主题综述：

 

在算法洪流奔涌的视觉纪元中，广州影像三年展2025以“拓展的摄影”为舟楫，重铸人与现实的纽带。当代艺术家们以数字美学与后数字（新模拟）美学的交响，建构注意力机制的另类形态，编织出自然与记忆的新想象共同体。本届三年展犹如一纸感知革命的宣言，通过重构视觉认知的经纬，在像素与银盐的交界处，叩响感知生态的觉醒之钟。

 

In an algorithm-dominated visual age, Guangzhou Image Triennial 2025 explores the potential of an “expanded photography” to reconnect humans with reality. Contemporary artists offer new forms of attention, seeking to build new imaginaries of nature and memory by bringing together both digital and post digital (neo-analog) aesthetics. Guangzhou Image Triennial 2025 stands as a manifesto for an Ecology of Sensitivity, reshaping how we perceive the world.

 

《环境文化：理性的生态危机》，瓦尔·普拉姆伍德， Routledge出版社，2002年出版。

Environmental Culture The Ecological Crisis of Reason, Val Plumwood, 2002.

 

在“人类世”这一地质纪元语境下，广州影像三年展2025通过视觉艺术媒介，呈现艺术家如何以这一核心命题重构与世界的对话关系。

 

Guangzhou Image Triennial 2025 offers a perspective on visual artists who take the context of the Anthropocene as a determining factor in representing the world.

 

数字生存范式催生的感知危机中，人类与自然的原初纽带逐渐断裂，影像中介的过度介入导致感知系统持续钝化。然而，当代艺术实践者正以突破性路径展开物质性对话，对历史记忆进行解构与重构，试图为失敏的现代认知注入复苏动能。此次三年展则无疑是一份关于全新感知力的真正宣言。

 

Our digital existence has led to a crisis of sensitivity, impoverising our perceptions  by depriving us of direct contact with nature and favoring the mediation of images. Yet, contemporary artists invite us to reclaim this sensitivity, approaching materiality in a different way and rethinking our relationship with history and memory. The Triennial thus stands as a true manifesto for a new ecology of sensitivity.

 

《三种生态学》，费利克斯·加塔利，Galilée 出版社，1989年出版。

Les trois écologies, Félix Guattari, Galilée, 1989 .

 

《生态思维》，蒂莫西·莫顿，哈佛大学出版社，2010年出版。

The Ecological Thought, Timothy Morton, Harvard University Press, 2010. 

 

在广州影像三年展2025的学术框架中，策展实践聚焦于前沿影像实验场域，探索注意力机制的全新形态。展览以现象感知的认知重构为方法论，试图构建现实再连接的当代艺术范式。基于阿恩·奈斯（Arne Næss）与费利克斯·瓜塔里（Félix Guattari）提出的“生态哲学”（ecosophy）理论框架——该理论将环境生态、社会关系网络与精神生态视为三元共生体——参展艺术家构建了具象化的感性伦理体系。他们有时刻意背离传统图像的再现方式，转而对影像媒介本身进行重新审视与反思，在光波震荡、时序切片、银盐显影及载体触觉记忆等核心元素中，策略性地形成一种与数字洪流抗衡的另类语法系统。

 

Guangzhou Image Triennial 2025 considers new forms of attention by highlighting on the latest photographic experiments. The exhibitions centre on attitudes of reconnection with reality by transforming our perception of phenomena. Drawing on the notion of ecosophy - the wisdom of nature - developed by the philosophers Arne Næss and Félix Guattari, who intertwine environmental, social and mental ecologies, the selected artists propose a genuine ethics of the sensitivity. At times, they turn away from conventional images to re-examine the medium itself : light, time, photosensitive substances, and the tangibility of supports are presented as an alternative visual vocabulary with regard to advanced technologies.

 

《末日松茸：资本主义废墟上的生活可能》， 罗安清，普林斯顿大学出版社， 2015年出版。

The Mushroom at the End of the World- On the Possibility of Life in Capitalist Ruins, Anna Lowenhaupt Tsing,  Princeton University Press, 2015.

 

影像物质性已演化为具身化的诗学符码。此类新摄影实践时而呈现抽象能指，却始终锚定具象存在论，昭示着新模拟范式的认知转向。因为摄影是感性的媒介（基于感光性），所以它是理解我们的感官如何重新连接世界的最原初的创作场域。因此，感知生态学在此既显影为美学范式，亦具象为伦理实践的认知双重面向。

 

The materiality of the image has evolved into a poetic language. Sometimes abstract, but always tangible, this new photography marks a true neo-analog turn. As the medium of the sensitive — rooted in photosensitivity— photography offers a uniquely powerful space for exploring how our sense can reconnect us to the world. In this context, an ecology of sensitivity emerges as both an aesthetic and an ethical imperative.

 

策展团队：

 

Curatorial Team:

 

总策划 

Chief Director

 

现任广东美术馆馆长，二级研究员，教授、博士生导师。享受国务院特殊津贴专家。兼任中国美术家协会理事、广东省美术家协会副主席、广东省美术馆协会会长。

 

Director of Guangdong Museum of Art, serves as a National Level-2 Researcher, professor, doctoral supervisor,  and an expert with State Council Special Allowance. He also serves as a member of China Artists Association, Vice Chairman of Guangdong Artists Association, President of Guangdong Art Museum Association.

 

策展人

Curators

 

摄影史学家、策展人，巴黎先贤祠-索邦大学（巴黎第一大学）摄影与当代艺术史教授。

Michel Poivert is a photography historian, curator, and professor of contemporary art history and photography at Paris 1 Panthéon-Sorbonne University. 

 

研究者、策展人，《浮屿》与《星辉》两种文集的发起人。

A researcher and curator, she is the initiator of two publishing projects: Floating Island and Starlight. 

 

陶丝·达赫玛尼是常驻伦敦的艺术史学者，拥有法国、英国和阿尔及利亚多重文化背景，专攻摄影研究。

Taous R. Dahmani is a London-based French, British, and Algerian art historian specialising in photography. 

 

学术委员

Academic Committee Members：

 

独立策展人、写作者、教授。

Independent curator, writer and professor. 

 

 

韩国首尔市立美术馆馆长，韩国当代艺术博物馆界 36 年来的核心人物之一。

General Director of Seoul Museum of Art.Choi is one of the central figures of Korean Contemporary Art Museum’s scene for 36 years. 

 

广州美术学院艺术与人文学院教授，主要致力于西方现代美术史教学、研究、写作；当代艺术批评，展览策划。

Professor at School of Arts and Humanities, Guangzhou Academy of Fine Arts. Fan Lin has been devoting her attention to art criticism, curation and the teaching and research of western modern art history. 

 

摄影史学者，策展人。中国美术学院中国摄影文献研究所主任，中国美术学院美术馆摄影部主任，高帆摄影艺术馆（杭州）的馆长。

Art historian and curator of photography.The Director of the Institute of Social Archive of Chinese Photography at CAA, also the Photography Department Director at the CAA Art Museum and the Director of the Gaofan Photography Museum (Xiaoshan, Hangzhou).

 

1981年毕业于湖北艺术学院研究生班美术史论专业，毕业后留校任教。现为中国美术家协会策展委员会副主任。

Majored in art history and theory, Pi Daojian graduated from Hubei Institute of Fine Arts with a master’s degree in 1981 and began teaching in the institute later. He is now the deputy director of the Curators Committee of China Artists Association.

 

独立策展人及写作者，多伦现代美术馆中国影像艺术年鉴项目执行总监，芝加哥艺术学院“艺术管理与政策研究”硕士。

Independent curator and writer, Executive Director of the Annual Report of Chinese Contemporary Photography and Video Arts at Shanghai Doland Museum of Modern Art. MA in "Arts Administration and Policy" at the SAIC. 

 

摄影艺术家，策展人，成都当代影像馆艺术总监。

Photographer and curator, artistic director for Chengdu Contemporary Image Museum.

 

 

关于广州影像三年展

Guangzhou lmage Triennial

 

“广州影像三年展”的前身是“广州国际摄影双年展”，第一届展览于 2005年举办。2017 年，广东美术馆将该项目正式更名为“广州影像三年展”，项目立足于媒介现象发展的观察与思考，把研究的重点从原来的“社会人文的摄影”拓展为更具包容力和学科性的“视觉研究的影像”，力图在更具开放性与方向性的工作中推动中国当代影像艺术的实践与研究。自更名以来，先后举办两届展览，并获得社会各界广泛的认可和好评：“复相·叠影——广州影像三年展2017”获得国家文化和旅游部2018年度全国美术馆优秀展览项目；“交融的激流：广州影像三年展2021”获得国家文化旅游部2020-2021年度的全国美术馆优秀展览提名项目。

 

“交融的激流：广州影像三年展2021”展览现场

 

Guangzhou Photo Biennial, the predecessor of Guangzhou lmage Triennial, was first held in 2005. in 2017, it was renamed by the Museum as Guangzhou lmage Triennial which, based on observation and thinking on the development of media phenomena, expands the research focus from the original "social and humanistic photography" to the more inclusive and discipline-oriented "visual research image", aiming to promote the practice and research of Chinese photography and moving images through more liveral andoriented efforts. Since its renaming, the Guangzhou Image Triennial has successively presented two editions of exhibitions, both receiving widespread recognition and acclaim from all sectors of society:  Stimultaneous Eidos: Guangzhou Image Triennial 2017 received the "National Art Museum Excellence Award" from the Ministry of Culture and Tourism in 2018;  Intermingling Flux: Guangzhou Image Triennial 2021 was nominated for the "National Art Museum Excellence Award" (2020-2021) by the Ministry of Culture and Tourism.  

 

 

“复相·叠影——广州影像三年展2017”展览现场

 

 

审定 /  涂晓庞 

供稿 /  姚小菲

排版设计 /  不亦乐乎 BY-ENJOY

编辑 /  刘丹妮 司徒紫嫣