裝置角度 菲爾·張Installation View by Plil Chang

11月15日至19日，麗水這個浙西南城市，被攝影點染了風物，成為了備受矚目的“話題中心”——“第二屆國際攝影研討會”暨“第26屆全國攝影藝術(shù)展覽”系列活動不僅在攝影界收獲了諸多點贊和良好口碑，在新浪微博的相關(guān)話題更獲得7.2億次的點擊量。

系列活動的主題為“超媒體時代的影像”，堅持學術(shù)性、國際性、群眾性和品牌性特色，注重“精品”“特色”“融合”“共享”“開放”理念。1050個不同類型的展覽，匯聚了世界50多個國家的5000多名業(yè)界精英和攝影群體，以不同的藝術(shù)理念和介入方式，呈現(xiàn)出一場光與影、思與變的影像盛宴。

兼容并蓄，海納百川，攝影展的數(shù)量及規(guī)模創(chuàng)下國內(nèi)攝影節(jié)慶活動之最，在世界同類活動中規(guī)模也屬罕見。在小巷里、在電影院、在博物館、在美術(shù)館……2017麗水攝影節(jié)的15個展場，讓影像無處不在、無處不歡。

觀點：學術(shù)爭鳴，拓展邊界

網(wǎng)格化的幽靈現(xiàn)象 郭靜潔The Gridded Ghost Gamer by Minstrel Kulik

作為第二屆國際攝影研討會主題的“超媒體時代的影像”，昭示著學術(shù)議題的話語前瞻性。研討會邀請來自不同國家和地區(qū)的十余位攝影理論家、批評家、高等學府教授、博物館和美術(shù)館機構(gòu)負責人、媒體編輯、策展人、攝影藝術(shù)家展開探討。

對于這一學術(shù)主題，中國美術(shù)學院跨媒體學院實驗藝術(shù)系主任高世強認為，隨著媒體科技的加速迭代，媒體關(guān)系也走入不斷革命的通道。媒體的最典型載體——影像，以及它們生產(chǎn)、傳播、接受、消費等關(guān)系也被一一顛覆、超越。自媒體時代，人人都是媒體，人人都是影像的創(chuàng)造者和傳播者，人人也都是消費者和觀眾。但是，隨著數(shù)碼時代而來的影像生產(chǎn)的泛濫，隨著網(wǎng)絡(luò)時代而來的影像傳播與交流的超載，使得人們本能地作出相應(yīng)自我保護，無視絕大多數(shù)撲面而來的資訊，也包括圖像和影像?！俺襟w時代的影像”的主題，無異于提出一個問題：在當下的時代境遇和影像現(xiàn)實中，作為影像的創(chuàng)作者、傳播者和接受者，以何自處？何以與世界相處？

在策展人、藝術(shù)評論家張海濤看來，攝影媒介在不同的時代拓展著載體、技術(shù)和材質(zhì)，傳統(tǒng)媒介和新媒介之間的跨界，超越自身的載體束縛，也會讓攝影具有新的當代性、實驗性和未來感?！俺襟w時代的影像”主題，探討的是影像藝術(shù)介入現(xiàn)實的方式和精神怎樣能更加自由，讓藝術(shù)的人文啟示功能最大化發(fā)揮。

美國紐約帕森斯設(shè)計藝術(shù)學院攝影系主任、策展人吉姆·雷默則認為，在過去的25年里，攝影經(jīng)歷了3次改革浪潮：第一次是圖像的數(shù)字化，第二次是圖像的網(wǎng)絡(luò)化，最后是計算機技術(shù)在攝影中的應(yīng)用。后兩個技術(shù)創(chuàng)新從根本上改變了人類與圖像的關(guān)系，并為新的攝影理念奠定了基礎(chǔ)。這是媒介歷史上獨一無二的形成發(fā)展時期。它從歷史中顯現(xiàn)出來，蘊涵獨特的潛力。圖像文化已經(jīng)達到了一種“超級速度”，在高度聯(lián)網(wǎng)的計算機環(huán)境下，正出現(xiàn)新型的聯(lián)系、嶄新的理念和戰(zhàn)略。

焦點：動靜相宜，“內(nèi)外”兼修

眾人聚焦的學術(shù)主題展用VR、視頻、裝置、投影等各類科技手段和當代藝術(shù)手法，以前沿的方式解讀著攝影的發(fā)展可能。就攝影本體而言，定格瞬間的魅力，依然是攝影的根本所在。多媒介融合給攝影這門歷史不算悠久的藝術(shù)帶來了無限的可能，也改變了人們的行為方式和觀展方式。

吉姆·雷默邀請17個國家和地區(qū)的28位當代藝術(shù)家代表以“未來何來”為題，展開了一場攝影邊界延伸以及走向哪里的話題討論。每位藝術(shù)家都在挑戰(zhàn)傳統(tǒng)攝影觀念，意圖通過藝術(shù)講述新時代的核心問題，包括自身網(wǎng)絡(luò)形象，在計算環(huán)境中歷史和時間的延展性，在社交媒體時代身份認同以及技術(shù)本身的影響等問題。

數(shù)字德利 馬可·斯科扎洛Digital Deli by Marco Scozzaro

受邀而來的瑞士愛麗舍博物館主持的“又一代”這一具有全球影響力的展覽，展出了50名來自于全球各大攝影專業(yè)學府的年輕攝影師作品，每位攝影師都從各自國家不同的文化視角，以影像為載體，呈現(xiàn)出當代藝術(shù)語境下樣態(tài)極為豐富的學術(shù)觀點和國際視野。

“超媒體”概念在清華大學美術(shù)學院教師、藝術(shù)家、策展人鄧巖策劃的“如果藝術(shù)可以重新再來”中得到最充分的發(fā)揮。巨大的黑色空間，主要被各種視頻投射的圖像占據(jù)，展覽的用心也在于從平面呈現(xiàn)到空間視覺的轉(zhuǎn)換。展覽由16位國內(nèi)外知名藝術(shù)家的作品組成，涉及多媒體視頻、裝置、平面影像等表現(xiàn)形式，通過呈現(xiàn)藝術(shù)家對于攝影藝術(shù)本體語言的多媒介轉(zhuǎn)化，來探討攝影作為藝術(shù)在面對新科技媒介介入后的圖像美學體系的美學可能性。展覽對于攝影從“平面呈現(xiàn)”到“物理空間占據(jù)”的一次新的實驗與探索，雖然很難在短時間內(nèi)讓觀者讀懂每一個獨立視頻的含義，但所有的影像都有一種互動感，有觀展者評價：“藝術(shù)家是帶著一顆天真的心做一件有趣的事?！?/p>

高世強策劃的“移山止水”項目，通過邀請32位藝術(shù)家關(guān)于山水世界觀的題材作品，在空間內(nèi)呈現(xiàn)“移山”“止水”的概念，構(gòu)建影像的山水世界。其中包括攝影、Video、影像裝置、書法行為等作品。從參展的名單中可以窺見，這些藝術(shù)家無論是從年齡跨度還是藝術(shù)領(lǐng)域都非常寬泛，以跨界的學院派藝術(shù)家群體呈現(xiàn)出一個多媒體的藝術(shù)展覽。

本次活動組委會辦公室主任王培權(quán)表示，組委會對藝術(shù)家抱有開放、包容的心態(tài)，力爭讓觀眾看到多樣化的展覽形態(tài)。其中，鄧巖的展覽更先鋒，呈現(xiàn)方式和科技休戚相關(guān)；吉姆·雷默的展覽更豐富；愛麗舍博物館的展覽以學院派為導(dǎo)向，體現(xiàn)了當代攝影及影像藝術(shù)的發(fā)展動向；高世強的展覽回應(yīng)中國傳統(tǒng)文化。綜合來看，就是在超媒體時代東西方文化的碰撞和對話。王培權(quán)還透露，邀請吉姆·雷默策展時，他看到了上一屆攝影節(jié)韓國策展人宋修庭策劃的展覽，激發(fā)了他想要和宋修庭“PK”的念頭，“她很棒，我要做得更好！”

熱點：全國影展，中國故事

作為國內(nèi)歷史最悠久、規(guī)模最大的全國性攝影展覽，全國攝影藝術(shù)展覽的號召力無出其右。第26屆全國影展共征集到212065幅參展作品，這一數(shù)字再次刷新了全國影展投稿作品數(shù)量的紀錄，入選的368件作品更是成為眾多攝影人關(guān)注的熱點。

第26屆全國影展入選作品揭曉后的第一次集體亮相展出，便在麗水。在看展的路上，常會遇到三五成群的觀展者在打聽：“全國影展在哪里展出？”走進麗水博物館，更能感受到全國影展的“人氣”——看不到一位步履匆匆的觀展者，大家認真地聚焦在一幅幅作品前細聲交流，若是“撞到”了入選攝影師就在現(xiàn)場，勢必引發(fā)一撥圍著入選攝影師“取經(jīng)采訪”的小高潮。

紀錄類攝影作品依然最受關(guān)注。范顯海的《沙場點兵》中動若風發(fā)的張力表現(xiàn)出三軍大呼陰山動的磅礴氣勢，受閱官兵甲胄在身、使命在胸的昂揚精神面貌和戰(zhàn)斗意志呼之欲出；向文祥的《溫暖的小手》中，兒子為母親遮擋風雪的一瞬間傳遞的是愛的溫度；余紅春的《中國首位殲-10女飛行員的一生》記錄了犧牲的女飛行員余旭戎裝映襯下的稚嫩、日常生活里的俏皮、訓(xùn)練中的專注、短暫生命的榮光，將讀者帶入為這個年輕生命逝去深深惋惜的共情；潘永強的《老工業(yè)轉(zhuǎn)型的日子》，一幅幅影像定格的則是我國在節(jié)能減排、企業(yè)升級轉(zhuǎn)型的過程中，產(chǎn)業(yè)工人們所經(jīng)歷的必然的陣痛，細致入微地刻畫了工人群體對即將改變的工作、生活的期待及內(nèi)心世界的反應(yīng)……充盈視覺張力、藝術(shù)活力和生命偉力的好作品，大多反映了基層的火熱生活。

對于全國影展的關(guān)注和討論從麗水首展生發(fā)，在攝影業(yè)界繼續(xù)發(fā)酵，其中折射出的中國攝影現(xiàn)實生態(tài)，更值得引發(fā)關(guān)注者和參與者的深度思考。

支點：攝影文章，融入產(chǎn)業(yè)

隨著信息技術(shù)的發(fā)展，當下群眾生活已經(jīng)進入大眾攝影時代，攝影變得人人都能參與，成為人們生活不可或缺的一部分。“超媒體時代的影像”，看似深奧的攝影節(jié)主題，卻早已融入了麗水人和麗水攝影人的日常生活。除了慕名而來的攝影界人士前來取經(jīng)，市民們也利用各種空閑時間看展。麗水居民舒榮譽特意陪著老伴看展，他說：“要不是這次攝影節(jié)，我們哪能看到這樣的照片，我們麗水人感覺很幸福。”

麗水因其歷史文化厚重多元、自然景觀得天獨厚、民族風情多姿多彩，而被中國攝影家協(xié)會命名為全國第一個“中國攝影之鄉(xiāng)”。深諳生態(tài)文明發(fā)展前景和優(yōu)勢，麗水市從2011年就編制出臺了《麗水攝影發(fā)展規(guī)劃（2011—2020）》，希望攝影既作為滿足人民美好生活需要的重要內(nèi)容，又成為文化產(chǎn)業(yè)的重要增長點。如今，這里擁有國家級攝影創(chuàng)作基地3個，市級攝影基地22個，已建成2個攝影產(chǎn)業(yè)園、100個攝影采風基地，中國首個攝影博物館也落戶于此。攝影高端論壇、“甌江行”麗水攝影大展、攝影排行榜等品牌項目已然成型。據(jù)悉，因為攝影，每年到麗水的游人凈增數(shù)十萬，旅游收入也以每年增長25%以上的速度遞增，旅游收入在生產(chǎn)總值中的比重已接近10%。麗水攝影文化與旅游產(chǎn)業(yè)“碰撞”激發(fā)了明顯的文旅融合效應(yīng)。憑借于這股外力及內(nèi)力，從“綠水青山”間出發(fā)的攝影文化，也正讓麗水成為一方攝影名城、山水名城。

無題 莎拉·帕爾莫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.

四種失敗 馬特·波特Four Failures by Matt Porter