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。

 

 

武雨墨，1995年生于中国内蒙古，现生活、工作于中国北京和德国杜塞尔多夫。

 

她于2021年以荣誉学位毕业于美国罗德岛设计学院摄影专业，获艺术学士学位，并于2023年以荣誉学位毕业于瑞士洛桑艺术大学摄影专业，获艺术硕士学位。作为专注摄影创作的艺术家，照相机于武雨墨是一种延伸的器官，其官能与肉眼视觉不断共享交汇。摄影技术的逻辑被打破，感知变成了方法。她藉此得以精确捕获现实中那些模糊的、震颤的、失灵的关键时刻，捕捉并重构现实中的动态瞬间与情感体验，并再造为与世界偏移的新现实。

 

她的作品近年曾参加意大利博洛尼亚 Foto/Industria 双年展、中国上海艺仓美术馆、韩国首尔 Platform-L 当代艺术中心、中国三影堂摄影艺术中心、日本东京3331 Arts Chiyoda艺术中心、荷兰鹿特丹国际摄影节、意大利帕多瓦国际摄影节、立陶宛国际摄影节、荷兰北极光国际摄影节、北京当代唐人艺术中心、香格纳画廊、上海弥金画廊、香港The Shophouse画廊、杭州ORRO画廊、柏林Culterim画廊、杭州ImaginaryZ空间及伦敦46空间等。

 

她的创作曾发表于国际权威艺术与摄影刊物，包括《Foam》当代摄影杂志、《中国摄影》及假杂志等。曾荣获美国罗德岛T.C. Colley奖、瑞士洛桑Prix La Fonciere奖，并于2024年获提名德国柏林C/O Berlin人才奖。武雨墨通过持续的艺术实践，致力于拓展摄影作为当代艺术媒介的表现力与可能性，为中国青年摄影艺术家中的优秀代表。

 

Wu Yumo, born in Inner Mongolia, China in 1995, currently lives and works between Beijing, China, and Düsseldorf, Germany.

 

She earned her Bachelor of Fine Arts in Photography with Honors from the Rhode Island School of Design (RISD), USA, in 2021, and her Master of Fine Arts in Photography with Honors from the École Cantonale d'Art de Lausanne (ECAL), Switzerland, in 2023. As an artist dedicated to photographic creation, Wu Yumo regards the camera as an extended organ, its functions continuously intersecting with the perception of the naked eye. The logic of photographic technology is disrupted, and perception itself becomes the methodology. Through this approach, she precisely captures the blurred, trembling, and malfunctioning critical moments within reality, seizing and reconstructing dynamic instances and emotional experiences, and re-creating them into new realities that subtly shift from the world as we know it.

 

Her recent works have been exhibited internationally at prestigious venues including Foto/Industria Biennial in Bologna, Italy; Power Station of Art in Shanghai, China; Platform-L Contemporary Art Center in Seoul, South Korea; Three Shadows Photography Art Centre in China; 3331 Arts Chiyoda in Tokyo, Japan; Rotterdam Photo Festival in the Netherlands; Padova International Photography Festival in Italy; Kaunas Photo Festival in Lithuania; Noorderlicht International Photography Festival in the Netherlands; Beijing Tang Contemporary Art; ShanghART Gallery in Shanghai; The ShopHouse Gallery in Hong Kong; Gene Gallery in Shanghai; Culterim Gallery in Berlin; ImaginaryZ Space in Hangzhou; and 46 Gallery in London, among others.

 

Her work has been featured in leading international art and photography publications, including Foam Magazine, China Photography, and Jia Za Zhi. She is the recipient of the T.C. Colley Award from Rhode Island, USA, and the Prix La Fonciere from Lausanne, Switzerland. In 2024, she was nominated for the C/O Berlin Talent Award in Germany. Through her continuous artistic practice, Wu Yumo is dedicated to expanding the expressive power and possibilities of photography as a contemporary art medium, establishing herself as a prominent representative among young Chinese photographic artists.

 

 

武雨墨

中国

UV油墨印刷于铝板、3D打印树脂、喷漆、丙烯、不锈钢

180cm x 150cm x 5cm

2025

作品由艺术家提供

 

Wu Yumo

CHN

UV-print on aluminum panel, 3D-printed resin, spray paint,acrylic paint, stainless steel

180cm x 150cm x 5cm

2025

Courtesy of the artist

 

《张力场》是艺术家武雨墨创作的摄影装置作品，探索了自然图像在商业图片库中的表征方式与其真实自然之间的关系。艺术家浏览大量网络图库照片的自然分类时，发现了一种趋势：许多图像利用大光圈技术剥离背景，虽然获得了清晰的主体，却抹除了真实自然中至关重要的地域细节与生态语境。这种高度风格化的影像，本质上是一种迎合市场需求的‘景观化自然’。它们带有一种冰冷的、非即兴的特质，仿佛并非出自人类之手，而是一种自动化的产物。这种视觉语言不仅未能拉近我们与自然的距离，反而阻碍了我们对真实生态的深入观察。在攀岩馆中，人造攀岩墙的存在也反映了这种特性，它们模仿真实岩石帮助人类“征服”自然，但实际上这只是一种幻觉——对自然的幻觉。

 

艺术家将人造攀岩墙的副本图像嵌入经过筛选的库存鸟类摄影之中，通过改变原图的尺寸比例，构建出一个视觉与观念上的“张力场”。攀岩墙作为人类模拟自然、试图“征服”自然的产物，其虚拟性恰与库存图像中非真实、去语境化的自然表征形成呼应——两者共同指向一种被制造出的、“非人”的自然幻觉。

 

该系列不仅反思了图像生产与消费机制如何塑造我们对于自然的认知，也质疑了当代视觉文化中“自然”概念的虚构成分。通过将两类不同性质的人造自然意象并置，武雨墨试图促使观众审视如下问题：我们究竟希望通过图像看见怎样的自然？图像又如何在无形中规定了我们与自然的关系？《张力场》以冷静而具象的视觉语言，体现出艺术家对图像伦理、自然再现与人类认知之间关系的深刻思考。

 

Tension Field is a photographic installation by artist Wu Yumo that explores the relationship between the representation of natural images in commercial stock photo libraries and their real-world natural counterparts. While browsing numerous images categorized as "nature" in online stock photo libraries, the artist observed a trend: Many images utilize large apertures to strip away the background; while this achieves a sharp subject, it erases the crucial regional details and ecological contexts of the natural world. This highly stylized imagery is, in essence, a form of “spectacularized nature”tailored to market demands. It carries a cold, non-improvisational quality—as if produced not by human hands, but by an automated process. Rather than bringing us closer to nature, this visual language obstructs our ability to deeply observe authentic ecologies. Similarly, the presence of artificial climbing walls in rock climbing gym reflects this characteristic; they mimic real rocks to help humans "conquer" nature, but in reality, this is merely an illusion – an illusion of nature.

 

The artist embeds copies of artificial climbing walls into carefully selected stock bird photographs. By altering the original image's scale, she constructs a visual and conceptual "tension field." The climbing wall, as a product of human simulation of nature and an attempt to "conquer" it, reveals a virtuality that echoes the unreal, decontextualized representation of nature in stock images. Both elements point towards a manufactured, "non-human" illusion of nature.

 

This series not only reflects on how image production and consumption mechanisms shape our perception of nature but also questions the fictional components of the "nature" concept within contemporary visual culture. By juxtaposing two distinct types of artificial natural imagery, Wu Yumo aims to prompt viewers to examine questions such as: What kind of nature do we truly wish to see through images? And how do images subtly dictate our relationship with nature? Tension Field, with its calm yet concrete visual language, demonstrates the artist's profound contemplation of the ethics of images, the representation of nature, and the relationship between human cognition.

 

 

审定 / 涂晓庞

审校 / 曾睿洁

资料提供 / 叶舜

图片 / 曾雨林

编辑 / 刘丹妮