“新模拟”：后数字时代下的扩展摄影 | 广州影像三年展2025 #时尚 #The #摄影 #模拟 #广州 #Era

广州影像三年展2025即将启幕，本次展览以“感知生态学”为主题，探索数字时代下影像艺术的多元可能。展览共由三个板块组成，它们从不同维度切入当代视觉文化，重新审视摄影在技术、感知与生态语境中的角色。以下是展览第一板块的相关介绍，后续将陆续推出另外两个板块的详细内容，敬请期待。

第一板块

Section 1

“新模拟”：

后数字时代下的扩展摄影

NEO-ANALOG

Expanded Photography in

Post-digital Era

在当今气候变迁的背景下，摄影为我们建构了怎样的自然图像？在对地球生态现状的纪实性呈现之外，艺术家们正积极探索新的视觉路径，以激发我们对自然元素的感知与关注。摄影正经历着深层次的嬗变，它突破了传统再现的边界，旨在重新构建人与自然的联结。面对一个持续变动的世界，世界的图像亦须响应这种变动，生成新的感性经验与美学形式。

In the context of major climate change, what representations of nature can photography offer us? Beyond the documentary on the state of the planet, artists are looking for new ways to raise our awareness about the elements of nature. Photography is transformed, it goes beyond the traditional limits of representation to reconnect us with nature. In a changing world, the image of the world must also change and offer new experiences of the sensitive.

在此语境下，我们见证了摄影语言的一场真正重塑，即“新模拟”（Néo-Analog）美学流派的兴起。这一新兴流派标志着摄影首次超越了图像本身，转而表达着一种对世界的感知意识。通过各种材料实验与媒介探索，摄影实践者们重新激活着人类对光、水、土、火、木与金属等自然诸多元素的感性经验，将自然元素这一宏大主题进行着再诠释。在此，动植物与人类一样被共同纳入艺术实验探索的感知结构中。

In this context, we are witnessing a real reinvention of photography with the aesthetic current of Neo-Analog. For the first time, photography goes beyond the image to express an awareness of the world. Through experimentation, photographers explore our sensitivity to light, water, earth, fire, wood and iron. The grand theme of the elements of nature is thus taken up by experiments : animals, plants as well as humans.

此展览板块被构想为一个激发观众与自然元素之间共鸣的感知场域，正如哲学家哈特穆特·罗萨（Hartmut Rosa）所提出的“共鸣”理念所揭示的那样，这是一种关于安宁与减速的美学。这些“自然本体论”激活了图像的物质性。物质性、感知与文化三者在此交织，回应着地球系统所经历的深层变迁。这种“物质感性”提示着我们：自然元素不再是可以无限提取的资源，而是人与自然之间得以产生共鸣、建立联结的条件；它们同时揭示了人类活动对地球构成产生的深刻变革性影响。

This section is conceived as a field of “resonances” between the visitors and the elements in the sense understood by the philosopher Hartmut Rosa, that is to say an aesthetic of appeasement and slowing down. Natural ontologies animate the matter of images. Materiality, perception and culture combine to respond to the anthropogenic transformations of the Earth. This “materialistic sensitivity” shows that the elements of nature are no longer exploitable resources in an extractivist logic, but the conditions of resonance between humans and nature. The elements highlight the transforming action of anthropic activity in relation to the composition of the Earth.

哈特穆特·罗萨，《共鸣——一种世界关系的社会学》，Polity Press 出版社，2019年。

Hartmut Rosa, Resonance : A Sociology of our Relationship to the World, Polity Press, 2019.

20世纪中叶，哲学家加斯东·巴什拉（Gaston Bachelard）重新审视了人类对自然元素的想象性表征。在他关于大地的思考中，“地下生命”象征着“憩息与庇护”。这一“庇护所”的意象构成了对当代生态哲学（écosophie）的一种富有诗意的先声与回应。生态哲学由哲学家兼精神分析学家费利克斯·瓜塔里（Félix Guattari）提出，强调环境问题已经无法与社会问题割裂开来。地球已成为我们时代的核心议题，但我们又该如何重新建构对它的想象呢？

In the middle of the 20th century, Gaston Bachelard revisited human imaginary representations of natural elements. Concerning the Earth, the philosopher saw in it "underground life as an image of rest". This conception of "refuge" offers a poetic counterpart to the more contemporary notion of “ecosophy” defended by the philosopher and psychoanalyst Félix Guattari: environmental issues are now inseparable from social ones. The Earth is topical, but how to refind the imaginary?

加斯东·巴什拉，《土地与憩息的遐想》，

José Corti 出版社，1945年。

Gaston Bachelard, La Terre et les rêveries du repos, José Corti, 1945.

费利克斯·瓜塔里，《三重生态学》，Continuum 出版社，2008年。

Félix Gattari, The Three Ecologies, Continuum, 2008.

“新模拟”美学恰恰回应着我们对地球的全新认识。1970年代初，英国环境学家詹姆斯·洛夫洛克（James Lovelock）与美国微生物学家琳恩·马古利斯（Lynn Margulis）联合发表了题为《生物圈通过自身实现大气稳态：盖娅假说》的开创性论文，提出将地球视为一个自我调节的生命体——一个由所有生物与环境相互依赖、协同合作的整体系统。此后，法国哲学家布鲁诺·拉图尔（Bruno Latour）在继承盖娅（希腊大地女神之名）思想的基础上，将其确认为具有政治意涵的哲学概念，并把地球置于美国科学记者安德鲁·C·雷夫金（Andrew C. Revkin）于1990年代初提出的“人类世”的语境中。此外，他还强调作为生命体的地球具有对人类活动所带来的影响作出回应的能力。

The Neo-analog aesthetic responds to the new designs of our planet. In the early 1970s, British environmental scientist James Lovelock and Lynn Margulis published their first article entitled Atmospheric homeostasis by and for the biosphere: The Gaia hypothesis, hypothesizing an Earth conceived as a living entity where all organisms react and regulate themselves. By making Gaïa (named after the Greek goddess of the Earth) a political concept, French philosopher Bruno Latour places the planet in the context of the Anthropocene, a notion founded in the early 1990s by American science journalist Andrew C. Revkin. It grants itself the living dimension an ability to react to the effects produced by human activity.

布鲁诺·拉图尔，《面对盖娅》，Polity Press 出版社，2017年。

Bruno Latour,Facing Gaia, Polity Press, 2017.

在超越人类中心主义的视角，并唤起对自然的全新注意力方式的尝试中，“新模拟”摄影实践呈现出多重媒介融合的特征：它不仅引入人工智能、影像与数字等科学技术，同时也强调物质性与手工参与在艺术生产中的不可替代作用。“新模拟”是一种拓展性的摄影实践，涵盖了诸如摄影-纺织、摄影-绘画、摄影-雕塑等混合形态。通过实验性的路径对摄影进行再造，也成为摄影的新生时刻——当摄影回归光与物质的根本原则时，“新模拟”重新开启了摄影最初的实验性起点。

To go beyond an anthropocentric vision and propose new forms of attention, the Neo-Analog uses the most diverse technologies, such as AI, video, digital, but also it combines techniques where the material and the hand play an essential role. The Neo-Analog is a photography extended to hybrid forms such as photo-textile, photo-drawing, photo-sculpture, etc. The regeneration of photography through experimentation is a moment of reinvention: by returning to the fundamental principles of light and matter, the Neo-Analog resets the experimental origins of photography.

我们正生活在一个“后数字时代”，算法文化已由技术层面转化为一种全域性的文化范式。在此背景下，个体开始重新发现一种此前被遮蔽的“模拟文化”传统：一种根植于身体感知、触觉经验，以及与物理世界直接互动的文化模式。“新模拟”的命名与建构正由此而来，它不仅确立自身的价值体系，也在高度数字化的生活逻辑中尝试为当代主体的现实经验提供一种感知上的平衡机制。作为一种实验性美学，“新模拟”摄影强调感性经验的重建，并以有别于传统的图像语言对自然进行再现。与科学家之间的协作，则成为艺术家理解气候现象的一种策略性路径，与此同时，科学知识亦通过审美转译而更易激发公众对于生态危机的情感与认知回应。

We live in a Post-digital Era, computational culture has become historical and general, and in this context we realize that we also have an analogical culture of which we were not aware: a culture rooted in sensitivity, contact, physical experience of the world. The Neo-analog is the name of this sensitivity that asserts its values and balances our existence in relation to our digital lifestyle. Neo-analogue photography is therefore an aesthetic of experimentation that allows us to reconnect with the sensitive and represent nature in a different way. While, collaboration with scientists is often the means to understand climate phenomena and give them an aesthetic representation accessible to spectators.

“新模拟”建立了一种物质性与哲学性并存的文化体系，使我们在当下“真理危机”的语境中，得以重新恢复对“真实”的理解与信念。

The Neo-analog institutes a material and philosophical culture that allows to restore the idea of “reality” in a context of “crisis of truth”.

策展人：米歇尔·普瓦韦尔

助理策展人：张慧

Curator : Michel Poivert

Assistant Curator : Hui ZHANG

布兰基察·日洛维奇 Brankica Zilovic

我们的山峰：南极与巴西 Our Peaks, Antarctica & Brazil

2023

玛丽娜·丰特 Marina Font

潜在的 Latent

2023

洛尔·维南 Laure Winants

一种语言，正从我们身上消逝 From a Tongue We Are Losing

2024

注：以上作品仅作为文章插图，并非本届三年展展出作品。

策展人

Curators

摄影史学家、策展人，巴黎先贤祠-索邦大学（巴黎第一大学）摄影与当代艺术史教授。

Michel Poivert is a photography historian, curator, and professor of contemporary art history and photography at Paris 1 Panthéon-Sorbonne University.

助理策展人

Assistant Curator

常驻巴黎的摄影史与当代艺术史学者、巴黎先贤祠-索邦大学（巴黎第一大学）摄影史博士候选人、艺术史论著作译者。

Zhang Hui is a Paris-based scholar specializing in the history of photography and contemporary art history, a doctoral candidate in the History of Photography at the Panthéon-Sorbonne University, and a translator of art history and art theory works.

广州影像三年展2025

将于今年12月与观众见面

敬请期待！

关于广州影像三年展

Guangzhou lmage Triennial

“广州影像三年展”的前身是“广州国际摄影双年展”，第一届展览于 2005年举办。2017 年，广东美术馆将该项目正式更名为“广州影像三年展”，项目立足于媒介现象发展的观察与思考，把研究的重点从原来的“社会人文的摄影”拓展为更具包容力和学科性的“视觉研究的影像”，力图在更具开放性与方向性的工作中推动中国当代影像艺术的实践与研究。自更名以来，先后举办两届展览，并获得社会各界广泛的认可和好评：“复相·叠影——广州影像三年展2017”获得国家文化和旅游部2018年度全国美术馆优秀展览项目；“交融的激流：广州影像三年展2021”获得国家文化旅游部2020-2025年度的全国美术馆优秀展览提名项目。

“交融的激流：广州影像三年展2021”展览现场

Guangzhou Photo Biennial, the predecessor ofGuangzhou lmage Triennial, was first held in 2005. in 2017, it was renamed by the Museum as Guangzhou lmage Triennialwhich, based on observation and thinking on the development of media phenomena, expands the research focus from the original "social and humanistic photography" to the more inclusive and discipline-oriented "visual research image", aiming to promote the practice and research of Chinese photography and moving images through more liveral andoriented efforts. Since its renaming, the Guangzhou Image Triennialhas successively presented two editions of exhibitions, both receiving widespread recognition and acclaim from all sectors of society: Stimultaneous Eidos: Guangzhou Image Triennial 2017received the "National Art Museum Excellence Award" from the Ministry of Culture and Tourism in 2018; Intermingling Flux: Guangzhou Image Triennial 2025was nominated for the "National Art Museum Excellence Award" (2020-2021) by the Ministry of Culture and Tourism.