展讯:二〇一六新锐摄影奖入围展

发布时间:2017-01-06来源:色影无忌作者:New Talents责任编辑:曲一了

 

时间:2017年1月8日-1月22日
(10:00-18:00 周一闭馆)
地点:上海·M50·新时线媒体艺术中心
参展艺术家:陈海舒/程新皓/高山/古力予/郭国柱/孙俊彬/杨圆圆
学术顾问:费大为
策展人:王欢

 

前言

新锐摄影奖设立于2010年,其目标是建立一个发现优秀摄影艺术家和摄影作品的高品质平台,到今年已经是第七届。

今年的参赛者一共有5348名。新锐奖工作团队从报名者材料中挑选出136位报名者,交由初审评委工作。2016年的初审评委由上届评委、出版人言由,策展人施瀚涛和策展人、摄影史学者何伊宁三位组成。他们是近年来这一领域中迅速成长起来的最年轻、最有活力的组织者和活动家。他们和新一代摄影艺术家有着频繁的接触和合作,为这一领域形势的发展发挥着越来越重要的作用。初审评委从136名报名者中挑选出6名入围者和一位EOS青年影像奖获得者。这七位青年摄影师的作品构成了今年的获奖展览。

今年的国际评委由美国摄影艺术家埃里克·索斯Alec Soth,西班牙摄影艺术家克里斯提娜·德·美黛Cristina de Middel,日本策展人 G/P Gallery艺术总监后藤繁雄(Shigeo GOTO),阿姆斯特丹FOAM摄影博物馆学术副馆长马塞尔·费尔(Marcel Feil)四人组成。他们的工作是在已经选出的6位入围摄影艺术家中挑选出一位大奖获得者。

“新锐”这个概念具有很大的开放性。但是它也意味着对一切已归类的摄影门派和概念的扬弃。我们希望通过这个奖项,去发现那些虽然尚未成熟,但具有潜力的年轻艺术家;去再次肯定那些刚刚崭露头角而仍在继续向前推进的艺术家;去发现那些出乎我们意料之外、又是我们等待已久的作品。

从本届五千多位作者投稿的作品来看,除了数量巨大以外,可以说类型之丰富程度也远远超越了我们的想象。我们相信,中国当代摄影正迎来新一轮的新陈代谢。在本届的入围艺术家中,陈海舒、杨圆圆受过摄影专业的学院教育。他们运用自己学到的知识,在作品中以不同的叙事手法表达对世界的感受,具有相当的深度。他们的作品往往不是传统的摄影形式,而是影像、装置、文学甚至音乐等各种语言因素的综合体。程新皓则是从化学专业跨入摄影艺术,他的作品如科学研究那般精确,同时又像作曲家和诗人那样迷恋于作品的节奏和韵律。高山、郭国柱和孙俊彬用极不相同的写实手法表达细致的观察和个人的激情,为我们打开了一扇扇另类的窗户去观看这个充满矛盾的世界。古力予则是本届最年轻的报名者之一,她的作品具有敏锐的感性和奇特的想象力。

感谢佳能公司的赞助,使我们本届新锐摄影奖能够得以顺利举办。每一届入围展为此增设的EOS青年影像奖是企业为艺术做出贡献的典范。

费大为
学术顾问

参展艺术家及作品介绍

陈海舒《Zona Rossa》

Zona Rossa, 摄影部分, 陈海舒
Zona Rossa,Photograpy, CHEN Haishu

陈海舒的多媒体作品《Zona Rossa:一份关于维苏威火山的报告,在上一次爆发之后和下一次爆发之前》以维苏威火山为样本,探讨了“危险”这个概念是如何被人类社会定义、感知、再现和应对的。作品混合使用多种视觉材料,包括摄影、电影片段和文本,从不同角度再现了维苏威火山的多重属性:它不仅是自然物,同时也是政治、宗教、历史、文化和科技的操作对象。作品包括:照片和访谈视频,来源于陈海舒2012至2015年间对维苏威地区的数次拍摄采访;电影剪辑视频《庞贝末日》,剪辑自多部关于维苏威火山的影视作品片段;书信片段,节选自古罗马政治家小普林尼的关于维苏威火山爆发的书信;文本,来自意大利民防部发布的维苏威火山区应急预案。

关于艺术家:
陈海舒,1986年生于中国福建省福州市, 现工作生活于德国卡尔斯鲁厄。陈海舒以摄影作为主要媒介,并混合使用多种媒介,如文本、视频、电影和摄影书等。作品关注当代社会中人类的生存状态、集体情感和共同记忆。


程新皓《来源不同的时间》

来源不同的时间, "植物时间:从四十岁的梨树到三百岁的梨树", 程新皓
Time from Different Sources,
 "Time of Plants: Pear Trees of 40 Years Old to 300 Years Old", 
CHENG Xinhao

茨满村是丽江的一个纳西族村庄,它以农业闻名,但如今在城市化过程中失去了所有的农田。此作品回应的正是这些在城市化过程中发生的事件。看似平静的村庄在被急速改变着,不同来源的时间在日常生活中并行,对抗,最终消失在同质化的洪流中,或者找到与其共处的方法。作者试图使用复调叙事的方式重构这些共存于当下的状况。作品由四个部分构成,分别叙述了自然的时间、村庄当下的时间、村庄的历史时间以及人的肉身处于其中的张力。虚构的视角人物与多条线索被构建,它们从不被注意的细节之中起源,在叙事的推进中相互缠绕,此消彼长。由此,整个叙事产生了褶皱,最终使这些图像构成了对现实的解析,将隐藏于现实光滑表面之下的话语解蔽。

关于艺术家:
程新皓,1985年出生于云南。2013年毕业于北京大学化学与分子工程学院,获博士学位。现作为艺术家工作生活于云南昆明。以摄影作为主要的媒介,关注当代中国背景下的现代化问题和当代知识生产等议题。


高山《第八天》


第八天, 高山
The Eighth Day, GAO Shan

《第八天》系列拍摄3年左右,目前还在进行中,在一个70平米的生活空间中持续拍摄我母亲的日常生活,拍摄的初衷是由于,虽然我与她朝夕相处,但长期的忽视,使她变得只是一个“母亲”身份的存在,我面对着不断出现在我眼中的母亲,母亲面对不断出现在她眼中的日常之物,在拍摄中追踪生活用具的轨迹,及母亲工作场所{母亲是车库管理员}之物,脱离旁观者身份,介入拍摄中,个体的时间重复在个体生活之中使忽视本身变得抽象,重复出现的日常之物变的具象。在我出生第八天的时候,被母亲抱养,个人的生命在第八天开始的时候又是一个循环。

关于艺术家:
高山,1988年生,河南安阳人。

 

古力予《喧卑》


喧卑, 古力予
Clamour & Humble, GU Liyu

弃学回到老家乡村的这两年,视线得以从冰冷的黑板上得到解脱,在与自然的亲密接触中惊觉彼此之间存在着难以表达的互通,欣喜之余期盼着能摸索到更多与我产生共鸣的景物,使我不用独自承受无法诉说的孤独,伴随着我的拍摄,我发现在与自然界之间的对谈中,不论是生物、树木又或者事物,它们都像是长者,在不经意间通过各种方式传达给我:痛定思痛,悬崖勒马。同样,美好的事物也会馈赠给每个人去拥有,自然包容了我的所有,教我学会享受孤独所带来的安逸,在自然静谧的氛围中寻找属于自己的明镜。

关于艺术家:

古力予,1998年出生,现工作生活于乐山。2014年6月开始接触摄影。拍照看电影旅行。


郭国柱《流园》


流园, "122°82′E 30°72′N", 郭国柱
Lingering Garden, "122°82′E 30°72′N", GUO Guozhu

流园》所拍摄的是城市化中农民所遗弃的村落,随着时间推移,它们将被自然所消化并重新归还给大地,乡村与城镇在快速城市化的当下此消彼长。
近年来的中国,资源向城市集中,这个曾经以农耕文化兴盛的国家,如今正经历着快速的城市化,大量农民快速涌入城市,导致农村和城市都应该对这种前所未有的激烈变动做出调整与适应。对于新进城的农民,熟人社会瓦解、地缘关系消失,以及新的生产方式需要他们适应,地域将对他们的身份重新定义。我作为城市化的亲历者,通过摄影对城市化进行长期关注,作品《流园》站在城市的对立面,通过被遗弃的村庄景观的记录,对农村的边缘性进行探讨,来叙述与都市经验、消费主义完全对立的观看方式,以看见的、不可见的折射出现代性与传统性的角力。

关于艺术家:

郭国柱,1982年生于中国福建永春,2005年毕业于南昌航空大学机械系,现在生活工作于厦门。自2002年起,他便开始围绕“空间”和社会关系展开叙事。在这条线索中,空间是郭国柱创作实践的主要载体和对象。他在使用和描绘空间时,是以个体精神为出发点,最终回到社会的方法来展开提问的。


孙俊彬《静静的南疆》


静静的南疆, 孙俊彬
Harmony Southern Xinjiang, SUN Junbin

《静静的南疆》来源于小说《静静的顿河》。南疆是维吾尔族人居住最集中的地区。这里是古代丝绸之路最活跃的地方,伊斯兰传统延续千年。这里看似平静,却暗流涌动。
这个专题起源于我对南疆“去极端化”的关注。2009年的7.5事件是新疆整个反恐形势的转折点。2012年1月,和田地区确立了“去极端化”目标。我试图去记录这段历史,以更人性的视角去讲述一个严肃的故事。
这组作品分为“去极端化”的叙事,日常生活状态,南疆地理人文三部分,展现当地为遏制宗教极端主义作出的努力和贡献。我希望作品有助于促进族群间的沟通及和解。

关于艺术家:
孙俊彬,1986年出生于广东潮州,毕业于华南师范大学摄影系,曾供职于南方都市报视觉中心,视觉深度项目组成员,无界新闻图片主管。现任界面新闻中国组调查新闻高级记者。一直在学习用图片,文字和视频的融合方式来讲故事。


杨圆圆《浪漫之旅》


浪漫之旅, "住时尚古堡,做都市主人#2", 杨圆圆
Blue Window, Two Roses, "Living fashion castle to become city master#2", YANG Yuanyuan

“绿幕照相馆”是过去十余年内在中国涌现出的一种新型创业模式,一块绿色的背景布与一台装有内置镜头的机器构成商铺的主体。消费者可以选择上万种风格各异的背景图像:从各地名胜到明星写真,从卡通背景到到高端小区的3D制图,面对着荧幕上虚拟的理想之地,获得一张“到此一游”的照片。其中,国际知名景区与一切具有“欧式风情”的画面是最受欢迎的背景选择。而在现实生活中,同类景观在过去十余年内亦在中国大陆变得普遍,两类“人为构建的现实”(constructed realities) 映照出当下国人普遍向往的一种理想生活,就如同我们渐渐趋同化的城市景观,这种“理想生活”的愿景也变得越来越相似,它们华美而虚幻,在巨大的气泡中的闪着金光。

关于艺术家:
杨圆圆,1989年生于北京,于2013年获得伦敦艺术大学摄影本科学位,目前工作居住于北京。她热衷于探索视觉叙事的可能性,将真实与虚构的元素结合,探讨记忆、历史与时间等话题。杨的实践包括多样的媒介,以摄影为主,同时也跨越文字、录像、表演等形式。项目最终的呈现形式有时在书本里,有时在展览中,有时二者兼有。


Finalist Exhibition of 2016 New Talent Award

Artists:CHEN Haishu/CHENG Xinhao/GAO Shan/GU Liyu/GUO Guozhu/SUN 
Junbin/YANG Yuanyuan
Academic Adviser:FEI Dawei
Curator:WANG Huan
2017.1.8-1.22

Established in 2010, New Talent Award aims to be a prestigious platform to discover outstanding photographers and photographic works. This year marks the seventh version of the award. 

Out of 5348 submissions, 136 were selected by the working team and handed to the first-round jury panel. At this stage, the three jurors are the publisher YAN You, who also worked as jury last year, curator SHI Hantao, and curator and photography historian HE Yining. They are among the youngest and most dynamic organizers and activists in this field in recent years, maintaining frequent contact and collaborations with the new generation of photographic artists, thus playing increasingly important roles in the development of contemporary Chinese photography. They selected 6 finalists and 1 EOS Young Photography Award winner out of 136 applicants. The work of these seven young photographers will be shown in this year's finalist exhibition.

The final jury consists of American photographer Alec Soth, Spanish photographer Cristina de Middel, Japanese curator and art director of G/P Gallery Shigeo Goto, and the deputy academic director of Netherlands FOAM Photography Museum Marcel Feil. Together, they will work to select the final winner of New Talent Award from the 6 finalists.

The concept “New Talent” is extremely open. However, it also connotes a certain discarding of the classifications and concepts that have already been defined in photography. Through this award, we would like to find those young artists who are not yet mature but who have great potential, reaffirm those artists who are just emerging and still continue to move forward, and also discover those surprising works that we have long been expecting.

The works submitted this year have indeed amazed us not only for the huge number of applications, but also for the rich diversity that they have shown. It makes us believe that Chinese contemporary photography is entering a new generation. Among the finalists this year, CHEN Haishu and YANG Yuanyuan received their photography education within the academy. Employing different narrative approaches, they have applied what they have learnt, together with their deep understandings of the world, to their projects. The resulting works are usually not presented in the form of traditional photography, but are a mixture of various expressive languages, like image, installation, text, even music. CHENG Xinhao turns to photographic art from a background in chemistry, which explains why his work maintains the rigor of scientific research. But at the same time, he also pursues rhythm and rhyme like a composer and a poet. GAO Shan, GUO Guozhu, and SUN Junbing demonstrate their close observation and personal passion via different realist approaches, which provide us alternative perspectives from which to view this contradictory world. As one of the youngest applicants, GU Liyu shows sharp sensitivity and rich imagination in her work.

Thanks to Canon’s support, The New Talent Award this year could be successfully carried out. And the special-set “EOS Young Photography Award” in the finalist exhibition every year is a prime example of how a company can make an important contribution to the development of art.

FEI Dawei
Academic adviser


《Zona Rossa》

CHEN Haishu


Taking Mount Vesuvius as a sample, CHENHaishu’s multi media work “Zona Rossa” discusses how the concept of “danger” isdefined, sensed, represented, and manipulated by our human society. Usingdifferent visual materials, including photos, video clips and texts, “ZonaRossa” reveals the multiple characters of Vesuvius – as not only a naturalobject, but also one that is manipulated by politics, religion, history,culture, and science. The work includes photographs and interviews from CHEN’sseveral trips to Vesuvius during 2012-2015, a video composed of clippings fromdifferent films and TV-series about Vesuvius and Pompeii, quotes from twoletters by the ancient Roman politician Pliny the younger describing aneruption of Vesuvius, and texts released by the Italian Civil DefenseDepartment on the emergency plan for Mount Vesuvius.

CHEN Haishu was born in1986 in Fuzhou,Fujian province, China. He now works and lives in Karlsruhe, Germany. Usingmainly photography, but also including other media such as text, video, film,and book, CHEN focuses on the living conditions, social perceptions, andcollective memory in today’s society. 


《Time from Different Sources: Images from Ciman Village》

CHENG Xinhao

Ciman is a famous agricultural village ofNaxi people in Lijiang. However, in the process of urbanization these years, ithas lost most of the farmland. This artwork is a response to thesecontingencies of urbanization. The seemingly tranquil village is being rapidlychanged. Here, times from different sources unfold in parallel in everydaylife, struggle against each other, and finally homogenized, or find their waysto live together. I attempt to reconstruct these coexisting contemporarysituations through a polyphonic narrative approach. The four components o theartwork speak respectively of geological time, contemporary time in thevillage, historical time in the village, and the tension of the physical bodyexisting within this time. In this process, the perspective of a fictitiousfigure and multiple threads are constructed. They rise from unnoticed details,and entangle each other as the narrative progresses, expanding and contracting againsteach other until all of the images are linked together. Through this way,folding forms in the overarching narrative, while eddies and undercurrents emergein the linear timeline. Eventually, these images form an analysis of realitythat uncovers the discourse lying concealed under its smooth surface.

CHENG Xinhao was born in Yunnan province in1985. He received his PhD in Chemistry from Peking University in 2013. Hecurrently  works as an artist in Yunnan.His works investigate issues of modernization as well as knowledge productionin contemporary Chinese society.


《The eighth day》

GAO Shan

I have been working on the project of"The Eighth Day" for 3 years, and it is currently still in progress.Within a living space of 70 square meters, I photograph the daily life of mymother. Although I live with her everyday, but I pay no attention to her. Thislong-time ignorance makes her exists merely as a symbol of "mother".I see my mother constantly through my eyes, while my mother constantly sees herdaily tasks in her eyes. Therefore, I track her daily routine at home and ather work place {she is a garage administrator}. Not being a spectator, Iinvolved myself in the shooting so that the individual's time intertwines withthe individual’s life, which makes the ignorance abstract, but the dailyobjects vivid. On the eighth day after my birth, my mother adopted me. Andanother life of mine began on the eighth day.

GAO Shan, born 1988 in Anyang, Henan province.


《Clamour & Humble》

GU Liyu

Over the two years after I dropped out ofschool and returned to my countryside home, my sight was finally released fromthe cold blackboards. During my intimate contact with nature, I surprisinglyfound my resonance with it beyond words. Apart from bringing joy, I hope thisresonance can also carry some of the burden of loneliness I feel. As I takephotos, I find myself in conversation with nature. Living creatures, trees, andobjects, they are all like elders who inadvertently tell me in various ways:learn from the pain and pull back before it is too late. Moreover, beautifulthings are offered to everyone. Nature bears everything of me, and teaches meto enjoy the relaxation brought by solitude, and to find my own mirror in thetranquility.

GU Liyu was born in 1998. She currently livesand works in Leshan, Sichuan province. In June 2014, she began to work withphotography. Now, she takes photos, enjoys films, and travels.


《Lingering Garden》

GUO Guozhu

“The Lingering Garden” captures the villages abandoned by farmers inthe process of urbanization, which will be digested by nature and againreturned to the earth over time. During rapid urbanization, villages and townsalter and replace each other.

Over the decades, China has gone from acultivation culture towards modernization, resulting in millions of farmersflooding into cities to become the necessary working force. Such migrationrequires both the rural and the urban to change in response to the huge socialtransformation. To the migrant workers, they have to accept a break up ofcommunity and local connections, and must adapt themselves to the new mode ofproduction and new identities. “The Lingering Garden” takes an oppositeperspective of the modern city. Through documenting the landscape of abandonedvillages, it attempts to discuss the rural as the margin, in order to offer aview that is totally different from urban experience and consumerism and toreflect the seen and hidden power struggles between the traditional and themodern.

GUO Guozhu was born in 1982, Yongchun, Fujianprovince. A graduate of the Department of Mechanics of Nanchang HangkongUniversity, he now lives and works in Xiamen. Since 2002, he has worked on“space” and social relations, of which space is his major focus. He alwaysraises questions by depicting spaces that depart from individual spirit andreturns to social phenomenon. 


《Harmony Southern Xinjiang》

 SUN Junbin

“Harmony Southern Xinjiang” is inspired bythe Russian novel Quietly Flows the Don. Southern Xinjiang is the mostconcentrated area where the Uyghurs live. It was the most active place for theancient Silk Road. Here, the Islamic tradition has continued for millennia. Nowthe place looks harmonious, but rivalry simmers below the surface.
 
I started this project when I first startedpaying close attention to the “Eliminate the Extreme Religion” action inSouthern Xinjiang. The situation of anti-terrorism in Xinjiang province beganin earnest starting from July 5th, 2009. In January 2012, The Xinjiang Uygur Autonomousregion first proposed the “Eliminate the Extreme Religion” action in HetianRegion, which meant that anti-terrorist action would no longer affect just thephysical world but would go deeper into the realm of thought and spirit.I triedto document this period of history, and to tell a serious story from a humaneperspective.
 
This project is divided in three parts,documenting the “Eliminate the Extreme Religion” action, the Uyghur 's dailylife, and landscapes and culture in Southern Xinjiang, in order to show thegreat efforts and contribution that the Uyghur people have made for a peacefullife. I hope this project will help to promote more communication andreconciliation between different ethnic groups.

SUN Junbin was born in 1986, Chaozhou, Guangdongprovince. Since graduating from the photography department of South ChinaNormal University, he once worked as a team member of the in-depth reportproject for the Daily Visual Center of Southern Metropolis, and was thedirector of News photo in Wujie media in Beijing. Now he is a senior reporterof the investigation team in Jiemian media. He has been learning to tell stories using a combination of writing,photography, and video.


《Blue Window,Two Roses》

 YANG Yuanyuan

“Green screen photo studio” is a new business mode that appeared in China during the past 10 years. The store simply consists of a green background and a machine with inserted camera. The costumers could choose their preferred backgrounds from more than ten thousands images - from worldwide tourist sites to celebrity portraits, from cartoon characters to 3D effect images of luxury residential areas. Facing their illusionary ideal places on the screen, the costumers happily stand and pose in front of a green screen, and receive a photo showing that they “have been” there.

Among all the background images, those of world famous tourist sites and of European styles are the most popular choices. Whereas in reality, this same type of landscape has also became common scenes all over Mainland China in the past ten years. Both the virtual backgrounds from the “Green screen photo studio” and the real buildings in our real world – these two types of “constructed realities” both reflect an ideal lifestyle of this era that generally yearned for by most people with different backgrounds. They are resplendent yet unreal, shining like gold in giant bubbles.

YANG Yuanyuan was born in 1989, Beijing.Shereceived a BA (Hons) in Photography at the London College of Communications,University of the Arts London in 2013. By experimenting with different ways ofvisual-storytelling, Yang creates a narrative where fact and fiction coexist todiscuss topics such as memory, history, and time. Yang's practice involvesvarious mediums, mainly concentrating in photography, but also including video,performance, and text. Her projects are usually presented in the form of artistbooks and/or photography installations.


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2017年1月6日-8日,二〇一六新锐摄影奖将在举行颁奖典礼前,面向大众展开一系列以“新锐时区”(NEW TALENT ZONE)来命名的摄影讲座活动。
讲座嘉宾包含了美国艺术家Alec Soth, 西班牙艺术家Cristina de Middel, 日本策展人后藤繁雄,FOAM Magazine主编Marcel Feil。

 

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