从博物学出发，由科学到艺术 | 李朝晖影像艺术展将在九月艺术馆展出

　　从博物学出发，由科学到艺术　　Departing from Natural History　　From Science to Art　　李朝晖 影像艺术展　　 Li Zhaohui 　　Photography Art Exhibition　　艺术家 | Artist　　李朝晖　　Li Zhaohui　　策展人 | Curator　　胡国庆　　Hu Guoqing　　展期 | Duration　　2024.6.30-7.30　　地址 | Location　　九月艺术馆　　（深圳龙岗坂田手造文化街）　　Nine Art Space, Shouzou Cultural Street, Bantian, 　　Longgang District, Shenzhen　　主办 | Host　　广东省摄影家协会艺术摄影委员会　　Art Photography Committee of 　　Guangdong Photographers Association　　承办 | Co-host 　　九月艺术馆　　Nine Art Space　　特别鸣谢 | Special Thanks　　成都五月公园画廊　　Chengdu May Park Gallery　　◐　　ARTISTS　　艺/术/家/　　李朝晖 Li Zhaohui　　李朝晖，1968 年生于湖北武汉，1989 年毕业于北京大学，2010年开始全职艺术创作，生活工作于湖北宜昌，现为湖北省宜昌市摄影家协会主席。主要作品有《大体：标尺下的人体器官》、《转基因》、《草本》、《什么养成了我们：种植与采集 -滇南食物影像考察》、《大风吹》、《隐匿的剧场》、《七天》、《百鹿图》以及《长江》、《游荡集》等，曾入选“三影堂奖”、“连州 2005-2014：中国当代摄影十年”、“中国当代摄影40年（1976-2017）”、“丽水摄影博物馆中国摄影年度排行榜”等，受邀参加连州国际摄影年展、济南国际摄影双年展、丽水双年展、大理摄影展、长江国际影像双年展、德国NordArt 国际当代艺术大展，成都摄影周当代影像展等等。出版有个人画册《大体：标尺下的人体器官》、《中国当代摄影图录：李朝晖》　　Born in Wuhan in 1968 and graduated from the Department of Biology, Peking University in 1989. Been engaged in medical research for 20 years and turned to full-time art creation in 2010. Major works include "Speciman: Human Organs Under a Ruler", " Modified Genes", "Herbs", " What makes us:Imaging Study of Food in Southern Yunnan", "Wind Blows", "Hidden Theater", "Seven Days" and "The Yangtze River", etc. Exhibit in the 8th, 9th, 10th and 11th Lianzhou International Photography Exhibition, 2014 Jinan Biennale, 2015 Lishui Biennale, 2015 Dali Photography Exhibition, "Chinese Landscape" exhibition, "Three Shadows Experimental Image Open Exhibition", 2022 and 2023 German NordArt International Contemporary Art Exhibition, etc. Selected for "Three Shadows Award", "Lianzhou 2005-2014 Chinese Contemporary Photography 10 Years", "Chinese Contemporary Photography 40 Years (1976-2017)", 2014 Chinese Photography Annual List, 2016 Xishuangbanna International Photography Exhibition Outstanding Exhibition Award, 2017 Lishui Photography Festival Expert Recommended Artist Award, The Best Photographer of Jinan International Photography Biennial 2022. Published album " Speciman: Human Organs Under a Ruler " and "Chinese Contemporary Photography Atlas: Li Zhaohui"　　展览　　2024 影像上海艺术博览会，上海，2024　　丽水摄影节，丽水，2023　　第十届艺术深圳，深圳，2023　　第十届大理国际影会，大理，2023　　JINGPHOTO2023 北京影像艺术博览会，北京，2023　　NordArt 2023 国际当代艺术大展 , 碧德尔斯多夫，德国，2023　　2023 影像上海艺术博览会，上海，2023　　“向度 -- 中国当代影像艺术展”，成都摄影国际周，成都，2022　　丽水摄影节，丽水，2022　　第九届济南国际摄影双年展，济南，2022　　NordArt 2022 国际当代艺术大展 , 碧德尔斯多夫，德国，2022　　" 西南纪行 -- 穿越百年时空的中德影像对话" 影像展，柏林，德国，2022　　" 西南纪行 -- 穿越百年时空的中德影像对话" 影像展，昆明，2022　　“源楚”特展：寻鹿荆门，荆门，2022　　贰贰重影：徐爱国杨明清 肖萱安 李朝晖油画·摄影作品展，宜昌，2022　　啼不住：第六届新风村双年展，宜昌，2021　　景迈山：关于地方的想象，西安，2021　　珍食：食物艺术与设计展，深圳，2021　　他者的目光，景迈山，2021　　宜昌首届雕塑作品展，宜昌，2021　　中国摄影白皮书及封面原作收藏展，杭州，2021　　物象——中国当代物派影像研究展 ( 第二回 )，温州，2020　　2020 上海国际摄影节，上海，2020　　隆里在地影像节，隆里，2020　　鬼打见：第四届新风村双年展，荆州，2019　　西双版纳摄影节，西双版纳，2019　　丽水摄影节，丽水，2019　　精神游牧 , 深圳，2019　　第十四届连州国际摄影年展主题展，连州，2018　　丽水摄影节，丽水，2017　　中国当代摄影 40 年（1976-2017）–三影堂 10 周年特展，北京，2017　　第二届长江国际影像双年展，重庆，2017　　2016 西双版纳国际影像展，西双版纳，2016　　第十六届平遥国际摄影大展 2016，平遥，2016　　身形剧本 - 三影堂摄影艺术中心原作收藏展，厦门，2016　　第十一届连州国际摄影节个展，连州，2015　　丽水摄影节，丽水，2015　　第六届大理国际影会，大理，2015　　“第二届三影堂实验影像开放展”，北京，2015　　“中国风景第三回 - 向东是大海”宁波展，宁波，2015　　“中国风景第三回 - 视向”西安展，西安，2015　　“2005-2014：中国当代摄影十年”展，连州，2014　　“中国风景第三回 - 视向”展，广州，2014　　2013 年“中国摄影年度排行榜”入榜作品展，丽水，2014　　第五届济南双年展，济南，2014　　第六届三影堂奖展，北京，2014　　第九届连州国际摄影年展主题展，连州，2013　　第八届连州国际摄影年展邀请展，连州，2012　　出版    　　《大体：标尺下的人体器官》（2017）　　《中国当代摄影图录：李朝晖》（2019）　　可以上下滚动浏览全文　　CURATOR　　策/展/人/　　胡国庆 Hu Guoqing　　胡国庆，毕业于武汉大学新闻系摄影专业，中国摄影家协会策展委员会委员、广东省摄影家协会副主席、广东省摄影家协会艺术摄影委员会主任、深圳九月艺术馆创始人。艺术家、策展人。中国摄影金像奖获得者、评委，2023 年第十四届中国摄影艺术节中国摄影金像奖作品展策展人、2023年第二届成都国际摄影周策展人。　　Hu Guoqing, a graduate of the Photography program in the Department of Journalism at Wuhan University, is a member of the Curatorial Committee of the China Photographers Association, Vice Chairman of the Guangdong Photographers Association, Director of the Art Photography Committee of the Guangdong Photographers Association, and Founder of the September Art Museum in Shenzhen. He is an artist and curator. He is a recipient and judge of the China Photography Gold Award, curator of the 2023 14th China Photography Art Festival China Photography Gold Award Exhibition, and curator of the 2023 2nd Chengdu International Photography Week. In 2023, he won the Curator Grand Prize from the President's Alliance at the 10th Dali International Photography Exhibition.　　策展语 　　Curatorial Statement　　《从博物学出发，由科学到艺术》为我们呈现了科学与艺术交汇的丰富可能性。李朝晖以博物学的视角，通过对现代人造物的观察和研究，深入探讨了人类活动对自然环境和社会结构的影响。此次展览不仅展示了他的艺术成就，也启发了我们对自然、科技与人类未来的深刻思考。　　当代艺术中对“真善美”的追求，更多体现在对现实的反映和对真相的揭示。艺术家们不再仅仅满足于表面上的再现，而是深入挖掘社会的真实面貌。李朝晖将自然科学的严谨与艺术表现的自由相结合，通过影像记录和反思现代人造物，揭示出一个由人类参与构建的“新”世界。这种跨学科的创作方式让我们看到了艺术家的敏锐观察力，也感受到了他对自然和社会的深刻关怀。　　希望此次展览能够启发更多人关注人与自然、人与科技之间的和谐关系，以更加积极和理性的心态，迎接未来。　　胡国庆　　2024.6.18于深圳九月艺术馆　　"Departing from Natural History: From Science to Art" presents the rich possibilities at the intersection of science and art. From the perspective of natural history, Li Zhaohui delves into the impact of human activities on the natural environment and social structure through the observation and study of modern artificial objects. This exhibition not only showcases his artistic achievements but also inspires profound reflections on nature, technology, and the future of humanity.　　In contemporary art, the pursuit of "truth, goodness, and beauty" is more often manifested in reflections on reality and the revelation of truth. Artists no longer settle for mere surface representation but instead seek to uncover the true nature of society. Li Zhaohui combines the rigor of natural science with the freedom of artistic expression. Through images that document and reflect on modern artificial objects, he reveals a "new" world constructed by human involvement. This interdisciplinary approach demonstrates the artist's keen observation skills and deep concern for nature and society.　　It is hoped that this exhibition will inspire more people to pay attention to the harmonious relationship between humans and nature, and between humans and technology, and to face the future with a more positive and rational mindset.　　Hu Guoqing　　June 18, 2024, at Nine Art Space　　WORKS　　作/品/　　Specimen: Human Organs under the Ruler - Mole　　2012/2014　　《大体：标尺下的人体器官》拍的是一些刚刚离开鲜活人体的一部分，其中大部分是医疗手术中切下的器官，然后，在影像基底位置放上了一根标尺。图式貌似科学摄影。　　他选择了黑白胶片，平柔光线，尽量避免给观者带来视觉刺激，试图引导观者思路突破其视觉表观，进入其内涵。　　虽然他创作的出发点是在于对“现代疾病及医疗”的思考，但他并没有做出过多阐释。他选择保持作品的开放性，把更多思考和发酵的可能性留给观看者。　　"Specimen: Human Organs under theRuler" shows fresh parts of the human body, most of them organs cut duringmedical surgery, and then places a ruler on the base of the image. The pattern lookslike scientific photography.　　Hechose black and white film, flat and soft light, try to avoid bringing visualstimulation to the viewer, trying to guide the viewer's thinking to breakthrough its visual vision, into its connotation.　　Although the starting point of his creationis to think about "modern disease and medicine", he did not explainit too much. He chose to keep the work open, leaving more possibilities ofthinking and fermentation to the viewer.　　◐　　Genetically Modified: Fingerprint-10　　2015/2024　　基因改造技术是一种通过杂交、修饰、导入或者剔除目标生物体的基因，以改变其性状或增强其功能的技术。这项技术被广泛应用于农业、医学和工业领域，被视为现代生物科技的重要成果之一。　　支持发展新生物科技的人认为，新科技为现代社会带来了巨大的好处。在农业领域，新科技作物能够提高产量、增加抗性、减少对农药的需求，从而缓解全球粮食危机。在医学领域，新科技为疾病治疗提供了新的途径，例如基因治疗和生物制药。在工业领域，新科技生物被用于生产生物燃料和化学品，降低了对化石能源的依赖，减少了环境污染。　　而质疑者则担心新技术的使用可能对生态系统造成不可逆转的影响。一些人担忧新科技食品可能对人体健康造成潜在风险。　　也正是这种复杂性，为《新生物》这个作品带来了特殊的吸引力。　　这个作品由三部分组成。　　第一部分 “标本框” ，试图呈现新科技生物到底是什么样的。李朝晖拍摄了5个物种共56个新科技生物标本的肖像。5个物种包括2种植物，其中，拟南芥偏科学研究方向，而水稻则和我们的生活相关，3种动物，斑马鱼和线虫是纯科学研究，小鼠则有更多的实用目的。　　第二部分 “改造场” ，呈现的是实施生物新科技的现场，科学实验室。　　第三部分 “提问”，李朝晖利用一些公共活动场所，展示这些新科技物种的肖像，邀请观众在这些肖像上按下自己的指印，通过选择指印的不同颜色表达自己对生物高科技问题的态度。在部分作品中，选择了不同身份的人群，提出的问题也做了细分。他试图通过这些彩色的指印直观的呈现人们对生物高科技的看法分歧，同时也试图通过这些色彩斑斓的回答来探究人们观点分歧的深层次原因。　　Genetic modification is a technique thatcrosses, modifications, imports, or removes genes from a target organism tomodify their traits or enhance their function. This technology is widely usedin agriculture, medicine and industry, and is regarded as one of the importantachievements of modern biotechnology.　　Those who support the development of newbiotechnology believe that they have brought great benefits to modern society.In agriculture, new technological crops can ease the global food crisis byincreasing yields, increasing resistance and reducing the demand forpesticides. In medicine, new technologies provide new avenues for diseasetreatment, such as gene therapy and biopharmaceuticals. In industry, new technologiesare used to produce biofuels and chemicals, reducing dependence on fossil fuelsand reducing environmental pollution.　　Skeptics are concerned that the use of newtechnologies could have an irreversible impact on the ecosystem. Some areconcerned that new technology foods could pose potential risks to human health.　　Itis this complexity that brings a special draw to “New Species”.　　Thiswork consists of three parts.　　Thefirst part, "The specimen frame," tries to show what a new technologycreature actually looks like. Li Zhaohui took portraits of 56 new technologybiological specimens from five species. The five species include two plants,among which, Arabidopsis is more scientific research, while rice is related toour life, three animals, zebrafish and nematodes are for scientific research,and mice have more practical purposes.　　Thesecond part, "transformation field", presents the implementation ofnew biological technology site, science laboratory.　　In the third part, "Questions",Li Zhaohui used some public venues to show the portraits of these newtechnology species. He invited the audience to press their fingerprints onthese portraits and express their attitude to bio-tech issues by choosingdifferent colors of the fingerprints. In some works, people of differentidentities are selected, and the questions raised are also subdivided. He triedto visually present the differences of views on biotechnology through thesecolorful fingerprints, and also tried to explore the deep reasons for thedifferences of views through these colorful answers.　　可以上下滚动浏览全文　　◐　　What Shaped Us:Dai Food - Gathering Edition - 　　Female Collage　　2015/2024　　这是一个在云南南部的西双版纳和景迈山创作的作品。李朝晖选择“食物”这个方向，以“食物链”的眼光，去考察当地的自然与人文。　　在西双版纳，他以民族为线索，试图探索食物物种和民族的关系。他选择了3个民族展开拍摄。包括：人口占比最大的民族傣族、人口最少的基诺族，另外还有一个拉祜族。拉祜族是一个和他本人有关的民族，基因检测的结果显示，他的祖源结构包括2.2%的拉祜族。他拍摄了版纳人用于食用的近200个物种的可食用部位肖像，还拍摄了这3个民族的男、女性各一人的全身站姿肖像。他参考传统的博物学图式，拼出各个民族的“民族食物图谱”。除此之外，他还利用该民族的食物肖像，拼出该民族人物肖像，试图讲述“到底什么样的食物养成了我们这些民族”这样一个生物学的故事。　　到了景迈山，由于景迈山地域较小，各民族人群居住地的地理、气候条件相近，各民族人群的食材品种和饮食文化已经相互影响，相互融合，呈现出大一统的形态，在景迈山，分开民族去讲述食物的故事变得没有意义。但是，这种融合正是我们整个地球全球化形态的缩影，因此，景迈山的这个“什么养成了我们”的故事又显出了它特别的魅力。　　人类获取食物的方式经历了从“自然采集”到“大规模种植”的演变。通过对滇南食物的考察可以得出结论，版纳和景迈山人的食物来源和中国的其它地区不同，居于这种演化的中间状态，即一半采集，一半种植。这让版纳和景迈山的有关食物物种的观察还相关到另外一个生物学概念——“生物多样性”，“食物多样性”正是在人类学意义上“生物多样性”的一种对应。地球人口的爆炸式增长，造成原始生态区域无节制的被“开发”挤占和破坏，让人对未来心生不安。表面上的绿水青山的恢复其实很容易，在中国，几十年的退耕还林卓有成效，山清水秀逐渐回来了。可生物多样性一旦遭受破坏，则将是毁灭性的。像版纳、景迈山这样的地方，成千上万年形成的原始生态，生长的物种数以万计，一旦被破坏，即使人类醒悟撤出，恢复生长的也只是茅草、野生香芭蕉、牡竹、紫茎泽兰等这些少数“优势物种”，“物种宝库”的繁荣景象将一去不复返。这样的后果无疑是我们不愿见到的。　　版纳和景迈山人的食物品种及其来源的多样性，是人类适应自然、与自然和谐相处的生活方式的体现。这种貌似原始的食物结构和生产方式，才是真正“可持续”的现代化方向。　　This is a work created in Xishuangbanna andJingmai Mountain in southern Yunnan province. Li Zhaohui chose the direction of"food" and inspected the local nature and humanity from theperspective of "food chain".　　InXishuangbanna, he used the nationality as a clue and tried to explore therelationship between food species and ethnic groups. He chose three ethnicgroups to shoot. Including: the Dai nationality with the largest populationproportion, the Jinuo nationality with the smallest population, and also a Lahunationality. The Lahu nationality is an ethnic group related to himself, andgenetic tests showed that his ancestral structure includes 2.2% of the Lahunationality. He took portraits of edible parts of nearly 200 species used bythe Banna people for consumption, as well as full-body standing portraits ofmen and women of the three ethnic groups. He referred to the traditionalnatural history schema to spell out the "ethnic food map" of variousnationalities. In addition, he used the food portraits of the people to spellout the people, trying to tell the biological story of what kind of food formedour people.　　InJingmai Mountain, due to the small area of Jingmai Mountain, and the similargeographical and climatic conditions of various ethnic groups' residence, thefood varieties and food culture of various ethnic groups have influenced andintegrated with each other, presenting a unified form. In Jingmai Mountain, itis meaningless to tell the story of separate ethnic groups to tell food.However, this integration is the epitome of the global form of our whole earth,so the story of "what has formed us" in Jingmai Mountain shows itsspecial charm.　　The way humans access food has evolved from"natural gathering" to "large-scale cultivation". Throughthe investigation of the food in southern Yunnan, it can be concluded that thefood sources of Banna and Jingmai Mountain people are different from those ofother regions in China, and they are in this intermediate state of evolution,that is, half collected and half planted. This makes Banna and JingmaiMountain's observations of food species related to another biological concept,—— "biodiversity", which is an anthropological counterpart of"biodiversity". The explosive growth of the earth's population hasled to the uncontrolled "exploitation" and occupation and destructionof the original ecological area, which makes people feel uneasy about thefuture. The apparent restoration of clear waters and green mountains isactually very easy. In China, decades of returning farmland to forests havebeen effective, and the beautiful mountains and waters have gradually comeback. But if biodiversity is destroyed, it will be devastating. Like Banna,Michael mountain, tens of thousands of years of formation of primitive ecology,the growth of tens of thousands of species, once destroyed, even if human wakeout, restore the growth of thatch, wild incense banana, bamboo, purple stemorchid these few "advantage species", "species treasure"prosperity will be gone. Such consequences are undoubtedly something we do notwant to see. 　　The variety of food varieties and their sources of the Banna andJingmai Mountain people is the embodiment of the way of life that humans adaptto nature and live in harmony with nature. This seemingly primitive foodstructure and mode of production is the truly "sustainable" directionof modernization.　　可以上下滚动浏览全文　　◐　　Herbs: Growing Upward　　在工作室里，李朝晖种植了一些小草，然后每5-10分钟一张，把它们从生到死拍摄下来，最短的拍摄时间是15天，最长的拍了238天，发生的快门次数总共为538737次。作品呈现可以是一张张的单幅照片，亦可是一系列的短视频，这就是《草本》系列。　　这些作品包括：《草本》、《向上生长》、《一棵桑树》、《一块红布》、《一坨屎》、《一个瓶子》、《圆》等。　　例如，他自己非常喜欢的一个作品，《向上生长》，他在工作室里面种了一棵豌豆苗，从发芽开始，他在上面盖了一个玻璃罩，留了一个小孔，这个豌豆苗会去找这个出口，找到出口以后，他就会给它再盖上第二个玻璃罩，这个洞留在另外一边，它就去往那边寻找出口，等它刚刚钻出来，他在上面又盖第三个玻璃罩，又回到这边来开口，它会回来找这个出口……就这样，前后总共盖了九个玻璃罩，直到这棵植物死亡。这棵植物在他的工作室里生长了八个月，他拍了它八个月，最后呈现为一个6分钟的视频。　　In the studio, Li planted some grass andthen one every 5-10 minutes to take them from life to death. The shortest timewas 15 days and the longest was 238 days, with a total of 538,737 shutters. Thepresentation can be either a single photo or a series of short videos, which isthe Herbs series.　　These works include: Herbs, Growing Up, aMulberry Tree, A Red Cloth, A lump of Shit, a Bottle, A Circle, and so on.　　For example, his own favorite work,"Growing Up", he planted a pea seedling in the studio, from thegermination, he put a glass cover on it, leaving a small hole, the pea seedlingwill find the exit, he will cover the second glass cover and come back to theexit... So, a total of nine glass cover, until the plant died. The plant grewin his studio for eight months, and he filmed it for eight months, before beingfinally presented as a six-minute video.　　◐　　The Wind Blows: Beautiful Plants　　2020/2023　　《大风吹》共有5个章节，分别描绘了“江边被大风吹弯的24棵柏树”、“艺术家对植物外型的改造”、“被绑缚修剪的美丽盆景”、“工作室里无所不弯的物件”、“现代数字手段弯掉的长江上的塔”等图景。　　自古以来，特别是现代，人们发明了各种无所不用其极的技术方法，对栽培的植物进行改造，以满足自己的审美欲望。面对没有反抗力的自然，人类拥有越来越强大的能力，因而赋予自己这种权力，并心安理得。　　李朝晖在他的工作室就是这样，模拟大风吹的力量，对他的植物实施了改造，让它们按他的意志，定向折弯。　　进一步的，他赋予了自己绝对的权力，用机械及数字技术去折弯他想弯的一切东西。这是工作室里的艺术幻觉。　　在自然与人类之间、在家庭成员之间、在团体内部、团体之间、阶层之间、地域之间、以及国际之间，来自四面八方的巨大压力以各种形式落在每一个个体身上，让我们普遍有一种重负压身的无力感。　　在不同的场域和时段，我们又可能变身为给出压力的那一方，在受压和施压的的角色里翻转穿越，却不自知。　　只是，这世界真的可能让我们随心所欲么？　　The Wind Blows has five chapters, whichdepict "24 cypress trees bent by the wind along the river", "theartist's transformation of the appearance of plants", "the beautifulbonsai tied and trimmed", "the objects in the studio" and"the tower on the Yangtze River bent by modern digital means".　　Since ancient times, especially in moderntimes, people have invented a variety of technical methods that do everythingnecessary to transform the cultivated plants to satisfy their own aestheticdesires. In the face of nature without resistance, human beings have more andmore powerful abilities, thus giving themselves this power, and feel at ease.　　LiZhaohui did this in his studio, simulating the power of the wind, transforminghis plants and making them bend according to his will.　　Further, he gave himself the absolute power touse mechanical and digital technology to bend everything he wanted to bend.This is an artistic illusion in the studio.　　Between nature and human beings, betweenfamily members, within groups, between groups, between classes, betweenregions, and internationally, the great pressure from all sides falls on eachindividual in various forms, giving us a general sense of powerlessness.　　Indifferent fields and time periods, we may turn into the stressed side,traveling in the stressed and pressed role, without knowing it.　　But can the world really let us do what wewant?　　◐　　Antlers　　2019/2024　　鹿是自然存在。在中国文化中，它化为神兽，背负神性，承载了它的符号意义和文化价值。其中，鹿角是最重要的神性象征。　　在现代化的当下，鹿的神性逐渐被人抛弃，物质性成为现代人唯一的追求。在中国，大量的梅花鹿被饲养，只为获取鹿茸，我们在鹿场里见到的都是无角鹿。　　《鹿角图》在各种现代背景下，通过给无角鹿的影像加装金属鹿角，以艺术语言，试图在精神上恢复鹿的神性。　　Deer are natural beings. In Chineseculture, it has become a divine beast, bearing divine inity and carrying itssymbolic meaning and cultural value. Among them, antlers are the most importantdivine symbol.　　Inthe modern present, deer divinity is gradually abandoned by people, andmateriality has become the only pursuit of modern people. In China, a largenumber of sika deer are raised, only for deer antler, we see in the deer farmare no horned deer.　　"Antlers" in various moderncontexts tries to restore the divinity of the deer in the spirit of art byadding metal antler to the images of a hornless deer.