广州影像三年展 2025 主视觉出炉！以 “感知生态学” 重构视觉新维度

数字化与算法化正在重塑当代的视觉经验。在这样的环境中，视觉不再是单向的“观看”，而是在屏幕、影像与算法的共同作用下被不断调节和重构。因此，本次设计从去人类中心化的角度出发，将“感知生态学”理解为一种由人、物、技术与环境共同参与的视觉结构，而不是单纯的审美图像。

图像的生成方式以手机 3D 扫描为核心。纸张上的信息被置入真实空间，再由机器的扫描视角重新捕捉。在这个过程中，纸张与环境的边界被主动缩短：算法会将表面纹理、光影、深度与空间信息一并吸附到扫描结果中，使图像同时呈现二维与三维的特性，形成介于真实与虚拟之间的状态。最终的呈现并非对纸张的再现，而是信息、空间与算法共同作用的产物，体现当下视觉如何被技术介入、重组与理解。

这种方法也回应了当下视觉文化的整体状态。在越来越加速的视觉环境中，形式常常被放大，用以获取短暂的注意力；图像被要求提供即时刺激，而不是承载逻辑结构或思考深度。新奇、冲动性、表层化的视觉生产方式，使视觉逐渐滑向一种可被快速消费的表皮。本次设计的选择，正是对这种视觉环境的反思——它不是追求情绪性的形式冲击，而是回到视觉生成的逻辑本身：图像如何形成、如何被机器理解、如何在空间中与环境互动、如何构成关系结构。

因此，这次的视觉呈现强调的是感知的多维性与结构性。图像中的二维信息与三维痕迹并置，虚拟与现实共同出现，直接与间接的观察方式并行。视觉不再以观看者为中心出发，而是呈现一个由技术、空间、材料与观看行为共同形成的系统。在这样的语境中，空间不再是视觉的背景，而成为视觉语言的组成部分；机器感知也成为视觉生产的参与者，而非单纯的工具。

通过这一方法，设计试图将“感知生态学”转化为一种视觉结构，而非单纯的主题呈现。它展示的是：视觉并不是独立的图像，而是一个由人、物、算法与环境共同生成的过程。每一次观看都参与系统的构成，也不断重塑现实与虚拟、物质与信息之间的关系。

Digitalization and algorithmic systems are reshaping contemporary visual experience. Seeing is no longer a one-way act of "looking,” but a process continuously adjusted and reconstructed by screens, images, and algorithms. Therefore, this design approaches "Ecology of Sensitivity” from a de-centered perspective—understanding it as a visual structure jointly formed by humans, materials, technologies, and the environment, rather than as a singular aesthetic image.

The image-generation method centers on mobile 3D scanning. Information printed on paper is first placed into physical space, then re-captured through the machine's scanning perspective. In this process, the boundary between the paper and its surroundings is intentionally collapses: the algorithm absorbs surface textures, light and shadow, depth, and spatial data into the scan, allowing the resulting image to embody both two-dimensional and three-dimensional qualities—occupying a state between the real and the virtual. The visual outcome is not a reproduction of the paper, but a product of interactions among information, space, and algorithm, reflecting how contemporary vision is mediated, reorganized, and interpreted through technology.

This methodolody also responds to the current condition of visual culture. In an increasingly accelerated visual landscape, form is often amplified to capture fleeting attention; images are expected to provide instant stimulation rather than carry logical structure or conceptual depth. Novelty, impulsiveness, and surface-level visual production have pushed vision toward a quickly consumable veneer. The choice of this design serves as a reflection on that environment—it does not pursue emotional or sensational impact through form, but instead returns to the logic of visual generation itself: how images come into being, how they are interpreted by machines, how they interact with space, and how they form relational structures.

Accordingly, the visual approach emphasizes multidimensionality and structural perception. Two-dimensional information and three-dimensional traces coexist; the virtual and the real appear simultaneously; direct and indirect modes of observation operate in parallel. Vision is no longer grounded in the observer’s position but emerges as a system formed collectively by technology, space, material, and the act of looking. In this context, space becomes an active component of visual language rather than merely its backdrop, and machine perception becomes a participant in visual production rather than a passive tool.

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。

Guangzhou Photo Biennial, the predecessor of Guangzhou lmage Triennial, was first held in 2005. in 2017, it was renamed by the Museum as Guangzhou lmage Triennial 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 Triennial has successively presented two editions of exhibitions, both receiving widespread recognition and acclaim from all sectors of society:  Stimultaneous Eidos: Guangzhou Image Triennial 2017 received the "National Art Museum Excellence Award" from the Ministry of Culture and Tourism in 2018;  Intermingling Flux: Guangzhou Image Triennial 2021 was nominated for the "National Art Museum Excellence Award" (2020-2021) by the Ministry of Culture and Tourism.