中国美术学院研究生，中国美术学院研究生院官网
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
—中央美术学院、中国美术学院
The Third University Invitational Exhibition of
Jinan International Photography Biennale
“Tiny Rays Converge into a Sun” – Asia-Pacific
University Photography Invitational Exhibition
– Universities in Taiwan, China
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：郭致良
中央美术学院
中央美术学院摄影专业2001年正式开始本科教学。该专业的教学理念突出“专业性、多元性和当代性”，强调将摄影放置于宏观的当代视觉艺术背景下进行解读。摄影专业以培养最具创造力的影像艺术家、职业摄影师、跨领域影像媒体人材为培养目标，在注重摄影的专业性与职业精神的同时，更着力于对学生艺术审美与判断、原创精神、社会责任感与横向拓展能力的培养，使之真正成为未来最具竞争力的人材。目前该专业具有完备的设备体系与教学空间，教学手段先进多样、注重艺术、理论、科学三者的有机结合。教学模式上突出循序渐进式的理论－思维－实践的方式，中央美院深厚的学术积淀、准确的教学定位和科学的课程设置使该专业教学获得了国内同行的认可，在中国高校摄影教育领域以精品教学、品质教学著称， 在读学生多人多次在国际国内重大比赛展览中获奖，毕业生在纯艺术和商业应用领域均扮演着极具影响力的重要新人的角色。
王川 Wang Chuan
中央美术学院摄影系教授/博士生导师；发展规划处处长兼国际合作与交流处处长；中央美术学院视觉北京高精尖创新中心未来图像实验室FIL负责人。
《关于「文化层」》
近年来我放弃了“系列”这种使用多年的作品结构，转而将以往和最新的作品统统归纳于“史”“传统在当下”“自然”三个大的主题序列之下。每个序列均包含了不同时期、不同规格、不同技术处理的作品。这些作品不再有整齐划一的面貌，导致它们在一起的只有与主题的关联和契合。我觉得这样更符合我对作品状态的要求。
「文化层」正是在“传统在当下”主题框架下的一组新作品。目前异常活跃的考古发掘在不断让我们惊诧于先民智慧的同时，也向我们展现了历史层积的不同剖面，其中隐含的历史密码必有其作为过去的“现在”时的必然，但这些我们却不一定能够无法尽数读取。其中有些或许已经化为今天的传统仍然与我们在一起，影响着我们的生活，而有些则可能会永远停留于文化的迭代中的某个瞬间某个位置。
在以这种目光审视当下的时候，我从中看到了过去的痕迹，也仿佛预见到未来的层叠。当然它们首先是最丰富鲜活的当下现实。
《On the “Cultural Level”》
In recent years, I have given up the structure of “series”, which has been used for many years. Instead, I have summarized all the previous and latest works under three major theme sequences: “History”, “Tradition in the present” and “Nature”. Each sequence contains works of different periods, specifications and techniques. These works no longer have a uniform appearance, resulting in them together only with the theme of the association and fit. I think it’s more in line with the state of my work.
“Cultural Level” is a group of new works under the theme of “Tradition in the present”. The current active archaeological excavations continue to surprise us with the wisdom of the ancestors, and at the same time show us different sections of the historical stratification, in which the hidden historical codes must be necessary as the “present” of the past, but we may not be able to read all of them. Some of them may have become traditions that are still with us today, affecting our lives, while some of them may remain in a certain position at a certain moment in the iteration of culture forever.
When I look at the present in this way, I see the traces of the past and see the overlapping of the future. Of course they are first and foremost the most vivid present reality.
《文化层-大圣》
《Cultural Level – Great Sage》
《文化层-见性》
《Culture level – See the Nature》
《文化层-三晋》
《Culture level – Sanjin》
《文化层-生灭》
《Culture level-Birth and Death》
姚璐 Yao Lu
1967年生于北京，1987-1991中央美术学院版画系，获学士学位；1991-1998《中国国土资源报》编辑、记者；1998-2000中央美术学院与澳大利亚格里菲斯大学昆士兰艺术学院联合举办摄影艺术研究生班，获昆士兰艺术学院视觉艺术硕士学位；2019年中央美术学院研究生院版画专业毕业，获艺术学博士学位2000-今中央美术学院设计学院摄影专业，教授，博士生导师。
这套作品的创作灵感源于17-18世纪西方画笔下描绘的古老中国东方的样貌，画面透着一股新鲜、神秘和荒谬，作品里有些荒谬的喜感是我一直喜欢的类型。
This set of works is inspired by the ancient eastern China painted by Western brushes in the 17th and 18th centuries. The pictures are fresh, mysterious and absurd. The absurd sense of joy in the works is my favorite type.
《宝塔上的情》
《Love on the Pagoda》
《可以进去的紫禁城》
《The Forbidden City You Can Enter》
《宋徽宗头上的小飞机》
《The Small Plane on the Head of Huizong in Song Dynasty》
《心中的天地》
《Heaven and earth in my heart》
周昉 Zhou Fang
《倦》
加班已经成为工作常态，员工猝死的新闻屡屡登上头条，我们何时才能停止内卷？我试图用幽默的方式去化解这个问题：在跨越的时空中在另一个世界里找到仍然忙碌的众生忙着办理各种手续、整理数不完的档案…
《Tired》
Overtime has become the norm at work, and news of sudden death of employees has made headlines. When will we stop the involution? I tried to solve this problem in a humorous way: in the span of time and space in another world, I find people who are still busy going through various formalities and sorting out countless files…
何天儒 He Tianru
《度量值:154m³》
人们常对自己居住过的空间有着特殊的记忆。故地重游的过程类似童年时期 的侦探游戏般的体验，那些可被观察、触摸甚至嗅闻的痕迹往往会成为被关注的 对象，对我来说这非常有趣。照片中的绿色激光由水平仪发出，它被用于我家搬 到新房后的装修阶段。这种完全基于自然规律的光线使我受到启发。它坚硬、准 确、甚至过于理性。
当这条光线成为我思绪的某种表征，介入我过去居住的空间时，它就显现出与 这个空间的特殊互动。
在夜晚，我把水平仪放进无人的房间。随着光线在各种物体上游走，呈现出微 妙的变化时，各种梦幻的场景瞬间开始在我的脑海中翻腾，我试图用房间里剩下 的东西来复现那些场景，并且我笃信，那些由坚硬光线激起的温暖的、老旧的、 亲切的感觉总会在底片上留下些什么。
《Measurements: 154m³》
People often have special memories of the space they used to live in. The trip of revisiting the old place is similar to the experience of detective games in childhood. Those traces that can be observed, touched or even smelled are often being paid a close attention, which is very interesting to me. The green laser in the picture is emitted by the level instrument, which is used in the decoration after my family moves to the new house. This kind of light based on the laws of nature inspired me. It is hard, accurate and even too rational.
When this light becomes a symbol of my thoughts and intervenes in the space I used to live in, it shows a special interaction with this space.
At night, I put the the level instrument into the empty room. With the light flowing upstream in various objects and presenting subtle changes, dreamy scenes began to stir in my mind. I tried to reproduce those scenes with what was left in the room, and I firmly believed that those warm, old, and kind feelings aroused by hard light would always leave something in the photo.
中国美术学院
中国美术学院电影学院摄影系成立于2002年，围绕“视觉艺术东方学”内涵建设，立足媒介全球化、普及化时代前沿，始终聚焦于摄影作为艺术的媒介语言探索，视觉美学的创新与开发，影像文化内涵的表现与挖掘，旨在培养具备精深影像创作技艺、实验精神与国际化视野的创新型摄影人才。
该系以摄影媒介表达的实验性探索凸显美术学学科背景特色，以回溯摄影媒介语言本体的纪实性，拓展摄影媒介内在价值与文化内涵的实验性，探索摄影与科技载体多样融合的应用性，充分挖掘影像介入视觉文化研究的功用与价值为专业特色，建构了系统的摄影艺术专业教学模型和精锐的教学与创作团队。 2020年摄影专业获评国家级一流本科专业。
China Academy of Art
China Academy of Art the Department of photography was established in 2002. From that time, we’ve been focusing on the main point of “Oriental Visual Art” while standing on the ground of contemporary digital culture and media popularization. Photography here is regarded as a kind of visual language of art, the innovation skills and a way of visual aesthetics understanding. Thereafter our students are encouraged to explore the possibilities of photography, as well as the theory and connotation of visual cultural. Profound knowledge on contemporary digital culture, creative skills with photography, experimental spirit as well as international view are all that our students develop with our courses.
The Department is based on the background of fine arts meanwhile concentrating on the experimental photographic languages and its possibilities simultaneously. Not only tracing back the traditional techniques of photography, we also pay much attention to the experimental way of the internal value and cultural connotation of photographic media. Thus the student can employ the diversified integration of photography and its technological carriers in use, including fully excavate the function and value of image intervention in visual culture research. Our hope is to build a systematic teaching model of photography and to develop an effective teaching staff. In 2020, the Course of Photography was rewarded as the National First- rate Undergraduate Major.
辛宏安 Xin Hongan
辛宏安，陕西西安人，2006年毕业于英国肯特大学肯特艺术学院(UCA)，硕士研究生，研究方向：当代摄影与实践；中国美术学院副教授，硕士研究生导师，电影学院摄影系副主任；近年来研究与创作主要以摄影形态艺术学为核心，注重观察视觉人类学、社会学与当代摄影的融汇与交叉呈现。
《改造冲动与想象》
马克姆·安德森（Malcolm Andrews）在其著作《寻找如画美》（The Search for the Picturesque）开篇有一段话：“游客想要发现未经人类触动过的大自然，但是，一旦发现了这样的所在，他就无法克制自己的冲动要去“改造”它，哪怕只是在想象中。” 也许正是这种想象中的“改造”冲动，在今日之时的数字影像技术助力之下，悄无声息的改变和颠覆了摄影在器械时代所具有的真实与客观性特征，进而使摄影图像与它所纪录与表现的客观现实之间的悖论关系，变得越来越明显。
这组作品即是在无意之间触及并意识到这一可能之后，在图像形式及数字影像视觉可能性上所进行的实验与探索。
有一天穿行终南，夹道两侧时现奇峰林立、氤氲之气升腾的幽然奇境。然而更惊异的，却是那遍布的开山炸石、粗暴蛮横的人工废墟与遗迹。这景观绝不优美，却又从形式上藐视一切画笔和镜头，带着某种张扬跋扈的崇高宏伟，屹立或横袒于天地之间。那一瞬间惊觉，这种“改造”的冲动与实施，个人力量也许可以无视，群体力量，却可以产生极其令人惊惧的结果。这就是拍摄以终南山为母题这个系列作品的最初思考。
这一拍摄计划开始于2015年，以现场拍摄素材为核心的后期制作至今仍在延续。本次参展系列作品为第二阶段素材完成部分，2022年7月第三次调整、校色定稿。
《Transform Impulse and Imagination》
Malcolm Andrews begins his book The Search for the Picturesque with the words: “The visitor wants to discover nature that has not been touched by humans, but once he discovers such a place, he cannot restrain his impulse to “transform” it, even if it is only imaginary.” Perhaps it is this imaginary impulse to “transform” that, with the help of today’s digital imaging technology, quietly changes and subverts the real and objective characteristics of photography in the device age, and then makes the paradoxical relationship between the photographic image and the objective reality it records and represents, more and more obvious.
This group of works is the experiment and exploration of the visual possibilities of image form and digital image after inadvertently touching and realizing this possibility.
One day through the end of the south, on both sides of the road, there is a strange wonderland lined with strange peaks and rising breath. What was even more surprising, however, was the rubble and ruins of rocks and rough and brutal man-made rubble. This landscape is by no means beautiful, but it despises all brushes and lenses in form, with a certain lofty grandeur, standing or standing between heaven and earth. At that moment, it was realized that the impulse and implementation of this “transformation” may be ignored by individual forces, and the power of the group can produce extremely frightening results. This was the original thinking of shooting this series of works with the theme of Jungnan Mountain.
The shooting program began in 2015, and post-production with live footage as the core continues today. The series of works exhibited in this exhibition is the completed part of the second phase of materials, and the third adjustment and color correction will be finalized in July 2022.
刘阳 Liu Yang
《时间的缝隙——洞见》
“洞见”一词除其字面意义及引申含义外，还饱含着两重视觉经验，一层是表象的从洞中向外观，而另一层则是由外观而转移到的内察。“时间的缝隙——洞见”系列试以针孔摄影的方式与山水自然景观之间建立一场跨时空的视觉对话，借由洞穴与石缝的自然之眼，以及摄影的直接记录特性，留存自然的内观与外显共存的状态，探索理性控制与不确定性视觉表达之间的融合边界。拍摄在寻找群山之间的洞穴与石头的缝隙间展开，画面内容涉及杭州瑞石古洞、青林洞、龙泓洞、玉乳洞、青衣洞等石洞与自然景观。在光线源源不断地涌入针孔相机时，银盐相纸上被刻下自然流淌的时光痕迹，时间在山水景观中的延绵也从影像中缓慢溢出。
《The Cracks of Time –“Dongjian” (Viewing from Holes)》
In addition to its literal and derived meanings, the title “Dongjian”(meaning ‘viewing from holes’) also involves two visual experiences. One is viewing from the inside of the holes to the outside world, and the other is the introspection transformed by the outward viewing. “The Cracks of Time — Dongjian ” series of photography attempt to establish across time and space a visual dialogue between people and the natural landscape through the pinhole camera. Through the natural cracks of the caves and holes, the series explore the boundaries between the rational control and indefinite visual expression by faithfully recording both the inside and outside images of the nature. The shooting was carried out in search of the caves and stone crevices on the hills and mountains in Hangzhou, involving Hangzhou Ruishi Ancient Cave, Qinglin Cave, Longhong Cave, Yuru Cave, Qingyi Cave and other stone caves and natural landscapes. As natural light poured through the pinhole camera, traces of the flow of time were etched on gelatin silver print, and time is thus bit by bit visualized through the recording of the landscapes.
陈洁 Chen Jie
《熵》
本作品以当代青年女性群体为主要研究对象，基于女性身体的规训与被规训，以“女性”“欲望”“救赎”等为关键词，批判青年女性因为社会、历史、文化和自身因素的影响，从心甘情愿的沉湎于各种欲望陷阱到挣扎再到自我救赎这一过程中的现象。名称的 “熵”来源于物理学中的热学的一个物理量，其本质则是一个系统“内在的混乱程度”，它让我联想到当代女性在各种社会规训、欲望中沉湎、挣扎，渴望被定义的一种复杂混乱的心理状态。
《Entropy》
Based on the discipline and discipline of the female body, this work criticizes the phenomenon of young women due to the influence of social, historical, cultural and self-factors, from willingly indulging in various desire traps to struggling to self-redemption due to the influence of social, historical, cultural and self-factors. The name “entropy” comes from a physical quantity of heat in physics, and its essence is a system of “intrinsic chaos”, which reminds me of a complex and chaotic mental state in which contemporary women indulge in various social disciplines and desires, struggle and desire to be defined.
李玟玟 Li Wenwen
李玟玟，女，1996 年1月出生于云南省昆明市，中国美术学院影视与动画艺术学院摄影系硕士在读，实验影像小组“异见”发起人，现生活学习于杭州。作品关注个人情感与外界共情，作品多通过以植物为载体，以意象化的方式及超视域的媒材进行表达。
《阑夜》
日光洒落，抚摩花肌肤的每寸，红外下的植物通体洁白无瑕，造就乳般纯净的姿态，如彼岸之物完美充盈，叶绿素——蓬勃的生命的象征，通过反射大量的红外光营造出超凡的鲜活能量，褪去浮华色彩却一无所失，如阑夜下目力无法触及之处，植物悄然蔓延、生长、皈依于自然的怀抱。
《Night》
The sun sprinkles, caressing every inch of the flower skin, the plants under the infrared are all white and flawless, creating a milky pure posture, such as the perfect fullness of the things on the other side, chlorophyll – the symbol of vigorous life, by reflecting a large amount of infrared light to create extraordinary fresh energy, fading the glitz of color but nothing is lost, such as the invisible place under the night eye, the plant quietly spreads, grows, and takes refuge in the embrace of nature.
周子杰 Zhou Zijie
周子杰，1995 年 11 月生于深圳，2014 年毕业于中国美术学院附中，2018 年本科毕业于中国美术学院建筑艺术学院环境艺术系，2022 年硕士毕业于中国美术学院摄影系。作品基于摄影的图像媒介关注个体、场所精神与存在的关系。
《穿山》
《穿⼭》系列是我的⾝体和意识在离开城市⽣活的⽇常时空，去往浙江东部的⼭林间穿梭时溢出的碎⽚。杉本博司相信⼈类意识产⽣的现场是海景，我觉得或许古时中国⼈的⾃我就曾觉醒于⼭⽔之中。⻦鸣、流⽔、闪光树⽊的呼啸声在我四周聚集。⼭⽔静谧的呼吸，使其间的事物变得分明起来。
《Through the Mountains》
The “Through the Mountains” series is a fragment of my body and consciousness as I leave the daily time and space of city life and travel to the mountains and forests of eastern Zhejiang. Hiroshi Sugimoto believes that the scene of human consciousness is the seascape, and I think perhaps the ancient Chinese self was awakened in the landscape. The whistle of chirping, running water, and flashing trees gathered around me. The quiet breathing of the mountains and rivers makes things clear in between.
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”
美国参展院校： 旧金山艺术大学
澳大利亚参展院校： 昆士兰艺术学院
日本参展院校： 大阪艺术大学、东京造形大学、日本九州产业大学
韩国参展院校： 中央大学、弘益大学、中部大学、大邱艺术大学、韩国放送艺术教育学院
土耳其参展院校： 萨班哲大学、科克大学
新加坡参展院校： 拉萨尔艺术学院、南洋理工大学
马来西亚参展院校： 拉曼大学学院
泰国参展院校： 兰实大学
印度尼西亚参展院校： 印尼日惹艺术学院
中国台湾地区参展院校： 明道大学
中国参展院校：北京印刷学院、湖北美术学院、黄河科技学院、鲁迅美术学院、南京艺术学院、清华大学美术学院、山东工艺美术学院、上海工程技术大学、上海美术学院、上海师范大学、上海视觉艺术学院、四川美术学院、天津美术学院、西安理工大学、西安美术学院、西安欧亚学院、浙江传媒学院、中国美术学院、中央美术学院
主办单位：中国济南国际摄影双年展组委会
指导单位：中国摄影家协会教育委员会、中国高等教育学会摄影专业委员会
承办单位：西安理工大学艺术与设计学院 、山东工艺美术学院
媒体支持：《中国摄影家》杂志、中国摄影网
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
Agatha Bunanta(印度尼西亚)、Ampannee Satoh(泰国)、Ang Song Nian(新加坡)、敖国兴、白晓丹、戴菲、邓岩、董钧、Eiffel Chong(马来西亚)、Erzan Adam(新加坡)、胡晓阳、吉川直哉(日本)、贾方、矫健、Lachlan Gardiner(澳大利亚)、Laleper Aytek(土耳其)、李小舟、林简娇、刘阳、Nadia Oh Sueh Peng(新加坡)、Oh Soon-Hwa(韩国)、Salleh Japar(新加坡)、沈洁、史民峰、Tan Tay Guan(马来西亚)、Ugrid Jomyin(泰国)、王培蓓、王帅、杨赫、姚璐、张朴、张省会、中里和人(日本)
艺术委员会
鲍昆、百濑俊哉(日本)、曹珽、顾铮、方肃、胡钢锋、李树峰、林路、计卫舸、宿志刚、王保国、王川、王传东、武小川、谢爱军、徐国武、阳丽君、张成义、张希红、钟建明
执行委员会
执行策展人：张一天、高帆
展场设计：吕梦星
微信推广：胡敏瑞、吕梦星、赵懿平
视频拍摄：王天俊、王登轩
英文翻译：张心睿、常永鑫
展览时间：2022年10月25日-11月20日
展览地点： 山东工艺美术学院美术馆
中国摄影网签约摄影师申请流程
1、作品类型、风格、主题不限，但必须是以一个完整的专题形式呈现，须提供主题阐述、摄影师的近期 形象照 及个人简介200字左右，其他可以提供包括个人联系方式、摄影经历、荣衔资历，重要获奖、摄影感悟等。
2、个人作品集（每组15-30张，文件格式：JPG，图片宽度 大于3840像素 ，或者文件 大于5M ，不得有水印）须有每幅作品的标题或图片内容说明。
3、将以上两组文件打包压缩成RAR或ZIP格式发送网站编辑部，万能邮箱： cnphotos@163.com 。
4、入选作品，将在签约摄影师作品赏析、名家经典等栏目刊登， 其作品也将登记入库，作图片销售代理，优秀作品将推荐人民网、人民摄影报、澎湃新闻等媒体刊发，同时， 将有资格参与中国摄影网十佳摄影师评选 ，入编《中国摄影网》杂志期刊，颁发签约摄影师证书、入展证书。
大数据推荐
中国美术学院研究生(中国美术学院研究生院官网)