读懂艺术家 | 广州影像三年展2025——曾翰

 

 

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。

 

 

曾翰，摄影艺术家、独立策展人。毕业于暨南大学、纽约视觉艺术学院。曾在中国、美国、法国、德国、澳大利亚等十几个国家的美术馆、艺术双年展、摄影节、画廊等举办展览; 多个系列作品被上海美术馆、加拿大安大略美术馆、香港M+美术馆、广东美术馆等机构和各国收藏家收藏。曾获中国摄影家协TOP20·2011中国当代摄影新锐奖等奖项。作为策展人，曾任2017年广州影像三年展策展人；2012新加坡国际摄影节策展人；2011年第三届大理国际影会策展人，获金翅鸟最佳策展人奖 ；2005年首届连州国际摄影年展策展人，获年度杰出策展人奖；曾与广东美术馆、时代美术馆、歌德学院等机构合作，策展多个艺术群展和艺术家个展。

 

Zeng Han is a photographer and independent curator. He graduated from Jinan University and the School of Visual Arts in New York. He has held exhibitions at museums, art biennales, photography festivals, and galleries in more than ten countries, including China, the United States, France, Germany, and Australia. His works from multiple series are held in institutional collections such as the Shanghai Art Museum, the Art Gallery of Ontario in Canada, the M+ Museum in Hong Kong, and the Guangdong Museum of Art, as well as in private collections internationally. He has received awards including the TOP20·2011 China Contemporary Photography Emerging Photographer Award by the China Photographers Association. As a curator, he served as curator of the 2017 Guangzhou Image Triennial, the 2012 Singapore International Photography Festival, and the Third Dali International Photography Exhibition in 2011, for which he received the Golden Wing Award for Best Curator. He also curated the inaugural Lianzhou International Photography Festival in 2005, earning the Outstanding Curator of the Year Award. He has collaborated with institutions such as the Guangdong Museum of Art, the Times Museum, and the Goethe-Institut on numerous group exhibitions and solo exhibitions for artists.

 

曾翰

中国

摄影，绢本喷墨打印

315cm x 100cm x 5

2021-2022

作品由艺术家提供

 

Zeng Han

CHN

Photography, inkjet print on silk

315cm x 100cm x 5

2021-2022

Courtesy of the artist

 

在近20年的摄影创作中，艺术家通过“山水”的观看方式、哲学思考及价值观的重塑，重新审视中国的当代风景。2021年起至今，他将“山水”的观看与思考聚焦于古代山水画大师从未涉足的青藏高原与河西走廊等中国西部山水，试图通过当下高精的摄影机器和技术去回应和唤醒某种高古的山水精神，探析孕育山水宇宙观的“元山水”何以成形。科技的发展一直在改变着人类观看和感知世界的方式，当摄影师用1.5亿像素的超高清数码后背与移轴量巨大的相机镜头组合重新拍摄已拍摄过数次的中国西部山水，凭借其超越人眼的视域、透视和分辨率，竟然得到了与汉唐墓室石窟山水壁画和宋元经典山水画作形神契合的图像;在用计算机软件做后期处理的过程中，用算法代替肉眼和手工生成了艺术家认为的更接近古代山水画原初的色彩和形态。

 

Over nearly two decades of photographic practice, the artist has revisited contemporary Chineselandscapes through the lens of traditional shan shui (mountains-and-rivers) viewing, philosophicalreflection, and a reshaping of values. Since 2021, he has focused on regions of western China-such asthe Tibetan Plateau and the Hexi Corridor-landscapes that ancient shan shui masters never explored.Using today's high-precision photographic equipment and technology, he seeks to respond to andawaken a profound, archaic spirit of shan shui, probing how the "Meta Shanshuil landscapes" that gaverise to the cosmology of shan shui were formed.

 

Technological developments continually reshape the ways humans observe and perceive the world. Bycombining a 150-megapixel ultra-high-resolution digital back with a tilt-shift lens of exceptional range, the photographer revisits western Chinese landscapes he has photographed multiple times before. With a field of view, perspective, and resolution beyond the human eye, he produces images thatresonate in spirit and form with Han and Tang tomb and grotto landscape murals, as well as classical Song and Yuan shan shui paintings. In the post-production process, computer software and algorithms substitute for the human eye and hand, generating colors and forms that the artist believes more closely approximate the original essence of ancient shan shui paintings.

 

 

审定 / 涂晓庞

审校 / 曾睿洁

资料提供 / 石裕榕

图片 / 曾雨林 杜悦儿

编辑 / 刘丹妮