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。

 

 

 

蔡东东，1978年出生于甘肃天水，2002年就学于北京电影学院，现生活、工作于北京和柏林。

 

其创作涵盖摄影、装置和影像，长期关注摄影与图像之间的关系，从视觉文化的角度把“摄影”带入了图像史或制图史的问题场域，并在实践中探索图像的历史语境及观看方式。他的作品往往通过对图像的再利用与重新组合，呈现摄影作为视觉媒介的多样可能性。2024年，其作品被写入《劳特利奇世界摄影导论》；摄影集《路过北京》获得2024年巴黎摄影博览会光圈年度摄影书；2022年获第二届中国金熊猫摄影艺术奖“杰出摄影艺术家”称号；2021年出版摄影集《生活史》。2018年《纽约时报》报道展露摄影创作新方向的8位艺术家之一。

 

蔡东东的作品曾在多个国内外美术馆与艺术机构展出，其个展包括有：瑞士麦勒画廊（2024，瑞士）、柏林欧洲摄影季（2023，德国）、北京光社影像艺术中心（2023，北京）等；群展包括有：柏林摄影博物馆（2017，德国）、民生美术馆（2016，上海）、三影堂摄影艺术中心（2015，北京）、中央美术学院美术馆（2015，北京）、越后妻有三年展（2015，日本）、弗柯望博物馆（2015，德国）、何香凝美术馆（2014，深圳）、中国美术馆（2011，北京）、广东美术馆（2005，广州）等。

 

Cai Dongdong was born in Tianshui, Gansu Province, in 1978. He studied at the Beijing Film Academy in 2002 and currently lives and works between Beijing and Berlin.

 

His practice spans photography, installation, and video, with a long-term focus on the relationship between photography and images. From the perspective of visual culture, he brings “photography” into the field of image history and cartography, exploring the historical context and modes of seeing embedded in images. Through the reuse and reconfiguration of photographic materials, Cai reveals the diverse possibilities of photography as a visual medium.

 

In 2024, his work was included in The Routledge Companion to Global Photographies; his photobook Passing by Beijing won the “Aperture/Paris Photo Book Award” for “Photography Book of the Year”; in 2022, he received the “Outstanding Photographer” title at the 2nd China Golden Panda Photography Awards; and in 2021, he published the photobook Life History. In 2018, The New York Times named him one of eight artists revealing new directions in photographic practice.

 

Cai Dongdong’s works have been exhibited in numerous museums and art institutions worldwide. His solo exhibitions include Galerie Urs Meile (Switzerland, 2024); European Month of Photography (Berlin, 2023); and Light Society Contemporary Art Center (Beijing, 2023). Group exhibitions include Museum of Photography Berlin (Germany, 2017); Minsheng Art Museum (Shanghai, 2016); Three Shadows Photography Art Centre (Beijing, 2015); CAFA Art Museum (Beijing, 2015); Echigo-Tsumari Art Triennale (Japan, 2015); Focke Museum (Germany, 2015); He Xiangning Art Museum (Shenzhen, 2014); National Art Museum of China (Beijing, 2011); and Guangdong Museum of Art (Guangzhou, 2005).

 

蔡东东

中国

摄影，喷墨打印

134cm x 185cm

2010

作品由艺术家提供

Cai Dongdong

CHN

Photography, inkjet print

134cm x 185cm

2010

Courtesy of the artist

蔡东东

中国

装置，混合媒介

387cm x 397cm x 350cm

2010

作品由邵忠基金会提供，鸣谢誌屋上海 ZiWUthe Bridge

Cai Dongdong

CHN

Installation, mixed media

387cm x 397cm x 350cm

2010

Courtesy of Shao Foundation and ZiWU the Bridge, Shanghai

 

《给予》是艺术家蔡东东基于传统暗房实践创作的摄影与装置作品。艺术家将暗房视为图像生成的母体——一个孕育视觉的神秘空间。为了将这一隐秘的图像生产过程转化为可感知的视觉形式，艺术家搭建了一间真实的照片冲洗房间, 通过精心布景, 以摄影与装置艺术方式呈现给观众, 使不可见的创作过程成为作品本身。

 

作品融汇了丰富的艺术史与文化指涉：画面中倒水男子的姿态致敬了维米尔名作《倒牛奶的女仆》, 地面的国际象棋格纹同样源自维米尔的绘画语言；场景中还散置了电影《八部半》截图、甲骨文图像及卡塞尔文献展袋子等元素, 共同构建出一个层次多元、意指交织的图像生产场域。

 

该场景在搭建过程中历经多次材质与结构调试, 最终采用内置龙骨的木质构造，在强化空间的结构感之余, 亦赋予其一种安定与密闭的氛围。这一原本作为拍摄背景的装置,因其强烈的空间表现力和观念完整性, 被保留为可独立展出的艺术作品, 与最终摄影成果形成紧密的互文关系。

 

《给予》既是对暗房作为影像诞生地的感性回归, 也是对图像生产机制的历史性与媒介性反思。作品通过摄影与装置的双重语言, 在再现与实体、隐喻与实在之间, 拓展了当代摄影艺术的表达维度。

 

Offering is a paired photography and installation work by artist Cai Dongdong, inspired by his deep engagement with traditional darkroom practices. The artist regards the darkroom as the matrix of image generation—a mysterious space that nurtures vision. To transform this concealed process of image production into a perceptible visual form, the artist constructed an actual photographic developing room, presenting it to the audience through meticulous staging that combines photography and installation art, making the invisible creative process itself part of the artwork.

 

The work incorporates rich art historical and cultural references: the posture of the man pouring water is a homage to Vermeer's masterpiece The Milkmaid, while the checkered floor pattern also derives from Vermeer's pictorial language. The scene is further populated with elements including film stills from 8½, oracle bone script imagery, and a Documenta exhibition bag, collectively constructing a multi-layered field of image production where diverse meanings interweave.

 

During construction, this scene underwent multiple adjustments in materials and structure, ultimately employing a wooden framework with internal supports. This reinforces the spatial structure while imbuing it with an atmosphere of stability and enclosure. Originally conceived as a photographic backdrop, this installation was preserved as an independently exhibitable artwork due to its powerful spatial expressiveness and conceptual integrity, forming a close intertextual relationship with the final photographic works.

 

Offering represents both an affective return to the darkroom as the birthplace of images and a historical and medium-specific reflection on the mechanisms of image production. Through the dual language of photography and installation, the work expands the expressive dimensions of contemporary photographic art between representation and materiality, metaphor and reality.

 

审定 / 涂晓庞

审校 / 曾睿洁

资料提供 / 叶舜

图片 / 曾雨林

编辑 / 刘丹妮