风景，无法概括在单一的诠释之下。随主题的不同，可以理解为山水、土地、乡村、城市等；随时间的不同，可以分为早晨、午后、黄昏等；甚至，也包含了人。从摄影术诞生伊始，就和风景结下不解之缘，无论是对家园的歌颂，对城市万象的记录、还是探险者的“天堂”描绘。风景，让我们置身其中成为一份子，是我们生存的方式和状态。
通过“重返风景”，不是为了产生一个新的定义，是为了定位此刻我们所在的位置，定位我们的身份特征，以及回应我们生活的自然环境和社会环境。
此次摄影展为”走进美国影像计划“的第二展，作品以征集、评选、展览、宣传、售卖为一体，与美国艺术机构 DIBARTI深度合作展出的摄影活动。“走进美国影像计划”是我们海外展览的重要组成部分，2017年我写了这样一行:影像收藏市场的天价作品往往是运营者的王牌，也是一种惯用的营销手段，美其名曰摄影师作品由市场决定，其实不然，主要掌控在运营商手里，包括国内一些藏家对摄影收藏知识的匮乏，使得“指鹿为马”、“捆绑式销售”的现象屡见不鲜，就长期投资收藏而言，藏家们分道扬镳，心灰意冷，对此也没了什么兴趣。对于摄影人而言我们一直主张“引进来”，但并没有“走出去”。国人摄影师在这些展览中只做了陪衬，并且也误导了国人摄影师对自己作品的盲目定价，这是片面的，也是偏激的，我们“引进来”的作品不代表国际影像市场的整体水平，因此值得深思。“走出去”系列与美国艺术机构的深度合作，现已打破了绝大多数国际画廊不与外界合作的界限，我们试图去改变一些可能来促使中国摄影走向国际。
高文建 2024.07.21
Scenery, in its essence, defies singular interpretation. It unfolds as landscapes, rural vistas, urban tapestries, and myriad other forms. Its allure shifts with the cadence of time – the gentle glow of dawn, the vivacity of noon, the quietude of dusk – each offering a canvas for our senses. Yet, beyond mere geography, scenery breathes with life; it is a tapestry woven with the threads of humanity itself.
Since the advent of photography, scenery and its capture have danced in unison, celebrating homelands, chronicling urban mosaics, and chronicling the visions of adventurers in their paradisiacal discoveries. In its entirety, scenery beckons us to immerse ourselves, offering a mirror to our existence and a reflection of our interconnectedness with the world we inhabit.
Through "Returning to Scenery," we embark not on a quest for new definitions, but on a journey to embrace our place within it. It is an exploration of our unique perspectives, an ode to our natural and societal landscapes, and an invitation to engage deeply with our surroundings.
This exhibition represents the second edition of the "Enter the America Photography Program," a collaborative initiative with the American art organization DIBARTI. The program covers the submission, selection, exhibition, promotion, and sale of artworks.
The "Enter the America Photography Program" is a crucial component of our overseas development endeavor. In 2017, I wrote: High-priced artworks in the photography collection are often the trump cards of operators and a common marketing tactic. They claim that the prices of photographers' works are determined by the market, but in reality, they are primarily controlled by operators.This includes the lack of knowledge about photography collection among some domestic Chinese collectors, leading to frequent occurrences of 'calling a deer a horse' and 'bundled sales.' For long-term investment in collections, collectors have gone their separate ways and lost interest.For photographers, we have always advocated for 'bringing in,' but not 'going out.' Chinese photography hasn’t surfaced in either the domestic art world or the international art world and it has also misled Chinese photographers into blindly setting price of their works.This is one-sided and extreme. The works we 'bring in' do not fully represent the quality of the international photography, so it is worth pondering.
The 'Going Out' exhibition series is a deep collaboration with American art organizations, aimed at pushing the boundaries of Chinese photography and promoting cultural exchange. We are committed to evolving and implementing changes that elevate Chinese photography onto the international stage.
