第九届济南国际摄影双年展（第5期）
“微芒成阳-亚太地区高校摄影邀请展”（第5期）
济南国际摄影双年展第三届高校邀请展
“微芒成阳”亚太地区高校摄影邀请展
—土耳其、新加坡高校
The Third University Invitational Exhibition of
Jinan International Photography Biennale
“Tiny Rays Converge into a Sun” - Asia-Pacific
University Photography Invitational Exhibition
-Universities in Turkiye and Singapore
土耳其高校摄影作品
Photography Works From Turkish Universities
萨班哲大学
在过去的一个世纪和最近的几十年中，由于基于媒体的通信设备具有强大的视觉基础，视觉已经渗透到生活的各个方面。因此，萨班哲大学视觉艺术和视觉传达设计 (VAVCD) 项目的使命是让学生深入了解视觉及其在艺术、设计和媒体相关领域的应用。然而，我们的努力不仅仅是理解和应用视野本身。在这方面，我们还寻求将它们与其他创意输出相结合，例如新媒体和艺术输出以及通过我们课程的多样化构建块实施的基于时间的作品。
萨班哲大学采用的跨学科教育方法旨在为“混合”艺术家和设计师的教育提供理想的教育与学习的指南。本专业提供视觉艺术和视觉传播设计两个不同的方向，前者的目标是视觉艺术的教育，后者的目的是培养跨学科的视听传播设计师。
黄荣华副教授在英国伯恩茅斯大学获得媒体艺术（博士学位），在美国佐治亚州创意职业大学 SCAD 获得计算机动画（MFA），在美国乔治亚大学获得平面设计（BA）马来西亚林国荣大学。自 2003 年 1 月起，他被任职为土耳其伊斯坦布尔萨班哲大学的教员，教授数字建模、计算机动画、数字视频、动态图形和艺术领域的课程。2006年、2014年和2018年，他获得了萨班哲大学所有院系颁发的毕业班教学奖。2010 年，他获得了萨班哲大学艺术与社会科学学院的教学奖。他游历了 70 多个国家，过去 25 年来一直活跃于摄影领域。自 2005 年以来，他已经策划了 32 件展品。他的照片被全球超过 13 个受人尊敬的画廊和博物馆永久收藏。
《永恒循环》
我试图去理解与发现生活中的规律，来表现出非凡的事物与意义。由于人类活动是以不可预测的模式持续进行，因此常规的自由流动是无法衡量的。当一个人试图衡量一个时刻时，它就消失了。时间是流动的，不完整的。每个人对空间的记忆只能通过个人的想象与模糊性的直觉感去理解。我这么说是因为每次当一个静止图像的恶性循环，其中常规的开始就是结束点。我试图传达这个概念：当一个人经常走在熟悉的道路上时，每一秒钟都有从我们的肉眼中溜走与被忽视的时刻。摄影系列展示了相同的概念，但基于一个永恒的循环条件，在这个条件下，其中重复的旅程就像一个人在一个恶性循环中反复的游走。这是因为人不仅是自然界的居民。他也改变了环境，然而发现自己迷失在他的(环境）创作中。
《Timeless Loop》
I strive to discover the regular daily routine to bring out the extraordinary. The routine free flow can be intense and unmeasurable because human activity continues in unpredictable patterns. When one tries to measure a moment, it is gone. Time is mobile and incomplete. A memory of space can only be comprehended through a vague intuition of the person’s imagination. I am saying this because every time you move away and stand back from the same standpoint, the atmosphere seems different if you notice the unnoticed and continue to discover the undiscovered. It is like one vicious circle of a still image where the beginning of the routine is the ending point. I try to convey the concept of the unnoticed moment that has slipped our naked eyes every second as one regularly travels on the familiar pathway.
The photographic series strike to show the very same concept, yet based on a timeless loop condition where the journey is repeated as if one is travelling in a vicious circle. It is because man is not only a dweller in nature. He also transforms it and sometimes finds himself lost in his creation.
伊斯坦布尔艺术家奥伊库·奥纳尔从 2016 年开始接触摄影。当她将镜头对准自己时，摄影就开始转变为一种关系。摄影，她认为是一个对抗的领域，也成为她对现实或没有身份的追寻，找到了自己的位置。当她思考“成为”一个身份和自我模棱两可的领域的重要性时，她的身体成为镜头前的另一种媒介。她现在正在萨班哲大学攻读视觉艺术和视觉传达设计硕士学位，这增加了她以前作为建筑师的背景。
“apaçık saklı”（英语意思是明显隐藏）是一个照片系列，艺术家在其中触及童年和成长的对抗过程，同时有时在沉默中看着悬空和面纱，有时在自由中嘲笑这个现实。她质疑自画像中的“自我”。通过长时间的曝光和叠加，奥纳尔试图模糊空间和身体之间的界限，同时拥抱她模糊的身份和存在的波动。该系列被改编成写真集，将于 2022 年 1 月出版。
《Obviously Hidden》
自然对人类来说是不可或缺的。人类要继续生活，就必须与自然进行良好的对话（和谐）。因此，我们不能将人的本质与自然分开来思考。自然是一个包含人类的整体。本着不将它们分开思考的概念，我们将创建一个视频项目，其中自然和人类形式通过视觉平行相互形成。
本世纪的自然观是基于以人为本的结构和亲人类的思想。我们在这个项目中的目标之一是打破人类可以主宰自然的观念，并表明我们只是一个庞大整体的一小部分。
Nature is indispensable to humans. For humans to continue their life, they must be in a good dialogue (harmony) with nature. For this reason, we cannot think of human essence separately from nature. Nature is a whole encompassing human. In the light of the concept of not thinking of them separately, we will create a video project in which nature and human forms form each other through visual parallels.
This century's perspective on nature is based on a human-oriented structure and pro-human thinking. One of our aims in this project is to break the perception that humans can dominate nature and show that we are small parts of a vast whole.
充气娃娃是现代性玩偶的原型，由于机器人技术和人工智能的进步，它们承诺更逼真的外观和体验。在这个系列中，艺术家指的是女性身体的客观化、玩具化、碎片化、卑贱、欲望化、控制和纪律状态以及围绕女性身体的文化。始终保持沉默、顺从、性行为、塑料和一次性；充气娃娃描绘了理想的资本主义女性气质。
Blow-up dolls are the archetypes of the modern sex dolls that promise more realistic looks and experiences due to the advances in robotics and artificial intelligence. In this series, the artist refers to the objectified, toyified, fragmented, abject, desired, controlled and disciplined state of and the culture around the female body. Always silent, obedient, sexually available, plastic and disposable; the blow-up doll depicts the ideal capitalist femininity.
泽伊内普·西达尔·凯滕和多加·韦斯特
伊斯坦布尔是世界上最复杂的城市之一。每个地区和领域都有可能遇到不同的人。这座城市的复杂性是伊斯坦布尔独一无二的精髓。这种区别来自于历史的层次，因为伊斯坦布尔是许多不同文化的发源地。这使得伊斯坦布尔地区成为如此独特而重要的地方。贝尤格鲁是这些复杂性仍然深刻存在的地区之一，拥有近一千年的历史。当我们查看贝尤格鲁的旧照片、视频或纪录片时，我们看到建筑和人物都发生了变化，但本质是一样的。为了展示这种精髓是如何保持不变并使贝尤格鲁成为永恒的，我们去了这个历史悠久的街区，在街上拍了很多照片。我们将具有两种不同视角的图像组合在一起，使它们具有高对比度的黑白。我们在看照片时会跟随颜色并用它来导航，但在黑白照片中很难区分。我们想通过黑白照片来展示贝尤格鲁地区的复杂性，并营造一种被历史层层包围的拥挤街道的感觉。
Istanbul is one of the most complex cities in the world. It is possible to come across different people in every region and field. The complexity of this city is the essence that makes Istanbul unique. This distinction comes from the layers of history because Istanbul has been the home of many different cultures. This makes the districts of Istanbul such unique and important places. Beyoğlu is one of these districts where this complexity still exists profoundly, with almost a thousand years of history on its side. When we look at the old photos, videos or documentaries of Beyoğlu, we see that the architecture and people have changed, but the essence is the same. To show how this essence stayed the same and made Beyoğlu timeless, we went to this historic district and took various photos in the streets. We combined images with two different perspectives shot and made them high-contrast black and white. We follow colour and navigate with it when looking at a photograph, but it is harder to distinguish in a black and white photograph. We wanted to show the complexity of the Beyoğlu district by making the photographs black and white and creating the feeling of crowded streets surrounded by layers of history.
科克大学
科克大学媒体和视觉艺术系 (MAVA) 成立于 2010 年，是土耳其排名最高的媒体和传播项目之一。
媒体与视觉艺术系的课程旨在为学生提供多学科的教育，媒体与视觉艺术系将媒体研究与社会科学和人文科学、交互设计、管理科学和视觉媒体制作（包括动画、平面设计、游戏、电影和摄影）融合在一起。在此过程中，媒体与视觉艺术系旨在为学生提供理论基础、技术和管理技能，以及对不同形式的媒体和视觉艺术出现的历史、文化和社会背景的理解。具体来说，每个媒体与视觉艺术系在媒体和传播理论、媒体和营销管理以及视觉传播/艺术方面都建立了共同的基础。为了进一步确保学生接触到广泛的视角和方法，视觉传达/艺术领域分为动态图像、设计和视觉艺术集群。每个学生都应选择至少两门属于这三个集群中的每一个的课程。完成媒体与视觉艺术系通用核心课程和集群课程后，学生可以选择专攻一个或多个领域（例如，电影制作、摄影、交互设计）。
MAVA’s curriculum aims to provide students with a multidisciplinary education that MAVA fuses media studies with social sciences and humanities, interaction design, management sciences, and visual media production (including animation, graphic design, gaming, film, and photography). In doing so, MAVA aims to equip students with a theoretical foundation, technical and managerial skills, and an understanding of the historical, cultural, and social contexts in which different forms of media and visual arts have emerged. Specifically, each MAVA develops a common foundation in media and communication theory, media and marketing management, and visual communication/arts. To further ensure that students get exposed to a wide range of perspectives and approaches, the visual communication/arts domain is divided into Moving Image, Design, and Visual Arts clusters. Each student is expected to select at least two courses that belong to each of these three clusters. Once the MAVA common core courses and cluster courses are completed, students can choose to specialize in one or more domains (e.g., filmmaking, photography, interaction design).
“如果天底下没有什么新鲜事可说，如果每一句话、每一句诗句、每一个故事都被无数次地讲述过，我是哪一声尖叫的回声？哪一片安静？如果我是死而复生无限次的月亮，从虚空中诞生并成长，是一轮跟随海水的明月，我怎么会如此清楚地知道远方和结局？
事实上，当我负担得起的时候……是什么打败了我？
这种等待能持续多久？
我还需要多少语言才能来到这个我这未曾梦想过的未来，一个未曾梦想过我的未来?
我（我们）还剩多少时间？”
“If there is nothing new left to say under the sky, if every sentence, every verse, every story has been told numerous times, of which scream I am the echo of? Of which quiet? If I were the moon who has died and revived infinite times, born and grow from the void, the moon that trails the ocean water, how would I have known the far-offs and the ends that well?
When in fact I could afford the hell… What was it that defeated me?
For how long this wait can endure?
How many words more needed for me to be born, to a future I haven’t dreamt off, to a future that has not dreamed of me?
How much time do I (we) have left?”
艾斯·努尔·萨吉恩 Ece Nur Saygın
《 (not)Here》
I am turning back to my silence, my hurricane
Now I am inside the void, like none
I faced the death
I realize that I am not alive
I stuck between the day and the night,
the sun and the moon,
the body and the soul
So, where am I?
I am just [not]Here
自从你落入母亲的子宫以来，你一直在追问答案。你质疑自己，质疑自己的存在，质疑自己到底有多强大。每一天，你都在试图找到答案的出口时更加迷失。你沉入海底，迷失在海洋中。自从你落入母亲子宫的那一天起，你就在试图找回自己并理解自己存在的过程中迷失了方向。每一个答案都让你更加迷失，更加淹没在黑暗中。你从一开始就是一个迷失的灵魂。永远只是一个迷失的灵魂。
Ever since you fell into your mother's womb, you have questioned for an answer. You questioned yourself, your existence, and how much you are, you are. Each day you got even more lost while trying to find the exit with the answers. You sank to the bottom and lost in the oceans. You have been lost while trying to find yourself and make sense of your existence since the day you fell into your mother’s womb.
Every answer has resulted in you getting more lost, more drowned in darkness.
You were a lost soul from the beginning. Never more than a lost soul.
Walking in the forests inside my own soul
My mortal soul is tired
Empty,
Anhydrous,
Awaiting death,
I am delirious with your name into the skies
My pupils opening with your name
Then it surrenders to the night.
My body
My soul
All my cells
Somewhere between death and life
Waiting for the world to wake up
新加坡高校摄影作品
Photography Works From Singapore Universities
拉萨尔艺术学院
拉萨尔艺术学院是新加坡一所公立的高等艺术院校，即将成为艺术大学。美术文凭为全日制课程，为期三年，分为三个阶段，每学年对应一个阶段。它让学生寻找独特的创作声音，并自信地了解材料的使用和艺术过程，从而在更高的水平上磨练这些技能。
该课程旨在引入多元化的学习方法和批判性探究方法，让学生发现、研究和应用想法来表达自己，为创造性实践提供必要的知识和技术技能，同时为进一步发展创造性实践奠定坚实的基础。它培养学生的自我反思、独立自主、求知欲强和终身学习能力，并为创意产业的就业做好准备，且具备必要的可转移技能。
根据课程的具体目标、重点和学习成果，学习和教学方法将适当平衡授课模式，提供不同类型的专业知识，包括绘画、版画、图画小说、雕塑和基于镜头的艺术。该课程强调跨学科的学习方法，使学生能够在工作发展中发现和建立跨学科方法。
《亲和力》
亲和通过捕捉陌生的小路、故乡、飞翔的鸟儿、转瞬即逝的光影，勾勒出生命的情愫。在织物上使用摄影印花给回忆带来温暖和亲近感。这些生动的图像说明了爱和希望。作品从作为艺术家的旅行回忆开始。我认为在陌生的道路上学习和勇敢，记住一个人的根源的同时，一个独特的故事已经产生了。了解自己的不完整和拥抱的美，无疑是渴望知道一个看不见的结果。艺术家实力的标志是在艺术实践过程中追求质量，而不是数量。我开始意识到，孤独对于我们在生活的这片神奇土地上寻找灵感至关重要。
《Affinity》
萨莱·贾帕尔获得了美术学士学位（科廷大学——西澳大利亚）、艺术教育研究生（BIAD/UCE——英国）和文学硕士学位（墨尔本皇家墨尔本理工大学）。
他的专业经验包括在国家博物馆艺术馆（现新加坡美术馆）担任艺术助理策展人和艺术教育家（南洋美术学院和拉萨尔艺术学院）。他是日本工商会（JCCI – 艺术奖）和国家青年委员会、新加坡青年奖（艺术与文化）和新加坡文化基金会奖学金（现国家艺术委员会奖学金）的获得者。
他曾在本地和国际的许多展览、工作坊和艺术驻留项目中进行展示。他的作品被国家美术馆收藏、法定委员会和私人收藏。Salleh 的作品通常以多种媒体的结合为特色，以探索思想、身份、历史和传统在后现代艺术创作背景下的融合。他的研究兴趣是东南亚美学；符号、图像和空间结构解读及其对当代艺术实践的影响。
他目前是新加坡拉萨尔艺术学院麦克纳利美术学院的高级讲师。
《黑色》
黑色，由各种颜色混合而成的“所有颜色的总和”，可以说没有光就是对可见光的完全吸收。“黑色”的叙述通过西方消极历史与代表黑暗的联想以及黑暗时代、黑色死亡、黑色艺术、黑色群众、黑色国家、黑色军队、黑色衬衫等历史术语进行了大部分联系，而成语和黑名单、黑色喜剧、黑标、黑市、黑邮件、害群之马等表达方式增加了颜色的消极性。“黑色进入空间”旨在探索黑色个性，以代表一个意志坚强和坚定的性格，其中另一个颜色光谱被视为谦逊、尊严、清醒、保密、权力和权威的颜色，如20世纪60年代末和 70年代流行的口号“黑色就是美丽”。
《Black》
Black, ‘the sum of all colours’obtained from the mixture of various colours, and it can be said the absence of light is the complete absorption of visible light.
The narrative of‘Black’carried much of it’s association through western history of negativity with association to represent darkness, and historical terms like the dark ages, black death, black arts, black mass, black country, black army, black shirt while idioms and expressions like black list, black comedy, black mark, black market, black mail, black sheep which added the negativity of the colour.
‘Black enters the space’ intends to explore the black personality in representing a strong-willed and determined character in which the other spectrum of the colour where it is seen as the colour of humility, dignity, sobriety, secrecy, power and authority as in the late 1960s and 1970’s popular slogan where ‘Black is Beautiful’.
Affinity outlines the affections of life through the capturing of unfamiliar paths, the homeland, the soaring birds, and the fleeting moment of lights and shadows.
The use of photographic print on fabric gives warmth and closeness to the memories. These vivid images illustrate both love and hope.
The artwork begins with the memories of journeys as an artist. I think learning and braving the unfamiliar paths while remembering one’s roots have resulted in a unique story.
The beauty of knowing one’s incompleteness and embracing is undoubtedly a desire to know an unseen result. The marks of an artist’s power is to soar high for quality, not quantity is fascinating in the process of art practice. I come to realize that solitude is critical to find inspiration in this magical land we live.
我们很难完全欣赏到我们环境视觉的平凡景象。眼睛习惯了我们已经熟悉的平常景象，使它们变得毫无生气。使死气沉沉的景象恢复活力的最佳方法之一就是旅行。一旦我们扮演了旅行者的角色，我们的感觉就会变得更加新鲜和敏锐。
造就好的旅行者的品质也造就了好的游记。它是对发现和欣赏其他文化、人、风景、工艺品和食物的好奇心。
在旅行中，几乎随处可见全景和人文景观，可以购买明信片作为旅行的象征性纪念品。对于喜欢冒险的旅行者来说，他们会从自己拍摄的照片中探索并获得满足感。发现风景如画的可能性的能力和等待特定场景展开的耐心，无论是有意还是无意，小细节都很重要。这不仅仅是关于图片，还可能有随之而来的故事。
这个系列是我在 2011 年去越南老街旅行时拍摄的。
《The Traveller's eye》
It is hard to fully appreciate our environment's visually mundane view. The eyes become accustomed to the usual sights we have grown familiar with, making them lifeless. One of the best ways to rejuvenate the lifeless sight is to travel. Once we assume the role of a traveller, our sense seems fresher and sharper.
The qualities that make a good traveller also make a good travelogue. It is the curiosity about discovering and appreciating other cultures, people, scenic landscapes, crafts and foods.
Panoramic views and cultural scenes can be found almost everywhere during travelling, and one can just buy picture postcards as a token souvenir of the travel. For an adventurous traveller will explore and get satisfaction from the picture taken by themself. The ability to spot picturesque possibilities and the patience to wait for a particular scene to unfold, whether intentional or accidental the small details matter. It is not just about the picture but the story that may come with them.
This series was taken during my trip to Lào Cai, Vietnam, in 2011.
萨拉·娜塔莎目前是拉萨尔艺术学院美术系的学生。主修绘画，但目前正在尝试纺织品和时尚，以尝试将其融入她的艺术作品中。萨拉使用各种艺术形式，从干湿介质到雕塑和纺织品。她还从事电影和摄影方面的工作。萨拉的艺术实践围绕着不同寻常的感知和角度的整体理念。Sara 的灵感来自她周围的人和地方以及她的日常旅行。与人眼可以感知的现实相比，她喜欢将正常的日常视图看起来与现实有些脱节。萨拉目前正在练习如何将纺织品融入她的主要艺术形式，并尝试探索有机材料以及如何创造她自己的纺织品。
我永远无法掌握光的概念，以及它是如何与时间相比较的。光怎么能和距离有相同的术语呢？真空中的光速称为 c，是物理学中的物理常数。20岁是成年开始的成熟年龄，我们被期待着突然将我们的生活结合在一起，我也觉得我是一个被困在真空中的物理常数，我周围的一切和每个人都在不断运动，除了我自己。当每一天都开始感觉像一个无休止的循环。这是我的人生巅峰吗？使用老式数码相机拍摄的照片描绘了一种视觉，由于我们人类的快速反应，我们的眼睛无法感知。由于相机速度如此之快，它能够捕捉到与我的相机运动相对应的过度曝光的光线。
《Speed of Light》
I was never able to grasp the concept of light and how it was used in comparison to time. How could light share the same term as distance? The speed of light in vacuum known as c, is a physical constant in physics.
Being 20, the ripe age of which adulthood begins and we are expected to suddenly get our life together, I too, feel like i am a physical constant stuck in a vacuum where everything and everyone around me is in constant motion except myself. When everyday starts feeling like an endless loop. Is this my prime of life?
Taking images with an old digital camera of lights in motion depicts a visual our eyes are unable to perceive due to our quick human reaction. With the camera being so fast, it was able to capture the overexposed lights corresponding to my movements of the camera.
亚历山德拉·陈立平
《Dialogue With Time》
Alexandra Chin is a multi-disciplinary artist whose practice revolves around drawing connections between craft and life. Tapping into subconscious intention and manifesting it in conscious action is part of their process. Drawing from natural energies and dancing with mediums to build temples of reflection is how they approach creating. They draw inspiration from both intense periods and day to day life. They appreciate the therapeutic qualities of art, and also use it to assert their expression. Crafting is a way they rake through the abstraction of the mind and soul and realise their intention. Their pieces are meant to be read like Rorschach tests, or felt like a song.
南洋理工大学
Nanyang Technological University
这一系列照片是在湄公河三角洲地区拍摄的，是摄影师和这些年轻女性之间的合作成果。该项目并没有聚焦于促使这些年轻女性出国的艰辛，而是旨在强调她们打算留下的美好，包括她们的环境、风景、家庭、朋友，换言之，与她们一起成长的任何地方，这些都是他们身份的一部分。留下的是已知的，他们前往的地方构成了未知，从气候和风景到语言、文化和人民，一切都会不同。
《Quiet Dream》
《随着他们变老变聪明》
反映自然的商品化——量身定制和大规模生产，随着年龄和智慧的增长，它着眼于人类对操纵自然的贪婪欲望。该系列将我们带入人为控制的景观，以及通过盆栽构建诱导自然环境的可能性极限。
这个系列作品探讨了初恋、欲望或吸引力的概念。它的核心是自我发现的斗争和对初体验的描述。任何人的第一次都可能令人生畏并且充满不确定性。然而，对亲密的渴望和对改变的渴望给了我们脆弱的自信。然而，正是我们让自己经历的这种脆弱性剥夺了我们想要的东西。这种联系固化并变成现实的想法成为一种可怕的前景，以至于我们选择逃离。《请不要说你爱我》在本质上说明了，有时候，我们最大的渴望和恐惧同时是爱和被爱。
《Please Don't Say You Love Me》
This series explores the notions of first love, lust or attraction. At its core, it is a struggle of self-discovery and an account of first experiences. The first time for anyone can be daunting and filled with uncertainty. However, the yearning for intimacy and desire for change gives us the confidence to be vulnerable. Yet, it is this vulnerability we put ourselves through that strip us from what we want. The idea of this connection solidifying and turning into something so real becomes a terrifying prospect, so much that we choose to run away. Please don’t say you love me essentially illustrates that sometimes, our greatest desire and fear, simultaneously, is to love and be loved.
无效婚姻系列展示了一场典型的马来人婚礼的仪式。
“证婚”是伊斯兰教习俗中强制性的庄严仪式，意思是把新娘交给新郎。在古兰经中发现的阿拉伯语单词nikah被翻译成婚姻的承诺。作为新加坡的一名穆斯林，由于马来社区的影响，人们可能会在义务和休闲方面面临复杂的问题。马来文化和伊斯兰教的宗教信仰在几代人之间的冲突造成了社会压力和对婚礼应该如何举行的期望。
An Invalid Marriage series demonstrates glimpses of rituals carried out in a typical Malay wedding.
"Akad Nikah" is a solemnisation ceremony mandatory in Islamic practice, meaning to hand the bride away. The Arabic word nikah found in the Quran alone translates to the commitment of marriage. As a Muslim in Singapore, one may face complications regarding what is obligatory and leisure due to the Malay community's influence. The clash of the Malay culture and religious beliefs in Islam over generations has caused societal pressure and expectations set for how a wedding is supposed to be.
《曾戈》
这组作品是一系列连续的图像，描绘了与人类状况平行的不同开始和结束。我的灵感来自日本的暗示美学——幽玄，它在事物的开始和结束中找到了价值。与完美不同，完美这一看似坚不可摧的境界，开端暗示着未来，结局暗示着过去，为想象和可能性留下空间。我开始看到过去我对完美的天生渴望，相反，在高潮前后的不完整和不完美中，还有更多的意义、价值和美丽。遵循手风琴书的布局，该照片系列旨在按顺序以二进制形式查看。
《Zengo》
This body of work is a sequential series of images depicting different beginnings and endings parallel to the human condition. I was inspired by the Japanese aesthetic of suggestion – Yūgen, which finds value in the beginning and end of things. Unlike perfection, a seemingly impregnable realm, beginnings suggest what is to come and endings suggest what has been, leaving room for the imagination and possibilities. I began to see past my innate desires for perfection, but rather, there is more meaning, value, and beauty, in the incompleteness and imperfection before and after the climax. Following an accordion book layout, this photo series is meant to be viewed sequentially and in binary.
A Little Life is an explorative attempt to reconcile beauty and inner struggle. Photography becomes an intimate means of charting the world and expressing what is unspoken; every image a fragment of the subconscious, embedded into corners of lived-in landscapes.
Through visual ruminations of the human experience and the self, this series hopes to make sense of the world in all its elemental, fragile beauty.
中国参展院校：北京印刷学院、湖北美术学院、黄河科技学院、鲁迅美术学院、南京艺术学院、清华大学美术学院、山东工艺美术学院、上海工程技术大学、上海美术学院、上海师范大学、上海视觉艺术学院、四川美术学院、天津美术学院、西安理工大学、西安美术学院、西安欧亚学院、浙江传媒学院、中国美术学院、中央美术学院
主办单位：中国济南国际摄影双年展组委会
指导单位：中国摄影家协会教育委员会、中国高等教育学会摄影专业委员会
承办单位：西安理工大学艺术与设计学院 、山东工艺美术学院
媒体支持：《中国摄影家》杂志
艺术总监：曾毅
总策展：张辉、黄荣华(土耳其)、柳银珪(韩国)
联合策展人
Agatha Bunanta(印度尼西亚)、Ampannee Satoh(泰国)、Ang Song Nian(新加坡)、敖国兴、白晓丹、戴菲、邓岩、董钧、Eiffel Chong(马来西亚)、Erzan Adam(新加坡)、胡晓阳、吉川直哉(日本)、贾方、矫健、Lachlan Gardiner(澳大利亚)、Laleper Aytek(土耳其)、李小舟、林简娇、刘阳、Nadia Oh Sueh Peng(新加坡)、Oh Soon-Hwa(韩国)、Salleh Japar(新加坡)、沈洁、史民峰、Tan Tay Guan(马来西亚)、Ugrid Jomyin(泰国)、王培蓓、王帅、杨赫、姚璐、张朴、张省会、中里和人(日本)
艺术委员会
鲍昆、百濑俊哉(日本)、曹珽、顾铮、方肃、胡钢锋、李树峰、林路、计卫舸、宿志刚、王保国、王川、王传东、武小川、谢爱军、徐国武、阳丽君、张成义、张希红、钟建明
执行委员会
执行策展人：张一天、高帆
展场设计：吕梦星
微信推广：胡敏瑞、吕梦星、赵懿平
视频拍摄：王天俊、王登轩
英文翻译：张心睿、常永鑫
展览时间：2022年10月25日-11月20日
·END·
