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。

 

 

达娜·科伊布克，1979年生于罗马尼亚，毕业于布加勒斯特国立艺术大学，现居巴黎，由凯瑟琳·普特曼画廊代理。

 

在从事多年摄影创作后，她开启了一段独特而敏感的绘画转向。其作品曾展出于布鲁塞尔Hangar摄影艺术中心（比利时）、松恩霍兰德博物馆（挪威）、坦佩雷Backlight摄影节（芬兰）、巴黎Circulations摄影节、图卢兹Manifesto艺术节、热克斯Confrontations摄影节、布拉迪斯拉发中欧摄影之家（斯洛伐克）、多维尔Planches Contact摄影节期间的弗朗索瓦丝博物馆、法国国家图书馆（巴黎）“不惜一切的摄影”展览，以及2023年unRepresented当代艺术展、2023年布鲁塞尔纸上艺术博览会、2023年阿姆斯特丹Unseen摄影博览会、2024年Drawing Now当代绘画博览会、2025年巴黎艺术博览会。

 

2021年，她凭借作品《In the Shadow of Trees》入围PhotoBrussels摄影节奖；2022年，她在Planches Contact摄影节期间荣获“新秀摇篮”驻留项目评审团奖。同年，她获得法国才华基金摄影奖“景观”类别奖项，并出版首部作品集《尤克特拉希尔》。2025年，她荣获法国Treilles基金会摄影奖。

 

Dana Cojbuc was born in 1979 in Romania. She graduated from the Bucharest National University of Arts and now lives in Paris. She is represented by Catherine Putman Gallery.

 

After developing a body of photographic work for several years, she has undertaken a singular and sensitive transition towards drawing. Her artworks have been exhibited at the Hangar Photo Art Center in Brussels (Belgium), the Sunnhorland Museum (Norway), Backlight Festival in Tampere (Finland), Circulations Festival (Paris), Manifesto Festival (Toulouse), Confrontations Festival (Gex), the Central European House of Photography in Bratislava (Slovakia), and the Musée des Franciscaines in Deauville during the Planches Contact Festival. Her work was also shown at the BnF (Paris) exhibition La photographie à tout prix, the unRepresented approche salon in 2023, Art on Paper Brussels 2023, Unseen Amsterdam 2023, Drawing Now 2024, and Art Paris 2025.

 

A finalist of the PhotoBrussels Festival Awards on the theme In the Shadow of Trees in 2021, she received the Jury Prize for the Tremplins Jeunes Talents residency during the Planches Contact Festival in 2022. The same year, she was a laureate of the “Landscape” Bourse du Talent and published her first book Yggdrasil. In 2025, she was a laureate of the Fondation des Treilles Prize for photography.

 

达娜·科伊布克

罗马尼亚

摄影，木炭笔、黑石与干粉彩绘画

115cm x 70cm, 115cm x 70cm,70cm x 125cm, 70cm x 100cm

2024

鸣谢艺术家和Catherine Putman画廊

Dana Cojbuc

ROU

Photography, charcoal pencil, black stone, and dry pastels

115cm x 70cm, 115cm x 70cm,70cm x 125cm, 70cm x 100cm

2024

Courtesy of the artist and Galerie Catherine Putman

 

当记忆穿过时间、主观性与幻觉的棱镜，还会留下怎样的印记？《日出奇境》源自保存一处场所记忆的渴望，它游走于存在与缺席之间，凭借想象延伸感官体验，从而重构一场在现实与虚构间摇曳的沉浸式漫步。

 

该项目植根于罗马尼亚一处真实而具象的场所——一个对摄影师意义深远之地，其后又延伸至法国的一处地点。达娜·科伊布克通过绘画介入她的作品，在影像的边界之外延伸并诠释摄影，在不同空间之间建立新的连接。借由绘画延展现实，让观者得以步入解读的疆域，并凭借自身的想象延续沉浸式的体验。风景化为一座圣殿，一处庇护与有益孤独的岛屿。

 

这种融合图像的渴望，突显了她作品中的想象维度。通过绘画，将罗马尼亚与法国西南部朗德地区捕捉到的风景重新联结，引领我们超越地理现实，进入无界风景的漫游。尽管作品中贯穿着保存特定地点摄影记忆的意图，但驱动艺术家的并非怀旧的追寻，而是更倾向于让柏拉图式的或更为私人的回忆自然浮现。于是，绘画安驻于宽阔的留白之中，那些空无被构思为一种开放式的未完成感，宛如邀请观者在不断流变的世界中漫步、遨游。

 

What imprint remains of our memories once they have passed through the prism of time, subjectivity, and illusions? Strange Place for Sunrisegrew from the desire to preserve the memory of a place—to play with presences as well as absences, to extend the sensory through the imaginary, and to reinvent an immersive walk that oscillates between reality and fiction.

 

The project is rooted in the reality and materiality of a location in Romania, a place dear to the photographer, and later a site in France. Dana Cojbuc intervenes in her works through drawing, extending and interpreting photography beyond the frame of the image and creating new connections between different spaces. This extension of reality through drawing invites viewers into the realm of interpretation, allowing them to expand the immersive experience through their own imagination. The landscape becomes a sanctuary, an island of refuge and salutary isolation.

 

This impulse to combine images highlights the imaginary dimension of her practice. The reunion—through drawing—of landscapes captured in Romania and in France’s Landes region enables a journey beyond geographic reality, like a borderless terrain. While the project engages with preserving the photographic memory of certain places, it is not driven by nostalgia. Rather, it allows Platonic or more personal reminiscences to surface. Drawing settles into the wide margins; the blanks are designed to evoke an open-ended incompleteness, like an invitation to wander through an evolving world,to roam.

 

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