脱逃

----关于任航的DV短片《饱合》

19分钟，因为初次使用DV拍摄，几乎没有任何经验，也谈不上镜头语言的运用。就是这样一个几乎没什么剧情的短片，在我看过之后，觉得什么也没看到，最后却发现还是记住了几乎所有的画面片断和细节。（这使我很惊讶，明明是略感失望的作品，却深刻地记住了它。）

任航的这部DV作品，完全不同于他拍照生猛投入的状态，他变得又安静又哑然。

我们的情感不是太脆弱就是太多不坚定，总之很难又单一又纯粹。要还是不要？要这样还是那样？有时候，明明情欲在饱合，却极可能因为一时的软弱而无形崩溃。
短短的19分钟，我看出蔡明亮式，近乎冷淡无聊的叙述下面，隐匿着飘摇的激烈，以及那些因纠结而产生的内心动荡。任航却说他因为对于电影《颐和园》的热爱（他总是一遍遍看那部影片），才想要去拍一部DV作品。没有剧本，没有台词，两个男孩在一个狭小的房间，一盏灯的背景下，像两俱身体的互相观望。那个房间是其中一个男孩和女友合住的房间，女孩一个人在公园里，街道上不知所谓地行走，莫名地奔跑，停顿，要回去他们的房间。而这个房间里，两个男孩在犹疑不定的亲密和疏离亲密间挣扎，逃脱。

似乎是简单的故事，也不见得苦涩，但这种情绪我们一生总会遇到，并且很可能不止一次的遇到，它并不见得只是跟性取向有关。

附：

《饱和》
Saturation

花的饱和不是果实 , 云的饱和不是天空

风的饱和不是海啸 , 雪的饱和不是沙漠

梦的饱和不是清醒 , 爱的饱和不是快乐

你的饱和不是苍老 , 我的饱和不是自由

by　任航　

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　2010,7,9　米诺

任航短片《饱和》试片会+现场演出

现场乐队：禅婵，汤旭，lilisay，另有神秘嘉宾
时间：2010年7月10号 晚8点
地点: 北京 东城区 旧鼓楼大街152号紫月私房菜地下一层 窖
票价：预售&学生20元 现场30元 订票短信：134 6676 8593

活动链接：http://www.douban.com/event/12191241/

Duration：2010/7/10--2010/7/31
展览时间：2010/7/10--2010/7/31

Opening Reception: 2010/7/10    15:00
开幕时间：2010/7/10   15:00

Place：Inter Art Center / Inter Gallery
展出地点：映艺术中心 / 映画廊

Art Advisors：Gu Zheng / Wang Chunchen / Wu Hong
艺术顾问：顾睁 / 王春辰 / 吴鸿

Curator: Na Risong
策展人：那日松

A War between Narration and Image: Digital Image Art by Swiss Artist Beat Kuert

By Wu Hong

The works of Beat Kuert can not be easily demarcated by a specific art type. In his art, various elements are fused into an organic whole, hard to be dissected in an analytical way. His rich art experiences contribute much to this fact.

In the stage when film was first born, or the age of the Lumière, the lens of camera imitated human eyes to observe the world. A bit curiously and timidly, it watched the outside world. So is this “world” observed from the camera different from the one that we see with our eyes? The answer is obvious, for otherwise mankind wouldn’t have been so fascinated by what’s shown on the screen. But what on earth is this “difference”? It’s the characteristic of “narration” reflected on the screen. Although the shooting process of the early operator of camera was disordered and subconscious, with the intrinsic logic of images being revealed when they flicker on the screen, human being’s potential of “narration” got demonstrated. Such potential comes from man’s childhood experience, when a child acquires the most basic ability of describing images, he can use this ability to describe a narrative “plot” to you, maybe from his own experience, or perhaps just a fantasy. In short, the moment when image came into being, the possibility of linking what happened “before” and “after” it in time and space had come into existence: centering around “Dasein (existence)”, the linear logic connecting what’s past and after it in time, this is what’s called “narration”.

The “motion pictures” brought about by the Lumière camera or Edison camera further strengthened image’s function of narration. By this time, what the audience experienced had become the will of “the man behind the camera” and his narrative logic. The great will power embodied by such “narrative logic” even surmounted the role of a traditional playwright or director，for in a traditional play, the will of the playwright or director has to be displayed through the actor’s performance. Furthermore, even the same actor’s actual performance may vary in different shows of play, while “the man behind the camera” can accomplish the dissolution and reorganization of the “linear logic” of time, via free processing of images. The actor’s performance, being recorded on the films and turned into “solidified image”, is now but a trivial element in the process of dissolution and reorganization. Now we can roughly learn the difference between a “play director” and a “movie director”, their different characteristics revealed in the linear logic of time. In a play, though there are techniques of breaking time’s linear logic such as flashback and interspersed flashback, the director can not break the actor’s linear process in live performance. While in a movie, time and space are decomposed into frames, the unit of film. A specific frame of “film unit” is subordinate to a bigger “narrative unit” in the process of narration, meanwhile, it also demonstrates an independent value, which will be cited again in the following discussion.

As stated above, because of its narrative potential, when commercialized, early movies inevitably adopted traditional play’s technique of narrative logic in its development，for repeated “motion pictures” are boring, while a well-knitted narration is attractive. Meanwhile, over-dramatizing also confined film’s self-support as an independent art type.  Thus in the first three decades of last century, quite a few independent artists in New York and Paris were engaged in an experiment that was later called “avant-garde film”. The production of avant-garde films was based on the greater background of Modern Movement of fine arts. In this background, the visual “modeling element” was no longer subordinate to the need of narration or modeling. Claiming independence, the “modeling element” sought its own value of existence in two aspects: color and shape. Pursuant to this logic, modern arts kept developing from impressionism, postimpressionism to abstractionism. In the cultural logic of “abstractionism”, “shape” and “color” no longer serve the need of modeling, but directly serve the psychological and spiritual logic on a higher level. Born in such an abstractionist cultural background, the extremity of avant-garde film is self-evident. In the form of avant-garde film, narration and plot are totally abandoned, and what’s expressed through the “motion” of images is a rhythm in step with man’s spiritual and psychological aspects. Here, we might as well regard it as an abstractionist painting “in motion”.

Though avant-garde film in this period was produced in an individual and independent way, its dear cost and alternative aesthetic taste made it impossible to promote its development via the law of commercial investment and returns, or further make it an independent art form.

It’s only after the arising of analog production devices and play devices, and also the arising of three-in-one “videos” with the function of video camera, player and television, that “video art” could possibly exist as an independent art form. But again, the expensive post-production devices forced many independent artists to turn to professional institutes or personnel to finish their artwork. Also, the possibility of image processing is rather limited on an analog video device. So during this period, “video art” that can truly distinguish itself from early films or avant-garde films in the sense of “image” is quite rare. What’s more common is the combination of a video play device and an installation, which turns out to become a subcategory of art form: “video installation art”.  In this art form, the relation of time and space “within” images got strengthened, abstracted or extended in an installation in a wider space range.

With the arrival of digital era, the process of post-production can be done on personal computers, so that the complete production process can be truly “personalized”. At the same time, digitalization also enables an artist to process graphics with software programs. It was such a background that made the “digital image art” distinct from the film age and video age possible.

As stated above, in a traditional play, the meaning unit of narration is “show”, the concept of coherent performance; while in a film, the meaning unit of narration is “footage”, the concept of coherent shooting with a camera, and it’s the frame of film that embodies the meaning of image; while in digital image, it’s the pixel dot that embodies the meaning of image. This evolution from “show” to “frame” to “pixel” reflects not only the progress in technology, but also a possibility for “image” to separate from narration and become independent.

What’s said above is exactly the complete process of Beat Kuert’s art experiences.

He started from early avant-garde films, later got involved in shooting and directing commercial films and TV documentaries. Eventually, with the arrival of digital age, he gave up his previous occupation with commercial imaging and dived into the creation of digital image art. Thanks for the richness of his work experience, we can see both diversity and compromise in his works.

Beat Kuert mixed in his works varied “performance” elements such as performance art, narrative performance and chance performance, combining a variety of image processing approaches brought by digital image processing technology. The “narrative” meaning embodied by performance and the “image” meaning embodied by digital image processing constitute two most basic axes of his work. Parallel or intersectant, the relation between the two axes forms the rich and varied visual effect of his work.

As said above, “footage” or “frame” is subordinate to the need of narration as far as a commercial or traditional film director is concerned, while in the hands of an avant-garde film artist, it becomes the tool of deconstructing and overturning linear narrative logic. As for digital image artists, digitalized pixel dots become the element of dissolving, remodeling and reorganizing images.

So in Beat Kuert’s digital image artworks, we can see narrative “performance”, montage “footage” editing, and the dissolution and rebirth of “image” in the sense of pixel dots, the three of which form a progression relationship. During this process, the narrative logic produced by performance in the first place keeps being overturned and deconstructed by footages and pixel dots, like a “war” for meaning, fighting for the right of interpretation.

Some critics are keen on talking about Beat Kuert’s metaphorical symbolism revealed via actress’ performance and their use of props. They are actually falling into his preset trap of “meaning”. When these critics focus on the performing process of the actors, the subject of shooting, they forget that Beat Kuert’s intention of footage employing and digital image processing is not to visually “beautify” the subject. On the contrary, as an independent element, they play an indispensable role in constituting the final meaning of the work. Returning to the old question: Is what we see real? This issue is no longer nouveau in philosophical discussion, yet still has great values when expressed in a way with abundant visual experience. That’s why Beat Kuert’s works also possess an ultimate philosophical value while satisfying our visual sense.

Now let’s move on to his two-dimensional photography works, which are either selected from motion pictures, or taken in a “motion picture” way, so the above stated viewpoints also apply to the interpretation of his pictures.

Our belief in the essential meaning of this world is based on a transcendentalist “narrative” logic. The “physical world” that can be observed constitutes the narrative element, “image” is a persistence of vision of the physical world, and “pixel” the basic component of image, and finally, it’s “us” who gain control of the form of pixels. In this circulating process of logic, these concepts rely on one another, meanwhile deconstruct one another. They define, and at the same time blur the dividing line between the knowable and unknowable in the world that we live in, or maybe, even “us” is a subject unknowable.

開幕時間/Opening Time：2010年5月29日下午三時  PM 3:00, May 29, 2010
開幕地點/Opening Address：香港銅鑼灣耀華街30號1樓　A藝術中心
No. 30 Yiu Wa Street,，Causeway Bay，Hong Kong，1st Floor　A-ARTCENTER

策展人　CURATUR：　米諾　Mino
聯繫人　CONTACT PERPON：　朱高文　Mr.Zhu Gaowen

参展艺术家/Artists：

陈彧君　Chen Yujun
陈彧凡　Chen Yufan
尹朝辉　Yin Zhaohui
尹朝阳　Yin Zhaoyang
鄢振兴　Yan Zhengxing
曾　扬　Zen Yang
李建明　Li Jianming
张春迎　Zhang Chunying
任　航　Ren Hang
李　爻　Li Yao

Mail:a_artcenter@yahoo.cn
Phone：+86-13701039979

入鏡

　　　　　　　　　　　　　　　　　　　　　　米諾
      當藝術潛伏著一種秘密和生機，幻化到各種藝術表現形式上，氣息隨之流露傳遞，浸入到生活的本質裡面，從而抵達“入鏡”的狀態----當藝術的觸角伸延到你我的皮膚，匍伏在周身，得到的是快意還是憂傷？是思考還是為之所動？無論如何，藝術同生活一樣，終將被消融。可在這個過程之中，所有的體驗都成為印跡，停留在心上。
     這是藝術的魅力。

     在這個充釋著消費和被消費、價值觀越來越虛妄的時代，為當下年輕藝術家的創作帶來更多複雜的多重考驗。可即使如此，總有少數藝術家從未脫離內在世界和精神層面的探索，從未受到市場的引誘而堅持自我的塑造，把他們積極正面的能量釋放到藝術作品之中，為我們帶來一場心靈的歡宴。

      陳彧君作品指向寬廣的亞洲地鏡，他可能對靜止的空間內部向外伸延的錯踪迷離有著無限的興致，也可能對於蓬勃茁壯的自然生長物帶有莫名敬意。
   　陳彧凡作品布上的針眼，不知是化繁為簡還是化簡為繁的肆意轉化，他的美學藏在不可言喻的形狀之中。 
      尹朝輝的《無題》系列，運用很多變形突出的手法，來誇大某種形態的失真。 
      尹朝宇成熟詩意的繪畫，使這個世界顯出朦朧的美感以及那些不易覺察的危機。
   　曾揚的《圓》系列，顯現了藝術家對“結構”和“秩序”的濃厚興趣，既是對兩者的顛覆也是一個重塑。在同一個視覺形式表達之中，循環的敘事結構和視覺分割是其成立的最為主要的因素。這使我們不由自主會考慮，是否早就應該換個角度和姿勢來觀察藝術？
     李建明類似自畫像的作品，靈感來自於藝術家第一次到海邊是晚上，黑暗中天與海成一線的地方因為海面的顫動而顫動著，那種不知是肉體還是心靈顫動的感覺鋪面而來。
     鄢振義運用更貼近大腦皮層的臆想式繪畫手法，他的作品富有擴散和縵延的氣質，將意境的張力表現的淋漓盡致。 
     張春迎作品裡的靈動在於，光亮隱於黑暗又遠大於黑暗。花亦如人，細嫩的枝干支撐起一顆龐大的靈魂，分明能感覺到它們內在蘊藏的力量正在迸發，這種力量足以將一切邪惡的思想毀滅。
      任航做為當下最年輕活躍的新生代獨立攝影師，他的作品總是帶有多重想像空間，或詭異或分裂。鏡頭在他這裡，是淺意識的替代物，隱在相機的背後，他同青春一樣因愛欲的感知而焚毀了情感。
      李爻堅信人以前是有翅膀的，石頭比人類更古老。從天空中被放逐，沒有巫術，沒有蒼涼洞悉自然的心靈。人類的神性逐漸喪失殆盡，進而只能從文學裡尋些幻想和安慰，在夢裡撫摸幾只赤裸白鳥。李爻自言他的雕塑過去的藝術，寶瓶時代來臨前我們空了，他在懷念。

      如果生活是一個大夢場，藝術也可以是。
      只是藝術以它特有的方式比我們先行入鏡，因此才指引我們更敏銳地去捕捉生活的真諦。

IN TO THE MOOD

When art has a secret and life, and change to various forms of artistic expression, breath followed revealed transmission, immersion into the nature of life, to reach "into the mirror" state ---- When art extends to you my skin, prostrate the whole body, joyful or not? Is it moved or you have to think? Anyhow, art same with life, it will eventually be ablation. In this process, all the experiences have become imprinted, stay in the heart.
This is the charm of art.

The age whish has more and more false values, brings more complex tests for the young artists. However, there is always a small number of artists never out of the inner spiritual world exploration, they have never been lured by the market but adhere to self-shaping, their positive energy have been released into the artwork, bring us a spiritual feast.

Chen Yujun’s works point to Asia, he may has a unlimited interest in extending out of space, may also respect for the natural growth of things.We don’t know if the needle trace on Chen Yujun’s work, is simplified converse randomly, his aesthetic hidden inside of some undescribable shape.

Yin Zhaohui's used a lot of prominent deformation methods to to exaggerate certain forms of distortion in his “Untitled” series.

Yin Zhaoyu’s mature and poetic painting, make the world show the beauty of obscure and the crisis which not easily be perceived.

Zeng Yang has a "round" series, it shows the great interest of the artist on the "structure" and "order", and it is a remodeling of both and also subversion. In the same form of visual expression, cycle of narrative structure and visual segmentation is the major factor. This allows us to consider whether we should change another angle and position to observe the art?

Li Jianming’s “similar self-portrait works”, the inspired came from the 1st visit to a beach, and it was a night, the sky line keep trembling, so he also had a kind of soul or body tremor.

Yan Zhenyi used imaginary-style painting technique, his works full-proliferation and unadorned extension of temperament, has a very strong mood of the tension.

The smartness of Zhang Chunying’s works is hidden in the dark. Flowers as people, delicate branches support from a large soul, clearly feel their inner reserves of strength are going to burst, this force is sufficient to destroy all evil thoughts.

Ren Hang, as the current youngest generation active independent photographer, his work always with multiple imaginations, strange, or split. It is a substitute for shallow sense in his lense and hidden behind the camera.

Li Yao believes people used to have wings, and stone more ancient than people. Be banished from the sky, there is no magic, no bleak insight into the nature of the soul. The divinities of humanity gradually lost, and then only find some comfort from literature. Li Yao said his sculptures are the art of the past, before the “Aquarius Age” we are empty, he is remembering.

If life is a dream world, art can be as well.
Art goes ahead of us in its unique way, so it is more sensitive to guide us to capture the essence of life.

by　Mino
April 2010, Beijing

(一) 比赛简介

法国“才华摄影基金”中国区比赛由法国权威摄影网络杂志《Photographie.com》与中国《LENS.视觉》杂志联合主办。
“才华摄影基金” 由《Photographie.com》于1998年创办，目前已成为法国年轻、有才华的摄影师通往职业道路最有活力的跳板。每个季度，《Photographie.com》均会召集重量级专业评委从以下四类摄影作品中甄选新秀，包括纪实/报道摄影、肖像摄影、时尚摄影、风景/空间/建筑摄影。获奖者将借助”才华摄影基金”从同辈人中脱颖而出，迅速开启他们的职业生涯。
    自成立以来，“才华摄影基金”已经在法国成功运作40届，共47位摄影师获得大奖和评审特别奖，1000名提名奖和优秀奖获得者在媒体呈现作品，每年收到的参赛作品平均为750份。
    2010年起, “才华摄影基金”将对中国出生的摄影师开放 （包括港、澳、台地区），致力发掘与介绍新一代中国摄影师（没有年龄限制），帮助他们走向国际舞台。中国区比赛模式与法国类似，比赛分为：1）报道/纪实摄影；2）肖像摄影；3）时尚摄影；4） 风景/空间/建筑摄影四个类别。评委将由中国和国际摄影行业专业人士共同组成，获奖作品将在中国和法国两地举办大型展览。
法国“才华摄影基金”中国区比赛由《LENS.视觉》杂志作为中方主办单位，将与法国《Photographie.com》杂志共同开展比赛活动。
 “才华摄影基金”作为法国驻华大使馆指定的中法友好项目，也是“中法文化之春”艺术节的重要项目之一。

 (二)法国“才华摄影基金”中国区比赛作品征集流程

     2010年法国“才华摄影基金”中国区比赛，将根据摄影类别分两次举办。请参赛作者根据不同类别的比赛时间表（包括作品提交截止日期与评审日期）进行投稿。每一类别的比赛，都先评选出12名提名奖，之后由5位国际影像专家（2名中国评委，3名国际评委）组成评审团，最终评选出一位“才华大奖”。在作品优秀的前提下，评审团可以增加一个“评委特别奖”。

2010年比赛时间表：

作品类型 作品提交 提名奖公布 终评时间 终评地点
春季征选两类作品
一届 . 纪实/报道摄影
二届 . 肖像摄影 5月10日-6月25日 7月初 7月5日-7月12日 法国 阿尔勒
秋季征选两类作品
三届 . 时尚摄影
四届. 风景/空间/建筑摄影 9月1日-10月15日 10月底 11月3日-11月11日 法国 巴黎

注:
• 截稿时间以邮局邮戳日期为准；快递以递出日期为准；
• 提名奖公布: 将于“才华摄影基金”官方网站与《Photographie.com》和财经网www.caijing.com.cn上同时发布；
• 春季征选终评：2010年7月5日－12日在法国阿尔勒摄影节期间举行终评工作，并在阿尔勒摄影节开幕第一周举办法国“才华摄影基金”中国区比赛新闻发布会，现场举行获奖作品放映会;
• 秋季征选终评: 2010年11月3日－11日在法国巴黎摄影画廊博览会期间举行终评工作。

(三) 参赛者递交摄影作品以及相关材料，包括以下内容:

1.参赛作品为一个摄影主题下的完整摄影系列, 由10-25张组成。需要递交数码照片以及制作出的照片。数码照片的照片每幅长边不要超过2000像素,文件命名以摄影师的姓名拼音为准，按作品顺序编号排列，统一存为Jpeg格式（例如张小华，为zhangxiaohua01.jpg等）。照片可根据作品内容及风格的要求自定尺寸、纸张、与输出方式,单幅面积不要超过A3；
2.参赛作品也可以是一件3至10分钟的“多媒体影像作品”，以及该系列中最具代表性的一组摄影照片（5张以上）；
注：“才华摄影基金”向通过屏幕与投影方式的摄影表达敞开大门，欢迎“多媒体影像作品”（POM－Petites Œuvres Multimédias）参加。注：多媒体影像作品是指以平面摄影为主，包括声音、录像及其他媒介的综合活动影像创作；
3. 创作阐述一份，中英文双语，字数不限；如对作品做有后期处理，需在创作阐述上注明。
4. 一份包含联系方式（邮寄地址、电话及电子邮箱）的个人简历；
5. 一张自拍照片；
6. 身份证或护照复印件。

    请将以上参赛图片电子文件或多媒体影像作品、创作阐述、自拍照电子版及个人简历统一刻录为光盘，文字材料请打印为Ａ4纸，与制作出的摄影作品一起邮寄到北京才华摄影基金办公室（因安全起见，建议用快递）。比赛结束后，邮寄制作照片的参赛者需在三个月内与北京的“才华摄影基金”办公室联系，以便取回作品。

 (四)获奖摄影师将享有：

1.法国专业摄影网站www.photographie.com及《财经网》（www.caijing.com.cn）在线刊登提名奖及获大奖摄影师作品；
2.由组委会向中国媒体、法国媒体(包括杂志、报纸、网络等)推荐刊登提名奖及获大奖摄影师的作品；
3.四位才华摄影奖获奖者的作品展将于2010年末／2011年初在法国巴黎举办。同时，四位获奖者将被邀请到法国出席开幕式，期间主办方承担机票和四天的住宿费；
4.“才华摄影基金”获奖作品展作为法国驻华大使馆指定的中法友好项目， 将于2011年4月 “中法文化之春”艺术节期间在北京首展。该展览也将在中国举办巡回展览，并参加国际摄影节；
5. 主办方将设计制作“才华摄影基金”获奖作品画册。

(五) 参赛须知

1.比赛面向在中国(包括港、澳、台)出生的摄影师，以身份证或护照复印件为凭证；
2.参赛者须承诺他们是所提交作品的版权拥有者；
3.为了推广、宣传本项目，作为主办方的法国《Photographie.com》和《Lens.视觉》杂志有权使用与刊登获奖作品，并且保证这些作品只用推广“才华摄影基金比赛”与比赛展览，包括展览画册、宣传册、海报等；
4.参赛者须确认并承诺：其选择参赛的作品应不以任何直接或间接的方式触及第三方所有权；如有触及，必须能够提供所需的许可；
5.在评审团选取作品的过程中若出现遗失、失窃或作品毁坏现象，主办方不负任何责任；
6. 主办方保留迫于不可抗拒力量取消评选活动的权利；
7. 参与本次“才华摄影基金”评选，默认为对本规则的完全接受。

(六) 作品提交地址

法国“才华摄影基金”中国区比赛办公室
地址:  北京市朝阳门外大街22号泛利大厦19层
邮编:  100020
电话:  010-85650592
电邮:  talentchina@photographie.com
        
摄影师姓名（中/英文)：………………………
签名:  …………………
The Photography Talent Award in China

I. Introduction

   The Photography Talent Award in China is co-organized by the reference French online photography magazine Photographie.com and the Chinese magazine Lens/Caijing.

The Talent Award, created and ran by the influential web magazine Photographie.com since 1998, has been one of the most dynamic and effective springboards for emerging photographers in France. This quarterly award, juried by a prestigious panel of professionals, selects coherent portfolios from four different categories: Portraiture, Documentary/Reportage, Fashion,, and Space/Landscape,. Characteristic of Photographie.com’s engagement vis-à-vis the photographic profession, the Talent Award shows its commitment to accompany and promote the works of young photographers by the attribution of awards in the form of online portfolios, professional photographic equipment, limited edition books, and highly regarded yearly exhibitions at the National Library of France (BnF – Mitterand ). These are often departure points for the launching of their career in professional photography.

Since the inception of the Photography Talent Award, Photographie.com has successfully run 40 sessions; 47 photographers won the first prize or special mention; 1000 semi-finalists and honorable mentions saw the online publication of their first professional portfolios.  On average, 750 portfolios each year.

Starting from 2010, the Talent Award will launch its Chinese version, open to all Chinese-born photographers (including Taiwan, Hong Kong, and Macao regions) without age limit. Our aim is to discover and show contemporary works that deserve to be seen more in the West. The modality of the competition will be similar to the French Talent Award. There will be four categories: 1) Documentary/Reportage; 2) Portraiture; 3) Fashion/Studio; 4) Landscape/Space/Architecture. The jury will be composed of Chinese AND international high-caliber professionals, and the winners will have large-scale exhibitions both in China and in France.

Lens/Caijing magazine is the Chinese organizer of the Photography Talent Award in China and will co-organize with Photographie.com to run the competition.

The Photography Talent Award is a designated China-France friendship project of the French Embassy in China, and its Chinese exhibition is also one of the key events of the Festival Croisements organized by the French Embassy.

II. Selection Process of the Photography Talent Award in China

The four categories of the 2010 Photography Talent Award in China will be held at two different time periods. Please submit your works following the schedule of the category of your choice.

In each category, 12 candidates will be pre-selected. A jury composed of 5 international professionals in photography (2 Chinese jurors, 3 international jurors) will choose a winner for the First Prize. A Jury’s Prize may be added on the premise of excellent works.

Time Table of the 2010 competitions:

Category Submission Announcement of Pre-selected Candidates Final Selection TIme Final Selection Location
Spring
1. Documentary/Reportage
2. Portraiture May 10 – June 25 Early July July 5 – July 12 Arles, France
Fall
3. Fashion
4. Landscape/Space/
Architecture September 1 – October 15 Late October November 3 – November 11 Paris, France

Notes:
• The submission date for entry sent by mails will be the date postmarked, and by delivery, the date of delivery;
• Pre-selected candidates will be announced simultaneously on the official site of Photography Talent Award, Photographie.com and on www.caijing.com.cn;
• The spring final selection will be conducted on July 5 – July 12, 2010 during Arles Photography Festival in France. A press conference for the Photography Talent Award in China will be held on the first week of the Arles Photography Festival, the winning works will be shown in the conference;
• The fall final selection will be conducted on November 3 – November 11, 2010 during the Photographic Gallery Expo held in Paris.

III. Submission Content Requirements

1. The entry works shall be a completed series under one theme, composed of 10 to 25 photographs. Both digital editions on CD and prints shall be submitted. The larger side of each digital photo shall not exceed 2000 pixels, and shall be named by the pinyin or English name of the author and use Jpeg format (e.g. for author named Zhang, Xiaohua, the format would be zhangxiaohua01.jpg, etc.). Format, size, and presentation are to be determined by the author, provided that the size of each print does not exceed size A3;
2. Entry works may also be a piece of 3 to 10 minutes-long multimedia piece and a set of photographs (at least 5 photos) extracted from the work that represents the work the most;
Note: The Photography Talent Award is open to photographic works in the form of screening or projection, multimedia works (POM – Petites Oeuvres Multimédias) are welcome. Note: Multimedia works (POM) refer to photography-based multimedia creation with a combination of sound, videos and/or other media;
3. An art statement in English and in Chinese, no restriction on the length. If the body of work involves post-processing, this needs to be indicated in the statement.
4. A biography. Please include contact information (mailing address, telephone number and e-mail address);
5. A self-portrait;
6. A photocopy of ID card or passport.

Please burn the above-mentioned digital photos or multimedia works, art statement, self-portrait shot and biography on a CD or DVD.  Print all documents on A4 paper and send them together with prints to the Photography Talent Award Beijing office (express delivery service is recommended). Participants may contact the Photography Talent Award Beijing office for the return of their prints and material. All works will be kept for a length of 3 months following selection activities. 

IV. The winners will enjoy:

1. French photography website www.photographie.com and www.caijing.com.cn will publish the works of pre-selected candidates and winners of the First Prize online.
2. The organizing committee will recommend the works of pre-selected candidates and winners of Grand Prize to Chinese and French media (including magazines, newspapers and websites, etc.) for publication.
3. An exhibition for the works of four winners of the Photography Talent Award will be held in late 2010/early 2011 in Paris, France. The four winners will be invited to France to attend the opening. Airfare and four-day accommodation expenses will be covered by the sponsors;
4.  As a designated China-France friendship project of the French Embassy in China, the exhibition of the winning works of the Photography Talent Award will have its first opening in Beijing during the Festival Croisements in April, 2011. The exhibition will also tour around China, and take part in international photography festivals;
5. The sponsors will design and produce an exhibition catalog of the winning works of the Photography Talent Award.

V. Requirements:

1. Participants must be Chinese-born photographers (including Hong Kong, Macao and Taiwan regions). A photocopy of ID card or passport shall be submitted as a proof;
2. Participants shall assure that they are the copyright owners of the works submitted.
3. For the purposes of promoting and publicizing this project, the main organizers - photographie.com and Lens magazine - have the right to use and publish the winning works. The organizers guarantee that these publications –exhibition catalogues, pamphlets and posters - will only be used for promoting the Photography Talent Award competition and its exhibitions.
4. Participants shall confirm and assure that the works submitted do not involve the ownership of a third party, directly or indirectly. Otherwise, necessary authorizations should be provided;
5. The organizers are not responsible for any loss, theft or damage of works during the selection process;
6. The organizers reserve the right to cancel the competition under force majeure;
7. Participants of this Photography Talent Award competition are deemed to agree the present policy entirely.

VI. Submission Address:

Office of Photography Talent Award in China
Address: 19th Floor, No.22 Fanli Building, Chaoyangmenwai Dajie, Beijing, 100020
Telephone: +86 10 85650592
Email: talentchina@photographie.com

Name of Photographer (Chinese/English): _______________________
Signature: _________________________________________________

《任航 个人摄影展》

豆瓣活动：http://www.douban.com/event/11687541/

策展人：赵赵 　
时间：2010年04月17日 星期六 下午 　
地点：北京 草场地艺术区 红砖院
　　
“首届草场地摄影季“——阿尔勒在北京
中国当代艺术界重要人物的个展
合作画廊举办的展览
“Tora Tora Tora中国当代艺术新锐数码影像展”

《2010[实验]影像档案展——“自然·不自然”图片单元》

豆瓣活动：http://www.douban.com/event/11676945/

艺术总监：栗宪庭 
策 展 人：吴秋龑 张海涛
参展艺术家：任航，张巍，欢岛等 　
论坛项目总监：滕宇宁 　
开幕时间：2010年4月18日（星期日）下午2：30
　　
开幕地点：宋庄美术馆一层、二层
乘地铁八通线，在通州北苑站下，
步行260米至通州北苑路口东，
换成938支9，在北二街站下车即到
欢迎大家组团去玩。　　
展览时间：2010年4月18号—5月25号（周一、周末不休息）

于哲自述：

　　　　《Hot, Hunt, Heat》，又名《爱情，猴，秦皇岛》。表达的是我对“爱情”的理解：不理解。在呈现“爱情”这个名词所超载的虚幻和荒谬的同时，试图给它还原一些原始性。是一则爱情寓言和一幅自我画像。想自嘲，又想为自己辩解。 

    Hot, Hunt, Heat is the latest film from writer/director Nigel Yu. In Chinese, it is called Love, Mokey, First Emperor Island - a reference to its shooting location. The film is Mr. Yu's attempt to work through his own understanding of love and loss; it is a self-portrayal. "All I want to show is my understanding of love; that is: I don't understand it." What is love? As a noun, a thing, it is abstract; to have love means carrying transcendence and absurdity. It means holding onto something that we can't understand. It has become cliche to say that "All we need is love" but what is that? Let us move away from thinking of love as an object and restore its primal energy.
　　"I want to laugh at myself, yet, I try to justify who I am"

在荒凉的墙壁上，在垂直的

荒凉的白色上，

残留着一滴眼泪划过的痕迹

或者如此微小如此模糊的

其他任何东西。

手不能飞行；

甚至无法把石头

变成旭日；手紧攥的是

一无所有。

手在大地上写到：

只留下白色

没有其它的葬身之地，

                                      ----安德拉德

    　 将于2010年3月11日在外滩18号画廊开幕的“白色上的白色--马良个展”，展示的是马良于09年创作的一系列影像及装置作品。

    　“白色上的白色”的标题来自于葡萄牙诗人埃乌热尼奥•德•安德拉德的长诗，探讨的是，家国、童年、爱情、生活、身体、死亡等具有普世性的命题。马良这次的同名作品，同样是用自己的语言方式描述了一些有关的感受，作为他对诗人的一次致敬。

    　作品的构想成立于09年初，在长达一年的筹备工作期间，作者在中国的各地城市搜罗了大量的上个世纪50年代至80年代的私人肖像照片作为创作素材。这些数以千计的中国人的脸孔，将同时集中呈现在这个命名为“白色上的白色”的展览里，除了信息量本身所具有的震撼力，这些照片里的陌生人的讳深莫测的笑容，也如同一个个独立的密码系统，隐藏着他们各自生存的体验，让人无法不去猜测这些生命之后所经历的种种幸福或者痛苦；以及他们是谁？他们是否依然存在等越来越多的疑问；这些几乎无法寻到答案的问题，本身也是作者的设问；意图引领观者进入一个生命的迷宫，在迷失里最终体验到自己的存在。

   　 这次展览最终呈现的作品包括两件照片装置作品，以及一部录像短片和一件小型手绘创作。
    　值得一提的是，其中一件最大的装置作品，在为期一个月的展览期间内将不停的变化和推进，马良将携其团队在展厅中驻场创作，使这个作品本身如同一个有限时的生命体，不停的茂盛成长，开到荼糜直至颓败和消失。如同这个作品所寓意的：人类生命存在本身所具有的荒谬以及不可磨灭的意义。

　　举起镜头按下快门，这样一个简单的动作，早已不再仅仅充当着观看和记录的角色。它承载的内容越来越宽泛越来越有创作性，尤其是当下新生代独立摄影师们。相机也不再是单纯的工具溶入他们的日常生活和工作，而是做为媒介经由“拍摄”这个动作潜入和伸延他们的内心，并由此通向影像表现的世界，有时甚至会取代他们的思考方式。镜头在他们的身体和意识内部发生裂变，原本是一个探索过程，却只能交付“拍摄”这样一个瞬间动作，来实现他们捕捉外相的创作。这使得他们的拍摄，投身而入的成分被扩大，具备更多的激情和跳跃性，无论呈现出来的影像世界是冷静还是扭曲，是美妙还是诡异，五彩斑斓或光陆流离，都无一例外将自己全然不顾以某种气质和角度一起交付给了拍摄，即使大多数时候他们隐匿在摄影作品里，却仍然无法排除四处弥漫他们张扬的个性及气味。
     他们是独特的摄影群体，也是独立的每一位个体。
　　无论摄影风格涉及到私影、观念乃至人文，姿态各自斐然迥异，新生或逐渐演变为中坚力量都不是核心。这里想要形成一个自由通道，不作更多解读与阐释，只作为媒体平台呈现当下优秀的中国独立摄影师们的创作状态。有如浮世绘，让摄影作品解下面具带来真相。这些真相，极有可能随时触动我们的知觉改变我们的眼界吞噬我们的生活。
    无论直视与逃避，它们都正在发生。

第一辑：Private （1）
　　摄影和生活相互融合、占据、旁观、入侵、对抗、平衡等等关系，正在被一些摄影师们表现到淋漓尽致的程度。他们的表达手法，有些是自然的有些是生硬的有些是诡异的有些是裂变的，冲突不断，但在某种意义上都重新定义和超越了生活。他们使拍摄这个艺术动作为生活带来愈多幻像，不再是手段而更像贴身情人，用以参与捕捉与创作。在柔软和剧烈、群体和私自之间使影像兀自存在，并即时还原或颠覆生活本身。
　　如此种种，又很自私，叫你不知不觉身处其中，无力自拔。

ps：本期摄影师：223、雷本本、青头一、任航、梅子嘉、平深。

（其中青头一、任航入选杂志本年度新锐摄影师）

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