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序 Contents 内容规划 Outline 讲座简介 Lecture Information 关于瑞象馆
About the Ray Art Center
03 06 29
序
当代社会生活日新月异，人们交流表达的方式也在随之改变，摄影以及影像文化正是其 中最富有活力的部分。今天，社交媒体平台以及移动终端技术已经让摄影不再局限于新 闻和记录的功能，并打破传统审美的框架，从而作为人们得以实现自我认知，建立新的 社群关系的手段，成为当代人生活方式的一个部分。由此，在多大程度上掌握影像及其 生产、传播的一系列概念和理论已经成了我们考量自身对周遭世界的理解和把握能力， 和判断个人的文化修养的重要维度。
从2014年9月至12月，瑞象馆将邀请海内外著名的影像艺术工作者和相关领域的学者共 同推出2014瑞象校园系列讲座活动；活动对象为高校非艺术专业学生，同时也向社会 公众开放。该系列活动包括十二场讲座和讨论，参与该活动的讲者将以跨学科的视角就 “影像作为艺术”、“影像的生产和传播”、“观看与被观看”等三个方面展开讨论， 以帮助听众了解影像艺术的知识和理论，培养视觉修养，并帮助他们更清晰地认识自身 所处的环境和所面对的未来。系列讲座结束后，其内容还将以一系列纸质和视频的出版 得以进一步传播和保存。
此次系列讲座的地点都在大学校园，为不同背景的学生和校园里形形色色的听讲者提供 交叉学科的理解影像之旅。每场讲座的讲师将从自己熟悉的领域出发，以不同的视角切 入影像的世界，摄影图片、视觉新媒体作品、电影、纪录片，总体来说，当代以及历史 上发生的视觉现象和表达方式都在讲师的考察之列。讲师来自各个领域，出色的学者、 实践者、艺术创作者将结合自己的学识和经验，提出对影像艺术某个方面的观点，以及 就影像艺术对其他领域的影响阐述看法。讲座的时间长度达4小时，前2小时刚刚从现象 深入到学科内部，后2小时能进一步理出一条脉络，或碰撞与交流出另一个出口。
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Preface
Society is changing every day and with it, the way people interact and express themselves. Photography and visual culture are one of the most vibrant aspects of our society. Social media and mobile terminal technology have now liberated photography from its traditional role as a news and documentary tool. No longer straitjacketed by traditional aesthetics, photography is now a means for us to get to know ourselves and forge ties within a community. This art has become a part of contemporary life. Now, our understanding of concepts and theories of creation and dissemination of images has become an important yardstick of our understanding of the world around us, and our cultural sophistication.
From September to December 2014, the Ray Art Center is inviting renowned scholars in various related fields, to RayChat on Campus 2014, to give a series of lectures. These lectures are intended largely for students without an arts background, but they will also be open to the general public. There will be 12 separate lectures and seminars examining photography from an interdisciplinary perspective, along the following three themes: ‘photography as art’, ‘the production and dissemination of images’, and ”seeing and seen”. The aim of the series will be to improve public awareness as well as appreciation of photographic art (theory and practice), by which to help the audience to understand the present state and future direction of photographic art. After the actual series has concluded, there will be a paperback and video version available for continued discussion and for posterity.
These events will be held on university campuses, offering students from different backgrounds and schools a vivid multi-disciplinary portrait of how photographic art has evolved. Each speaker will talk about a topic within their own field of expertise – photographs, new media artworks, films, and documentaries – providing different perspectives of the medium. Every aspect of photography’s different phenomena and breadth of expression, whether historical or contemporary, will be examined. Speakers come from across the spectrum, with distinguished academics, practitioners, and artists all using their knowledge and experience to provide enlightenment on a particular area of photography – or, indeed, looking at the impact of photography on other disciplines. Each lecture will last four hours, with the first half introducing the topic with a look at a particular discipline, and then the second half exploring theories on future development or exchange of ideas with the audience.
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内容规划
本次巡回讲座系列的内容规划大致包括如下三大部分：
第一部分，影像作为艺术。在这一部分中，讲座覆盖的领域将包括： 1）摄影史；2）摄 影图像学；以及 3）影像在跨人文学科中的解读。通过这一部分讲座内容，希望能够让 听众对以摄影为基础的影像艺术的历史、解读、本质等问题有大致的了解。
第二部分，影像的生产与传播。在这部分的讲座中，主题包括：1）摄影创作的手法， 2）从传播学角度认识影像，3）电子媒体、新媒体时代的影像，4）中国当代摄影等几 个方面的内容。我们希望听众通过参加这部分的活动，对影像的生产和传播模式，及其 背后种种错综复杂的社会、政治和经济因素有一个大致的了解。同时会更多着力的是， 在今天电子媒介和社交媒体作为重要载体的时代，影像是如何逐渐成为人们社会生活的 重要部分，而它在未来又具有怎样更多的可能性。
第三部分，观看与被观看。在这一部分，我们将主要基于文化批评各方面的理论来探索 影像本身及其生产和传播过程中所含的各种权力的主体及其运作机制，社会、历史是怎 样在影像中被构建的，同时也对影像的纪录美学、政治解读进行探讨。
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Outline
The lectures will be divided roughly into the following three sections:
1) Photography as art. This section will cover: i) The history of photography ii) Photographic iconography iii) Interpretation of photography from a cross-disciplinary humanities angle These lectures aim to provide a general introduction to the history, interpretation and core of photography-based visual culture.
2) Production and dissemination of images. This section will cover: i) Photographic means of expression ii) Photography through the prism of communication iii) Photography in an age of electronic and new media iv) Contemporary Chinese photography This section focuses on providing audiences with an overview of the production and means of dissemination of photography, as well as the complicated web of social, political and economic factors behind it. A particular point of emphasis will be how photography has gradually become an important part of people’s lives, and its potential for the future in an era of electronic and social media.
3) The final section will focus on seeing and seen. Cultural criticism will be employed as a means to explore photography and the systems of power involved in its production and dissemination and portrayal of society and history in photography. There will also be discussion about the documentary aesthetics and political interpretations of photography.
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时间：9月24日
摄影与城市：以上海为例
地点：上海外国语大学 演讲人：顾铮
用镜头理解城市——历史变革中的城市，
这个范围，也许可以了解历史中上海摄影家的实践，
文明与愚昧并进的城市——这里有建筑理念
也有当下都市摄影倾向的作品。都市摄影的概念当然
的实验场，这里有好大喜功的美妙仙境，这里
并 不 局 限 在 上 海 ， 是 因 为 方 便 大 家 了 解，才以上海
有荒谬怪诞的艺术反省。从不可知到可知，
为切入点。
时间在镜头下凝固，历史在瞬间定格。本次 讲座介绍的一些摄影家的作品主要集中在上海
关键词：镜头，都市，历史，上海
Photography and the City:
Date: September 24th
Shanghai Case Study
Venue: Shanghai International Studies University Speaker: Gu Zheng
Understanding the city through the lens – the
of them based in Shanghai. It is hoped that these will
changing face of Shanghai, where civilization
provide an overview of the experience of Shanghainese
and ignorance march shoulder to shoulder:
photographers; there will also be more recent work from
here is a laboratory with architectural tradi-
Shanghai’s current metropolis age. Of course, metropoli-
tions, or overly grandiose wonderful places
tan photography is not restricted to Shanghai; but the city
to go. The city has its share of strange artistic
is a handy example for study.
reflection. From unknowable to knowable, time stands still when the shutter is pressed. In an instant, history is defined. This lecture will introduce work by several photographers, most
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Keywords: lens, metropolis, history, Shanghai
顾铮
Gu Zheng
学者、摄影批评家、摄影家和策展人。
Scholar, photography critic, photographer and
1959年生于上海，复旦大学新闻学院教授，博士生
curator.
导师，复旦大学视觉文化研究中心副主任，复旦大学
Born in Shanghai in 1959, Gu is a professor
信息与传播中心研究员。专事摄影理论与实践、摄影 史、视觉传播，担任《视界》丛刊、《艺术家茶座》、 《中国摄影》、《欧洲摄影》(柏林) 等刊物的编委。 1998年毕业于日本大阪府立大学人类文化研究科比较
at the Journalism School, Fudan University, and PhD supervisor. He is also assistant direct of the Research Center for Visual Culture, a member of the Research Center for Information and Communication Studies. Gu devotes
文化研究专业，获学术博士学位。2001年访问于美国
his research to the theory, practice and history
加州大学伯克莱分校。2013年担任世界新闻摄影比
of photography, and to visual communication.
赛“荷赛”终审评委。
Gu sits on the committee of editors for World, Artists Teahouse, Chinese Photography, European Photography (Berlin) and other publications. Gu Zheng graduated with a PhD in Comparative Culture from the School of Humanities and Social Sciences at Osaka Prefecture University. In 2001 he visited UC Berkeley; in 2013 he was on the panel of judges for the final round of the World Press Photo competition.
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观看与思考 ——影像传播的受众视野
时间：10月16日 16:00-18:00 19:00-21:00
摄影、电影、电视、手机等“等比复制”现
一种不可或缺的社会生产力；成为信息传播最重要的
实物象的技术给人类社会带来翻天覆地的革
技术手段；成为人们一种创造性的生活方式；成为
命性变化，成像技术的普及和广泛的使用使
这个社会最大宗的消费品；成为人们观察自然和认识
得整个社会发展形态发生从物质显示社会向
自然、社会和人类自身的必备工具。因此，摄影术的
信息表征社会的转变。影像技术应用于人类
本质用途是一种现代性的符号，摄影是视觉信息传播
社会，人们本质上渴望“有图有真相”的对
的自 然 符 码 。 摄 影 给 人 类 社 会 带 来 了 有 形 和 无 形 的
真实性追求的满足，使得事物的“真实性”
变革，这不仅在一个国家、一个地区，在全世界范围内
本质得到了最为彻底的肯定；同时也正是
都是如此。摄影作为一种大众文化，它将使得整个世界
“有图”即是有“真相”的技术性说谎，
都是它的永久遗产。
地点：南京大学 演讲人：韩丛耀
使得影像在当代社会受到了最无情的质疑。 经过170多年的发展，摄影术现在已经成为
关键词：技术，复制，真实性，大众文化
Observation and Reflection:
Date: October 16th 16:00-18:00 19:00-21:00
Audience Perspectives in
Venue: Nanjing University
Dissemination of Images
Speaker: Han Congyao
Photography, film, mobile phone and other
history, photography has become an indispensable in-
‘geometric replication’ technology has rev-
dustry; the most important tool for the spread of infor-
olutionized our society. Broad access to and
mation; a lifestyle full of creativity; society’s greatest
widespread use of imaging technology have
commodity; and an essential source of knowledge about
transformed the way development is mea-
the natural world, society and ourselves. Therefore, at its
sured, from material improvement to digital
core, the art of photography is a sign of modernity, and
progress. Photographic technology has satis-
the images produced a natural code for the transmission
fied our yearning for ‘true’ depictions of reality,
of information. Photography has changed society both
and affirmed the ‘veracity’ of the physical world
visibly and invisibly, and these changes are not restricted
around us. At the same time, these images are
by national or regional boundaries; they are global. As a
also technological fakery dressed up as ‘truth’,
form of popular culture, photography has a global legacy
making photography the subject of relentless
to bequeath.
skepticism in contemporary society. Over the course of its more than 170 years’
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Keywords: technology, duplication, truth, popular culture
韩丛耀
南京大学新闻传播学院/历史系教授，博士生 导师，中华图像文化研究所所长。兼任法国 欧亚印象交流协会（ISASES）顾问，马来 西亚韩新传播学院讲座教授，中国摄影家协会 理论委员。 一直从事视觉传播、图像史学、摄影学的 理论研究和教学。代表性著作有：《新闻摄 影学》、《图像：一种后符号学的再发现》、 《中国近代图像新闻史：1840—1919》 （6卷）、《中国影像史》（10卷）。
Han Congyao Professor and PhD supervisor at the Department of History, and at the School of Journalism and Communication, Nanjing University. Professor Han is also director of the Chinese Institute for Image Culture and an advisor to ISASES, visiting lecturer at the One World Hanxing College of Journalism and Communication in Malaysia, and sits on the Theoretical Committee at the China Photographers Association. Professor Han has been involved in research and teaching of visual media and communication, the history of imagery, and photography. Key works include: News Photography, Images: A Rediscovery of Post-Symbology, A History of Pre-Modern Imagery and News: 1840-1919 (6 volumes), A History of Chinese Photography (10 volumes).
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绘画之于影像 ——新旧视觉媒介的比较
时间：10月23日
绘画是远比影像悠久的视觉媒介，影像兴起
杜尚、郎静山、布列松、安迪 • 沃霍尔、里希特、
之初深受绘画的美学影响。二十世纪以来的
大卫 • 霍克尼、比尔 • 维奥拉等大师的经历和作品来
影像艺术则试图拉开与绘画的距离，甚至认为
分析绘画之于影像的多种可能，探讨两者未来关系的
绘画是落后的即将淘汰的媒介。然而我们发
前景。
地点：北京外国语大学 演讲人：汪涤
现二十世纪许多重要的艺术家都能在两者间 自由穿行，找到有趣的创作点。本讲座以
关键词：绘画，媒介，二十世纪
Painting V.S. Photography: a Comparison of Traditional and New
Date: October 23rd Venue: Beijing Foreign Studies University Speaker: Wang Di
Visual Media
Painting is a much older visual medium than
the experiences and artwork of Marcel Duchamp, Lang
photography; the aesthetics of painting had
Jingshan, Henri Cartier-Bresson, Andy Warhol, Gerhard
a great influence on the rise of photography.
Richter, David Hockney, Bill Viola and other greats as a
Photographic art from the 20th century on-
means to analyze the possibilities provided by painting
wards attempted to put a distance between the
to photography and to discuss the possible relationship
two, and some photographers even asserted
between painting and photography in the future.
that painting was an out-of-date medium. However, many important artists of the 20th century made free use of both media, finding suitable inspiration in each. This lecture will look at
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Keywords: painting, media, 20th century
汪涤
华东师范大学美术史副教授，博士。中国美术家 协会会员，上海美术家协会会员。从事中外美术 史，美术批评与视觉文化的教学和研究，出版著 作多种。
Wang Di Assistant professor of History of Fine Art, East China Normal University, PhD. Dr. Wang is a member of the China Artists Association, and the Shanghai Artists Association. Dr. Wang specializes in the history of fine art, both Chinese and international, and teaching and research of fine art criticism and visual culture. Dr Wang has many published works.
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镜像自我和他性 ——摄影的人类学解读 如果把照相比做照镜，照片就相当于照相者的镜像。但与 照镜不太一样的是，照相在绝大多数情况下，都不是自己 去照，而是被人照。这就导致我们所说的“照相者”，大 多同时包括着观察者和被观察者、拍摄者和被拍摄者。拍 摄者虽然没有出现在镜像中，但他的观看、思考、角度和 选择，必然会影响到镜像的呈现。所以，关于“我们”的 镜像，多半是“他观”的结果。如早期外国人对中国人的 观看呈现的刻板印象，主体民族对少数民族的认知、“识 别”和观看等。我们带着各式各样的“镜子”，最终还是 照出了自己。在他人的身影上有自我的痕迹，在自我的镜 像里也混合着异己的东西。
关键词：镜像，他观，自我，异己
Mirroring the Self and the Other: an Anthropological Angle on Photography Date: October 29th Venue: Sun Yat-Sen University Speaker: Deng Qiyao
If one thinks of a photograph like one’s reflection in the mirror, then a photograph becomes the mirror image of the photographer. However, unlike looking at oneself in the mirror, the vast majority of photographs are not selfies. This has produced the phenomenon of the ‘photo-taker’, most including observer and observed, the photo-taker and the subject. The photographer does not enter the frame, but his or her focus, thought, perspective and 11
时间：10月29日 地点：中山大学 演讲人：邓启耀
choices all have an impact on the creation of the mirror image. Therefore, ‘our’ mirror images are most often the product of another’s perspective, just like the early impressions that foreigners had of the Chinese which then became stereotypes, or the way ethnic minorities are viewed by the majority, with different treatment and observation. We have all sorts of ‘mirrors’ but the final portrait is of ourselves. We leave our mark as photographers on the silhouettes of others, and in the mirror of our self we find alien elements, too. Keywords: mirror, third-person, self, Other
邓启耀
中山大学社会学与人类学学 院教授，博士生导师。兼中 国民族学会影视人类学分会 副会长、徐萧冰摄影奖推荐 委员、连州摄影奖评委等， 曾创办文化影像类杂志《山茶.人文地理》。著有摄影理论 著作《我看与他观——在镜像自我和他性间探问》等。
Deng Qiyao Professor and doctoral supervisor at the School of Sociology and Anthropology, Sun Yat-Sen University, also vice-chairman of the visual anthropology section at the Association of Chinese Ethnology; member of the nominating committee for the Xu Xiaobing National Photography Award, Lianzhou FOTO judge, founder of culture and photography magazine Camellia: Human Geography, and author of works on photography theory including Observer and Observed: An Exploration of Mirroring of the Self and the Other.
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当代摄影中的几种表现 手法
时间：11月6日 地点：云南大学 演讲人：林路
当代摄影最为本质的价值意义，不是建造
这样，我们是否可以对当代摄影做出一个相对清晰的解
出一座座供人膜拜的艺术神殿。除了美学
释：当代摄影是在20世纪60年代以后呈现的一种摄影形
价值之外，摄影更强调其内容意义和对社
态，它在现代摄影对表现形式多样化和极端化探索的基础
会话题的介入。面对社会、政治力量带给
上，介入了对当代各种政治和社会议题的讨论，并且在表
人们的恐惧和偏见，面对社会矛盾所交织
现手法上更多地从拍摄照片进入制造照片的层面，从而更
成密密麻麻的网，摄影以其迅捷而独特的
好地将艺术家的观念通过和社会的对话进入当代生活。
媒介手段，将这些话题所编织的无形的网 化为影像，成为人类视觉的具象化。
关键词：社会介入，私摄影，实验，摄影媒介
Means of Expression
Date: November 6th
in Contemporary Photography
Venue: Yunnan University Speaker: Lin Lu
The central value of contemporary pho-
fairly clear interpretation of contemporary photography: since
tography is not about churning out artistic
the 1960s, the art has taken on a certain form that builds on
idols for worship. Photography is more
the varied forms of expression and extreme intrepid spirit of
about substance and relevance to social
modern photography, interlarding it with commentary on all
issues than simple aesthetics. Whether di-
kinds of political and social issues while developing technique
rected at the fear and prejudice produced
to the effect of staging photographs rather than simply taking
in society by political power, or the web of
them. In this way, the ideas of the artist are better integrat-
interconnected social issues, photography
ed into contemporary life, through engagement in discussion
is swift and unique in its approach, captur-
with society.
ing the previously invisible networks behind these issues on camera and making
Keywords: social participation, private photography, experi-
them concrete images.
mentation, photograph media
Therefore, it is possible, perhaps, to give a
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林路
上海师范大学教授，摄影专业硕士生导 师。上海市摄影家协会副主席，上海翻译 家协会会员，艺术策展人。 已出版摄影理论和技术专著以及画册90多 本，发表摄影文章数十万字。曾获得第四 届、第五届中国摄影金像奖，2004年9月 获得由全国高校联合会评选的“中国摄影 教育优秀理论奖”。
Lu lin Professor, Shanghai Normal University, photography MA student supervisor. Lin is vice chairman of the Shanghai Photography Association, a member of the Shanghai Translators Association, and art curator. Lin has published works on theory and technique, over 90 catalogues, as well as over 100,000 characters’ worth of articles on photography. Lin is recipient of the 4th and 5th Gold Award for Chinese Photography.
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纪录的美学 ——从本雅明的 “灵晕”说起
时间：11月13日 地点：浙江大学 演讲人：吕新雨
本雅明在《摄影小史》和《机械复制时代
重新阐释这一理念，以及它与当今中国新纪录运动的
的艺术作品》中，对“灵晕”的理念做了阐
关系？这些是本讲座关心的问题。
述，但是后人对此的阐述却纷繁不一。究竟 如何理解这一理念？如何重读本雅明这两本
关键词：本雅明，灵晕，纪录美学，新纪录运动
经典论述？特别是如何在纪录美学的范畴内
The Aesthetics
of Documentary Making: A Look at Walter Benjamin’s Aura
Walter Benjamin’s Short History of Photography and The Work of Art in the Age of Mechanical Reproduction lay out his concept of ‘aura’, but interpretations of the idea have differed widely since his time. How should ‘aura’ be understood? How should these two classics of his be revisited, especially in the context of documentary aesthetics, and in the light of the new documentary movement in contemporary China? These issues will be the subject of this lecture.
Keywords: Walter Benjamin, aura, documentary aesthetics, New Documentary Movement
15
Date: November 13th Venue: Zhejiang University Speaker: Lü Xinyu
吕新雨
华东师范大学——康奈尔比较人文研究中心主任，华 东师范大学传播学院教授，博士生导师。主要著作有 《神话 • 悲剧 • <诗学>—对古希腊诗学传统的重新 认识》（1995）、《纪录中国—当代中国的新纪录 运动》（2003）、《书写与遮蔽：影像 • 传媒 • 文 化论集》（2008）、《乡村与革命》（2013）、《 乡村与国家》（即出）、《学术、传媒与公共性》 （即出）。主编:
“纪录
•
影像：海外与中国”丛
书，2013年开始陆续推出，复旦大学出版社。联合主 编“批判传播学”系列文丛，2014年陆续推出，华东 师大出版社。主要研究方向为影视理论、传播政治经 济学、文化研究、广播电视学等。
Lü Xinyu PhD, Director of the ECNU-Cornell Center for Comparative Humanities, Professor at the School of Communication. Major works include Myth – Tragedy – Poetics – A New Understanding of the Poetic Tradition in Ancient Greece (1995), Documenting China – The New Documentary Movement in Contemporary China (2003), Writing and Cover-Ups: Wri tings on Photography – Media –Culture (2008), The Countryside and Revolution (2013), The Countryside and the State (forthcoming), Academia, Media and Publicness (forthcoming). As editor: Documentary – Photography: Overseas and In China (collection, began publication in 2013, Fudan University Press). Joint chief editor, Critical Communication series, published from 2014 by ECNU University Press. Main research interests: film theory, politics and economics of communication, cultural research, and radio & television.
16
摄影与人体： 情色、政治与主体性
时间：11月20日
人体摄影究竟在表现些什么？为何这个摄影
例，分别探讨人体摄影中的性、色情/情色、与性别政
主题类型历久不衰，但在沙龙的、或类似摄
治，如何以既有的概念不断复制保守的性/身体意识，
影发烧友社群的主流实践里，却一再重复某
或者在艺术的宣称里，正当化其对既有性别秩序的剥
种陈腐的创作概念？“人体”或“身体”的
削；我们也观看具有政治意义的人体摄影，如何打破
意义是什么、为何要拍它？它反映着创作者
这些保守框架，让身体成为表述自由与主体的政治符
或观赏者怎样的欲望或需要？身体与人的
号。
地点：重庆大学 演讲人：郭力昕
主体性建立是紧密连结的，不同的人体摄 影实践，如何协助或者阻碍了这个主体性的
关键词：人体，主体性，性别政治，身体意识
建立？这场讲座，将通过大量的摄影创作案
Photography and the Nude: Eroticism, Politics and Subjectivity
Date: November 20th Venue: Chongqing University Speaker: Kuo, Li- Hsin
What exact message is nude photography try-
photographs, and will look at how the sexual, adult and/
ing to convey? How has this art form continued
or erotic themes and politics of gender use established
to the present day, while in mainstream work
concepts to repeatedly clone conservative ideas about
in salons or among photography aficionados,
sex and the body, or in the claims of artists, legitimize
outdated attitudes continue to be emphasized?
their exploitation of the established gender order. We
What do the words ‘human body’ or ‘the body’
will also look at political nude photography and observe
signify, and why photograph them? What kind
how it can overturn these conservative constructs and
of desire or need does in the artist or viewer
transform the body into a political symbol of freedom and
does this reflect? The body is closely connect-
the subject.
ed to the creation of individual subjectivity; how do different nude photographs assert or
Keywords: body, subjectivity, gender politics, body con-
challenge the formation of this subjectivity?
sciousness
This lecture will examine a large number of
17
郭力昕
Kuo, Li- Hsin
任教于台湾政治大学广播电视学
Kuo teaches at the Department of Radio and Television at Tai-
系，曾任《人间》杂志图片主编，
wan’s National Chengchi University. He is the former chief pho-
台湾各类年度新闻摄影奖评委，并
to editor of Ren Jian magazine and sits on a host of awarding
自2003年起担任“台北电影节” 咨询委员迄今。著作包括《书写摄 影：相片的文本与文化》、《阅读
committees for annual press photography awards. Since 2003, Kuo has been a member of the consultant committee for the Taipei Film Festival. His published
摄影》(浙江摄影出版社)、《真实
works include: Writing Photog-
的叩问: 纪录片的政治与去政治》(
raphy: Texts and Culture on the
即将出版)等。
Negative, Reading Photography (Zhejiang Photographic Press), The Politics of Documentaries (forthcoming).
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从摄影到鬼魂徘徊学 —现代摄影与新媒体艺 术的台湾语境
时间：11月26日 地点：复旦大学 演讲人：龚卓军
现代摄影与新媒体艺术，以虚幻的实在性来
种族主义、殖民主义、性别歧视，或其他各式各样的
质疑现实的虚幻性，可以说是现代的召灵术
灾难的牺牲者，为的是那尚不可能、不可想象的伦理
或见灵术，被召请来的鬼魂，以其身段和唱
学与政治学，为的是那些尚未出生或已然死去的鬼
腔徘徊不去，其不对称性干扰着所有的社会
魂。这个演讲的材料，主要会集中在台湾现代摄影与
镜像，造成常态性的时间错位，为的是德希
新媒体中的鬼魂徘徊问题，讨论张照堂、谢德庆、陈
达(J. Derrida)在《马克思的幽灵》(Spec-
界仁、高重黎、黄明川、林柏梁、沈昭良、姚瑞中、
tres de Marx)一书中开宗明义所说的：那
蔡明亮、高俊宏、许家维、苏育贤、胡台丽等人的摄
幽灵的徘徊是历史的，但它没有确定的日
影、录像、新媒体作品。
期，它为的是正义——尚未来到的正义。它 为的是战争、政治的各种暴力、民族主义、
关键词：幽灵，徘徊，正义，台湾
From Photography to Spectre Hauntology – Taiwan Context of Modern Photography and New Media Art Date: November 26th
might be the victims of all kinds of disaster, too:
Venue: Fudan University
they remain on account of some impossible,
Speaker: Gong, Jow-Jiun
unimaginable ethics and political stance, on behalf of those specters not yet born or those
Modern photography and new media art question the
who have already died. This lecture will focus
illusory nature of reality through the realism in their illu-
mainly on issues of lingering specters of history
sions: it’s a ready-made clairvoyance, and those ghosts
in modern Taiwanese photography. There will be
summoned linger around with their shapes and arias.
discussion of the photographs, video and new
Their asymmetry is an imposition on all of society’s mir-
media artwork of artists including Zhang Zha-
ror images, causing a permanent time warp. The aim is
otang, Tehching Hsieh, Chen Chieh-jen, Kao
as Jacques Derrida stated in his book, The Specters of
Chungl-li, Ming-chuan Huang, Lin Poliang, Shen
Marx: the specters linger because of a historical griev-
Chao-liang, Yao Jui-chung, Tsa Ming-liang, Kao
ance, but without a particular date in mind: they remain
Jun-Honn, Hsu Chia-wei, Yu-Hsien Su, Hu Tai-li.
because justice has not been done. The specters remain because of war, all kinds of political violence, national-
Keywords: specter, linger, justice, Taiwan
ism, racism, colonialism, or gender discrimination. They
龚卓军
Gong, Jow-Jiun
国立台南艺术大学艺术
Assistant Professor at the Graduate Institute
创作理论研究所副教
of Art Creation and Theory at Tainan National
授，哲学美学、艺术理
University of the Arts. Gong is interested in phil-
论与评论者、翻译者。 曾任《张老师月刊》主 编与采访编辑，目前为《艺术观点ACT》季刊主编 。 着有《身体部署：梅洛庞蒂与现象学之后》，译有《 空间诗学》、《眼与心》等。
osophical aesthetics, art theory and criticism, and translation. He was previously editor in chief and interview editor for Living Psychology, and is now chief editor at Art Critique Taiwan. Publications include Deployment of the Body: Beyond Merleau-Ponty and Phenomenology, and he has translated La poetique de l’espace by Gaston Bachelard, and Eye and Mind by Maurice Merleau-Ponty.
20
当代艺术与80年代 时间：12月4日 地点：武汉大学 演讲人：汪民安
1980年代的艺术家有几种不同的生命态度 和艺术态度。两种激情：身体的激情和灵魂 的激情；两种理性：崇高的理性和冷漠的理 性。但这并不是全部。欲望的宣泄，灵魂的 宗教救赎，理性的崇高，多少都带有一些英 雄主义的痉挛姿态。在另外一些艺术家那 里，我们看到了英雄主义的反面，或者说， 我们看到的英雄是以亵渎的方式来出场的。 前者是要在一片虚无和溃败的氛围中寻求救 赎，后者正好相反，他们则是要让所有的神 话崩溃，让它们彻底地虚无。大体而言，他 们不是去从事文化拯救，而是去从事文化亵 渎；不是去做一个艺术巨人，而是做一个艺 术的渎神者；不是去确立一种艺术思想，而 是放弃艺术思想；不是让作品获得永恒的在 场，而是让作品迅速地消失。这是以渎神的 方式来获得神秘感，以破坏和虚无的姿态来 获得英雄的形象。所有这些，都跟1980年代 的思想文化氛围密切相关，它们既是80年代 的产物，也直接奠定了今天中国当代艺术的 现实根基。本次讲座将结合80年代中国当代 艺术的特征，尤其是85新潮运动的展开，来 讨论1980年代的历史格局。
关键词：激情，理性，文化亵渎，85新潮
21
Contemporary Art and the 1980s
Date: December 4th Venue: Wuhan University Speaker: Wang Min’An
Artists during the 1980s had different
the whole, these artists did not involve themselves
attitudes towards life and towards art.
in saving their culture but in desecrating it; instead
There were two different passions:
of becoming martyrs for their art, they became blas-
physical and spiritual; and two differ-
phemers; instead of affirming an artistic vision, they
ent rationales: lofty and idealistic, and
relinquished their ideals. They didn’t create immortal
cool and detached. However, these
artwork but hurried its demise. A sense of mystery
weren’t everything. The catharsis of
was gained by means of such profanity, and an im-
desire, the religious salvation of the
age of heroism through destruction and nihilism. All
soul, and lofty rationale all had some-
of these changes are intimately connected to the
thing of the spasm of heroism about
philosophical and cultural atmosphere of the 1980s;
them. To other artists, we saw the flip
they are both the product of that decade and the
side of that heroism, or rather, the he-
foundations of Chinese contemporary art today. This
roes we observed were prone to mak-
lecture will cover what set Chinese contemporary art
ing their mark through blasphemy. The
of the 1980s apart, especially the beginning of the
former sought redemption amid an at-
’85 New Wave movement, as an introduction to the
mosphere of nothingness and failure;
historical backdrop of that decade.
the other camp were the exact opposite: they wanted to destroy all myths
Keywords: passion, rationale, cultural blasphemy, 85
of redemption and leave no trace. On
New Wave
汪民安
Wang Min’An
首都师范大学文化研究院教授，主要从
Professor at the Institute
事文化理论研究。出版著作有《福柯的
for Cultural Studies, Cap-
界线》，《尼采与身体》等8部。主编
ital
丛刊《生产》。
Normal
Wang’s
main
University. research
interest is cultural theory. Publications include The Limits of Michel Foucault, Nietzsche and the Body and six more. Wang is also chief editor of the series Production.
22
时间：12月10日
现代摄影中的政治叙事
地点：深圳大学 演讲人：李公明
本 次 讲 座 围 绕 摄 影 作 为 一 种 政治监控和证据的历史 展开，叙述其开端和发展。讲座将围绕“中国革命摄 影”详述其“反对肢解现实”的政治学原则，再探讨 纪实摄影的政治叙事，最后，将与大家探讨摄与被摄 的道德与社会正义问题。
关键词：中国革命摄影，纪实摄影，政治叙事，摄与 被摄
Political Narratives
in Modern Photography Date: December 10th Venue: Shenzhen University Speaker: Li Gongming
This lecture will focus on photography’s past as a tool of political surveillance and proof, from its inception and early development. A central theme will be “Chinese revolutionary photography” with a detailed look at the political principle of “opposing the dismembering of reality”. We will also explore political narratives in documentary photography, followed last of all by a discussion of the issues of morality and social justice involved between photographer and subject. Keywords: Chinese revolutionary photography, documentary photography, political narrative, photographer, subject
23
李公明
广州美术学院美术史系 教授、港台文化艺术研 究所所长。多年来撰写 大量思想文化与时事评 论专栏文章，个人专著 有《中国美术史纲》（主编）、《广东美术史》、《 历史是什么》、《奴役与抗争——
科学与艺术的对
话》、《左岸的狂欢节》、《思想守望录》、《广州 人》、《在风中流亡的诗与思想史》、《书画与自 然》、《不对》等。
Li Gongming Professor at the Guangzhou Academy of Fine Arts’ Faculty of Fine Art History, director of the Institute for Hong Kong and Taiwan Culture Research. For several years, Li has penned a great number of articles both individual and in regular columns on philosophy, culture and current affairs. Li’s publications include ART History of China (chief editor), A History of Guangdong Fine Art, What is History?, Slavery and Resistance – Dialogue Between Science and Art, Mardi Gras on the Left-Hand Shore, Keeping a Philosophical Vigil, The Guangzhounese, A History of Poetry and Thought in Exile, Painting, Calligraphy and Mother Nature, and Incorrect.
24
时间：12月17日
身体与影像之中国经验
地点：西安交通大学 演讲人：赵川
拿起那种西方传来的精致小盒子，中国人
迈向自强的现代社会，在近代试图走过的那条身心改
试图从相机镜头前的“被看”，转身成为“
造之路的大背景。由身体而至心灵的再造，被当成我
看”世界的主体。留在影像上的那许多无
们建设现代国家理想的基础工作。中国的摄影小史，
名者的体态，正透露出我们种种“看”的努
不得不与这个历程纠缠一起。赵川试图从晚清中国人
力……当年鲁迅在日本，观看日本人拍摄的
身体的变革讲起，从中看到这种经验，如何影响到人
时事影片，看到中国人在日俄战争中的屈辱
们去观察、纪录、传播和创作。
身影，这促使他最终放弃了修补国人身体的 医学理想。他年轻的身后，正是中国人为了
关键词：晚清，身体，变革，拍摄
The Body and Photography:
Date: December 17th
the Chinese Experience
Venue: Xi’an Jiaotong University
Picking up a traditional, intricately made
ing people’s bodily complaints. Luxun was part of a
box from the West, a Chinese attempts
larger context that saw the Chinese moving towards
to move from being the subject in front of
a stronger, modern society, by reshaping themselves
the camera lens to being the photographer
both physically and spiritually. This re-sculpting, in
looking out on the subject – the world. The
mind, body and soul, has been seen as a basic com-
many nameless figures in the pictures are a
ponent of the ideal of a modern state. The short his-
poignant symbol of our efforts to step out-
tory of Chinese photography is inseparable from this
side the passive subject role. When Luxun,
larger process. Zhao Chuan will attempt to explore
the father of modern Chinese literature, was
how the changes in the Chinese body from the late
in Japan, he looked at newsreels the Japa-
Qing period and the changing experience he sees
nese produced and saw the humiliation of
within, have influenced perception, documentaries,
the Chinese by the Japanese and Russian
dissemination and artwork.
Speaker: Zhao Chuan
in different wars. He decided to abandon his dream of becoming a doctor and heal-
25
Keywords: late Qing, body, change, take a photo
赵川
作家、艺术批评家、剧场 导演。他是2005年开始 的民间团体“草台班”的 创建及主持者，创作边缘 但社会性极强的当代剧场 作品。他关于艺术的写作在海内外发表和出版，并曾 受邀于包括中国美院、纽约大学、苏黎世艺术大学等 艺术院校授课。
Zhao Chuan Author, art critic, and theatre director. Zhao began his private drama troupe hosting in 2005, producing fringe contemporary drama work that is highly relevant. Zhao’s writings about art have been published in China and abroad. He has been invited to teach classes by the China Academy of Art, New York University, and by Zurich University of the Arts.
26
2000年以来的 中国当代摄影
Contemporary Chinese
时间：12月19日
Date: December 19th
地点：厦门大学
Venue: Xiamen University
演讲人：海杰
Speaker: Hai Jie
本次讲座主要是从2000年之后的中国当代
This lecture will begin with a look at Chinese contempo-
摄影开始，跨入新的世纪之后，正在大步开
rary photography in 2000. After the beginning of the new
始城市化的中国，不但没有从世纪焦虑中走
millennium, the country was gripped by a fast-paced ur-
出，反而是进入了由城市化带来的文化并发
banization drive which not only failed to resolve the woes
症之中，各种问题的产生与遭遇，带给我们
of the previous century but created a slew of issues itself.
的是普遍的洗劫与撞击，这是主要的背景和 线索。同时，2000之后，由于互联网在中国 的迅猛发展，资讯的及时获得与摄影观念过 眼云烟式的补课与更迭，也使得中国摄影在
Photography Since 2000
Disaster and conflict: these are the wider context. At the same time, in the new millennium, with the swift development of the internet, timely access to information and an education in the array of photography concepts, allowed Chinese photography to develop and spread roots within
短时间内出现了目不暇接的视觉长廊，也导
a short space of time, with a magnified cohort effect and
致了代际效应的强化和由此引发的观念裂变
consequent breakdown of ideas that has led to diversity.
和分离，多样性由此出现，并直逼我们的辨
All of this has been a challenge for our analytical and
析与评判能力。无论如何，中国摄影也在这
critical faculties. Nevertheless, Chinese photography has
些时代的印记之中成长，并表态。在这个过
grown under the shadow of such a context and made
程中，中国摄影既紧随西方思潮对自身的问
itself seen. During the process, the art form has, influ-
题做出洞察与呈现，同时，也在这个全球化
enced by Western thought, held itself up to scrutiny, and
的搅拌机里，对自身的文化身份提出疑问和
at the same time has questioned its own cultural identity
警觉，摄影是否存在着文化殖民，或者说，
cautiously in the melting pot of globalization. Is photog-
这种后殖民主义是否就一定能促使我们返回 到内部去发言？这个“内部”经过推土机和 移动终端的交互式体验之后，是否还有迹 可循？
关键词：城市化，文化殖民，多样性
27
raphy a form of cultural colonization? Does this post-colonialism necessarily have to push us to make ourselves heard among our own people? Having braved the double assault of the bulldozer and mobile phone, does ‘our people’ still exist? Keywords: urbanization, cultural colonization, diversity
海杰
独立策展人、影像批评家、作家，山东工艺美术学院客座教授，南方报业传 媒集团《289艺术风尚》杂志主笔。成功策划和运作“不一样的风景”大型 全国巡展、“发现中国新锐摄影师”活动、“自助餐”2014艺术家工作室 开放计划等大型项目。出版有：《照镜子的人——16位中国当代摄影艺术 家访谈录》、《表态——与十四位中国当代摄影艺术家对话》等书。主持微 信公众平台“海杰视界观”。 Hai Jie Independent curator, photography critic, author, and visiting lecturer at the Shandong University of Art & Design, Hai is currently chief commentator at Nanfang Media Group’s 289 Fengshang magazine. He has successfully curated large projects including “A Different View”, a large Chinese exhibition that toured China; the “Discover Emerging Chinese Photographers” event, and “Buffet”, an open project by the 2014 Artists Workshop. Hai Jie sat on the nominating committees for the TOP20-2011 AND TOP20-2013 Emerging Chinese Contemporary Photographer exhibitions. Hai Jie’s publications include: Man in the Mirror – Interviews with 16 Chinese Contemporary Photo Artists; and Declarations: A Conversation with 14 Chinese Contemporary Photo Artists. Hai Jie also has a public account on the messenger platform WeChat: “haijie_photo”
28
关于瑞象馆
About Ray Art Center
瑞象馆成立于2008年，是一家专注于影像艺
The Ray Art Center was founded in 2008. We are a
术的非营利性机构。自成立之时，瑞象馆推
non-profit organization specializing in photographic art.
出了摄影文论网站“瑞象视点”，系列摄影
Since our founding, we have launched a website, www.
论坛“与大师面对面”，以及展览“线索（I,
rayartcenter.org, with articles about photography, a se-
II）” 、“上海祭忆1980s” 、不定期摄影
ries of photography forums: “Face to Face With the Ex-
讲座等各种类型的活动。自2014年起，瑞象 馆拥有了自己的小型展览空间，以及一个更为 独立的“阅读角”；前者是当代摄影实践中一 些严肃的富有实验性的最新成果的展示平台，
perts”, and some exhibitions: “Clues (I, II)” and “Shanghai Remembers the 1980s”. We organize photography lectures and other events as well. Since 2014, Ray Art Center has its own exhibition space and an independent ‘reading corner’. The space is for displaying some of the
而后者则是向摄影家、爱好者以及摄影专业的
more serious, highly experimental examples of contem-
师生们分享瑞象馆所藏的各类摄影画册、史论
porary photography. The reading corner offers photog-
书籍、新旧杂志以及艺术家手工书的场所。
raphers, fans and students of photography the Center’s collection of photography catalogues, history, essays, books and articles, magazines new and old, and books hand-bound by the artists.
瑞象馆开幕展《当真》RayArt Center Opening Exhibition REAL-LY 29
30
【瑞象馆】 “青年影像创作者扶持计划”和“青年摄影评论专项扶持计划” 启动在即
由【瑞象馆】荣誉发起的“青年影像创作扶持计划”将于2015年初正式启动。这个计划旨在扶持、协 助有影像创作梦想的青年摄影师完善、完成自己的作品，并协助其推广自己的作品。
每年度，影像艺术研究和推广机构【瑞象馆】将提供2万元作为创作基金，发放给经过遴选的2－3位28 岁以下的创作者，以资助其完成影像作品。获得资助的优秀作品方案还将得到【瑞象馆】影像学术委员 等知名策展人、评论家的指导。作品完成后，还将有机会发表在“瑞象视点”艺术家专栏，并推荐至其 他摄影机构、国内外摄影节等平台。
另外，【瑞象馆】还为有志于摄影评论事业的青年评论者特设“青年摄影评论专项扶持计划”，鼓励青 年评论者展开深入的摄影研究和评论工作。
活动将于2014年12月在【瑞象馆】网络影像学术志“瑞象视点”上发布，敬请关注。
“瑞象视点”：www.rayartcenter.org
【瑞象馆】新浪微博：@瑞象馆 【瑞象馆】微信公号：rayartcenter
感谢迅销中国在此次活动中给予的全力支持
2014瑞象校园系列讲座 RayChat on Campus 2014
主办： 瑞象馆 Hosted by: Ray Art Center
特别支持： 迅销中国 Sponsored by: Fast Retailing Co., Ltd
高校支持：上海外国语大学、南京大学、北京外国语大学、中山大学、云南大学、浙江大学、重庆大学、复旦大 学、武汉大学、深圳大学、陕西师范大学、厦门大学 Supported by: Shanghai International Studies University, Nanjing University, Beijing Foreign Studies University, Beijing Foreign Studies University, Sun Yat-Sen University, Yunnan University, Zhejiang University, Chongqing University, Fudan University, Wuhan University, Shenzhen University, Shaanxi Normal University, Xiamen University
顾问：顾铮、林路、郭力昕 Advised by: Gu Zheng, Lin Lu, Kuo, Li- Hsin
策划：施瀚涛、沈健文 Planed by: Shi Hantao, Shen Jianwen
设计：罗仲忆、陶蓉 Designed by: Jony Luo, Tao Rong
在本项目的执行过程中，得到了以下个人和机构十分重要的帮助，在此感谢：（按姓氏笔画排序） 王小舟、王婧、邬俊杰、汪民安、刘际东、吕哲、李季、李颖、季芬、陈若晗、钟国华、郭小宁、郭峰、涂险峰、谭佳音 上海外国语大学“思索讲坛”、云南艺术学院、武汉大学文学院、重庆大学团委学生会、厦门琥珀书店 We would like to specially thank to the following individuals and organizations for their great contributions on this project: Wang Xiaozhou, Wang Jing, Li Ji, Li Ying, Wu Junjie, Wang Minan, Ji Fen, Chen Ruohan, Zhong Guohua, Guo Xiaoning, Guo Feng, Tu Xianfeng, Tan Jiayin, Sisuo Forum at SISU, Yunnan Art Academy, Humanities College at Wuhan University, Student Union of Chongqing University, Xiamen Hupo Bookstore.