history and go on expanding the boundary of photography.
This exhibition, named "Transcend the Documentary: 2019 Lanzhou International Biennale of Photography", open at Yan'erwan Contemporary Art Museum in Lanzhou, Gansu province on October 26, 2019. There are 27 artists' works in the "Transcend the Documentary" academic exhibition. The exhibition and the related academic seminars aim to thoroughly analyze and exhibit those active documentary photographers in the Chinese mainland, who take the re-examination of reality as their motivation, and let the connotation of photographs transcend their literature attributes. It is also held in honor of the 180th anniversary of photography’s birth.
街头之 “异托邦”
从“客观”记录到主观表现，街头摄影已不再是摄影师猎取“决定性瞬间”、拼凑现代主义形式构成的速写板，而是呈现个人化主观视觉经验及发现现实“问题”的目光汇聚地。在这样的街头摄影中，人们自以为正常并习以为常的日常街头，在图像维度的反观与重审下，其形形色色的“异托邦”特质为我们提供了深层思考的现实空间。
参展艺术家 | 莫毅 韩磊 孙彦初 严怿波 冯立 王轶庶
HETEROTOPIAS IN THE STREET
From “objective” recording to subjective expression, street photography is no longer about photographers seeking “decisive moments” or a sketchpad for modernism; insteadit has become a gather spot for presenting personalized subjective visual experience and discovering realistic “problems“. In street photography as such,the everyday streets which are considered as ordinary and familiar begin to show various characteristics of “heterotopias” under the reflection andre-examination in the dimension of images, and have offered us realistic spacefor deep thinking.
Participating Artists | Mo Yi Han Lei Sun Yanchu Yan Yibo Feng Li Wang Yishu
无中生有 © 王轶庶
面孔是时代的表征，既与个体生命的人生轨迹密切相关，更与作为身份及文化群体的意义交织在一起。身份问题是当代艺术中的一个重要主题，在全球化与地域性对峙的语境中，艺术家对单一的本质化的身份规训提出质疑并予以抗争。然而我们也有必要在反转的视角中重新思考身份这一问题：究竟是谁限制了文化身份的自由发展并制约着个人身份的多样化？是源自西方中心主义的偏见，还是地域性文化自身的未开化？
参展艺术家 | 陆元敏 黎朗 宋朝 苏晟 罗明义 王远凌 罗洋Faces are the superficial characteristics of the time. They are not only closely related toindividuals’ life path, but also intertwined with identities and culturalgroups. Identity is an important topic in contemporary art. In a context where globalization and localism confront each other, artists are questioning and challenging the unitary identity discipline. Nevertheless, we need to thinkover the issue of identity in a reverse perspective: who on earth is limiting the free development of cultural identity as well as the diversification of personal identity? Does it derive from the prejudice of west-centrism or the backwardness of local culture?An Eastern version of the question is: who is containing you?Participating Artists | Lu Yuanmin Li Lang Song Chao Su Sheng LuoMingyi Wang Yuanling Luo Yang住在洋房里的上海人 1990—2000 © 陆元敏
从安塞尔·亚当斯式的超验主义传统中出离，走向文化的风景以及社会风景，是风景摄影发展脉络中的一个重要转型。在高度“类象”（simulacrum）化的今天，新一代摄影师更关注的是人为的而非自然的风景。人、物与地方，是摄影中最基本的三个主题，风景摄影把观者带入图像中的地方，并引发相关思考。而持续关注某个地方的风景摄影，其所呈现的则是此地的地方性精神。
In the development of landscape photography, there was an important transformation where artistsran from Ansel Adams‘ transcendentalist tradition to embrace cultural landscape and social landscape. This is an age of simulacrum, and the new generation of photographers pay more attention to artificial landscape, rather than natural landscape. Man, thing and place are the basic topics in photography. Landscape photography brings the viewers to that place depicted in the picture and triggers them to think. Landscape photography that pays constant attention to acertain place, on the other hand, seeks to present the local spirit of that area.Participating Artists | Zheng Zhiyuan Yan Changjiang Li Wei Xiao Xuan'an
“在路上”，是摄影师永远的主题。一段旅程可长可短，但每一段旅程都可以造就一个摄影师……“在路上”同时又是一个完全开放性的母题，既可以是视角独特的个人化观察，也可以是心路历程的视觉呈现，更可以是对所谓“乡愁”的反思与追问……
”On the Way” is the eternal topic for photographers. A journey is either long or short, but every trip is able to create a photographer… “On the Way” is a totally opentopic: it could be the personal observation from a unique perspective, or thevisual expression of one’s psychological journey, or even the reflection and detailed inquiry on “nostalgia”…Participating Artists | Mu Ge Luo Dan Zhang Xiao Su Jiehao Zhu Lanqing
传统纪实摄影师，往往会虚构一个超越于自我之上的观看主体，以示其“客观”立场：拍摄者仿佛是不存在的，被摄者完全意识不到镜头的介入，媒介是透明的，我们看到的不是一张照片，而是生活本身……然而这一切其实只不过都是借助视觉手段营造的幻象。每一个个人都是一个独立的世界，每个人所看到的世界，其实也并不尽相同。所谓“客观”，只不过是作为人类视觉经验的最大公约数而已。而人们所看到的外部世界，其实也只是意识的三维模型。世界并无本相，世界的样子是被“看”出来的。摄影图像中的世界，则是被摄影媒材“看”出来的。作为观看艺术的摄影，最重要的就是从个人生命体验的视角去发现问题，并以视觉的方式予以呈现。当然，“问题转向”后的问题，不会止于具体问题本身，而是会提升为精神层面上的“关于问题的问题”。
参展艺术家 | 鸟头 敖国兴 高岩 邢丹文 金江波THE REALISTIC “SHIFT OF PROBLEMS”Traditional documentary photographers are used to making up a virtual subject that transcends themselves to set up an “objective” standing: the photographers seem inexistent, and the medium is transparent, and in the end we are looking not ata photo, but life itself… However this is nothing but an illusion created with the help of visual techniques. Every individual is an independent world. Theworld in the eye of different people is different. The so-called “objective” is only the greatest common divisor of human visual experience. The external world that people see is nothing but the 3D model built by our consciousness. The world does not have its appearance; we create one for it with our visual sense.The world in the photography, on the other hand, can be “seen” only by photographic media. What really matters to photography, the art of viewing, is to find problems from the perspective of personal life experience and presentit with visual expression. Naturally, the problem after “the shift of problems” will not be confined to the problem itself; instead it will elevate to “the problem on problems” in the spiritual level.Participating Artists | Birdhead Ao Guoxing Gao Yan Xing Danwen Jin Jiangbo绝缘( 系列摄影 2002—2003) © 邢丹文
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展览单元 | 1.“文献之上——当代语境下的中国纪实摄影”主题学术展
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