展位A14 | 工作室画廊参展PHOTOFAIRS影像上海艺术博览会

艺术上，近年来以摄影为媒介，利用集锦、人工智能上色等方法来再现具有古典主义倾向的精神世界，而这些精神世界的图景又是以现代物质世界中的实体为载体，其目的在于探索“虚构与现实”、“过去与现在”等 —— “时间与空间的同框”的议题。所涉及的拍摄对象主要包括：佛造像、山野、园林、文化遗产。作品所使用的媒介材料多为东亚手工纸与绢，并基于这些材料发展出了应用于摄影上的材料加工工艺。另与摄影师方霄鹤共同创立了“方梦芹”组合。

学术上，曾就职于上海外国语大学语料库研究院，担任“中国故事多模态国际传播研究中心 （Centre for Study of Stories of China, CSSC）”的学术编辑以及“中国传统吉祥寓意多模态语料库（Multimodal Corpus of Pun Rebus, MCPR）”的建设工作。MCPR 是一个包含了文本、图像、音频、视频模态的，以语料库方法为基础的用以研究中国传统双关寓意图像的数据库。

基于上述背景，曹梦芹在题材选择（例如：园林）、观看方式（例如：长卷）、材料应用（例如：东亚手工纸） 上有明显的传统特征。在画面风格上，追求某种文人艺术中业余化的趣味。在较广义的层面上，这是对艺术种“物质与精神”二者关系的实践——拆分来看，它由材料与工艺的关系、工艺与视觉效果的关系，视觉效果与题材的关系、观看方式与观看结果的关系等一系列子议题组成。另一层面，这些具有物质与精神特性的方方面面（材料 — 工艺 — 视觉）是如何在艺术作品中互动？进而塑造个人观念的。

On the art front, in recent years, utilizing photography as a medium, Mengqin reproduces the spiritual world of classicism embodied by entities in the modern material world, by means of photo collage and artificial intelligence coloring, etc. The purpose is to explore the juxtaposition of  time and space — Fiction vs. Reality, Then vs. Now, and etc. The subjects include: Buddha statues, Shanshui (Chinese landscape), Chinese gardens and heritage sites. Materials used in the works are mostly East Asian handmade paper and silk, with a unique paper processing technology for photography. Mengqin is also the co-founder of Fang Mengqin, a photography duo with photographer Fang Xiaohe.

On the academic front, he used to work at the Institute of Corpus Studies and Applications of Shanghai International Studies University, serving as the academic editor of the Centre for Study of Stories of China, CSSC, while undertaking the establishment of Multimodal Corpus of Pun Rebus, MCPR. MCPR is a database containing text, image, audio and video modalities based on corpus methods to study traditional Chinese auspicious visual culture in the sense of iconology.

Based on the background introduction, traditional elements are easily found in Mengqin’s subject selection (e.g. Chinese gardens), way of display (e.g. long roll), and material choice (e.g. Chinese Xuan or Japanese Washi paper). In terms of visual perception, he pursues a taste of amateurism in literati art. From a broader view, this is the practice of the relationship between material and spirit in art, consisting of a series of sub-topics: the relationship between photographic material and techniques, techniques and visual effect, visual effect and subject, viewing methods and viewing results. On the other hand, this is also an exploration of how these aspects (material-techniques-visual) with material and spiritual properties interact in a work of art, consequently shaping individual ideas.

红薯，本名宋晖，1985年出生于洛阳，获英国伦敦大学金史密斯学院摄影与城市文化硕士学位。现工作与生活于上海。

艺术家红薯的创作，像是把二维的雕塑“折叠”在相纸的空间里，这让它引发了无尽的观看可能。每一种摄影工业的瑕疵：纸张的物理痕迹、药水的反应温度，和胶卷拍摄产生的画面颗粒感，都让创作有无限的变化。对红薯来说，与所谓的“完美影像”相反，影像生产中的每一处“不完美”，都是创作者的“印记”。也正是这一处处的“印记”，组成了他影像作品的“厚度”。

Simon Song, b.1985, birth name Song Hui, born in Luoyang. Graduated from Goldsmith MA Photography and Urban Culture (University of London). Currently works and lives in Shanghai, China.

The artworks by Simon Song seems to "fold" a two-dimensional sculpture into the space of photo paper, which triggers endless viewing possibilities. Every flaws in the process of making a photo: the physical marks on paper, the reaction temperature of chemicals, and the film graininess in the picture, all those make infinite changes in the work. For Simon Song, contrary to the so-called "perfect image", every "imperfection" in image production is the "imprint" of the artist. And all these "imprints" build up the "thickness" of his photography works.