2019年第八届大理国际影会

“水是一切自然的驱动力”——莱昂纳多·达芬奇  Brad Temkin 的系列作品“水之状态”（The State of Water）延续了艺术家的长期项目，该项目将人类与环境的关系引入受关注的焦点。 特姆金的水图像表露了我们通过科技和基础设施来尝试处理与水的脆弱之关系。通过他的创造性图像，特姆金向我们展示了维持我们的生活、健康、农业、旅游、贸易和工业生产等的这一重要元素——水的各种抽象的状态。— Steven Evans“Water is the driving force of all nature.” — Leonardo da Vinci  Brad Temkin’s monumental series The State of Water continues the artist’s long-term project that brings humanity’s relationship with the environment into sharp focus. Temkin’s images of water expose our attempts to navigate our fragile relationship with water through technology and infrastructure. Through his inventive images, verging on the abstract, Temkin shows us the various states of this vital element that sustains our lives, health, agriculture, travel, trade, industrial production, and more.   — Steven Evans        地球表面的71％被水覆盖，水存在于空气中，如蒸汽，冰盖和冰川，地下土壤水分和含水层。其中只有2.5％是淡水，其余为生理盐水和海洋。只有0.007％的地球水能够为70亿人提供燃料和饲料。我们需要水来生存，我们认为它是理所当然的。  大多数雨水被认为是废物，而现在有700多个城市在回收废水和雨水，将其用于农业用途和人类消费。当我们模仿自然并分离污泥，盐或化学品等杂质时，现象就会发生转变。我有兴趣将注意力转移到这种转变的视觉和生态美，并展示出无人能见到的基础设施和建筑的创造感。我被这些形式的陌生感和扭曲的尺度和色彩所吸引，拥抱抽象的，超现实的水回收景观。   “水之状态”持续关注着我们与自然的关系 - 我们如何欣赏和容纳自然，以及自然如何适应我们。通过展示从污泥到纯净水的各种状态的美感，我的目的是鼓励观者提出自己的问题，提倡我们最宝贵的资源的重要性。  71% of the earth’s surface is covered in water. Water also exists in the air as vapor, in icecaps and glaciers, in the ground as soil moisture and in aquifers. Only 2.5% of this is fresh water with the rest as saline and ocean based. Only 0.007% of the planet’s water is available to fuel and feed its 7 billion people. We need water to survive yet we take it for granted.   Most storm water runoff is considered waste; yet more than 700 cities reclaim wastewater and storm water, recycling it for agricultural uses and human consumption. As we mimic nature and separate the impurities like sludge or salt or chemicals, a transformation occurs. I am interested in bringing attention to the visual and ecological beauty of this transformation and showing the inventiveness in infrastructure and architecture no one ever sees. I am attracted to the strangeness of these forms and the distorted sense of scale and color, embracing the abstract, surreal landscape of water reclamation.   The State of Water continues my attention on our relationship with nature—how we appreciate and accommodate it, and how it accommodates us. By showing beauty in all states of water from sludge to pure, my intent is to encourage the viewer to ask his or her own questions, advocating the importance of our most valuable resource. 

Exhibition by  展览主办Government of Pondicherry Department of Tourism  本地治里政府与旅游局PICFA－Pondicherry India China Friendship Association 本地治里印中友好协会INTACH － Indian National Trust for Art and Cultural Heritage Pondicherry本地治里印度国家艺术和文化遗产信托基金会Incredible India 不可思议的印度Pondicherry India China Friendship Association (PICFA) is involved in people to people relation between India and China in the areas of education, culture,trade and tourism. PICFA and Dali Foreign Affairs are committed to establish a friendship between Dali Prefecture and Pondicherry U. T.  This time, a delegation from Pondicherry is visiting Dali and show their lifestyles in their country by photos.“本地治里印中友好协会”是致力于促进印度人民和中国人民之间在教育、文化、贸易和旅游等领域的友好关系。本地治里印中友好协会和大理州外事办共同努力建立大理州个本地治里特区的城市友好关系。这次，一个来自本地治里的代表团将来到大理用照片为我们展示他们在自己国家的生活方式。

前言商业摄影是商品生产者、经营者和消费者之间沟通信息的重要载体，也是企业占领市场、推销产品、提供劳务的重要方式；主要目的是提高经济效益和扩大社会影响力，因此，商业摄影是推动经济发展的重要手段之一。商业摄影的艺术表现是为了更准确的体现产品的创意故事，形式为内容服务，形式的艺术性能够将创意升华到更高的艺术境界，因为艺术作品最终的呈现是要通过感官去体会的，形象，色彩，空间的组合的结果是一张张照片，这一张张真实的有内容的照片感染、感动着观者，所以，商业摄影是通过作品的表现形式体现出其自身的艺术价值的，是一个极其宽广的摄影领域。近年来，随着中国商业摄影师在各个商业摄影比赛中频频获奖，越来越多的国内商业摄影师，渴望和国际接轨，渴望增加自己在世界舞台上的分量。他们希望他们的名字也能像他们仰慕多时的前辈大咖一样，用自己的实力把自己的名字留在中国商业摄影史上。本影展收录了2016、2017、2018中国商业摄影大赛部分优秀获奖作品，给广大商业摄影师一个展示才华的平台。

手机拍大片“手机摄影一日一图”2019第八届大理国际影会手机摄影展策展前言今天，手机摄影的普及已经颠覆了人们对近二百年摄影发展历程的传统认知，人人都能拿起手机进行创作已是不争的事实。早在2010年，曾在媒体做专业摄影工作的我，就预感到手机摄影时代即将来临，因此我们创立了“手机摄影一日一图”摄影社区，随即在国内摄影界引起高度关注，并成为了国内手机摄影领域的一座丰碑。时至今日，“手机摄影一日一图”摄影社区已发展到20000余人，每天投稿量超过2000幅（组），本届影会我们带来的部分手机摄影精选作品，无论是人文、风光还是创意类，均具有较高的欣赏价值。今天我们用这种夸张到近乎极致的特殊形式在影会上大幅面展示，旨在向观者传递这样一个信息：手机摄影，同样可以“把日常生活拍成美学大片”！ 策展人：林添福2019年7月15日 于台北

滇南建水，古称临安。明朝初年边屯兴起，于洪武二十年建城。因境内盛产五色陶土，内地工匠闻之前来，在城边开窑烧碗制盆，逐步形成以手工为生的村庄，取名碗窑，沿用至今。1953年，县政府把附近几家烧制饭碗、酒罐、水缸、腌菜罐的手艺人组成“瓦货社”，后更名“土陶厂”，再后叫“陶瓷总厂”，生产百姓生活所用陶器。三年前，总厂倒闭，工人回家，窑炉停火，机器朽坏。目前来洽谈转让的地产商人络绎不绝……我发现，在每一位无奈回家的工人心中，都固执留存着自己留在工厂里的青春和汗水，欢悦和苦痛。我希望自己一次次摁下的快门，能留住他们珍贵的往昔，并和他们完成一场深情的怀想，并唱出难舍的离别之歌。                              段瑞秋（摄影师）                          2019年5月  中国·建水   《Goodbye Wanyao》 Description Jianshui, a city located in south Yunnan province which had a name Lin’an in the history. In the early years of the Ming dynasty the government started to billet soldiers near the broader, as a result, the city of Jianshui was established in that era at the year 1387 A.D. Due to the abundance of five-color clay in this area, many mainland ceramic makers migrated here to setup kilns and making bows, pots and more. Gradually a craftsmen oriented village was formed which named Wanyao‘ means bowl kiln in English, This name is still in use today. In 1953, the local government grouped a number of nearby clay craftsmen together and formed the ‘Wahuoshe’ means the clay society, the name then changed to ‘Tutaochang’ means clay & ceramic factory and later it was renamed again to ‘Taocizongchang’ means the head ceramic factory which produce the essential households clay goods. Three years ago, the factory closed down, the workers went home, the kilns were distinguished, and the machine were covered in dust. Many real estate developers now come here to negotiate deals to buy this piece of land. I found that in the hearts of every helpless worker who was sent home still retained the memories and feeling of the time when they were working in the factory. I wish that every time when I release my camera shutter I can preserve their precious moments, join them tracing the past and sing the sad farewell song.    Ruiqiu Duan (photographer) JIANSHUI  CHINA  MAY 2019 

北京摄影函授学院云南分院师生联展The Teacher-Student Joint Exhibition of Beijing Photography Correspondence College in Yunnan Branch策展人：鲍利辉摄影师：耿云生 范毅 金飞龙 李一波  陈靖南 陈睿 杜一梅 樊梅红 冯琳 王波 王会元 王璟 王文生 熊发寿 杨东 游静怡 赵峰 钟海龙 朱杰 朱培寿 庄郁葱 北京摄影函授学院由中国摄影家协会主办，1984年经中国文联批准成立，是我国实行改革开放以后创办最早的民办高校之一。33年来，学院坚持依法办学，特色办学，被摄影界称为“摄影家的摇篮”。 北京摄影函授学院云南分院成立于1988年，现任院长鲍利辉系大理国际影会艺术总监。分院具备丰富的摄影大师资源和影像平台资源，以“互动学习，实践提升”为教学原则，致力于帮助学员创作提升，开阔眼光，并提供更好的成长平台。在分院老师理论面授教学、实践课程指导之下，学员们的摄影理念和摄影能力都取得了实质性的进步。本次师生联展，全方位展现了分院老师与来自于全省各地、各行各业的学员们的风采和学习成果。是云南分院办学理念的重要体现，也是推动云南摄影艺术发展结出的硕果之一。 Yunnan Branch of Beijing Photography Correspondence College was established in 1988. The current president, Bao Lihui, is the art director of Dali International Photography Exhibition. The branch has abundant resources of photography masters and image platforms. With the teaching principle of "interactive learning, practice promotion", it is committed to helping students create and improve, broaden their vision, and provide a better platform for growth.Beijing Photography Correspondence College, sponsored by the Chinese Photographers Association, was established in 1984 with the approval of the Chinese Federation of Photographers. It is one of the earliest private universities in China since the implementation of reform and opening up. For 33 years, the College has insisted on running schools in accordance with the law and with its own characteristics. It has been called "the cradle of photographers" by the photography community.Under the guidance of theoretical face-to-face teaching and practical courses, the students have made substantial progress in their photographic concepts and abilities. This Teacher-Student Joint Exhibition fully demonstrates the elegance and learning achievements of the teachers and students from all walks of life in our province. It is an important manifestation of the school-running idea of Yunnan Branch and one of the fruits of promoting the development of photography art in Yunnan.

北京电影学院摄影学院2019届商业摄影本科毕业作品展 Undergraduate Photography Exhibition 2019Beijing film Academy, Photography Department 又逢仲夏，绿树阴浓，我们迎来了毕业展。这四年中，同学们行走着，发现着，阅读着，思考着，在扎实的学院教育基础上，不断探索商业摄影发展的新方向。     二十位同学的作品各有特色，散发着丰富的想象力与生机蓬勃的创造力。在本次展览中，有些作品体现了深刻的自省与剖析，而有的作品则呈示了对外界、对未知的孜孜探索。我们的视角包括了女性的成长和家庭的内涵，包括了宏大的宇宙与微观的细胞，还包括了戏剧化叙事和梦境的回溯 。不同的作品中有东方视角与西方视角的复古美学碰撞，也有先锋摄影语言的尝试，这些作品都展现了影像的包容性与强大力量 。    星光明熠，相映成辉，未来可期。我们二十位同学在光与影之中成长、成熟，共同度过了难忘的四年，念昔同携手，风期不暂捐。希望每个人未来都能够继续开拓自己的一片天地，期待再次聚首时硕果累累！2019届商业班      仲夏毕业之季，终于迎来了我们翘首以盼的摄影学院15级商业本班的毕业作品展出。在这场以饱满的影像张力交织而成的视觉饕餮盛宴里，我们看到的累累硕果既属于每一个学生的勤奋努力，也属于北京电影学院的孜孜教诲；在这场天马行空的视觉旅行中，既是学生们脑洞大开的影像探索和创作体验，也是他们尝试与社会接轨、彰显商业气息的本能和努力。创作实践，从来都是北京电影学院鲜明的特点；做的比说的更好，更彰显了我们的学生所具备坚实的动手能力和实干精神。经过了四年的学习，北京电影学院开放、自由、激情、务实的学风早已转化成为他们身上的最强基因，我们在这场华丽的毕业作品展中所看到的扎实的摄影功底、蓬勃的创作力量以及自信与激情，便可归结于此！      借由这次完美的毕业展，我祝愿即将展翅高飞的你们，不忘摄影之初心，倾心影像为伴。在离开母校之后，仍能不断锤炼专业技能、塑造人格素养。就让我们以这次毕业展为始吧，准备好！昂首阔步的奔赴你们宽广和荣耀的人生！   ——班主任 崔畅

口 岸/摄影家：徐波 北仑河位于中越边境线，广西东兴与越南芒街隔河相望。一百多年前这里就是中国与越南的边界，两岸的百姓就有贸易的往来；六十年前，北仑河友谊大桥竣工通行，这里是抗美援越的重要通道；四十年前，象征友谊的桥梁被炸毁，十年的自卫反击战开始，这里是战争的最前沿；二十五年前，东兴口岸再次开放，两国人民重拾友谊与信任，共同发展的信念催生了两岸贸易的再次繁荣。随着中国东盟命运共同体的建立， “21世纪海上丝绸之路”、“一带一路”等一系列战略合作的开始，东兴口岸开启了它前所未有的勃勃生机。今天，每天大量的木薯粉、橡胶制品、水产品、芝麻等农副产品在东兴贸易口岸的“边民互市贸易区”交易，几百个精瘦但强壮的越南装卸工人在码头上忙碌，繁重的体力劳动没有抹去他们脸上不经意间的笑意，其中不乏女性的身影。他们一定在心里描画过美好生活，船岸间的跳板在他们脚下有节奏地颤动，如同心头跳动的希望。生活总是褒奖努力的人，祝福每一位劳动者，无论国籍与民族，在最好的时代中迎来最好的生活。  无论你在河的哪一边/策展人：高健生 2002年11月，受广西壮族自治区政府和中国摄影家协会委托为出版《山水甲天下》画册曾经到过东兴，当时所住的口岸宾馆位于北仑河一个转弯处，从宾馆俯瞰即可看到边贸码头。时值北仑河枯水期，水很浅，窄的地方三五步就可以趟过去。那时边境贸易主要是越南人带过来的红木产品和仿制的法国香水。看到徐波于2019年拍摄的这组图片，现在的边贸内容已有所不同，更多的越南初级产品被送到中国来，这种变化可以看出两国不同的社会发展阶段。最冲击眼球的是那些搬运木薯粉的越南劳工，作者镜头的取舍没有歧视，没有自傲，只有对劳动者的尊重和对他们追求幸福生活的精神赞美。除了表现辛苦的劳作之外，我们还能通过不同的姿势和眼神感觉到他们之间的关系，甚至你还可以看到越南小镇青年的时尚追求。国家关系是复杂的，但人性相通，看一个相连的口岸，看一组特定的人群，他们的今天曾是我们的昨天，这就是生活，无论你在河的哪一边。

荷兰艺术家埃舍尔画了一群鳄鱼，它们拥挤在密不透风的平面，一条不安分的鳄鱼偶然间爬上了一本书，知识的力量使它逐步登高，它看到了这个世界是有高度的。这条处在三维空间的鳄鱼，急迫地回到原来的那个平面，告诉自己的伙伴，高处不拥挤，有更多值得探索。 “摄影黄埔”俱乐部的会员来自四面八方，他们中的一些人已经踏上知识的基石，探索处于更高维度的精神世界，更多人听到了来自这个世界的回响，开始挣脱曾经束缚他们的扁平世界。 拍摄内心浩瀚的宇宙，因为自我意识在那里畅游。 影像是高维空间的语言，相机将她编成诗，谱成曲。 高磊Spiritual Realm Dutch graphic artist M. C. Escher once drew a group of crocodiles tessellated into a plane. One discontented crocodile happened to climb up onto a book. The power of knowledge pushed him higher, and he saw that the world had height. This crocodile in three-dimensional space hurried back to his two-dimensional plane, so that he could tell his compatriots that things were less crowded up there and that there was more to explore. The members of Spéos Photo Club come from far and near. Some of them have already laid the foundations of knowledge and are choosing to explore a higher dimension of this spiritual realm. More people have heard the echoes of this realm and begun to shake off the ordinary world that restrains them. We photograph this vast spiritual realm because that is where our self-awareness resides. Photography is the language of this higher dimensional space, and cameras compile them into poems or set them to music.

当代社会的女性视觉书写--七位女性影像艺术家作品联展 传统艺术史是一部男性的历史，摄影史更是亦然。 不过，在西方随着女权运动的高涨，女性摄影史也开始了全新的书写，被大家所熟知的，如辛迪·舍曼(Cindy Sherman)用自我身体自拍、扮演的照片被充分挖掘出来。还有被誉为私摄影鼻祖的南-戈尔丁用那些伤痕累累的作品展现了现场与真实。 本次联展的七位影像艺术家，用镜头为画笔去描绘人与自然之间微妙而脆弱的关系，以底片为画布记录下她们对于生命意义与生活方式的大胆尝试，用快门为纽带以女性视角对当下社会的问题与冲突提出质疑和批判，对生命价值的真实体验与真诚表述。女性的细腻和感性促使艺术家不断渴望探索自己与社会环境的关系，去征服公共空间和隐秘之处。对艺术中性别问题的探究，往往表现为对女性主义的质疑或者阐释。艺术作为一种人类的精神活动，不可避免地会反映出作者的社会性别意识的影响，正如阶级、种族、文化和个人经历都会折射到艺术中一样，然而对这样一个不言自明的问题，“女性主义艺术最终的目标是超越性别，从传统的‘二元论’向多元化的发展;从‘小我’走向‘大我’，从女性的‘自觉’走向人的‘自由’”。 女性艺术家们不再关注那些外在的，与个人情感生活不相关的事物，更加注重挖掘内心的资源，从个人经验乃至躯体语言中获取灵感，作品更具有个人化特色和私秘化倾向；很少从理性角度介入题材和把握主题，更注重艺术的感性特征，更注重直觉的、观能的呈现。作品更多孩童般的幻想，顺手牵羊的随意，意象模糊的非理性和说不清道不明的生理-心理感应；对于政治的、历史的、哲学的大主题缺乏兴趣，而对自然的、生命的、人性的乃至生存问题相关的主题表现出一种特殊的关爱，甚至对于平淡生活和平凡事物的关注，都胜于对崇高、辉煌的追求；对男人的世界普遍缺少兴趣，很少以男性作为艺术对象。 批评家何桂彦的《艺术终归是没有性别的》一文中曾经提到，“如果艺术家仅仅停留在浅层次的性别符号的复制中，而无法涉及到图像符号背后潜藏的社会问题，那么这种女性艺术反而会因为浅薄、表层而容易掉入艺术市场设定的陷阱。因此，女性艺术最大的价值不在于寻求艺术在表达时的两性差异，而在于真正能够将个性的自由提高到一个更高的层面。”最后他下了这样一个结论说“因为艺术最终是没有性别的”。 通过本次展览，希望展现中国的女性影像艺术家不是一个“失声的群体”，中国女性不再仅仅出于一种被说、被写、被画、被赏的客体地位，她们已经反客为主，从自身经验出发去说、去画、去写、去做。用她们内心资源去建构一种属于自己的，也属于全人类的女性艺术与女性文化。女性艺术家也在这一过程中被去掉“他者”的身份，成为当下塑造历史的“主体”部分。  金酉鸣2019年7月

《新视线》策展前言 策展人：安光系  摄影师（排名不分先后）： 崔建玲   高艳  李红    陆焕东  李钧  李蓉 李尊先  毛巧媛  史发翠  王家璜 吴力 汪雪涯 辛刚  徐建东  许小英  燕苍娜 殷鸣镝 余敏山  张伦 张仁明 赵立群  毋庸置疑，摄影已经成为当下社会人们最重要的书写方式之一。拥有相机、会拍照，仿佛是一件与生俱来的事情。 也正因为如此，拍摄成了最为重要的民主方式。人人都能参与，人人都会拍摄，很多人的日常生活都是以摄影的方式进行。记录、表达、甚至通讯与交流，摄影在日常生活中扮演起越来越重要的作用。 世界是个巨大的艺术仓库，如果细看，似乎一切都可以纪录，人类活动的一切痕迹都值得留下。在这里展现的，是21位摄影师的作品，他们以相机为媒介，对周围世界进行视觉勘探。他们正在以不同的方式，重新审视自己身边的人或事，重新认识并理解这些内容并使之成为拍摄对象。 在全球化的大环境下，一方面，旧的传统和景观正在慢慢消失，新的文化和建筑正在出现。摄影师开始关注这种变化并以此作为纪录或创作内容；另一方面，摄影师开始发现身边容易被人忽略的事物，赋予了它们新的内涵，以此来表达自己对世界的理解。无论是记录新事物还是对旧事物重新进行发现，都成了这些摄影师们的职责所在。 摄影成了我们观看世界的重要方式。因为这些审视已经不同于一般的观看，我们称之为《新视线》。  摄影师陆焕东、余敏山、汪雪涯开始关注当代社会呈现出来的新建筑，他们冷静陈列，以类型学的方式进行拍摄。无论是小区大门、公共卫生间还是各种新出现的欧式建筑，都能折射出当下社会人们的喜好和梦想。摄影在这里扮演了博物馆考古的作用，为未来研究当代社会的公共建筑文化提供了视觉档案。 摄影师李红、张仁明，以摄影的方式介入私人家庭生活。他们深入私人生活空间，一方面展现普通百姓的生活景观，另一方面展现中国家庭的精神信仰和生活梦想。在这里，普通百姓的生存现状、文化、空间、信仰、欲望、时尚、矛盾和冲突等信息都得以展现。 摄影师吴力、李钧，把镜头对准了当下的新景观。人们对自然强行改造后留下新景观，能让我们去解读当代社会快速发展、新旧交替过程中所展现出来的矛盾与冲突，也在提醒我们思考人类自身的行为是否得当。 摄影师高艳通过论述和日常生活有关的琐事儿并对这些物件进行拍摄和解码，努力去发现隐藏在里面的种种亲密，以此探寻上一代人的生活史和精神空间。李蓉、殷鸣镝则分别以日常生活中的餐饮和服饰为创作对象，开始对日常生活进行审视和发掘，使观者进行阅读并产生想象。毛巧媛和李尊先则在一些生活场景进行重新发现，以女性主义视角去理解和诠释老百姓的生活艺术和生活美学。她们把相机当成了凝视、观察、记录和理解外部世界的途径和工具，拍下了当代人们日常生活中留下来的痕迹和生活景观。 在全球化的趋势下，一部分摄影师开始关注身边人的变化。因为担心时光流逝，这些摄影师试图拍下一些人群的肖像，为未来人们留下视觉档案。燕苍娜、史发翠、王家璜、赵立群、崔建玲，纷纷重新返回到自己当年生活的场地或人群，以影像为媒介，再次审视这些看似平凡实则不易的人们，开展一次大发现之旅。拍下这些影像，既表达对特定人群的同情，也有质疑和反思。张伦、许小英、辛刚、徐建东等人则以影像调查的方式，为老人、喜欢COSPLAY的年轻人、狗贩等几类人群建立生活档案，展示出他们对部分人群命运的关注和社会责任感。 摄影是捕捉客观世界的重要方式，也是摄影师作为个体的一种表达。对摄影师而言，其重要职责就是试图去看见一切事物，去发现并揭露这些被隐蔽的现实。每幅照片都是世界的一个片段，这些新视线，既向我们展现世界、揭露问题，又向我们表达观点、引发思考。 这是对人类当下发展的记录与展现，更是摄影师对人类命运的审视与发问。 策展人简介：  安光系：媒体人，国内多家媒体专栏作者暂居英国伦敦，致力于视觉文化的研究和解读。  New Observation Curator: Guangxi An Photographers (in no particular order): Jianling Cui , Yan Gao  , Hong Li  , Huandong Lu  , Jun Li ,  Rong Li  , Zunxian Li  , Qiaoyuan Mao  , Facui Shi ,  Jiahuang Wang  , Li Wu  , Xueya Wang,   Gang Xin  , Jiandong Xu ,  Xiaoying Xu,   Cangna Yan ,  Mingdi Yin,   Minshan Yu ,  Lun Zhang  , Renming Zhang,   Liqun Zhao Undoubtedly, photography has become one of the most important way of communication for people in the contemporary society. Everyone can use it. Indeed, photography became a significant democracy, as everyone could take part, and anyone could take pictures, many people’s life involves photography. It plays a dominant part in our daily life, such as for recording, expressions and even communication. The world is a huge art warehouse. Zooming in, it seems like everything could be used as a record, and all traces of human activities are worth preserving. Here we present 20 photographer’s works, they use camera as a medium to visually explore the world.  In a unique way, they are re-examining their surroundings, relearning and re-understanding them, which is the focus of their photographs. In the atmosphere of globalisation, old traditions are gradually disappearing and new cultures and constructions are appearing. Photographers are starting to focus on these changes and records and uses them as inspiration. They are also discovering the things that are often overlooked and gift them with a new significance to express their understandings of the world. Whether it is recording new things or uncovering old things, these all became the duty of photographers. Photographers became an important function for viewing the world. We call this the ‘New Observation’. Photographers Huandong Lu, Minshan Yu and Xueya Wang started to focus on the new architectures in our contemporary society and using typology to exhibit them. Whether it is the front gates of residential communities, public toilets, or the newly appearing European- styled architectures; they can all reflect people’s hobbies and dreams in the contemporary society. Photography plays a key role in archaeology, and provides visual documents for researching this society’s public architectural culture in the future. Photographers Hong Li and Renming Zhang used photography to get involved in people’s private family life. They dive into private life spaces to present the living conditions of the ordinary people, and also the belief and dreams of Chinese families. They reveal the conditions for survival, culture, space, belief, desire, fashion, and conflicts of ordinary people. Photographers Li Wu and Jun Li aimed their cameras at the contemporary landscape. Nature are forcefully changed into new landscapes by humans. This allows us to interpret the rapid development of our contemporary society, the conflicts caused by these changes, and also reminds to think about the human behaviour. Through describing and photographing the trivial things in daily life and decoding them, the photographer Yan Gao attempts to discover the hidden intimacy and explore the history of life and the spiritual space of the previous generation.  Rong Li and Mingzhei Yin focuses on clothes, food and drinks. By examining their daily life, it encourages the viewers to read and use their imaginations. Qiaoyuan Mao and Zun Li rediscover their surroundings. From a feminist perspective, they attempt to understand and demonstrate ordinary people’s art and aesthetics in life. They use cameras to gaze, observe, record and interpret the outside world and documents the traces and daily life of people in the contemporary society. Under the current of globalisation, some photographers started to pay attention to the changes of people around them. Due to a concern of time passing by, these photographers attempted to shoot some people’s portrait to leave some visual archives for the future generations. Cangna Yan, Facui Shi, Jiahuang Wang, Liqun Zhao, Jianling Cui all returned to their hometowns and used photography as a medium to inspect these people who seems to be ordinary but are undergoing many hardships. By taking these images, it expresses not only the sympathy towards certain collectives, but also promotes confrontation and a rethink of the human behaviour. Lun Zhang, Xiaoying Xu, Gang Xin, Jiandong Xu and others uses photography in a form of investigation to create archives for the lives of the elderly, the teenagers that likes cosplay, dog sellers and others. Also indicating their social responsibility and awareness of some group of people’s fates. Photography is important in capturing a critical perception of the world, and is also an expression for the photographer as an individual. For a photographer, the most essential duty is to try to observe everything, to discover and reveal the realities that are hidden beneath. Every photograph is a fragment of the world. These new observations illustrate the world and the expose problems within it. In addition, they also convey different viewpoints and evokes rumination. This is an exhibit and record of human development in the present, it is also the photographer’s inquiry and inspection of the human fate. Guangxi An, writer and curator, living in London, UK.