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。

 

 

何兆南，1984年生于中国香港，现生活和工作于中国香港。

 

何兆南以摄影为核心，延伸至混合媒介、行为与录像。他在照片中融入手绘与绘画介入，承载个人的沉思与观看，使作品超越纪录而趋向情感、内省与观念。其创作汇聚个体与集体对地方与时间的意识，铺展与他所栖居之城的不间断对话。

 

近期展览包括：第8届横滨三年展（2024）；M+（香港，2024）；萨奇画廊（伦敦，2023）；旧金山中华文化中心（2023）；旧金山现代艺术博物馆（2018）。

 

2022年，他与郭家赐及研究者黄慧婷共同运营非营利空间NewPark（前身为100 ft. PARK），策划“One Hit Wonder”展览系列与影像放映以激发讨论。作品收藏于M+、旧金山现代艺术博物馆、温哥华美术馆等机构。

 

SOUTH HO SIU NAM was born in Hong Kong, China in 1984 and currently lives and works in Hong Kong, China.

 

South Ho Siu Nam’s practice centers on photography as a point of departure into mixed media, performance, and video. His images incorporate drawn and painted interventions, carrying personal reflection and observation; they move beyond documentation toward the emotive, introspective, and conceptual. Ho’s works gather individual and collective consciousness around place and time, unfolding an ongoing dialogue with the city he calls home.

 

Recent exhibitions include: 8th Yokohama Triennale (2024); M+, Hong Kong (2024); Saatchi Gallery, London (2023); Chinese Cultural Center of San Francisco (2023); and San Francisco Museum of Modern Art (2018).

 

In 2022, Ho co-founded NewPark—a revamp of 100 ft. PARK—as a non-commercial space run with Billy HC Kwok and researcher Michelle W T Wong, initiating conversations via the exhibition series “One Hit Wonder” and moving-image screenings. His works are held in collections including M+ (Hong Kong), SFMOMA (USA), and Vancouver Art Gallery (Canada).

 

 

何兆南

中国香港

水彩铅笔、档案级喷墨打印、木框

80cm x 100cm x 3

2024

作品由艺术家和刺点画廊提供

South Ho Siu Nam

HKG

Watercolor pencil on archival inkjet print, wooden frame

80cm x 100cm x 3

2024

Courtesy of the artist and Blindspot Gallery

 

在《后平日常》系列中，何兆南对一组黑白照片进行手工介入，在由香港高楼与街道挤压出的狭窄天空中填入彩色方格，生成带有像素质感的景观。当这些色块占据原本属于天空的区域时，场景随之转向抽象;瞬时性的细节被反复排列的几何图形所覆盖，取而代之的是一种经过重新编码的视觉秩序。

 

黑白与彩色的并置形成鲜明对比，沉静而密集的城市背景被均匀绘制的方格所扰动，松动了人们对尺度、距离与空间的惯常感知。通过这种绘画式的介入，作品不再只是对景观的再现，而是呈现出一种带有主体性介入的观看方式，使“日常”在被重新图像化的过程中获得新的敏感度与可读性。

 

In his After Every Daily series, South Ho Siu Nam intervenes directly onto a set of black-and-whitephotographs, filling the narrow slivers of sky framed by Hong Kong's crowded high-rises with hand-drawn coloured squares. These added pixels transform the depicted scenes: the fleeting details of aparticular moment are overwritten by a field of repeated geometries, shifting the image from observationto abstraction and establishing a newly coded visual order.

 

The juxtaposition of monochrome cityscapes with vividly coloured grids produces a striking tension. Thequiet density of the urban environment is unsettled by the even, deliberate marks, loosening habitualperceptions of scale, distance and spatial depth. Through this painterly intervention, the work movesbeyond photographic representation and proposes a more subjective mode of looking-one in whichthe fabric of the "everyday" is re-sensitised and made newly legible through acts of re-imaging.

 

 

审定 / 涂晓庞

审校 / 曾睿洁

资料提供 / 石裕榕

图片 / 杜悦儿

编辑 / 刘丹妮