新展预告丨北雁南飞——影像中的山河人文

北雁南飞——影像中的山河人文

Northland Geese Flying South: Landscape and Humanity in Photographs

策展人｜Curator

艺术家｜Artists
颜长江、王宁德、丘、曾翰、张兰坡

展期｜Duration

2026.9.27—2026.12.20

主办单位｜Organized by

联合主办｜Co-organized by

太原市杏花岭区府东街95号山西省当代美术馆2-3层

北雁南飞

影像中的山河人文

这是一次影像考古式的作品展览，它不容小觑。之所以如此，是因为我们这一代人在历史巨浪中见证历史、在经历现实中见证现实。

如果时间是历史的标尺，那么影像就是现实的标本。拎起标尺，即可回忆，抚摸消失的痕迹；看到标本，亦满怀深思，喟然而俯仰天地。在今天，时间的重要和可感知全是因影像而起，没有现代影像的发明与应用，人类还在猜测历史的洞穴里，但现代技术下的影像亦绝非孤立的被动，相反，它一跃而成为人类乃至艺术家观看世界、呈现现实的利器与载体。人类不仅栖息在语言中而知世界，同样，亦拥有现代影像而创造新维度的世界。

因为如此，今天，影像才被视为19世纪迄今最伟大的人类工具之一，亦成为艺术的最有效媒介之一。

我们策划这个“北雁南飞——影像中的山河人文”展，其立意即在此：以影像呈现中国20世纪80年代以来的五位摄影艺术家用他们的如椽手笔，如何以独具匠心的手法、浸透思绪的情感、坚韧不挠的意志创作了这批可凝视、可对话、可静穆、可惆怅、可深思的作品。

他们五人（颜长江、王宁德、丘、曾翰、张兰坡）或是祖籍北方，绵延至二代；或乘改开东风，由北而南，来广东扎根工作、生活，也有再次北归，往返体验南北风貌与人文。他们从北而来，不是候鸟般停留，而是浸透了这片热土的风情与思绪；他们向北而归，又是命运召唤，播撒南国的气息。他们看过几十年的大潮涌动，也领略着千百年的山河故土。情满于山，意绪难平；人文沧桑，不可尽述，而只有他们的影像创造与日月同辉、与万物长久。

北雁南飞，他们是时代中不敢消停的人，用影像见证山河神貌、用图谱创造历史印迹。北雁，多么雄阔昂首，在云霄里展翅；南飞，多么志向高远，在苍穹里翱翔。人在，山河在；而人在，人文犹存。

王春辰

2026年9月11日于广州黄埔长岭居

This exhibition undertakes a photographic archaeology, and it should not be underestimated. The reason is that our generation has witnessed history amid the great tides of history and has witnessed reality through lived experience.

If time is the measure of history, then photographs are the specimens of reality. Take up the measure, and one can remember and touch the traces of what has disappeared; behold the specimen, and one is filled with deep thought, sighing as one looks up and down between heaven and earth. Today, the importance and perceptibility of time arise entirely from photographs. Without the invention and application of modern photographs, humanity would still remain in the cave of conjecturing history. Yet photographs under modern technology are by no means isolated or passive; on the contrary, they have leapt to become a powerful instrument and vehicle through which humanity, and artists in particular, view the world and present reality. Humanity not only dwells in language and thereby knows the world; through modern photographs it also creates a world of new dimensions. 

For this reason, photographs are today regarded as one of humanity’s greatest tools since the nineteenth century and as one of art’s most effective media.

In curating the exhibition Northland Geese Flying South: Landscape and Humanity in Photographs, our aim is precisely this: to present through photographs how five photographic artists in China since the 1980s, with masterly artistry, have created—through singular techniques, emotion imbued with reflection, and indomitable will—a body of works that invite the gaze, dialogue, solemn stillness, melancholy, and deep reflection.

The five artists (Yan Changjiang, Wang Ningde, Qiu, Zeng Han, and Zhang Lanpo) either trace their ancestry to the North, in some cases into the second generation, or, riding the east wind of reform and opening-up, moved from North to South and put down roots in Guangdong, working and living there; some later returned north, moving back and forth between the landscapes and humanity of the two regions. They came from the North not to linger like migratory birds, but as people steeped in the ethos and reflections of this fervent land; they returned northward, summoned by fate, to spread the atmosphere of the South. They have witnessed decades of surging tides and have also taken in the centuries-old native landscape. Emotion fills the landscape, and feelings are hard to settle; the vicissitudes of humanity cannot be fully recounted. Only their photographic creations shine with the sun and moon and endure with all things. 

Northland Geese Flying South—they are people who dare not pause in their era, bearing witness to the spiritual countenance of the landscape through photographs and creating historical traces through visual atlases. Northland Geese—how majestic, heads held high, wings spread among the clouds; Flying South—how lofty in aspiration, soaring in the firmament. Where people are, landscape remains; and where people are, humanity endures.

Wang Chunchen

11 September 2026, Changlingju, Huangpu, Guangzhou

《奉节，旧城门遗址》颜长江

100×100cm

艺术微喷

2003

《石柱县西沱镇，葬礼上的人们》颜长江

100×100cm

艺术微喷

2003

《大洪水 9631441》王宁德

97×144.5cm

相纸、艺术家调配打印墨水堆积

2022

《广州大塘》丘

30x30cm

明胶银盐

2010

《漂流木与皇冠》丘

30x60cm

装置

2024

《元山水·大荒之丘之十四》曾翰

50×180cm

艺术微喷

2022

《元山水·石泐海枯之一》曾翰

50×155cm

艺术微喷

2022

《巨人传》系列四 张兰坡

300×229cm

艺术微喷

2021

《赤·壁》张兰坡

200×430cm

艺术微喷

2020

艺术家介绍

颜长江，中国当代摄影师、策展人及摄影评论家。广东梅县人，因其父在湖北工作成家，1968年生于湖北省秭归县。毕业于武汉大学新闻系，并随父返乡，现定居广州，任《羊城晚报》编辑中心图片总监。颜长江的艺术生涯始于文字报道，后转型为摄影师，其创作深刻记录了中国社会的时代变迁与人文精神。

Yan Changjiang is a contemporary Chinese photographer, curator, and photography critic. He is a native of Meixian, Guangdong. Because his father worked and started a family in Hubei, Yan was born in Zigui County, Hubei Province, in 1968. He graduated from the Department of Journalism at Wuhan University and later returned to his ancestral hometown with his father. He now resides in Guangzhou and serves as the Picture Director of the Editing Center at Yangcheng Evening News. Yan Changjiang's artistic career began with written reporting, and he later transitioned into photography. His creative work profoundly documents the changes of the times and the humanistic spirit of Chinese society.

王宁德，1972年出生于中国辽宁省宽甸县，1995年毕业于鲁迅美术学院摄影系，现工作并生活在北京。长期以来，王宁德的作品聚焦于摄影传统中构成机制的反思，深入探讨表达语言、材料技术等多重层面，质疑并拓展摄影作品的生成与接受机制。

Wang Ningde, born in 1972 in Kuandian County, Liaoning Province, China, graduated from the Photography Department of Lu Xun Academy of Fine Arts in 1995, and currently lives and works in Beijing.For years, Wang Ningde’s artistic practice has centered on reflections upon the constructive mechanisms embedded within photographic traditions. His creations delve deeply into multiple dimensions including expressive languages and material techniques, challenging and expanding the mechanisms governing the production and reception of photographic works.

丘，中国当代影像艺术家，1974年12月出生于广东省平远县，现工作生活于广州。早年曾从事中学美术教育及媒体工作，后成为独立摄影师。丘的创作以黑白摄影为主，风格粗粝、神秘，善于从微观视角切入，通过影像构建内心与现实的对话。

Qiu, a contemporary Chinese video and photographic artist, was born in December 1974 in Pingyuan County, Guangdong Province, and currently lives and works in Guangzhou. In his early years, he worked in middle school art education and the media, and later became an independent photographer. Qiu's creative work is primarily in black-and-white photography, with a rough and mysterious style. He is skilled at approaching from a micro perspective, constructing a dialogue between the inner self and reality through imagery.

曾翰，毕业于暨南大学、纽约视觉艺术学院。其二十多年的摄影创作长期关注全球化社会风景，以及中国山水精神的当代影像转译。曾在中国、美国、法国、德国、澳大利亚等十几个国家的美术馆、艺术双年展、摄影节、画廊等举办展览; 多个系列作品被上海美术馆、加拿大安大略美术馆、香港M+美术馆、广东美术馆等机构和各国收藏家收藏。作为策展人，曾任2005年首届连州国际摄影年展策展人，获年度杰出策展人奖；2012新加坡国际摄影节策展人；2017年广州影像三年展策展人等。

Zeng Han graduated from Jinan University in Guangzhou and the School of Visual Arts in New York. For over two decades, his photographic practice has focused on the landscapes of globalization and the contemporary reinterpretation of the spirit of Chinese shanshui (landscape). His works have been exhibited in museums, biennials, photography festivals, and galleries across more than a dozen countries, including China, the United States, France, Germany, and Australia. Several of his major series are in the collections of institutions such as the Shanghai Art Museum, the Art Gallery of Ontario (Canada), M+ Museum (Hong Kong), and the Guangdong Museum of Art, as well as in private collections worldwide. As a curator, he served as Curator of the inaugural Lianzhou International Photo Festival in 2005, for which he received the Curator of the Year Award. He was also Curator of the 2012 Singapore International Photography Festival and the 2017 Guangzhou Image Triennial, ect.

张兰坡，艺术家，广州美术学院硕士。1973年出生于甘肃兰州，现居广东肇庆。张兰坡以观念摄影见长，其作品常涉及死亡、历史、权力等宏大主题，善于运用标本、骨骼、病理切片等独特素材构建充满隐喻的视觉迷宫。其代表作有《巨人传》、《膛线》等。 

Zhang Lanpo is an artist holding a Master’s degree from the Guangzhou Academy of Fine Arts. Born in Lanzhou, Gansu Province in 1973, he currently lives and works in Zhaoqing, Guangdong Province.Renowned for his conceptual photography, Zhang’s works engage with grand themes including mortality, history, and power. He adopts distinctive materials such as specimens, bones, and pathological sections to construct metaphorical visual labyrinths. His representative works include Historia Gigantum and Rifling.

策展人介绍

王春辰，著名策展人、批评家，中央美术学院教授、博士生导师；中央美院美术馆当代艺术批评与策展研究中心主任；山西省当代美术馆馆长；从事现代美术史及当代艺术理论与批评研究。2025年开办“春辰当代艺术研究中心”。

2012年美国密歇根州立大学布罗德美术馆特约策展人；2013年第55届威尼斯国际艺术双年展中国馆策展人；英国学刊Journal of Contemporary Chinese Art（《当代中国艺术杂志》）副主编(2014-2019)及德国斯普林格出版社《中国当代艺术丛书》主编；2015年英国泰特美术馆访问研究员。澳大利亚新南威尔士大学客座教授；西安美院博士生导师；四川美院、天津美院、首师大特聘教授。

出版《1940年以来的艺术》《艺术的终结之后》《美的滥用》《1985年以来的当代艺术理论》《艺术史的语言》《艺术简史》《艺术史》（玛丽莲，2023，中信出版社）、《1945年以来的当代艺术指南》（2023，湖北美术出版社）等译著；2009年获得“中国当代艺术批评奖（CCAA）”并出版《艺术介入社会》。2013年出版《艺术的民主》《图像的政治》《艺术是一个问题》批评文集。

Wang Chunchen, a renowned curator and critic, is a professor and doctoral supervisor at the Central Academy of Fine Arts (CAFA); Director of the Center for Contemporary Art Criticism and Curatorial Studies at the CAFA Art Museum; Director of the Shanxi Contemporary Art Museum; and is engaged in research on modern art history and contemporary art theory and criticism. In 2025, he founded the "Chunchen Contemporary Art Research Center."

In 2012, he was an adjunct curator at the Broad Museum of Art, Michigan State University, USA. In 2013, he was appointed as the Curator of the Chinese Pavilion at the 55th edition of the Venice Biennale. Wang is also a Deputy Principal Editor of the UK-based Journal of Contemporary Chinese Art and Editor-in-Chief of The Chinese Contemporary Art Series published by Springer-Verlag, Germany. Wang has been invited to travel all over the world to participate in symposia and forums and to give lectures. In 2015, he was invited by Tate Research Center: Asia to be a Visiting Fellow.Visiting Professor of University of New South Wales. Also specially-appointed professor by Sichuan Academy of Fine Arts, Tianjin Academy of Fine Arts, Xi’an Academy of Fine Arts, and Beijing Normal University.

Wang Chunchen has also greatly influenced Chinese contemporary art criticism with his translations of over ten books of art history and theory, such as After the End of Art (Arthur C. Danto), The Abuse of Beauty (Arthur C. Danto), Art Since 1940 (Jonathan Fineberg), The Language of Art History, Theory in Contemporary Art Since 1985, etc. In 2009, he was honored with the coveted Chinese Contemporary Art Awards – Critic Award, one of many awards he has received for his input in art criticism. This particular award led to the writing and publication of Wang’s book Art Intervenes in Society—A New Artistic Relationship. In 2013, Wang published his two volumes of essays, The Democracy of Art and The Politics of Images.

山西省当代美术馆