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。

 

 

刘雨佳毕业于四川美术学院，后于伦敦艺术大学伦敦传媒学院获得硕士学位，目前工作生活于北京。她的短片创作将纪实影像、文学、民族志、民间传说与旅行见闻交织融合，构建出具身体验与情感共鸣兼具的观看感受。她以亚洲的实体地貌为创作主题与叙事场景，凭借富有抒情性的艺术风格，打破了纯粹纪实与叙事性故事之间的界限。

 

她的影像及电影作品曾在法国巴黎蓬皮杜中心、中国香港 M + 博物馆、香港大馆当代艺术中心，以及全球多地的博物馆与艺术机构展映。其影像作品被法国蓬皮杜中心、卡迪斯特艺术基金会、伦敦特洛伊之家艺术基金会、澳大利亚白兔美术馆等多家机构及私人藏家广泛收藏。

 

Liu Yujia graduated from Sichuan Fine Arts Institute and later earned her Master’s degree from the London College of Communication, University of the Arts London. She currently lives and works in Beijing.

 

In her short film creations, she blends documentary footage, literature, ethnography, folklore and travel observations, crafting a viewing experience that delivers both embodied perception and emotional resonance. Taking the physical landscapes of Asia as her creative theme and narrative setting, she adopts a lyrical artistic style that breaks the boundary between pure documentary and narrative storytelling.

 

Her video and film works have been exhibited at the Centre Pompidou in Paris, France, M+ Museum in Hong Kong of China, Tai Kwun Contemporary in Hong Kong of China, as well as museums and art institutions across the globe. Her video works are widely collected by numerous institutions and private collectors, including the Centre Pompidou, Kadist Art Foundation, London’s Troy House Art Foundation and Australia’s White Rabbit Gallery.

 

刘雨佳

中国

单频影像

38'35"

2016

作品由艺术家提供

Liu Yujia

CHN

Video

38'35"

2016

Courtesy of the artist

 

《黑色海洋》始于创作纪录片的冲动，却很快转向抽象表达与诗意沉思--对于一个地方、一个人或一段经历，从来都不只有唯一的解读方式。刘雨佳将自己的文字与电子配乐相结合，并融入了伊塔洛·卡尔维诺《看不见的城市》中的片段。书中描述文明的兴衰更迭、城市的繁盛与消逝，这些对世事无常的思考与影片的核心形成共鸣。

 

《黑色海洋》是艺术家刘雨佳在中国西北边境一家国家石油厂为期一个月的驻留期间的创作，捕捉到了当代工业发展与古老地貌之间的碰撞。经过数千年风蚀形成的垄脊组成了这片雅丹地貌，这些地质构造如同永恒的见证者，而石油钻井平台和机械作业则急剧地重塑着大地，二者形成鲜明对比。

 

影片随着这段层次丰富的时间线展开思考。在这里，缓慢的自然侵蚀与快速的工业开采交汇。风塑造出垄脊，钻头开凿出隧道;侵蚀在石头上留下痕迹，工业在钢铁上刻下伤痕。这两种过程都在掏空并重塑大地，但其时间尺度却截然不同:前者以千年为单位，后者以年为单位。

 

通过静态与动态影像的流畅融合，《黑色海洋》引发人们对自然与人类野心之间脆弱平衡的思考。它是对时间、变革以及生态韧性与工业影响交织遗产的沉思。

 

Black Ocean begins with a documentary impulse but quickly moves into abstraction and poetic reflection.Liu Yujia combines her own words with an electronic score and excerpts from ltalo Calvino's Invisible Cities, whose meditation on transience-civilizations rising and falling, cities flourishing and fadingesonates af the heart of the work. The film explores how there is never just one way to see a place, aperson, or an experience.

 

Created during a month-long residency at a national oil plant on China's northwest border, Black Ocean captures the collision between contemporary industrial development and an ancient landscape shapedby the Yardang formations-wind-eroded ridges carved over millennia. These geological structuresstand as timeless witnesses, while oil drilling rigs and machinery rapidly reshape the land in starkcontrast.

 

The film reflects on this layered timeline, where slow natural erosion meets rapid industrial extraction.Wind sculpts ridges; drills bore tunnels. Erosion writes in stone; industry carves scars in steel. Bothprocesses hollow and reshape the earth, but on vastly different time scales: millennia versus years.

 

Through a fluid blend of still and moving images, Black Ocean invites contemplation on the fragilebalance between nature and human ambition. It is a meditation on time, transformation, and theintertwined legacies of ecological endurance and industrial impact.

 

 

审定 / 涂晓庞

审校 / 曾睿洁

资料提供 / 胡天庥

图片 / 曾雨林 杜悦儿

编辑 / 刘丹妮