广州影像三年展2025以 “感知生态学” 为主题，集结全球 25个国家和地区的80 余位影像领域创作者，呈现一场聚焦生态、感知与媒介创新的艺术盛宴。

 

参展艺术家立足多元文化背景，以摄影、影像装置、数字艺术等丰富媒介，从自然生态、城市生态、人文生态等维度展开创作，用镜头记录环境变迁，以作品探讨人类与自然的共生关系。

 

这些创作者既是影像艺术的实践者，也是时代议题的回应者。接下来，让我们逐一走近他们，解读其作品背后的创作逻辑与思想内核。

 

莉莉·卢莱，1985年出生于德国法兰克福，现工作生活于柏林和法兰克福。她曾在德国和法国学习摄影、雕塑和媒体社会学。她的创作聚焦于摄影作为一种文化工具，如何深度融入日常生活。

 

面对当今影像的过度生产，卢莱使用自己的和他人拍摄的照片作为“原始材料”，运用激光切割、刺绣、装置与拼贴等多种技术手法，将摄影图像转化为可触知的实体。通过这一实践，她深入探讨了摄影媒体对社会行为以及个人和集体感知机制所产生的影响。自2017年以来，她专注于研究智能手机作为摄影工具如何显著改变摄影的功能和表现形式，并通过混合综合媒介探索与智能手机摄影相关的社会、技术和经济结构。

 

基于影像的创作使卢莱屡获殊荣，其中包括：2025年慕尼黑城市博物馆“摄影中的艺术家”项目、布鲁塞尔Contretype“群岛#1”驻留项目，2024年法兰克福狮子会艺术奖，2023年东京T3艺术节研究驻留，2022年科隆Photoszene艺术节“AMA艺术家遇见档案”奖、ifa展览资助奖，2021年马略卡帕尔马卡萨·普拉纳斯研究驻留奖，2019年Kunstfonds艺术基金会资助奖，2018年Foam Talents计划入选，2017年参与由奥林巴斯发起、并与法兰克福摄影论坛、汉堡德意志摄影馆及阿姆斯特丹Foam摄影博物馆合作的“奥林巴斯推荐艺术家奖助计划”。

 

她的作品被多家公立及私人艺术机构收藏，包括罗切斯特乔治·伊士曼博物馆、摩德纳摄影基金会、阿姆斯特丹Foam摄影博物馆、慕尼黑欧洲专利局、法兰克福德意志交易所摄影基金会、法兰克福DZ银行艺术收藏、苏黎世Art Vontobel艺术收藏，以及法国新阿基坦大区艺术文献库。作品曾在上述机构以及纽约Aperture基金会、萨拉索塔林林博物馆、圣地亚哥Die Ecke艺术空间、澳大利亚巴拉瑞特摄影双年展、伦敦Beaconsfield艺术空间、阿姆斯特丹Foam Next Door、巴黎Circulations摄影节、雅典贝纳基博物馆、因戈尔施塔特具体艺术博物馆等众多机构展出。

 

Lilly Lulay, (b. 1985, Frankfurt, Germany) studied photography, sculpture and media sociology in Germany and France. Her works examine photography as a cultural tool that forms an integral part of daily life.

 

Perfectly aware of todays overproduction of images Lulay uses own and other peoples photographs as "raw material". Applying a variety of techniques, that range from laser cutting to embroidery, from installation to collage Lulay turns photographs into palpable objects. With her work she investigates on the influence that photographic media have (had) on social behavior and mechanisms of individual and collective perception. Since 2017 she investigates on the smartphone as a photographic tool which has significantly changed the functions and appearances of photography. In her mixed media projects she explores the social, technical and economical structures linked to smartphone photography.

 

For her photo based works Lilly Lulay won several prizes and scholarships as: 2025 Artists on Photography, Munich City Museum, 2025 Archipel#1 Residency, Contretype Brussels, 2024 Lions Club Frankfurt Art Prize, 2023 T3 Festival research residency, Tokyo, 2022 AMA Artists Meet Archive, Photoszene Cologne, 2022 Ifa exhibition funding, 2021 Casa Planas research residency, Palma de Mallorca, 2019 Stiftung Kunstfonds grant, 2018 Foam Talents programe, 2017 Olympus recommended fellowship in cooperation with Foam Amsterdam, Deichtorhallen Hamburg, Fotografie Forum Frankfurt.

 

Lulay’s works form part of private and public collections such as George Eastman Museum Rochester, Fondazione Fotografia Modena, Foam Amsterdam, European Patentoffice, Munich, Deutsche Börse Photography Foundation Frankfurt, Art Collection DZ Bank Frankfurt, Art Vontobel, Zurich as well as Frac-Artothèque Nouvelle-Aquitaine, France. Her works have been shown in these institutions as well as at Aperture New York, Ringling Museum, Sarasota, Die Ecke Santiago de Chile, Ballarat Foto Biennale Australia, Beaconsfield London, Foam Next Door Amsterdam, Festival Circulations Paris, Benaki Museum Athens and Museum für Konkrete Kunst Ingolstadt and other venues.

 

莉莉·卢莱（德国）

激光切割，c型印画，物件框

73cm × 55cm（作品尺寸）

81cm × 64cm × 7 cm（带框尺寸）

2018

作品由艺术家及柏林Kuckei+Kuckei画廊提供。

（本系列作品创作于“奥林巴斯推荐艺术家奖助计划”期间，该计划由奥林巴斯发起，并与法兰克福摄影论坛、汉堡德意志摄影馆及阿姆斯特丹 Foam 摄影博物馆合作完成。）

 

Lilly Lulay (DEU)

Laser cut, c-print, object frame

73 cm × 55cm (image), 81cm × 64cm × 7cm（framed）

2018

Courtesy the artist and Kuckei+Kuckei, Berlin.

(These works have been created as part of the Olympus Recommended Fellowship, in collaboration with Fotografie Forum Frankfurt, Deichtorhallen Hamburg and Foam Amsterdam)

莉莉·卢莱（德国）

激光切割，c型印画，物件框

60cm × 45 cm（作品尺寸）

70.5cm × 55.5cm × 3cm（带框尺寸）

2018

作品由艺术家及柏林Kuckei+Kuckei画廊提供。

（本系列作品创作于“奥林巴斯推荐艺术家奖助计划”期间，该计划由奥林巴斯发起，并与法兰克福摄影论坛、汉堡德意志摄影馆及阿姆斯特丹 Foam 摄影博物馆合作完成。）

 

Lilly Lulay (DEU)

laser cut, c-print, object frame

60cm × 45 cm (image), 70.5cm × 55.5cm × 3cm（framed）

2018

Courtesy the artist and Kuckei+Kuckei, Berlin.

(These works have been created as part of the Olympus Recommended Fellowship, in collaboration with Fotografie Forum Frankfurt, Deichtorhallen Hamburg and Foam Amsterdam)

在算法逻辑主导的视觉文化地层中， 卢莱的创作揭示了智能手机如何通过图标语言重塑我们的感知方式。与传统摄影不同，手机图像从不以全屏呈现——它们总是被爱心、对话框、纸飞机等图标所框定。这些符号不仅框架着我们的照片，更引导和限制着我们的社交互动，成为跨越文化与地域的全新视觉语法。

 

艺术家以75岁友人C.的私人居所为对象，将模拟空间的物质性内容"翻译"为数字图标语言。在激光切割的精密操作下，照片的平面转化为网格状的装饰结构，观者只能透过镂空的图标碎片窥见私密的生活空间。这种半透明的视觉质感，恰如其分地隐喻了智能手机交互如何使我们变得"透明"——每一次分享、编辑或存档，都在为科技公司的数据池添砖加瓦。

 

这些激光切割投下的阴影，正是我们在线互动留下的数字足迹。它们在我们身后凝结成不可见的技术迷宫，构成一幅幅数据肖像。面对算法对视觉的扁平化，卢莱的作品部署了过载的信息量，迫使观者驻足凝视——抵抗那五秒钟的滑动。在此，我们得以重新感知那些被数字界面压缩的物质、身体与记忆之间的有机中继，并从视觉权力的地层中发掘出新的感知可能性：更稠密、更具摩擦力、触感温热。

 

Within the strata of visual culture dominated by algorithmic logic, Lilly Lulay's practice reveals how smartphones reshape our modes of perception through their iconic language. Unlike traditional photography, smartphone images never appear in full screen—they are perpetually framed by hearts, speech bubbles, paper planes, and other icons. These symbols not only frame our photographs but also guide and constrain our social interactions, becoming a new visual grammar that transcends cultures and geographies.

 

Taking the private dwelling of her 75-year-old friend C. as the subject, the artist "translates" the material contents of analogue space into the language of digital icons. Through precise laser-cutting operations, the flat surface of the photograph transforms into a network-like ornamental structure, allowing viewers only fragmentary glimpses into intimate living spaces through the hollowed-out iconic fragments. This semi-transparent visual quality aptly metaphorizes how smartphone interactions render us "transparent"—each act of sharing, editing, or archiving adds another brick to tech companies' data pools.

 

The shadows cast by these laser cuts are precisely the digital footprints left by our online interactions. They condense behind us into invisible technical labyrinths, forming data portraits. Against the algorithmic flattening of vision, Lulay's work deploys an overabundance of information, compelling viewers to linger—to resist the five-second scroll. Here, we might re-perceive the organic relays between material, body, and memory that digital interfaces compress, and excavate from the stratigraphy of visual power new perceptual possibilities: denser, more frictional, tactilely warm.

 

审定 / 涂晓庞

审校 / 曾睿洁

资料提供 / 叶舜

图片 / 杜悦儿 曾雨林

编辑 / 刘丹妮