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。

 

 

勒博亨·坎耶，1990年生于南非，现工作生活于南非约翰内斯堡与德国柏林。她的创作涵盖扩展摄影、视频及混合媒介，常以雕塑性装置的形式，将历史编纂、研究实践、戏剧性、自传叙事与诗意表达交织于同一创作之中。

 

坎耶的姓氏在索托语中意为“光”（kganya），她的艺术实践以“为层层叠合的后殖民历史注入光芒”为核心线索，贯穿其艺术实践始终。

 

2025年，她的作品在纽约现代艺术博物馆（MoMA）举办的展览“新摄影2025”中展出。同年，她的个展《Le Sale ka Kgotso》于柏林Fotografiska摄影博物馆首展，展览呈现全新委任创作。2024年，坎耶凭借在阿姆斯特丹Foam摄影博物馆馆举办的个展《Haufi Nyana? 我来带你回家》荣获德意志交易所基金会摄影奖。此外，她还获得了2025年的ICP无限奖、2022年的Foam保罗·胡夫奖及2019年的奥地利摄影奖。

 

近年来，坎耶的作品曾在阿尔贝蒂娜博物馆、泰特现代美术馆、芝加哥艺术博物馆、LE BAL、巴恩斯基金会等国际知名机构展出，并于2022年代表南非国家馆参加威尼斯双年展。

 

她的作品被包括纽约大都会艺术博物馆、蓬皮杜艺术中心、史密森学会非洲艺术博物馆、维多利亚与阿尔伯特博物馆、巴黎现代艺术博物馆、休斯顿美术馆、盖蒂博物馆及查曾博物馆在内的多家世界顶级艺术机构收藏。

 

Lebohang Kganye (b. 1990, South Africa) works with expanded photography, video and mixed media to create works that layer historiography, research, theatricality, autobiography and poetics in often sculptural installations. The artist’s family name is etymologically linked to the Sotho word for light, “kganya”; bringing light to layered postcolonial histories is an animating thread in her practice.

 

Kganye is featured in MoMA New Photography 2025. Her recent touring solo exhibition, Le Sale ka Kgotso, debuted at the Fotografiska, Berlin (2025), and features newly commissioned work. She is the recipient of the 2024 Deutsche Börse Foundation Prize for her solo exhibition Haufi nyana?I've come to take you home at Foam (2023). Other notable recent awards include the ICP Infinity Award, 2025, the Foam Paul Huf Award, 2022 and the Camera Austria Award, 2019.

 

The artist has recently exhibited at the Albertina Museum, Tate Modern, the Art Institute of Chicago, LE BAL, the Barnes Foundation, and other notable institutions. In 2022, Kganye exhibited in the South African Pavilion at the Venice Biennale.

 

Kganye’s work is held in collections including the Metropolitan Museum of Art, the Centre Pompidou, the Smithsonian National Museum of African Art, the Victoria and Albert Museum, Musée d’Art Moderne de Paris, the Museum of Fine Arts Houston, the Getty Museum, and the Chazen Museum, among others.

 

 

勒博亨·坎耶

南非

立体场景装置，艺术微喷、摄影剪影、木箱、灯光

68 cm x 80 cm x 50 cm

2023

作品由艺术家提供

 

Lebohang Kganye

ZAF

Diorama installation and scenography with inkjetphotographic cutout prints, wooden box, and light

68 cm x 80 cm x 50 cm

2023

Courtesy of the artist

 

勒博亨·坎耶

南非

立体场景装置，艺术微喷、摄影剪影、木箱、灯光

68 cm x 80 cm x50 cm

2023

作品由艺术家提供

 

Lebohang Kganye

ZAF

Diorama installation and scenography with inkjetphotographic cutout prints, wooden box, and light

68 cm x 80 cm x 50 cm

2023

Courtesy of the artist

 

《（历）史的两个故事》是艺术家勒博亨·坎耶以博物馆档案中的历史叙事与档案图像为基础，通过重新编排与个人表演，来探讨历史叙事在当代语境中如何被理解与再现的跨媒介作品。

 

作品参考了学者克里斯特劳德·盖瑞于1990年发表在《艺术杂志》(Art Journal）中的论文研究，并结合喀麦隆巴穆姆王国的历史片段，将多组场景置于灯光立体模型盒内，艺术家本人在其中扮演不同的角色介入历史叙事中，并以此解构档案图像背后的殖民语境，引导观众与历史叙事的情境建立新的关联与对话，构建出一个多重时空交织的剧场性现场。

 

作品标题“（历）史的两个故事”不仅指向历史的多重解释可能，也通过艺术家自身的再想象视角予以补充和回应。这种方法既让观众看到档案影像背后的多重解读可能性，也强调了当下对历史叙事进行再思考的重要性。作品标题所指的“两个故事”，一方面来源于历史影像的原始语境，另一方面则体现了艺术家脱离西方殖民历史叙事后的个人重新想象、阐释与重构。

 

在后续研究中，艺术家还引入了喀麦隆巴穆姆王国的口述历史与当地文学资料，进一步丰富并扩展了这一系列，使该系列作品在历史与当代之间建立起多层次的关系。

 

Two Stories of (Hi)Stories is a cross-media work by artist Lebohang Kganye, based on historical narratives and archival images from museum archives. Through reorganization and personal performance, the work explores how historical narratives are understood and reinterpreted in contemporary contexts.

 

The project references scholar Christraud Geary's 1990 essay published in Art Journal and incorporates fragments of the history of the Bamum Kingdom in Cameroon. Multiple scenes are set within illuminated diorama boxes, where the artist herself takes on various roles within historical narratives. By doing so, she deconstructs the colonial context behind archival images, encouraging viewers to engage in new dialogues and connections with historical narratives, creating a theatrical space where multiple temporalities intersect.

 

The title, Two Stories of (Hi)Stories, points to the multiplicity of historical interpretations while supplementing and responding to them through the artist's own reimagined perspective. This approach not only reveals the potential for multiple readings of archival imagery but also emphasizes the importance of rethinking historical narratives in the present. The "two stories" referenced in the title derive, on one hand, from the original contexts of historical imagery and, on the other, from the artist's reimagination，interpretation and detachment from Western colonial historical narratives.

 

In her ongoing research, the artist incorporates oral histories and local literary materials of Cameroon’s Bamum Kingdom, enriching and expanding the series. This establishes a multi-layered relationship between history and the contemporary moment.

 

 

审定 / 涂晓庞

审校 / 曾睿洁

摄影 / 杜悦儿 曾雨林

资料提供 / 叶舜

编辑 / 刘丹妮