艺术头条 
雅昌拍卖图录 
建造幻像
“在不到两个世纪的时间里，城市已从‘特殊’之处变成全球社会生活最主要的场景。”—— 斯科特·麦夸尔
“影像占据了空间，甚至所有的空间；它膨胀，流通，它自由，飞翔，它不可阻挡。”—— 雷吉斯·德布雷
18世纪末人类世的开启推动着城市主义的快速进程，在短暂的时间内城市达到了过去无法想象的尺度与规模，新的城市生活形态也因此诞生：更多样复杂的文化与社区，跨越城际或国界的快速移动，基于新技术的管理与规划手段，从无度扩张到寻求可持续发展的整体转向......影像媒介也在技术发展的推动下在城市空间内不断扩张，从模拟摄影到数码摄影，从智能手机、社交媒体到无处不在的LED屏幕。在城市主义与影像生产同时过载的当下，影像与城市间的关系正在被重新塑造。
“建造幻像”展览旨在将城市与影像间不断转化、发展的关系置于多声部的历史情境中被考量。不同来源的公共领域档案资料勾勒出一条在历史中行走的捷径：从早期摄影实践者们对城市的采样式记录，到查尔斯·马维尔在奥斯曼时期拍摄的巴黎城市改造档案，到全景、航拍等因技术所赋予人们的新观看视角，再到“终极城市影像数据库”街景地图服务，而面对着前所未有庞大数字数据库的人们开始挪用、解构和对抗影像档案，并以更为开放、多元的手段用影像参与塑造对城市空间的想象。这一带有进步主义的路径又在空间中被一分为二：那捕捉下原初城市影像的日光蚀刻法照片与殖民了日常城市时空的数字影像相互对照着，领出身后种种视觉线索，牵引着当代影像作品落入与档案相互照应的对位之中。
在其中穿梭的我们不难得出二元主义的种种论述。即似乎有一种影像作为工具或档案不断捕捉城市的肌理，在技术的推动下最终成为方便统治的手段，或沦为展现技术绩效指标的视觉证据，生产出无处可觅寻“人”之踪迹的巨大数据；而另一种作为艺术实践的城市影像，则大力挥别都市主义，拥抱个体价值，试图去创造一个新的想象城市空间，“人”在其中能得到对抗城市巨大存在的可能性。即似乎有一种影像基于物质性的载体，折射城市的现实并埋入种种虚构成分，建造关于城市的种种幻像；而另一种基于非物质性载体的影像，则建造起城市的幻像，以折射关于城市的想象并埋入种种现实。即似乎有一种观看城市的目光是私人化、诗意、独断专行的；而另一种则是更为包容、开放、基于共同协作的。被并置的矛盾叙事不断覆盖、迎合或抵消彼此，最终为观众搭建一座不断自反的历史模型。
在当代治理与对抗行动主义的接触区间，幻像间不断震荡，重叠交错出新的幻像。我们能看到一扇望向城市的窗，或无数望向未知之地的屏幕，一条踏着虚实交际边界的步径，沿途是本应永远无法相遇的人与人、社区与社区，城市不断折叠成为包含了过去、现在与未来的抽象蓝图，而一座公寓作为关于照相机的终极空间比喻，坐落在幻像的正中央。
Building Illusions
"In less than two centuries cities have shifted from being exceptional locales to become the globally dominant setting for social life."— Scott McQuire
"An ensemble of images fills space, all spaces, dilates and circulates, freed from conventionalized use or function."— Regis Debray
The start of the Anthropocene at the end of the 18th century spurred rapid urbanization. Cities swiftly grew at a scale that had been unimaginable in the past, radically changing urban life in un-precedented ways. Denizens witnessed the birth of diverse communities and cultures, increased mobility between cities and across national boundaries, and the development of management and planning measures based on new technologies. This major shift marked a complete turn from exces-sive expansion to sustainable development. Visual mediums similarly took on more expansive roles in urban life and space due to technological advances facilitating the emergence of tools like analog and later digital photography, along with smartphones, social media, and the ubiquitous LED screen. The constant production of an excess of images, together with changes in urbanism have re-shaped the relationship between photography and cities.
The exhibition "Building Illusions" examines the continuously transforming and evolving relation-ship between cities and photography within multiple historical contexts. Public domain archival ma-terials from a range of different sources offer one possible path through this geographically and di-verse set of histories. It begins with notes for early urban photographers' photo samples, then con-tinues with Charles Marville's photographs documenting Haussmann's renovation of Paris, before moving onto advances in panoramic and aerial photography that provided humanity with new visual perspectives, and finally ending with the "ultimate urban photo database": Street View application. Users have misappropriated, deconstructed, and subverted the original function of this unprece-dented and massive digital database, using these images instead in open and diverse ways in order to mold conceptions around urban space for themselves. This progressive path is again divided into two in the exhibition: heliography emblematic of early urban photography is juxtaposed with digital photography that dominates urban time and space. The archival materials on view offer a series of visual clues for the viewer to draw linkages between these historical records and the contemporary works sharing the same space.
Visitors walking through the show may discover a thematic dichotomy. One presents photography as a tool for capturing a city's spatial qualities. Joined with new technologies, some archival photo-graphs have been instrumentalized as a means of control. Others have been reduced to visual evi-dence for the efficacy of certain technologies that produce massive amounts of data erasing any trace of humanity. The other thorough line focuses on urban photography made by artists eager to turn away from the tenets of urbanism, and in turn embrace subjectivity in their artistic practices. Their work attempts to visualize urban spaces where it is possible to resist the totalizing reach of the city. The first theme seems to be centered on photography dependent on material intermediaries, refracting the lived reality of urban life, and eliminating fictional elements in order to construct an illusion of the city. The second theme is dependent on immaterial actors when constructing this illu-sion, refracting imagined ideas of it in order to obscure reality. The former is an individualized and poeticized way of looking at a city. The latter is more inclusive and open, and is reliant on collectivi-ty and collaboration. The juxtaposed contradictory set of narratives move between overshadowing, accommodating, and offsetting one other, constructing a self-reflexive historical model for the au-dience.
New overlapping and interwoven illusions emerge in the space where contemporary governance and the counter-reactionary turn meet. We can see through the windows that frame our cities, or on countless screens that offer glimpses at unknown places a path that treads the boundary between imagined and real exchange. Along this path there are people and communities who were never supposed to meet. The city is perpetually folded into an abstract blueprint that encompasses the past, present, and future. Located at the center of this illusion, the apartment has become the arche-typal spatial metaphor for the camera.
“在不到两个世纪的时间里，城市已从‘特殊’之处变成全球社会生活最主要的场景。”—— 斯科特·麦夸尔
“影像占据了空间，甚至所有的空间；它膨胀，流通，它自由，飞翔，它不可阻挡。”—— 雷吉斯·德布雷
18世纪末人类世的开启推动着城市主义的快速进程，在短暂的时间内城市达到了过去无法想象的尺度与规模，新的城市生活形态也因此诞生：更多样复杂的文化与社区，跨越城际或国界的快速移动，基于新技术的管理与规划手段，从无度扩张到寻求可持续发展的整体转向......影像媒介也在技术发展的推动下在城市空间内不断扩张，从模拟摄影到数码摄影，从智能手机、社交媒体到无处不在的LED屏幕。在城市主义与影像生产同时过载的当下，影像与城市间的关系正在被重新塑造。
“建造幻像”展览旨在将城市与影像间不断转化、发展的关系置于多声部的历史情境中被考量。不同来源的公共领域档案资料勾勒出一条在历史中行走的捷径：从早期摄影实践者们对城市的采样式记录，到查尔斯·马维尔在奥斯曼时期拍摄的巴黎城市改造档案，到全景、航拍等因技术所赋予人们的新观看视角，再到“终极城市影像数据库”街景地图服务，而面对着前所未有庞大数字数据库的人们开始挪用、解构和对抗影像档案，并以更为开放、多元的手段用影像参与塑造对城市空间的想象。这一带有进步主义的路径又在空间中被一分为二：那捕捉下原初城市影像的日光蚀刻法照片与殖民了日常城市时空的数字影像相互对照着，领出身后种种视觉线索，牵引着当代影像作品落入与档案相互照应的对位之中。
在其中穿梭的我们不难得出二元主义的种种论述。即似乎有一种影像作为工具或档案不断捕捉城市的肌理，在技术的推动下最终成为方便统治的手段，或沦为展现技术绩效指标的视觉证据，生产出无处可觅寻“人”之踪迹的巨大数据；而另一种作为艺术实践的城市影像，则大力挥别都市主义，拥抱个体价值，试图去创造一个新的想象城市空间，“人”在其中能得到对抗城市巨大存在的可能性。即似乎有一种影像基于物质性的载体，折射城市的现实并埋入种种虚构成分，建造关于城市的种种幻像；而另一种基于非物质性载体的影像，则建造起城市的幻像，以折射关于城市的想象并埋入种种现实。即似乎有一种观看城市的目光是私人化、诗意、独断专行的；而另一种则是更为包容、开放、基于共同协作的。被并置的矛盾叙事不断覆盖、迎合或抵消彼此，最终为观众搭建一座不断自反的历史模型。
在当代治理与对抗行动主义的接触区间，幻像间不断震荡，重叠交错出新的幻像。我们能看到一扇望向城市的窗，或无数望向未知之地的屏幕，一条踏着虚实交际边界的步径，沿途是本应永远无法相遇的人与人、社区与社区，城市不断折叠成为包含了过去、现在与未来的抽象蓝图，而一座公寓作为关于照相机的终极空间比喻，坐落在幻像的正中央。
Building Illusions
"In less than two centuries cities have shifted from being exceptional locales to become the globally dominant setting for social life."— Scott McQuire
"An ensemble of images fills space, all spaces, dilates and circulates, freed from conventionalized use or function."— Regis Debray
The start of the Anthropocene at the end of the 18th century spurred rapid urbanization. Cities swiftly grew at a scale that had been unimaginable in the past, radically changing urban life in un-precedented ways. Denizens witnessed the birth of diverse communities and cultures, increased mobility between cities and across national boundaries, and the development of management and planning measures based on new technologies. This major shift marked a complete turn from exces-sive expansion to sustainable development. Visual mediums similarly took on more expansive roles in urban life and space due to technological advances facilitating the emergence of tools like analog and later digital photography, along with smartphones, social media, and the ubiquitous LED screen. The constant production of an excess of images, together with changes in urbanism have re-shaped the relationship between photography and cities.
The exhibition "Building Illusions" examines the continuously transforming and evolving relation-ship between cities and photography within multiple historical contexts. Public domain archival ma-terials from a range of different sources offer one possible path through this geographically and di-verse set of histories. It begins with notes for early urban photographers' photo samples, then con-tinues with Charles Marville's photographs documenting Haussmann's renovation of Paris, before moving onto advances in panoramic and aerial photography that provided humanity with new visual perspectives, and finally ending with the "ultimate urban photo database": Street View application. Users have misappropriated, deconstructed, and subverted the original function of this unprece-dented and massive digital database, using these images instead in open and diverse ways in order to mold conceptions around urban space for themselves. This progressive path is again divided into two in the exhibition: heliography emblematic of early urban photography is juxtaposed with digital photography that dominates urban time and space. The archival materials on view offer a series of visual clues for the viewer to draw linkages between these historical records and the contemporary works sharing the same space.
Visitors walking through the show may discover a thematic dichotomy. One presents photography as a tool for capturing a city's spatial qualities. Joined with new technologies, some archival photo-graphs have been instrumentalized as a means of control. Others have been reduced to visual evi-dence for the efficacy of certain technologies that produce massive amounts of data erasing any trace of humanity. The other thorough line focuses on urban photography made by artists eager to turn away from the tenets of urbanism, and in turn embrace subjectivity in their artistic practices. Their work attempts to visualize urban spaces where it is possible to resist the totalizing reach of the city. The first theme seems to be centered on photography dependent on material intermediaries, refracting the lived reality of urban life, and eliminating fictional elements in order to construct an illusion of the city. The second theme is dependent on immaterial actors when constructing this illu-sion, refracting imagined ideas of it in order to obscure reality. The former is an individualized and poeticized way of looking at a city. The latter is more inclusive and open, and is reliant on collectivi-ty and collaboration. The juxtaposed contradictory set of narratives move between overshadowing, accommodating, and offsetting one other, constructing a self-reflexive historical model for the au-dience.
New overlapping and interwoven illusions emerge in the space where contemporary governance and the counter-reactionary turn meet. We can see through the windows that frame our cities, or on countless screens that offer glimpses at unknown places a path that treads the boundary between imagined and real exchange. Along this path there are people and communities who were never supposed to meet. The city is perpetually folded into an abstract blueprint that encompasses the past, present, and future. Located at the center of this illusion, the apartment has become the arche-typal spatial metaphor for the camera.
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策展人
段煜婷
胡若灏
胡若灏
主办单位
三联生活传媒有限公司
协办单位
成都传媒集团
成都当代影像馆
成都当代影像馆
承办单位
连州国际摄影年展
展览备注
鸣谢：成都市金牛区人民政府、瑞士文化基金会上海办公室
展览日期：周二至周日10:00-18:00（17:00停止入场）周一闭馆（国家法定节假日除外）
展览地点：成都当代影像馆下沉广场及B厅
参展艺术家：纳迪姆·阿斯法、米提·朗克里提亚、杨圆圆、科琳娜·薇欧奈、克劳迪娅·贾瓜里贝、鸟头、帕布罗·洛佩兹·鲁兹、迈克尔·沃尔夫、理查德·维根、库尔特·卡维佐&苏黎世应用科技大学、环形国度、蔡旻皓、欧宁&曹斐、孩子们是对的(博尔哈·拉隆多 + 迭戈·桑切斯)、郭廖辉建筑工作室
展览日期：周二至周日10:00-18:00（17:00停止入场）周一闭馆（国家法定节假日除外）
展览地点：成都当代影像馆下沉广场及B厅
参展艺术家：纳迪姆·阿斯法、米提·朗克里提亚、杨圆圆、科琳娜·薇欧奈、克劳迪娅·贾瓜里贝、鸟头、帕布罗·洛佩兹·鲁兹、迈克尔·沃尔夫、理查德·维根、库尔特·卡维佐&苏黎世应用科技大学、环形国度、蔡旻皓、欧宁&曹斐、孩子们是对的(博尔哈·拉隆多 + 迭戈·桑切斯)、郭廖辉建筑工作室
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