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。

 

 

玛丽娜·丰特，1970年出生于阿根廷，她先后就读于阿根廷马德普拉塔市马尔哈罗（Malharro）视觉艺术学院，主修设计；1998年夏季赴法国巴黎斯佩奥斯摄影学院进修摄影；2009年获得美国迈阿密巴里大学摄影艺术硕士学位。

 

她的作品被众多公共收藏机构收藏，包括迈阿密艺术与设计博物馆（Museum of Art and Design, Miami Dade College）、博卡拉顿艺术博物馆（Boca Raton Museum of Art）、佛罗斯特艺术博物馆（The Patricia & Phillip Frost Art Museum at Florida International University）、洛威艺术博物馆（Lowe Art Museum, University of Miami）、阿根廷拉丁美洲摄影档案馆（FoLA，阿根廷）、亚特兰大邦嫩收藏（The Bunnen Collection, Atlanta, USA）、Girls’ Club 收藏（Girls' Club Foundation, Fort Lauderdale, USA）以及全球各地的私人收藏。

 

她的作品曾在美国及海外的美术馆、画廊与文化机构广泛展出，并被刊载于《哈珀斯杂志》（Harper’s Magazine）、《艺术纽带》（ArtNexus）、《Photo+杂志》（Photo+ Magazine，韩国）、《迈阿密先驱报》（The Miami Herald）、《第十二页》（Pagina 12，阿根廷）、《分幅杂志》（Fraction Magazine）、《aPhotoEditor杂志》、《Aint-Bad杂志》、《F-Stop杂志》、《镜外》（Lenscratch）、《一十二出版》（One Twelve Publishing）、《摄影速递》（Fototazo）、《伊丽莎白·阿维登摄影博客》（Elisabeth Avedone PhotoBlog）、《汉普顿艺术中心》（Elisabeth Avedone PhotoBlog）、《新光》（Nuevaluz）等媒体。

 

她的首部摄影专著《解剖即命运》（Anatomy is Destiny）由Minor Matters Books出版社出版，并入选2019年纽约AIPAD摄影展上阿帕图尔基金会 “摄影书聚焦”单元。

 

玛丽娜亦是多学科艺术合作团体RPM Project的成员，现生活并工作于迈阿密。

 

Marina Font was borned in Argentina, 1970. She studied design at the Malharro School of Visual Arts, Mar del Plata, Argentina. In the summer of 1998 she studied Photography at the Speos Ecole de la Photographie, Paris. She earned a MFA in Photography from Barry University, Miami in 2009.

 

Her work is present in public collections such as the MDC Museum of Art+Design, Miami, Boca Raton Museum, Frost Art Museum at FIU, LOWE Art Museum at The University of Miami, FoLA, Argentina, The Bunnen collection, Atlanta , The Girls' Club collection, Fort Lauderdale and various private collections throughout the world.

 

She has exhibited extensively at galleries, museums and cultural institution in the US and abroad. Her work has been featured in Harper's Magazine, ArtNexus, Photo+ Magazine, (Korea), The Miami Herald, Pagina 12, (Argentina), Fraction Magazine, aPhotoEditor, Aint-bad Magazine, F-stop Magazine, Lenscratch, One Twelve Publishing, Fototazo, Elisabeth Avedone PhotoBlog, Hamptons Art Hub, and Nuevaluz among others.

 

Her first monograph Anatomy is Destiny was published by Minor Matters Books and it was selected for the Aperture Foundation’s Photo Book Spotlight at Aipad, The Photography Show, NY, 2019.

 

Marina is also part of the multidisciplinary collaborative RPM Projects. She currently lives and works in Miami.

 

玛丽娜·丰特

阿根廷

基于摄影的装置，独版作品，喷墨打印于画布、石膏、棉麻线与岩石

尺寸可变，图像:91.5cmx91.5cm

2017

作品由艺术家提供

 

Marina Font

ARG

Photo-based installation, unique edition, inject print oncanvas, gesso, cotton-hemp yarn, and rocks.

Dimensions variable, image: 91.5cm x 91.5cm

2017

Courtesy of the artist

 

受精神分析理论的启发，我的摄影创作实践聚焦于身份的建构过程，并通过性别、记忆、流离与空间经验之间的交织关系展开探讨。虽然摄影是我的基础媒介，但我有意将实践延伸至纺织、拼贴、影像与装置艺术。这样的媒介拓展使我能够营造沉浸式的艺术环境，从而挑战关于主体性与心理的固化观念。

 

我创作的核心是对女性经验与家庭领域的探索，这不仅是主题层面的关切，更是作为象征性与结构性的框架，用以批判文化叙事与历史抹除。以纤维为基础的技法——如缝合与穿线——既是审美姿态，也是观念策略，强调女性经验中情感与劳动密集的特质。这些介入打破了可见／不可见、束缚／裂解、内部／外部等二元结构，这些结构常常潜藏于性别身份的再现之中。

 

在本次呈现的作品中，一幅黑白摄影肖像成为物理与心理介入的张力场。彩色线条直接缝入影像之中，并延展至周围空间，与地面上排列的碎石相连。这一雕塑性构成如同对心理疆域的抽象制图，暗示着神经路径、情感残迹以及记忆的不稳定性。传统上与静止和记录相关的摄影表面，在此被转化为一个具有空间感、时间性与身体性的场域。

 

通过以线条在摄影表面“绘画”，我试图触及超越理性的领域，探入心理那复杂而常常不可见的层面。缝纫在此成为一种表演性与修复性的行动，将我的创作置于女性主义材料探究的谱系之中。我的装置作品提出一种关于碎片与连接的诗学——既邀请观者思考那些维系我们存在的无形情感、心理与文化结构，同时也揭示了撕裂我们之间联系的断裂。

 

——玛丽娜·丰特

 

Informed by psychoanalytic theory, my photo-based practice engages with the construction of identity through the interwoven dynamics of gender, memory, displacement, and spatial experience. While photography is the foundational medium, my practice deliberately extends into textiles, collage, video, and installation. This expanded material vocabulary enables the creation of immersive environments that challenge fixed notions of subjectivity and the psyche.

 

At the core of my work is an exploration of womanhood and the domestic sphere, not simply as thematic concerns, but as symbolic and structural frameworks through which to critique cultural narratives and historical erasure. Fiber-based processes such as sewing and threading function as both aesthetic gestures and conceptual strategies, emphasizing the affective and labor-intensive dimensions of feminine experience. These interventions disrupt binary structures of visibility/invisibility, containment/rupture, and interior/exterior that often inform representations of gendered identity.

 

In the work referenced here, a black and white photographic portrait becomes a charged site of physical and psychological intervention. Colored threads, sewn directly into the image and extended into surrounding space, connect with fragments of rubble arranged on the floor. This sculptural configuration evokes an abstract mapping of psychic terrain, suggesting neural pathways, emotional residue, and the instability of memory. The photographic surface, traditionally associated with stillness and documentation, is transformed into a dimensional, temporal, and embodied field.

 

By drawing with thread onto photographic surfaces, I approach what lies beyond reason, engaging with the intricate, often intangible dimensions of the psyche. Sewing operates as a performative and reparative act, situating my practice within a lineage of feminist material inquiry. My installations propose poetics of fragmentation and connection, an invitation to consider the invisible emotional, psychological, and cultural structures that hold us together, even as they expose the ruptures that pull us apart.

 

——Marina Font

 

审定 / 涂晓庞

审校 / 曾睿洁

摄影 / 杜悦儿 曾雨林

资料提供 / 姚小菲 石裕榕

编辑 / 刘丹妮