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与前两届广州国际摄影双年展相比,本届摄影双年展较为明显地具有摄影与人—社会—历史的紧密联系的思想特征:自觉地凸现摄影的政治历史与政治伦理的维度;坚持在与人生、社会、历史的真实维系中延伸和拓展摄影的当代语言和个性风格;把人的自由交流与社会记忆看作是摄影传播的基本理由。作为第三届广州国际摄影双年展的策展人之一,我试图围绕着“摄影的政治叙事——证据与记忆”这个论域,结合入选本届展览的部分作品作一些分析。
Compared with the previous two Guangzhou International Photography Biennale, this year’s Photography Biennale has more obvious characteristics of the close relationship between photography and human-society-history: consciously highlighting the political and ethical dimensions of photography; Persisting in extending and expanding the contemporary language and personality style of photography in the real relationship with life, society and history; regards the free exchange of people and social memory as the basic reasons for the spread of photography. As one of the curators of the 3rd Guangzhou International Photography Biennale, I tried to make some analysis around some of the works selected for this exhibition around “The Political Narrative of Photography - Evidence and Memory”.