济南国际摄影双年展第三届高校约请展

“微芒成阳”亚太地域高校摄影约请展

—土耳其、新加坡高校

The Third University Invitational Exhibition of

Jinan International Photography Biennale

“Tiny Rays Converge into a Sun ”- Asia-Pacific

University Photography Invitational Exhibition

-Universities in Turkiye and Singapore

艺术总监：曾毅

总策展：张辉、黄荣华(土耳其)、柳银珪(韩国)

学术掌管：姚璐

土耳其高校摄影作品

Photography Works From Turkish Universities

萨班哲大学

在过去的一个世纪和最近的几十年中，由于基于媒体的通讯设备具有强大的视觉基础，视觉曾经渗透到生活的各个方面。因而，萨班哲大学视觉艺术和视觉传达设计 (VAVCD) 项目的任务是让学生深化了解视觉及其在艺术、设计和媒体相关范畴的应用。但是，我们的努力不只仅是了解和应用视野自身。在这方面，我们还寻求将它们与其他创意输出相分离，例如新媒体和艺术输出以及经过我们课程的多样化构建块实施的基于时间的作品。

萨班哲大学采用的跨学科教育措施旨在为“混合”艺术家和设计师的教育提供理想的教育与学习的指南。本专业提供视觉艺术和视觉传播设计两个不同的方向，前者的目的是视觉艺术的教育，后者的目的是培育跨学科的视听传播设计师。

Sabanci University

Over the past century and the recent decades, visuality has become pervasive in all aspects of life due to the proliferation of media-based communication devices with a robust visual basis. Thus the mission of the Visual Art and Visual Communication Design (VAVCD) program at Sabanci University is to provide the student with an in-depth understanding of visuality and its applications to the domains of Art, Design, and Media related fields. However, our efforts go beyond solely understanding and applying the visual fields themselves. In that, we also seek to bring about their integration with other creative output, such as new media and art output and temporally based works implemented through the diversified building blocks of our curriculum.

The interdisciplinary educational approach embraced by Sabanci University aims to provide an ideal breeding ground for the education of the "hybrid" artist and designer. The program offers two different tracks, namely Visual Arts, where the aim is the education of visual arts and Visual Communication Design, where the purpose is the education of interdisciplinary audio-visual communication designers.

黄荣华 Yoong Wah Alex Wong

黄荣华副教授在英国伯恩茅斯大学取得媒体艺术（博士学位），在美国佐治亚州创意职业大学 SCAD 取得计算机动画（MFA），在美国乔治亚大学取得平面设计（BA）马来西亚林国荣大学。自 2003 年 1 月起，他被任职为土耳其伊斯坦布尔萨班哲大学的教员，教授数字建模、计算机动画、数字视频、动态图形和艺术范畴的课程。2006年、2014年和2018年，他取得了萨班哲大学一切院系颁发的毕业班教学奖。2010 年，他取得了萨班哲大学艺术与社会科学学院的教学奖。他游历了 70 多个国度，过去 25 年来不时生动于摄影范畴。自 2005 年以来，他曾经谋划了 32 件展品。他的照片被全球超越 13 个受人尊崇的画廊和博物馆永世珍藏。

《永世循环》

我试图去了解与发现生活中的规律，来表示出特殊的事物与意义。由于人类活动是以不可预测的方式持续中止，因而常规的自由活动是无法权衡的。当一个人试图权衡一个时辰时，它就消逝了。时间是活动的，不完好的。每个人对空间的记忆只能经过个人的想象与含糊性的直觉感去了解。我这么说是由于每次当一个静止图像的恶性循环，其中常规的开端就是终了点。我试图传达这个概念：当一个人经常走在熟习的道路上时，每一秒钟都有从我们的肉眼中溜走与被忽视的时辰。摄影系列展示了相同的概念，但基于一个永世的循环条件，在这个条件下，其中重复的旅程就像一个人在一个恶性循环中重复的游走。这是由于人不只是自然界的居民。他也改动了环境，但是发现自己迷失在他的(环境）创作中。

《Timeless Loop》

I strive to discover the regular daily routine to bring out the extraordinary. The routine free flow can be intense and unmeasurable because human activity continues in unpredictable patterns. When one tries to measure a moment, it is gone. Time is mobile and incomplete. A memory of space can only be comprehended through a vague intuition of the person’s imagination. I am saying this because every time you move away and stand back from the same standpoint, the atmosphere seems different if you notice the unnoticed and continue to discover the undiscovered. It is like one vicious circle of a still image where the beginning of the routine is the ending point. I try to convey the concept of the unnoticed moment that has slipped our naked eyes every second as one regularly travels on the familiar pathway.

The photographic series strike to show the very same concept, yet based on a timeless loop condition where the journey is repeated as if one is travelling in a vicious circle. It is because man is not only a dweller in nature. He also transforms it and sometimes finds himself lost in his creation.

奥伊库·奥纳尔yku nal

伊斯坦布尔艺术家奥伊库·奥纳尔从 2016 年开端接触摄影。当她将镜头对准自己时，摄影就开端转变为一种关系。摄影，她以为是一个对立的范畴，也成为她对理想或没有身份的跟随，找到了自己的位置。当她思索“成为”一个身份和自我不置可否的范畴的重要性时，她的身体成为镜头前的另一种媒介。她往常正在萨班哲大学攻读视觉艺术和视觉传达设计硕士学位，这增加了她以前作为建筑师的背景。

《明显躲藏》

“apak sakl”（英语意义是明显躲藏）是一个照片系列，艺术家在其中触及童年和长大的对立过程，同时有时在缄默中看着悬空和面纱，有时在自由中讪笑这个理想。她质疑自画像中的“自我”。经过长时间的曝光和叠加，奥纳尔试图含糊空间和身体之间的界线，同时拥抱她含糊的身份和存在的动摇。该系列被改编成写真集，将于 2022 年 1 月出版。

《Obviously Hidden》

“apak sakl” (eng. meaning obviously hidden) is a photo series in which the artist touches on a confrontation process of childhood and growing up while sometimes watching suspended and veiled in silence and sometimes mocking this reality in freedom. She questions the “self” in the self-portrait. With long exposures and superimpositions, nal tries to blur the lines between space and body while embracing her obscure identity and fluctuations of being. The series is turned into a photo book to be published in January 2022.

亚瑟敏·比尔金 本吉苏·伊吉特 泽内普·巴夫拉利

Yasemin Bilgin，Bengisu Yiit and Zeynep Bafral

亚瑟敏·比尔金21岁，出生在伊斯坦布尔。她目前是萨班哲大学的大三学生，正在学习视觉艺术和视觉传达设计。她对神话、民间传说、动态图形、动画和插图感兴味。未来，她希望创作出分离自己兴味的作品。

本吉苏·伊吉特24岁，出生在伊斯坦布尔。她目前是萨班哲大学的大三学生，正在学习视觉艺术和视觉传达设计。她对3D建模、动态图形、摄影和动画感兴味。未来，她希望发明3D环境，并用她的想象力赋予它们生命。

泽内普·巴夫拉勒21岁，出生在伊斯坦布尔。她目前是萨班哲大学的大三学生，正在学习视觉艺术和视觉传达设计。她的兴味是戏剧、舞蹈、绘画、表演和数字艺术。仰仗她以为独一绝对谬误的“往常”，她洗砦筅表演艺术的同时专注于实验和瞬间的变更。未来，她希望将表演与数字艺术分离起来，将作品搬上舞台。

《表示》

自然对人类来说是不可或缺的。人类要继续生活，就必须与自然中止良好的对话（调和）。因而，我们不能将人的实质与自然分开来思索。自然是一个包含人类的整体。本着不将它们分开思索的概念，我们将创建一个视频项目，其中自然和人类方式经过视觉平行相互构成。

本世纪的自然观是基于以人为本的结构和亲人类的思想。我们在这个项目中的目的之一是突破人类能够主宰自然的观念，并表明我们只是一个庞大整体的一小部分。

《Embodiment》

Nature is indispensable to humans. For humans to continue their life, they must be in a good dialogue (harmony) with nature. For this reason, we cannot think of human essence separately from nature. Nature is a whole encompassing human. In the light of the concept of not thinking of them separately, we will create a video project in which nature and human forms form each other through visual parallels.

This century's perspective on nature is based on a human-oriented structure and pro-human thinking. One of our aims in this project is to break the perception that humans can dominate nature and show that we are small parts of a vast whole.

泽伊内普·西达尔·凯滕和多加·韦斯特

Zeynep Sdal Keten and Doga Batl

《永世的贝尤格鲁》

伊斯坦布尔是世界上最复杂的城市之一。每个地域和范畴都有可能遇到不同的人。这座城市的复杂性是伊斯坦布尔无独有偶的精髓。这种区别来自于历史的层次，由于伊斯坦布尔是许多不同文化的发源地。这使得伊斯坦布尔地域成为如此共同而重要的中央。贝尤格鲁是这些复杂性依旧深化存在的地域之一，具有近一千年的历史。当我们查看贝尤格鲁的旧照片、视频或纪录片时，我们看到建筑和人物都发作了变更，但实质是一样的。为了展示这种精髓是如何坚持不变并使贝尤格鲁成为永世的，我们去了这个历史长久的街区，在街上拍了很多照片。我们将具有两种不同视角的图像组合在一同，使它们具有高对比度的黑白。我们在看照片时会跟随颜色并用它来导航，但在黑白照片中很难分辨。我们想经过黑白照片来展示贝尤格鲁地域的复杂性，并营造一种被历史层层包抄的拥堵街道的觉得。

《TIMELESS BEYOLU》

Istanbul is one of the most complex cities in the world. It is possible to come across different people in every region and field. The complexity of this city is the essence that makes Istanbul unique. This distinction comes from the layers of history because Istanbul has been the home of many different cultures. This makes the districts of Istanbul such unique and important places. Beyolu is one of these districts where this complexity still exists profoundly, with almost a thousand years of history on its side. When we look at the old photos, videos or documentaries of Beyolu, we see that the architecture and people have changed, but the essence is the same. To show how this essence stayed the same and made Beyolu timeless, we went to this historic district and took various photos in the streets. We combined images with two different perspectives shot and made them high-contrast black and white. We follow colour and navigate with it when looking at a photograph, but it is harder to distinguish in a black and white photograph. We wanted to show the complexity of the Beyolu district by making the photographs black and white and creating the feeling of crowded streets surrounded by layers of history.

科克大学

科克大学媒体和视觉艺术系 (MAVA) 成立于 2010 年，是土耳其排名最高的媒体和传播项目之一。

媒体与视觉艺术系的课程旨在为学生提供多学科的教育，媒体与视觉艺术系将媒体研讨与社会科学和人文科学、交互设计、管文科学和视觉媒体制造（包含动画、平面设计、游戏、电影和摄影）融合在一同。在此过程中，媒体与视觉艺术系旨在为学生提供理论基础、技术和管理技艺，以及对不同方式的媒体和视觉艺术呈现的历史、文化和社会背景的了解。细致来说，每个媒体与视觉艺术系在媒体和传播理论、媒体和营销管理以及视觉传播/艺术方面都树立了共同的基础。为了进一步确保学生接触到普遍的视角和措施，视觉传达/艺术范畴分为动态图像、设计和视觉艺术集群。每个学生都应选择至少两门属于这三个集群中的每一个的课程。完成媒体与视觉艺术系通用中心课程和集群课程后，学生能够选择专攻一个或多个范畴（例如，电影制造、摄影、交互设计）。

Ko University

Established in 2010, the Department of Media and Visual Arts (MAVA) at Ko University is one of the top-ranked media and communication programs in Turkiye.

MAVA’s curriculum aims to provide students with a multidisciplinary education that MAVA fuses media studies with social sciences and humanities, interaction design, management sciences, and visual media production (including animation, graphic design, gaming, film, and photography). In doing so, MAVA aims to equip students with a theoretical foundation, technical and managerial skills, and an understanding of the historical, cultural, and social contexts in which different forms of media and visual arts have emerged. Specifically, each MAVA develops a common foundation in media and communication theory, media and marketing management, and visual communication/arts. To further ensure that students get exposed to a wide range of perspectives and approaches, the visual communication/arts domain is divided into Moving Image, Design, and Visual Arts clusters. Each student is expected to select at least two courses that belong to each of these three clusters. Once the MAVA common core courses and cluster courses are completed, students can choose to specialize in one or more domains (e.g., filmmaking, photography, interaction design).

拉莱珀·艾特克 Laleper Aytek

《消遣乐园》

“假如天底下没有什么新颖事可说，假如每一句话、每一句诗句、每一个故事都被无数次地讲述过，我是哪一声尖叫的回声？哪一片宁静？假如我是死而复生无限次的月亮，从虚空中降生并长大，是一轮跟随海水的明月，我怎样会如此分明地知道远方和结局？

事实上，当我担负得起的时分……是什么打败了我？

这种等候能持续多久？

我还需求多少言语才干来到这个我这不曾幻想过的未来，一个不曾幻想过我的未来?

我（我们）还剩多少时间？”

《Pastime Paradise》

“If there is nothing new left to say under the sky, if every sentence, every verse, every story has been told numerous times, of which scream I am the echo of? Of which quiet? If I were the moon who has died and revived infinite times, born and grow from the void, the moon that trails the ocean water, how would I have known the far-offs and the ends that well?

When in fact I could afford the hell… What was it that defeated me?

For how long this wait can endure?

How many words more needed for me to be born, to a future I haven’t dreamt off, to a future that has not dreamed of me?

How much time do I (we) have left?”

艾斯·努尔·萨吉恩 Ece Nur Saygn

《（不在）这里》

我正在回归我的缄默，我的飓风

往常我身处虚空之中，无人能及

我面对死亡

我认识到我没有活着

我在白天和黑夜之间徘徊，

太阳和月亮，

肉体和灵魂

那么，我在哪里？

我只是[不]在这里

《(not)Here》

I am turning back to my silence, my hurricane

Now I am inside the void, like none

I faced the death

I realize that I am not alive

I stuck between the day and the night,

the sun and the moon,

the body and the soul

So, where am I?

I am just [not]Here

伊斯梅尔（伊佐特）额尔古纳

smail (zot) Ergün

《迷失的灵魂》

自从你落入母亲的子宫以来，你不时在追问答案。你质疑自己，质疑自己的存在，质疑自己到底有多强大。每一天，你都在试图找到答案的出口时愈加迷失。你沉入海底，迷失在海洋中。自从你落入母亲子宫的那一天起，你就在试图找回自己并了解自己存在的过程中迷失了方向。每一个答案都让你愈加迷失，愈加淹没在黑暗中。你从一开端就是一个迷失的灵魂。永远只是一个迷失的灵魂。

《Lost Soul》

Ever since you fell into your mother's womb, you have questioned for an answer. You questioned yourself, your existence, and how much you are, you are. Each day you got even more lost while trying to find the exit with the answers. You sank to the bottom and lost in the oceans. You have been lost while trying to find yourself and make sense of your existence since the day you fell into your mother’s womb.

Every answer has resulted in you getting more lost, more drowned in darkness.

You were a lost soul from the beginning. Never more than a lost soul.

富尔登·德米尔奇 Fulden Demirci

《再次死亡》

走在我灵魂深处的森林里

我凡人的灵魂疲惫不堪

空的,

干涸，

等候死亡，

你的名字让我颠三倒四

我的瞳孔随着你的名字而张开

然后它屈从于黑夜。

我的身体

我的灵魂

我一切的细胞

在生与死之间

等候世界苏醒

《Death-Again》

Walking in the forests inside my own soul

My mortal soul is tired

Empty,

Anhydrous,

Awaiting death,

I am delirious with your name into the skies

My pupils opening with your name

Then it surrenders to the night.

My body

My soul

All my cells

Somewhere between death and life

Waiting for the world to wake up

新加坡高校摄影作品

Photography Works From SingaporeUniversities

拉萨尔艺术学院

拉萨尔艺术学院是新加坡一所公立的高等艺术院校，行将成为艺术大学。美术文凭为全日制课程，为期三年，分为三个阶段，每学年对应一个阶段。它让学生寻觅共同的创作声音，并自信天文解资料的运用和艺术过程，从而在更高的水平上锤炼这些技艺。

该课程旨在引入多元化的学习措施和批判性探求措施，让学生发现、研讨和应用想法来表白自己，为发明性理论提供必要的学问和技术技艺，同时为进一步展开发明性理论奠定坚实的基础。它培育学生的自我深思、独立自主、求知欲强和终身学习才干，并为创意产业的就业做好准备，且具备必要的可转移技艺。

依据课程的细致目的、重点和学习成果，学习和教学措施将恰当均衡授课方式，提供不同类型的专业学问，包含绘画、版画、图画小说、雕塑和基于镜头的艺术。该课程强调跨学科的学习措施，使学生能够在工作展开中发现和树立跨学科措施。

Lasalle College of the Arts

LASALLE College of the Arts is a publicly-funded post-secondary arts institution in Singapore, soon-to-be University of the Arts. The Diploma in Fine Arts is offered as a full-time programme over three years and is divided into three levels, which correspond to each academic year. It allows students to search for a unique creative voice and to understand the use of materials and art processes confidently, so that they can hone in these skills on a higher level.

The programme aims to introduce a diversity of learning methods and critical inquiry approaches, allowing the students to discover, investigate and apply ideas to express themselves, provide the requisite knowledge and technical skills for a creative practice while building a strong foundation to further develop it. It trains the students to be self-reflexive, independent, inquisitive and life-long learners and prepare for employment in the creative industry, equipped with the necessary transferable skills.

Aligned with the specific aims, emphases and learning outcomes of the programme, learning and teaching methods will draw on an appropriate balance of delivery modes, offering different types of expertise, including painting, printmaking, graphic novel, sculpture and lens-based art.The programme emphasises an interdisciplinary approach to learning, which allows the students to discover and establish cross-discipline methodologies in the development of their work.

胡雪萍 Nadia Oh Sueh Peng

胡雪萍是驻新加坡的视觉艺术家。她于 2014 年取得伦敦大学金史密斯学院的艺术硕士学位。

胡雪萍富有诗意和虚无缥缈的艺术作品旨在探求尘世和天国宝藏的概念，灵感来自于自然界中转眼即逝的光影时辰，从典型的新加坡组屋公寓楼的范围内能够看到。她的作品包含平版印刷和水印版画、雕塑、装置和织物上的摄影印刷以及缝合。 胡雪萍曾在新加坡和国际上参与并展出。她目前是新加坡拉萨尔艺术学院麦克纳利美术学院的讲师。

《亲和力》

亲和经过捕获陌生的小路、故乡、飞翔的鸟儿、转眼即逝的光影，勾勒出生命的情愫。在织物上运用摄影印花给回想带来暖和和接近感。这些生动的图像阐明了爱和希望。作品从作为艺术家的旅游回想开端。我以为在陌生的道路上学习和英勇，记住一个人的本源的同时，一个共同的故事曾经产生了。了解自己的不完好和拥抱的美，无疑是盼望知道一个看不见的结果。艺术家实力的标记是在艺术理论过程中追求质量，而不是数量。我开端认识到，孤独关于我们在生活的这片神奇土地上寻觅灵感至关重要。

《Affinity》

Affinity outlines the affections of life through the capturing of unfamiliar paths, the homeland, the soaring birds, and the fleeting moment of lights and shadows.

The use of photographic print on fabric gives warmth and closeness to the memories. These vivid images illustrate both love and hope.

The artwork begins with the memories of journeys as an artist. I think learning and braving the unfamiliar paths while remembering one’s roots have resulted in a unique story.

The beauty of knowing one’s incompleteness and embracing is undoubtedly a desire to know an unseen result. The marks of an artist’s power is to soar high for quality, not quantity is fascinating in the process of art practice. I come to realize that solitude is critical to find inspiration in this magical land we live.

萨莱·贾帕尔 Salleh Japar

萨莱·贾帕尔取得了美术学士学位（科廷大学——西澳大利亚）、艺术教育研讨生（BIAD/UCE——英国）和文学硕士学位（墨尔本皇家墨尔本理工大学）。

他的专业阅历包含在国度博物馆艺术馆（现新加坡美术馆）担任艺术助理策展人和艺术教育家（南洋美术学院和拉萨尔艺术学院）。他是日本工商会（JCCI – 艺术奖）和国度青年委员会、新加坡青年奖（艺术与文化）和新加坡文化基金会奖学金（现国度艺术委员会奖学金）的取得者。

他曾在本地和国际的许多展览、工作坊和艺术驻留项目中中止展示。他的作品被国度美术馆珍藏、法定委员会和私人珍藏。Salleh 的作品通常以多种媒体的分离为特征，以探求思想、身份、历史和传统在后现代艺术创作背景下的融合。他的研讨兴味是东南亚美学；符号、图像和空间结构解读及其对当代艺术理论的影响。

他目前是新加坡拉萨尔艺术学院麦克纳利美术学院的高级讲师。

《黑色》

黑色，由各种颜色混合而成的“一切颜色的总和”，能够说没有光就是对可见光的完整吸收。“黑色”的叙说经过西方消极历史与代表黑暗的联想以及黑暗时期、黑色死亡、黑色艺术、黑色大众、黑色国度、黑色军队、黑色衬衫等历史术语中止了大部分联络，而成语和黑名单、黑色喜剧、黑标、黑市、黑邮件、害群之马等表白方式增加了颜色的消极性。“黑色进入空间”旨在探求黑色个性，以代表一个意志刚强和坚决的性格，其中另一个颜色光谱被视为谦逊、威严、苏醒、失密、权益和权威的颜色，如20世纪60年代末和 70年代盛行的口号“黑色就是美丽”。

《Black》

Black, ‘the sum of all colours’obtained from the mixture of various colours, and it can be said the absence of light is the complete absorption of visible light.

The narrative of‘Black’carried much of it’s association through western history of negativity with association to represent darkness, and historical terms like the dark ages, black death, black arts, black mass, black country, black army, black shirt while idioms and expressions like black list, black comedy, black mark, black market, black mail, black sheep which added the negativity of the colour.

‘Black enters the space’ intends to explore the black personality in representing a strong-willed and determined character in which the other spectrum of the colour where it is seen as the colour of humility, dignity, sobriety, secrecy, power and authority as in the late 1960s and 1970’s popular slogan where ‘Black is Beautiful’.

Affinity outlines the affections of life through the capturing of unfamiliar paths, the homeland, the soaring birds, and the fleeting moment of lights and shadows.

The use of photographic print on fabric gives warmth and closeness to the memories. These vivid images illustrate both love and hope.

The artwork begins with the memories of journeys as an artist. I think learning and braving the unfamiliar paths while remembering one’s roots have resulted in a unique story.

The beauty of knowing one’s incompleteness and embracing is undoubtedly a desire to know an unseen result. The marks of an artist’s power is to soar high for quality, not quantity is fascinating in the process of art practice. I come to realize that solitude is critical to find inspiration in this magical land we live.

埃尔赞·亚当 Erzan Adam

埃尔赞是一位艺术家和美术讲师。他在拉萨尔艺术学院取得美术文凭，并取得优秀学生奖（美术）。他在塔斯马尼亚大学攻读当代艺术学士学位，并取得院长杰出奖。他在拉萨尔艺术学院取得了由开放大学授予的美术硕士学位。他取得了菲利普莫里斯艺术奖；成为代表新加坡参与在韩国首尔举行的 2000 年诺基亚艺术奖的决赛选手之一；2001 年取得大华银行年度绘画奖；以及2006年吴作栋青年承诺奖。多年来，他以艺术家、策展人或顾问的身份参与了许多展览。他的兴味在于探求关于一个人存在的想法和一个人的身份构成的自我概念。前者从灵性和来世调查自己的存在，后者是关于培育与他人和世俗的关系。

《旅游者之眼》

我们很难完整观赏到我们环境视觉的平凡现象。眼睛习气了我们曾经熟习的平常现象，使它们变得毫无生气。使死气沉沉的现象恢复生力的最佳措施之一就是旅游。一旦我们表演了旅游者的角色，我们的觉得就会变得愈加新颖和敏锐。

培育好的旅游者的质量也培育了好的游记。它是对发现和观赏其他文化、人、景色、工艺品和食物的猎奇心。

在旅游中，简直随处可见全景和人文景观，能够置办明信片作为旅游的意味性留念品。关于喜欢冒险的旅游者来说，他们会从自己拍摄的照片中探求并取得满足感。发现景色如画的可能性的才干和等候特定场景展开的耐烦，无论是有意还是无意，小细节都很重要。这不只仅是关于图片，还可能有随之而来的故事。

这个系列是我在 2011 年去越南老街旅游时拍摄的。

《The Traveller's eye》

It is hard to fully appreciate our environment's visually mundane view. The eyes become accustomed to the usual sights we have grown familiar with, making them lifeless. One of the best ways to rejuvenate the lifeless sight is to travel. Once we assume the role of a traveller, our sense seems fresher and sharper.

The qualities that make a good traveller also make a good travelogue. It is the curiosity about discovering and appreciating other cultures, people, scenic landscapes, crafts and foods.

Panoramic views and cultural scenes can be found almost everywhere during travelling, and one can just buy picture postcards as a token souvenir of the travel. For an adventurous traveller will explore and get satisfaction from the picture taken by themself. The ability to spot picturesque possibilities and the patience to wait for a particular scene to unfold, whether intentional or accidental the small details matter. It is not just about the picture but the story that may come with them.

This series was taken during my trip to Lào Cai, Vietnam, in 2011.

萨拉·娜塔莎·哈克 Sara Natasha Haque

萨拉·娜塔莎目前是拉萨尔艺术学院美术系的学生。主修绘画，但目前正在尝试纺织品和时兴，以尝试将其融入她的艺术作品中。 萨拉运用各种艺术方式，从干湿介质到雕塑和纺织品。她还从事电影和摄影方面的工作。萨拉的艺术理论盘绕着不同寻常的感知和角度的整体理念。Sara 的灵感来自她周围的人和中央以及她的日常旅游。与人眼能够感知的理想相比，她喜欢将正常的日常视图看起来与理想有些脱节。萨拉目前正在练习如何将纺织品融入她的主要艺术方式，并尝试探求有机资料以及如何发明她自己的纺织品。

《光的速度》

我永远无法控制光的概念，以及它是如何与时间相比较的。光怎样能和距离有相同的术语呢？真空中的光速称为 c，是物理学中的物理常数。20岁是成年开端的成熟年龄，我们被等候着忽然将我们的生活分离在一同，我也觉得我是一个被困在真空中的物理常数，我周围的一切和每个人都在不时运动，除了我自己。当每一天都开端觉得像一个无休止的循环。这是我的人生巅峰吗？运用老式数码相机拍摄的照片描画了一种视觉，由于我们人类的快速反响，我们的眼睛无法感知。由于相机速度如此之快，它能够捕获到与我的相机运动相对应的过度曝光的光线。

《Speed of Light》

I was never able to grasp the concept of light and how it was used in comparison to time. How could light share the same term as distance? The speed of light in vacuum known as c, is a physical constant in physics.

Being 20, the ripe age of which adulthood begins and we are expected to suddenly get our life together, I too, feel like i am a physical constant stuck in a vacuum where everything and everyone around me is in constant motion except myself. When everyday starts feeling like an endless loop. Is this my prime of life?

Taking images with an old digital camera of lights in motion depicts a visual our eyes are unable to perceive due to our quick human reaction. With the camera being so fast, it was able to capture the overexposed lights corresponding to my movements of the camera.

亚历山德拉·陈立平

Alexandra Chin Li Ping

亚历山德拉·陈目前是拉萨尔艺术学院美术系的学生。他们还曾就读于伦敦大学金史密斯学院，在那里他们完成了 2017-2018 年的美术预科课程，以及旧金山艺术学院，在那里他们完成了 2016 年的大学预科课程，参与暑期课程实验电影和装置。2016年，她们取得了新加坡华文女子学校的艺术学术奖。 作为 2020 年射击之家青年奖的最终展览的一部分，他们在新加坡Objectifs展出了他们的作品，2019 年在伦敦的萨里大厦，2018 年在伦敦大学金史密斯学院的预科工作室，在“成分”，一个2016 年在新加坡视觉艺术中心、旧金山艺术学院画廊和电影院以及 2016 年在旧金山艺术学院的Diego Rivera画廊举行了展览。他们为T:>Works拍摄了照片，最终构成了数字2020 年《 不平凡的女人节》的展览，以及 2018 年香巴拉音乐节的巡回电影院《失落的图片展示》。

《与时间对话》

亚历山德拉·陈是一位多学科艺术家，其理论盘绕着绘制工艺与生活之间的联络。发掘潜认识企图并在有认识的行动中表示出来是他们过程的一部分。从自然能量中吸取灵感并与媒介共舞以建造反射的殿堂，是他们创作的方式。他们从慌张的时期和日常生活中吸取灵感。他们观赏艺术的治疗质量，并用它来坚持自己的表白。手工艺是他们经过思想和灵魂的笼统来完成他们的企图的一种方式。他们的作品旨在像罗夏检验一样阅读，或者觉得就像一首歌。他们最真实的艺术方式来自于自发的灵感爆发，但他们目前正在尝试在创作前放慢速度和思索。过去，他们在灵感的传送过程中捕获到了灵感的肉体，但他们往常正在努力经过冥想来培育灵感的肉体。他们明白灵感的肉体来源于内心，固然能够被外力唤醒，但他们正试图了解如何应用自己的内在力气来唤醒灵魂。

《Dialogue With Time》

Alexandra Chin is a multi-disciplinary artist whose practice revolves around drawing connections between craft and life. Tapping into subconscious intention and manifesting it in conscious action is part of their process. Drawing from natural energies and dancing with mediums to build temples of reflection is how they approach creating. They draw inspiration from both intense periods and day to day life. They appreciate the therapeutic qualities of art, and also use it to assert their expression. Crafting is a way they rake through the abstraction of the mind and soul and realise their intention. Their pieces are meant to be read like Rorschach tests, or felt like a song.

The truest form of their art arrives in spontaneous bursts of inspiration, yet they are currently experimenting with slowing down and contemplating before creating. They have, in the past, captured the spirit of inspiration as it passes through, yet they are now working on cultivating the spirit of inspiration through meditation. They understand that the spirit of inspiration arises from within, and though able to be roused by external forces, they are attempting to understand how to harness their inner forces to awaken the spirit.

金久里 Gyuri Kim

南洋理工大学

新加坡南洋理工大学艺术、设计和媒体学院 (NTU ADM) 是新加坡第一所综合性艺术学校，已成为新加坡艺术、设计和媒体高等教育的创意中心之一。艺术、设计和媒体学院在跨学科学习环境中提供共同的艺术和设计教育体验。艺术、设计和媒体学院在综合性大学环境中提供基于工作室的专业教育，为学生提供开发和制造突破性艺术品和相关学术活动所需的学问和技艺。

艺术、设计和媒体学院提供两个美术学士 (BFA) 学位课程 - 设计艺术和媒体艺术，都鼓舞学生研讨多个学科，以便他们为媒体和设计行业的融合做好更好的准备。艺术、设计和媒体学院得到来自全球各地富有启示性和敬业肉体的教员的支持，融合了西方和东方的艺术、设计和媒体教育措施；并在艺术、设计和媒体学院内提供基于工作室的学习环境，并在南洋理工大学内提供跨学科研讨的可能性。从艺术、设计和媒体学院毕业的学生所具有的学问和技艺将使他们在未来成为胜利的艺术家和设计师。

除了 BFA 课程之外，艺术、设计和媒体学院还具有越来越多的研讨生研讨人员和从业人员，他们从事一系列的硕士和博士课程。

Nanyang Technological University

The NTU School of Art, Design and Media (NTU ADM) is Singapore's first comprehensive art school and has established itself as one of Singapore's creative centres for tertiary education in art, design and media. ADM offers a unique experience in art and design education within an interdisciplinary learning environment. ADM offers a studio based professional education in a comprehensive university setting, providing students with the knowledge and skills required to develop and produce ground-breaking artworks and related scholarly activity.

ADM offers two Bachelor of Fine Arts (BFA) degree programmes - Design Art and Media Art, both which encourages its students to investigate multiple disciplines, so they are better prepared for the convergence of Media and Design industries. Supported by inspiring and dedicated faculty from across the globe, ADM blends Western and Eastern approaches to art, design and media education; and provides a studio-based learning environment within ADM and possibilities for interdisciplinary studies within NTU. Students graduate from ADM with the knowledge and skills that will make them successful artists and designers in the future.

Beyond the BFA programme, ADM also has a growing community of postgraduate researchers and practitioners engaged in a range of MA and PhD courses.

吴顺华 Oh Soonhwa

吴顺华是一位摄影师、策展人和摄影讲师。她的摄影文章触及性别认同、社会和环境问题。在《峻峭的价钱》中，她讨论了全球化对印度瓦拉纳西穆斯林织工生活的影响。在改动的食物链中，她记载了由人类活动和气候变更惹起的湄公河沿岸环境变更。她的照片已在近 80 场国际展览中展出，仅举几例，新加坡私人博物馆和亚洲文化博物馆、荷兰诺德利赫特摄影节、意大利卢卡摄影节、中国平遥国际摄影节、伦敦国度肖像画廊、休斯顿摄影节、Pochon 双年展和苏富比国际青年艺术计划。她是俄亥俄州艺术委员会奖学金、韩国艺术委员会奖学金、亚伦·西斯金德留念奖学金和分离国教科文组织-阿施伯格助学金的取得者。目前，她是新加坡南洋理工大学艺术、设计与媒体学院的副教授。

《宁静的梦》

这一系列照片是在湄公河三角洲地域拍摄的，是摄影师和这些年轻女性之间的协作成果。该项目并没有聚焦于促使这些年轻女性出国的艰苦，而是旨在强调她们打算留下的美好，包含她们的环境、景色、家庭、朋友，换言之，与她们一同长大的任何中央，这些都是他们身份的一部分。留下的是已知的，他们前往的中央构成了未知，从气候和景色到言语、文化和人民，一切都会不同。

《Quiet Dream》

This series of photographs was developed in the Mekong Delta area and constitutes a collaborative effort between the photographer and these young women. Instead of focusing on the hardships that push these young women to seek expatriation, the project aims at emphasizing the beauty of what they intend to leave behind, which includes their environment, the landscapes, their family, their friends, in other words, people and places with which with they have grown up and which form part of their identity. What is left behind is the known and where they head constitutes the unknown, places where everything will be different, from the climate and landscapes to the language, culture, and people.

洪宋年 Ang Song Nian

《随着他们变老变聪明》

反映自然的商品化——量身定制和大范围消费，随着年龄和聪慧的增长，它着眼于人类对支配自然的贪婪愿望。该系列将我们带入人为控制的景观，以及经过盆栽构建诱导自然环境的可能性极限。

《As They Grow Older And Wiser》

Reflecting the commodification of nature – tailored and mass produced, As They Grow Older And Wiser looks at Man’s voracious appetite for manipulating nature into crafted delusional landscaping. The series leads us into human-controlled landscapes and the limits of possibilities to the construction of an induced natural environment through potted plants.

陈嘉俊 Chuen Kah Jun

《请不要说你爱我》

这个系列作品讨论了初恋、愿望或吸收力的概念。它的中心是自我发现的斗争和对初体验的描画。任何人的第一次都可能令人生畏并且充溢不肯定性。但是，对密切的盼望和对改动的盼望给了我们脆弱的自信。但是，正是我们让自己阅历的这种脆弱性剥夺了我们想要的东西。这种联络固化并变成理想的想法成为一种可怕的前景，致使于我们选择逃离。《请不要说你爱我》在实质上阐明了，有时分，我们最大的盼望和恐惧同时是爱和被爱。

《Please Don't Say You Love Me》

This series explores the notions of first love, lust or attraction. At its core, it is a struggle of self-discovery and an account of first experiences. The first time for anyone can be daunting and filled with uncertainty. However, the yearning for intimacy and desire for change gives us the confidence to be vulnerable. Yet, it is this vulnerability we put ourselves through that strip us from what we want. The idea of this connection solidifying and turning into something so real becomes a terrifying prospect, so much that we choose to run away. Please don’t say you love me essentially illustrates that sometimes, our greatest desire and fear, simultaneously, is to love and be loved.

努尔·伊扎蒂 Nur Izzati

《无效的婚姻》

无效婚姻系列展示了一场典型的马来人婚礼的仪式。

“ 证婚”是伊斯兰教习俗中强迫性的庄严仪式，意义是把新娘交给新郎。在古兰经中发现的阿拉伯语单词nikah被翻译成婚姻的承诺。作为新加坡的一名穆斯林，由于马来社区的影响，人们可能会在义务和休闲方面面临复杂的问题。马来文化和伊斯兰教的宗教信仰在几代人之间的抵触构成了社会压力和对婚礼应该如何举行的希冀。

《An Invalid Marriage》

An Invalid Marriage series demonstrates glimpses of rituals carried out in a typical Malay wedding.

"Akad Nikah" is a solemnisation ceremony mandatory in Islamic practice, meaning to hand the bride away. The Arabic word nikah found in the Quran alone translates to the commitment of marriage. As a Muslim in Singapore, one may face complications regarding what is obligatory and leisure due to the Malay community's influence. The clash of the Malay culture and religious beliefs in Islam over generations has caused societal pressure and expectations set for how a wedding is supposed to be.

谭莱文 Tan Lay Wen

《曾戈》

这组作品是一系列连续的图像，描画了与人类状况平行的不同开端和终了。我的灵感来自日本的暗示美学——幽玄，它在事物的开端和终了中找到了价值。与圆满不同，圆满这一看似牢不可破的境地，开端暗示着未来，结局暗示着过去，为想象和可能性留下空间。我开端看到过去我对圆满的天生盼望，相反，在高潮前后的不完好和不圆满中，还有更多的意义、价值和美丽。遵照手风琴书的规划，该照片系列旨在按次第以二进制方式查看。

《Zengo》

This body of work is a sequential series of images depicting different beginnings and endings parallel to the human condition. I was inspired by the Japanese aesthetic of suggestion – Yūgen, which finds value in the beginning and end of things. Unlike perfection, a seemingly impregnable realm, beginnings suggest what is to come and endings suggest what has been, leaving room for the imagination and possibilities. I began to see past my innate desires for perfection, but rather, there is more meaning, value, and beauty, in the incompleteness and imperfection before and after the climax. Following an accordion book layout, this photo series is meant to be viewed sequentially and in binary.

泰易玲 Tay Yiling

《小生命》

《小生命》是一种调和美丽与内心斗争的探求性尝试。摄影成为描画世界和表白无言的密切伎俩；每个图像都是潜认识的片段，嵌入到生活景色的角落里。

经过对人类阅历和自我的视觉反省，这个系列希望能够经过一切的元素，脆弱的美来了解世界。

《A Little Life》

A Little Life is an explorative attempt to reconcile beauty and inner struggle. Photography becomes an intimate means of charting the world and expressing what is unspoken; every image a fragment of the subconscious, embedded into corners of lived-in landscapes.

Through visual ruminations of the human experience and the self, this series hopes to make sense of the world in all its elemental, fragile beauty.

济南国际摄影双年展第三届高校约请展“微芒成阳-亚太地域高校摄影约请展”

美国参展院校：旧金山艺术大学

澳大利亚参展院校：昆士兰艺术学院

日本参展院校：大阪艺术大学、东京造形大学、日本九州产业大学

韩国参展院校：中央大学、弘益大学、中部大学、大邱艺术大学、韩国放送艺术教育学院

土耳其参展院校：萨班哲大学、科克大学

新加坡参展院校：拉萨尔艺术学院、南洋理工大学

马来西亚参展院校：拉曼大学学院

泰国参展院校：兰实大学

印度尼西亚参展院校：印尼日惹艺术学院

中国台湾地域参展院校：明道大学

中国参展院校：北京印刷学院、湖北美术学院、黄河科技学院、鲁迅美术学院、南京艺术学院、清华大学美术学院、山东工艺美术学院、上海工程技术大学、上海美术学院、上海师范大学、上海视觉艺术学院、四川美术学院、天津美术学院、西安理工大学、西安美术学院、西安欧亚学院、浙江传媒学院、中国美术学院、中央美术学院

主办单位： 中国济南国际摄影双年展组委会

指导单位：中国摄影家协会教育委员会、 中国高等教育学会摄影专业委员会

承办单位：西安理工大学艺术与设计学院 、山东工艺美术学院

媒体支持： 《中国摄影家》杂志、中国摄影网

艺术总监：曾毅

总策展：张辉、黄荣华 (土耳其 )、柳银珪(韩国)

学术掌管：姚璐

分离策展人

Agatha Bunanta (印度尼西亚 )、Ampannee Satoh(泰国)、Ang Song Nian(新加坡)、敖国兴、白晓丹、戴菲、邓岩、董钧、Eiffel Chong(马来西亚)、Erzan Adam(新加坡)、胡晓阳、吉川直哉(日本)、贾方、矫健、Lachlan Gardiner(澳大利亚)、Laleper Aytek(土耳其)、李小舟、林简娇、刘阳、Nadia Oh Sueh Peng(新加坡)、Oh Soon-Hwa(韩国)、Salleh Japar(新加坡)、沈洁、史民峰、Tan Tay Guan (马来西亚)、Ugrid Jomyin(泰国)、王培蓓、王帅、杨赫、姚璐、张朴、张省会、中里和人(日本)

艺术委员会

鲍昆、百濑俊哉(日本)、曹珽、顾铮、方肃、胡钢锋、李树峰、林路、计卫舸、宿志刚、王保国、王川、王传东、武小川、谢爱军、徐国武、阳丽君、张成义、张希红、钟建明

执行委员会

执行策展人：张一天、高帆

展场设计：吕梦星

微信推行：胡敏瑞、吕梦星、赵懿平

视频拍摄：王天俊、王登轩

英文翻译：张心睿、常永鑫

展览时间：2022年10月25日-11月20日

展览地点：山东工艺美术学院美术馆

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