丽水：媒介融合、科技造梦的摄影节

装置角度 菲尔·张Installation View by Plil Chang

11月15日至19日，丽水这个浙西南城市，被摄影点染了风物，成为了备受瞩目的“话题中心”——“第二届国际摄影研讨会”暨“第26届全国摄影艺术展览”系列活动不仅在摄影界收获了诸多点赞和良好口碑，在新浪微博的相关话题更获得7.2亿次的点击量。

系列活动的主题为“超媒体时代的影像”，坚持学术性、国际性、群众性和品牌性特色，注重“精品”“特色”“融合”“共享”“开放”理念。1050个不同类型的展览，汇聚了世界50多个国家的5000多名业界精英和摄影群体，以不同的艺术理念和介入方式，呈现出一场光与影、思与变的影像盛宴。

兼容并蓄，海纳百川，摄影展的数量及规模创下国内摄影节庆活动之最，在世界同类活动中规模也属罕见。在小巷里、在电影院、在博物馆、在美术馆……2017丽水摄影节的15个展场，让影像无处不在、无处不欢。

观点：学术争鸣，拓展边界

网格化的幽灵现象 郭静洁The Gridded Ghost Gamer by Minstrel Kulik

作为第二届国际摄影研讨会主题的“超媒体时代的影像”，昭示着学术议题的话语前瞻性。研讨会邀请来自不同国家和地区的十余位摄影理论家、批评家、高等学府教授、博物馆和美术馆机构负责人、媒体编辑、策展人、摄影艺术家展开探讨。

对于这一学术主题，中国美术学院跨媒体学院实验艺术系主任高世强认为，随着媒体科技的加速迭代，媒体关系也走入不断革命的通道。媒体的最典型载体——影像，以及它们生产、传播、接受、消费等关系也被一一颠覆、超越。自媒体时代，人人都是媒体，人人都是影像的创造者和传播者，人人也都是消费者和观众。但是，随着数码时代而来的影像生产的泛滥，随着网络时代而来的影像传播与交流的超载，使得人们本能地作出相应自我保护，无视绝大多数扑面而来的资讯，也包括图像和影像。“超媒体时代的影像”的主题，无异于提出一个问题：在当下的时代境遇和影像现实中，作为影像的创作者、传播者和接受者，以何自处？何以与世界相处？

在策展人、艺术评论家张海涛看来，摄影媒介在不同的时代拓展着载体、技术和材质，传统媒介和新媒介之间的跨界，超越自身的载体束缚，也会让摄影具有新的当代性、实验性和未来感。“超媒体时代的影像”主题，探讨的是影像艺术介入现实的方式和精神怎样能更加自由，让艺术的人文启示功能最大化发挥。

美国纽约帕森斯设计艺术学院摄影系主任、策展人吉姆·雷默则认为，在过去的25年里，摄影经历了3次改革浪潮：第一次是图像的数字化，第二次是图像的网络化，最后是计算机技术在摄影中的应用。后两个技术创新从根本上改变了人类与图像的关系，并为新的摄影理念奠定了基础。这是媒介历史上独一无二的形成发展时期。它从历史中显现出来，蕴涵独特的潜力。图像文化已经达到了一种“超级速度”，在高度联网的计算机环境下，正出现新型的联系、崭新的理念和战略。

焦点：动静相宜，“内外”兼修

众人聚焦的学术主题展用VR、视频、装置、投影等各类科技手段和当代艺术手法，以前沿的方式解读着摄影的发展可能。就摄影本体而言，定格瞬间的魅力，依然是摄影的根本所在。多媒介融合给摄影这门历史不算悠久的艺术带来了无限的可能，也改变了人们的行为方式和观展方式。

吉姆·雷默邀请17个国家和地区的28位当代艺术家代表以“未来何来”为题，展开了一场摄影边界延伸以及走向哪里的话题讨论。每位艺术家都在挑战传统摄影观念，意图通过艺术讲述新时代的核心问题，包括自身网络形象，在计算环境中历史和时间的延展性，在社交媒体时代身份认同以及技术本身的影响等问题。

数字德利 马可·斯科扎洛Digital Deli by Marco Scozzaro

受邀而来的瑞士爱丽舍博物馆主持的“又一代”这一具有全球影响力的展览，展出了50名来自于全球各大摄影专业学府的年轻摄影师作品，每位摄影师都从各自国家不同的文化视角，以影像为载体，呈现出当代艺术语境下样态极为丰富的学术观点和国际视野。

“超媒体”概念在清华大学美术学院教师、艺术家、策展人邓岩策划的“如果艺术可以重新再来”中得到最充分的发挥。巨大的黑色空间，主要被各种视频投射的图像占据，展览的用心也在于从平面呈现到空间视觉的转换。展览由16位国内外知名艺术家的作品组成，涉及多媒体视频、装置、平面影像等表现形式，通过呈现艺术家对于摄影艺术本体语言的多媒介转化，来探讨摄影作为艺术在面对新科技媒介介入后的图像美学体系的美学可能性。展览对于摄影从“平面呈现”到“物理空间占据”的一次新的实验与探索，虽然很难在短时间内让观者读懂每一个独立视频的含义，但所有的影像都有一种互动感，有观展者评价：“艺术家是带着一颗天真的心做一件有趣的事。”

高世强策划的“移山止水”项目，通过邀请32位艺术家关于山水世界观的题材作品，在空间内呈现“移山”“止水”的概念，构建影像的山水世界。其中包括摄影、Video、影像装置、书法行为等作品。从参展的名单中可以窥见，这些艺术家无论是从年龄跨度还是艺术领域都非常宽泛，以跨界的学院派艺术家群体呈现出一个多媒体的艺术展览。

本次活动组委会办公室主任王培权表示，组委会对艺术家抱有开放、包容的心态，力争让观众看到多样化的展览形态。其中，邓岩的展览更先锋，呈现方式和科技休戚相关；吉姆·雷默的展览更丰富；爱丽舍博物馆的展览以学院派为导向，体现了当代摄影及影像艺术的发展动向；高世强的展览回应中国传统文化。综合来看，就是在超媒体时代东西方文化的碰撞和对话。王培权还透露，邀请吉姆·雷默策展时，他看到了上一届摄影节韩国策展人宋修庭策划的展览，激发了他想要和宋修庭“PK”的念头，“她很棒，我要做得更好！”

热点：全国影展，中国故事

作为国内历史最悠久、规模最大的全国性摄影展览，全国摄影艺术展览的号召力无出其右。第26届全国影展共征集到212065幅参展作品，这一数字再次刷新了全国影展投稿作品数量的纪录，入选的368件作品更是成为众多摄影人关注的热点。

第26届全国影展入选作品揭晓后的第一次集体亮相展出，便在丽水。在看展的路上，常会遇到三五成群的观展者在打听：“全国影展在哪里展出？”走进丽水博物馆，更能感受到全国影展的“人气”——看不到一位步履匆匆的观展者，大家认真地聚焦在一幅幅作品前细声交流，若是“撞到”了入选摄影师就在现场，势必引发一拨围着入选摄影师“取经采访”的小高潮。

纪录类摄影作品依然最受关注。范显海的《沙场点兵》中动若风发的张力表现出三军大呼阴山动的磅礴气势，受阅官兵甲胄在身、使命在胸的昂扬精神面貌和战斗意志呼之欲出；向文祥的《温暖的小手》中，儿子为母亲遮挡风雪的一瞬间传递的是爱的温度；余红春的《中国首位歼-10女飞行员的一生》记录了牺牲的女飞行员余旭戎装映衬下的稚嫩、日常生活里的俏皮、训练中的专注、短暂生命的荣光，将读者带入为这个年轻生命逝去深深惋惜的共情；潘永强的《老工业转型的日子》，一幅幅影像定格的则是我国在节能减排、企业升级转型的过程中，产业工人们所经历的必然的阵痛，细致入微地刻画了工人群体对即将改变的工作、生活的期待及内心世界的反应……充盈视觉张力、艺术活力和生命伟力的好作品，大多反映了基层的火热生活。

对于全国影展的关注和讨论从丽水首展生发，在摄影业界继续发酵，其中折射出的中国摄影现实生态，更值得引发关注者和参与者的深度思考。

支点：摄影文章，融入产业

随着信息技术的发展，当下群众生活已经进入大众摄影时代，摄影变得人人都能参与，成为人们生活不可或缺的一部分。“超媒体时代的影像”，看似深奥的摄影节主题，却早已融入了丽水人和丽水摄影人的日常生活。除了慕名而来的摄影界人士前来取经，市民们也利用各种空闲时间看展。丽水居民舒荣誉特意陪着老伴看展，他说：“要不是这次摄影节，我们哪能看到这样的照片，我们丽水人感觉很幸福。”

丽水因其历史文化厚重多元、自然景观得天独厚、民族风情多姿多彩，而被中国摄影家协会命名为全国第一个“中国摄影之乡”。深谙生态文明发展前景和优势，丽水市从2011年就编制出台了《丽水摄影发展规划（2011—2020）》，希望摄影既作为满足人民美好生活需要的重要内容，又成为文化产业的重要增长点。如今，这里拥有国家级摄影创作基地3个，市级摄影基地22个，已建成2个摄影产业园、100个摄影采风基地，中国首个摄影博物馆也落户于此。摄影高端论坛、“瓯江行”丽水摄影大展、摄影排行榜等品牌项目已然成型。据悉，因为摄影，每年到丽水的游人净增数十万，旅游收入也以每年增长25%以上的速度递增，旅游收入在生产总值中的比重已接近10%。丽水摄影文化与旅游产业“碰撞”激发了明显的文旅融合效应。凭借于这股外力及内力，从“绿水青山”间出发的摄影文化，也正让丽水成为一方摄影名城、山水名城。

无题 莎拉·帕尔莫Untitled by sarah Palmer

Lii shui, a city to the southwest of Zhejiang Province ndulged in the atmosphere of photography lately,has become the Center of Discussion drawing wide attention on 15-19, November —— a series of events of the 2ndInternational Photography Symposium 2017 Lishui Photography Festival, the 26thNational Exhibition of Photography not only gains much commendation and sound reputation in the circle of photography, but wins 720 million hits on the related topic of Sina micro-blog.

With the theme of Image of Hypermedia Era, the events adhere to the academic, international mass-based and brand-oriented characteristics and focus on the conception of Competitive Products, Features, Integration, Sharing and Openness.Some 1,050 exhibitions of diverse categories, convening over 5,000 industry elite and photography groups from more than 50 countries worldwide, have presented a feast of images combining light and shadow, thought and changes.

Showing comprehensive inclusiveness, the exhibition, making a record high in the domestic photography festival events in terms of amount and scale, is uncommonly seen amongst its counterparts internationally. Alleys, theaters, museums and art galleries… the 15 exhibitions of 2017 Lishui Photography Festival turned the city into a sea of images.

Point of View: Academic Contention, Boundary Expansion

As the theme of the 2ndInternational Photography Symposium,the Image of Hypermedia Era discourses the foresight of academic issues. The symposium has invited tens of photography theorists, critics, higher education professors, curators of museum and art museums, media editors, events organizers and photographers.

For this academic subject, GAO Shiqang, Director of Experimental Art Department of School of Intermedia Art of China Academy of Art, thinks that the media relationship will enter into a path of continuous evolution with the accelerated iteration of media technology. The image---the most typical carrier of media,and its relationship concerning production, communication,acceptance and consumption and etc. will also be---overthrown and surpassed. In the era of We-media, everybody is media,creator and communicator of images, consumer and audience.However, with the proliferation of image production coming from the digital age, and the overload of image transmission and communication generating from the Internet age, people make corresponding self-production out of instinct, ignoring the overwhelming majority of information, including those images.The theme of Image of Hypermedia Era undoubtedly raises a question: how the image creators, communicators and receivers treat themselves and even communicate with the world in the present situation and reality of images?

However, for ZHANG Haitao, an event organizer and art critic,the media of photography expand the carrier, technology and material in different times. The crossover between traditional media and new media, beyond their own carriers’ bound, will also generate new modernity, experimentation and sense of future. The theme of Image of Hypermedia Era discusses about the means of the image art involved into the reality and how the spirit will enjoy more freedom and maximum the function of humanistic inspiration of art.

In the opinion of James Ramer, an event organizer and director of photography department of Parsons the New School for Design, for the past 25 years, the photography has experienced three waves of reforms, the first was image digitalization,the second image networking and the final application of computer technology in photography. The latter two technology innovation, changing the relationship between people and images in a fundamental manner, has laid foundation for the brand-new conception of photography, an unprecedentedly unique time of creation and development in this media history,containing original potential stemmed from history. The image culture has reached a type of Super Speed, generating new type of connection, and new concept and strategy in a highly network-oriented environment of computer.

Focus: Perfect combination of dynamic and still, internal and external.

The exhibition with academic subject drawing people’s attention has interpreted the development possibility of photography via means of VR, video, device, projection and other scientific means and contemporary art techniques. As far as the photography concerned, freezing the glamour of moment is still the root of photography. The multimedia convergence not only brings up infinite possibility for photography, an art with a short history, but changes people’s behavior and means of exhibition participation as well.

With the theme of How Future Comes, James Ramer has invited 28 representatives of modern artists from 17 countries and regions to discuss about the extension of photographic boundary and its direction. Each artist is challenging traditional photography concepts with the intention of telling the core issues of the new era through art, including issues such as network image of themselves, the scalability of history and time in the computing environment, identity in the age of social media, and the effects of technology itself and etc.

The Another Generation exhibition hosted by the invited Elysee Museum in Switzerland features 50 young photographers from major photographic professions worldwide, each photographer,from the different cultural perspectives of their own countries,presents a very rich academic perspective and international horizon under the contemporary artistic context with images as the carrier.

The concept of "hypermedia" showcases the most comprehensive play in "If Art Can Come Back Again" curated by DENG Yan, a teacher of Tsinghua University's Academy of Fine Arts, artist and event organizer. Huge black space is mainly occupied by a variety of video projection images, the exhibition's intentions lie in the visual transition from the plane to the space.The exhibition, composed of artworks by 16 well-known artists both at home and abroad, involves multimedia videos, device,graphic images and other forms of presentation. By presenting the artist's multi-media transformation of the language of photographic art ontology, the exhibition, upon photography considered an art, explores the aesthetic possibilities of the image aesthetic system in the face of new media of science and technology intervention. The exhibition is a brand-new experiment and exploration of photography from "planar presentation" to "physical space occupancy", though it is most difficult to allow each viewer to acknowledge the meaning of every independent video in a short time, yet all images have an interaction. Some viewers commented: "The artist is doing a funny thing with a naive heart."

The project of "moving mountains and stopping water",planned by GAO Shiqiang, presents the concept of "moving mountains" and "stopping water" in the space, invigorating the landscape world of the images by inviting 32 artists' theme works concerning landscape world view, including photography,video, devices, calligraphy and other works. From the list of exhibitors, it is observed that these artists present a multi-media art exhibition by a cross-disciplinary group of academic artists,both in their age span and the art field.

WANG Peiquan, director of the Organizing Committee of the event, said that the committee holds an open and inclusive attitude to the artists and seeks to make the audience observe a variety of exhibition forms. Among them, DENG Yan's exhibition is avant-garde, showing the close relationship between the way and science and technology; exhibition of James Ramer presents more abundance; Elysee Museum's exhibition, however, is academic-oriented, reflecting the contemporary photography and video art trends; meanwhile, that of GAO Shiqiang echoes the Chinese traditional culture. It is a collision and dialogue, in general, between Eastern and Western cultures in the era of hypermedia. WANG Peiquan also revealed that at the invitation of James Ramer’s organizing the exhibition, he found that the exhibition curated by SONG Cuiting, the organizer of the last photography festival in South Korea, inspired his intention of"PK" with her: "She is so great. I want to Make better! "

Hot Spots: National Exhibition of Photography, Story of China

As the country’s oldest and largest national photographic exhibition, the appeal of national photographic art exhibition is unprecedented. The 26thNational Film Festival has solicited 216,065 entries, a figure that once again set a record for the number of submitted works for the event. Meanwhile,the selected 368 works became the Heated Focus of many photographers.

The first collective debut of the selected works after the official announcement from the 26thNational Film Festival is in Lishui. On the way to the exhibition, groups of viewers often encountered asked: where is the national photo exhibition? Entering into the Lishui Museum, one can experience the event popularity --- there was no such a fast walking viewer and people were drawn before pieces of work, whispering thoughts. If a selected photographer was HIT on the scene, it would undoubtedly lead to a small upsurge of INTERVIEW.

Documentary photography remains the most watched. The moving tension of FAN Xianhai’sField Troops Paradeshows the majestic momentum of Chinese army, navy and air force,the high spirit and battle will of soldiers in parade were vividly portrayed; In XIANG Wenxiang'swarm hands, the moment passed by the son covering the snow for his mother showed the temperature of love; YU Hongchun'sLife of China's First J-10 Female Pilotrecorded the immaturity of the sacrificed female pilot YU Xu in uniform, the playfulness in daily life, the concentration in training, and the glory of her short life, bringing the viewers into the deep sympathy to the lost of this young life;PAN Yongqiang'sDays of Old Industrial Restructuring, all the images framed the inevitable pains experienced by the industrial workers in the process of energy conservation and emission reduction and enterprise upgrading and transformation. They nurtured the workers' reactions to the upcoming job changing,life expectations and their inner world... Great works, filled with visual tension, artistic vitality and life strength, mostly reflect the grass-roots life.

Concerns and discussions on the National Photography Exhibition have taken root in the first exhibition of Lishui and continue to be fermented in the photographic industry. The realistic ecology of Chinese photography, which is reflected in the event, deserves further thinking by followers and participants.

Pivot: Articles of Photography, lntegration into lndustry

With the development of information technology, mass life has now entered the era of mass photography, accessible to participation by all, it becomes an integral part of people's lives. Image of Hypermedia Era, a seemingly esoteric photography exhibition theme has long been incorporated into the daily life of Lishui people and the city photographers. In addition to those figures of photography bearing the heart of learning in the event, citizens also take their free time to take part in the exhibitions. Lishui residents SHU Rongyu specifically accompanied his wife to see the exhibition, he said: "If it were not for this exhibition, we don’t have the opportunity to see such photos, we Lishui people are most happy about it."

Due to its rich history and culture, Lishui has a unique natural landscape and a colorful ethnic custom. It is named the first "hometown of photography in China" by the China Photographers Association. With a good knowledge of the development prospects and advantages of ecological civilization, Lishui City has compiledLishui Photography Development Plan (2011-2020)since 2011, hoping that photography would not only serve as an important part of meeting the needs of the people's good life, but also become a crucial growth point of the cultural industry. Today, there are three state-level photographic creation bases,22 municipal-level bases, two photographic industrial parks and 100 photographic collecting bases and the first Chinese photographic museum is also located in Lishui, already generating high-end photography forum, Walking in Oujiang Lishui Photography Exhibition, photography ranking and other branded projects.It is reported that the annual net increase of tourist arrivals to Lishui, due to photography, will be in the hundreds of thousands. Tourism revenue will also increase at an annual rate of over 25%. The proportion of tourism revenue in the GDP has reached nearly 10%. The collision between Lishui’s photographic culture and tourism industry inspires a clear fusion effect. With these external and internal forces, the photography culture stemming from the "Green Environment" turns Lishui into a renowned city of photography and beautiful landscape.

四种失败 马特·波特Four Failures by Matt Porter