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。

 

 

尼古拉·弗洛克，1970年生于法国雷恩，现生活与工作于巴黎。

 

尼古拉·弗洛克通过装置、摄影、电影、雕塑与行为创作，探讨流动、消失与再生在其中扮演关键角色的转型时代。他围绕全球变化展开的视觉与记录工作，重点呈现那些不可见的空间（水下景观、流动的物质化、环境的相互依存、自然与人工循环在宏大时空尺度中的关系等）。他的艺术考察与长期项目，从经验、海洋、水体、科学研究与际遇中汲取养分，创造出植根现实、具有开放性的作品，并将演变过程置于核心。

 

尼古拉·弗洛克的展览足迹遍及全球，曾参与的个展与群展包括：MAAT（里斯本，葡萄牙）、SMAK（根特，比利时）、新奥尔良艺术博物馆（美国）、肯尼迪艺术中心（华盛顿，美国）、成都双年展（中国成都）、Sunkok美术馆（首尔，韩国）、大邱艺术中心（韩国大邱）、濑户内国际艺术节（日本）、京瓷美术馆（日本京都）、银座爱马仕论坛（日本东京）、MALI（秘鲁利马）、南方共同市场双年展（巴西阿雷格里港）、Matucana 100（智利圣地亚哥）、蓬皮杜中心（法国巴黎）、东京宫（法国巴黎）、欧洲当代艺术双年展“宣言13”（法国马赛）、MAC/VAL美术馆（法国维特利）、阿尔勒国际摄影节（法国）、FRAC Bretagne（法国雷恩）、FRAC Sud（法国马赛）、Frac Grand Large（法国敦刻尔克）等。

 

他的作品由阿姆斯特丹Roma Publications出版，并由巴黎Galerie Maubert画廊代理。

 

Nicolas Floc’h was born in 1970 in Rennes, France. Lives and works in Paris, France.

 

Nicolas Floc'h's installations, photographs, films, sculptures, and performances question an era of transition in which flows, disappearance and regeneration play an essential role. His visual and documentary work on global change focuses on representing invisible spaces (underwater landscapes, the materialisation of flows, the interdependence of environments, natural and artificial cycles on a large spatial and temporal scale, etc.). His artistic expeditions and long-term projects, nourished by experiences, seas, water, scientific research, and encounters, generate open-ended works rooted in reality, in which evolutionary processes take pride of place.

 

Nicolas Floc’h has exhibited internationally and his solo/collective shows include MAAT (Lisbon, Portugal), SMAK (Ghent, Belgium), New Orleans Museum of Art (USA), Kennedy Arts Center (Washington, USA), Chengdu Biennal (Chengdu, China), Sunkok Art Museum, (Seoul, Korea), Daegu Arts Center (Daegu, Korea) Setouchi Triennal, (Japan), Kyocera Museum (Kyoto, Japan), Le Forum, Ginza maison Hermès (Tokyo, Japan), MALI (Lima, Peru), Biennal Mercosur (Porto Alegre, Brazil), Matucana 100 (Santiago, Chile), Centre Pompidou (Paris, France), Palais de Tokyo (Paris, France), Manifesta 13 (Marseille, France), MAC/VAL (Vitry-sur-Seine, France), Rencontres d’Arles (France), FRAC Bretagne (Rennes, France), FRAC Sud (Marseille, France), Frac Grand Large (Dunquerke, France)…

 

He is published by Roma Publications in Amsterdam and represented by Galerie Maubert in Paris.

 

 

 

尼古拉·弗洛克

法国

彩色摄影，按地理顺序排列，数码颜料打印，限量1版，由葡萄牙里斯本MAAT出品，由广东美术馆制作艺术家样本

30cm x 42cm x 374

2022

作品由艺术家提供

Nicolas Floc'h

FRA

Colour photographs arranged in a geographical sequence,digital inject prints, Edition of 1, produced by MAAT, Lisbon,Portugal, Artist Proof produced by Guangdong Museum of Art

30cm x 42cm x 374

2022

Courtesy of the artist

 

每一张照片都是在自然光下的广角拍摄。所有影像均在不同深度拍摄，并按照它们彼此的空间关系进行排列。由此形成的“塔霍河网格”代表了一段横跨95公里的摄影剖面，从河流延伸至大西洋。

 

在三十四个点位上(间隔2.7公里)，于光照带内拍摄了一系列不同深度的照片(即一条“水柱")。拍摄深度因环境而异:在浑浊的河流环境中，阳光仅能穿透几米的水体(C1);而在清澈的大西洋水域，暮光带仅在100米深处才开始显现(C34)。

 

每一个网格都使我们能够重新审视某一区域光照带内的水体及其特征。每一个环境都有其独特的"签名"，而每一张网格都在讲述着一片地域的故事。

 

Each image is a wide-angle shot, taken in natural light. The images are all taken at different depths andpositioned according to their spatial relationship with one another. The resulting "Tagus Grid" representsa photographic cross-section covering 95 km, from the river to the Atlantic Ocean.

 

At thirty-four points spaced 2.7 km apart, a series of photographs taken at different depths li.e., a "watercolumn") is captured within the sunlight-receiving photic zone. The shooting depth varies by environmentin the furbid river waters, sunlight only penetrates a few metres into the water column (Cl and the clearwaters of the Atlantic, where the twilight zone only becomes apparent at a depth of 100 m (C34).

 

Each grid makes it possible to re-examine the water masses in a region's photic zone and their specificfeatures. Every environment has its own unique "signature", and each grid tells the story of a territory.

 

这种“色彩的景观”是一种关于世界的表达一一生命形态与矿物形态之间的互动，地球的历史、海洋大气与冰川--跨越不同的时间尺度。这些摄影作品中可感知的水文、生物与地质的流动与循环，使抽象绘画与风景摄影在其中结合。

 

最寻常的水下与海洋景观，也能生成一片延伸至视野尽头的色彩。在这里，单色绘画与风景绘画相遇，但植物与矿物的形态并非通过浪漫化的岩石或山脉的表现来呈现，也不是通过印象派笔触去唤起花田或海面光影的律动，而是仅仅通过色彩与光来体现。这种色彩由微观世界的显现而生成:漂浮且动态的色素在积聚中被显现，其饱和度随深度增加而增强。光自水面而来，逐渐消散至深海区，在摄影印刷中呈现出细腻的层次变化。

 

The "landscape of colour" is an expression of the world-the interaction between life forms and mineralforms, Earth's history, the oceans, the atmosphere and ice-spanning diverse time scales. The perceivablehydrological, biological and geological flows and cycles in these photographs marry abstract paintingwith the photographic representation of landscapes.

 

The most ordinary underwater and oceanic landscapes create an expanse of colour stretching as faras the eye can see. This is where monochrome painting meets landscape painting: plant and mineralforms are not expressed through the romanticized depiction of a rocks or mountains, nor throughimpressionistic brushstrokes that evoke flower fields or the vibrations of light on the surface of theocean, but through colour and light alone. This colour emerges as the microscopic becomes visiblethrough accumulation: pigments floating freely and dynamically, whose saturation increases with depth.Light comes from the water's urface and gradually fades towards the abyssal zone, revealing subtlegradations in the photographic prints.

 

 

审定 / 涂晓庞

审校 / 曾睿洁

资料提供 / 石裕榕

图片 / 曾雨林

编辑 / 刘丹妮