第四届连州国际摄影年展 Fourth Lianzhou International Photo Festival 我的照相机 My Camera and I 本届主题：我的照相机 艺术总监：段煜婷 总策展人：栗宪庭 鲍昆 策 展 人：姜纬 刘树勇 Kajsa Lindskog（瑞典） Anna Brag（瑞典） Emil Fedida（挪威） Caprice Horn（德国） Alka Pande（印度） Gunther Dietrich（德国） Kathryn Alice Barron（英国） Robert Pledge (美国) 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、 组织机构 批准单位：中华人民共和国文化部 主办单位：连州市人民政府 承办单位：明天艺术中心 协办单位：清远日报 联办单位：南方电视台 广东美术馆 今日美术馆 广东摄影家协会 新快报 中国摄影 艺术世界 雅昌艺术网 艺术国际 城市画报 中国摄影家 文献支持：东方视觉网 媒体支持：《画廊》杂志 《当代艺术》杂志 中国艺术新闻网 门户网站支持：新浪 网易 艺术空间设计：德默营造 制作技术支持：爱普生(中国)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 标准或信念 段煜婷 作为连州国际摄影年展的艺术总监，面对公众时，有一个问题或多或少总是会被问到：你的标准是什么？ 我对付这个问题的办法是告诉对方，他的问题是出于对艺术总监的误解，艺术总监不是法官，手里没有法典，更不是一个质检人员，所以没有可以清晰列明的“标准”。 这样的回答通常能够让我在现场脱离困境，但是，我知道，我实际上绕过了问题的实质。记者和观众当然不是迫使我列出一二三四条精确的、通行的标准，他们要问的、他们认为他们必须知道的是，作为一个艺术总监，你对摄影的根本看法是什么，你的信念何在？ 正是这个问题困住了我。摄影对我来说究竟意味着什么？它是我们的家常日用和柴米油盐，是我们的话语权力的来源，是宏大精密的知识谱系，是必须不断生产的思想、理论和概念，是我们的分工我们的学问，但是现在，一个观众穿过这一切来到我面前，他问：是什么使你选择了这一切，告诉我一个根本理由，这个理由证明这一切都有意义。 现在，我愿意试着回答这个问题。 在我们生活的大部分时间里，经历了图像观念急剧、频繁的变化，对于摄影是什么以及摄影在人类生活中的价值，我们曾经信服和发明了许多种说法，而在当下，我们有些人甚至对此产生了怀疑。但是，现在面对这个问题，我宁愿回到生命的早期，在那个急剧变化初现端倪的时代，通过各种途径，我们发现了摄影。 尽管在那时，人的自我认识、人对世界的想象还是受到严厉规约的影响，尽管有强大的真理的声音告诉你，人必须是这样、生活必须是这样，你无可选择无可争辩，但是，摄影的微光使我们看到，人可能是另外的样子，我们自身远比我们意识到的更为丰富和复杂，我们看到了经验的真实质地，看到了事物的模棱两可，看到人如何击破覆盖他的幻觉、成规、归类和论述，去发现和践行他自己的真理。 在这个意义上，摄影就是要承受傲慢与偏见，承受对它的价值的怀疑。承受着这种压力，摄影守护着语言的活力，守护着人的生动形象，守护着人的诚恳和自由。 从这样的信念出发，我认为，连州摄影年展这样的活动可以是肯定也可以是怀疑，是分析、判断和学理，但肯定、怀疑、分析、论断和学理不是为了规约和驯服摄影，不是为了榨干它的汁液，恰恰相反，它是为了警觉地坚持摄影的根本精神。 同样是从这样的信念出发，我也认为连州摄影年展并非寻求公正，它是非常值得的冒险，是人的想象力的有力证明，它将图像中潜藏的各种各样可能性充分开启，澄清为明晰的意识和言说。 连州摄影年展愿意发出这样一种明确的迅息：只要你的照相机没有对着现实背转身去，只要你的拍摄工作是出于自己的真情实感，只要你坚持摄影的根本精神，那么，我们会看见，我们会赞赏，我们会鼓励，我们会推广，我们会给予帮助。 这就是我对连州摄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、 主题阐释 我的照相机 栗宪庭 我们用一句大白话“我的照相机”，作为本届连州国际摄影年展的主题，在数码新技术日益发达和当代艺术中的摄影媒体日益热闹的情况下，显得有些不合时宜。或者说，恰恰因为这样形势，我们主张回到“我”和“照相机”以及现实的基本关系上。 “我的照相机” 强调的首要因素是“我”——作为一个有良知的个人，他的立场，他的独立思想，他的独立视角，以及独特的语言方式，是我们首先关注的作品准则。而视角和语言方式的独特性，牵涉到摄影的基本媒介——“照相机”的独特性。当我们通过照相机直面被拍摄的对象时，一定会受到照相机的诸如镜头、焦距、曝光等一系列机器的制约，它的长处也是它的短处，因此，现代数码新技术及其电脑技术，使修改、挪用、拼接的技术日臻完善，这也是摄影媒体迅速成为当代艺术新的媒体和热潮的原因之一，以至于不少纪实摄影家也受到这种新技术的影响，正是在这种意义上，我们重新强调“我的照相机”，并不是一味地反对传统摄影和新技术的联系，而是反对那种无界限地挪用诸如网络、广告等其他媒体上的图片，而忽略了“我的照相机”在直面现实时那种不可替代的特性。在当代艺术日益模糊各艺术门类界限的时候，尤其在当代艺术中摄影媒体成为热潮的时候，我们企图强调“我”在按动“照相机”快门的霎那间，与“转瞬即逝的现实”的独特关系。对人生对日常和非日常生活的见证，也许永远是摄影艺术不可替代的语言魅力。正是从这种意义上，我们强调“我的照相机”，是想与当代艺术中大量的挪用、摆拍、拼接、篡改的取巧风气保持距离。我们不反对摄影使用电脑等新的技术，但强调摄影的基本素材来源于照相机与原本生活现实场景的关系，而把大量挪用、摆拍、拼接、篡改因素的作品让当代艺术的语言系统去评价。 “我的照相机”的主题也许带着复古的倾向，但艺术史上很多新思潮恰恰是通过对某种古艺术的复兴来实现的，诸如欧洲的文艺复兴运动。而连州国际摄影年展举办地的连州，其人文地理也恰恰为我们提供了一种参考。广东的连州在中国属于古楚地，历来是朝廷的贬谪之地，唐代著名古文运动的主要人物，先后都被贬谪到这块土地上，韩愈曾被贬为连州阳山县令，柳宗元曾被贬为相邻的永州司马，而刘禹锡曾先后被贬官至连州任刺史多年。所谓古文运动，是唐代中叶在文体上恢复先秦两汉的文章传统，唐代中叶，社会危机日趋严重，藩镇割据，宦官擅权，朋党之争，以及吐蕃、回纥的侵扰，这种内忧外患的现实情景，让当时有良知的官僚士大夫，倍感六朝以来的浮艳文风成为了表达见解的束缚，韩愈、柳宗元等人首倡复兴先秦两汉自由质朴的文风。他们在继承传统的基础上，主张语言独创，文从字顺。事实上，古文运动在融化古人词汇语法基础上，产生出对后世有深刻影响的自由流畅、直言散行并切中时弊的表达方式。从这种意义上“我的照相机”，并不主张单纯回到“我”和“照相机”及其现实的传统关系上，而是主张摄影家回到“我”的独立立场，回到通过“照相机”直面和见证今天的现实与人生境况的感觉中。 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、学术委员会 吉恩•鲁克蒙特罗索 法国欧洲摄影之家主席 阿聂兹•德•蒂奎文•圣克林 法国文化部摄影部主任 让•克劳德•莫万诺 法国巴黎第八大学教授、国家科学委员会委员 弗兰克易丝•黑比尔 法国阿尔勒摄影节执行总监 奥利维娅•玛丽亚•鲁比奥 西班牙国际摄影节艺术总监 高若乐 法国策展人，VU图片社艺术顾问 艾礼森•诺斯特罗姆 美国乔治•伊斯曼国际摄影与电影博物馆艺术总监 贝恩德•费切勒 德国柏林国际摄影节主席 王璜生 广东美术馆馆长 陈卫星 中国传媒大学国际传播学院副院长、教授 高士明 中国美术学院艺术与人文学院副院长、艺术策划与行政系主任 陈心懋 上海华东师范大学艺术学院副院长、教授 宿志刚 北京电影学院摄影学院院长、教授 王伟强 上海同济大学建筑与城市规划学院教授、建筑与城市空间研究 所副所长 李树峰 中国艺术研究院摄影研究所所长 刘博智 美国堪萨斯大学艺术学院教授 王川 中央美术学院设计学院摄影系主任 郭小彦 北京尤伦斯当代艺术中心首席策展人 郭力昕 台湾政治大学传播学院副教授、影像艺术评论家 朱炯 北京电影学院摄影学院副教授、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、特别海外嘉宾 迈克•法米格提 美国《光圈》杂志编辑 阿丽斯特艾尔•海科斯 德国德意志银行基金会总策展人 安娜•道格拉斯 英国中西部艺术委员会策展人 伯尼•罗宾斯特 加拿大多伦多摄影节执行总监 弗雷德•鲍德温 美国休斯顿国际摄影节主席 克齐兹托夫•坎德罗威克兹 波兰Lodz国际摄影节艺术总监 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、支持单位 中国摄影家协会、广东摄影家协会、香港摄影家联盟、广州摄影家协会、广东青年摄影家协会、中山大学传播与设计学院、中山大学人类学系、国务院新闻摄影办公厅、深圳专业摄影家协会、巴黎摄影月刊、休斯顿FotoFest摄影节、英国摄影家画廊、莫斯科摄影双年展、世界新闻摄影基金会、德国摄影家协会、欧洲摄影之家、玛格南图片社(Magnum)、巴黎国际摄影双年展、休斯顿摄影节、俄罗斯国际摄影节、伦敦摄影师之家、亚洲影艺联盟、英国皇家摄影协会、孟加拉Drik图片社,美国密歇根大学,法国VU图片社,埃娃摄影师、美国波士顿Robert Klein Gallery画廊、欧洲艺术家组织、法新社、美国堪萨斯大学、美国麻省大学Lowell分校、O' Connor 工作室/ O'Connor Studio,澳大利亚FotoFreo摄影节、伦敦NB Pictures图片社、纽约John Stevenson Gallery画廊、美国摄影评论档案馆、法国Photographie.com 杂志、法国阿尔勒摄影节、法国VU图片社、英国 PhotoSwap、美国休斯顿美术馆、英国Chris Boot图书出版有限公司、美国《光圈》 杂志、西班牙摄影节、英国Rhubarb-Rhubarb摄影节、英国Seeing the Light、意大利Grazia Neri图片社、法国国家高等装饰艺术学院、法国Tendance Floue图片社、法国Les Filles du Calvaire画廊 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、支持媒体： 国内： 新华通讯社、中央电视台、人民日报、广东电视台、南方电视台、广州电视台、国务院新闻办图片库、中国摄影杂志、艺术世界杂志、艺术当代杂志、当代美术家杂志、艺术财经、中国摄影家杂志、大众摄影杂志、摄影杂志、摄影之友杂志、中国摄影报、人民摄影报、山西电视台“影像世界”、新浪网、雅昌艺术网、搜狐网、中国摄影在线、视觉中国、大旗网、色影无忌、艺术地图、摄影世界、《新京报》、贵州电视台，中国新闻社、美联社香港分社、中国日报、中国青年报、北京青年报、香港文汇报、中国政券报、中国文化报、中国艺术报、东方早报、羊城晚报、南方日报、广州日报、新快报、南方都市报、深圳特区报、深圳晚报、深圳商报、信息时报、竞报、清远日报、清远电视台、三联生活杂志、财经杂志、城市画报、周末画报、生活杂志、新世纪周刊、南方人物周刊、驻巴黎中国媒体记者 海外： 法国：法国航空杂志(Air France Magazine)、今日艺术(Artaujourd’hui.com)、艺术电台(Arte TV)、《欧洲摄影》(European Photography)、《法国文化》(France Culture)、《影像》(Images Magazine)、巴黎《纽约时报》(New York Times Paris)、世界报 （Le Monde）、《艺术》杂志（ArtPress）、人道报（l'Humanité）、费加罗报（Le Figaro） 美国：美国艺术(Art in America)、国际先驱论坛报(International Herald Tribune)、纽约时报(New York Times)、时代周刊(Time)、PDN杂志 瑞士：巴赛尔报(Basler Zeitung)、国际周报（Die Weltwoche）、时报（Le Temps） 德国：法兰克福汇报(Frankfurter Allgemeine Zeitung)、《徕卡世界》(Leica World)、德国第二频道(ZDF TV) 英国：英国广播公司(BBC)四频道(Channel Four)、每日电讯(Daily Telegraph) 、《英国摄影杂志》 （British Journal of Photography） 比利时：玛丽嘉尔时尚杂志(Marie-Claire Belgique)、Soir晚报(SoirLe)、艺术新闻 意大利：Corriere della Sera 、《生活》杂志(Max Magazine) 西班牙：《艺术》(Art Magazine)、《摄影》(Fotografia La)、西班牙电台 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
附录： 艺术总监：段煜婷 致力于中国当代摄影的策展、传播、推广以及艺术项目、艺术空间的管理。 1996年6月至1998年4月于《人民摄影》先后担任“摄影家访谈”专栏记者、理论版编辑；1998年4月至2005年于羊城晚报报业集团《新快报》先后任图片编辑、图片总监；1998年8月策划组织“华南报道摄影高级研讨班”；2000年编著反映中国20世纪社会各阶层生存状况的大型纪实摄影丛书《中国故事》；2001年至2003年被世界新闻摄影基金会(WPP)选为中国大师班成员参加为期3年的学习；2005年发起、策划连州国际摄影年展项目，并担任项目及艺术总监；2005年底被评为“2005中国摄影十大焦点人物”；2006年1月策划“百变香江—邱良个展”（广东美术馆）；2006年1月策划“我镜头中的毛泽东—吕厚民个展”（广东美术馆）；2006年2月为莫斯科摄影节策展；2006年3月被美国休斯顿摄影节（FotoFest）特邀为中国摄影节的代表参加“国际摄影艺术博物馆联盟Oracle”组织会议；2006年5月“中国摄影50年”大型回顾展特约策展人；2006年11月受邀担任德国柏林摄影节（FOTOBILD）评委；2007年1月受邀担任法国巴黎摄影双年展中国部分策展人；2007年英国伯明翰摄影节（Rhubarb-Rhubarb）大师评审会评委；2007年德国柏林摄影节（FOTOBILD）大师评审会评委。2008年4月首届希腊摄影双年展评委。2008年5月柏林摄影节评委。 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. 总策展人：栗宪庭 1949年生于吉林省，1978年毕业于中央美术学院中国画系。1979——1983年任《美术》杂志编辑，推出“伤痕美术”、“乡土美术”和具有现代主义倾向的“上海十二人画展”、“星星美展”等，并在杂志上组织过“现实主义与现代主义”、“艺术中的自我表现”、“艺术中的抽象” 等理论讨论。 1985——1989年任《中国美术报》编辑，并把该报改变成为推介新思潮和新观念的主要阵地。诸如推出“85 美术新潮”、“新文人画” 等艺术思潮 。同时对一些敏感的艺术观念问题，如“后现代主义”、“大灵魂和语言纯化”、“现代设计”、“城市雕塑”等艺术问题组织过研讨活动。他对于中国当代艺术的发展有着非常重要、无可替代的推介指导作用。1990年以来以独立批评家和策划人身份活动至今。1989年2月作为主要策展人策划了《中国现代艺术大展》。1990年3月在日本东京世田谷美术馆策划《中国现代水墨展》。1993年2月在香港艺术中心和大会堂策划《后89中国新艺术展》。1993年5月在澳大利亚悉尼当代艺术博物馆策划《Mao Goes Pop．》。1993年6月在意大利参与策划《第45届威尼斯双年展：走向东方》。1994年10月，出席日本国际交流基金会组织的《当代艺术讨论会1994——亚洲思潮的潜能》国际学术讨论会，作《文革后的三代艺术家》、《中国近代艺术思潮》的演讲。1995年5月，应温哥华美术馆、西蒙•菲莎大学当代艺术学院的邀请，到加拿大讲学。1995年5月， 应纽约现代艺术新博物馆和纽约市立大学皇后学院亚美研究中心的邀请，到美国访问讲学。1995年9月在德国汉堡国际前卫文化中心策划《从国家意识形态出走——中国当代艺术展》。1995年12月，出席韩国95年艺术组委会组织的《远东亚洲艺术——今天和明天》国际学术讨论会，作《引进与再创作》的演讲。1996年5月，与廖雯共同在北京策划《大众样板》、《艳妆生活》艺术展。1996年10月，出席德国世界文化宫组织的《形象的空间：文化的地志和乌托邦》国际学术讨论会，作《当代艺术，挑战艺术的西方概念》演讲。1997年5月，应新加坡艺术博物馆、南洋艺术学院、LASALLE SIA艺术学院、1997宝藏国际艺术博览会的邀请，赴新加坡作关于中国当代艺术的演讲。1999年1月，任德国波恩艺术博物馆《时代转折》国际艺术展策展人之一。1999年5－6月，在北京中山公园策划《酚苯乙烯》展览，和廖雯合作在天津泰达艺术博物馆策划《跨世纪彩虹》展览。1999年10月——2000年4月，获得美国洛克菲勒基金会ACC（亚洲文化协会）的研究基金，赴美国作当代艺术研究。2000年5月，策划《对伤害的迷恋》展览。2001年5－12月，策划创办《新潮》艺术月刊。2001年9月任首届日本横浜三年展国际委员会委员。2001年策划《12花月》、《死亡档案》展览。2008年12月担任第四届连州国际摄影年展总策展人。 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. 总策展人：鲍昆 策展人，摄影批评家。1953年出生于北京。 中国摄影家协会理论委员会副主任。《中国摄影年鉴》编纂委员会委员。 1997年任中央电视台大型记录片《黄河》策划人。2002年任中国摄影家协会理事会理事。2003年任中央电视台摄影栏目《瞬间世界》执行主编。2004年任武夷山国际摄影周策展人。2005年任桂林国际摄影节策展人，第十一届中国国际摄影艺术展评委。2006年在宋庄美术馆策划《天地间——现实主义的记忆》摄影展。2007年3月被《摄影之友》杂志评选为年度最重要摄影人物，任第二届广州国际摄影双年展学术主持和第七届中国摄影金像奖评委，任第七届平遥国际摄影大展策展人，任第三届连州国际摄影年展策展人。2008年担任第一届北京摄影季艺术总监，任第八届平遥国际摄影大展策展人，第四届连州国际摄影年展总策展人。 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. 姜纬 策展人，出版策划人，艺术批评家。1964年出生于上海。 中国摄影家协会理论委员会委员，中国摄影年鉴编纂委员会委员。近几年来，在上海美术馆、爱普生影艺坊、安德雷斯国际艺术中心、艺博画廊、明天艺术中心等地策划了多个摄影展览。2006至2007年，连续两年被《摄影之友》杂志评选为年度最重要摄影人物。2007年5月任第二届广州国际摄影双年展学术委员。2007年9月获得第七届中国摄影金像奖理论评论奖。2007年12月担任第三届连州国际摄影年展策展人，并获得年度杰出策展人奖。2007年起担任《纸上记录片》系列影像图书策划人，已编辑出版了十多种图书。2008年12月担任第四届连州国际摄影年展策展人。 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 刘树勇 策展人，摄影批评家。1962年出生于山东。 1983年毕业于南开大学中文系。主要从事当代影像文化批评的研究与实践。现为中央财经大学文化与传媒学院新闻传播系主任、教授。《光线》杂志主编。1997年策划中国第一届观念影像展“新影像展”。 2001年策划实施中国“一品国际摄影节”。2001年策划并主持“自己”影像展。2005年8月策划中日关系60年大型图片展。2005年11月策划“社会•内心•关注——山东摄影十人展”。2007年、2008年任平遥国际摄影大展策展人。2008年任第四届连州国际摄影年展策展人。 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年生于瑞典隆德。策展人，艺术项目经纪人，马尔默大学教授。1999年至2003年， 担任瑞典国家摄影中心组委会委员。自2003年起，在瑞典创建Fotografi i Fokus并担任主席，致力于摄影的推广。2004年至2006年，担任马尔默博物馆摄影部策展人。 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. 埃米尔•费迪达 1949年生于摩洛哥。 1989年创建新绘画艺术学院（现为奥斯陆摄影学院）并任学院院长。自1990年以来在挪威、中国、美国和泰国策划过多次摄影艺术展览。 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、画廊经纪人。曾经作为评委参加过许多国际摄影和视频艺术节。 2002年开始创办Caprice Horn画廊，致力于培养年轻艺术家，推广从事各项媒体创作的艺术家，尤其垂青反映社会问题、文化问题的作品和艺术家。 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. 阿尔卡•潘德 视觉文化批评家。她是印度德里印度园区中心视觉艺术画廊的艺术顾问暨策展人，曾在印度昌迪加普的Punjab大学艺术学院的艺术系担任客座高级讲师，发表大量探讨艺术各层面问题的学术论文并举办讲座。她还出版了多本研究艺术及艺术史的著作。近年，阿尔卡•潘德在德里参与并策划了一系列艺术展览。 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. 巩特尔 1967年生于德国。先后在汉堡和柏林学习哲学和视觉艺术。 1998年在柏林创建以视频艺术、行为艺术和装置为主要探索方向的Gallery Transition。2002年在欧洲多次展出实验摄影作品个展和群展。 2007年至今担任柏林PHOTO EDITION 画廊总监，主要探索方向为当代摄影。 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年生于瑞典卡尔斯克鲁纳。艺术家，策展人。 1991年至2001年，在斯德哥尔摩和马尔默交换学院从事艺术新媒体研究。2005年至2008年，担任马尔默大学文化艺术交流学院客座教授。2008年担任挪威奥斯陆艺术学院客座教授。 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. 凯瑟琳•爱丽丝•贝隆 1968年生于伦敦。策展人，讲师，画廊经纪人。英国国民托管博物馆协会成员。 2003年至今，担任Purdy Hick画廊经纪人。在Purdy Hicks画廊、皇室收藏中心、威尔士国家博物馆、加的夫博物馆等地策划过多次艺术展览。近年来，被邀担任英国伯明翰Rhubarb- Rhubarb国际摄影节青年摄影师顾问和评委。 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. |
