“微芒成阳-亚太地区高校摄影邀请展”（第14期）
济南国际摄影双年展第三届高校邀请展
“微芒成阳”亚太地区高校摄影邀请展
—北京印刷学院
联合策展人：史民峰
北京印刷学院
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”。拥有专业师资队伍和影棚、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，拥有美术学一级学科(影像艺术方向)和艺术设计(媒体影像方向)硕士招生点，以及多名硕士生导师，为学生进一步深造提供了广阔的舞台。
The photography education of Beijing Institute of printing began in 2004. With the resources of printing and publishing and cultural creative industry, Beijing printing University started high-quality photo photography education, and accumulated abundant image education resources. In the media age, this major emphasizes the interdisciplinary intersection of image, new media and design, and features "image creation and commercial application combined with new media application". It has professional teachers and studios, image editing, special effects production and other professional laboratories led by famous domestic photographers. It also has a large number of professional photography and film and television shooting related equipment. Students' works have won important awards in photography competitions for many times, and have been invited to participate in large-scale exhibitions and professional exhibitions for many times. Their works have been collected by many domestic and foreign institutions, and have a wide influence in the field of photography education in Colleges and universities. This major has international cooperation with many universities in Europe and America. It has a master's enrollment point of first-class discipline of Fine Arts (image art direction) and art design (media image direction), as well as a number of master's tutors, providing a broad stage for students to further study.
史民峰 Shi Minfeng
教授、硕士研究生导师，北京印刷学院美术馆馆长，北京印刷学院设计艺术学院党委书记，影像艺术家。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监事、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。主持国家艺术基金《摄影手工制作工艺青年传承人培养计划》、国家社科基金艺术学项目和国家社科基金后期资助项目等研究课题，多次举办个人艺术展，作品被国内专业机构和个人收藏。
曾主持获得北京市教育教学成果奖一等奖，国家社科基金艺术学项目通讯评审、会议评审专家，国家社科基金后期资助项目（艺术学）通讯评审专家，第27届全国摄影艺术展览评委。
《Sunny Day》
《泉》
徐伟韬 Xu Weitao
作品拍摄于福建闽江两岸，闽江作为贯穿福建的母亲河，无论是古人的生息，还是近代的开埠，再到现代化的发展，闽江都扮演着重要的角色，生活于闽江两岸的人民，目睹着闽江流域地区的发展。在时代的洪流下，我们就像成捆的枝条，无论江流的缓急，都不会轻易被冲走，坚韧又热烈的生活在这片土地，努力观察并追随它的节奏与改变。
这一母亲河，是否也有叹息？
The works are filmed on both sides of the Fujian Minjiang River, the Minjiang River as the mother river running through Fujian, whether it is the life of the ancients, or the opening of the port in modern times, and then to the development of modernization, the Minjiang River plays an important role, living on both sides of the Minjiang River, witnessing the development of the Minjiang River Basin area. Under the torrent of the times, we are like bundles of branches, no matter how slow the river is, it will not be easily washed away, tenacious and enthusiastic life in this land, trying to observe and follow its rhythm and change.
Does this mother river also have sighs?
卜祥壮 Bu Xiangzhuang
The capital, which has been given the strategic positioning of a cultural center and an international exchange center, the daily life of the people of the city is a structural embodiment of its unique advantages and core values. At a time when new media networks are changing with each passing day, photographs, while teaching us new visual guidelines, have also changed and expanded, our perceptions of what is worth seeing and what we have the right to see.
The work "Urban Facers" is based on the city of Beijing as the object of creative research, using a documentary approach to describe our daily life, ordinary and simple, through the photo we need to reflect on "how do we understand the city inside the city?" "What does the city mean to us?".
山东工艺美术学院摄影专业秉承“天工开物，匠心独运”的校训精神，落实“创新与实践教学体系建设”，积极构建“培养创新型、应用型摄影人才”，加快课程改革，树立课程建设新理念。制定具有前瞻性的课程体系。强化现代信息技术与教育教学的深度融合。
摄影专业成功参与举办了济南国际摄影双年展、齐鲁国际摄影周、世界大学生摄影艺术展；多次参加平遥国际摄影大赛、连州国际摄影大赛、丽水摄影节、全国高校摄影艺术展、山东省高校摄影大赛等专业赛事。
经过20多年的发展，摄影专业形成了创新与实践并重的教学体系，注重开发学生的创意思维，提高实际操作能力；与国内外多所高校摄影专业建立合作关系，交流形式多样，通过展览、合作课程项目等形式加深校际合作，为学生提供交流机会，丰富创作语境。
Shandong University of Art & Design
The photography major of Shandong Institute of Arts and Crafts adheres to the spirit of the school motto of "nature creates things and ingenuity", implements "innovation and practice teaching system construction", actively constructs "training innovative and application-oriented photography talents", speeds up curriculum reform, and establishes a new concept of curriculum construction. Develop a forward-looking curriculum system. Strengthen the deep integration of modern information technology and education and teaching.
The photography major successfully participated in the Jinan International Photography Biennale, Qilu International Photography Week, and the World University Photography Art Exhibition; He has participated in Pingyao International Photography Competition, Lianzhou International Photography Competition, Lishui Photography Festival, National University Photography Art Exhibition, Shandong University Photography Competition and other professional events for many times.
丛海亮，副教授，研究生导师。摄影专业负责人。曾获得山东工艺美术学院年度重大工作先进个人， 摄影作品多次在摄影大赛或展览中获一等奖 ，多次获得优秀指导教师奖、获批课题立项、担当摄影比赛大赛评委，也多次组织或参于山东省摄影国际双年展等展览，并参与多个摄影研讨会和学术论坛。
《拢》
骚动的灵魂游荡在未知之境，灵光处处，来自不同信源的波段交织迂回，生命的角色被重新排列，就这样凝固在这些瞬间里。
王培蓓 Wang Peibei
山东工艺美术学院副教授，硕士研究生导师。中国美术家协会会员。毕业于澳大利亚昆士兰美术学院，中央美术学院访问学者；美国纽约洲访问学者。国家艺术基金青年创作人才资助项目获得者。研究方向为当代摄影创作及其媒介拓展。作品参与国内多个摄影节展览。参与美国纽约州摄影展“the state photography”；波特兰摄影展；法国摄影展“women bear it all”；英国，澳大利亚等群展，多次参与并策划济南国际摄影双年展海外单元。
《月光》
《Moonlight》
Moonlight is the creation of living in a foreign land. Change the angle and method to record what you see everyday. The most original self-made pinhole imaging method integrates the sunny winter scenery of more than - 20 degrees after snow into the picture. The manually washed shadow of the tree records the calm mood and a little missing of a stranger in a foreign land.
汪鲁华 Wang Luhua
不得不承认，图像饱和化时代，屏幕作为其载体也正逐步与我们的生活交融且不可分割。在线上虚拟服务成倍增加的当下，一定程度上加剧了人与人，人和社会的真实距离。面对每天抬眼可见的屏幕社会，是我创作本作品的初衷，这些巨大的光屏，像无形的光罩，对我进行着身体和心理的不断侵蚀。
当人们对世界的认知全部来自于屏幕，我们就会失去对真实世界的探索，而无条件地相信屏幕为我们创造的幻觉，这无疑是一种精神伤害。我希望借此作品使公众意识到我们感知现实世界的能力正在逐渐下降；我们的注意力、我们的身体、我们的精神、我们的能量正在被侵蚀。我想，从这一点上来说，我们必须要提高警惕。
We have to admit that in the era of image saturation, the screen, as its carrier, is gradually blending with our life and is inseparable. The real distance between people and between people, people and society, has been exacerbated to some extent by the multiplication of online virtual services. It is my original intention to create this work to face the screen society that is visible every day. These huge light screens, like invisible masks, are constantly eroding my body and mind.
When people's cognition of the world comes from the screen, we will lose our exploration of the real world and unconditionally believe in the illusion created by the screen for us, which is undoubtedly a spiritual injury. I hope to use this work to make the public aware that our ability to perceive the real world is gradually declining; Our attention, our body, our spirit and our energy are being eroded. I think, from this point of view, we must be vigilant.
不知从何时起，我们开始意识到自己或身边人焦虑的频率越来越高。“容貌焦虑”“身材焦虑”“价值焦虑”等等名词频繁出现，以女性问题为代表，焦虑的来源大多来自于自身对“容貌”“身材”等类的不自信所导致的，常常被各种“美的浪潮”所影响，想要把自己塞进同一个美的模板里，作为女性，面对外界形形色色的审美声音，我们该如何从“被审视”中抽离呢？
《Focusing》
I don't know when we began to realize that the frequency of anxiety of ourselves or people around us is getting higher and higher. The terms "appearance anxiety", "body anxiety", "value anxiety" and so on frequently appear, represented by women's problems. Most of the sources of anxiety come from their own lack of confidence in "appearance", "body" and other categories. They are often affected by various "beauty waves", and want to put themselves into the same beauty template. As women, they face various aesthetic voices from the outside world, How should we withdraw from "being examined"?
动物园中的“人为环境”是人们通过自身的理解，尽力地还原大自然中的环境来满足动物的生活需要，但这或许并没有达到动物的预期，成为了捆绑它们的“枷锁”。人们当初设立动物园是为了保护动物，这是人们的初衷，但是在这种“人为环境下”，动物表现出来的孤单、无聊甚至绝望，似乎与人们的初衷背道而驰。
The "artificial environment" in the zoo is that people try to restore the natural environment to meet the needs of animals' lives through their own understanding, but this may not meet the expectations of animals and become a "shackle" to bind them. People originally set up zoos to protect animals, which is people's original intention. But in this "man-made environment", animals show loneliness, boredom and even despair, which seems to run counter to people's original intention.
As a bystander, I try to deconstruct animal emotions and trigger a further understanding of freedom by choosing different shooting angles to capture animal emotions in specific environments on the premise of being objective and calm.
美国参展院校：旧金山艺术大学
韩国参展院校：中央大学、弘益大学、中部大学、大邱艺术大学、韩国放送艺术教育学院
土耳其参展院校：萨班哲大学、科克大学
新加坡参展院校：拉萨尔艺术学院、南洋理工大学
中国参展院校：北京印刷学院、湖北美术学院、黄河科技学院、鲁迅美术学院、南京艺术学院、清华大学美术学院、山东工艺美术学院、上海工程技术大学、上海美术学院、上海师范大学、上海视觉艺术学院、四川美术学院、天津美术学院、西安理工大学、西安美术学院、西安欧亚学院、浙江传媒学院、中国美术学院、中央美术学院
主办单位：中国济南国际摄影双年展组委会
指导单位：中国摄影家协会教育委员会、中国高等教育学会摄影专业委员会
承办单位：西安理工大学艺术与设计学院 、山东工艺美术学院
媒体支持：《中国摄影家》杂志
艺术总监：曾毅
总策展：张辉、黄荣华(土耳其)、柳银珪(韩国)
联合策展人
Agatha Bunanta(印度尼西亚)、Ampannee Satoh(泰国)、Ang Song Nian(新加坡)、敖国兴、白晓丹、戴菲、邓岩、董钧、Eiffel Chong(马来西亚)、Erzan Adam(新加坡)、胡晓阳、吉川直哉(日本)、贾方、矫健、Lachlan Gardiner(澳大利亚)、Laleper Aytek(土耳其)、李小舟、林简娇、刘阳、Nadia Oh Sueh Peng(新加坡)、Oh Soon-Hwa(韩国)、Salleh Japar(新加坡)、沈洁、史民峰、Tan Tay Guan(马来西亚)、Ugrid Jomyin(泰国)、王培蓓、王帅、杨赫、姚璐、张朴、张省会、中里和人(日本)
艺术委员会
鲍昆、百濑俊哉(日本)、曹珽、顾铮、方肃、胡钢锋、李树峰、林路、计卫舸、宿志刚、王保国、王川、王传东、武小川、谢爱军、徐国武、阳丽君、张成义、张希红、钟建明
执行委员会
执行策展人：张一天、高帆
展场设计：吕梦星
微信推广：胡敏瑞、吕梦星、赵懿平
视频拍摄：王天俊、王登轩
英文翻译：张心睿、常永鑫
展览时间：2022年10月25日-11月20日
展览地点：山东工艺美术学院美术馆
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