编者按：由策展人海杰策划的展览“引擎：一种由图像引发的艺术生产机制 ”将于11月15日在厦门开幕的集美X阿尔勒：东西方对话国际摄影季上亮相，隶属“延展摄影”单元。共展出5位艺术家的作品。

引擎：一种由图像引发的艺术生产机制

Engine: The Image-triggered Mechanism of Artistic Production

策展人：海杰

Curator: Hai Jie

艺术家：蔡东东、陈红汗、高岩、任瀚、汤南南

Artists: Cai Dongdong, Chen Honghan, Gao Yan, Ren Han, Tang Nannan

越来越多的创作实践正在危及惯常意义上的图像的主体地位，而将它变成一个艺术家创作过程或一种新的艺术生产机制里的意义触发装置。艺术家，在此刻，调用各种媒介来与图像谈判，并进而像巫师一样对图像与其他媒介进行图像语言与跨界内容上的衔接和转换。

Creative practice is increasingly endangering the traditional subject status of the image, turning it into a detonator that triggers the meaning in artist’s creative process or a new mechanism for artistic production. Currently, artists employ various materials to negotiate with the image and proceed to, like a sorcerer, link and transform the pictorial language and trans-media content of images and other media.

图像的主体地位因此消失了。附着其上的被动观看行为也不得不成为一次次调整姿势的行动。图像具有了一个新的身份——“意义诱发者”，它的xx权力被分解。

放置在具体的实践中，由直接拍摄变为图像“拓扑”装置，由图像与文字信息位置互换而生成新的语境，甚至图像被评论、被涂写，成为文本或素描，并延展到它本身不具备的社会学指向。

The subject status of the image is thus dissolved. The inherently passive act of image viewing thereby becomes a performance of constantly balanced posturing. The image possesses a new identity—“inciter of meaning”, its fundamental rights revoked. Set in the midst of a specific practice, it changes direct image capture into an implement of pictorial topology, a new context created from swapping image information with textual information. Image has even been critiqued, endlessly scribbled about, becoming something written or sketched, and extending into fields of sociology, a direction which originally the image doesn’t go.

蔡东东利用了摄影，他将自己拍摄的废片或者收购的照片进行阅读，将其进行“拓扑学”处理，重新xx其性能良好的部分，处理方案有如下：利用图像符号本身具有的属性进行语意的联想、符号的嫁接、直觉的诱导、视觉的捣乱、媒介的位移。xx形成图像装置。表现在材料上，他的尝试体现在对于照片做出划线、涂抹、编织、折叠、堆积、撕扯、扎孔、遮挡、描摹、打磨、拼贴、卷曲、灼烧、镂空、翻转等干预性动作。蔡东东拒绝接受图像自成一体的意义，他将这种干预行为进行到xx，使图片从它天生的平面优势和意义自恰中被唤醒。

Cai Dongdong works with photography. He begins by reading discarded negatives he shot himself and found photographs. By subjecting them to “topographical” treatment, he reactivates those positive parts of their inherent function. The methods of treatment include: utilizing the inherent attributes of pictorial symbolism to carryout semantic associations, symbolic grafting, intuitive guidance, visual disturbance, and displacement of medium. The ultimate result is image installation. Expressed in the materials, his attempts are realized by a variety of intervening actions such as drawing, painting, weaving, folding, stacking, tearing, poking, copying, abrading, collaging, crimping, burning, hollowing, and reversing images. Cai Dongdong refuses to accept the inherent meaning of an image and by taking these interventional actions to the extreme, he makes pictures awaken from their innate two-dimensional superiority to realize their true meaning.

陈红汗作品《克丽丝蒂娜》选取了一个名叫克丽丝蒂娜的法国xx的照片，他将这张照片镂空，抽离了图像本身所具有的xx表象，同时，他将克丽丝蒂娜在网站上招客的陈述文字和她的心得体会填充进被他镂空的图像轮廓之中。在这个作品里，我们看到了图像现成品、文字装置，在这些行为之外，我们看到的是一系列社会学的图景：交易（指向消费）、xx（指向身份）、肉体经验（指向消费心理和身体）。

In Chen Honghan’s work Cristina, he takes a picture of a French prostitute named Cristina and hollows out the image, creating distance from its inherently sexual imagery. Simultaneously, he fills Cristina’s outline with textual statements sourced from internet recruits about her experiences. In this work, we see pictorial ready-mades and textual installation, but aside from this we see a series of sociological scenes: the transaction (alluding to consumerism), the prostitute (alluding to identity), and corporeal experience (alluding to consumer mentality and body).

艺术家高岩通过对网络下载或者自己拍摄的照片进行命名，虚构作者、主题、创作方法、呈现方式和创作年代，并通过煞有介事的艺术评论来将图像转化为文本，从而来对当代艺术及其评论体系进行质疑。

Artist Gao Yan uses images that he downloaded from the internet or photographed himself and (re)names them, fabricating an author, title, production method, display method and year of production, even generating feigned art criticism to transform image into text and thereby call into question contemporary art and its system of critique.

任瀚将网络下载的雪山登山探险图像处理为黑白素描，这一动作解除了原来图像所具有的丰碑感。同时，在作品命名上，他沿用下载图像实施“另存为”这个动作时出现的乱码文件名作为作品的名称。

Ren Han downloads pictures of snowcapped peaks and adventure mountaineering from the internet and transforms them into black and white sketches. This single action removes the monumentality of the original image. Simultaneously, for the title of the piece, he maintains the random file name generated when using the “save as” function to download images online.

汤南南的作品《铸浪为山》，用四千格高速电影摄像机拍摄自己制造的海浪，这一行为直接导致了所拍摄的海浪在图像、雕塑、录像等媒介上延展和模糊性，也从而促发了海浪与山脉的文化身份置换。

Tang Nannan’s video Faith Mountain uses 4000 high-speed filmed frames of waves he generated himself, which directly results in the extension and ambiguity of these waves captured in image, sculpture and video media. Additionally, it encourages transference of the cultural identity of waves and mountains.

展览成员

策展人

海杰，策展人、影像批评家、作家，南方报业传媒集团《289艺术风尚》杂志主笔。成功策划“自助餐”2014艺术家工作室开放计划等大型项目。曾任2011、2012、2013三届平遥国际摄影大展资助奖评委会执行主任、2012、2014西双版纳国际影像展学术主持，第七届AAC艺术中国年度影响力评选摄影组初评评委，2013第三届成都纵目摄影双年展学术主持，2013北京国际摄影双年展爆名展策展人，2014浙江省摄影新锐评委，2014第十届连州国际摄影年展专家见面会嘉宾，“2014瑞象校园系列讲座”主讲嘉宾。主要关注中国当代摄影个案研究、中国当代摄影口述史、中国摄影思潮分析与反思、中国当代摄影传播媒介与模式研究。出版有《照镜子的人》和《表态》等书。

Hai Jie (Curator, Photo Critic, Writer)

Hai Jie is the chief commentator of ART289, a magazine belonging to the Nanfang Media Group in Guangzhou. He has successfully organised many large-scale artistic events, such as Buffet in 2014, in which he provided the public an opportunity to visit multiple artists’ studio, presented exhibitions and held photographic conversations on the famous Chinese social media. He has worked as curator and member of academic and review committees for many international photography festivals and art institutions in China, including Ray Art Centre (2014), Lianzhou Photo Festival (2014), Award of Art China (2013), Chengdu Multi-dimensional View Photo Exhibition (2013) and Pingyao Photography Festival (between 2011 and 2013). His research interests include case studies and oral histories of Chinese contemporary photography, analysis and reflections on ideological trends in Chinese photography, as well as analysis of media and communication models in Chinese contemporary photography.

Publication

Declaration: Talk with 14 Chinese Contemporary Photography Artists, Beijing: China Nationality Art Photograph Publishing House, 2013

The Person Look at Himself in the Mirror: Interviews of 16 Chinese Contemporary Photography Artists, Beijing: China Youth Publishing Group, 2012

参展艺术家

蔡东东

1978年出生于甘肃天水，1996年入伍， 2002年就学于北京电影学院，目前生活工作于北京。他的作品曾在国内外参加展览,包括纽约,,德国,法国,北京,等.他的作品也多发表于一些艺术书刊,包括《艺术界》，《艺术时代》，《中国当代摄影艺术》，《中国摄影新锐25》，《中国摄影》等。蔡东东于2015年获“平遥国际摄影节优秀摄影师创作基金奖”；2010年，获得意大利“第三届特尔纳（Terna）当代艺术奖”一等奖。2011年，参加意大利UNIDEE艺术基金会驻留项目。2014年，获选南方报业集团ART289杂志年度新势力。

Cai Dongdong was born in Gan Su in 1978. His artistic practice explores visual resources between the East and the West in forms of theatrical plays and performances and his final thought process is often presented in the medium of photography. Cai Dongdong held numerous exhibitions and is a recipient of the first prize of the 2010 The Third Terna Contemporary Art Award, in Italy. He currently lives and works in Beijing, China.

陈红汗

艺术家，禅学者。毕业于法国国立高等巴黎塞尔吉艺术学院；现任天津美术学院影像艺术系副主任。

CHEN Honghan,Artist and Zen scholar.Graduated from the ENSA Paris-Cergy.Vice-director of the Department of Film Art. in TAFA China.

高岩

1980年出生于河北省，现任教于天津美术学院摄影艺术系。2007年毕业于法国利摩日国立高等美术学院，获硕士研究生学位（DNSEP，摄影专业)。2008年毕业于法国里昂国立美术学院第三阶段(后xx)，师从马赛国际纪录片电影节主席Jean Pierre Rhem教授。作品“夹层”曾参加2008年法国第五届“里昂九月摄影节”，并获得了罗那-阿尔卑斯一等奖。2009年，获得法国罗那省颁发的里昂当代美术馆和北京尤仑斯当代艺术中心交换艺术家项目奖学金。2010年在上海证大当代艺术陈列馆策划《微言》群展，2013年在厦门罗卡当代艺术馆策划摄影展《探索边界》，2014年在草场地得色中心策划《多·展-南京多攒艺术地图》项目展等。

Gao Yan

Born in Hebei Province in 1980 and currently teaching in the Department of Photography of Tianjin Academy of Fine Arts.

Graduated from École Nationale Supérieure d’art de Limoges-Aubusson, France as a Master of Photography in 2007.

Graduated from École Nationale Supérieure des Beaux-arts de Lyon, France with the Post-diplôme Art (under the tuition of Prof. Jean Pierre Rhem, the Chairman of The Marseille International Documentary Film Festival).

Won the Laureat at Lyon Septembre de la Photographie, France with his En Transit in 2008.

Won the scholarship from the Exchange Artist Program run by Musée d'art contemporain situé à Lyon and Ullens Center for Contemporary Art in 2009.

Curated Sublime Word, a group exhibition, at Zendai MoCA, Shanghai in 2010.

Curated Exploring the Boundary, a photo exhibition at Luoka Contemporary Art Museum, Xiamen in 2013.

Curated exhibitions for the Art Intermediary-Nanjing Duozan Art Map Project at Dese Art Center, Caochangdi in 2014.

任瀚

1984年生于天津，2006年毕业于天津美术学院油画系，2011年毕业于法国阿尔松别墅国立艺术学院艺术系。他曾在世界各地参与展览，包括巴黎104艺术中心、莫斯科现代艺术博物馆、柏林中国文化中心、尼斯亚洲艺术博物馆、北京今日美术馆等。并在巴黎Less Is More Projects画廊、北京C-空间、LAB47空间举办个展。他同时也是再生空间计划的联合创始人，组织艺术家在非展示空间（如废墟、毛坯房）进行创作和展示。

Ren Han, born 1984 in Tianjin, China, graduated from the oil painting department of Tianjin Academy of Fine Art in 2006. He is also a graduate of the art department of École Nationale Supérieure d'Art de la Villa Arson 2011 in France. He has participated in exhibitions worldwide, including the Centquatre in Paris, the Moscow Museum of Modern Art, the China Cultural Center in Berlin, the Musée des Arts Asiatiques in Nice, the Today Art Museum in Beijing, etc. His had solo exhibitions at Less Is More Projects in Paris, at C-Space and LAB47 in Beijing. He is also the co-founder of the Space Regeneration Projects, which brings artists to work and exhibit in non-regular spaces such as relics or undecorated houses.

汤南南

福建云霄人，艺术家，教师。先后毕业于厦门大学艺术学院、中国美术学院跨媒体艺术学院，首批当代艺术实践类博士。现任教于中国美术学院、集美大学美术学院。创作涉及绘画、录像、摄影、装置、动画等多个领域，先后参加第九届上海双年展（2012，上海）、第一届南京三年展（2005，南京）、法国ALTKIRCH现代美术馆的中国当代影像展等展览（2003，巴黎）。并先后于纽约（2009）、北京（2008）， 中国美院美术馆（2015） 举办个展。作品以现代都市乡愁为核心主题，讨论时间与记忆、神话与诗歌、乡愁与生死等多个命题，试图以社会学文化研究为基础，尝试绘画、录像装置、多屏幕录像剧场等多种艺术方式的融通互鉴，努力探索基于自身生活经验并关切当代生活情境的艺术方式。

Tang Nannan Born in Yunxiao, Fujian Province, Tang Nannan is both an artist and a teacher of art. Nannan received his education from the Department of Fine arts in Xiamen University and then graduated from School of Inter-Media Art in China Academy of Art as a member among the first Ph.Ds of practice of modern art. At present, he teaches at both China Academy of Art and the Art College in Jimei University.

Nannan’s works cover domains of painting, video, photography, installation and animation. Besides participating exhibitions such as Shanghai Biennale (2012, Shanghai), the first Triennial of Chinese Contemporary Art (2005, Nanjing), and Chinese Contemporary Video Exhibition held by d’Art Contemporain, Altkirch in France (2003, Paris), Nannan has held solo exhibitions in New York (2009), Beijing (2008) and Hangzhou (2015).

In Nannan’s works, nostalgia in modern cities presents as the main theme and questions of time and memory, myths and poetry, nostalgia and life and death are discussed. With his cultural sociology research, the artist tries to integrate multiple forms of art like paingting,photography, video installation and multiscreen video theatre and makes effort to exploring art forms based on his own life experience and concerning modern living circumstances.