主办：中国济南国际摄影双年展组委会
承办：西安理工大学艺术与设计学院
协办：特想集团·大师工坊
地点：山东工艺美术学院2号馆、3号馆
时间：2018年10月25日至30日
总策划：曾毅
策展人：张辉 、Angelo Collura (意大利) 、Alfred Mirashi(意大利)
长安是中华文化的典型代表之一，罗马也是西方世界中无可替代的文明高地。一个是以其“壮丽”而达“重威”，一个是用大理石建造的“永恒城市”，他们东西相望，在各自不同的地点构建出浓墨重彩的文明谱系。回望历史，自公元前140年张骞凿空之始，经过公元609年隋炀帝西行，到公元1298年的马可波罗游记，都在丝绸之路上演绎着水乳交融的历史篇章，中意文明交流的成果也一直影响着现今世界的我们。
2018年，距那第一个东西方交流的历史瞬间，已经横亘了2158年。如今，在中国济南国际摄影双年展的平台上，我们有机会能将15中国个艺术院校及10个意大利艺术院校的师生影像作品，通过展览的形式，集中呈现给大家，就是期望中外高校借此机会相互交流相互学习。由于文化、经济、政治背景的区别，中意两国在艺术认知、摄影观念表达和展现中，有较大的差异。但两国高校的教师和学生在作品中都是力求关注现实、关注生活、关注自我生存体验，他们用当代视觉艺术的方式，传达了中意青年艺术家对梦想追求的理念，这种文化和地域的差异在此次展览的艺术语言中重逢、相通，并获得完全的新生。
望此次展览中那些充满活力和艺术魅力的摄影作品能在中西方文明交流过程中，增添新的光彩。
张辉
From Chang'an to Rome
Chang'an is one of the typical representatives of Chinese culture, and Rome is also an irreplaceable civilization highlands in the western world. Chang'an is "magnificent" and "majestic", and Rome is the "eternal city" built with marble, and they construct rich and colorful civillization in the East and the West. Looking back at history, since the beginning of Zhang Qian’s departure to the western region in 140 BC, after Emperor Sui’s western journey in 609 AD, to Marco Polo’s travels in 1298 AD, they all play harmonious historical chapters on the Silk Road, and the achievements of China-Italy cultural exchanges have also been influencing us in the world today.
In 2018, 2158 years have passed since that first historical moment of east-west communication. Today, on the platform of the Jinan International Photography Biennale in China, we have the opportunity to show the images of teachers and students from 13 art schools in China and 10 art schools in Italy through the form of exhibitions. We hope that Chinese and foreign universities take this opportunity to exchange and learn from each other. Due to the differences in culture, economy and political background, China and Italy have great differences in artistic cognition, photographic concept expression and works presentation.
However, the students of the two universities in the two countries are striving to pay attention to reality, life and self-survival experience. They use the way of contemporary visual art to convey the idea of young students in both countries to pursue their dreams. This cultural and geographical differences will reunit and communicate in the artistic language on this exhibition and will be completely revitalized.
It is hoped that the vibrant and artistically fascinating works in this exhibition will add new brilliance to the exchanges between Chinese and Western civilizations.
Zhang Hui
意大利参展院校：
佛罗伦萨国立美术学院、拉文纳美院、卡拉拉美院、福贾美院、阿奎拉美院、巴勒莫美院、威尼斯美院、都灵美院、米兰布雷拉美院、卡坦扎罗美院 、雷焦卡拉布里亚美院、 那不勒斯美院、乌尔比诺美院
中国参展院校：
中央美术学院、中国美术学院、清华大学美术学院、鲁迅美术学院、西安美术学院、南京艺术学院、天津美术学院、上海美术学院、山东工艺美术学院、西安理工大学、北京印刷学院、湖北美术学院、浙江传媒学院、黄河科技学院、上海工程技术大学
执行委员会
执行策展人：王怡卜、王硕
展览监理：罗斌
微信推广：李文泽、贾诗楠、张心睿
海报设计：李家燕
展览时间：2018年10月25日至30日
展览地点：山东工艺美术学院2号馆、3号馆
意大利高校摄影作品选
巴勒莫美院
Palermo Academy of Fine Art
Carolina Palumbo
卡罗来纳 帕仑博
Davide Scopelliti
达维德 斯科佩利蒂
自然的力量
每一次我都被精致的自然过程迷住了。也许是因为我意识到，在鲜花、植物、树木被季节摧毁，失去所有那些自然和生命元素的身份之后，生命不因死亡而停止。我相信芳香的气味、形状和颜色会延缓寒冬的到来。等待凋零，随风而去，葬入泥土。后来才知道我是一朵花，给了我生命的升华。
自然之死
如果这取决于我，我会更关注事物的退变。我看到了树叶颜色的变化：红色、橙色、褪色的黄色，仿佛是贝多芬的第九交响曲。任何事物都有两面性，它不可避免地衰减为了另外一个东西。外观变得简单，变的更薄，本质凸显，像活生生的芫荽消失了一样。当这一刻悄悄溜走，我意识到我喜欢看大自然的骨骼。平衡是必不可少的。
Mother Nature
Every time I’m fascinated by the process of elaboration nature. Perhaps because I realize that after the massacre of flowers, plants, trees and loss of identity of all those natural and living elements, stripped of their clothes and destroyed by the seasons, life does not cease with death. I belive that smells, fragrances, shapes and colors subvert the arrival of war. Ready to collapse, they let themselves go. After the loss, I gather and only later know that I’m a flower. This lifts me up.
The Death Of Nature
If it depended on me, I would pay more attention to the deterioration of things. I watched the mutation of the colors of the leaves: red, orange, faded yellow as if it were Beethoven’s ninth symphony. Everything takes on another aspect, it becomes something else and inevitably a subtraction factor is added. The appearance is simplified, becomes thin, essential, like a coriander of lived life vanishes. As the moment slips away, I realize that I love watching the skeleton of nature. It is essential for balance.
Marie Audiffren 玛丽 奥迪芬
Rossana Rizza
米尔卡菲从事身体感知、身份认同和人与人之间的关系研究工作。
在她的所有作品中，都充满着艳丽的色彩、裸体和简单的构图的必然性。这种必然性是照片特征不断研究的一部分。一切都清晰、明亮、色彩艳丽。有时只是身体或细节，以及覆盖大部分人的遮蔽物，而没有面部。是消失而不是隐藏，但同时通过拍摄，意味着存在和出现。这种对消失的研究也与我们自身、身边的世界及身份认同有关。我们感觉到的绝不是我们在具体世界中真实的自我。作品的目的是创造这样一个空间，在这个空间里，我们不会经历具体存在的压力，我们可以以更加自由的方式思考我们的身份。
Mitikafe works with the perception of our body , identity and the relationship with ourselves.
In all of her work there is the necessity of disappearing in a new world created using bright colours , naked bodies and simple composition. This necessity is part of the constant research that characterize the photos : everything is clear , bright , colourful. But there is also no face , sometimes just bodies or detail , veil that cover mostly of the people. Is not hiding , is disappearing but at the same time , being photographed , means existing , appear. This research about the desire of disappear is also linked with the relationship that we have with ourselves , the world around us and our identity. What we feel to be is never what we really are in the concrete world. The aim of the work is to create this empty space in which we don’t experience the pressure of the concrete existence and we can think about our identity in a more free way.
迪亚纳 迪迪 1992年9月13日出生在罗马尼亚的一个叫做Fiiasi的小村庄。出生后就和母亲Rusu Daniela搬到了巴黎，直到1995年，第一次来到都灵。在这里，进入艺术学校学习，先是雷纳托科蒂尼后来是阿尔伯蒂纳美术学院。在学校里，开始学习绘画，后来钟情于摄影。在教授们尤其是摄影学教授Fabio Amerio的激励下，我发现摄影不仅仅是一种激情，也是一种技能。
My name is Diana Didi and I was born on September 13, 1992 in a small way country village of Romania called Filiasi.
I moved to Paris almost immediately after my birth with my mother Rusu Daniela and we remained there until 1995, when we came to Turin for first time. Here I had the opportunity to attend the art school first Renato Cottini and later the Albertina Academy of Fine Arts where I began my studies as a painter and later I developed my photographic passion. Thanks to the encouragement of my professors and especially the professor of photography Fabio Amerio soon I discover that it was not just one passion but also a skill.
埃琳娜 拉多维克斯 1960年1月21日生于米兰。高中毕业后，进入了一所绘画学校，然后在米兰的一家摄影和绘画工作室工作。很快她就对佛教和瑜伽产生了浓厚的兴趣。曾在亚洲旅行，然后在米兰教了几年瑜伽。在此之后，作为艺术家和风景画家，为公共机构，OnLUS，协会和节日组委会工作。2013年，她进入都灵艺术学校，然后毕业于阿尔伯蒂纳学院美术系；从那时起，她参加了艺术学校举办的摄影和雕塑展览，并在同一所学校的绘画班学习。
Elena Radovix was born in Milan, 21/01/1960. After her high school graduation she attended a graphic school and then she worked for som photography and graphic studios in Milan.
She developed very soon adeep passion for Buddhism and Yoga practice, travelled through Asia and then teached Yoga in Milan for a few years.
After this period she worked as artist and scenographist for public institutions, ONLUS, associations and festivals.
In 2013 she attended Art School in Torino, and then she graduated in Fine Arts (Accademia Albertina); from that moment she took part to expositions promoted by the Art school, mostly photography and sculpture. She is attending Paint class in the same art school.
Il filo d’oro di origine animale, fibra molto rara dell’antica terra
Sarda, una seta naturale ricavata da un mollusco marino chiamato
PINNA NOBILIS che si trova solo nei mari della Sardegna, elemento
utilizzato per la tessitura degli abiti tipici Sardi, rendendoli unici nel
suo genere.
Diverse foto che ho scattato immortalano spazi freddi, alienanti, con
strutture statiche e squadrate, edifici della nuova società industriale,
privi di identità e di anima; Così nel mio progetto ho deciso di
introdurre il filo d’oro che verrà cucito attraverso le foto rappresentando quell’identità, che andrà ad impreziosire l’assenza in quelle
strutture, richiamando sia il significato di legame alla terra che
all’oggetto artigianale.
LEGAMI TERRITORIALI
Il progetto LEGAMI TERRITORIALI è nato dall’esigenza
di mettere in risalto il legame che l’individuo ha con la propria terra
d’origine, una forma di appartenenza che la persona porta con sé in
ogni territorio in cui si sposti. Ho realizzato per questo progetto una
serie di foto, che raccontano in breve il percorso da quando ho
lasciato l’isola ( famosa per essere genuina e
estremamente naturale ), fino ad arrivare a Firenze e Siena, dove ho
scoperto nuovi posti,nuove persone, nuove stazioni su cui poter
contare. Ho portato con me da quando sono arrivata la mia
identità, che mi è servita a costruire tutto questo bellissimo
percorso e ho deciso di identificarla tramite il filo di Biss
我是庞帕 露西亚，我在福贾生活、学习。
在学习了法律、积攒了各种工作经历后，我报名参加了福贾美术学院城市家具装饰专业的学习，实现了我一直以来的梦想。
我一直喜欢艺术的各个方面，尤其是摄影。我喜欢拍摄各种地方，人文（尤其是我的孩子），海景和我所看到的一切，每一个小细节。
My name is Pompa Lucia, I live and study in Foggia.
After initial studies in law, various work experience, I embarked on this adventure by enrolling at the 'Academy of Fine Arts in Foggia section Decoration Urban Furniture, realizing a dream that I had for some time.
I have always loved art in all its facets but in particular photography. I like to photograph places, people (above all my children), seascapes and everything I see, every little detail.
阿莱西亚 巴龙蒂尼 1997年11月27日出生于里窝那。她就读于比萨鲁索利艺术学校，现在在卡拉拉美术学院学习多媒体专业。
Alessia Barontini was born in Livorno on November 27th 1997. She attended the artistic high school “F. Russoli “of Pisa and currently studying Multimedia at the Academy of Fine Arts
of Carrara.
朱利亚 索马里瓦 出生、成长与波河流域。她就读于语言高中，毕业于帕维亚大学放射学专业。毕业后，她立即搬到了彼得拉桑塔，那里住着母亲的亲戚。在这里花了很多时间来做她喜爱的事情：艺术。她从小就花很多时间画画、唱歌和其他创造性活动。18岁时，她开始学习唱歌，25岁时就读于卡拉拉美术学院。她主要对插图和摄影感兴趣。她的主题主要是：超现实主义、梦幻世界和魔幻现实主义。无论是在绘画还是在照片中，她都在梦幻世界和令人不安的世界之间营造出一种氛围，因为她希望自己的作品能自由地反映自己的个性。
Giuboxe, real name Giulia Sommariva, was born and raised in the Po Valley, where she
attends the linguistic High School and she graduates in radiology at the University of
Pavia. Immediately after her graduation, she moves to Pietrasanta, where maternal
relatives live. Here she finds the time to feed her real passion: art. Since she was a baby
she spends much time drawing, singing and every other creative activity. At 18 she
begins to study singing, at 25 she enrolls at the Academy of Fine Arts in Carrara. She’s
mostly interested in illustration and photography. The main themes she develops are:
the surreal, the world of dreams and the Magic Realism. Both in her drawings and in
the photographs she develops atmospheres between the fantastic and the disturbing
world, because she wants her works to reflect her own personality in freedom.
卡坦扎罗美院
Academy of Fine Arts in Catanzaro
Aurora Cosentino 奥罗拉·科森蒂诺
拉文纳美院
Academy of Fine Arts in Ravenna
Arianna Zama 阿里安娜·扎马
雷焦卡拉布里亚美院
Academy of Fine Arts of Reggio Calabria
Roberta Lo schiavo 罗伯塔·罗·希亚沃
米兰布雷拉美院
Milan Brela Academy of Fine Arts
Giulia Gualazzi 朱利亚·瓜拉齐
Giulia Lazzaron 朱莉娅·拉扎伦
朱莉娅·拉扎伦 1992年出生于米兰，在布雷拉美术学院学习绘画，并于2018年4月以优异成绩毕业。
她在安东尼奥BATAGARIAL画廊担任图形设计师，创建SelaFIO MiORANO目录，是Combat Prize奖的决赛选手之一。
参加众多团体展览，其中最重要的是：“Percorsi dell'Essere Multiforme”，在Spazio Mantegna的个人展览（2017年3月）；“È Carta国际纸上作品双年展”，由Cassina De Pecchi和Spazio Mantegna，米兰；“L'AccDEMIa DEL SigVulo”安东尼奥BATAGALIL画廊，米兰（2017年7月）；在米兰三年展（2017年7月）上由Museo della Permanente和Casa della Cultura展示“Movimento，Segno，Idea”作品，；“Movimento，Segno，Idea”，是由Museo della Permanente和Casa della Cultura进行的一个项目，对位于米兰市中心的希城圣巴比拉广场的M4建筑工地进行装修（正在进行中）；“GAR与Brera相遇”，米兰Velasquez画廊（2018年3月）；“相机关机”Rasponi Palazzo Rasponi，Ravenna（2018年5月）；“标志，形状，创新和传统之间的颜色”，米兰图形艺术巡回赛，该巡回赛由Castello Sforzesco监督组织并在西班牙曼特尼亚举行。（2018年5月）；“PARISSIMA”， BASE空间艺术博览会，米兰（2018年6月）； “Combat Prize决赛者展览”，G.Fattori博物馆，利沃诺（2018年6月-7月）；《帆布上的油》在贝尔维迪·奥斯特伦斯邮政形象博物馆展出。
Giulia Lazzaron was born in Milan in 1992, she studied Painting at the Academy of Fine Arts of Brera and graduated with honors in April 2018.
He worked as a graphic designer at the Antonio Battaglia Gallery, creating the Serafino Maiorano catalog. Today she is one of the finalists of Combat Prize.
Participates in numerous group exhibitions, and the most important are: "Percorsi dell’Essere Multiforme", personal exhibition at Spazio Mantegna (March 2017); "È Carta, I International Biennial of works on paper" at MAIO, Cassina De Pecchi and Spazio Mantegna, Milan; "L'Accademia del scivolo" at the Antonio Battaglia Gallery, Milan (July 2017); presentation of the project "Movimento, Segno, Idea" by Museo della Permanente and Casa della Cultura at the Triennale di Milano (July 2017); "Movimento, Segno, Idea", a project by Museo della Permanente and Casa della Cultura, decorating the M4's construction site in San Babila Square, in the heart of Milan (in progress); "GAR meets Brera", at the Galleria Velasquez, Milan (March 2018); "Camera Work OFF" of Palazzo Rasponi, Ravenna (May 2018); "Sign, Shape, Color between Innovation and Tradition", present in the Milan Graphic Art circuit organized by the superintendency of the Castello Sforzesco, at Spazio Mantegna (May 2018); "Paratissima", art fair at the BASE space, Milan (June 2018); "Exhibition of Combat Prize finalists", G.Fattori Museum, Livorno (June-July 2018); an oil on canvas is present in the Museum of the Postal Image of Belvedere Ostrense.
伊莎多拉 洛诺切 1993年生于哥伦比亚。2013年毕业于意大利蒙扎艺术学院，所学专业为视觉传达与图形设计。
自2016年以来，她在意大利米兰布雷拉艺术学院参加新艺术技术的学习。
在意大利利索内的音乐学校学习了三年的长笛。她还和孩子们一起玩艺术游戏。
Isadora Lonoce was born in 1993 in Colombia. She graduated in Visual Communication - Graphic Designerin 2013 at Institute of Art in Monza, Italy.
Since 2016 she is attending New Technologies of Art at Brera Art Academy, Milan, Italy.
For three years she studied transverse flute at "Consonanza Musicale" Music School in Lissone, Italy.
She also works with children in artistic playing activities.
达妮埃拉 马塔拉佐 1990年6月10日生于阿韦尔萨。在阿韦尔萨国立艺术学院开始学习后，她于2015年毕业于那不勒斯美术学院绘画专业，目前专攻绘画。2014年5月16日至6月30日，参加在那不勒斯圣玛利亚·德尔·阿尼米·德尔·普拉加托里奥综合博物馆举办的“炼狱明信片”展览。
同年，他的系列绘画作品《被遗忘的理性》入选雷吉奥·卡拉布里亚国家艺术奖。2016年7月8日至10日，他参加了那不勒斯美术学院公共艺术项目“吉兰多拉”，地点是那不勒斯比萨德尔·格索诺夫。该项目由Angelo Armentano, Jovene publishe出版社出版了一本《城市实践》的书。
Daniela Matarazzo was born in Aversa (CE) on August 10th 1990. After starting her studies at the
State Art School of Aversa, in 2015 she graduated in Painting at the Academy of Fine Arts in Naples,
where she is currently specializing in Painting.From May 16 to June 30, 2014 participates in the exhibition "Postcards from Purgatory", set up in the Museum Complex of Santa Maria delle Anime del Purgatorio in Arco, Via Tribunali in Naples.
In the same year he was selected with a series of pictorial works, entitled '' L 'oblivion of the senses''
at the National Arts Award of Reggio Calabria.From 8 to 10 July 2016 participates in the project '' Girandola '' of Public Art of the Academy of Fine
Arts in Naples, at the Pizza del Gesù Nuovo in Naples (project published in the book "Urban
Practices" by Angelo Armentano, Jovene publishe.
安娜 维塞洛蒂 1983年生于基亚瓦里。高中毕业后，她在米兰的卡米纳齐亚大学学习，毕业后成为一名平面设计师。然后她搬到了伦敦，在那里住了5年，期间获得了中央圣马丁斯大学的产品设计学士学位。2014年在普瑞米欧阿特拉古纳大赛获玻璃制造类一等奖。现在在威尼斯生活和工作并就读于威尼斯美术学院视觉艺术专业。
AnnaVercellotti wasborninChiavariin1983.AfterhighschoolshegraduatedasagraphicdesignerattheAccademiadiComunicazione in Milan. Then shemovedtoLondonwhereshelivedfor5yearsandwhereshesuccededa bachelor inProductdesignatCentralSainMartins University.
In2014shewonthefirstpriceofPremioArteLaguna,intheglassmaking category.
ShenowlivesandworkinVenice.SheisattendingaspecializationinVisualArtsattheFineArtAcademyofVenic.
爱丽丝 普雷托 1996年11月11日生于，维琴察省的一个小镇瓦尔达尼奥。她一直对具象艺术感兴趣。于是决定报名参加她所在城市的艺术高中。毕业后，选择搬到意大利中心的乌尔比诺美术学院学习。部分是为了娱乐，部分是为了满足摄影考试的需要，在20岁时买了第一部单反相机。因此开始对以前从没注意过的艺术产生了兴趣，因为她一直热爱绘画。与此同时，开始旅行，发现风光照与她仍然投入大量的精力的风景画有很多相似之处。
Alice Preto was born in Valdagno, a town in the province of Vicenza (Veneto, Italy) on November 11, 1996. She has always been interested about
figurative arts and so she decides to sign up at the artistic high school in her city. After graduation she chooses to move to central Italy to study at the
Urbino Academy of Fine Arts and here, partly for fun, partly for the necessity of fulfill the photography exams, she bought her first SLR at the age of
20. In this way she begins to get interested in an art that she had never paid much attention to before, because she has always dedicated to painting
and drawing. At the same time she begins to travel, finding many similarities with the genre of landscape, a genre which she is still devoting a lot of
energie.
比安卡 科斯坦扎 德卢卡 该项目源于合并摄影、图形绘制和安装的理念。相片重叠以产生双重曝光，它们由单一的一条线连接起来。显示两幅图像的一些细节以创建一张独特的照片的最小符号，可以从不同的角度看到。
反常现象实际上是一种光学错觉的效应，通过该效应，图像以扭曲的方式投射到平面上，使得只有通过从精确的位置观看图像才能识别原始对象。
由于在玻璃上印制了三层，这种效果是重新创造的。只有当它放置在作品前面时才能获得作品的完整视觉。
This project was born from the idea of merge photography, graphic draw andinstallation.
The photographs overlap to recreate double exposures and they are joined by asingle line: a minimal sign that shows some details of the two images to create aunique photograph, which can be seen from different points of view.
Anamorphism is, in fact, an effect of optical illusion whereby an image isprojected onto the plane in a distorted way, making the original subjectrecognizable only by looking at the image from a precise position.
Thanks to the printing of the three levels on glass, this effect is recreated,obtaining a complete vision of the work only if it is placed in front of it.
中央美术学院
Center Academy of Fine Arts
联合策展人：姚璐
中央美术学院摄影专业介绍
中央美术学院摄影专业2001年正式开始本科教学。该专业的教学理念突出“专业性、多元性和当代性”，强调将摄影放置于宏观的当代视觉艺术背景下进行解读。摄影专业以培养最具创造力的影像艺术家、职业摄影师、跨领域影像媒体人材为培养目标，在注重摄影的专业性与职业精神的同时，更着力于对学生艺术审美与判断、原创精神、社会责任感与横向拓展能力的培养，使之真正成为未来最具竞争力的人材。目前该专业具有完备的设备体系与教学空间，教学手段先进多样、注重艺术、理论、科学三者的有机结合。教学模式上突出循序渐进式的理论－思维－实践的方式，中央美院深厚的学术积淀、准确的教学定位和科学的课程设置使该专业教学获得了国内同行的认可，在中国高校摄影教育领域以精品教学、品质教学著称， 在读学生多人多次在国际国内重大比赛展览中获奖，毕业生在纯艺术和商业应用领域均扮演着极具影响力的重要新人的角色。
The Photography Department of CAFA was built in 2001officially.The teaching principle is emphasized on “professional, diversified and contemporary”, stresses that the photography should be placed in the context of the contemporary visual arts, and make the interpretation subsequently. The Photography Department of CAFA aims at cultivating the most creative image artists, professional photographers, interdisciplinary image and video expert professionals.we focus on the specialty and professional spirit of photography, and meanwhile, we put the emphasis on developing the students’ aesthetic judgment, the originality, the sense of social responsibility and the ability of expanding knowledge scope.so that the graduates will be the most competitive ones in the future. At present, the Photography Department of CAFA has the complete equipment system and teaching space, the teaching methods are becoming more and more advanced and diversified, we pay attention to the combination of art,theory and technology.
”Theory--Thinking--Practice”,the gradual teaching theory is highlighted in our teaching pattern. Under the background of the profound academic accumulation and the accurate and scientific curriculum of the Central Academy of fine arts, the Photography Department of CAFA won the domestic peer recognition and produced so much favorable comment. The students of the Photography Department have won many prizes in international and domestic competitions or exhibitions, the graduates are playing an important influential role in both fine art and commercial applications domains.
姚璐 YaoLu
我的作品是运用传统中国绘画的形式表现当代中国的面貌，中国在不断的发展着，在不断的建设过程中有许多东西产生同时也有许多东西消失了，那些“防尘布”覆盖的土堆和垃圾是一个普遍的现象。
我希望：我们所做的一切都使世界形成良性转变。我们必须保护环境，我们努力工作意味着，世界将变得更加和谐。
摄影可以理解为非常传统的，它可以记录很多以前的历史，让人们回到了以前的某一个时代；摄影也是非常当代的，它可以非常清晰的把见到的东西重新组合再编辑整理，让人们在作品前产生时间和空间的错觉，可以看到既真实又不真实的影像。
在作品的风格上，我主张维护画面的美感，这其中包括画面的构图、线条、疏密等等一切绘画规律，一幅好的作品是由多方面因素构成的，他应该能体现出艺术家的修为和能力，一幅好的作品是有智慧的。
摄影的这种延展性为我提供了非常大的表现空间，让我可以有更多的手法去创作。
Generally speaking, my works use the form of traditional Chinese painting to express the face of China. China is developing dramatically today and many things in China are under constant construction. Meanwhile many things have disappeared and continue to disappear. The dumps and rubbish covered with the 'shield', the green netting, are a ubiquitous phenomenon in China.
I want the world to be able to make a benign transformation. People must protect the environment. This work implies that the world should become more and more harmonious.
Photography can be understood in traditional ways : It can 'record' many histories long before our own time, and it can take people back to times and situations many years ago. But photography also is very contemporary. It can re-assemble and re-edit the things that we actually see in order to produce illusions that people see when they are in front of such photographic works. In these works, you see images that are true and fictional.
Concerning the style of my works, I believe in maintaining a beautiful feeling in the framing of the image, including composition, line, density and its framing, all the elements regularly contained in painting. I think a good art work is composed of many elements, and it should reflect the knowledge and the skill of the artist. A good art work has intelligence.
The flexibility of photography provides a big expressive space for me, I can work with it in many ways in making my creations.
宫哲 GongZhe
随着年龄的增长，我们有了更多的往事去回望。在回忆的过程中，我惊奇的发现，有些事情，有些人，有些物品，亦或是有些细微的感觉，都还在记忆深处的某个角落里静静地躺着⋯⋯当我的神经在某一个场景无意中被触动的那一刻，那种种黯然静默的回忆便不经意的一个个悄悄溜了出来，萦萦绕绕笼罩在我心间，挥之不去。做为一个摄影师，我选择了用拍照的方式把它还原出来。我拍摄了身边8个好朋友的卧室，并对他们进行了简短的访问。在我们轻松的谈话中，我发现了他们心里的“秘密”，这是属于他们的回忆。在被允许的情况下，我通过照片的方式，把他们的回忆呈现了出来。每一张照片中的物品，是他们无论怎么搬家，都不会丢弃的东西，这些物品甚至跟随了他们好多个春秋。回忆是美好的，回忆是淡淡的，回忆是轻浮在心间的那一丝微弱的光亮⋯⋯
Along with the growth of the age, we have more things to look back. In the memories of the process, I found surprising, some things, some people, or some feelings, are all still to lie quietly in a corner of the depths of memory. When my nerves in a certain scene inadvertently touched at the moment, that sadly silent memories will inadvertently slipped out , lingering around shrouded in my heart. As a photographer, I chose to use the way of taking photo to revert it. I shot the bedroom of around eight good friends, and had a brief interview on their. In our conversation, I found the "secret" of them , this is their memories. Circumstances be allowed to, I by the way of the photo presents their memories. Each thing in the photograph , they are no matter how to move, not discarded, these things even follow them so many years. The memories are beautiful, memory is the light, memory is the light in the heart of the weak light can be done.
李砚辞 LiYanCi
我的作品试图将人类的行为置换到太空空间中，在这个空间里发生了战争、建设、迁徒、谈判等事情，通过在新空间内对人类行为的再次诠释，反映出人类文明中固有的发展状态和人性的特点。
This body of work displaces human activities such as war, construction, migration, and negotiation into outer space. Through reinterpreting human activities in this new space, these images reflect the inherent patterns of civilization development and characteristics of human nature.
刘昶 LiuChang
作品《岸边》拍摄于2017年我在黄山下沿着新安江的一段徒步的旅行，在这个旅行过程中，我像一个来自北方的流浪者，感受南方的潮湿和雨气，但在湿润中也看到很多同北方一样的粗普的建设。在愈加趋同的环境中，我在想透过岸边的现代的遮挡，找到心里传统的南方烟雨水岸的诗意。
The work “River Bank" was made in 2017. I was on a hiking trip under Huangshan mountain along the Xin 'an River. During this journey, I felt like a vagrant from the North, experiencing the moist and rainy air in the South. In the increasingly convergent same environment, I am trying to find the poetry of the traditional southern misty and watery through the modern build on the River Bank.
柳笛 LiuDi
自然界的物质性与精神性，自然法则与社会，自然定律的遵守与违背，物质性与精神性，作品的思考是基于这些概念之间的微妙关系。
所以，我将动物变形放大，让他们出现在城市中而不是森林里，因为这种突兀的，让人不适应的视觉感受会给人们以一种刺激，引发思考与联想，将自然界与人类社会，物质与精神，自然定律的遵守与违背这些相对的概念之间的关系传达出来。将人们的联想引入大自然，人类，不变的自然定律，发展中的城市这些概念中。
我一直在寻找一种可以将人暂时抽离出无关紧要的琐碎现实，哪怕是隐约感受到某种超越眼下的现实而存在的更真实的客观世界。
The work based its idea on the subtle relationship between a series of opposite concepts, such as the materiality vs. spirituality of nature, principles nature vs. society and obedience vs. violation to the principles of nature.
Accordingly, I magnify the animal’s body, putting then into a city instead of a forest. This contradictory visual impact offers people a stimulus which can evoke thinking and imagination and convey the relationship between nature and human society, between material and spirit, between obedience and violation to the law of nature.
I’ve been seeking for a new objective world that can temporarily distract people from the unimportant and trivial realities, even though it only makes a vague sense beyond the reality in front of our eyes.
彭靖 PengJing
照片呐喊的方式是沉默的，声音是巨大的。历史上有很多让人印象深刻的照片，但今日我们每时每刻被大量的照片轰炸，每一年却只能记住极少数，绝大多数照片都被淹没，照片的声音也在一点点地消亡。
The voice of photos is silence but huge. There are a lot of impressive photos in history, nowadays we are bombed by endless photos all the time but only can remember a few in every year, most of the photos are submerged in the sea of the internet and the sound of photos are dying slowly.
孙洋 SunYang
在消费社会中，消费品从被制造出来的那一刻就注定成为废弃物，就像一枚硬币的正反两面。面对消费品与废弃物的循环世界，作品结合日常事物，运用宝丽来胶片独特的美学特质以及自身的消费特征，呈现出恒河沙数般消费品背后的景观。
Each coin has two sides; in the consumer society, consumer goods are destined to be wasted the moment they are produced. Considering the destination and the distribution process of consumer goods, the author utilized things from day to day life and the unique aesthetic trait of Polaroid film to display innumerable consumer goods.
王燕妮 WangYanNi
伴随摄影技术的发展，摄影的真实性不断受到质疑。我的创作试图从影像的真实性上作为突破，不仅仅拍摄的是真实的雾霾，影像本身也是由真实雾霾制作而成。在对收集到的北京各处的尘埃和各种空气净化系统中提取的灰尘进行分类、研磨、筛选、蒸馏、再研磨、调和的过程中，通过反复印制、反复试验，调整不同的制版方式来手工印制北京标志性景观，即表现真实的景象又表达观者对雾霾的强烈感受。利用摄影的记录性还原真实，不再停留在影像背后隐藏的拍摄信息上，更重要的是在呈现和观看上更加接近霾的实质，寻求摄影作品真实性的超越。
With the development of photography technology, the doubt on photographic authenticity has never stopped. My creation has tried to take the authenticity of images as a breakthrough, not only filming the real haze and fog, but also producing the images by real haze and fog. Through classifying, distilling, grinding, mixing, printing and testing the dust collected from different places of Beijing, I manually print the landmarks of Beijing by adjusting different playmaking methods, to express the real landscape and also the strong feeling of the viewers. I did this to restore reality by using documentary photography, rather than focus on the photo information behind the images, which is more important to present the essence of haze and fog and pursue the authenticity of the photographic works.
闫宝申 YanBaoShen
《有关时间的命题》来源于作者青少年时的生活回忆。作者选取具有代表性的典型物品，利用特殊的流质物在其表面进行反复加工，通过形态上的再造来隐喻“时间对物质生活的影响”。物品经过反复加工，经历了长时间的过程。在外表形态上，只留下了造型的基本轮廓，在拍摄上，作者借鉴类型学摄影的方式，将物品置放于统一的环境中，利用相同的机位和构图，最大程度上的减少其它视觉因素的干扰，力求忠实地还原物品加工后的形态。
《The Form of time》 sources to the youth memories in the real life. The author selects a representative of typical objects, using special liquid materials on its surface were processed repeatedly, by morphological reconstruction to metaphor " The influence of time on real life."
張开 ZhangKai
乌有园是指因城市的矛盾压力等，人们逃离现实生活困境的动机。
研究生阶段我对艺术史进行了系统地梳理，其中对十九世纪法国画家布格罗的作品很感兴趣，并进行了研究。他有一种源于自然的天性，作品中充满了浓厚的乡土气息，作品里的孩子们也宛如天使般的存在。这与当下人类城市发展进程中所出现的各种常态有很大的区别和反差。于是我带着一种个人理想化的追求和对当下生存环境的理解进行了一些列的创作行为。
首先我对布格罗的作品进行了再次临摹绘制，留存了作品背景，抽离出了天使般的人物。
然后我带着油画拜访了城市里的一些家庭，与那些家庭成员进行了关于都市生活的对话，然后在这些家庭附近进行了都市景观的选择，把油画放置在了都市景观里。最后让家庭里的孩子在油画面前，用摄影的方式对其进行拍摄和记录。
通过这样一组摄影作品的呈现，使当下的都市生存环境与个体追求的理想状态之间，产生了对比和结合。我们可以借助于画面，来思考我们当下的生存环境所呈现出的问题，来思考我们能给未来一代人带来怎样的发展变化？
李派 LiPai
2012年毕业于湖北美术学院新媒体专业
2013年作为中欧文化交流团中央青年代表赴欧交流学习
2015年至2018就读于中央美术学院摄影专业获得硕士学位现就职于清华大学
参加展览
2015年 重庆长江国际当代影像展
2016年 韩国大邱摄影双年展
德国HFG《从东到西》摄影展
❖ 2008-2012 study in new media art studio in HIFA
❖ 2012-2014 The central committee has delegated youth cultural exchange to the European Union
❖ 2015-2018 Majoring in photography at CAFA
❖ 2018 working in Tsinghua University
EXHIBITION
❖ The ChongQing Yangtze international image biennial exhibition
❖ Daegu Photography Biennale exhibition
❖ HFG Photography exhibition
清华大学美术学院，简称"清华美院"，是清华大学二级学院。前身是中央工艺美术学院， 创建于1956年，1999年11月20日，中央工艺美术学院正式并入清华大学，更名为清华大学美术学院。邓洁任院长，雷圭元、庞薰任副院长。资主体由中央美术学院华东分院实用美术系、中央美术学院实用美术系和清华大学营建系等单位的教师及海外留学归来的专家组成。11月1日，中央工艺美术学院在北京白堆子75号举行建院典礼，这是中国第一所工艺美术设计高等院校。目前学院有11个教学单位，设有25个本科专业方向，博士后科研流动站1个，一级学科博士学位授予权3个，国家级重点学科1个，北京市重点学科4个；有教师198人，本科生1108人（其中留学生113人），研究生849人（其中博士生170人，留学生25人）。
Tsinghua University Academy of Fine Arts, referred to as Tsinghua Academy of fine arts, is the two grade college of Tsinghua University. Formerly the Central Academy of Arts and Crafts, founded in 1956, November 20, 1999, the Central Academy of Arts and Crafts formally merged into Tsinghua University, renamed the Academy of Fine Arts Tsinghua University. Deng Jieren, President, vice president of Lei Guiyuan and Pang Xunren. The investor is composed of teachers from the Department of Applied Arts, East China Branch of the Central Academy of Fine Arts, the Department of Applied Arts of the Central Academy of Fine Arts and the Department of Construction of Tsinghua University, as well as experts returning from overseas studies. On November 1, the Central Academy of Arts and Crafts held its inaugural ceremony on the 75th of Baiduizi, Beijing, which was the first university of Arts and crafts in China. At present, the Institute has 11 teaching units, with 25 undergraduate professional directions, 1 post-doctoral research mobile station, 3 first-class disciplines, 1 national key disciplines, 4 key disciplines in Beijing, 198 teachers, 1108 undergraduates (113 of whom are foreign students), 849 postgraduates (170 of whom are doctoral students, 25 of whom are overseas students.)
林煜涵 LinYuhan
林煜涵，1996年出生于福建，毕业于清华大学美术学院摄影专业。
我拍摄城市中不断出现的景观志异。但无意表现它的衰败或者荒谬，即便它本身看起来就很荒谬。我选择甚至夸大了它们最动人的时刻，更加宽容的对待它们。同时把人与景观放置于同等重要的地位，试图还原一个“真正”的现场，希望以此找到它的价值。我希望构筑一个即使怪异但是又美丽的充满诗意的画面，它既是超现实的，又是现实的。
I photographed the continually emerging landscapes in the city. But it does not mean to show its decline or absurdity, even if it seems ridiculous. I chose to even exaggerate their most touching moments and treat them more tolerant. At the same time, placing people and landscapes in an equally important position, trying to restore a "real" scene, hope to find its value. I hope to build a poetic picture that is even strange and beautiful. It is both surreal and realistic.
联合策展人：矫健
那些不可名状的物体、即生即死、亦生亦死、生死同体的物体——它们正处在某个临界点——是我最感兴趣的主题。
2009年，我设计制作了一台可以拍摄超过24x24英寸超大画幅底片的照相机，其实就是一个安装在轮子上的成像装置，仅限于工作室内使用，因为它无法出门也无法搬动。在这样的“照相机”面前，拍照似乎变得更为庄重。这系列作品由24英寸相纸直接拍摄，接触印相于银盐纸基相纸上。
我将相纸作为感光材料代替底片来使用，这些被选用的相纸过期了超过三十年，因为某种因缘被保存至今，却仍然具有感光能力,现在它终于遇见了光得以完成它的宿命。在我看来它所表现出的影像弥漫着神秘的光泽来自自身，就这样把这些无法命名的物体包裹和消融。
Those indescribable objects, that is, life and death, also life and death objects, which are at a critical point, are the subjects of my greatest interest.In 2009, I designed and built a camera that could take more than 24x24 inches of super-large negative. It was actually a wheel-mounted imaging device that was confined to the studio because it could not go out and move. In such a "camera", the photo seems to become more serious. The series is directly photographed from 24 inch photographic paper and contacted with silver foil paper.I used photographic paper as a photosensitive material instead of a negative. These selected photographic papers were more than 30 years old, because some reason has been preserved to this day, but still have photosensitive ability, and now it finally met the fate of light to complete it. It seemed to me that the mysterious glow of its image came from itself, and that wrapped and melted these unnamed objects.
欧均宜 Oujunyi
作品名称：《隐现》
作品材料：混合媒介
作品大小：76*95cm
创作年代：2018
成长中自我的身体特征以及周围特定的生活环境都随着时间的线形推移发生着各种各样的变化，它们就像散落的头发一般千丝万缕?我以丝线状的图像符号语言作为这些变化之间联系的纽带，运用蓝晒、扫描和长时间曝光等与“时间”有关的媒介拍摄手法，再经过一些低对比和饱和度的图像处理，在具象和抽象的微妙关系中，隐喻生生不息的生命，复杂衍生的人际关系和脑海里不断蔓延发散的思绪。
The physical characteristics of the growing self and the specific living environment around it change over time in a variety of ways, just like the hair scattered? I use silk-like image symbolic language as a link between these changes, using blue light, scanning and long-term exposure and so on. Time-related media shooting techniques, and then through some low-contrast and saturation image processing, in the delicate relationship between the concrete and abstract, metaphor of the endless life, complex interpersonal relationships and mind spreads constantly divergent thoughts.
西安美术学院
Xi'an Academy of Fine Arts
联合策展人：谢爱军
西安美术学院影视动画系摄影专业
西安美术学院影视动画系摄影专业创建于1995年，现下设艺术摄影工作室、实验影像工作室，同时拥有传统银盐暗房实验室、数字摄影实验室、摄影拍摄实验室。摄影专业注重培养学生独立思考与创作的能力，不断激发学生在新技术与新观念上的实验与探索精神，旨在创作出更具当代视野与人文关怀的作品。摄影专业在夯实基础教学环节质量，深化内涵式发展的理念，关注并践行本专业学术前沿，不断提升教学水平的同时；以其国际化的媒介优势，先后多次聘请国内外知名专家学者前来进行讲座、授课，开办工作坊，并积极组织策划了一系列的重要展览与学术交流活动，有效地提升了摄影专业在国内的学术地位和影响力。自上世纪90年代以来，摄影专业师生先后获得数百个国内外重要奖项，获得了广泛的社会声誉与来自各界的好评。
Photography Major, Department of Film and Television Animation, Xi'an Academy of Fine Arts was founded in 1995. It has art photography studio, experimental image studio, traditional silver salt darkroom laboratory, digital photography laboratory and photography photography laboratory. The photography major focuses on cultivating students'ability to think and create independently, and constantly stimulates students' experimental and exploratory spirit in new technologies and concepts, aiming at creating works with more contemporary vision and humanistic care. The photography specialty has strengthened the quality of basic teaching links, deepened the concept of connotative development, paid close attention to and practiced the academic frontier of the specialty, and constantly improved the teaching level. With its international media advantages, it has invited many famous experts and scholars from home and abroad to give lectures, lectures, workshops and actively organized them. A series of important exhibitions and academic exchanges have been planned to effectively enhance the academic status and influence of photography in China. Since the 1990s, Photography Professionals and students have won hundreds of important awards at home and abroad, won a wide range of social reputation and praise from all walks of life.
谢爱军 XieAijun
谢爱军，1962年7月出生于陕西。现为西安美术学院影视动画系副主任、副教授、硕士研究生导师。中国摄影家协会会员、摄影教育委员会委员，中国高教学会摄影专业教育委员会常务理事，陕西省摄影家协会理事，陕西高校摄影学会副主席、专业摄影教育委员会主任。
社会的变迁、矛盾、冲突，人的表像与内心是我摄影的主题。没有哪一种艺术形式能像摄影这样直面生活、映照生活，进而以艺术的方式表达个人对现实的观看。我想这是摄影的力量与责任。
在摄影语言形态上，我既想回避传统的“纪实”摄影以专题报道、图片故事的实证性模式，又对随着数字摄影技术的兴起发展而“闭门造车”的PS没有兴趣。我努力在作品中寻找去情节、去故事的“独立影像”。试图更多的呈现出影像背后所内涵的文化意义。影像往往是我与拍摄对象之间相互寻找过程中所形成的，有时费力寻找却找不到它，有时它在找我却碰巧相遇了......
Being a man during the 1960s,during the time of the Cultural Revolution.I went through a thirty year Social “Upheaval”.During this time economic development was the central task .My body of photography explores :conflict,contradiction,variety,and the changes of modern society in China.There is no other form of art like photography that can directly document reality,and reflect life in such a manner.I express interpersonal emotions of reality through my art practice.This direct assimilation of reality is what I find what makes Contemporary Photograph triumphed.
“My series of photography “Slow”not only deals with untraditional documental film ,but also the avoidance of the“Digital Generation”,such as the mass-production of Photoshop techniques. I am looking for the details, Episodes,and the“Independent Image”of the stories in reality.I want to reflect the historical meaning behind every piece of my photography.This“Independent Image”is formed between the objects I photographed and myself.The process of finding my “objects”,sometimes might take a while ,or sometimes my “objects”come into play and find me first.”
任亚宁 RenYaning
任亚宁，1988年生于陕西旬邑。2013年毕业于西安美术学院影视动画系摄影专业获学士学位，今年取得该专业的硕士研究生学位。
这组作品真实地拍摄了一个家族的所有成员从农村到城市的分布，从每一代人的生存发展和生活环境出发去思考自身的生长经历。通过对每一位拍摄对象的走访寻找自身在城市与故乡之间徘徊和无奈的归属。
This set of works is mainly used as reflection of the growth experience in exsistence, development, and living conditions of every generations. Which has been shoot about the distribution of family members from rural to urban. By visiting the family members is to seek for ourselves emphatically who surrounded with loneliness and helpless between the bustling cities and our own hometown.
杨坤 YangKun
《假象》这组作品，拍摄了大量的城市景观，荒诞、诡异、离奇的画面以并置的方式呈现，两两相互对比、相互呼应，营造出一种似真似假、抽离于现实的错觉。
The series photograph works, has shoot a lot of urban landscapes.Absurd、weird picture are presented in a juxtaposed way.The two contrasting and echoing each other,create an illusion that is detached from reality,like false like really.
鲁迅美术学院
联合策展人：林简娇
鲁迅美术学院前身是1938年建于延安的鲁迅艺术学院，由毛泽东、周恩来等老一代领导人亲自倡导创建。毛泽东同志为学院书写校名和“紧张、严肃、刻苦、虚心”的校训。1945年，延安鲁艺迁校至东北。1958年发展为鲁迅美术学院,至今已有80年的悠久历史。学院现有沈阳和大连两个校区，学院共有3个一级学科：美术学、设计学、艺术学理论，15个本科专业。摄影系位于鲁迅美术学院沈阳校区, 现有摄影专业和影视摄影与制作两个专业，是我国艺术院校中第一个创立的摄影专业，是全国最早培养摄影本科生和研究生的专业。
Lu Xun Academy of Fine Arts was grew out of Yan An Lu Xun Art College, which was initiated by Mao Zedong and Zhou Enlai at Yan'an in 1938. The Comrade Mao Zedong wrote the school name and school motto of "intense, serious, painstaking and modest".
In 1945, Yan An Lu Xun Art College moved to Northeast China. Lu Xun Academy of Fine Arts has been developed in 1958. Nowadays, the college has two campuses, Shenyang school district and Dalian school district. There are fifteen undergraduate majors and three first-level disciplines：fine arts, design, art theory. The Department of Photography is located in the Shenyang Campus with two majors: one is photography, the other is film and television photography. Lu Xun Academy of Fine Arts Photography Department is the earliest one in China, trains undergraduates and postgraduates in a long history of 80 years.
严程 YanCheng
严程 个人简历
现工作于：鲁迅美术学院摄影系 副教授 硕士研究生导师
院校联展：
2016年8月作品《 浮·相》参加“东游·山居”第六届中韩国际艺术展
2015年12月作品《 浮·相》参加西安美院展览“做景观天”
2014年9月作品《未可定义的青春-镜像》参加上海民生美术馆“2009—2014中国当代摄影展”
2013年10月作品《未可定义的青春-镜像》参加“北京国际摄影双年展”
2012年12月作品《 浮·相》参加《回归一种视觉的方式》东北当代艺术展
2011年12月作品《回声》参加连州国际摄影节
中国人消费着全球46%的奢饰品，在中国无论在哪里什么阶层，你都可以在他们身上看见各种大小不一的品牌logo。这组作品通过把国际知名的大牌标志紧密重复的排列在画面中，形成特殊的秩序感，在画面中他们看似若隐若现，实则布满每一位画面中人物面部和身体上，画面中的人物裸露身体好似一种沉睡或死亡的状态，而这些符号就好似皮肤本身，又像细小的细菌或病毒，渗透到不同年龄的人物身体里。过度消费符号，物质世界的背后，灵魂的依托究竟在哪里。
Chinese people consume 46% of the world's luxury jewelry. In China, no matter what class, you can see various brands of different sizes in them. This group of works creates a special sense of order by closely arranging internationally renowned big-name signs in the picture，that seem to be looming, but in reality, they are full of people’s faces and bodies in every picture. The nakedness of the characters in the picture is like a state of sleep or death, and these symbols are like the skin itself, and like tiny bacteria or viruses, infiltrating into the bodies of people of different ages. Excessive consumption of symbols, behind the material world, where is the support of the soul.
作品名称：《浮·相》
作品材料：宣纸数字微喷
作品尺寸：140x102cm
创作年代：2011年
王钰莹 WangYuying
光合作用是寂静的，却有力量；我们的成长过程就像植物一样进行着光合作用，我想用作品表现我们的成长状态。在这些画面中每个人都是探索的状态，他们面临着未知、却又享受其中。透过这组作品希望我们能够像植物一样，透过阳光，和身边一切美好的可能相遇。
Photosynthesis is silent but powerful; As spring comes, flowers will bloom and grass will bud. Our growth process is like the photosynthesis of plants, full of curiosity to the unknown world, growing in the process of exploration. In these scenes, everyone is a state of exploration, facing the unknown but enjoying it. May we meet like plants through the sun and all good things that may come our way.
作品名称：《光合作用》
作品材料：数码微喷
作品尺寸：120×96cm
创作年代：2018年
孙梦弥 SunMengmi
当下人们在迅速的生活节奏中与自己年久的记忆和经历愈加疏远，往往曾经离我们最贴近的事物随时间的推移却被忽视甚至渐渐遗忘了，或许要久而久之才能成为有心人小心翼翼拾掇收藏的“宝物”，这在我规整亲人遗物时引发我的思索和惋惜。希望通过此次拍摄唤起人们的思考。
People are increasingly alienated from their old memories and experiences in the rapid pace of life, often the things closest to us are overlooked or even gradually forgotten over time, and it may take a long time for them to become the "treasures" carefully picked up by those who are interested in collecting them, which is quoted when I regularize the remains of my relatives. It caused my thoughts and regrets. I hope to arouse people's thinking through shooting.
作品名称：《献给过去的礼物》
作品材料：胶片 数码微喷
作品尺寸：120×96cm
创作年代： 2018年
天津美术学
Tianjin academy of fine arts
联合策展人：王帅
天津美术学院摄影专业
天津美术学院摄影专业方向于2004年开始正式招生，2005年成立摄影艺术系，2012年，国家教育部调整本科目录时申请获批摄影专业，目前隶属于天津美术学院实验艺术学院。自04年至今摄影艺术系已送走十届毕业生共计300多人，现有在校本科学生143人。我们经过多年实践积累出丰富的教育教学经验，形成适于本专业发展并具有独特教学方法与理念的教学体系，在全国同学科专业领域中已经逐渐展示出自己的特色和优势。
天津美术学院摄影艺术系依托学院艺术积淀丰厚的优势，结合国际高等摄影教育现状和发展趋势，教学真正做到将专业发展与科技、媒体与人文精神整合，以为摄影领域不断变化和发展注入活力为目标。注重对传统的认知与学习同时鼓励学生在实验、实践中不断突破。注重引导学生具有开拓和延展性思维,强调对专业相关领域学习与研究。从而培养学生具有扎实专业基础，较高文化素养，能够具备探索视觉图像观念与表达的能力，具备对周围世界独立判断思考的能力，具备实验精神和人文精神。
The department of photography of Tianjin academy of fine arts(TAFA)began to receive admissions at 2004，set up the formal department at 2005.In 2012,The photography major was established by sanction of The ministry of education of PRC, now belong to The College of experimental arts of TAFA.Since 2004 to nowadays we had just already ten periods of students graduated from our department, more then 300 students, and had 143 undergraduate students now.We had many years practice to gather a rich experience of teaching, formed a teaching system with special teaching style and idea suite our department's development, and already showing the advantage and specialty compare with other school's same departments in nationwide .
The department of photography of TAFA rely on the advantage of deeply artistic accumulation of our college, combined with international higher photography education trend, to complete photography with technology, media and humanistic spirit into teaching.In the cause of Inject vitality to photography.we emphasize the traditional study and at same time we also encourage our students to breakthrough.we emphasize to leading students to thinking widely and ductility, emphasize the research of related areas, to develop student's professional basis, higher cultural accomplishment, to qualify the skills of explore vision image concept and explain the independent thinking to umwelt, the experimental spirit and humanistic spirit .
王帅 WangShuai
王帅，现工作于天津美术学院，副教授，摄影艺术系主任。毕业于法国勒阿弗尔高等美术学院，作品涉及静态、动态影像，绘画，空间等多方面，策划及参加各类国内外专业展览多次，作品被艺术机构收藏。
每一个个体所处的看起来孤立的空间，都是在探索“我”的每一个细微感受，细微波动。我的创作无论是照片、文本、视频等等，始终延续着对个体的探究，围绕着各种不同社会形态中个体与群体关系展开，借助虚构的图像和拟造的空间交叉重叠，由此上升到对生命个体的思索。作品《1&1》中选择两块来自不同时期同一建筑上的砖，一对一，一和一，一加一……折射出的样貌，恰如人之生存，人同物，无时无刻不在差异、对抗和困顿中寻求支撑和存在。
WANG Shuai, director of Department of photography of Tianjin academy of art，associate professor, graduate from Ecole Superieure d'art du Havre ，France. Work including static state、dynamic image、painting、space art and so on，planing and participated in all kinds of professional exhibition in china and abroad many times，art works was collected by art gallery.
Each individual in the isolated space seemingly, which is exploring every subtle feeling of ‘me’, My creation, whether photo text video, etc., continues the exploration of individuals, Centering on the relationship between individuals and groups in various social forms. With the help of the imaginary image and the planned space of overlapping, thus rise to the life of the individual thinking.This two bricks were from the same building but different two times. one to another, one and another, one plus one. They are similar to the forms of the existence of the human being and the human face are based or coexist .
作品名称：《1&1》
作品材料：数字艺术微喷，视频
作品尺寸：115cm*55cm*6张，单频
创作年代：2017年
张伟杰 ZhangWeijie
张伟杰，1996年出生于广东珠海，现就读于天津美术学院摄影艺术系。
网络媒体的出现迷惑了大众对于现实的认知，全球通讯渐渐成为当今与时代交流的方式，社交互动终端的产生促使我以一种前所未有的属于网络时代的新的观看方式重新审视这个世界。我通过Facebook网络通讯方式对世界各地的具有典型性的人物进行访谈互动，在访谈和与其个人社交媒体数以万计的图片的收集和互动中，提问了一些带有隐私性与公共关系的问题，深入地了解了他们在不同环境背景下的生活特征，质疑了其个体形象的特征如何改变与判断其身份存在的问题。
The emergence of network media has confused the public's perception of reality. Global communication has gradually become the mode of communication with The Times. The emergence of social interaction terminals has prompted me to re-examine the world with an unprecedented new way of viewing in the Internet era. I through Facebook which is the way of network communication interview and interact the typical characters around the world, in interviews and personal social media collection of tens of thousands of pictures and interaction, questioned with some privacy and public relations issues, in-depth understanding of their characteristics under the background of life in a different environment, disputed how the characteristics of its individual image change and judging its identity problems.
作品名称：《移传记》
作品材料：相纸（背胶摄影纯棉）
作品尺寸：5：45x202cm
创作年代：2018年
朱竣炜 ZhuJunwei
朱竣炜，1996年出生于广东云浮，现就读于天津美术学院摄影艺术系。
我在不同的时间和空间中捕捉城市建筑中的自动扶梯与人物形象。作品本身和作品分离的四个墙的空白构成了一个二维的“三维空间”，这给人们一种视觉幻觉。每个人在同一时刻都有相同或不同的思维活动。当我把思维定格在“三维空间”时，观众的思维进入“三维空间”，不断变化，直到与自动扶梯里的人相撞。让虚假真相转化为观众的即时真相。
I capture the escalators and Image of characters in urban buildings in different time and space. The blank space of the four walls separated from the work and work itself constitutes a two-dimensional "three-dimensional space", which gives people a visual illusion. Each individual has the same or different thinking activity at the same moment. When I fix the thinking at that moment in the work, the viewer's thinking enters the "three-dimensional space"and constantly changing until it collide with someone in the escalator. Let the false truth be transformed into the instant truth of the viewer.
作品名称：《虚假的真实》
作品材料：相纸（哑光相纸）
作品尺寸：310cm*322cm（具体可根据墙面改变）
创作年代：2018年
西安理工大学
Xi'an University of Technology
西安理工大学艺术与设计学院摄影专业
西安理工大学艺术与设计学院摄影专业成立于2004年，每届招收本科生约20人，硕士研究生约6人，在校学生人数约95人，截止目前共毕业本科生11届，硕士研究生6届。
本专业现有教师8名，其中专职教师6名，客座教授2名。本专业着重培养多学科的交叉知识在工作中灵活运用的能力，在教学上将摄影与设计、艺术创作、印刷技术及数字化的多媒体技术密切结合起来。向社会培养“复合型”、“ 应用型”摄影人才，注重学生创新能力的培养，强化实践教学。
The photography major of the Art and Design Faculty at Xi'an University of Technology was founded in 2004. Each year, it recruits around 20 undergraduate students, 5 postgraduate students and the total number of the students in this major is about 95. Up to now, it has recruited undergraduate students for 11 years and postgraduate students for 6 years. The number of its full-time teachers is 6, including one professor (master tutor), 5 lecturers, 2 visiting professors. It places great emphasis on cultivating the ability of flexible application of interdisciplinary knowledge into the work, combining photography with design, artistic creation, printing technology and digital multimedia technology in teaching. And it aims to cultivate photography talents of "Compound Type" and "Applied Type" to the Society, paying attention to cultivating students' innovative ability and strengthening practical teaching.
张辉 ZhangHui
张辉，西安理工大学艺术与设计学院教授、副院长。中国摄影家协会会员；中国高等教育学会摄影教育专业委员会理事；中国电影家协会新媒体委员会理事。曾获得国家教育部颁发的指导教师一等奖2项、索尼世界摄影二等奖及中国摄影教育特殊贡献奖和中国摄影教育优秀教学奖。
作者：张辉、孙铭鑫、郭政昊
作品名称：《城市边缘的镜面反射》
作品材质：艺术微喷
作品大小：尺寸可变
创作年代：2018
作品简介
依附于现实但又迷幻并充满差错的现代城市，是我们赖以生存的空间。在那边缘之地，肆虐张扬的废弃物，就如同墓碑般让我无所适从，无论是厌恶，抑或迷恋，它仍是生活无法分割的组成部分。
作品力图以镜子消解其背后隐藏的某种城市物品，交错搭建的镜面反射着周遭环境，期望城市实体的复杂构造在此刻演变成为单纯的自我同一意识。镜中，是痛苦与欢愉交织思绪下的矛盾意图；在现实场域下，所有的城市综合体在你我内心世界中，正被逐渐抵消。在其陌生的反射语言，有限的个体，无限的天空，均显得如此渺小。
城市中，是那没有尽头的无边之旅；镜里镜外，我们相互替换着各自的角色，分不清彼此。
The modern city, which is attached to reality but is psychedelic and full of mistakes, is the space for us to live. On the edge, the rampant waste, like a tombstone, left me at a loss, disgusted or obsessed, as an inseparable part of life.
The work tries to use a mirror to dispel some urban objects hidden behind it. The staggered mirror reflects the surrounding environment, expecting the complex structure of the urban entity to evolve into a simple sense of self-identity at this moment. In the mirror, it is the contradictory intentions of the minds of pain and pleasure; in the real world, all the urban complexes are being gradually cancelled out in the inner world of you and me. In its strange reflection language, limited individuals, infinite sky, it seems so small.
In the city, it is an endless journey; inside or outside the mirror, we are replacing each other's roles, indistinguishable from each other.
李漪 LiYi
李漪1995年，生于湖北武汉，2016年，获得第六届“金鹤奖”全国数码摄影大赛优秀奖，现西安理工大学摄影系大四学生。
作品名称：《天真者》
作品材料：数字艺术微喷
作品尺寸：100cm*67cm*4张，140cm*94cm*2张
创作年代：2017年
作品简介
自闭症是一种严重的精神疾病，大多数自闭症孩子都有智力缺陷和语言障碍，且大多生俱来且无法治愈。
在西安白鹿原上有这么一群孩子，多患有自闭症，他们年龄不等，但学习课程却是一样，叠衣服、系鞋带、刷牙洗脸……这些我们能轻松做到的事情，他们却需要反复练习。自闭症带给他们的困难与障碍，是我们难以想象的。他们不知道什么是开心，什么是难受，不会分辨什么可以吃，什么不可以吃……
除了“自闭症”这一标签，自闭症孩子也是有不同个性的可爱孩子。他们时不时会做出一些奇怪的动作。有时候我会想，在某种意义上，他们是无拘无束、自由自在的。他们不知道自己生了病，察觉不到自己和别人的区别，他们不会在意别人的眼光，他们专注于自己的世界。他们就是最天真的孩子。
钱成 QianCheng
钱成，1993年3月16日出生于安徽池州，西安理工大学2018届毕业生。
作品名称：《我们》
作品材质 :大画幅，数字微喷
作品尺寸：4×5
创作年代：2018
作品简介
我们是来自星星的孩子。
每个人的内心深处都有一座梦幻的城堡。
我们还在听窗前鸟儿的浅唱，如痴如醉。
我们还在看蚂蚁王国的迁徙，不亦乐乎。
我们正在长大，依旧贪婪的说话、贪婪的游戏。
我们正在长大，依旧永久的快乐、永久的幻想。
北京印刷学院
Beijing Institute Of Graphic Communication
联合策展人：史民峰
北京印刷学院摄影专业介绍
北京印刷学院的摄影教育始于2004年，以本校印刷出版和文化创意产业资源开始了高质量图片摄影教育，并积累了雄厚的影像教育资源。
本专业在媒体时代，强调影像和新媒体、设计的学科交叉，特色为“和新媒体应用相结合的影像创作与商业应用”。拥有国内著名摄影家领衔的一流师资和影棚、影像编辑、特效制作等专业实验室，配套有大批专业摄影及影视拍摄相关设备。学生作品先后多次获得摄影比赛重要奖项，多次受邀参加大型展览和专业展览，作品被多家国内外机构收藏，在高校摄影教育领域拥有广泛的影响。本专业与欧美多所大学有国际合作，拥有硕士招生点和多名硕士生导师，为学生进一步深造提供了广阔的舞台。
Photography education of Beijing Institute of Graphic Communication began in 2004. It began education of high-quality photo photography from its printing and publishing as well as cultural and creative industry resources, also accumulated abundant image education resources.
In media era, this major emphasizes interdisciplinary intersection between image and new media and design, featuring 'image creation and commercial application combined with new media applications'. It has the first-class teachers and studios led by famous domestic photographers, professional laboratories such as video editing and special effects, a large number of professional photography and film and television shooting related equipment. Work of students' won many important awards in photography competition. They were invited to participate in professional large-scale exhibitions for many times and their works were collected by many domestic and foreign institutions which have extensive influence in the field of photography education among colleges and universities. This major has international cooperation with many Western universities, master's degree enrollment site and a number of master's advisor which provide students with a broad stage for further study.
史民峰 ShiMinfeng
史民峰,教授、硕士研究生导师，北京印刷学院设计艺术学院党委书记。中国摄影家协会摄影教育委员会委员，中国高等教育学会摄影专业委员会理事、中国工业设计协会信息与交互设计专业委员会副主任委员，中国摄影家协会会员，北京美术家协会会员，美国摄影教育学会会员。主持国家艺术基金、国家社科基金艺术学项目，多次举办个人艺术展，作品被国内专业机构和个人收藏。
《家山水》系列山水摄影作品，取材于自然中的山水，从中追求中国水墨山水的韵味。每每逃离开喧嚣的大都市，独行于山水之间，便沉浸其中。我可以慢慢地走，慢慢地观看、仔细地品味，这时，心中总是被大自然的鬼斧神工所迷醉，一种不自觉的愉悦也就在全身慢慢地扩散开来。世界与万物就在哪里，可以直视、可以触摸，可以仰止、可以凑近玩味 ……
我的作品主题基本上放弃了三度空间的再现，转而寻求平面化的抽象表现。一般都认为摄影是“光与影”的艺术，而在我的作品中，光与影是不存在的、或者也可以说摄影是不存在的。反相画面有的是斑驳的现实世界，以及由幻象所构成的意象的影子。因着“摄影”的缺席，也便回归了艺术。
"Home Landscape" series of landscape photography, based on the natural landscape, from which the pursuit of Chinese ink landscape charm. Every time we run away from the noisy metropolis and walk alone in the mountains and waters, we immerse ourselves in it. I could walk slowly, watch slowly, and savor carefully. At that time, I was always fascinated by the magic of nature, and a kind of unconscious pleasure spread slowly throughout my body. The world and everything are everywhere, which can be looked directly at, touched, and can be stopped and can be played in close proximity.The theme of my work basically gave up the representation of the three dimensional space, instead of seeking the abstract representation of the plane. It is generally believed that photography is the art of light and shadow, and in my work, light and shadow do not exist, or photography does not exist. Some of the inverted images are the mottled real world, and the shadows of images formed by illusions. On account of the absence of photography, it returns to art.
作品名称：《家山水》
作品材料：美术纸+艺术微喷
作品尺寸：80*80cm
创作年代：2016
张志彬 ZhangZhibin
这一系列作品主要在探讨机械与生命、钢铁与植物、工业文明与自然之间的联系。通过打散重构的方式，消解历经工业化洗礼的机械部件原有功能，重新组合碰撞产生出新的形态语言。
Mechanical Growth series focus on discussing the connection between machinery and life, steel and plants, industrial civilization and nature. By scattering and reconstructing, the original functions of mechanical parts that undergo industrial baptism are eliminated, and new form languages are produced by recombination the collisions.
作品名称：《机械生长》
作品材料：铂钯印相
作品大小：24*30cm
创作年代：2018
武欢 WuHuan
这是一套黑白摄影作品，我抽取一部分富于生命力量的形体，通过联合，接触，重叠，增减等手法分离出富有生命本质特征的结构，采用版画的视觉形式美感来表现生命的质感，以及我对于生命的感受与认知。
Texture of Living is a set of black-and-white photographic works, I extract a part of those objects that represents living power, And I want to express my feelings and cognition of living through combination, contact, overlap and other means to rebuild the structure in essential characteristics of living. The use of prints to express the visual form of aesthetic texture of living is my own way of this art work.
作品名称：《生命的质感》
作品材料：艺术微喷
作品大小：40*40与40*72
创作年代：2018
谌驭英 ChenYuying
上下班往返于地铁，拥挤的车厢，快速走动的人流，如同生活在不同的平行时空。
本作品运用摄影这一媒介，来捕捉生活中类似的场景，进行艺术加工，以此来探讨人与人，人与身边环境之间越来越疏离的这种关系。
We commute by subway every day and every time when we are in the middle of the crowed carriage, we are surrounded by a lot of people and we almost have zero communication with each other, making us thinking that as if we are living in a different parallel time and space.
In this piece of work, we will use photography as a medium to capture similar scenes in life and use innovation and art to recreate it, so as to discuss the increasingly estranged relationship between people, people and the surrounding environment.
作品名称：《哑戏》
作品材料：艺术微喷
作品大小：100*44与100*36
创作年代：2018