摘要：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“‘新模拟’：后数字时代下的扩展摄影”“感观的地层”“涟漪：时间、历史与生态的交织”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

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“‘新模拟’：后数字时代下的扩展摄影”“感观的地层”“涟漪：时间、历史与生态的交织”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。本文是展览第二板块：感观的地层的相关内容，在此板块中，策展人何伊宁聚焦影像的物质性回归，通过材料、身体与在地知识的联结，反思算法视觉，重构被数字化掩埋的感知经验，探索摄影在技术与文化层理中的多重可能。

第二板块

Section 2

Strata of Sensi-Visibilities

在当代视觉文化的多重地层中，算法逻辑正塑造出一种被宣称“去物质化”的影像生态：胶片颗粒、暗房化学与手工放大的触觉记忆——这些构成摄影本体经验的材料记忆被逐层覆盖；取而代之的是无处不在的屏幕界面与被算法驯化、标准化的“智能”视觉。“感观的地层”板块借地质剖面的隐喻，意在将被拆离的“材料—身体感知层”与“摄影作为观看机制的文化编码”重新缠合，通过当下艺术家思辨性的创作，穿透算法抛光的视觉表层，唤回被数字化进程深埋的感知经验。

Amid the stratified cascades of contemporary visual culture, algorithmic logics are forging an image ecology proclaimed as “dematerialized.” Film grain, the acrid bloom of darkroom chemistry, the fingertip resistance of manual enlargement—material memories that once anchored photography’s ontological experience—have been steadily overlaid by omnipresent screens and a domesticated, standardized “intelligent” gaze. “Strata of Sensi-Visibilities” adopts the geological cross‑section as organizing metaphor, re-suturing a severed material–bodily perceptual layer to the cultural codings of photography-as-seeing. Through the speculative practices of contemporary artists, it bores beneath the algorithmic sheen to rekindle perceptual deposits compacted by digitization.

在技术图像大规模生产与泛滥流布的语境中，愈多艺术家回到传统摄影工艺、材料实验与装置化展示，探索技术图像与其物质支撑之间的生成性纠缠。这一实践取向与人文与艺术领域近年围绕“新物质性”的讨论与策展实践形成互文（此处“新物质性”指对材料过程、媒介载体、质感与感官呈现被重新凸显的关注，而非哲学层面的 New Materialisms 全套理论）。

Amid the mass proliferation and diffuse circulation of technical images, an increasing number of artists have re-engaged analogue processes, material experimentations, and installation-based display to probe the generative entanglements between technical images and their material supports. This orientation resonates intertextually with recent curatorial and critical invocations of “new materiality” across the humanities and the arts (referring here to denote the renewed accent on process, substrate, tactility, and sensory presentation rather than the comprehensive theoretical edifice of New Materialisms).

“新物质性：当代工艺边界上的数字对话”展览，由福·威尔逊策划，包括富勒工艺博物馆（美国马萨诸塞州布罗克顿）等多地的巡展，2011年6月12日—2012年4月13日

The New Materiality: Digital Dialogues at the Boundaries of Contemporary Craft, Curated by Fo Wilson, Multiple locations including the Fuller Craft Museum (Brockton, MA, USA), June 12th, 2011 - April 13th, 2012

在摄影研究中，正如桑德拉·普拉默、哈里特·里奇斯与邓肯·伍尔德里奇所指出：对如何重新发掘并重新界定摄影那种持续的物质性诉求的关注，正在当代实践中回归。他们将此描述为一种“物质性转向”（materialist turn），即在批判性再激活模拟工艺遗产的同时，突破其既定历史边界，开启指向未来的多重媒介想象。

Within photographic studies, Sandra Plummer, Harriet Riches, and Duncan Wooldridge note that “a concern for how to re-find or redefine photography’s continuing claim to materiality has returned in contemporary practice.” This “materialist turn” critically reactivates analogue legacies while moving beyond their historical constraints to open plural, forward-facing media imaginaries.

《摄影的新物质性？》——桑德拉·普拉默、哈里特·里奇斯与邓肯·伍尔德里奇合著文章，最初发表于《Photoworks》杂志 2012 年 5 月第18期。

Photography’s New Materiality?A collaborative essay by Sandra Plummer, Harriet Riches and Duncan Wooldridge originally published in PhotoworksMagazine, Issue 18, May 2012

“感观的地层”板块以“物质性—在地知识”为策略，聚焦艺术家创作的材料实践、具身技艺与在地感知三者的协同，借此扰动算法视觉的规训，推动感知的去殖民重构与视觉权力地层的拆解。展览重点围绕三个问题展开：如何揭示数字技术与其物质、资源、劳动基础之间被遮蔽的复杂关联，并重新激活被掩埋的影像物质记忆？如何借身体化的模拟工艺与本土材料触觉实验对抗视觉扁平化？如何以物质性感知实践解构历史图像档案中的殖民凝视与话语霸权，重绘视觉权力层理？

Here, a curatorial strategy of “materiality–situated knowledges” aligns three forces: material practices, embodied techniques, situated perception. Together they unsettle algorithmic disciplinary vision, advance a decolonial reconfiguration of perception, and dismantle visual power’s stratigraphy. The exhibition asks: How to expose hidden couplings between digital systems and material / resource / labor substrates, reawakening buried image-material memories? How to counter algorithmic visual flattening through embodied analogue intelligence and locally grounded tactile materials? How to dismantle colonial gazes sedimented in archives and redraw visual power’s strata via material-perceptual practice?

展览中所汇聚的艺术实践，构成了一个“感-观联盟”——它们拒绝将感知简化为视觉消费，转而试图重建影像与身体、记忆、情感之间的有机联系。值得特别指出的是，本板块尤其关注中国和华语艺术家的实践。其创作现场一方面与全球算法影像的生产深度接驳，另一方面又深植于本地历史与 “全球南方”位置相叠合的地缘结构之中。这种双重位置使他们对图像与感知问题产生了独特而深刻的思考。

The artistic practices gathered here constitute a "sensi-visual alliance"—refusing to collapse perception into visual consumption, they re-activate organic relays between image, body, memory, and affect. This section foregrounds Chinese and broader Sinophone artists whose production sites are doubly situated—deeply imbricated in transnational circuits of algorithmic imaging while embedded within geo-historical formations where local trajectories intersect a Global South positionality. Such dual emplacement generates a distinctive analytic of the image and perception.

该板块最终指向一个无法回避的时代追问：在被算法加速与界面平滑“压扁”的视觉地层内，我们能否重新开掘一处更深的第三感知的领域——既不屈从于单一技术范式的抽象速度，也不退守于对模拟的浪漫化神话？正是艺术家通过对材料、工艺与在地知识的再写入，使影像重新获得重量、阻力与温度。他们正在为未来缓慢沉积一套具有更高公正感、多元性与触觉温度的“感-观语法”，并邀请观者作为这一新地层的共同塑造者与长期维护者。

The Section thus advances an unavoidable question: within a visual stratigraphy compressed by algorithmic acceleration and interface smoothness, can a deeper, third perceptual stratum be excavated—one that neither capitulates to the abstract velocity of a singular technological paradigm nor retreats into a romanticized analogue myth? Through the re-inion of material, craft, and situated knowledges, these artists restore to images density, friction, and thermal-affective warmth. They are, slowly yet deliberately, depositing a sensi‑perceptual grammar marked by heightened justice, plurality, and tactile care, inviting viewers to act as co‑shapers and long-term stewards of this emergent layer.

策展人：何伊宁

Curator :He Yining

莉莉·卢莱，《我们的写作工具参与思维的形成，A》,200 x 150 cm，2018，图片承蒙艺术家及Kuckei+Kuckei 画廊（柏林）惠允。©莉莉·卢莱

Lilly Lulay, Our Writing Tools Take Part in The Forming of Our Thoughts, A, 200 x 150 cm，2018，Image courtesy of the artist and Galerie Kuckei+Kuckei, Berlin, © Lilly Lulay

谭英杰，《在世界的外景地》，铝板uv打印，640 x 480 x 330 cm，2022，图片承蒙艺术家惠允 ©谭英杰

Tan Yingjie,On Locations in the World, UV printed on aluminum panel，640 x 480 x 330 cm, 2022，Image courtesy of the artist, © Tan Yingjie

曾繁杨，《东西望》，摄影，尺寸可变，2024。图片承蒙艺术家惠允。©曾繁杨

Sean Cham, Eastern Promise, photography, dimensions variable, 2024, Image courtesy of the artist, © Sean Cham

注：以上作品仅作为文章插图，并非本届三年展展出作品。

关于作者

About the author

研究者、策展人，《浮屿》与《星辉》两种文集的发起人。

A researcher and curator, she is the initiator of two publishing projects: Floating Island and Starlight.

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2020-2021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 which, 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 2021was nominated for the "National Art Museum Excellence Award" (2020-2021) by the Ministry of Culture and Tourism.

来源：两广大地那些事儿