故事，離真相有多遠？
Narrative and Narrative Forms
展覽時間：2012年11月23日至12月12日
展覽地點：廣東 連州
Exhibition Time:Nov.23th～Dec.12th, 2012
Venue: Lianzhou· Guangdong
海外新聞發布會： 2012年7月3日 阿爾勒
Media Launch in Arles: July 3rd 2012 (Tuesday) at 6.30 p.m. at Hôtel de l'Amphithéâtre, Arles
國內新聞發布會：2012年 10月29日 北京
Media Launch in China: Oct.29th, 2012 Beijing
主題闡釋
故事，離真相有多遠？
總策展人:弗朗索·薩瓦爾(法國尼埃普斯攝影博物館館長)
1.
影像與世界融為一體，不論善惡，不在乎攝影的好壞。在攝影最終的大量產出中，能剩下的只有故事的妥帖性以及它們在我們記憶中的持久性。這就是攝影的敘事。無論業餘還是專業的成品，都與生活聯通；有時候司空見慣，說起來中規中矩；在最好的情況下，它們具有編年史和珍聞的價值。經常出現的情況是，一些影像對我們來說沒有任何意義，雖然從未停止過釋放信息。在我們詳細討論完所有細節之後，似乎什麼都有意義。攝影的敘事有一種強制的普遍性，似乎不在乎瑣碎無趣，總是試圖超越對事件的喋喋不休。
在一張照片中，並沒有什麼重大事件，更少有決定性的時刻。圖像與世界交融，不需要對錯，無所謂真相與謊言。那些好為人師的按快門的人，自信在尋找人們從不知道的精準和精確。他竭力展現事物和社會功能背後的法則，聲稱描繪了支配個人和社會的環境，其實充其量是在隨後的研究、分類和理性命題中揭示出一種類同於植物學的分類而不是展示很可能的事。攝影敘事應該訴諸觀察，但事實上的觀察很少且無助於對事件的理解。從始至終，攝影所做的一切都讓我們想到事情永恆的開始。每個個體都在重複和重新體驗平生的經歷，前輩和當代人的影像之間沒有傳承一種可資利用的財富。
描述的方法連同它所產生的乏味感，無視了一種更有注意力的接近性，即貼近我們自身的理解力：一個攝影敘事，無論如何是另一個現實的產物。
所有攝影的唯一真實性，就在於具有徹底改變我們習慣的能力，因為它使我們顯得更美，更不朽，更莊重，更富有洞察力。
但是，我們真的要理解影像嗎？在影像的遮蔽中，各種元素相繼而來，我們無從分辨其中隱含的任何思想。攝影的影像所提供的，並非世界的假象：它模仿著總體，並以缺失來自娛。浮現出來的觀念被系列影像所產生的無休止的敘事斷面所擾亂。笛卡兒哲學中的一致性，是攝影建構中顯而易見的缺席者。在敘事的結尾，意義並未被揭示出來：意義對敘事的滲透和穿越，有時是一種自我犧牲。但爭論並不是沒有邏輯的，即便動作早已結束，人物也似乎蹤跡難尋。故事的美好即在這裡，即話語集合了形式的多重角度和矛盾性質。
2.
選擇藝術實踐的攝影師們都同意這一點：必須有條不紊地呈現經過構建的敘事，我們可以稱之為系列法則。他們宣稱一種結構的成分有利於被進行分析，結果發現與聖徒面對不潔的誘惑相比，遭遇沒什麼不同：商業影像讓他們驚慌，唯恐避之不及。當代攝影作品顯示出來一種原則，即是一種抵抗組織的救助者，拒絕影像的腐敗。
攝影所建立的現代敘事，首先的是一種與細節有關的態度。與普遍認可的判斷相反，那些不被效率打動的攝影師們承認，一幅達到效果的照片可以包括無意義的元素和無特定功能的對象。攝影的風格可以被視為某種抗幹擾的態度，而不僅僅是功能的問題。這些依次出現的影像彼此沒有明顯聯繫，置於沒有話語的故事張力中。攝影敘事沒有意識到連續性，打斷組合以去除更多的枝蔓。因為和其他所有的敘事形式相比，攝影的區別在於尋找一種對逝去的人和物進行場面調度的才華。
攝影師堅定地選擇了逐步揭示的手法，暗示是成功敘事的標誌。這就是在攝影中為何沒有悲劇形式，僅有戲劇化的形式，以及對世界的宿命和空虛的評說。
我們從未被迫去觀看。相反，我們受到影像的衝擊，與之交融。這其中沒有衝突，而是一種共存關係：一方面我們要接受這些影像和這些往事記憶；另一方面，我們或許認出自己而不得不放棄。
儘管攝影師們不由自主地把我們從由來已久的敘事的不可預見性中解放了出來，使我們能夠抓住現實，然後又隱退到恆定與沉寂中。比如我們當中既不更好也不更壞的電影導演，作為公認的敘事大師，往往就隱去了身影，在遺憾中隱身成為策劃人、分鏡劇本寫作者、攝影師這類配角。無論他多麼真誠地堅持自己的謙遜態度，他也要把控自己熟練的套路，對缺口與縫隙的巧妙應對。他最終仍是自己的英雄，是一出自導自演的英雄傳奇中的主角。
電影導演的奉獻是不得不否定自我，而攝影師的敘事往往只談自己。
3.
所有敘事都縈繞著無名風景中的無名人物。在藝術當中，英雄和諸神都敗下陣來。早期攝影階段保留下來的某些東西，現在成為可以分享的事情和實踐。攝影敘事是傳播的產物，是擴散的結果。拍攝者和被拍攝對象根本沒有什麼現代英雄：人不過是生活故事中的主人公，以某種多少有些新穎的方式徘徊於自己的影像當中，用一種尚未完全把握的全新語言來表達自己，毫無顧忌地將自己展露出來。我和其他人一起成為虛構的冒險行動當中的人物，而這個行動僅僅在於講述簡單甚至普通的事實關係。
在一種巨大的矛盾中，影像中起支配作用的是那種孤芳自賞般的匿名性，並成為身份的有力證據。於是，敘事的現代性最終帶來了錯覺、平庸和相似性。
最後剩下的，只有缺失。講到自己時，講述者是在談及自己摯愛的已故親人。攝影敘事從根本上是關於那些我們苦苦思念卻又無法提及的人。錯誤之處就在於相信「我」始終是這一活動的核心。攝影喜歡幽靈，死者造訪生者。所以，這種敘事只得被視為一種重構譜系的探索，在心理層面的陰影和創口描繪出傷感的地形圖。
這個無名氏是何人？是什麼給他所有相互交織的生平提供養料？在他們當中，也許你會遇到幾位知名人物，但這些私人生活首先講述的是那些不甘於命運的人不希望自己的生活平淡無奇，更願意成為神話的主角。與其說這是在揭示現實，不如說是一種陳詞濫調，亦沒有區分在幻覺和凡人俗事之間的信任偏差。雜誌的社會新聞輕而易舉地囊括了家長、職員和良家子弟，各種評論強化了傳說。與其說是在吞食信息，不如說是在吞噬信息，狼吞虎咽，饕餮之徒，沉迷於無聊輕浮的情感。人們向我們提供的生活是純粹虛構的瞬間：被縮影和被編輯的普通寓言和肖像故事。
所有敘事都冥頑地剝去了「光暈」的外表及其文化物品的尊貴地位。喬治·伊斯曼帶來一種新的攝影實踐方式，釋放出所有的偶然性、生活、令人著迷的情節和命運的古代敘事框架。業餘愛好者和專業人士被攝影技巧所震驚，再難以實現文學傳統的再現，只好利用視覺素材的再生產來走向世俗化。雖然鮮活的經驗在表面上是相對的，但他們仍然分享蒙太奇文化，以短促的「句子」來對我們說話，通過對影像、頁碼、跨頁等被認為是自治的視覺單位的符號分配來自娛自樂。攝影因為緩解我們的想像而成為一種新的場面調度的載體。這裡沒有藝術的意圖，滿足於一種對客體的重要性進行嶄新的分配，爭論存在於在圖像共有空間中的情感分享。
1963年，一件不起眼的東西橫掃一切。傻瓜相機這種簡單而神奇的工具，讓人們通過大眾商品和民主手段來接近攝影身份。家庭相冊和工具包被各種照片填滿，沒有質量的考慮。斷裂源於業餘攝影者打破攝影審美趣味的編碼規則，再也不爭辯黑白照片和30x40的畫幅比，誰也不在意焦點模糊，反差缺失，取景「糟糕」和構圖匆忙，追逐一種幸福的感覺。家庭相冊充滿真實強烈的感情，無足輕重但不失尊嚴，幸福的幻覺中規中矩。
完全無關緊要的地點也構成這一視覺形式的固定視野。回到尼埃普斯的《格拉斯窗前的景色》，透過窗子，我們吃驚地凝視著世間景像。外面的世界同時展現出卑鄙、平凡和神奇。我們看到什麼，就拍什麼。偉大和崇高不再突出，充滿畫意的景致逐步褪色。只要我們願意支配，就會留下我們的標記，或者說是印記：影像中黑白影調的回歸。
曾幾何時，當攝影在把握空間時，是介於對周遭環境的尊重與支配。現在，它告訴我們，在這個並不光彩的世界上，人與自然之間的聯繫中斷了，剩下奇妙空間的最後幻想。
無關宏旨的人造物品，無趣的事物：影像是我們新身份的叫賣者。工業物品在商業時代被神聖化，與我們建立一種曖昧的關係。總之，我們始終被攝影的審美魅力所淹沒，雖然這種審美價值觀與我們的賦予並不相稱。隨著藝術作品的貶值，物體重新位於攝影系列的中心位置，成為拜物教或新的金犢偶像。
所有敘事都歸功於次要形式：明信片、攝影小說、連續劇、休閒小說和遊記。它們僭越適應了被重新評估的大眾化形式。日常影像培育了這種形式，甚至在巨大的混沌中，在海報和雜誌的混淆中，為它們賦予了新生命。現代世界用大量影像包圍著個體，完全取消了我們與藝術之間的崇高關係。
在20世紀30年代的出版物中，我們的共同命運達到了視覺的巔峰。《看見（VU）》、《偵探》、 《這就是（Voilà）》、《生活》以及《畫報》等雜誌把圖像從字句的桎梏中釋放出來。如果沒有照相凹版和美編指導，圖片仍將繼續凍結在文本的鉛板中。以影像交換形式出現的視覺與文字的對話中，敘事成為舞臺和景觀。言辭滔滔不絕，並釋放出可以保留的思想。被書寫的文字的組合連接與再現相配，拼貼、重疊、並列和疊印宣告了模仿的終結，生活的痕跡轉變成符號。
4.
詞句、語言和文本都受制於這種新秩序。它們看起來就像在整個圖像布局中舞動或遊蕩的印刷品片段。不再有行、段落和頁面。照片與雜亂的符號對話，意義的自我勾連成為一個混合體。
這就是攝影的力量之所在。它嘲笑美術，自行其是，驕傲地面對語詞，文學無法抵擋。從今以後，每個詞句都尋求自己的位置，並插入到敘事中。極少成為法則：只要理解情節就足以。詞語在冒險故事中悄無聲息地滑行，繞過險灘。但影像不能沒有詞語陪伴，應該與之共存。
攝影敘事並不服從這一規則。相反，它是無序存在的盡頭。結果我們發現，它以一種錯誤的方式滲透存在的缺陷，包括一些複雜的斷裂和強化。事實上，攝影敘事的結構服從於個體的生物節奏和社會節奏，攝影語言在改變語境並遠離現實主義。深藏在我們之中的私密性規避了帶有強制性的準確描述，只能通過連續的、偶然的相互聯繫才顯露出來。
作為機械、光學和化學的融合，攝影在截取和探究痕跡時只能以暗示的方式予以顯現。
敘事總是當下的結果。攝影的描述並不屈從於時間順序。整體改變的發生取決於被中斷的時間規則。視覺是未來豐富多彩的融合，雖不完美，而且是當下的，卻以看似不合理的方式互相追趕。這種瞬間的不協調源於謊言，不過是對既無等級也無形式差異的事件回溯的重寫。在某種程度上連接了不能預定的情節、回憶、思想、概念和時間法則。敘事的暫時性被一種神秘的秩序所統御——不連貫、片段、隨機——而這都源於作者本人。雖然物理時間對我們而言已不再神秘，事件的歷史感知與我們的關係不大，唯一有效的敘事時間是由回憶和浮動的記憶建構起來的。時間的流逝沒有幻象，我們的影像相互碰撞，好象我們同時看到了幾個屏幕抑或全景圖。這一景觀逐漸形成序列以建構不穩定的追溯，既要影像固定，又要不斷地自我更新。
5.
最後，攝影的地位被撼動，乃通過更新話語來擺脫其單一特徵的故事。它或多或少地意識到通過對描述和「非邏輯」的淘汰來重新審視現實。所有這一切引來捉摸不透和缺乏條理的話語，反而在省略和無知中暗藏一種豐富性。攝影獨特的敘事配置把個人對經驗世界的體驗過渡到大眾傳媒實踐的重新檢驗和分享：一種無法驗證的關係藉助意圖強烈的流行工具化過程而顯得連貫和協調。
最後場景中的有些情景是無法結束的。因為它們過於依賴機緣與必然的較量，過於依賴阻止與現實認同的時空分離的衝突。
然而，它們也受到觀察者的密切監視，這些觀察者成為調查員和罪案現場目擊者。一種獨特形勢下的主角的生存意義並不與理性關聯，他的目光迴旋，沿著不再被影像的交織所支配的道路探索。每個敘事都為我們提供了理解的關鍵要素：不能在所有這些充斥著散亂和混雜的痕跡的環境中洞察秋毫。
——弗朗索瓦·薩瓦爾
校譯:陳衛星 Proofreading&Translating:Chen Wei Xin
Curatorial Theme
Narratives and Narrative Forms
By General Curator François Cheval(Director of Musèe Nicephore Niepce)
1.
The image merges with the world, caring nothing for good and evil, or for good and bad photography. Ultimately, of all the discipline's massive output there remains only the relevance of stories and their persistence in our memory. Photographic narratives are there. Whether amateur or professional they are close reflections of life; commentaries that are usually conventional, but sometimes surprisingly rewarding as chronicles and as history. And even when, so often, the images mean nothing to us, they never stop emitting signals. Everything is worth keeping: after all, they are talking about us. The photographic narrative is irresistibly universal; who cares if it's so often trivial, it's always more than just a pointless repetition of something that happened.
There are no salient facts and even fewer decisive moments in a photograph. The image communes with the world and has nothing to do with true or false, with truth or lies. The sententious shutter-clicker in search of precision or absolute accuracy will never know what people are about. All his striving to demonstrate the laws behind the functioning of things and societies, all his claims to be portraying the milieux that govern the individual and society, produce at best series of studies and classifications, rational propositions that have more to do with botany than plausibility. The photographic narrative owes just a little to observation, but is of no help in understanding events. From the cradle to the grave all photography does is remind us of the eternal return. Every individual repeats and relives the biographical experience for himself. The images of his predecessors and contemporaries are not a usable asset.
The descriptive method, with the boredom it generates, omits something that a minimum of closeness to oneself can teach: a photographic narrative of whatever kind is the product of a different reality.
The sole truth of photography – of all photography – resides in its ability to disrupt our habits; for it renders us more beautiful, immortal, godlike and clairvoyant.
But do we really want to understand images? Their components scroll by leaving us incapable of discerning any underlying idea. The photographic image has no illusions about the world: it parodies totality and entertains itself with loss. Ideas emerge shattered by the endless narrative fractures that series create. Cartesian consistency is the notable absentee from photographic structuring. Meaning is not revealed at the end of the narrative: it infiltrates it, moves through it and sometimes gets lost in it. Yet the image's argument is not illogical, even if the action has vanished and the people seem elusive. That's the great thing about stories whose message takes on all sorts of contradictory forms.
2.
Photographers who have opted for the artistic approach agree on one thing – the need to present methodically constructed narratives – in what could be called another application of the law of series. Champions of composition that yields readily to analysis, they are pretty much in the same situation as the saint confronted with impure temptation: the commercial image scares them and they do everything possible to stay clear of it. The contemporary photographic work stands as a saving principle for organised resistance and a rejection of corruption.
The modern narrative as established by photography is first and foremost a stance in relation to detail. Photographers not driven by a concern with efficiency agree that contrary to the received wisdom, a picture that works can contain pointless elements, objects serving no specific function. Photographic style can be seen, then, as an anti-interference attitude and not simply as a functional matter. Images that succeed each other with no obvious connection activate stories without words. Unable to render continuity, photographic narrative shatters the combinations and breaks the ties that bind. What distinguishes it from all other forms of narrative is to be sought in its ability to orchestrate disappearances.
Photographers who have firmly opted for gradual revelation make allusion the mark of the successful narrative. This is why there are no tragic forms in photography, only the staging of dramas and commentaries on the calamitousness and vacuity of the world.
We are never forced to look. On the other hand we are impacted by images and we intermingle with them. No conflict here, but a coexistence between what we are subjected to – these images, these reminiscences – and the abandonment in which we recognise ourselves.
Having freed us, in spite of themselves, from the age-old contingencies of narration, photographers have made it possible for us to seize reality, then withdraw from it into fixity and silence. The auteur – one of us, and neither better or worse than we are – is tending to disappear as the accepted master of the narrative; is withdrawing, albeit regretfully, into the supporting roles of editor, story-boarder, cameraman and set photographer. But however much and however sincerely he insists on his humility, he does not want to find himself deprived of his clever system, his skilful wiggling through channels and interstices. Ultimately he remains his own hero, the primary character in a self-addressed saga.
A dedication to an auteur forced to deny his true self, the photographer's narrative often speaks only of him.
3.
All the narratives are haunted by nameless people in unknown landscapes. In the fine arts the heroes and the gods have failed. What photography in its early stages reserved for a select few has now become common, shared practice. The photographic narrative is the child of dissemination, a consequence of proliferation. There is nothing of the modern hero about the man photographing and being photographed: no more than a protagonist in a story of a life, he wanders through his images in a more or less novel way, expressing himself in a new language whose complexity he does not fully grasp, and has no qualms about laying himself bare. I, me and the others are the general subject of his pseudo-adventures, which lay no claim to being anything other than recountings of simple, not to say banal facts.
In a monstrous contradiction, narcissistic anonymity rules in images intended as potent evidence of identity. The modernity of the narrative results, then, in illusion, platitude and sameness.
In the end there is only absence. In speaking of himself, the narrator is speaking of his dear departed ones. The photographic narrative is essentially about those we miss so much, those who cannot be mentioned. The error lies in believing that the "I" is always at the heart of the exercise. Photography loves ghosts. The dead drop in on the living. So the narrative has to be seen as a quest for recreation of family trees, with its grey areas and open wounds drawing up melancholy maps of psychic territories.
Who is this nameless character? What fuels all his intersecting biographies? In them you may meet a few famous people, but these private lives are mainly about the fate of men without qualities who would like their lives not only not to be clichés, but maybe even myths in the making. This has more to do with stereotyping than with reality, but it makes no difference to the belief in illusion, in the transmissibility of events of no importance. The paterfamilias, the office worker and the chaste scion of a good family all fit seamlessly into the magazine news item. Their comments double up on the caption. They devour information – gulp it down, if you like, ingurgitation it, gluttons for trifling emotions. The lives we're offered are moments of pure fiction: abridged and rearranged as familiar yet iconic fables.
All the narratives have shucked off their auratic envelopes and with it, unrepentantly, their culture-object prestige. When George Eastman came up with something that guaranteed a new, contingency-free way of taking photos, that fascinating plot called life exited the classical narrative schemas. Amateurs and professionals alike have shattered image transcription, traumatising traditional representation and desacralising language with stark visual representation. While doing things in seemingly opposite ways, they nonetheless share the culture of montage, address us in short, staccato "sentences", have fun with the distribution of signs within the image, on the page, on the double-page spread – approaching them all as autonomous visual units. Photography has assuaged our imaginary by becoming the medium for new mises en scène: and in the absence of any artistic intention whatsoever there appears a brand new assortment of more or less important objects, driven by the sharing of emotion in the common space of the image.
In 1963 an insignificant object swept all before it. Delightfully simple, the Instamatic elevated photography to the rank of democratic mass-consumption. The family album and the shoebox would fill to overflowing with all kinds of pictures, unhampered by any concern with quality. Amateur style demolished the codes of good photographic taste. Out with black and white and the 30 x 40 format. Who cared about blur, lack of contrast, "bad" framing and scrappy composition when the results exuded happiness? The album seethed with real, powerful emotion, unimportant but not undignified. All the illusion and all the conformity of family wellbeing.
Totally inconsequential places make up the fixed horizon of this visual form. In a return to Nicéphore Niépce's Point de Vue du Gras, we stare mesmerised through the window at the spectacle of the world, at an out there parading its vices, its banality and its wonders. What we see, we photograph. But there's no longer any emergence of the awe-inspiring or the sublime. The pictorial landscape withdraws in defeat. Whatever comes under our eye, we leave our mark on. Our stain, rather: the return of black and white back in the image.
There was a time when photography appraised space, with the photographer bringing a mix of respect and domination to his surroundings. Now it speaks to us of the breaking of the link between man and nature, in an inglorious world. Last illusions of marvellous spaces.
Artefacts of no great importance, things of no interest: images are the hawkers of our new identity. Commodification sacralises the industrial object with which we set up an ambiguous relationship. Submerged, we nonetheless remain under the spell of the aesthetic that points to the disproportionate value we grant it. As the work of art declines, the object takes over at the heart of the photographic series, like a fetish or a new golden calf.
All the narratives have a debt to pay to lesser forms: the postcard, photonovels, serials, airport fiction and travel diaries. Popular genres they usurp and adapt almost in their raw form. Everyday image-existence fuels these narratives and, even more so, renews them in a gigantic intermingling, a chaos of posters and magazines. The modern world surrounds the individual with mass images and abolishes the nobility of our relationship with art.
The destiny we all share reached its visual culmination in the publications of the 1930s. VU, Détective, Voilà, Life, Picture Post freed the image from the domination of words. Without rotogravure and art directors the pictures would remain frozen amid the leaden slabs of text. Narrative became mise en scène and spectacle in a dialogue between the visual and writing transformed into image. Bubbles clung to lips or yielded hidden thoughts. The written word hooked up with representation. Collage, superposition, juxtaposition and overprinting signalled the end of imitation. The indices of life metamorphosed into signs.
4.
Words, language and texts were subjected to this new order. They looked like typographical fragments swinging or wandering through the overall image layout. No more lines, no more paragraphs, no more pages. The photographs dialogued with a jumble of signs and meaning meshing into a whole.
This is where the power of photography lies. It scorned the fine arts and proudly stood out against words. Literature offered no resistance. Now each word seeks its place and slips into the narrative. The minimum has become the rule: just enough to understand the plot and no more. The word sneaks ingloriously into these adventures and skirts their precipices, but the image cannot manage without them and has to coexist with them.
Photographic narrative does not submit to this order. On the contrary, it is the culmination of the disorder of existence erroneously perceived as shot through with fault lines and fractures and bolstered here and there by collusion. Its structure is subject to the individual's biological and social rhythms and its language changes register as it moves away from realism. The private – that which is most deeply hidden in us – eludes the obsessive accuracy of description; it can only be brought to light through successive, fortuitous interconnections.
The merging of the mechanical, the optical and chemical pursue and pin down clues, but only reveal allusively.
Narrative is always the upshot of the immediate. The photographic version does not submit to temporal order. The overall shift that takes place hinges on the principle of time interrupted. The visual is an exuberant mash-up of future, imperfect and present following each other in no seemingly logical fashion. The immediate jars, being the purest of lies, no more than the retrospective rewriting of miscellaneous, formally similar events. To the extent that it brackets together episodes, memories, thoughts and concepts, temporal order cannot be established in advance. The narrative's temporality is governed by a mysterious sequencing – staccato, fragmented, random – which belongs to the author himself. Although physical time no longer holds any secrets for us, we find historical perception of events of little importance. The only effective narrative time is built out of reminiscences, floating memories. Stripped of all illusions regarding the march of time, our images collide as if we were watching several screens at the same time, or a panorama. This spectacle can be grasped only as sequences forming an unstable looking-back – a capturing of impressions – that endlessly renews itself.
5.
In the final analysis, the status of photographs shatters and regenerates by ridding life stories of their unequivocal character. More or less consciously it re-examines reality via successive elimination of descriptions and "illogical" occurrences. All this gives rise to enigmatic, disjointed discourses that are nonetheless enriched by its omissions and the gaps in its knowledge. Photography's original narrative system transforms the personal account of an experience of the world into a revisited, shared account based on common practice of the medium: a unverifiable narrative given consistency by a combination of contemporary equipment and authorial intent.
Final scenes. These scenarios are incapable of ending. They are too dependent on the struggle between chance and necessity, between a time-space separation that prevents any identification with reality.
Yet they also undergo the close scrutiny of a watcher become investigator and crime scene witness, the protagonist of a seminal yet déjà-vu situation whose meaning has nothing to do with the rational. His gaze pirouettes and pries along a path no longer dictated by the sequence of the images. Each narrative offers us the ultimate key to understanding: the impossibility of seeing clearly amid all these scattered, confused clues.
策展團隊
藝術總監： 段煜婷
展覽總顧問：慄憲庭
總策展人： 弗朗索•薩瓦爾 段煜婷
策 展 人： 黛安娜•史密斯
讓•米歇爾•桑切斯
特別策展項目：
楊福東
莊 輝
韓 磊
嚴 明
Curators
Director: Duan Yuting
General Exhibition Consultant: Li Xianting
General Curator: François Cheval Duan Yuting
Curators:
Diane Smyth
Jean-Michel Sanchez
Special Curating Plan:
Yang Fudong
Zhuang Hui
Han Lei
Yan Ming
段煜婷
致力於中國當代攝影的策展、傳播、推廣以及藝術項目的管理。
於《人民攝影》先後擔任「攝影家訪談」專欄記者、理論版編輯；於羊城晚報報業集團《新快報》先後任圖片編輯、圖片總監； 2000年編著大型紀實攝影叢書《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；2005年底被評為「2005中國攝影十大焦點人物」；2006年2月擔任莫斯科攝影節策展人；2006年5月「中國攝影五十年」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年英國伯明罕攝影節大師評審會評委；2007年德國柏林攝影節大師評審會評委；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；2008年6月，北京攝影季論壇發言人：2009年5月中國攝影金像獎評委；2009年－2010年南方短片節評委；2010年6月瑞士日內瓦攝影節評委；2010年7月法國才華攝影基金獎評委 ; 2011 年英國 Prix Pictet 攝影獎提名人；2012年莫斯科攝影雙年展策展人;2012大邱攝影雙年展評委; 2012丹麥攝影三年展評委。
Duan Yuting
Dedicated in curatorship, spreading and promotion of China’s contemporary photography and management of art projects. Has been hostess of the column of 「Photographer Interview」 and editor of theory edition of People's Photography; photo editor and photo chief director for New Express under Yangcheng Evening News Group; in 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 and has been chosen as Top Ten Character of China Photography of the Year 2005; 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 of the 1st Salonika Photo Biennale 2008, Greece. May 2008, Reviewer for FOTOBILD Berlin. May, 2009, Reviewer for China Photography Awards; Sep.2009 & Sep.2010, Judger for Southern Porket Film Festival. June,2010 Viewer for 50JPG, Geneva; July, 2010, Jury for Photography Talent Award, France. Nominator of 2011 Prix Pictet Photography Prize; Curator of 2012 Moscow Photo Biennale，Portfolio Reviewer,Daegu Photo Biennale,Korea Portfolio Reviewer,MEETING PLACE PORTFOLIO REVIEW,2012 FotoTriennale.dk
弗朗索·薩瓦爾
法國尼埃普斯攝影博物館館長。
在過去的幾年裡，我經常強調這樣一個事實：我是在史達林去世後的一年出生的，我出生的前幾個月1954年的奠邊府戰役法國剛剛戰敗，所以這就暗示了我的雙重身份：我是一個反史達林主義者，也是一個反殖民主義者。
我在社會學和人類學領域的學習研究以及在七十年代的政治運動經歷都還不足以讓我勝任博物館館長的職位。
但隨後事情發生了變化，根據左派人士（如今他們都已當權）的意願，我整合了博物館的館長體制。從各方面考慮，使我的職業實踐得以成形的事物多是我在大學校園內外學到的東西。馬塞爾·莫斯向我展示了藝術市場的運作方式，P·布迪厄爾讓我對業餘攝影有了新的看法；鮑德裡亞教給我符號的政治含義，而布爾加克夫自然在卡爾·馬克思之後找到了定位。
如今，我認為第一個業餘攝影師堪稱為無政府主義者，因為他們有點接近《寄生蟲》（帕索裡尼導演的一部影片）裡的特徵。當我沉浸在賈克梅裡的攝影作品中，我感覺自己像是一個大平原上的印第安人……那一刻仿佛能飛起來。然而說到底，我不過只是一個不稱職的人類學家，遺失在博物館漫長的長廊裡。
Francois Cheval
Director of Musèe Nicephore Niepce.
In the course of the past few years, I frequently pointed out the fact that I was born one year after Stalin’s death, a few months after the French defeat at Diên Biên Phû in1954 and, consequently, under the double sign of anti-stalinism and anti-colonialism. My studies in sociology and anthropology, as well my political activities in the seventies, had hardly prepared me for a position of museum curator. But things had changed, and by the will of the left that then held power, I integrated the body of museum curators. All things considered, what gave form to my professional practice was rather what I had learned at university – and outside university. Marcel Mauss revealed the functioning of the Art market to me; P. Bourdieu gave me new perspectives on amateur photography; Baudrillard taught me the political nature of signs, and Boulgakov naturally found his place alongside Karl Marx. Today, I consider the first paparazzi as anarchists, somewhat close to the characters of Accatone. And when I immerse myself in the pictures of Giacomelli, I feel like a Plains Indian… and I fly. When all is said and done, I am just a bad anthropologist lost in the corridors of a museum.
黛安娜•史密斯
1975年出生在北愛爾蘭，1981年搬到英國。在伯明罕大學學習英語語言和文學，1997年畢業,獲一級榮譽和Tibbatt的紀念獎。2003年倫敦大學研究二十世紀英國文學碩士畢業。
在伯明罕, 史密斯捲入藝術和文化雜誌新聞工作。她曾在希臘雅典的Pagoulatou-Vlachou出版社工作一年。畢業後於1998年移居倫敦,追求自己雜誌出版事業。2004年她進入《英國攝影雜誌》並在2006年成為副主編;於1854年推出的世界上最古老的雜誌《人民黨》。曾經的編著者包括赫伯特•喬治•威爾斯和阿瑟•柯南•道爾爵士。
史密斯採訪了許多世界最受人尊敬的攝影師,包括南•戈爾丁，託馬斯,•魯夫,菲利普•洛爾卡,沃爾夫岡提爾曼、保羅•羅維西和尤爾金•泰勒。她也為時代周刊、衛報、孔徑、光圈、創評 攝影哲學寫攝影評論，並與人民黨編輯西蒙.班布裡奇為2010年在多倫多動畫節策劃了紙巖石剪刀展覽。
Diane Smyth
was born in Northern Ireland in 1975 and moved to England in 1981. She studied English Language and Literature at the University of Birmingham, graduating in 1997 with First Class Honours and the Tibbatt’s Memorial Prize. She went on to study an MA in Twentieth Century English Literature at the University of London, graduating in 2003.
Smyth got involved with journalism while at Birmingham, working on an arts and culture magazine based in the city. She worked at the Pagoulatou-Vlachou publishing house in Athens, Greece, for a year after graduating then moved to London in 1998 to pursue a career in magazine publishing. She joined the British Journal of Photography in 2004 and became deputy editor in 2006; the BJP, which launched in 1854, is one of the oldest magazines in the world. Past contributors include HG Wells and Sir Arthur Conan Doyle.
In March 2010 the BJP underwent a dramatic relaunch, and in 2011 it was shortlisted for the Specialist Consumer Magazine of the Year at the Periodical Publisher Association Awards, alongside titles such as Wired, Elle Decoration and Sunday Times Travel Magazine. Smyth was nominated for Writer of the Year at the same awards. In September 2011 BJP launched a quarterly iPad app, which is now edited by Smyth; it was awarded a prize for the 「Best Use of Mobile」 at the British Media Awards in April 2012. In June 2012, BJP soft-launched an app for iPhones.
Smyth has interviewed many of the world’s best-respected photographers, including Nan Goldin, Thomas Ruff, Philip-Lorca diCorcia, Wolfgang Tillmans, Paolo Roversi and Juergen Teller. She has also written on photography for The Times, The Guardian, Aperture, Creative Review and The Philosophy of Photography and curated the exhibition Paper Rock Scissors for the 2010 Flash Forward Festival in Toronto with the BJP editor, Simon Bainbridge.
讓•米歇爾•桑切斯
總監，多媒體設計師，藝術總監，2005年與朱利安•羅傑聯合創辦《現場》。
在創辦《現場》這一公司之前，在巴黎高等工業學校參加大量虛擬實境調研實驗。
從事光模擬和逼真3D數字影像合成特效教學；探索藝術和新技術之間關聯。作為藝術總監，他想像和實踐他的創意（電腦生成科學短片）；與尼埃普斯攝影博物館合作製作了幾個紀錄片，關於各種攝影實踐電子創意和展覽（攝影發明，匿名攝影，戰爭體視覺）
Jean-Michel Sanchez
Director and multimedia designer，Artistic directorCo-founder of on-situ in 2005 (With Julien Roger)
Participates in the activities of the research laboratory of Virtual Reality at Ecole Nationale Supérieure d'Arts et Métiers (Arts et Métiers Paris Tech), before creating the on-situ company；Teaches light simulation and realistic 3D digital compositing special effects；Explores the relation between art and new technologies. Artistic director, he imagines and develop his creations (short and medium-length scientific films, films based on Computer-Generated Imagery).Performs several documentaries, electronic creations and exhibitions about the various practices of photography (inventions of photography, anonymous photography, war stereoscopy views, etc.) in partnership with the Musée Nicéphore Niépce (Chalon sur Saône).
楊福東
1971年生於北京。畢業於中國美術學院油畫系。從九十年代末起，他就開始從事影像作品的創作。如今，他已經是中國最成功和最有影響力的年輕藝術家之一。影像代表作品有「紅櫻」（2011），《夜將》（2011），《八月的二分之一》（2011），《第五夜》（2010）；《竹林七賢》（2003-2007），《雀村往東》（2007），《斷橋無雪》（2006），《半馬索》（2005），《蛇的復甦》（2005），《靠海》（2003），《陌生天堂》（2002），《天上，天上——茉莉，茉莉》（2002）。
YANG Fudong
was born in 1971 in Beijing. He graduated from the China Academy of Fine Arts Oil Painting Department in Hangzhou. Starting in the late 1990's, YANG Fudong embarked on a career in the mediums of film and video. He is among the most successful and influential young Chinese artists today. The best known works by YANG Fudong include: The Nightman Cometh (2011); One Half of August (2011); The Fifth Night (2010); Seven Intellectuals in Bamboo Forest (2003-2007); East of Que Village (2007); No Snow on the Broken Bridge (2006); The Half Hitching Post (2005)； The Revival of the Snake (2005); Close to the Sea (2003); An Estranged Paradise (2002); Flutter, Flutter - Jasmine, Jasmine (2002).
莊輝
1963年出生於甘肅省的玉門鎮。13歲時離開家鄉轉學到了河南洛陽，並開始自學繪畫。1979年高中畢業后庄輝進入洛陽第一拖拉機廠成為了一名國營工廠的工人，這期間一直遊走於社會，並進行大量的走訪和學習。 1992年莊輝組織完成了《為人民服務》的藝術活動。1995年創作《一個和三十個》、《東經109.88 北緯31.09》。1996年莊輝來到北京開始新的工作和生活，同年他創作了與不同的職業團體（工人、農民、士兵、學生、醫護人員、警察等）多達幾百人的合影作品。 之後創作完成了《公共浴室》、《甲乙丙丁》、《十年》等攝影作品。2000年之后庄輝創作了《茶山鎮》、《帶鋼車間》、《筒子樓》等裝置作品。
2006年莊輝開始同旦兒合作，至今他們相繼完成了《描摹吳哥》以及《傾斜11度》、《鴛鴦》等雕塑作品。2009年完成了《玉門》、《木工師傅的邊角料》等作品。
Zhuang Hui
Born: 1963 in Yumen, Gansu Province, China.When he was 13, he left hometown and studied in Luoyang, Henan province, and he began to paint. In 1979. At this time, he visited many places and studied a lot in the society. In 1992, Zhuang organized the activity 「Serving for the People". In 1995, he create One and Ten, "109.88 degrees east longitudes, 31.09 degrees north latitude. In 1996, he came to Beijing for a new job and new life, at the same time, he create different group photos of works, which hundreds of people from different profession (workers, farmers, soldiers, students, medical workers, policemen, etc) joined the photo taking. Afterwards, he finished the photography "Public Bathroom", "ABCD", "A Decade" and other works. After 2000, Zhuang created section for installations such as "Cha Shan Town", "Steel Factory" and "Tube-shaped apartment". In 2006, he worked with Dan'er and successively finished statuary such as the "Portraying for Wu Ge" and "11 Degrees Tilt" and "Yuan Yang" and so on. In 2009, he finished "Yu Men"and "The Off cut of Mr. Carpenter"
韓磊
1967 出生於河南開封
1989 畢業於中央工藝美術學院書籍藝術系
現工作、生活於北京
個展：
2010照相法： 韓磊+攝影, 瑪吉畫廊, 馬德裡，西班牙
間隔： 韓磊攝影展, 泰康頂層藝術空間, 北京，中國
未雨綢繆： 韓磊攝影個展, M97畫廊, 上海，中國
2009照相法： 韓磊+攝影, 伊比利亞當代藝術中心, 北京，中國
2008沼澤：韓磊個展，西五畫廊，北京，中國
2007影像復興：韓磊攝影展，J Chen畫廊，臺灣，中國
韓磊攝影展，漢雅軒，香港，中國
2006 Where is China? 韓磊攝影展，現在畫廊，北京，中國
PAGODA: 韓磊攝影展，LOFT畫廊，巴黎，法國
2005肖像：韓磊，Polaris畫廊，巴黎，法國
韓磊：拍攝於2005，百年印象畫廊，北京，中國
韓磊攝影展，Leda Fletcher畫廊，瑞士，日內瓦
2003 陌生：韓磊攝影展，亦安畫廊，上海，中國
1996-1997 疏離：韓磊攝影展，北京-柏林-赫爾辛基，中國-德國-芬蘭
Han Lei
1967，Born in Kaifeng, Henan Province, China1989，Graduated from Central Academy of Craft and Design, Beijing, China.
Currently works and lives in Beijing, China
Solo Exhibitions
2010Han Lei：RUPTURA BREAKTHROUGH, Magee Art Gallery, Madrid, Spain
In between: Han Lei Solo Exhibition, Talkang Space, Beijing, China
The Light of Day: Han Lei Solo Exhibition, M97 Gallery,Shanghai, china
2009 Image Tricks: Han Lei + Photography，Iberia Center for Contemporary Art ，Beijing, China；2008 Swamp-Han Lei Solo Exhibition, C5 Art, Beijing, China；Renaissance of Photography: Han Lei Photography Exhibition, Gallery J. Chen, Taiwan, China; Photography by Han Lei, Hanart TZ Gallery, Hong Kong, China；2006 Where is China? Han Lei Photography, Art Now Gallery, Beijing, China; Pagoda: Han Lei Photography, Gallery LOFT, Paris, France; Portraits: Han Lei, Gallery Polaris, Paris, France; Killing Legend, 798 Photo Gallery, Beijing, China' Han Lei Photography, Gallery Leda Fletcher, Geneva, Switzerland；2003 Strange, Aura Gallery, Shanghai, China；1996-1997 Alienation, Hippolyte Gallery, Helsinki, Finland; Podwell Gallery, Berlin,Germany; China Art Archives & Warehouse, Beijing, China
嚴明
1970年代初生於安徽，大學學的是中文。做過中學老師、雜誌編輯、唱片公司企劃宣傳、報社記者。做過10年職業貝司樂手，10年記者。目前已做攝影師10年，是自由攝影師，但不打算再改行了，希望可以一直這樣自由下去。現居中國廣州。
關注各種現當代藝術，喜愛中國傳統歷史文化。常年堅持中國現實影像的當代性探索，同時關注同樣致力於此的攝影師的生存狀態，希望看到獨立、可持續的中國式影像生態的建立。
2010年憑《我的碼頭》獲法國"才華攝影基金"中國區比賽紀實類冠軍，2010年獲大理國際影會"最佳新銳攝影師獎"、2011年作品《大國志》獲侯登科紀實攝影獎。
Yan Ming
was born in 1970s, in the middle of China, Anhui Province. He learned Chinese language and literature in the University. Yan used to work as a high school teacher, editor in the magazine, bass player in the band, planning publicity in the music record company, and photojournalist in the newspaper. Now live in Guangzhou China.
There are two jobs he had done for over 10 years, one is professional musician, the other is photojournalist. Being a freelance photographer now, he enjoys and doesn’t want to switch any more. Freedom gives him creativity, which he uses to travel and document China. Yanming focuses on modern art, but also enjoy Chinese traditional history and art culture. For many years, he keeps on discovering the unique photographic style based on Chinese traditional culture. Also he pays attention on the other photographers who are the same generation in China. He wishes to see the more and more indigenous photographers to build the independent and unique photographic environment soon.
2010 The winner of the first Talent China Award in the category of Reportage, Photographie.com,France. 2010 Best new artist of Dali international photography exhibition.2011 Winner of Hou Dengke Documentary Photograph Award.
展覽
國內展覽
藝術家特別策展計劃：
1、策展人：韓磊——《金銀》
孟瑾《每個房間都被點亮》
董文勝《董文勝》
封巖《迷幻的竹子》
馮立《白夜》
王亞斌 《我就是風光》
遊莉 《喀什》
2、策展人：莊輝 ——《逼真的世界》
王昭武（民族學、人類學家）
張家富（地質學家）
簡學智（病理專家）
林子琪（街拍攝影師）
孫少玲（警察）
NASA (美國宇航局)
3、策展人：嚴明 ——《立意與解讀》
慕容拖鞋《漂流欲是》
寧凱《失憶》
田野《靜穆四合》
李宇寧《微光》
4、策展人：楊福東——《實驗影像工作室》
盧袁炯 《循環四十九天》
寇路陽 《河上》
徐卓君 《九夷》
馮冰伊 《退浪》
袁可如 《軌雀》 《青烏》
馬海蛟《如果,我把它忘記》
袁輝《又一陣春風來襲》
韓婧《夢緣》
朱昶全《歡呼孫大聖》
個展部分
策展人：段煜婷
蔣 志《情書》
阿 鬥《阿鬥》
陳曉雲 《墜枯錄》注
線雲強《軍人》
倪衛華 《風景牆》
伊德爾 《遺落和被擱置的》
單飛鳴 《樹》
高 遠《東方十賢》
黃慶軍《家當》
王軼庶 《應答》
劉博智《空》
朱憲民《蘇聯1988》
顏長江+肖萱安《誰的房間？》
餘海波《大芬油畫村》
韓磊《風》
鄒進新《非凡的旅程》
王琛《地球的主人》
格 非 《唐氏綜合症》
博 尚《遊客凝視》
史春 《東北集市》
李朝暉《浸淫》
雲建軍《這邊，那邊》
Special Curating Plan：
1、Curated by Han Lei: Gold and Silver
Meng Jin, The Lighted Lights
Dong Wensheng, Dong Wensheng
Feng Yan, Psychedelic Bamboo
Feng Li, Bright Night
Wang Yabin, I Am the Scenery
You Li, Kashkar
2、Curated by Zhuang Hui: People working on Photography:
Wang Zhaowu (Ethnology, Anthropology)
Zhang Jiafu( Geologist)
Jian Xuezhi(Pathology Experts)
Lin Ziqi(Street Photographer)
Sun ShaoLing(Policeman)
3、Curated ty Yan Ming: Conception and Reading
Murong Slipper, Flowing Desire
Ning Kai, Amnesia
Tian Ye, All Things Are In Silent
Li Yuning, Beacon Light of Hope
4 、Curator：Yang Fudong, Video Work Group show of the Chinese New Generation
Lu Yuanjiong, 49 Days in Circulation
Kou Luyang,On the River
Xu Zhuojun,Nine Ethnic Minorities
Yuan Keru,A Railfinch
Feng Bingyi,Ebb Tides
Ma Haijiao,If I Forget it...
Yuan Hui,Another Gust of Spring Wind
Han Jing,Dreaming
Zhu Changyong, Dreaming to Be the Money King
Solo Exhibitions:
Curated by Duan Yuting
Chen Xiaoyun, Zhuiku Tablet Annotation
Jiang Zhi,Love Letters
A Dou, A Dou
Yu Haibo, Dafen Art Village
Xian Yunqiang, The Army
Ni Weihua,The Scenery Wall
Yi De』er,The Lost
Ge Fei, Down's Syndrome
Shan Feiming, Tree
Gao Yuan,Ten Magi
Huang Qinjun,Family Belongings
Yan Changjiang+Xiao XuanAn, Whose Room?
Han Lei, Wind
Li Zhaohui,Immersed
Wang Yishu, Answer
Lau Pokchi, Empty
Zhu Xianmin, The Soviet Union 1988
Bo Shang, Tourist Gaze
Yun Jianjun,Here, There
Zou Jinjun, Extraordinary Journey
Wang Chen, The Master of The Earth
Shi Chun,Northeast Fair
國際展覽
尼埃普斯攝影博物館照片收藏展
麥克·亞當斯《敘述空間》
法國匿名攝影師《墓的畫家，我的童年》
喬安•方庫貝爾塔《水狐猴》
拉菲爾·達拉波塔《觀察》
馬·修·伯納德-雷蒙《電視》
讓·路易·加爾內爾《疾病，1987-1988》
讓-呂克-穆列內《拉維珍》
諾埃爾·雅布爾《隔離牆》
凱薩琳·庫克《樹的記憶，絲綢》
傑拉德·柯林·西奧博爾德《平靜的生活》
埃琳娜·博勞瑟斯《12年後》
恩斯特《草圖》
安德烈•梅裡安《精彩空間》
薩米· 科盧韋齊《科盧韋齊》
瑟衛·科契依特《真相》
法蘭科斯·伯恩《給眼睛的膠片」》
克萊爾 ·斯特蘭德《魔法》
娜塔莎·卡蘭薩《有婦之夫和其他故事》
泰雷扎·澤倫克瓦《某夜》
奧利維亞 ·亞瑟《吉達日記》
朱莉·科伯恩《談話》
讓·米歇爾·桑切斯《家庭事務》
《崎嶇之地》/ 25』 /3D
格拉斯•曼紐《無畏的天才》
約翰•德帕拉《金夏沙的日與夜，1955-1965》
Historical collection of the Nicephore Niepce Museum
Mac Adams, The narrative void
L』anonyme français, Le tombeau du peintre de mon enfance
Joan Fontcuberta, Hydropithecus
Raphaël Dallaporta, Observations
Mathieu Bernard-Reymond: TV
Jean Louis Garnell, Jean-Louis Garnell - Désordres 1987-1988
Jean-Luc Moulène, La Vigie
Noel Jabbour: Segregation Wall
Kathryn Cook, Memory of Trees,Silk
Gérard CollinThiébaut, Des vies silencieuses
Elina Brotherus:12 and Apres(12 Years After)
JH Engström, Sketches
André Mérian, Wonderful Spaces
Sammy Baloji, Kolwezi
Servet Kociygit, Truth
François Burgun,Bandes Pour Voir
Clare Strand, Conjurations
Natasha Caruana,Married Man and the other stories
Tereza Zelenkova, The Other Night
Olivia Arthur，Jeddah Diary
Julie Cockburn，CONVERSATIONS
Jean-Michel Sanchez，« Affaires de famille »
« Un relief sans aspérités » / 25』 /3D
Goug Menuez，Fearless Genius
Jean Depara，Night & Day in Kinshasa 1955-1965
學術委員會
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
貝蒂·思吉爾斯卡 丹麥影像藝術中心策展人
高若樂 法國VU圖片社藝術顧問，策展人
羅伯特·普雷基 攝影策展人、聯繫圖片社創始人、總裁
薇姬·戈德堡 美國著名攝影文化評論家、作家和策展人
格裡·伯格 攝影評論家、獲ICP「寫作無限獎」
蘇珊•克絲瑪麗 美國現代藝術博物館攝影策展人
查爾斯•特勞巴 美國紐約視覺藝術學院藝術碩士專業系主任
喬舒亞•莊 耶魯大學美術館攝影助理策展人
陳衛星 中國傳媒大學國際傳播研究中心主任,教授,博士生導師
鮑 昆 中國攝影家協會理論委員會副主任、批評家、策展人
顧 錚 攝影評論家
費大為 藝術批評家、策展人
羅一平 廣東美術館館長、中山大學傳播與設計學院教授
王璜生 中央美術學院美術館館長，策展人
楊小彥 中山大學傳播與設計學院副院長，博士生導師
李 媚 中國攝影家協會理論委員會副主任、批評家
李樹峰 中國藝術研究院攝影研究所所長、批評家
鄧啟耀 廣東中山大學傳播與設計學院副院長
高士明 中國美術學院藝術與人文學院副院長
聞丹青 《中國攝影》雜誌藝術總監
胡武功 攝影批評家、陝西省攝影家協會主席
郭力昕 臺灣政治大學傳播學院副教授、批評家
王南溟 藝術批評家、策展人
邱志傑 策展人、藝術家、中國美術學院綜合藝術系副教授
黃燦然 評論家、詩人鮑 棟 藝術批評家、策展人
安 哥 原中新社廣東分社攝影記者、現為策展人
繆曉春 中央美術學院攝影與數碼媒體工作室
王 川 中央美院設計學院副院長,攝影系教授
Academic Committee
Agnès de Gouvion-Saint-Cyr (France): photo consultant, independent curator Jean-Claude Moineau (France): Professor of Universite de Paris 8, member National Science Council
Beate Cegielska (Denmark): Curator, Imaging Arts Center
Christian Caujolle (France): Curator, Independent Counsellor in photography
Robert Pledge (USA): Photography Curator, Founder and President of Contact Press Images
Vicki Goldberg (USA): Photography critics, Writer, Curator
Gerry Badger (USA): Photography Critic, Author of the books 「The Genius of Photography: How Photography Has Changed Our Lives」, 「The Pleasure of Good Photographs」, winner of the 2011 ICP Infinity Award
Susan Kismaric(US): Retired photography curator at Museum of Modern Art
Charles Traub(USA): Chair, MFA Photography, Video and Related Media Dept. School of Visual Arts
Joshua Chuang (US): Assistant Curator of Photographs, Yale University Art Gallery
Chen Weixing:Ph.D. supervisor, Director of the Center for International Communications Research, Communi- cation University of China
Bao Kun: Deputy Director, the theory Committee of China Photographers Association, Critic, Curator
Gu Zheng: Vice Professor, School of Journalism, Fudan University, photographic critic, Curator
Fei Dawei: Art critics, Curator
Wang Huangsheng: Director, Museum of Art, Central Academy of Fine Art, Artist
Luo Yiping: Professor of the school of communication and design, Sun Yat-Sen University, Director of Guangdong Museum of Art
Yang Xiaoyan: Associate Professor, Deputy Director of the school of communication and design, Sun Yat-Sen University,Critic, doctoral supervisor
Li Mei: Member of Theory Committee, China Photographers Association, Critic and Curator
Li Shufeng: Director, Institute of Arts, Academy of Arts of China,Critic
Deng Qiyao: PhD, Deputy Director of the school of Communication and Design, Sun Yat-Sen University
Gao Shiming: Administrative Vice Director of the School of Art Humanity , China Academy of Fine Arts,
Wen Danqing: Art Director of Chinese Photography
Hu Wugong: Critic, Chairman, Shaanxi Photographers Association
Kuo Lihsin: Photography Critic, Associate Professor of Chengchi University, Taiwan
Cai Meng: Curator, Critic
Wang Nanming: Art critic, Curator
Qiu Zhijie: Curator, Artist, Vice professor of China Academy of Arts Comprehensive Arts Dept.
Huang Canran:Critic, poet
Bao Dong: Art critics, Curator
An Ge: worked as former press photographer in China News Agency Guangdong Branch, Curator
Miao Xiaochun:Central Academy of Fine Arts, Photography & Digital Media Studio
Wang Chuan: Vice president, Institute of Design of Central Academy of Fine Arts, professor of Photography Dept.
支持單位及媒體
支持單位
中國攝影家協會、廣東省攝影家協會、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、慄憲庭電影基金會、紐約國際攝影中心、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、巴黎國際攝影雙年展、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、美國密西根大學、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、法國阿爾勒攝影節、英國 PhotoSwap、美國休斯頓美術館、英國Chris Boot圖書出版有限公司、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、聯繫圖片社、柏林WiE Kultur文化傳播中心、新華社駐北美總分社
Supporting Organizations
China Photographers Association; Guangdong Photographers Association; Guangdong Young Photographers Association; School of Communication and Design, Sun Yat-Sen University; Sun Yat-Sen University Anthropology Department; Li Xianting's Film Fund; International Center of Photography; Mois de la photo (Paris); FotoFest (Houston); The Photographers』 Gallery (London); Moscow Photo Biennale; World Press Photography Foundation; German Photographers Association; La Maison européenne de la photographie(France); Magnum Photos; Photoquai Paris; Russia International Photography Festival; London Photographer's Home; The Federation of Asian Photographic Art; Royal Photographic Society (UK); Drik Photo Agency; The University of Michigan; VU Agency(France); EVE Photographers; Robert Klein Gallery(US); European Artists Organization; Agence France Presse (AFP); The University of Kansas; Otterbein College; The University of Massachusetts Lowell, O』Connor Studio; FotoFreo(Austrilia); NB Pictures(London); John Stevenson Gallery(New York); Photography Criticism Cyber Archive(US); Les Rencontres d』Arles; Photo Swap; Houston Museum of Fine Arts; Chris Boot Ltd(UK); PHotoEspaña; Rhubarb-Rhubarb(UK); Seeing the Light(UK); Grazia Neri Agency(Italy); Ensad(École nationale supérieure des arts décoratifs, France); Tendance Floue(France); Les Filles du Calvaire Gallery(France)；Contact Press Images；WiE Kultur, Berlin; General Branch of the Xinhua News Agency in North America
支持媒體
國內：
新華通訊社、中央電視臺、人民日報、羊城晚報、人民畫報社、廣東電視臺、南方電視臺、廣州電視臺、《中國攝影》雜誌、《攝影之友》雜誌、《中國攝影家》雜誌、《藝術當代》雜誌、《當代藝術》雜誌、《當代美術家》雜誌、《藝術財經》、《大眾攝影》雜誌、《中華攝影》雜誌、《攝影世界》雜誌、《畫廊》雜誌、藝術國際、東方視覺網、中國藝術新聞網、99藝術網、藝術中國網、騰訊、《攝影》雜誌、中國攝影報、人民攝影報、山西電視臺影像世界欄目、新浪網、雅昌藝術網、雅昌攝影網、搜狐網、中國攝影在線、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、新快報、南方日報、南方周末、廣州日報、南方都市報、深圳特區報、深圳晚報、深圳商報、信息時報、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、周末畫報、生活雜誌、新世紀周刊、南方人物周刊
Supporting Press
Press from China
Xinhua News Agency; CCTV; People’s Daily; Yangcheng Evening News; People's pictorial, Guangdong TV; Southern TV; Guangzhou TV; 「China Photo」 Magazine; Photographers' Companion; PhotoChina; Artchina magazine; 「Contemporary Art」 Magazine; Contemporary Artist; Art Value; 「Popular Photography」 Magazine; 「China Photography」 Magazine; Photo World Magazine; Gallery; Artintern; ionly.com.cn; 99ys.net; ArtChina, qq.com; Photography; Chinese Photography; People’s Photography; Yang Cheng Evening News Image World (Shanxi TV);Sina.com; Artron;photo.artron.net; Sohu.com;Cphoto.net; China Visual; Daqi.com; xitek.com; ART MAP; Photo World; Xinjing News; Guizhou TV; China News; Associated Press HK Branch; China Daily; China Youth Daily; Beijing Youth Daily; Hong Kong Wen Wei Po; China Securities;China Culture; Art news; Oriental Morning Post; News Express;Southern Dayly; Southern Weekly; Guangzhou Daily; Southern Metropolitan Daily; Shenzhen Special Zone Daily; Shenzhen Evening News; Shenzhen Economic Daily; The Information Times; Jing News; Qingyuan Daily; Qingyuan TV; Sanlian Life Magazine; Finance Magazine; City Pictorial; Modern Weekly; Life Magazine; Century Weekly; NF Renwu zhoukan;
海外媒體：
法 國：藝術知識、今日藝術、藝術電臺、《歐洲攝影》、《法國文化》、《影像》、巴黎《紐約時報》、世界報、《藝術》雜誌、人道報、費加羅報、藝術現實、法國航空雜誌、法國Photographie.com 雜誌、編輯照片、藝術日報、ELLE 雜誌、攝影、Azart攝影、 l'Oeil ；De l'Air
美 國：《光圈》雜誌、《美國藝術》、《國際先驅論壇報》、《紐約時報》、《時代周刊》、PDN雜誌、《設計藝術》、《文匯日報》聯合國局、《人民日報》聯合國局、《藝術和藝術市場》、《僑報》，《世界日報》、華語電視
瑞 士：巴賽爾報、國際周報、時報
德 國：法蘭克福匯報、《徠卡世界》、德國第二頻道、Stern 雜誌
英 國：英國廣播公司、四頻道、每日電訊、《英國攝影雜誌》、《泰晤士雜誌》
比利時：瑪麗嘉爾時尚雜誌、Soir晚報、藝術新聞
義大利：Corriere della Sera 、《生活》雜誌
西班牙：《藝術》、《攝影》、西班牙電臺
Overseas Press
France: Connaissance des Art; Air France Magazine; Artaujourd'hui.com; Arte; European Photography; France Culture; Images Magazine; New York Times Paris; Le Monde; ArtPresse; l'Humanité; Le Figaro; ArtActuel; DeI'Air; Photographie.com; Rédactrice photo；le Journal des Arts; Elle Magazine; La lettre de la Photographie; Azart Photographie； l'Oeil ；De l'Air
USA: Art in America; International Herald Tribune; New York Times; TIME; PDN; Photography.com; Design Arts Daily, Wenhui Daily UN Bureau,People's Daily UN Bureau, Art and Art Market; The China Press; World Journal; Sino Television Inc.
Switzerland: Basler Zeitung; Die Weltwoche; Le Temps; I'Hebdo.
Germany: Frankfurter Allge; meine Zeitung; Leica World; ZDF TV; Stern Asia.
UK: BBC; Channel 4; Daily Telegraph; Contemporary Magazine; British Journal of Photography; Sunday Times Magazine.
Belgium: Marie-Claire Belgium; Le Soir; Arte News.
Italy: Corriere della Sera; Max Magazine; I'Express.
Spain: Art Magazine; La Fotografia; Televisión Española.
海外特別嘉賓
弗朗索•薩瓦爾 法國尼埃普斯攝影博物館館長
查爾斯•特拉布 美國視覺藝術學院影像傳媒系主席
利奧·羅賓芬 美國策展人，耶魯大學藝術學院客座教授，著名攝影師
羅伯特·普雷基 美國策展人，攝影評論家，聯繫圖片社總裁
萊思莉·馬丁 美國《光圈》雜誌主編
笠原美智子 日本東京都寫真美術館事業企劃課長，首席策展人
宋秀鍾 韓國首爾攝影博物館高級策展人，
曼紐•維拉德， 法國，助理策展人， 尼埃普斯攝影博物館
奧德瑞•荷蕾奧 法國，助理策展人，尼埃普斯攝影博物館
黛安娜·史密斯 英國策展人， 英國攝影雜誌 高級編輯
娜塔莎•卡魯安娜 英國,藝術家，倫敦「撞擊」藝術家工作室創辦人和總監
凱薩琳•菲利博 法國凱薩琳•菲利博傳媒
米歇爾•菲利博 法國《攝影》雜誌
讓•勒蓋 法國藝術家，攝影師
馬克•亞當斯 美國 攝影師
瓊•方克博特 西班牙，攝影師
瑟衛•科契依特 荷蘭藝術家，攝影師
埃琳娜•博勞瑟斯 法國藝術家，攝影師
莫妮卡•艾倫達 英國泰晤士雜誌
比爾•科文歐旺 《藝術新聞》、在線《光圈》、《BJP》
盧克德•布萊恩 瑞士《國際周報》
克萊爾•吉洛特 《世界報》
娜塔莎•沃琳斯基 法國《每日藝術》
克裡斯汀•克斯特 法國 l'Oeil
史蒂芬•布拉斯卡 法國De l'Air
Overseas Guests
Agnès de Gouvion Saint-Cyr (France): Head of Photographpy, French Ministry of Culture
François Cheval, (France): Director of Musee Nicephore Niepce
Charles Traub(USA): Chair, MFA Photography, Video and Related Media Dept. School of Visual Arts
Leo Rubinfien(US): Curator, Photographer
Robert Pledge (US):Curator, Photography Critic, President of Contact Image
Lesley Martin (US): Editor in chief of Apeture
Kasahara Michiko(Japan)：Chief Curator of Tokyo Metropolitan Museum of Photography
Song Sujong (Korea): Senior Curator,The Museum of Photography, Seoul
Emmanuelle Vieillard (France): Assistant Curator, Musèe Nicephore Niepce
Audrey Hoareau. (France): Assistant Curator, Musèe Nicephore Niepce
Diane Smyth, Curator, editor of British Journal of Photography
Natasha Caruana (U.K.): Practicing artist, lecturer of photography and founding
director of the London based studio STRIKE artists studios.
Catherine Philippot (France): Catherine Philippot-Relations Media
Michel Philippot(France), le Journal de la Photographie
Jean Le Gac (France): Artist, Photographer
Mac Adams（US）: Artist, Photographer
Joan Fontcuberta (Spain): Artist, Photographer
Servet Kocyigit(Turkey/Netherland): Artist, Photographer
Elina Brotherus(France): Artist, Photographer
Monica Allende（UK）, Sunday Times Magazine, UK
Bill Kouwenhoven(UK), hotshoe, PhotoNews, afterimage, aperture online, bjp
Luc Debraine(Swiss), l』Hebdo
Claire Guillot(France), le Monde
Natacha Wolinski(France),le Quotidien de l'Art
Christine Coste(France),l'Oeil
Stéphane Brasca(France), De l'Air
組織機構
主 辦 單 位：廣東省文化廳
清遠市人民政府
連州市人民政府
羊城晚報報業集團
特別合作單位:廣東美術館
承 辦 單 位：廣州市瀚域文化傳播有限公司
門戶網站支持：騰訊
首席合作媒體：新浪新聞
協辦媒體：
新浪微博
網易新聞
搜狐攝影
中國新聞網
中國攝影
攝影之友
藝術財經L'OFFICIEL Art
藝術中國
合作媒體：
外灘畫報
南方航空
中國攝影報
周末畫報
藝術界
當代藝術與新聞
畫廊
東方視覺
蜂鳥網
雅昌藝術網
99藝術網
藝訊中國
當代藝術
收藏投資導刊
生活藝術地圖
美術文獻
中國藝術新聞網
今日藝術網
鳴謝：
Organization
Official Sponsors
The Department of Culture of Guangdong Province
People’s Government of Qingyuan Municipality
People’s Government of Lianzhou Municipality
Yangcheng Evening News newspaper group
Special Cooperation Organization Guangdong Museum of Art
Organizer Hanyu Media Ltd.
Web Portals qq.com
Chif Cooperation Media news.sina.com
Culure Partners
weibo.com
Netease news
Photo.sohu.com
Chinanews.com
China Photo
Photographers' Companion
L'OFFICIEL ART
ART China
Media Partners
THE BUND
South Air China
Photo China
MODERN WEEKLY
Art Leap
Contemporary Art and News
Gallery
Ionly.com.cn
Fengniao.com
artron.net
99 Artnet
ARTINFO CHINA
Contemporary Art
Collect Investment Guide
Life Art Map
Meishu Wenxian
artnews.cn
artnow.com.cn
Acknowledgements：
（此處三個logo 寶馬 愛普生 中國聯通）