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2018年12月4日下午，由泰达当代艺术博物馆主办，天津天盛文化艺术研究院承办，天津新媒体写作研究会、滨海新区文化消费企业联盟联合协办的“元影像-国际影像展”于泰达当代艺术博物馆开幕。展览将持续到2019年2月21日。
关于元影像 语言规定了意识的程序，逻辑又规定了语言的程序，于是人具有了思考的能力。意向性，就是意识寻找并获取对象意义的倾向，这是意识的主要功能，也是意识的存在方式。观看就是一种最基本的获义活动。盖瑞·维诺格兰德说：拍照是为了看看事物在照片中看起来会是什么样子。是故，元影像理论不研究影像所复制的世界图像，而是反观人类如何识别世界，因为人类所能看到的世界，只是世界所呈现的可为人类视觉识别的符号。元影像理论是有关人类观看方式的编码“程序”研究，是对突破“程序”之各种可能性的元理论探索。 --- 藏策 ▼开幕式现场：嘉宾、媒体和到场观众在展厅观展，与艺术家现场交流。
贝特朗·加丹纳在开幕式上的致辞 这个展览名为“元影像国际影像展”，由藏策先生策展，展示了当代中国和欧洲摄影的艺术和精神指导。这些摄影师的概念反映都是他们每个人所特有的。 他们的摄影作品的主题显然是主观的，并被大量的问题所强化。我们发现了摄影师私人的宇宙、隐喻和讽喻的观点，这证实了当代摄影有丰富的文化、社会学、政治、艺术、诗歌和哲学内容。一些艺术家质疑摄影行为的最好媒介、性质, 询问与摄影产生共鸣的主观现象学。这是对摄影创作过程的关注，通过行为艺术来恢复它。另一些人则会质疑城市景观的社会学、政治、文化和建筑方面。它揭示了这个城市化世界的当代形象，它提供了一个虚构的景观，与景观描绘的模型有关。我们人性的一部分也是通过展示似乎早该出现的、处于危急医疗状况的戏剧化肖像来表现的。这也适用于其他艺术家，他们对景观的隐喻研究，以及与自然或工业空间的关系。因此，我们在这个展览中展示了这个艺术调色板。在这个展览中提出反思和问题。谢谢你的关注。我要感谢刘建国先生、藏策先生、高岩先生和天津泰达艺术博物馆技术团队。 Speech by Bertrand Gadenne
部分展品： part of the exhibition  红岩山庄 Hongyan Villa 高岩 Gao Yan面对全球化的节奏与消费主义文化浪潮的扑面而来，当地人群的生活方式是否受到影响？ 现代文明的侵入给自然生态带来了怎样的改变？他们的传统文明与当代生活、信仰与娱乐、消费与劳作，这一切都在无尽的变化与喧嚣中沉寂。 Confronted with the rhythm of globalization and the cultural wave of consumerism, has the local people’s way of life been affected? What kind of changes has been brought by the invasion of modern civiliza- tion to the natural ecology? Their traditional culture and modern life, believes and entertainments, consuming and laboring, all of these trail off into silence among never-ending changing and bustling. 浮玉No.1 Floating jade No.1 邵文欢 Shao Wenhuan 这种虚拟的合成影像在根源上和“写生”是相反的，但是摄影本身具有写生一般的再现性，更进一步突出了这种反逻辑式的矛盾。这个系列的作品不可能在现实中存在，但是又和现实、和传统有着天然的联系。这种亲近的感觉被眼前的一泓秋水隔开，山石变成了一座孤岛，似乎暗示着当下我们和传统文化既亲近又疏离的尴尬境遇。这个孤岛是艺术家的精神乐园，也可能是他很难抵达的理想世界。既远又近的传统和现在，抒情又残酷，且充满了温柔的距离感。如梦似境，一切仿佛从未发生。 This kind of virtual synthetic image is opposite to 'sketching' in origin, but photography itself has the general reproducibility of sketching, which further highlights the contradiction of this illogical. This series of works cannot exist in reality, but they have a natural connection with reality and tradition. This feeling of closeness is separated by the autumn water in front of us, and the mountains and rocks become an island, all those seem to imply that now we are in an embarrassing situation that we are both close and untoward to traditional culture. This island is the artist's spiritual paradise, but also may be the ideal world he can hardly reach. Both the tradition and the present are far and near, which is brutal and full of gentle distance. Like a dream, everything seems to have never happened. 无名者 THE ANONYMOUS 敖国兴 Ao Guoxing我所试图建构的图景，并非历史或现实的呈现，而是抽离环境的在场性。这不再是现实支撑的表象，而是去背景化的叠置状态的表象。 失去方向的时间蔓延流淌，那些在绝望中赤裸的无意识个体挟持着微不足道的光慢慢凝固。无名者会告知我们，现实的怪诞，有时会超乎我们的想象。 The pictures that I have captured is not a presentation of history or reality but a presence detached from the circumstances. It is no longer a realistic representation but a decontextualized and overlapping one.Time flows here and there with no direction. Those naked and unconscious individuals holding dim light in despair is freezing. The anonymous will tell us a grotesque reality, sometimes even beyond our imagination. 沿墙而行 BEHIND THE WALL 木格 Muge我所感兴趣的那些行走之间看到的日常，是一个又一个新鲜且陈旧的城镇与乡村，而我记录的影像，是一种纯粹且含蓄的“肖像”, 与这片充满历史和记忆的土地上的裂缝与矛盾共存。中国的乡村与城市经常像两个不同的世界，但这两个世界其实彼此联系，流动性很强。对于很多当代人而言，融入这片土地的过程中却发现始终有一段距离，它就像一道无形的墙，但同时也是一面镜子，让赶路的人看清脚下的路。 The intriguing daily lives I’ve experienced as a traveler come from towns and villages that are both fresh and old. The images I recorded are tantamount to portraits, which are pure and implicit to be compatible with the crevices and contradictions in the lands full of histories and memories.ForChina, villages and cities seem to be two different worlds that are interconnected and mutually interactive. However, people today may find it difficult to live comfortably in these lands, which function as invisible walls and a mirror to enable people clearly see the roads they are walking on. 镜子MIRROR 朱锋 Zhu Feng《镜子》系列作品是关于光本身的照片。 是用扫描仪直接扫描镜子实物，通过变换镜子和扫描仪的角度，获得不同的反光，得到不同色彩的影像。 但究其本质，镜子里空无一物 。 The series of work is a study of light. Various colors come from reflections of the mirror through slightly different angles between the mirror and the scanner. However, mirror can also be a metaphor, which has always been referred as pure heart, Buddhist heart for example in Chinese Chan School of Buddhism, the Sixth Patriarchs of the Chan school Buddhism said, 'By nature there is no Bodhi-tree; Nor case of bright mirror; Since intrinsically it is void; Where can the dust fall on?'Although there are beautiful colors in the mirror, intrinsically it is nothing. 观察一下吹气泡的人的吹制能力和倾听一下气泡如何吹起，是重要的。我们同样可以看到，他为了完成这一奇迹，肚皮在收缩和鼓起的状况。 在这个圆圆的和柔软的带有形象的气泡里，可以在其泡膜上反射有世上各种形象，这种形象使气泡变成了一种被控制的时间性。时间的流逝是重复性的，而不可避免的死亡则是不停地转移的。其存在的脆弱性和时间流动的不可探究性，在这里是被拒绝的/被反说的/被否定的。 观看者是在面对有关“虚空”的一种象征性命题，这种虚空是对于死亡、时间的过往、激情的虚空和人类活动的一种寓意再现。虚空的主题代表着一类绘画，它1620年出现在荷兰，后来扩展至全欧洲。 It's important to see how the bubbles can be blown and to listen to how bubbles are blown. We can also see his belly contracting and bulging in order to perform this miracle. In this round and soft bubble with image, various images of the world can be reflected on the bubble membrane, which makes the bubble become a controlled timeliness. The passage of time is repetitive, and the inevitable death is constant. The fragility of its existence and the inscrutability of time flow are denied here. The viewer is confronted with a symbolic proposition about 'void', which is a symbolic representation of death, the past of time, the void of passion and human activities. The theme of void represents a kind of painting, which appeared in Holland in 1620 and later extended to all of Europe. 司马源《诗.相》本次展览中，您将看到我创作的八首诗。在墙上，是我所书写的它们（上排的布面马克笔绘画）和我所朗诵的它们（下排的频谱分析图像）。布面马克笔绘画部分：将一首诗中出现的所有汉字，按顺序交叠书写在画布上。每幅画都呈现出一首不同的诗，因此您可以在瞬间看到一首诗中的所有文字内容，但又仿佛什么也看不见。诗歌文本中的线性时间结构，在转化为绘画的过程中被压缩和改变，而绘画和书写的边界也由此被抹去。频谱分析图像部分：朗诵这八首诗并录下它们，将每一首诗的声音转化为频谱分析图像。每一张图中，都保存着一首诗的完整内容，以及我在朗诵那首诗时的情感、呼吸等隐秘的生命信息。您面对我的声音，却仿佛什么也听不到。文字中赖以生存的符号学意义，在这里彻底成为了“无用”的。 SIMA YUAN “ Poetic , Formless ” In this exhibition, you will see eight of my poems. On the wall are the written works (canvas marker paintingsin the row above) and the recited works (audio analysis images in the row below). Canvas marker painting: All the Chinese characters contained in a poem were written on the canvas and overlap each other. Each painting presents a different poem so you can see all the text in the poem at the same moment, while they may make no sense to you. The linear temporal structure in poetry text is compressed and changed in the process of transforming into paintings and the boundaries between painting and writing are thus erased.Audio analysis images: The eight poems were first recited and recorded before the sound of them was converted to audio analysis images. In each image, the complete content of a poem was preserved as well as the hidden life information such as emotion and breath when I recited the poem. They are right in front of you, while you seem hear nothing. The semiotic meaning that literature depends on becomes completely 'useless' here. 它创造了一种具有新视角的视觉语言，以简单的方式表达了物理体验和公共场所意识。这对参与者和访客来说都是一次有意义的体验。我们习惯用基于单一景象和眼睛系统的透视方式来表示世界（欧几里得与波斯透视、电影、摄影），但进入二十一世纪，社会以协作和全球项目为主导，艺术家必须思考如何重新调整我们的方式，以给出符合全球化实际的形式。FORTUNES 尝试将时间与基于人类经历和空间心理表征的新表现联系起来。 It creates, a visual language with a new perspective, expressing in a simple way, physical experiences and consciousness of commun places. This is a meaningfull experience for the participants as well for the visitors. We are used to represent the world with perspective systems which are based on single sights and eyes systems (euclidian & persian perspectives, cinema, photography...) but as our contemporary societies are entering the XXIst century on collaborative, and global projects, artists have to think how to re adapt our systems to give forms which fit to our actual globalized world. FORTUNES is an attempt to link our time to a new representation based on human experiences and mental representation of spaces. 格林威治时间 GMT GREENWICH MEAN TIME 藏策 Zang Ce格林威治时间的正午时，相当于北京时间晚8时，我以正午时的标准曝光设置，即F-16光圈、1/125秒、感光度100的曝光组合，在相当于格林威治正午时的晚8时，用富士6×9相机和100度黑白胶片拍摄中国的风景，以此反诘人类对时间的规定、视觉意义上的可见与不可见，以及摄影程序对观看的编码。 At noon GMT, the equivalent of 8 p.m. Beijing time. I used the standard exposure Settings at noon, namely the f-16 aperture ,1/125sec exposure ,and the sensitivity of 100, to capture the Chinese landscape with a Fuji 6×9 camera and 100 degree black-and-white film at 8pm,the same time as Greenwich noon. In this way, we can ask humans about the time, the visual and invisible, and the coding of viewing by photographic programs. ▼天津摄影家协会李锦河主席、包静秘书长、摄影家于全兴、雷平、焦永普等，以及作家杨显惠、艺术家孙建平、宋永平，学者刘宗武、商昌宝，天津美院摄影系主任王帅、设计系主任李维立、「中国摄影报」记者李倩、参展艺术家贝特朗.加丹纳、高岩、司马源等嘉宾出席了开幕式。 ▼后续活动：2018年12月14日，将于泰达当代艺术博物馆举行关于影像对话会活动，届时将邀请法国和中国影像界学者进行现场的讲座和对谈，请持续关注，欢迎您的到来。 展览时间：2018.12.4-2019.2.21 展览开放时间：上午10:00-下午16:00 展馆地址：天津滨海新区黄海路39号（黄海路和泰达大街交口西南角）
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