第四屆連州國際攝影年展 Fourth Lianzhou International Photo Festival 我的照相機 My Camera and I 本屆主題：我的照相機 藝術總監：段煜婷 總策展人：栗憲庭 鮑昆 策 展 人：姜緯 劉樹勇 Kajsa Lindskog（瑞典） Anna Brag（瑞典） Emil Fedida（挪威） Caprice Horn（德國） Alka Pande（印度） Gunther Dietrich（德國） Kathryn Alice Barron（英國） Robert Pledge (美國) Theme of the year: My Camera and I Art Director: Duan Yuting Chief Curators: Li Xianting Baokun Curators: Jiang Wei Liu Shuyong Kajsa Lindskog (Sweden) Anna Brag (Sweden) Emil Fedida (Norway) Caprice Horn (Germany) Alka Pande (India) Gunther Dietrich (Germany) Kathryn Alice Barron (UK) 一、 組織機構 批准單位：中華人民共和國文化部 主辦單位：連州市人民政府 承辦單位：明天藝術中心 協辦單位：清遠日報 聯辦單位：南方電視臺 廣東美術館 今日美術館 廣東攝影家協會 新快報 中國攝影 藝術世界 雅昌藝術網 藝術國際 城市畫報 中國攝影家 文獻支援：東方視覺網 媒體支援：《畫廊》雜誌 《當代藝術》雜誌 中國藝術新聞網 門戶網站支援：新浪 網易 藝術空間設計：德默營造 製作技術支援：愛普生(中國)有限公司 Organizations Approved by the Ministry of Culture of the People's Republic of China Official Sponsor People’s Government of Lianzhou Municipality Organizer TOMO ART CENTRE Cultural Partners Guangdong Museum of Art Today Art Museum Guangdong Photographers Association Media Partners Southern Television Qing Yuan Daily New Express Daily Art World Artron.net Artintern City Pictorial China Photographer Chinese Photography Media Support Contemporary Art ,Art Gallery Magazine,Artnews.cn Document Support ionly.com.cn Web Portals Sina.com, Netease.com Exhibition Space Design DAtrans, Shanghai Technical Support Epson China 二、 前言 標準或信念 段煜婷 作為連州國際攝影年展的藝術總監，面對公眾時，有一個問題或多或少總是會被問到：你的標準是什麼？ 我對付這個問題的辦法是告訴對方，他的問題是出於對藝術總監的誤解，藝術總監不是法官，手裏沒有法典，更不是一個質檢人員，所以沒有可以清晰列明的“標準”。 這樣的回答通常能夠讓我在現場脫離困境，但是，我知道，我實際上繞過了問題的實質。記者和觀眾當然不是迫使我列出一二三四條精確的、通行的標準，他們要問的、他們認為他們必須知道的是，作為一個藝術總監，你對攝影的根本看法是什麼，你的信念何在？ 正是這個問題困住了我。攝影對我來説究竟意味著什麼？它是我們的家常日用和柴米油鹽，是我們的話語權力的來源，是宏大精密的知識譜係，是必須不斷生産的思想、理論和概念，是我們的分工我們的學問，但是現在，一個觀眾穿過這一切來到我面前，他問：是什麼使你選擇了這一切，告訴我一個根本理由，這個理由證明這一切都有意義。 現在，我願意試著回答這個問題。 在我們生活的大部分時間裏，經歷了圖像觀念急劇、頻繁的變化，對於攝影是什麼以及攝影在人類生活中的價值，我們曾經信服和發明瞭許多種説法，而在當下，我們有些人甚至對此産生了懷疑。但是，現在面對這個問題，我寧願回到生命的早期，在那個急劇變化初現端倪的時代，通過各種途徑，我們發現了攝影。 儘管在那時，人的自我認識、人對世界的想像還是受到嚴厲規約的影響，儘管有強大的真理的聲音告訴你，人必須是這樣、生活必須是這樣，你無可選擇無可爭辯，但是，攝影的微光使我們看到，人可能是另外的樣子，我們自身遠比我們意識到的更為豐富和複雜，我們看到了經驗的真實質地，看到了事物的模棱兩可，看到人如何擊破覆蓋他的幻覺、成規、歸類和論述，去發現和踐行他自己的真理。 在這個意義上，攝影就是要承受傲慢與偏見，承受對它的價值的懷疑。承受著這種壓力，攝影守護著語言的活力，守護著人的生動形象，守護著人的誠懇和自由。 從這樣的信念出發，我認為，連州攝影年展這樣的活動可以是肯定也可以是懷疑，是分析、判斷和學理，但肯定、懷疑、分析、論斷和學理不是為了規約和馴服攝影，不是為了榨幹它的汁液，恰恰相反，它是為了警覺地堅持攝影的根本精神。 同樣是從這樣的信念出發，我也認為連州攝影年展並非尋求公正，它是非常值得的冒險，是人的想像力的有力證明，它將圖像中潛藏的各種各樣可能性充分開啟，澄清為明晰的意識和言説。 連州攝影年展願意發出這樣一種明確的迅息：只要你的照相機沒有對著現實背轉身去，只要你的拍攝工作是出於自己的真情實感，只要你堅持攝影的根本精神，那麼，我們會看見，我們會讚賞，我們會鼓勵，我們會推廣，我們會給予幫助。 這就是我對連州攝影年展的根本看法和信念。 Forword of Artistic Director On Standards and Beliefs By Duan Yuting As art director of Lianzhou International Photography Festival (LIPF), people often ask me what my standards are. I explain that their question stems from a misunderstanding of the function of an art director. The art director isn’t a judge with a book of laws—even less a quality control inspector—and so he or she has no list of clear standards to go by. That answer gets me out of a prickly situation, but I know that I’ve avoided the essence of the question. The reporters and general public don’t expect me to list out a series of rigorous standards. What they want to know, what they think they need to know, is as an art director, what are my fundamental ideas and beliefs about photography. The question haunts me. How would I personally define photography? It is a daily necessity, something we use everyday. It is a powerful source of discourse and a magnificent wealth of knowledge that is constantly producing new thoughts, ideas and theories. It is a duty and a quest. But now, one after the other, members of the public ask me: “What brought you to choose these photos? What is the main reason that justifies your choices? Now I am ready to attempt to answer that question. In the span of our lifetimes, we have witnessed frequent and sudden changes in the concept of the image, the definition of photography and significance of photography in our lives. Now the many convictions we elaborated and upheld in the past are coming under fire. However, faced with the question, I would rather return to the earlier days of photography, to times when the changes where only beginning to appear on the horizon, and approach and rediscover photography in many different ways. Human consciousness and world view might have been conscribed within a strict set of rules at the time and the voice of complacency of truth might remind us that things are so and that we have no power to choose or argue, but the light of photography made us see everything in a different light. Humanity is far richer and more complex what we are aware of. Photography reveals the texture of experience, exposes paradoxes, and witnesses how humanity sweeps away illusions, rules, categories and theories to discover and make real one’s own truth. In this sense, photography must endure pride and prejudice. Faced with doubt of its significance, photography has preserved its eloquence, vivid lifelikeness, honesty and freedom. Because of this, I believe that an event like LIPF can be approved of or called into question; it can be analyzed, judged or theorized upon. But validation, discredit, analysis and judgment do not regulate and tame photography and suck the juice out of it; it is quite the opposite: they vigilantly uphold the spirit of photography. In the same way, LIPF sees it a risk worth taking not to seek impartiality. LIPF is powerful proof of human imagination. It unleashes the hidden potential of photography, making consciousness and what lies beyond words clear for the eye to see. Lianzhou Iinternational Photography Festival wants to send out a clear message: as long as your camera hasn’t turned its back on reality, your works have stemmed from your personal experience and emotions, and you uphold the spirit of photography, we will be there to look at and admire your work, promote it and lend a helping hand. These are LIPF’s vision and beliefs. 三、 主題闡釋 我的照相機 栗憲庭 我們用一句大白話“我的照相機”，作為本屆連州國際攝影年展的主題，在數位新技術日益發達和當代藝術中的攝影媒體日益熱鬧的情況下，顯得有些不合時宜。或者説，恰恰因為這樣形勢，我們主張回到“我”和“照相機”以及現實的基本關係上。 “我的照相機” 強調的首要因素是“我”——作為一個有良知的個人，他的立場，他的獨立思想，他的獨立視角，以及獨特的語言方式，是我們首先關注的作品準則。而視角和語言方式的獨特性，牽涉到攝影的基本媒介——“照相機”的獨特性。當我們通過照相機直面被拍攝的對象時，一定會受到照相機的諸如鏡頭、焦距、曝光等一系列機器的制約，它的長處也是它的短處，因此，現代數位新技術及其電腦技術，使修改、挪用、拼接的技術日臻完善，這也是攝影媒體迅速成為當代藝術新的媒體和熱潮的原因之一，以至於不少紀實攝影家也受到這種新技術的影響，正是在這種意義上，我們重新強調“我的照相機”，並不是一味地反對傳統攝影和新技術的聯繫，而是反對那種無界限地挪用諸如網路、廣告等其他媒體上的圖片，而忽略了“我的照相機”在直面現實時那種不可替代的特性。在當代藝術日益模糊各藝術門類界限的時候，尤其在當代藝術中攝影媒體成為熱潮的時候，我們企圖強調“我”在按動“照相機”快門的霎那間，與“轉瞬即逝的現實”的獨特關係。對人生對日常和非日常生活的見證，也許永遠是攝影藝術不可替代的語言魅力。正是從這種意義上，我們強調“我的照相機”，是想與當代藝術中大量的挪用、擺拍、拼接、篡改的取巧風氣保持距離。我們不反對攝影使用電腦等新的技術，但強調攝影的基本素材來源於照相機與原本生活現實場景的關係，而把大量挪用、擺拍、拼接、篡改因素的作品讓當代藝術的語言系統去評價。 “我的照相機”的主題也許帶著復古的傾向，但藝術史上很多新思潮恰恰是通過對某種古藝術的復興來實現的，諸如歐洲的文藝復興運動。而連州國際攝影年展舉辦地的連州，其人文地理也恰恰為我們提供了一種參考。廣東的連州在中國屬於古楚地，歷來是朝廷的貶謫之地，唐代著名古文運動的主要人物，先後都被貶謫到這塊土地上，韓愈曾被貶為連州陽山縣令，柳宗元曾被貶為相鄰的永州司馬，而劉禹錫曾先後被貶官至連州任刺史多年。所謂古文運動，是唐代中葉在文體上恢復先秦兩漢的文章傳統，唐代中葉，社會危機日趨嚴重，藩鎮割據，宦官擅權，朋黨之爭，以及吐蕃、回紇的侵擾，這種內憂外患的現實情景，讓當時有良知的官僚士大夫，倍感六朝以來的浮艷文風成為了表達見解的束縛，韓愈、柳宗元等人首倡復興先秦兩漢自由質樸的文風。他們在繼承傳統的基礎上，主張語言獨創，文從字順。事實上，古文運動在融化古人詞彙語法基礎上，産生出對後世有深刻影響的自由流暢、直言散行並切中時弊的表達方式。從這種意義上“我的照相機”，並不主張單純回到“我”和“照相機”及其現實的傳統關係上，而是主張攝影家回到“我”的獨立立場，回到通過“照相機”直面和見證今天的現實與人生境況的感覺中。 My Camera and I Curatorial Theme/ By Li Xianting The seemingly innocuous statement “my camera and I” might sound passé in the digital age, but it is precisely because of this that we feel the need to revisit our first person relationship with the camera in this year’s edition of the Lianzhou International Photography Festival (LIPF). The theme “My Camera and I” is meant to reemphasize the conscious being operating the camera, the individual possessing a set of opinions and beliefs and capable of independent thought that articulates a unique statement in a personal photographic language. Specificity of language and uniqueness of vision of a photographer’s work are partially attributable to the camera, and its devices—lens, focus, exposure, etc.—circumscribe the rendering of the subject as much as they make it possible. Digital technology has revolutionized photography by succeeding in retouching, sampling and blending the photographic image, leaving no field of photography, including documentary photography, untouched, and reviving photography as a popular medium of contemporary art. By reaffirming the significance of “my camera and I”, we wish not to object to the use of new technology in the practice of photography, rather we hope to make a statement against the appropriation of photography by the Internet, advertising and other image media, which misrepresent the reality photography seeks to confront us with. As contemporary art blurs the line between various art forms and photography becomes a popular medium of contemporary art, we want to put the “I” that presses the shutter back in focus for a moment, and examine its unique relationship to the “fleeting reality”, for no other medium makes as beautiful a statement as photography—that of bearing witness to the wondrous thing that is life. By focusing on “My Camera and I”, we set aside the digital sampling, staging, blending and doctoring of the photographic image and leave it to be judged within the realm of contemporary art, and remind ourselves that the main source of photographic material comes from the relationship between the camera and real life. “My Camera and I” takes us back to the basics of photography keeping in mind that something new can be born out of the old—a concept that isn’t foreign to LIPF’s host city Lianzhou. During the Tang Dynasty (618-907) the remote southern region was a home-in-exile for banished officials and literati, including mandarin, poet and essayist Han Yu, poet Liu Zongyuan and poet, philosopher and essayist Liu Yuxi. The domestic instability and foreign aggression of the turbulent Late Tang inspired Han Yu, Liu Zongyuan and other the literati to dispose of the florid and parallel writing style favored since the Six Dynasties (220-589) and propose a revival of pre-Han prose. While building on tradition, the “Classical Prose Movement” they spearheaded was to advocate creativity and champion a style that lay out current issues and provided cutting analysis of social ills in a plain language that flowed freely from the characters it used. In this sense, the theme “My Camera and I” is not only intended to assert a return our relationship to the device, but also to reaffirm the importance of the independent viewpoint and revisit the camera’s ability to bear witness to and confront us with reality, current events and emotions.
四、學術委員會 吉恩•魯克蒙特羅索 法國歐洲攝影之家主席 阿聶茲•德•蒂奎文•聖克林 法國文化部攝影部主任 讓•克勞德•莫萬諾 法國巴黎第八大學教授、國家科學委員會委員 弗蘭克易絲•黑比爾 法國阿爾勒攝影節執行總監 奧利維婭•瑪麗亞•魯比奧 西班牙國際攝影節藝術總監 高若樂 法國策展人，VU圖片社藝術顧問 艾禮森•諾斯特羅姆 美國喬治•伊斯曼國際攝影與電影博物館藝術總監 貝恩德•費切勒 德國柏林國際攝影節主席 王璜生 廣東美術館館長 陳衛星 中國傳媒大學國際傳播學院副院長、教授 高士明 中國美術學院藝術與人文學院副院長、藝術策劃與行政系主任 陳心懋 上海華東師範大學藝術學院副院長、教授 宿志剛 北京電影學院攝影學院院長、教授 王偉強 上海同濟大學建築與城市規劃學院教授、建築與城市空間研究 所副所長 李樹峰 中國藝術研究院攝影研究所所長 劉博智 美國堪薩斯大學藝術學院教授 王川 中央美術學院設計學院攝影系主任 郭小彥 北京尤倫斯當代藝術中心首席策展人 郭力昕 台灣政治大學傳播學院副教授、影像藝術評論家 朱炯 北京電影學院攝影學院副教授、策展人 Academic Committee Jean-Luc Monterosso (France): Director of Maison européene de la photographie Agnès de Gouvion-Saint-Cyr (France): Director of Photography, Fonds national d’art contemporain French Ministry of Culture and Communications Jean-Claude Moineau (France): Professor of Universite de Paris 8, member National Science Council François Hébel (France): Director, Les Rencontres d’Arles Oliva María Rubio (Spain): Director, PHotoEspaña Christian Caujolle (France): Curator, Counsellor Artistique VU agency Alison Nordstrom (USA): Director of George Eastman House Rochester Dr. Bernd Fechner (Germany): Director, Fotobild Berlin Wang Huangsheng: Director, Guangdong Museum of Art Chen Weixing: Vice President, Professor of International Communications College, Communication University of China Gao Shiming: Director of the Visual Cultural Research Center of China Art Academy, assistant professor. Chen Xinmao: Vice President, Professor from Art College, East China Normal University Su Zhigang: Vice President, Professor from Institute of Photographic, Beijing Film Academy Wang Weiqiang: Professor, College of Architecture and Urban Planning，Tongji University, vice president of Institute of Architecture and Urban Spaces Li Shufeng: President, Institute of Arts，Academy of Arts of China Pok Chi Lau: Professor, Academic School of Art, the University of Kansas Wang Chuan: Director of the Photography Dept., School of Design, the Central Academy of Fine Arts Guo Xiaoyan: Curator, Ullens Center for Contemporary Art (UCCA) Kuo Lihsin: Photography Critic; Associate Professor of Chengchi University,Taiwan Zhu Jiong: Curator, Vice Professor from Institute of Photographic Beijing Film Academy 五、特別海外嘉賓 邁克•法米格提 美國《光圈》雜誌編輯 阿麗斯特艾爾•海科斯 德國德意志銀行基金會總策展人 安娜•道格拉斯 英國中西部藝術委員會策展人 伯尼•羅賓斯特 加拿大多倫多攝影節執行總監 弗雷德•鮑德溫 美國休斯頓國際攝影節主席 克齊茲托夫•坎德羅威克茲 波蘭Lodz國際攝影節藝術總監 Overseas Guests: Michael Famighetti(USA): Managing editor, Aperture Magazine Alistair Hicks (Germany): Chief Curator, Deutsche Bank Collection Anna Douglas (UK): Curator, Member of Art Committee of Midwest land of UK Bonnie Marla Rubenstein (Canada): Director, CONTACT, the Toronto Photography Festival Frederick C. Baldwin (USA): President of FotoFest International, Houston Krzysztof Candrowicz (Poland): Artistic Director, International Festival of Photography in Lodz 六、支援單位 中國攝影家協會、廣東攝影家協會、香港攝影家聯盟、廣州攝影家協會、廣東青年攝影家協會、中山大學傳播與設計學院、中山大學人類學系、國務院新聞攝影辦公廳、深圳專業攝影家協會、巴黎攝影月刊、休斯頓FotoFest攝影節、英國攝影家畫廊、莫斯科攝影雙年展、世界新聞攝影基金會、德國攝影家協會、歐洲攝影之家、瑪格南圖片社(Magnum)、巴黎國際攝影雙年展、休斯頓攝影節、俄羅斯國際攝影節、倫敦攝影師之家、亞洲影藝聯盟、英國皇家攝影協會、孟加拉Drik圖片社,美國密歇根大學,法國VU圖片社,埃娃攝影師、美國波士頓Robert Klein Gallery畫廊、歐洲藝術家組織、法新社、美國堪薩斯大學、美國麻省大學Lowell分校、O' Connor 工作室/ O'Connor Studio,澳大利亞FotoFreo攝影節、倫敦NB Pictures圖片社、紐約John Stevenson Gallery畫廊、美國攝影評論檔案館、法國Photographie.com 雜誌、法國阿爾勒攝影節、法國VU圖片社、英國 PhotoSwap、美國休斯頓美術館、英國Chris Boot圖書出版有限公司、美國《光圈》 雜誌、西班牙攝影節、英國Rhubarb-Rhubarb攝影節、英國Seeing the Light、義大利Grazia Neri圖片社、法國國家高等裝飾藝術學院、法國Tendance Floue圖片社、法國Les Filles du Calvaire畫廊 Supporting Organizations China Photographers Association; Guangdong Photographers Association; Hong Kong Photographers Union; Guangzhou Photographers Association; Guangdong Young Photographers Association; Zhongshan University School of Communication and Design; Zhongshan University Anthropology Department; Press Photo Office of the State Council; Shenzhen Professional Photographers Association; Mois de la photo (Paris); FotoFest (Houston); The Photographers’ Gallery (London); Moscow Photobiennale; World Press Photography Foundation; German Photographers Association; La Maison européenne de la photographie; The Federation of Asian Photographic Art; Royal Photographic Society (UK); Drik Photo Agency; The University of Michigan; VU Agency; EVE Photographers; Robert Klein Gallery; Poc Project; Agence France-Presse; The University of Kansas; Otterbein College; The University of Massachusetts Lowell; O’Connor Studio; FotoFreo; NB Pictures; John Stevenson Gallery; Photography Criticism CyberArchive; Photographie.com; Les Rencontres d’Arles; Photo Swap; Museum of Fine Arts, Houston; Chris Boot Ltd; ‘Aperture Magazine’; PHotoEspaña; Rhubarb-Rhubarb; Seeing the Light; Grazia Neri Agency; École nationale supérieure des arts décoratifs (Ensad) France; Tendance Floue; Les Filles du Calvaire Gallery. 七、支援媒體： 國內： 新華通訊社、中央電視臺、人民日報、廣東電視臺、南方電視臺、廣州電視臺、國務院新聞辦圖片庫、中國攝影雜誌、藝術世界雜誌、藝術當代雜誌、當代美術家雜誌、藝術財經、中國攝影家雜誌、大眾攝影雜誌、攝影雜誌、攝影之友雜誌、中國攝影報、人民攝影報、山西電視臺“影像世界”、新浪網、雅昌藝術網、搜狐網、中國攝影線上、視覺中國、大旗網、色影無忌、藝術地圖、攝影世界、《新京報》、貴州電視臺，中國新聞社、美聯社香港分社、中國日報、中國青年報、北京青年報、香港文匯報、中國政券報、中國文化報、中國藝術報、東方早報、羊城晚報、南方日報、廣州日報、新快報、南方都市報、深圳特區報、深圳晚報、深圳商報、資訊時報、競報、清遠日報、清遠電視臺、三聯生活雜誌、財經雜誌、城市畫報、週末畫報、生活雜誌、新世紀週刊、南方人物週刊、駐巴黎中國媒體記者 海外： 法國：法國航空雜誌(Air France Magazine)、今日藝術(Artaujourd’hui.com)、藝術電臺(Arte TV)、《歐洲攝影》(European Photography)、《法國文化》(France Culture)、《影像》(Images Magazine)、巴黎《紐約時報》(New York Times Paris)、世界報 （Le Monde）、《藝術》雜誌（ArtPress）、人道報（l'Humanité）、費加羅報（Le Figaro） 美國：美國藝術(Art in America)、國際先驅論壇報(International Herald Tribune)、紐約時報(New York Times)、時代週刊(Time)、PDN雜誌 瑞士：巴賽爾報(Basler Zeitung)、國際週報（Die Weltwoche）、時報（Le Temps） 德國：法蘭克福彙報(Frankfurter Allgemeine Zeitung)、《徠卡世界》(Leica World)、德國第二頻道(ZDF TV) 英國：英國廣播公司(BBC)四頻道(Channel Four)、每日電訊(Daily Telegraph) 、《英國攝影雜誌》 （British Journal of Photography） 比利時：瑪麗嘉爾時尚雜誌(Marie-Claire Belgique)、Soir晚報(SoirLe)、藝術新聞 義大利：Corriere della Sera 、《生活》雜誌(Max Magazine) 西班牙：《藝術》(Art Magazine)、《攝影》(Fotografia La)、西班牙電臺 Supporting Media Chinese: Art World, China Photo, Art China, Contemporary Artist, Art Value, Chinese Photography, Popular Photography, Photography, Photographer's Companion, China Photo Press, People’s Photography, Image World (Shanxi TV),Sina.com, Image World (Shanxi TV), Artron.net, Sohu.com, Cphoto.net, China Visual , Daqi.com, xitek.com, ART MAP, Photo World, Guizhou TV, Guangzhou Television, Xinhua News Agency, China News, CCTV, Associated Press HK Branch, Guangdong TV, Southern TV, Guangzhou TV, People’s Daily, China Daily, China Youth Daily, Beijing Youth Daily, Hong Kong Wen Wei Po, New Express Daily, Xinjing News, China Securities, China Culture, Art news, Oriental Morning Post, Yangcheng Evening News, Southern Weekend, Nanfang Daily, Guangzhou Daily, City Pictorial, Weekend Pictorial, Life Week Magazine, City Magazine, Shenzhen Special Zone Daily, Shenzhen Evening News, Shenzhen Economic Daily, Shenzhen Jing Daily, The Information Times, Qingyuan Daily, Qingyuan TV, News Magazine, NF Renwuzhoukan, Chinese Journalists Based in Paris Foreign: France: Air France Magazine, Artaujourd'hui.com, Arte, European Photography, France Culture, Images Magazine, New York Times, Paris; Le Monde, ArtPresse; l'Humanité; Le Figaro USA: Art in America; International Herald Tribune; New York Times; TIME; PDN Switzerland: Basler Zeitung; Die Weltwoche; Le Temps Italy: Corriere della Sera; Max Magazine: Corriere della Sera; Max Magazine Germany: Frankfurter Allgemeine Zeitung; Leica World; ZDF TV Spain: Art Magazine; La Fotografia; Televisión Española UK: BBC, Channel 4; Daily Telegraph; British Journal of Photography Belgium: Marie-Claire Belgium; Le Soir; Arte News
附錄： 藝術總監：段煜婷 致力於中國當代攝影的策展、傳播、推廣以及藝術項目、藝術空間的管理。 1996年6月至1998年4月于《人民攝影》先後擔任“攝影家訪談”專欄記者、理論版編輯；1998年4月至2005年于羊城晚報報業集團《新快報》先後任圖片編輯、圖片總監；1998年8月策劃組織“華南報道攝影高級研討班”；2000年編著反映中國20世紀社會各階層生存狀況的大型紀實攝影叢書《中國故事》；2001年至2003年被世界新聞攝影基金會(WPP)選為中國大師班成員參加為期3年的學習；2005年發起、策劃連州國際攝影年展項目，並擔任項目及藝術總監；2005年底被評為“2005中國攝影十大焦點人物”；2006年1月策劃“百變香江—邱良個展”（廣東美術館）；2006年1月策劃“我鏡頭中的毛澤東—呂厚民個展”（廣東美術館）；2006年2月為莫斯科攝影節策展；2006年3月被美國休斯頓攝影節（FotoFest）特邀為中國攝影節的代表參加“國際攝影藝術博物館聯盟Oracle”組織會議；2006年5月“中國攝影50年”大型回顧展特約策展人；2006年11月受邀擔任德國柏林攝影節（FOTOBILD）評委；2007年1月受邀擔任法國巴黎攝影雙年展中國部分策展人；2007年英國伯明翰攝影節（Rhubarb-Rhubarb）大師評審會評委；2007年德國柏林攝影節（FOTOBILD）大師評審會評委。2008年4月首屆希臘攝影雙年展評委。2008年5月柏林攝影節評委。 Artistic Director：Duan Yuting Dedicated in curatorship, spreading and promotion of China’s contemporary photography and management of art projects and galleries June,1996 to April, 1998, hostess of the column of “Photographer Interview” and editor of theory edition of People's Photography; April, 1998 to year 2005, photo editor and photo chief director for New Express under Yangcheng Evening News Group; August, 1998, planning and organizing South China Press Photo Advanced Seminar; 2000, compiling Chinese Story, a great realistic photographic book reflecting living status of all walks of life of China in the 20th century's; 2001 to 2003, taking a 3-year Chinese Master Course as a member chosen by World Press Photo; 2005, initiator and curator of Lianzhou International Photo Festival as project and art director; 2005 end, chosen as Top Ten Character of China Photography of the Year; January, 2006, curator for “Ever-Changing Fragrant River”--Qiu Liang Solo Exhibition, Guangdong Gallery; January, 2006, curator for “Chairman Mao in My Lens” -- Lv Houmin Solo Exhibition, Guangdong Gallery; February, 2006, curator for Moscow Photo Festival; March, 2006, attending Oracle (an international organization of museums of photography) Conference as representative for China Photo Festival invited by FotoFest; May, 2006, special curator for “China Photography 50 Years” - Large Retrospective Exhibition; November, 2006, invited judge for FOTOBILD, Berlin, Germany; January, 2007, invited curator for Chinese Work in Paris Photo Biennale; 2007, member of review panel for Rhubarb-Rhubarb, Birmingham, UK; 2007, member of review panel for FOTOBILD, Berlin, Germany.; April 2008, member of jury ot the 1st Thessaloniki PhotoBiennale 2008, Greece. May 2008, Reviewer for FOTOBILD Berlin. 總策展人：栗憲庭 1949年生於吉林省，1978年畢業于中央美術學院中國畫係。1979——1983年任《美術》雜誌編輯，推出“傷痕美術”、“鄉土美術”和具有現代主義傾向的“上海十二人畫展”、“星星美展”等，並在雜誌上組織過“現實主義與現代主義”、“藝術中的自我表現”、“藝術中的抽象” 等理論討論。 1985——1989年任《中國美術報》編輯，並把該報改變成為推介新思潮和新觀念的主要陣地。諸如推出“85 美術新潮”、“新文人畫” 等藝術思潮 。同時對一些敏感的藝術觀念問題，如“後現代主義”、“大靈魂和語言純化”、“現代設計”、“城市雕塑”等藝術問題組織過研討活動。他對於中國當代藝術的發展有著非常重要、無可替代的推介指導作用。1990年以來以獨立批評家和策劃人身份活動至今。1989年2月作為主要策展人策劃了《中國現代藝術大展》。1990年3月在日本東京世田谷美術館策劃《中國現代水墨展》。1993年2月在香港藝術中心和大會堂策劃《後89中國新藝術展》。1993年5月在澳大利亞雪梨當代藝術博物館策劃《Mao Goes Pop．》。1993年6月在義大利參與策劃《第45屆威尼斯雙年展：走向東方》。1994年10月，出席日本國際交流基金會組織的《當代藝術討論會1994——亞洲思潮的潛能》國際學術討論會，作《文革後的三代藝術家》、《中國近代藝術思潮》的演講。1995年5月，應溫哥華美術館、西蒙•菲莎大學當代藝術學院的邀請，到加拿大講學。1995年5月， 應紐約現代藝術新博物館和紐約市立大學皇后學院亞美研究中心的邀請，到美國訪問講學。1995年9月在德國漢堡國際前衛文化中心策劃《從國家意識形態出走——中國當代藝術展》。1995年12月，出席南韓95年藝術組委會組織的《遠東亞洲藝術——今天和明天》國際學術討論會，作《引進與再創作》的演講。1996年5月，與廖雯共同在北京策劃《大眾樣板》、《艷粧生活》藝術展。1996年10月，出席德國世界文化宮組織的《形象的空間：文化的地誌和烏托邦》國際學術討論會，作《當代藝術，挑戰藝術的西方概念》演講。1997年5月，應新加坡藝術博物館、南洋藝術學院、LASALLE SIA藝術學院、1997寶藏國際藝術博覽會的邀請，赴新加坡作關於中國當代藝術的演講。1999年1月，任德國波恩藝術博物館《時代轉折》國際藝術展策展人之一。1999年5－6月，在北京中山公園策劃《酚苯乙烯》展覽，和廖雯合作在天津泰達藝術博物館策劃《跨世紀彩虹》展覽。1999年10月——2000年4月，獲得美國洛克菲勒基金會ACC（亞洲文化協會）的研究基金，赴美國作當代藝術研究。2000年5月，策劃《對傷害的迷戀》展覽。2001年5－12月，策劃創辦《新潮》藝術月刊。2001年9月任首屆日本橫浜三年展國際委員會委員。2001年策劃《12花月》、《死亡檔案》展覽。2008年12月擔任第四屆連州國際攝影年展總策展人。 Chief Curator: Li Xianting Born in 1949 in Jilin Province, Li Xianting is a renowned art critic and sometimes referred to as the “Godfather of Chinese contemporary avant-garde art”. He graduated from Chinese Painting Department, Central Academy of Fine Art in 1978, and became the editor of Fine Art Magzine until 1983. From 1985 to 1989 he was the editor of the authoritative China Fine Art Newspaper, and was active as independent critic and curator based in Beijing henceforth. In the late seventies and eighties, Li Xianting was a major force in advocating and introducing the burgeoning avant-garde art in China, which just embarked on economic reformation. He organized the pivotal “Stars exhibition” in 1979, and coined the terms “Cynical Realism” and “Political Pop”, which later became the dominant schools of Chinese avant-garde art. Into the 90s, Li Xianting continued to organize major avant-garde art events both inside and outside of China, while settling in Song Zhuang, a small village near Beijing, which hence transformed into the largest artist “colony” in China. Many artists he discovered and promoted, such as Fang Lijun and Wang Guangyi, have received great international attention and become leading figures in Chinese avant-garde art movement. 總策展人：鮑昆 策展人，攝影批評家。1953年出生於北京。 中國攝影家協會理論委員會副主任。《中國攝影年鑒》編纂委員會委員。 1997年任中央電視臺大型記錄片《黃河》策劃人。2002年任中國攝影家協會理事會理事。2003年任中央電視臺攝影欄目《瞬間世界》執行主編。2004年任武夷山國際攝影周策展人。2005年任桂林國際攝影節策展人，第十一屆中國國際攝影藝術展評委。2006年在宋莊美術館策劃《天地間——現實主義的記憶》攝影展。2007年3月被《攝影之友》雜誌評選為年度最重要攝影人物，任第二屆廣州國際攝影雙年展學術主持和第七屆中國攝影金像獎評委，任第七屆平遙國際攝影大展策展人，任第三屆連州國際攝影年展策展人。2008年擔任第一屆北京攝影季藝術總監，任第八屆平遙國際攝影大展策展人，第四屆連州國際攝影年展總策展人。 Chief Curator: Bao Kun A curator and photography critic. Born in Beijing in 1953; Deputy director of theory committee of CPA; member of compilation committee of Year Book of China Photography; 1997, planner for CCTV large documentary Yellow River; 2002, board director of CPA; 2003, executive editor in chief for CCTV program Instant World; 2004, curator for Wuyi Mountain International Photography Week; 2005, curator for Guilin International Photo Festival; judge for the 11th China International Photography Exhibition; theory criticism first prize winner for article A Romantic Century by China Federation of Literary and Art Circles; 2006, curator for “Between Heaven and Earth - Realistic Memory” Photo Exhibition in Songzhuang Gallery; academic panel member of the Second Lianzhou International Photo Festival; March, 2007, chosen as the “Most Important Photography Character of the Year” by FOTOMEN; academic director of the Second Guangzhou International Photo Biennale; judge for the Seventh China Photography Gold Image Award; curator for the Seventh Pingyao International Photography Festival. 姜緯 策展人，出版策劃人，藝術批評家。1964年出生於上海。 中國攝影家協會理論委員會委員，中國攝影年鑒編纂委員會委員。近幾年來，在上海美術館、愛普生影藝坊、安德雷斯國際藝術中心、藝博畫廊、明天藝術中心等地策劃了多個攝影展覽。2006至2007年，連續兩年被《攝影之友》雜誌評選為年度最重要攝影人物。2007年5月任第二屆廣州國際攝影雙年展學術委員。2007年9月獲得第七屆中國攝影金像獎理論評論獎。2007年12月擔任第三屆連州國際攝影年展策展人，並獲得年度傑出策展人獎。2007年起擔任《紙上記錄片》系列影像圖書策劃人，已編輯出版了十多種圖書。2008年12月擔任第四屆連州國際攝影年展策展人。 Jiang Wei A curator, publishing planner and photography and culture critic Mr. Jiang was born in Shanghai in 1964. He is the member of theory committee of China Photographer Association (CPA) and member of compilation committee of Year Book of China Photography; He is also a curator for many photo exhibitions in Shanghai Gallery, Yibo Gallery, EPSON Imaging Gallery, Endless International Gallery and Tomo Art Centre among others. From 2006 to 2007, he was chosen as the “Most Important Photography Character of the Year” by FOTOMEN; Academic panel member of the Second Guangzhou International Photo Biennale in May 2007; September, 2007, winner of theory review award of the Seventh China Photography Gold Image Award. Dec. 2007, curator of Third Lianzhou International Photo Festival, and was awarded “Curator of the Year”. From 2007, He works as a publishing planner for “Documentary on Papers” photography series and has already published more then ten varieties books. Dec. 2008, curator of Fourth Lianzhou International Photo Festival 劉樹勇 策展人，攝影批評家。1962年出生於山東。 1983年畢業于南開大學中文系。主要從事當代影像文化批評的研究與實踐。現為中央財經大學文化與傳媒學院新聞傳播系主任、教授。《光線》雜誌主編。1997年策劃中國第一屆觀念影像展“新影像展”。 2001年策劃實施中國“一品國際攝影節”。2001年策劃並主持“自己”影像展。2005年8月策劃中日關係60年大型圖片展。2005年11月策劃“社會•內心•關注——山東攝影十人展”。2007年、2008年任平遙國際攝影大展策展人。2008年任第四屆連州國際攝影年展策展人。 Liu Shuyong Born in 1962 in Shandong, Graduated from Chinese Language and Literature Department of Nankai University, Mainly works as a researcher with photography and culture. Dean of Culture and Media Communication Department of Central University of Finance and Economics, Main Composing: “Great Exposition of Old China” (1995); “Onlooking the World 100 Years” (1998); “Onlooking the war 100 years”(2000), “Pictures about 20th Century Chinese History”(1998), “Stories of China”(2001),”Art Literature Museums of New China”(2001),” Photography Collections of World Master Photographers”(2005); Curator of several exhibitions such as 1st Connectional images Exhibition, Yi Ping international Photo Festival and “Self”, “China-Japan, 60 years Photography Exhibition”, “Society•Heart •Attention” –Photography Exhibition from Ten Shandong Photographers, “Truth and Beyond the Truth”(2007). 林德斯科 1965年生於瑞典隆德。策展人，藝術項目經紀人，馬爾默大學教授。1999年至2003年， 擔任瑞典國家攝影中心組委會委員。自2003年起，在瑞典創建Fotografi i Fokus並擔任主席，致力於攝影的推廣。2004年至2006年，擔任馬爾默博物館攝影部策展人。 Kajsa Lindskog Born 1965 in Lund, Sweden. Works as curator, projectleader, (own business) and as lecturer at Malmö University/Culture and Media; 2006, Lecturer in photography at Malmö University/Culture and media, Malmö; 2003, Founder/Chair of Fotografi i Fokus – photobiennal (Focus on Photography) in Skåne/south Sweden (since 2003).; 2005-2007, Assisting curator and photographer at Malmö Konsthall; 2004-2006, Curator, Malmö Museums, photographic department; 1999-2003, Member of the board of the National Center for Photography in Sweden, Stockholm. 埃米爾•費迪達 1949年生於摩洛哥。 1989年創建新繪畫藝術學院（現為奧斯陸攝影學院）並任學院院長。自1990年以來在挪威、中國、美國和泰國策劃過多次攝影藝術展覽。 Emil Fedida 1949: Born in Casablanca, Morocco; 1989, Establishing the New Painting Art School today Oslo Photo Art School; 1989, Establishing the Art Teaching Method DNM1989; Numerous Exhibitions OPAS, Oslo Photo Art School & DNM, The New Painting Art School in Norway, China, USA, and Thailand since 1990 卡普拉斯•霍恩 策展人、畫廊經紀人。曾經作為評委參加過許多國際攝影和視頻藝術節。 2002年開始創辦Caprice Horn畫廊，致力於培養年輕藝術家，推廣從事各項媒體創作的藝術家，尤其垂青反映社會問題、文化問題的作品和藝術家。 Caprice Horn The particular intention of the gallerist Dr. Caprice Horn, who has participated in numerous international photo- and video-juries, is to present a richly faceted spectrum of her most recent program, and thereby to represent an existential aspect of global society, one which illuminates not only psychological nuances but also the profundities of human existence. Galerie Caprice Horn, Berlin, founded in 2002, is committed to promote younger as well as more established artists, working in various media. The gallery is particularly interested in artists who reflect upon the international, cultural and normative influence of society. The international programme of contemporary art represented by the gallery includes works of photography, video, painting and installation. 阿爾卡•潘德 視覺文化批評家。她是印度德里印度園區中心視覺藝術畫廊的藝術顧問暨策展人，曾在印度昌迪加普的Punjab大學藝術學院的藝術系擔任客座高級講師，發表大量探討藝術各層面問題的學術論文並舉辦講座。她還出版了多本研究藝術及藝術史的著作。近年，阿爾卡•潘德在德里參與並策劃了一系列藝術展覽。 Alka Pande (India) Dr Alka Pande is currently a Consultant Arts Advisor and Curator of the Visual Arts Gallery at the India Habitat Centre in New Delhi. She was formerly Head of Department of Fine Arts Panjab University and the Director of the Museum of Fine Arts, Panjab University.Recipient of the Charles Wallace Award in 1999-2000, She has been responsible for curating several significant and perceptive exhibitions in India and abroad, and given a name to some of the most upcoming and influential artists, photographers and sculptors. She is also a Visiting Faculty for ‘Aesthetics’ at the Delhi College of Art. Dr Alka Pande is a prolific writer on Indology and art history and is the author of several books, which are well acclaimed. With a special interest in Ancient Indian Erotic literature and art, Dr Pande has done extensive and in-depth study on the Indian erotic literature. Alka has been working in the area of gender, identity, visual arts and Indian aesthetics. In December 2006, she was awarded Chevalier dans l'Ordre des Arts et des Lettres - Knight of the Order of Arts and Letters - award bequeathed by the French government, to recognize significant contributions in the fields of art and literature. 鞏特爾 1967年生於德國。先後在漢堡和柏林學習哲學和視覺藝術。 1998年在柏林創建以視頻藝術、行為藝術和裝置為主要探索方向的Gallery Transition。2002年在歐洲多次展出實驗攝影作品個展和群展。 2007年至今擔任柏林PHOTO EDITION 畫廊總監，主要探索方向為當代攝影。 Gunther Dietrich Born in 1967 in South Germany, he studied Philosophy and Visual Arts (Photography) at the Art Academies in Hamburg and Berlin. To his masters belong the artiest Katherina Sieverding, Dieter Appelt and Gottfried Jager. In 1998 he founded the Gallery Transition in Berlin, which was specialized in Video Art, Performance and Installation. After 2002 he followed his own artwork in experimental photography and exhibited in several Group-and Solo shows in Germany and Europe Since 2007 he is the Director of PHOTO EDITION BERLIN—Gallery for contemporary photography in Berlin, Germany. 安娜•布拉格 1965年生於瑞典卡爾斯克魯納。藝術家，策展人。 1991年至2001年，在斯德哥爾摩和馬爾默交換學院從事藝術新媒體研究。2005年至2008年，擔任馬爾默大學文化藝術交流學院客座教授。2008年擔任挪威奧斯陸藝術學院客座教授。 Anna Brag Born 1965 in Karlskrona, Sweden; Artist (own business)，curator and works as lecturer at Malmö University/Design 2008, Guest teacher, Oslo Photo Art School, Oslo, Norway; 2005-2008, Guest teachers, Art, Culture & Communication, Malmö University, Malmö; 1999-2001, Researcher (art & new media) at Interactive Institute, Stockholm/Malmö; Varieties exhibitions all over the world such as in Germany, Sweden, Austrilia, UK, Finland and Norway. 凱瑟琳•愛麗絲•貝隆 1968年生於倫敦。策展人，講師，畫廊經紀人。英國國民託管博物館協會成員。 2003年至今，擔任Purdy Hick畫廊經紀人。在Purdy Hicks畫廊、皇室收藏中心、威爾士國家博物館、加的夫博物館等地策劃過多次藝術展覽。近年來，被邀擔任英國伯明翰Rhubarb- Rhubarb國際攝影節青年攝影師顧問和評委。 Kathryn Alice Barron Born London, 1968;Curator, Lecturer, Gallerist; Member of the National Trust and the Museums Association; From 2003 – present Gallerist, Purdy Hicks Gallery, London; Curators for verities exhibitions for Purdy Hicks Gallery, The Royal Collection, The National Museum of Wales, Cardiff and so on. Recently invited to mentor young photographers and to be a reviewer at the Rhubarb Rhubarb International Portfolio review in Birmingham and did two Cultivate Graduate Reviews for Rhubarb in London and Nottingham in 2008. |
