济南国际摄影双年展第三届高校邀请展
“微芒成阳 ”亚太地区高校摄影邀请展
—鲁迅美术学院
艺术总监：曾毅
总策展：张辉、黄荣华(土耳其)、柳银珪(韩国)
学术主持：姚璐
联合策展人：邓岩
鲁迅美术学院
鲁迅美术学院
鲁迅美术学院摄影系是在全国高等艺术院校中第一个创建的摄影系，2021年更名为鲁迅美术学院影像艺术学院。影像艺术学院目前招生的专业有摄影专业（130404）、影视摄影与制作专业（130311T）、戏剧影视导演专业（130306）。摄影专业基于美术学院背景下的浓厚艺术积淀，始终坚持与国际高等摄影教育理念接轨，坚持可持续发展的、满足时代需求的摄影专业教学模式，以高标准的艺术理念为引导，以服务区域经济文化发展为重点，立足辽宁、辐射东北、面向全国，旨在培养具有良好道德品质和深厚文化修养的高素质应用型摄影人才，建设具有鲁美特色的高水平的国内一流学科。教学优势有：严谨的传统摄影技术与最新的数字影像技术并重;经典的纯摄影创作与先锋的当代影像创作并重;全面的摄影理论与前沿的当代艺术理论并重。
LuXun Academy of Fine Arts
The Photography Department of Lu Xun Academy of Fine Arts is the first photography department established in China's higher art institutions. In 2021, it was renamed as the School of Video Art of Lu Xun Academy of Fine Arts. The School of Video Arts currently enrols Photography (130404), Film and Television Photography and Production (130311T), Drama Film and Television Directing (130306).
Professional photographers and deep artistic accumulation based on the background of academy of fine arts, always adhere to the line with international advanced photography education concept, adhere to the principle of sustainable development, meet the demand of era of professional photography teaching mode, with high standards of artistic idea as the guidance, to serve the regional economic and cultural development as the key point, based on liaoning, radiation northeast, facing the country, The aim is to cultivate high-quality applied photography talents with good moral quality and profound cultural accomplishment, and to build a high-level domestic first-class discipline with Lumei characteristics. Teaching advantages include: rigorous traditional photography technology and the latest digital image technology; Classical pure photography creation and pioneer contemporary image creation; Comprehensive photography theory and cutting-edge contemporary art theory.
严程 Yan Cheng
鲁迅美术学院影像艺术学院副教授、硕士研究生导师、摄影系主任。展览：2019年8月作品《无何有》韩国仁川“亚洲海洋媒体艺术节”、2017年作品《无何有》 “丽水国际摄影节”、2014年作品《未可定义的青春-镜像》上海民生美术馆“2009—2014中国当代摄影展”。收藏：作品《未可定义的青春》被MOMA美国现代艺术博物馆收藏。
《无何有》
作品有选择的把当代艺术体系中的知名作品与对于该作品的阐述语言重叠粘合在一起，用词句语言替换掉具体图像中的形象。这是一个无需“解读”的“语言图像”（虽然阐释并不能完整构建出艺术作品全面的观念纬度），是关于解读的解读，因为作品中的原始图像本身不是物质实体而是理念实体，所以当词句语言和艺术的语言（观念的图像）重叠时，所有的解读图像的经验都失效于“无图像“，同时也是图像，一幅“语言的图像”。作品希望探讨这种重叠的双重性，是否会形成一种新的图像秩序和语意空间。
《Realm of Vagueness》
The work selectively overlaps the famous works in the contemporary art system with the elaboration language of the work, replacing the image in the specific image with the language of words. This is a no "interpretation" of the "language image" (although the interpretation does not build a complete works of art the idea of comprehensive latitude), is about the interpretation of interpretation, because the work of the original image itself is not a material entity but concept entity, so when the words of the art of language and language overlapping images (idea), All experience of interpreting images is invalidated by "no image", which is also an image, an "image of language". The work hopes to explore whether this overlapping duality will form a new image order and semantic space.
《无何有》 2017—2019年 数字微喷 尺寸可变 作者：严程、刘亚轩
叶红 Ye Hong
生于辽宁沈阳。现任鲁迅美术学院教师，副教授，硕士生导师。2020年，展览“由内至外——来自中国的新摄影”，英国贝尔法斯特。2019年第七届大学生影像艺术节金拴马桩奖，优秀指导教师奖。2018年编写教材《摄影摄像基础》。
《重置》
2020年初我计划已久的埃及之旅得以成行，然而新冠疫情也在此时传播开来，匆匆结束了旅行，我回到家开始了为期不短的隔离生活。如今后疫情时代来临，许多问题与冲突提前爆发，进而使我们步入了一种新的世界格局之中。当病毒慢慢平息的时候，对于空间本身来讲或许并没有改变，但是“人无法两次踏入同一条河流”，人类运转的空间已经被重置。而那些曾经潜藏在人类社会中的诸多问题，也会像潮水褪去时海滩上留下的贝壳一样不可被无视。
《Reset 》
My long-planned trip to Egypt in early 2020 was hastily cut short by the spread of the coronavirus, and I returned home to begin a lengthy quarantine. Now, with the advent of the post-pandemic era, many problems and conflicts have broken out ahead of time, and we have stepped into a new world pattern. When the virus dies down, the space itself may not change, but "you can't step into the same river twice," and the space in which humans operate has been reset. And the problems that once lurked in human society will be as undeniable as the shells left on the beach when the tide goes out.
孙浩 Sun Hao
《 陨星》
陨石是太空漫步的旅人，也是链接古人与现代人的一个枢纽。从古至今，我们有很多关于陨石的故事，也对陨石包有很多看法，有人觉得它是幸运之神的降临，有人觉得它是厄运来临的前兆，有人也认为它是宇宙的运动为地球留下的痕迹，当宇宙的神秘感被赋予在它身上时，它或许真的可以为我们带来什么。在这组作品中，作者通过置景，微距，人像等多种拍摄手段，试图还原一个陨石在他印象中的神秘、浪漫、危险感，进而通过一丝微妙的关联，感知宇宙的气息，与此同时，它也代表着人类对于宇宙中未知事物的探索。
《Meteorites 》
Meteorites are space-walking travelers and a link between ancient and modern people. Historically, we have a lot of stories about meteorites, also have a lot of comment on meteorites package, some people think it is luck, some people think it is a sign of bad luck coming, people also think that it is the movement of the universe for traces of the earth, when the mystery of the universe is given upon it, it maybe what can really bring us. In this group of works, the author tries to restore the mysterious, romantic and dangerous feeling of a meteorite in his impression by setting the scene, macro, portrait and other shooting methods, and then perceives the breath of the universe through a subtle connection. At the same time, it also represents the exploration of the unknown things in the universe.
申林 Shen Lin
《消逝的地平线》
身在都市中的我们很少会真正感知我们身边所处的环境。此次所拍摄的景观大多为北方工业城市沈阳的边缘以及被遗忘的景观，画面中出现比较强烈的视觉符号作为线索。
东北城市独特的地域性文化优势在全球资本化过程中逐渐被弱化。而我的再次拍摄与踏足，对于这些被大多数人所漠视的景观来说是久违的被观看与感知。这促使我对这些边缘化日常景观建筑进行了重新思考，并重新探究这座北方城市褪去华丽的外表后逝去的繁荣。
《Lost Horizon》
Living in the city, we are rarely truly aware of our surroundings. Most of the landscapes captured are the edges and forgotten landscapes of the northern industrial city of Shenyang, with strong visual symbols as clues.
The unique regional cultural advantage of northeast cities is gradually weakened in the process of global capitalization. However, my re-shooting and stepping on these landscapes, which are ignored by most people, have not been seen and perceived for a long time. This prompted me to rethink these marginalized everyday landscape architecture, and to re-explore the lost prosperity of this northern city after shedding its gorgeous appearance.