【展讯】2024三影堂无界艺术展｜厦门

2024“三影堂无界艺术展”将集中呈现19位艺术家们的精彩作品，这些作品从200余份投稿中脱颖而出。“三影堂无界项目”也首次与“小红书影像发现计划”共同携手，联合呈现本次展览。秉持一直以来的评选标准，本次无界艺术展的评选着重考量作品的艺术性、思考力和完成度，同时也对媒介和概念坚持开放包容的态度，力求呈现一个激发讨论与思考的多元艺术现场。

19位艺术家的作品涵盖摄影、装置、数字艺术、绘画等多种媒介。这些作品展现了他们对个人境况与身体感受、自然环境与城市变迁、新闻纪实与虚构叙事、超现实与数字拟像等主题深刻的影像书写，这些作品不仅展示了艺术家们对当前社会现象的敏锐洞察，也同时激发观者的深层次思考。

在数字技术发展的大背景下，人工智能如今已然成为重要的创作工具。张达慎利用AI和古典工艺将虚实混合，使用安布罗法虚构了一段清末地理考察故事，去展开影像技术与去殖民，真实与虚构之间的讨论。朱浚侨则让人工智能重构现实，将日常的细碎一角折射出多重的图像宇宙。刘坤基于自身对足球运动的理解，使用人工智能试图改变足球联赛往常的观看方式，戏谑地审视或已成为一种景观的运动。

直面现实，以照片作为折射社会的棱镜，也是艺术家们一直以来重要的工作方法。林海音的创作围绕着阿尔泰山脚下的哈萨克族牧民，其作品通过独特的视角记录了哈萨克族人的日常生活状态。王子琪的作品聚焦儿童的教育问题，通过以摄影为方式的观看去寻找爱弥儿们，去记录在成年以前的孩子的真实模样。陈一丁的作品使用挪用和二次创作的方式进行，讨论了牙齿美白及正畸与阶级形象之间的隐形关联。俞不蜡被泰国的东南亚生命力所吸引，将镜头对准城市化下的环境变迁。张景翔将视线聚焦于风的意象之上，使用摄影的手段对风进行感知，将风“显形”。李小凝的作品则探讨了在东北地区的人们候鸟式迁移到南方这一过程中，对于个体身份认同以及群体化倾向所产生的种种问题。周俊言关注商业摄影行业中的弃用照片，通过对照片的再次组合，使其产生新的虚构情境，从而创作出基于图片本身建构的超真实宇宙。

而回望家乡与至亲，试图在剧烈变革中抓住昨日的一瞬，也是历来的重要主题。汤婧怡以故乡浅水的瓷片为线索，拾取了独属于故乡的环境记忆。张嘉雯通过拍摄自己的父亲，探索了图像如何塑造对身份的刻板印象。陈奕竹的作品则尝试在图像中重构家乡，使用三个篇章来呈现了个人与家乡的情感连结。在罗志群的作品中，她试图在故乡的语境下通过摄影来重构与周围人们的联系，完成自身与周遭环境的和解。

许多艺术家将视角对向自身，道出自己的踌躇境遇与细微情绪。聂鑫游走于家附近的各个公园，以游荡式的拍摄来阐述自身的阶段性焦虑。谢卢锋则以亲密关系作为出发点，挖掘了在减肥行为与剩余食物之间反映出的细微情绪波动。陈冬余的作品则聚焦于生活中的细微之处，通过湖泊、蝴蝶等符号化的元素来探索感情中的种种状态。陈刚视绘画为自我的情绪出口，表达了自身对于当下与未来处境的忧虑。韩丽萍则关注身边的寻常之物，通过摄影凸显不易发觉的平凡诗意。

自2018年至今，由三影堂厦门发起的“无界”展览征集项目已经与百余位艺术家展开合作。我们由衷希望能够让这一项目成为一个发掘杰出的视觉艺术创作的平台，并以此延拓和促进创作者们艺术实践和展示交流。

陈冬余、陈刚、陈一丁、陈奕竹、韩丽萍、李小凝、林海音、刘坤、罗志群、聂鑫、汤婧怡、王子琪、谢卢锋、俞不蜡、张达慎、张嘉雯、张景翔、周俊言、朱浚侨（*按姓氏拼音首字母排序）

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The "2024 Three Shadows Unbounded Group Exhibition" will showcase the brilliant works of 19 artists, selected from over 200 submissions. For the first time, the "Three Shadows Unbounded Project" is collaborating with the "Xiaohongshu Image Discovery Project" to jointly present this exhibition. Upholding the long-standing selection criteria, this year's Unbounded Art Exhibition emphasizes the artistic value, thoughtfulness, and completion of the works, while maintaining an open and inclusive attitude towards media and concepts. The goal is to present a diverse art scene that stimulates discussion and reflection.

The 19 artists' works encompass various media, including photography, installations, digital art, and painting. These pieces delve into themes such as personal situations and bodily experiences, natural environments and urban transformations, news realism and fictional narratives, surrealism and digital simulacra. These works not only showcase the artists' keen insights into current social phenomena but also provoke deep contemplation among viewers.

Against the backdrop of digital technology development, artificial intelligence has now become an essential creative tool. Zhang Dashen blends AI with alternative photography process, using ambrotype to fictionalize a late Qing Dynasty geographical survey story, thereby discussing imaging technology, decolonization, and the interplay between reality and fiction. Kelvin Zhu employs AI to reconstruct reality, generating multiple image universes through fragments of a daily life scene. Liu Kun, drawing from his understanding of football, uses AI to alter the traditional viewing experience of football leagues, humorously scrutinizing the sport as a spectacle.

Confronting reality, using photography as a prism to reflect society, has long been a crucial method. Haiyin Lin's work focuses on the Kazakh herders at the foot of the Altai Mountains, capturing their daily lives from a unique perspective. Wang Ziqi's work centers on children's education, using photographic observation to seek out Emile-like children and document their states before becoming adults. Chen Yiding's work uses appropriation and secondary creation to discuss the hidden connections between teeth whitening, orthodontics, and class imagery. Yubula, inspired by the vitality of Southeast Asia, turns his lens towards environmental changes under urbanization. Zhang Jingxiang focuses on the imagery of wind, using photography to perceive and make wind "visible." Li Xiaoning's work explores the issues arising from the migratory movements of people from Northeast China to the south, examining individual identity and group tendencies. JunYan Zhou focuses on discarded photos in the commercial photography industry. By recombining these photos, he creates new fictional contexts, thus constructing a hyper-real universe based on the images themselves.

Reflecting on homeland and loved ones, trying to capture moments of the past amid dramatic changes, is also a recurring theme. Lakshmi Tang uses porcelain pieces from her hometown in Shallow Water to collect environmental memories unique to her birthplace. Zhang Jiawen explores how images shape stereotypes of identity through photographs of her father. Chen Yizhu's work attempts to reconstruct her hometown through images, presenting emotional connections between the individual and the hometown in three chapters. Luo Zhiqun seeks to rebuild her connections with people in her hometown through photography, achieving reconciliation with her surrounding environment.

Many artists turn their perspectives inward, expressing their hesitations and subtle emotions. Nie Xin wanders through various parks near his home, using a wandering style of photography to articulate his phase of anxiety. shadowINred starts from intimate relationships, uncovering subtle emotional fluctuations reflected in dieting behaviors and leftover food. Donuchen's work focuses on minute aspects of life, using symbolic elements like lakes and butterflies to explore various states of emotion. Chen Gang sees painting as an emotional outlet, expressing his concerns about the present and future. Han Liping focuses on everyday objects, using photography to highlight the unnoticed ordinary poetry.

Since 2018, the "Unbounded project " initiated by Three Shadows Xiamen has collaborated with over a hundred artists. We sincerely hope this project can become a platform for discovering and engaging in visual art creation, thereby extending and promoting artists' practice and communication.