刷屏/勞作：2017 AMNUA 國際攝影展

時間：2017年11月10日——12月20日

出品人：李小山

策展人：鄭聞、海傑、陳正

主辦機構：南京藝術學院美術館（AMNUA）

攝影作為一個動詞,無縫銜接起當代人的日常生活與藝術創造。攝影在新的千年以來,已經不 僅僅是布勒松「經典瞬間」的圖像敘事,也不僅僅是對於社會景觀的「客觀凝視」。攝影在信息化 與網路化的現實中存在,成為一種新的義肢般的條件反射,也是當代人類一種新的異化行為。如果 說本雅明呼喚的圖像的「靈光」在紙媒時代就已岌岌可危的話,那麼在屏幕時代則隨著像素的不斷 提高進一步煙消雲散。

在千萬兆的高速乙太網連接起來的網路空間中,由通訊終端發起的快速拍照、後期處理、公開 發布、迅速刷屏,這所有過程幾乎在同一時間完成,這一過程意味著一種新的條件反射,手機/相機 作為人的延伸,每一次拍照與刷屏都意味著一次新器官的自發性痙攣、一次官能綜合症的爆發。在 以視覺為先導的娛樂經濟中,勞作與消費的邊界也在瞬間崩塌併合而為一。

南京藝術學院美術館作為中國最重要的學院美術館之一,2017 年度即將推出的《刷屏/勞作: AMNUA 國際攝影展》針對當下全球社會生活中圖片與影像的生產現狀,旨在打造出最具新媒介時 代特徵的攝影大展。展覽由策展人鄭聞、海傑、陳正策劃,以「恐懼流沙」、「陰謀的雲」、「無效生 產」、「自溺鏡中」、「捏造與排演」、「開源代碼」等多個展覽版塊邀請中國以及國際範圍內近百位藝術家參展，勾勒出當代世界最鮮活生猛的圖像生活與影像歷險。

時至今日,我們既是移動互聯網中具有強烈參與意識和渴望被關注的居民,又是終日刷屏,進 行無效生產的屏幕勞工。這種技術神學與數字彌賽亞主義驅動的新媒介並沒有改變我們的命運—— 被奴役的命運。而且正是屏幕,讓這一切控制程序的運行在視覺上變得隱匿。在這些數字網格中, 我們既要變成踴躍的禿鷲,進行分屍,又要作為一切事件的背景,變成浮屍,被分解和分發。「朋 友圈」就是數字催眠版的古拉格,控制與榨取、消耗,「朋友圈」也是圖像的碎肉機。只是這些機 制都通過技術的消費變成隱秘的指令。

顯而易見的,屏幕成為我們的義肢,是今天身體的準確處境。在早前的商品時代, 「禁止我 們觸摸商品的玻璃櫃檯上的反光是拜物教」(田崎英明),而在今天,在屏幕帶領身體浮游的情境中, 那層「反光」以更為隱蔽的形式提前接近甚至貼面而來,這就是屏幕之光,人變成了遊魂,浮游於 圖像的流明之中,身體被數字徵用。

「刷屏」作為一種基於屏幕的技術形態操控下的生存方式,成為今天我們所面臨的看似美好, 卻無比殘酷的現實,人們脫離線下,轉戰線上,離地三尺,刷屏並進入屏幕,變成新的替代景觀。 在今天,消費主義全面洗劫,並且成功安撫了我們的不適感。我們隨人流前行,不知疲倦。刷屏已 然成為新的現實基礎,刷屏是輕鬆的娛樂和勞作,正是這種輕鬆與娛樂,屏蔽了勞作評價本身的艱 辛和奴役,成為存在的幻象與消耗。

而攝影,或者延伸為圖像,在此刻具有特別的意義。它既是我們消費的對象,是我們消費的通 道,同時也是我們用來進行自我反思和媒介批判的有效工具。也就是說,它是雙料間諜。在今天, 圖像的身份和命運,就是我們自身的命運的寫真。沒人會強行把自拍桿塞到對方手裡,而是我們自 己,主動地索要,然後把自己一次次地撕碎,扔向那些數字分發機制,期待聽見迴響。 現在,有 必要呈現這些圖像了。

首屆 AMUNA 國際攝影展

流沙恐懼

從齊格蒙特·鮑曼(Zygmunt Bauman)的「流動的恐懼」到數字屏幕的「流沙恐懼」,「恐懼」依然存在,只是變換了介質。這種基於數字的身份焦慮,以及對於死亡(做不成網紅,只能成為普通網民,即成為基礎數據)的肆虐性銘寫與反對,在後人類時代,尤其膠著。人遠離現實,身處電子圖 像流沙之中,沉浮寄生,恐懼如影隨形。

陰謀的雲

雲,數字漂浮的空間幽靈,儲存空間的烏托邦,計算和算計的兩面,不間斷生產和囤積、圖像流的 重負、廢棄和閑置物的外包商。但去庫存化依然是客戶端的強烈請求,網民需要空間現金流。替我 們保管,是雲對我們的承諾,也是對我們的挾持,是託管,也是窺視,它並沒有隔離「操控」的詞 根。事實上,雲,變成了牆的彌散狀態。雲在天上舞蹈,命令我們上傳。

無效生產

在屏幕前,我們樂此不疲,重複兩個動作:拍攝和刪除。屏幕培育和掃描我們,我們變成了數字轉 基因。於是,就有了兩種人——現實的人和圖像的人(或者說屏幕化的人)——交錯出現,最終變 成數字的碎屑與電子的粉末,並被迅速清理。所以,生產,變成了模式化的再生產,一種惰性的、 沉迷於消費景觀的再生產。

自溺鏡中

「我」是鏡像中的水仙,在圖像的泳池裡狂歡。「我」是圖像的生產者,也是圖像生產出的客體。 所有的內容都被改寫,包括身體和歷史。自我爭相展示,我是我的觀眾。是尋找自我,還是在沉溺中搜救自我?是自我操控自我,還是他者(觀看者)操控自我?自拍,能否作為一種自我的打撈途徑?

捏造與排演

人人皆表演,那麼,排演就是聲明。圖像能否助我們抵達真實?真實是否存在?對所謂「真實」的 排演是否就一定不真實?捏造是擺脫現實控制,確立主體的出口嗎? 但我們需要踩在現實之上,捏造和排演,這作為現實的擬像和主體的鏡像,被反複製造,對現實進行評價和反擊。現實,以劇場的形式,被重構。

開源代碼(作品徵集板塊)

主辦機構

南京藝術學院美術館(AMNUA),作為中國最具藝術影響力與學術前瞻性的美術館之一,在國際藝術的語境中展開研究與策展。館體總建築面積為15000 余平方米,展覽面積6000 余平方米。具有太空美學特徵的建築外觀與多元化的內部空間結構,為不同種類的藝術媒介提供了充滿活力的展示舞 台,促發新體驗與新思想的生成。作為百年藝術名校的美術館,AMNUA 堅持敏銳的學術立場、開 闊的國際視野、高規格的展覽水準與嚴格的收藏制度,著力於當代大學美術館的主體性建構,突出 自主研究與策劃能力,並持續針對當下藝術生態的問題,展開對於政治、經濟、媒體等宏觀背景的 關聯性研究。

AMNUA 至今已舉辦了近百場展覽與學術活動,比如:奧托?迪克斯、弗朗西斯?培根、喬-彼得?威金、 L.S.洛瑞、肖恩?斯庫利、毛焰、周春芽、繆曉春、邱志傑等國內外重要藝術家的個展;以及《 AMNUA 國際計劃——外包|內銷/ 絲路國際》、《復調:中國藝術生態調查》、《德國:藝術之域》、《不在現場: 感官閾值與一種在地性的漂移》、《荷蘭平面設計百年展》、《新的舊物—處於傳統與革新張力關係 中的德國設計》等大型群展,同時還不遺餘力推出:AMNUA「0」方案、AMNUA 影像檔案、AMNUA 國際影像論壇等長期研究性項目,持續關注和支持青年藝術家和策展人的成長。

策展人

鄭聞

鄭聞,策展人、南京藝術學院美術館館長助理、學術部主任,負責展覽策劃、學術研究、館藏規劃, 以及美術館管理。鄭聞的策展強調美術館級別的展覽品質,開闊敏銳的藝術視野和鮮明的學術立場。 既策划了多個國際現當代大師展覽,也不遺餘力關注與推廣中國青年藝術的發展。迄今,其策劃的重要展覽達到 40 個,應邀巡迴至倫敦、不萊梅、慕尼黑、香港、巴黎、上海、北京、廣州等地, 帶領紀錄片團隊拍攝紀錄片5 部。曾擔任 CIFF、四川美術學院油畫系年展、新星星藝術節等多個藝術活動的評委。於南京大學、日本關西大學、上海 K11 藝術中心、四川美術學院、蘇州市美術館等多個院校和機構舉辦學術講座 30 余場。於國內外重要媒體與刊物,如《三聯生活周刊》、中國國家博物館官網、中央美術學院藝訊網、加拿大《寰球華報》等,發表研究和評論文章40多篇,30 余萬字。

海傑

海傑,策展人、影像批評家、作家。成功策劃「自助餐」2014藝術家工作室開放計劃等大型項目。曾 任 2011、2012、2013 三屆平遙國際攝影大展資助獎評委會執行主任、2012、2014 西雙版納國際影像展學術主持,第七屆AAC 藝術中國年度影響力評選攝影組初評評委,2013 第三屆成都縱目攝影雙年展學術主持,2013 北京國際攝影雙年展爆名展策展人,2014 浙江省攝影新銳評委,2014 第十 屆連州國際攝影年展專家見面會嘉賓,「2014 瑞象校園系列講座」主講嘉賓,2015 集美×阿爾勒國際攝影季策展人。主要關注中國當代攝影個案研究、中國當代攝影口述史、中國攝影思潮分析與反思、中國當代攝影傳播媒介與模式研究。出版有《照鏡子的人》、《表態》和《屏幕生存》等書。

陳正

陳正:策展人,藝術評論人。 現為南京藝術學院美術館(AMNUA)影像方向策展人,公教部項目負責人,南藝攝影系教師,英國 Nottingham Trent 攝影專業碩士。韓磊「時差」&馮立「白夜」雙個展策 展人;一分鐘影像南京之旅策展人; 「極地光影」策展人;喬-彼得?威金 JOEL - PETER WITKIN 個展執行;AMNUA 微影像計劃——中國實驗短片影像展執行。從事影像創作與理論研究工作,長期關注當代青年藝術家發展及狀況。

Time: November 10, 2017 – December 20, 2017

Producer: Li Xiaoshan

Curator : Zheng WenHai JieChen Zheng

Organizer: Art Museum of Nanjing University of the Arts (AMNUA)

Screen Refreshing/Labor: 2017 AMNUA International Exhibition of Photography

Photographing as a verb seamlessly connects the daily life and artistic creation of modern people. Photography in the new millennium is no longer just the "classic moment" imagery narrative of Bresson, nor is it just "gazing objectively" at the social landscapes. Photography exists in the reality of information and internet as a new prosthetic limb-like conditional reflex. It is also a new alienating behavior of contemporary human beings. If the "spiritual light" Benjamin was calling for had been precarious in the paper media era, then is being further dispersed step by step as the pixels continue to improve in the era of screens.

In a cyber space interconnected by high-speed Ethernets of over 10 Gigabit per second, the creating and post-processing of a snapshot, posting and its swamping in the internet can be launched with the telecommunication end devices almost instantaneously. This process demonstrates a new type of conditioned reflex. The smart phone/camera is an extension of the human body. Each act of photo shooting and posting means a spontaneous spasm of this new organ and an outbreak of a functional syndrome. In the visual-oriented entertainment economy, the border between labor and consumption is also instantly collapsed. The two merge into one.

The Art Museum of Nanjing University of the Art (AMNUA) as one of China s most important college museums will soon launch the "Screen Refreshing / Labor: AMNUA International Exhibition of Photography" in 2017, addressing the state of photographic and imagery production in the current context of global social life. The event is designed to present works of photography marked with strongest characteristics of the era of new media. The exhibition is curated by Zheng Wen, Hai Jie and Chen Zheng. It will showcase the most vivid and overwhelming pictures of life and video experience of our times in several thematic sessions such as "Fear of the Floating Sand", "Cloud of Conspiracy", "Production to No Avail", "Self-drowning in the Mirror", "Fabrication and Rehearsal" and "Open Source Code".

Nowadays we are all dwelling in a mobile internet space, being very willing to get involved in this community and demanding attentions from others. At the same time we are laborers in front of the screen, refreshing our social media pages and producing images to no avail. This new media, driven by technical theology and digitalized Messianism, does not change our destiny - our fate to be enslaved. And it is no other than the screen that makes the running of all the controlling programs visually hidden. In the digital grids, we have to become diligent vultures and devour the corpses, at the same time we are becoming the corpses ourselves, lying around decomposing and being devoured, forming the background of all that is happening. "Circle of Friends" is the digitalized hypnotizing version of Gulag. It controls, extorts and consumes. It is the meat grinder of images. These mechanisms are all turned into secret instructions through the consumption of technology.

Obviously, the screen becomes our prosthetic limb. This is the exact situation of the body today. In the early days of the commodity era, "the reflection on the glass counter that forbids us to touch the commodity is fetishism". (Tazaki Hideaki) And today, in a situation where the screen always gives the body a joy ride, that layer of "reflection" approaches us and even thrusts itself into our face in a more subtle way. This is the light of the screen. Humans turn into wandering spirits floating in the currents of the lumens from images, while their bodies are digitally commandeered.

"Screen refreshing" as a form of living under the screen-based technological manipulation is the seemingly beautiful but very cruel reality we are facing today. People depart from real life and move to the internet. They are off the ground and refreshing the screens to enter into a new surrogated landscape. Today, consumerism looted the world completely and placated our discomfort successfully. We follow the flow of people, tirelessly. Screen refreshing has become a new fundament of reality. Refreshing the screen is easy entertainment and labor. It is such easiness and entertainment that covers up the hardships and slavery in labor evaluation itself and becomes the illusion and consumption of existence.

And photography, or image in a larger sense, has a special significance at such moments. It is not only the object of our consumption, the channel of our consumption, but also the effective tool for self-reflection and media criticism. In other words, it works as a double agent. Today, the identity and fate of images arethe portrayal of our own destiny. No one will force the selfie stick into anyone s hand. It is us that always reach out for it, and then tear ourselves apart again and again, throw the pieces to the digital distribution systems, expecting to hear an echo.

Now, we need to render these images.

The First AMNUA International Photography Exhibition

Fear of the Quicksand

From the "fear of the liquid" of Zygmunt Bauman to the "fear of the quicksand" of the nonphysical digital screen, the "fear" always exists. Only the medium has changed. This digital-based anxiety of identity is especially obsessive in the post-human era. People is estranged from reality and over flown with the currents of electronic images. People lives in a parasitic state, or as if walking on quicksand with the eminent fear of being carried away.

The Cloud is the spatial extension of the digital UFO, a utopia of saving space. It has the double-sided quality of calculation and conspiring. It leads us to store our information, to surrender an unaffordable volume of information. This is the commitment of the cloud to us, as well as our being held-up by it. It is an entrustment and an adoption, as well as voyeurs and supervision on its part. It does not isolate itself from being a "manipulator". In fact, the cloud is turning into a dispersed type of wall. The Cloud dances in the sky and orders us to upload all.

Ineffective Production

Not all production is meaningful. It is this meaninglessness that pleases us endlessly at this moment. Two types of people - the people in reality and the people in images (or in the screen) show up consecutively and finally become digital debris and electronic powder and were quickly cleaned up. Therefore, the production is turned into a formalized reproduction, an inert reproduction addicted to the scenes of consumerism.

Self-Drowning in the Mirror

"I" is a narcissus in the mirror, reveling in the pool of images. "I" is the producer of images as well as the object of image production. The selves rival to show off. The "I"s are the audience of an "I". Are we to go looking for the self, or rescue the self in such drowning decadence? Is the self running itself, or is it being manipulated by others (the viewer)? Can selfie snapshots be a way of salving the self from drowning?

Fabrication and Staging

Data is becoming a substitute of free will. Technology helps us to fantasy and fabricate, to stage a simulacra of the reality. It is repeatedly manufactured and it evaluates and counterattacks reality. Reality is reconstructed in the form of the theater.

Open Source Codes: (recruiting works) Thematic Directions: as described above.

Organizer:

Art Museum of Nanjing University of the Arts (AMNUA) is one of the most influential Chinese fine art museums with forward-looking academic visions. Its art researches and exhibitions have been conducted in international contexts. The facility occupies over 15,000 square meters, offering 6,000 square meters exhibition space. With an outer space appearance and diverse inner layout, AMNUA has presented different kinds of display platforms for various types of arts, which doubtlessly has offered brand-new experiences and promoted the birth of new ideas. As an art museum of a university with the history of over a hundred years, AMNUA has been insisting on a serious academic attitude, an open international vision, a high-standard exhibition level and a strict collection system. AMNUA concentrates on the independent construction of a contemporary university art museum, emphasizing its independent research and planning capability. The museum focuses on current art issues and has conducted researches on politics, economics, media, etc..

AMNUA has already hold nearly a hundred exhibitions and academic activities, including solo exhibitions of important artists from home and abroad like Otto Dix, Francis Bacon, Joel Peter Witkin, L.S.Lowry, Sean Scully, Mao Yan, Zhou Chunya, Miao Xiaochun, QiuZhijie, etc..At the meantime, AMNUA has made every endeavor to present some long-term research projects such as AMNUA 「0」 Program, AMNUA Image File, AMNUA Image Forum. From the very beginning, AMNUA has paid much attention and contributed to the growth of young artists and curators.

Zheng Wen

Zheng Wen, Assistant to the Director of the Art Museum of Nanjing University of Arts (AMNUA) and Head of the Academic Department of the Museum, is a curator of contemporary art. Mr. Zheng became Assistant to the Director of Qinghe Contemporary Art Museum in 2009. He was appointed head of the academic department of AMNUA in 2012. Since 2015, Mr. Zheng is Assistant to the Director of AMNUA. His responsibilities are the planning and curatorship of exhibitions, academic research, collections management and administrative management of the museum.

Mr. Zheng has curated up to 40 exhibitions. Some of the exhibitions were invited to London, Bremen, Munich, Hongkong, Paris, Shanghai, Beijing and Guangzhou. Zheng led his documentary team and produced 5 films. He held over 30 academic seminars in colleges and museums in Nanjing, Japan, Suzhou, Sichuan and Shanghai among others. He is author of more than 40 articles amounting to 300,000 words in various major media and publications in China and worldwide, such as Sanlian Life Weekly, China National Museum Hompage, China Central Academy of Fine Arts, Global Chinese Press in Canada.

Hai Jie (Curator, Photography Critic, Writer)

He has successfully organised many large-scale artistic events, such as Buffet in 2014, in which he provided the public an opportunity to visit multiple artists』 studio, presented exhibitions and held photographic conversations on the famous Chinese social media. He has worked as curator and member of academic and review committees for many international photography festivals and art institutions in China, including Jimei× Arles: East West Encounters International Photo Festival (2015),Ray Art Centre (2014), Lianzhou Photo Festival (2014), Award of Art China (2013), Chengdu Multi-dimensional View Photo Exhibition (2013) and Pingyao Photography Festival (between 2011 and 2013). His research interests include case studies and oral histories of Chinese contemporary photography, analysis and reflections on ideological trends in Chinese photography, as well as analysis of media and communication models in Chinese contemporary photography.

Publication

Living in Screen:a dimension of Chinese Contemporary Photography after 2000,Beijing:China Nationality Art Photograph Publishing House, 2016

Declaration: Talk with 14 Chinese Contemporary Photography Artists, Beijing: China Nationality Art Photograph Publishing House, 2013

The Person Look at Himself in the Mirror: Interviews of 16 Chinese Contemporary Photography Artists, Beijing: China Youth Publishing Group, 2012

Chen Zheng(curator, art critic, curator of AMNUA Photography Department, director of Public Education Department, lecturer of photography department in NYA, Master of photography department of Nottingham Trent)

The Curator of Han Lei & Feng Li』s exhibition;

The Curator of the One Minutes on Tour in Nanjing;

The Curator of 「Beyond Frozen Point」;

The Executive of Joel Peter Witkin』s Solo Exhibition;

The Executive of the Show of Chinese Experimental Video.

Chen Zheng works in image creation and theory research, focusing on the development of contemporary young artists.

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