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。

 

 

谭英杰，1992年生于湖南，2016年毕业于中央美术学院雕塑系，现工作生活于北京。他的创作以空间装置为主，并广泛涉及影像、表演及文字图像等多种媒介形式。通过将个人经验与特定空间相结合，他致力于构建具有多层次叙事和丰富感官体验的艺术现场，探索空间与身体感知之间的互动关系。近年来，他的创作聚焦于对现实图像的解构与再造，以折叠、翻转、位移等视觉手法生成新的感知结构，展现出对当代视觉文化的深入思考。

 

谭英杰曾多次举办个展，包括“我借用了过去的乐观”（2025，山中天艺术中心，北京）、“被偷走的外壳”（2022，拾萬空间，北京）、“想象，你正在漫游”（2020，拾萬空间，北京）、“蛇与梯子”（2019，C5CNM，北京）、“雾谷”（2018，墨方空间，北京）及“不可靠的叙述者”（2017，泰康空间，北京）等。

 

他的作品也广泛参展于国内外重要群展，如“重”（2025，蔡锦空间，北京）、“书象”（2024，上海图书馆，上海）、“时间引力：2023成都双年展”（2023，成都美术馆，成都）、 “皮钦光谱——PSA青策计划”（2023，思南公馆，上海）、深圳OCAT双年展“飞去来器”（2021，OCAT华侨城当代艺术中心，深圳）、“完美之隙：第九届华宇青年奖”（2021，华语艺术中心，三亚）、“TAG·新当代艺术字——啟航”（2022，西海美术馆，青岛）、“云雕塑”首届学术邀请展（2023，松美术馆，北京）等。

 

Tan Yingjie was born in Hunan in 1992 and graduated from the Sculpture Department of the Central Academy of Fine Arts in 2016. He currently lives and works in Beijing. His practice primarily focuses on spatial installations, while extensively engaging with diverse media including video, performance, text, and images. By combining personal experience with specific spaces, he is committed to constructing artistic sites with multi-layered narratives and rich sensory experiences, exploring the interactive relationship between space and bodily perception. In recent years, his work has concentrated on the deconstruction and reconstruction of real-world images, employing visual techniques such as folding, flipping, and displacement to generate new perceptual structures, demonstrating profound reflection on contemporary visual culture.

 

Tan Yingjie has held numerous solo exhibitions, including Shrinking of the Present, Whereas... (2025, Wind H Art Center , Beijing), The Stolen Shell (2022, Hunsand Space , Beijing), Imagine, you are roaming (2020, Hunsand Space, Beijing), Snakes and Ladders (2019, C5CNM, Beijing), Fog Valley (2018, Mocube, Beijing), and The Unreliable Narrator (2017, Taikang Space, Beijing).

 

His works have been widely exhibited in significant group exhibitions both domestically and internationally, including Heavy (2025, Cai Jin Space, Beijing), Books as Art (2024, Shanghai Library, Shanghai), Time Gravity: 2023 Chengdu Biennale (2023, Chengdu Museum of Contemporary Art, Chengdu), Pidgin Spectrum—PSA Emerging Curators Project (2023, Sinan Mansions, Shanghai), Boomerang: Shenzhen OCAT Biennale (2021, OCAT Shenzhen, Shenzhen), The Perfect Flaw: 9th Huayu Youth Award (2021, Sanya, Hainan), TAG·New Contemporary Art—Departure (2022, Xihai Art Museum, Qingdao), and Cloud Sculpture - First Academic Invitational Exhibition (2023, Song Art Museum, Beijing), among others.

 

 

谭英杰

中国

3mm铝板UV打印

90cm x 120cm x 3cm

2025

作品由艺术家提供

Tan Yingjie

CHN

UV print on 3mm aluminum panel

90cm x 120cm x 3cm

2025

Courtesy of the artist

 

谭英杰

中国

3mm铝板UV打印

200cm x 160cm x 250cm

2025

作品由艺术家提供

Tan Yingjie

CHN

UV print on 3mm aluminum panel

200cm x 160cm x 250cm

2025

Courtesy of the artist

 

在算法逻辑构建的“去物质化”图像生态中，谭英杰以其独特的雕塑背景和空间感知能力，通过物质性的图像折叠实践，重新激活被数字化压缩的感知沉积层。《往事》系列源于艺术家对城市景观、集体记忆与个人经验的深层挖掘，将摄影图像转化为具有空间张力的物质装置，在平面与立体、过去与当下之间建立起独特的感知通道。

 

《往事#1 人群》呈现了一次盛大节日中人群聚集的景观重构。艺术家沿着人体遮挡的边缘,将密集的人流切割、分散，按图像对角方向做“Z”字型拉伸, 把混乱的人群展开成连贯的队列。这不仅是视觉秩序的重建，更是对集体记忆的延迟重塑——那些人群涌动, 在艺术家的手中获得了新的空间形态。聚集、围观、错位、留白，人群在物质化的图像褶皱中既崩塌又重组，既是历史的凝固，也是感知的流动。

 

《往事#5 砂岩》则将目光投向自然的时间刻度。疫情期间, 当城市活动空间被压缩，艺术家在山间砂岩前驻足，被那风化的岩层所吸引。砂岩的空间感不在于洞穴般的物理深度，而在于地质时间一点点沉积、风化所形成的层次。艺术家沿着砂岩的纹理将图像切开，用正负相交的两张照片，让正面与背面(负片)相互支撑，在图像的褶皱中"打开"了岩层——这是一次对地质时间的视觉考古，也是对物质记忆的触觉唤醒。

 

两件作品均采用3mm铝板UV双面打印工艺, 通过CAD制图与激光切割实现精确的空间构建。铝板的工业质感与手工折叠的身体性形成张力，UV打印技术则确保图像在物质转换中保持其视觉强度。这种“物质真实”的坚持，正是艺术家创作的核心逻辑——他始终相信图像是“物质真实的光的反射”，只有建立在物质基础上的对应关系，才能产生真正的感知张力。

 

In the "dematerialized" image ecology constructed by algorithmic logic, Tan Yingjie, with his unique sculptural background and spatial perception, reactivates the sedimentary layers of perception compressed by digitalization through materialized image-folding practices. The Past series originates from the artist's deep excavation of urban landscapes, collective memory, and personal experience, transforming photographic images into material installations with spatial tension, establishing a unique perceptual channel between the planar and the three-dimensional, the past and the present.

 

The Past #1 Crowd presents a reconstruction of the spectacle of crowd gathering during a grand festival. Following the edges where bodies obstruct one another, the artist cuts and disperses the dense flow of people, stretching them in a "Z" formation along the diagonal direction of the image, unfolding the chaotic crowd into a coherent procession. This is not merely a reconstruction of visual order, but a delayed reshaping of collective memory—those surging crowds acquire new spatial forms in the artist's hands. Gathering, onlooking, displacement, and blank spaces—the crowd both collapses and reorganizes within the materialized folds of the image, simultaneously a solidification of history and a flow of perception.

 

The Past #5 Sandstone turns its gaze toward nature's temporal scale. During the pandemic, when urban activity spaces were compressed, the artist paused before mountain sandstone, captivated by its weathered layers. The spatial quality of sandstone lies not in cave-like physical depth, but in the stratification formed by geological time through gradual sedimentation and weathering. Following the sandstone's texture, the artist cuts open the image, using two photographs in positive and negative that support each other—the front and back (negative)—"opening up" the rock layers within the image's folds. This is a visual archaeology of geological time and a tactile awakening of material memory.

 

Both works employ double-sided UV printing on 3mm aluminum panels, achieving precise spatial construction through CAD drafting and laser cutting. The industrial texture of aluminum panel creates tension with the physicality of manual folding, while UV printing technology ensures the image maintains its visual intensity through material transformation. This insistence on "material reality" is the core logic of the artist's practice—he consistently believes that images are "reflections of light from material reality," and only correspondences established on a material foundation can generate genuine perceptual tension.

 

 

审定 / 涂晓庞

审校 / 曾睿洁

资料提供 / 叶舜

图片 / 曾雨林 杜悦儿

编辑 / 刘丹妮