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
—上海、天津美术学院
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
上海美术学院
上海美术学院影像艺术工作室于2005年成立，主要承担上海大学及上海美术学院本科开设跨院、跨系选修课程及硕士研究生的教学任务。在十多年教学与科研创作中，以海派文化为背景，依托美术学院艺术积淀深厚的优势，形成独具特色的教学模式与课程体系。2016年创建了导师制教学与研究平台，使教学、实践、科研三方面共同发展，实现产学研一体化，培养学生自身创造力和创新能力，满足当今社会对应用型、创新型人才的培养需求。
在教学上重视摄影技能和造型能力的训练,在掌握技能素养的同时,逐步实现创造性思维的培养。在注重对新事物、新影像、新媒介、新观念的鉴赏能力和判断能力培养同时，着重培养学生影像语言探索与实践能力和在具体实践中不断推进的思辩能力，使学生在理论研究和影像艺术实践中得到平衡发展。强调影像与绘画、设计、新媒体、文化之间有效结合，形成交叉学科意义的创作形态。将传统影像与当代艺术观念相融合，逐步建立个人的学术观点和立场，形成个人审美观、创作方式和研究方法。培养具有海派人文素养、实验精神的应用创新型艺术人才。
Shanghai Academy of Fine Arts
The Shanghai Art Academy Video Art Studio was established in 2005. It mainly undertakes the teaching tasks of inter-academy, inter-department elective courses and postgraduate students in the undergraduate courses of Shanghai University and Shanghai Academy of Fine Arts. In the teaching and research creation for more than ten years, with the background of Shanghai regional culture as the background, relying on the profound advantages of art accumulation of the Academy of Fine Arts, the teaching and research platform of the tutor system has been established, so that the three aspects of teaching, practice and scientific research are developed together, and the integration of production, education and research is realized. Cultivate one's own creativity and innovative ability to meet the needs of the cultivation of applied and innovative talents in today's society.
In the teaching, we attach importance to the training of photography skills and styling ability, and gradually master the cultivation of creative thinking while mastering the skills and literacy. While paying attention to the cultivation of new things, new images, new media, new ideas, and judging ability, we should pay more attention to cultivating students' ability to explore and practice video language and their ability to think and advance in concrete practice, so that students can study in theory and Balanced development in video art practice. Emphasis is placed on the effective combination of images and painting, design, new media, and culture to form a creative form of interdisciplinary meaning. Combine traditional images with contemporary art concepts, gradually establish individual academic views and positions, and form individual aesthetics, creative methods and research methods. Cultivate innovative artistic talents with Shanghai-style humanistic literacy and experimental spirit.
敖国兴 Ao Guoxing
敖国兴，现任教上海美术学院摄影艺术工作室主任，上海电影学院摄影系主任，硕士研究生导师，工作生活在上海。中国摄影家协会会员，中国高教委摄影专委会常务理事，上海摄影家协会策展委员会副主任，上海国际摄影节策展人，主要研究化学摄影显像的潜能对其美学延展而诞生新的价值，探讨个体在历史和文化中的关系。代表作品《北方以北，南方以南》、《欢乐颂三部曲》、《无名者》、《魇相》、《新山水》、《现实界》。纪录片《二人转---东北的吉普赛人》作品曾入选美国Discovery新锐导演，曾获得德国巴斯夫青年艺术家学术奖、连州国际摄影年展评委会大奖、上海摄影艺术大展金奖，上海国际摄影节最佳策展人奖，济南国际摄影节最佳策展人奖。作品在长江国际影像双年展，德国斯图加特美术馆、新加坡国家美术馆和荷兰皇家艺术中心等展出并收藏。
《风之谷II》
作品通过化学显像让事物重归世界并获得全新的存在状态。作品里的动植物标本在图景里脱离了原有的社会语境，进入到介乎实在与虚无之间的模糊领域，获得了前所未有的存在方式，成为只在天地之间的物，而不再是人的物。它们在那里，是那样的陌生，是那么的古老而又新鲜，仿佛以一个瞬间获取了全部的时间，或者说仿佛全部的时间凝固为一个瞬间，而它们所在的空间，它们的背景，又并不是某个地方，而是整个无限广阔寂寥的世界。
《Valley of the Winds II》
Through chemical visualization, the works bring things back to the world and obtain a new state of being. The animal and plant specimens in the works break away from the original social context in the picture, enter the fuzzy field between reality and nothingness, and obtain an unprecedented way of existence. They become objects only between heaven and earth, instead of human objects. They were there, so strange, so old and so fresh, as if they had taken all time in a single moment, or as if all time had been frozen into a single moment, and the space they were in, their background, was not a place, but the whole vast and lonely world.
《风之谷II》NO.1、2、3、7、9、 卤化银光化显像工艺 100cm*100cm 2018年
曾庆洋 Zeng Qingyang
《日常剧场》
《日常剧场》作品探讨在后疫情时代，基于我个⼈的视⾓，对外部世界观察所呈现的“现实”图景。当我的情感和复杂的外部世界相遇，将貌似客观熟悉的场景进行消解，那些熟悉的日常角落反而让人极度陌生。这些场景在我的观看逻辑下形成新的视觉秩序与个人化表达，此时的客观已经成为了伪客观。内心世界和现实世界关系的呈现便在主观，客观和伪客观中不停地摇摆、对抗。化学显像的过程便是这种摇摆的过程，当我躲在取景器背后观看现实世界时，最终我观看到的是我的内心潜影，此时，所见的影像已经幻化成为与现实世界相似的平行世界，而我拍摄的过程便是我的内心世界与现实世界对抗的过程——我企图去征服现实，而现实不停地实现他的对抗。手工配置药液冲洗胶片的过程放大了这种对抗，我始终想要保持客观地去呈现一切，但个人的情感却无法掩藏，在画面中留下灵光印迹，这是偶然也是必然。
《Daily Theater 》
The Daily Theater series explores the "reality" of the outside world in the post-epidemic era, based on my own personal observations of the outside world. When my emotions and the complex external world meet, the seemingly objective and familiar scenes are dissolved, and the familiar corners of the everyday become extremely unfamiliar. These scenes form a new visual order and personalized expression under my viewing logic, and at this point the objectivity has become pseudo-objectivity. The relationship between the inner world and the real world is presented in a constant oscillation and confrontation between subjectivity, objectivity and pseudo-objectivity. When I hide behind the viewfinder and look at the real world, what I end up looking at is my inner latent image. I try to conquer reality, and reality keeps on realizing his confrontation. The process of developing the film by hand amplifies this confrontation. I always want to present everything objectively, but my personal emotions cannot be concealed, leaving an aura in the picture, which is both accidental and inevitable.
《日常剧场》 100cm*120cm 彩色染料显像工艺 2022年
李鑫 Li Xin
《芭蕉》
芭蕉是地名，也是我的故乡地。我常想，故乡之所以记忆深刻是不是因为别离。老房子被拆掉，越来越多的物件被淘汰抛弃，睹物思人，物是殇，是伤，是儿时记忆，是思绪温床。我不懂“芭蕉”。每个人心中都有自己的“芭蕉”地，如数家珍的故事将不相关思绪捆绑。蛋白古典工艺法所渲染的泛黄色调，是时间流逝的借喻。你我，物我，空我，有着不同的生命旅途和痕迹，站在这些物前，看到的也是你我不同层次的过去。
《 Basho》
Basho is a place name and my hometown. I often wonder if the reason why my hometown is so memorable is because of separation. The old house is demolished, more and more objects are eliminated and abandoned, seeing things and thinking about people, things are martyrs, injuries, childhood memories, and hotbeds of thoughts. I don't understand "plantains". Everyone has their own "plantain" land in their hearts, and the stories of several family treasures bind unrelated thoughts. The yellowish hue rendered by the classical process of protein is a metaphor for the passage of time. You and me, things and me, empty me, have different life journeys and traces, standing in front of these things, seeing also you and me at different levels of the past.
《芭蕉》 80cm*80cm 蛋白印相工艺 2020年
天津美术学院
天津美术学院自2005年创建摄影专业以来，依托美术学院艺术积淀丰厚的优势，充分结合实验艺术学院这一多专业交叉融合的环境，为跨专业发展提供有力保障。我们倡导学生与教师共同学习，形成互动、共享的专业学习环境。专业始终坚持内涵和外延同步，注重特色与品质发展。培养中注重媒介的社会功能，文化价值，并尝试介入新的图像、媒体实验。改变以知识为中心的课程体系，将摄影作为一种文化实践和批评实践，构建多维度认知逻辑。秉承以思考方式推动技术应用，以文化、艺术解读带动创作实践，以浸润的方式付诸于专业教育过程中，最终实现个体自觉的养成目标。教学成果显著，专业学生在历届国内、外重大展览比赛中有上百人获得重要奖项，取得令人瞩目的成绩。
Tianjin Academy of Fine Arts
Since the establishment of photography major in 2005, Tianjin Academy of Fine Arts has relied on the rich advantages of the Academy of Fine Arts in art accumulation, fully combined with the School of Experimental Art, which is a cross disciplinary environment, to provide a strong guarantee for cross disciplinary development. We advocate students and teachers to learn together to form an interactive and shared professional learning environment. We always adhere to the synchronization of connotation and extension, and pay attention to the development of characteristics and quality. In the cultivation, we pay attention to the social function and cultural value of the media, and try to get involved in new image and media experiments. Change the knowledge centered curriculum system, take photography as a cultural and critical practice, and build multi-dimensional cognitive logic. Adhering to promoting the application of technology by thinking, promoting creative practice by cultural and artistic interpretation, and putting it into the process of professional education by infiltration, the goal of cultivating individual consciousness is finally achieved. The teaching achievements are remarkable, and hundreds of professional students have won important awards in previous major exhibitions and competitions at home and abroad, making remarkable achievements.
王帅 Wang Shuai
天津美术学院副教授，硕士研究生导师，摄影艺术系负责人。毕业于法国勒阿弗尔高等美术学院；巴黎第八大学，北京大学视觉与图像研究中心访问学者；研究方向为摄影与图像跨媒介综合研究，艺术实践涉及静态、动态影像、绘画、空间等多方面。举办“Live at”和“深沉的方式” 个人项目展，以及参加各类群展几十余次，作品曾在中国、法国、德国、韩国、墨西哥、美国、意大利等多家艺术机构展出并被部分艺术机构收藏。
《照亮她》
如果什么都不做，“她”就在那，借一个动作，带“她”离开。
《Light up her》
If nothing is done, "she" is there, with a gesture, take "her" away.
刘高峰 Liu Gaofeng
天津美术学院摄影系副教授，硕士生导师，副主任。影像艺术家，作品在美国、德国，意大利等国内外展览中展出，先后获得武夷山国际摄影节人类贡献奖，丽水国际摄影节最佳展览奖，丽水国际摄影节最佳策展人，济南国际影像双年展最佳摄影奖等荣誉。作品被国内外多家画廊及机构收藏。发表多篇重要论文，并出版多本教材。
《夏日修罗场》
高温、潮湿、燥热、不安……夏日是人间的修罗场，我看见绿树在夏日的夜晚变黄，热闹都市的角落变的异常的荒凉，那些花儿只开在无人行走的路上，夜色收罗了一切日月星辰、岁月韶光。闪光灯划开一条条道路，转角的街头那春光乍泄已而远去，凡人肉眼不管如何的明亮，也只不过是黯然神伤的镜面。这黑夜又像光明，广袤无际，混合成幽暗而深邃的瞬间。孩子的白眼，吃着饱透的宠物，捕蝇纸上堆积的苍蝇，无不刺激着头脑和感官的热狂。
《Summer Acheron》
Heat, humidity, dry heat, restlessness... Summer is the world of acheron, I saw the green trees turn yellow in the summer night, and the corners of the bustling city become unusually desolate.Those flowers only bloom on the roads where no one walks. The night has gathered all the sun, moon and stars. Flashlights cut across the roads, and the spring scenery in the streets around the corner suddenly disappeared. No matter how bright the human eyes are, they are just sad mirrors. The dark night is like light, vast and boundless, mixed into a dark and profound moment. The rolling eyes of a child, the well-fed pet, the flies piled on the fly catching paper, all stimulate the enthusiasm of the mind and senses.
陈柏行 Chen Baihang
2019年毕业于天津美术学院摄影艺术系，现研究生就读于天津美术学院摄影专业。2017年参加丽水摄影节；2018年参加韩国全州国际大学生影像节；2019年荣获平遥国际摄影展“青年摄影师奖”、“日常--时间的原野”中外青年摄影师联展、入选索尼青年摄影师计划 (高校组)，荣获第一届1839摄影奖优秀奖；2021年参加丽水摄影节、济南国际摄影双年展、参加韩国仁川国际摄影节、入选“对影为镜”两岸青年艺术创作展。
《行走集——坠落》
土壤、光线、雨水、灰尘......
在其中不断行走的同时，我的身体也置入其中。
历史，环境，物体，声音......
一道风吹起了...
记忆在瞬间触发。
灰尘迎面而来，雨水也打湿石头。
空间被改变了。
《Walking Collection》
Soil, light, rain, dust......
While walking in it, my body is also inserted into it.
History, environment, objects, sounds......
A wind blows up...
Memories are triggered in an instant.
The dust is coming, and the rain is wetting the stones.
The space has been changed.
杨超 Yang Chao
2022年毕业于天津美术学院摄影艺术系。2021年参展“图像的生成与再造”展览；策划展览“为什么，是拼贴”；荣获第四届“1839摄影奖”提名奖；第22届平遥国际摄影节“院校优秀作品奖”。
《喀布尔机场》
自媒体的发展对曾经的权威媒形成一定冲击，互联网上‘人人都是发言人’带来对事件多角度观看的同时也伴随着真相的进一步被瓦解。该作品来源于互联网上热议的事件视屏截图 ，我从中截取多个瞬间并进行拆解、重构，最后运用蓝晒这种工艺的介入对图像又进行了一次错位、稀释。意图通过作品思考媒介作为历史事件观看的问题，以及图像跟历史真相的关系。
《Kabul Airport》
The development of "we media" has had a certain impact on the former authoritative media. "Everyone is a spokesman" on the Internet brings multiple views of events, and at the same time, the truth is further disintegrated. This work comes from the screenshots of events that are hot on the Internet, from which I captured several moments and disassembled and reconstructed them. Finally, I used the intervention of bluing technology to misposition and dilute the image again. The purpose of this work is to think about the problem of viewing media as historical events and the relationship between images and historical truth.
图为《喀布尔机场》作品局部
茆越 Mao Yue
2022年毕业于天津美术学院摄影艺术系，2021年参展天津市天塔书展——“叙事变奏曲”展览、 策划“一场叫不出名字的展览”展览；2022年参展“初次见面，后会有期”第二届大学生毕业展、参展平遥国际摄影展。
《苍凉如水》
此系列作品以“投影参与空间叙事”的实验展开，探讨伤痕与共情.
借助光线投射出影像时，从视觉表象上它是在空间中真实存在的。随着投影的消失，这种虚拟影像的体验不会如同现实的体验留下痕迹，它会如从未存在过。
当我们倾听、感受他人的苦难的经历，我们好似理解了，也产生了情绪的波动，可是我们真的感同身受了吗？一段时间后，那些郁悒的经验....如同投影一般从记忆中抹去。
《Bleak as Water》
This series of works explores scars and empathy through the experiment of "projection participates in spatial narrative".When an image is projected by light, it is real in space from the visual representation. With the projection gone, the virtual experience will leave no trace of the real experience; it will be as if it never existed.When we listen to and feel the suffering of others, we seem to understand and have emotional fluctuations, but do we really feel the pain? After a time, the sad experience.... Erased from memory like a projection.
