第九届济南国际摄影双年展作品(四川美术学院)

作者:大周 2022-10-23 阅读:1843
  
核心提示:地点:山东工艺美术学院美术馆 展览时间:2022年10月25日-11月20日


济南国际摄影双年展第三届高校邀请展

“微芒成阳 ”亚太地区高校摄影邀请展

—四川美术学院

艺术总监:曾毅
总策展:张辉、黄荣华(土耳其)、柳银珪(韩国)
学术主持:姚璐
联合策展人:邓岩
四川美术学院

四川美术学院

四川美术学院实验艺术学院摄影艺术系,下设 “图片摄影”和“动态影像”两个专业方向,共有7位专职教师,招收本科与硕士研究生。

川美摄影专业建于2000年,培养掌握以摄影为主的跨媒介语言,在当代艺术背景下,立足于社会发展需要,艺术与技术并重,具有实验精神,能在艺术创作、文化创意产业、艺术教育、传播媒体、广告宣传、影视制作等领域从事影像和艺术相关工作的高级创新型人才。

Sichuan Fine Arts Institute

The Department of Photography and Art of the Experimental Art College of Sichuan Academy of Fine Arts has two professional directions of "Picture Photography" and "Moving Video", with a total of 7 full-time teachers recruiting undergraduate and master students.

Founded in 2000, in the context of contemporary art, based on the needs of social development, based on the equal emphasis on art and related technologies in the professional direction, Sichuan American photography major cultivates high-quality innovative photography and artistic talents with experimental spirit, mastering cross-media language, serving artistic creation, cultural and creative industries, art education and teaching, communication media, advertising and publicity, etc. After 22 years of department construction, the photography major has accumulated rich experience and achievements in running schools, and has continuously improved the talent training model in line with social development in order to adapt to the technological changes in the new era with digitalization as the core.

刘阳 Liu Yang

四川美术学院实验艺术学院摄影艺术系主任,川美摄影专业负责人,副教授,硕士研究生导师。毕业于鲁迅美术学院摄影系(学士、硕士),北京电影学院访问学者。中国高等教育学会摄影教育专业委员会副秘书长,中国女摄影家协会理事。从事摄影教育20余年,2018川美“优秀教师”称号;个人作品多次获国家、省部级奖、被国内外美术馆收藏,数十次受邀参加国内外当代艺术展。

《无期·终相遇》

长江流域中华文明源远流长,重庆所在的中上游地区,有着历朝历代无数人的痕迹,它们见证着历史,见证着人类怎样在这方土地生生不息。而很多痕迹虽就在那里,却因一些原因深埋江中,仿若从未存在过。2022年夏季空前高温,本该是丰水期却成超枯水季。一些常年浸于长江深处的佛像等,此刻露全貌与我们相遇。

不可见不代表不存在,所见未必真实,存在不一定可知。

《Indefinite and Final Encounter》

The Chinese civilization in the Yangtze River Basin has a long history, and the middle and upper reaches of Chongqing are located in the traces of countless people from all dynasties and dynasties, who bear witness to history and how human beings live endlessly in this land. Although many traces are there, they are buried deep in the river for some reason, as if they never existed. The summer of 2022 is unprecedentedly high, and it should be a period of abundant water but it has become a super dry season. Some Buddha statues that have been immersed in the depths of the Yangtze River for many years have met us with a full picture at this moment.

Invisibility does not mean non-existence, what is seen may not be true, and existence is not necessarily knowable.

(请以横屏观看)

牟昱桥 Mu Yuqiao

四川美术学院实验艺术学院摄影系副主任,图片摄影教研室主任,西安美术学院在读博士。

《风与梦》

作品“风与梦”系列是我在斯里兰卡拍摄的一组有关人文风貌的图片,这些图片从内陆到沿海,从男性到女性,从自然到精神世界,我们可以通过图像感受到一条隐藏的线索,它们引导着我们去了解我们周边的世界,共生的人群。

《Wind and Dreams》

The "Wind and Dreams" series is a group of pictures about the human landscape that I took in Sri Lanka, from inland to coastal, from male to female, from nature to the spiritual world, and we can feel a hidden clue through the images, which guide us to understand the world around us, the symbiotic crowd.

《青春》

斯里兰卡的妇女因为身份、信仰、出身的不同,在社会中生活中她们的命运并不能完全主宰在自己手中,当她们一起穿上美丽的衣服,与心爱的人拍摄动人的照片时,那一刻我们能感觉到她们是最幸福的人。

《 Youth》

Because of their different identities, beliefs and origins, the fate of Sri Lankan women in social life is not completely in their own hands, and when they put on beautiful clothes together and take moving photos with their loved ones, we can feel that they are the happiest people at that moment.

《田野》

田野是农人最熟悉的场域,他们在这里勤劳的工作期待着最后的收获,通过背影可以感受到他们对于大地的热爱,大地也会随着时间的流逝,汇报给它的子民以最好的报酬。

《 Field》

The field is the most familiar field for farmers, where they work industriously in anticipation of the final harvest, and their love for the earth can be felt through their backs, and the earth will report to its people with the passage of time for the best reward.

《鱼牧》

图片中的鱼牧方式是独特的,并且赋予了画面一种特殊的线条构成和意味,人们总是在等待中得到意外的惊喜,大海总是这么慷慨,养育着多元的生物,回馈着勤劳的人民。

《 Fishing》

The way the fish and animal husbandry in the picture is unique, and gives the picture a special line composition and meaning, people always get unexpected surprises in waiting, the sea is always so generous, nurturing diverse creatures and giving back to the industrious people.

李瑶瑶 Li Yaoyao

《封闭记忆》

在现代社会剧烈变化的大背景下,让我们很多人从一个与世界接触交流的大空间,变成长期隔离在一个封闭的小空间。这种活动空间的变化,使我们的活动范围缩小,更多地回归到对人本身与所处空间的包容认知关系上。

作品以置景拍摄的方式,近距离对不同“房间”里的人进行观察、沟通交流、拍摄记录,再通过摄影媒介结合扮演形式重现他们生活中的真实状态。我希望通过这几个人,能让更多人意识到我们在现代环境变化下的真实生存处境。

《Closed Memories》

In the context of the drastic changes in modern society, many of us have changed from a large space for contact and communication with the world to a long-term isolation in an enclosed small space. This change in the space of activity makes our scope of activities narrow, and more return to the inclusive cognitive relationship between people themselves and the space in which they live.

The work is filmed in the form of set shooting, closely observing, communicating, and recording the people in different "rooms", and then reproducing the real state of their lives through the combination of photographic media and playing. I hope that through these few people, more people can realize our real living situation under the changes of the modern environment.

黄姣 Huang Jiao

《枯水期》

作为一个川渝人,长江于我而言不仅仅是一条河流,还是生活、记忆,我们在这里约会、游泳、嬉戏,也在这里发呆,在这里为赋新词强说愁……2022年,因为干旱,长江裸露出了大面积河床,为此我试图记录下它烈日下疮痍的身躯。

《Dry Season》

As a Sichuan-Chongqing person, the Yangtze River is not only a river for me, but also a life and memory, we are here dating, swimming, playing, also here in a daze, here to give new words to say sad... In 2022, because of the drought, the Yangtze River exposed a large area of riverbed, so I tried to record its devastated body under the scorching sun.

王利 Wang Li

王利,1999年生,就读于四川美术学院实验艺术系图片摄影专业。

《粉色大象》

怎样成为一名"合格"的女性?女性在不断完善自我的过程中其实一直在面临一种危机感,这种恐惧的感受丝毫不亚于一部惊悚片,它来源于某种内部和外部,一种社会结构,以及两性关系,作品运用碎片的剧照拍摄方式,来交代女性内心极深刻的困惑、疑问,乃至恐惧。

《Pink Elephants》

How to become a "qualified" woman? Women in the process of continuous self-improvement has actually been facing a sense of crisis, this feeling of fear is no less than a thriller, it comes from a certain internal and external, a social structure, and gender relations, the work uses fragments of stills to account for the deepest confusion, doubts, and even fears in women's hearts.

 
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