2018影像上海参展艺术家: 张克纯《中国》系列 ｜三影堂+3画廊

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张克纯，《黛山》，出自《中国》系列，2018

艺术微喷，150×260cm

来自四川的摄影师张克纯创作的《北流活活》和《山水之间》系列摄影作品引起国内外当代艺术圈的广泛关注。目前的《中国》系列可以看作是此前创作思路的延续。

张克纯，《海洋馆》，出自《中国》系列，2018

艺术微喷，300×150cm

“大环境里的小人物”和“摄影师既是旁观者，又是参与者”的理念仍然体现在该系列创作中。他选取宏大场景，将自身置于场景中，与场景中的某个人物进行位置互换，自己站在那人之前的位置，并让那人代替自己按下快门，以这样一种方式实现互动。

张克纯，《少林武校》，出自《中国》系列，2018

艺术微喷，300×200cm

行走在中国广袤的大地上，张克纯始终将自己对摄影语言的探索和对人与环境之间关系的思考结合在一起。《中国》系列显示他对环境的关注已经从自然走向社会和人文。他的人生经历了过去几十年中国发生的前所未有的社会巨变。他说：我试图用大尺寸的影像来展现出这个国家和个体的关系。

在他的镜头下，关于中国制造、都市生活、消费文化的图像抓住了全球化背景下中国经济和社会发展的一个个瞬间。在许多作品中，单调的复制增殖的图像单元如同增长的当代性预言：这种似乎是无限的增长将每一个体变成了无足轻重的克隆体。

张克纯，《宇通客车厂》，出自《中国》系列，2018

艺术微喷，300×200cm

张克纯，《招聘会》，出自《中国》系列，2018

艺术微喷，300×200cm

和此前的两个系列相比，《中国》拍摄视角和场景内容都更为复杂多变，这正是中国当代中国社会给他的印象——如同一台巨大的高速运转的机器，又似一架令人眼花缭乱的万花筒。张克纯试图通过影像记录当代中国社会的变化，因为它深刻改变了每一个个体的生存状态。另一方面，他试图通过影像诘问这种发展的可持续性，传递对生活于其中的个体命运的关注。

《上海君悦酒店》，出自《中国》系列，2018

艺术微喷，205×150cm

张克纯丨Zhang Kechun

1980年出生于四川，现生活工作于成都。在国内外众多当代艺术机构举办过个展和群展，荣获美国国家地理摄影奖，法国阿尔勒摄影节发现奖，Talents Contemporains，并入围三影堂摄影奖，索尼世界摄影奖，马格南摄影奖等国内外奖项。

张克纯以其后工业化中国风景的大画幅作品为人所熟知。他创造了史诗般的远景，讲述了现代中国民族认同中景观的意义。他认为，一直以来山水都是中国人情思中最为厚重的载体。游山玩水的大陆文化意识，以山为德、水为性的内在修为意识，咫尺天涯的视错觉意识，一直成为演绎山水的主线。在他的最新作品中国系列中，他在以中国山水来展现中国民族景观的基础上，加入了更多的中国社会元素，以进行他摄影创作上新的尝试。

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Zhang Kechun, a photographer from Sichuan, China, has created a series of photographic works named The Yellow River and Between Mountains and Waters in recent years, which attracted extensive attention of contemporary art circles at home and abroad. The current series of China can be regarded as a continuation of the previouscreative thinking.

The concepts of " little people in the big environment" and " photographers are both by standers and participants" are still embodied in this series of creations. He chose the grand scene, placed himself in the scene, exchanged positions with a certain person in the scene, stood himself in the position before that person, and let that person press the shutter in stead of himself, so as to realize interaction in this way.

Walking on the vast land of China, Zhang Kechun has always combined his exploration of photographic language with his thoughts on the relationship between man and environment. The series of China shows that his concern for the environment has shifted from nature to society and humanity. 

His life has experienced unprecedented social changes in China in the past few decades. He said: "I tried to show the relationship between this country and individuals with large-scale images"  In his lens, images about Chinese manufacturing, urban life and consumption culture seize the moment of Chinese economic and social development in the context of globalization. In many works, monotonous reproduction and multiplication of image units are like contemporary predictions about growth: This seemingly infinite growth turns every body into a clone with no enough weight.

Compared with the previous two series, the shooting perspective and scene content of China are more complex and changeable, which is what contemporary Chinese society gives him the impression that it is like a giant high-speed running machine and a dazzling kaleidoscope. Zhang Kechun tried to record the changes of contemporary Chinese society by video, because it profoundly changed the living condition of every individual. On the other hand, he tried to interrogate the sustainability of this development through images, and to convey his concern about the fate of individuals living in it.

《黄山》，出自《中国》系列，2018

Yellow Mountain, China, 2018

艺术微喷，110×300cm

Archival pigment print, 43 1/4 x 118 1/8 in

Zhang Kechun is best known for his large format photographs of post-industrial Chinese landscapes. He produces epicvistas that dwell on the significance of the landscape in modern Chinese national identity. Mountains and rivers are always the heaviest carriers of Chinese people’s affection. The continental cultural awareness of making a sightseeing tour, the inherent cultivation consciousness of “mountains beingvirtuous, rivers being moral”, and the sense of visual illusion of a short distance away are always the main line of interpreting Mountains and waters.  In his latest series China, he makes a new attempt. In additional to the landscape of mountains and rivers, he extends his focus on social group.