《看得见风景的房间——当代语境下的中国风景摄影》学术刊物于2023年5月由浙江摄影出版社正式出版（该书为观看当代艺术中心出品的学术出版物系列《观看十年》之五，该系列出版物在第十届大理国际影会上被评为金翅鸟最佳出版物大奖），第五届兰州国际影像双年展同名主题展也于2023年7月8日在兰州市雁儿湾当代美术馆举办，本平台将陆续推出所有艺术家的参展作品。
整个主题展分为四个单元。第一单元：山水的流转——东方图式的记忆与重构；第二单元：现场即风景——来自实在的虚构；第三单元：观念与文献；第四单元：媒介性 ——材料与技术的探索。
时间·镜像·记忆
秦伟
公元四世纪，神学家奥古斯丁在《忏悔录》中写道：“如果没有事物的逝去，则不会有过去的时间；如果没有东西到来，则不会有将来的时间；如果没有事物的存在，则不会有现在的时间…… ，但若现在只是现在，它则不会逝去而成为过去：如此则不会有时间而只有永恒。”拐个弯来理解 ，假若没有过去，亦没有未来，就只有静止中的静止，一切犹如在一张照片中，很吊诡吧？
《时间·镜像·记忆》的五幅组图正是探索奥古斯丁关于时间的论述。当我在拍摄第一幅图像时，第二幅图像的时间仍未出现，而当我拍摄第二幅图像的时候，第一幅图像所记录下的时间已是过去，但第三幅图像的时间尚未发生……
时间关乎“存在”，也是哲学中尤为重要的命题。一如罗兰·巴特在《明室》中所论述——照片在剔除层层的情感因素后，余下的注脚便是“此曾在”。然则，时间的本质又是什么？可以分解吗？现实中我们简单地以过去、现在与未来线性地描述时间的轨迹，在哲学中还可以成立吗？
在我眼前的景物，数千年前是一片尚未被人类占据的沼泽地。这个地方是由一个多样化的生物社区精心制作的——清晨的雾、阳光、风、雨与这土壤连结在一起，组成一个多物种和元素的构成。植物、昆虫、微生物、青蛙，当然还有鸟类在其中共生。
回到现实，这片与深圳市一河之隔之地，在时间的长河中亦曾被涂上不同的名称；她自秦朝开始被纳入南海郡，在不同的朝代，其地名及行政管理均有更动。时间回到20世纪末，这个被前英国殖民政府定名为“新界”的地方，这种带有殖民色彩的名称至今仍覆盖着这片土地。也许土地与历史的关系往往就是这么吊诡，就仿佛这组图片的内在含意，时间、历史正在飞速更迭。
2018年的某个黄昏，人仍在路上，远处暮色渐浓，台风正在降临， 时间、气象及我的旅程正相互交错。雨点开始打在急速的列车上，在迁流变幻当中，时间的段落被切割、排列、并合，天地仿佛倏生倏灭。
TIME ·MIRROR·MEMORY
In the fourth century A.D., the theologian Augustine wrote in the Confessions, "if nothing passed away, there would be no past time; and if nothing were still coming, there would be no future time; and if there were nothing at all, there would be no present time…, but if the present were always present, and it did not pass into past time, it obviously would not be time but eternity." From a different perspective, if there is no past, future, and only stillness within stillness, it would be very paradoxical as if everything all appeared in a single photograph.
My work TIME ·MIRROR·MEMORY is comprised of five images and it attempts to explore Augustine's discourse on "time". When I took the first image, the time of the second image had not yet arrived, and when I took the second image, the time recorded in the first image was already in past tense, but the time of the third image had not yet taken place....
Time is about "being" and is a significant proposition in philosophy. As Roland Barthes argues in his book Camera Lucida, 'after removing the layers of emotion from the photograph, the remaining footnote is "That-has-been."' But what is the essence of time? Can it be decomposed? In reality, we simply describe the trajectory of time linearly in terms of past, present, and future. Can this still hold up in philosophy?
Thousands of years ago, the scene before me was a swamp that humans had not yet occupied. This place was crafted by a diverse community of creatures - early morning fog, sunlight, wind, and rain linked to this soil to form a multi-species and elemental composition. Plants, insects, micro-organisms, frogs, and of course, birds live in symbiosis.
Back to reality, this area, separated from Shenzhen by a river, has been given different names over time; it has been included in Nanhai County since the Qin Dynasty. Its name and administration have been changed in various dynasties. Back in the late 20th century, the place was named "New Territories" by the former British colonial government; this colonial name still covers the land today. Perhaps the relationship between land and history is often so paradoxical, as if time and history are changing rapidly, as this set of images implies.
At one dusk in 2018, I was still on the road; the twilight was deepening in the distance, a typhoon was coming, and time, weather, and my journey were intertwined. The raindrops began to hit the speeding train, and in the midst of the changes, the paragraphs of time were cut, arranged, and merged as if the world was born and died in an instant.
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| 关于艺术家 |
秦伟
Chun Wai
秦伟，生于香港。独立策展人、艺术家，任教于香港大学专业进修学院。早年就读于法国Mulhouse高级艺术学院，获艺术硕士学位。
秦伟是阿根廷国际摄影节国际顾问、广东美术馆摄影三年展学术委员、北京中央美术学院美术馆北京双年展策展人，香港国际摄影节策展人、 以色列Shpilman 国际摄影奖推荐委员, 并担任多个国际摄影节的专家团成员，包括新加坡国际摄影节、阿根廷国际摄影节、台北国际当代艺术博览会、丽水摄影节、大理国际摄影节及连州国际摄影节。
Chun Wai is an independent curator, artist and art educator based in Hong Kong, his motherland. He earned the Diplôme national supérieur d'expression plastique (DNSEP) from the Ecole Supérieur Des Beaux-Arts Mulhouse of France.
He is the International Advisor of the Festival De La Luz of Argentina, the academic team member of the Guangzhou Image Triennial, the curator of the Beijing Photo Biennial of the Museum of Central Academy of Fine Arts, the nominator of Shpilman International Prize (Israel) since 2016, and the curator of Hong Kong International Photo Festival. He had served as a portfolio reviewer in many International Photo Festival including the Singapore International Photo Festival, Festival De La Luz of Argentina, Young Art Taipei, Li Shui Photo Festival, Lian Zhou International Photo Festival and the Dali International Photo Festival.
| 展览现场 |
| 作品收录 |
秦伟系列作品收录于由浙江摄影出版社所出版的《看得见风景的房间——当代语境下的中国风景摄影》，本书共收录了39位中国艺术家的当代语境下的中国风景摄影与多媒体作品。
