陈秋，毕业于格拉斯哥美术学院实验艺术系，东南⼤学法学、哲学系。作为创作者与理论研究者，他的⼯作集中于当代影像及图像的场域实践。近年曾⼊围“亚洲先锋摄影师计划”（2023)“侯登科纪实摄影奖”（2022）“PEP NEW TALENTS”（2020）等。同时他也担任《中国摄影》编辑。
Chen Qiu was born in Changsha, China in 1997. He graduated from the MFA of Glasgow School of Art and the Law and Philosophy Department of Southeast University. As an artist and theoretical researcher, his work focuses on contemporary photography and image field practices. In recent years, he has been shortlisted for the "Asian Pioneer Photographer Foundation" (2023), "Hou Dengke Documentary Photography Award" (2022), "PEP NEW TALENTS" (2020), etc. At the same time, he is also the editor of Chinese Photography Magazine in China Federation of Literary and Art Circl.
他的作品近期展出于：His work has recently been exhibited at:
“游牧在南方”，深圳坪山美术馆，2023/Nomads in the South: Rivers, Tunnels, Dampness and Constellations, The Pingshan Art Museum (PAM)，Shenzheng 2023;
“光影重构”，广州美术学院美术馆，2023/Reconstructing Light and Shadow- Recreating Tradition in Contemporary Chinese Photography, Art museum of GAFA, Guangzhou 2023；
“侯登科纪实摄影奖”，深圳越众影像馆，2023/YueZhong Museum of Historical Images，Shenzheng 2023；
“眼前”，拱形画廊双个展，2022/IN FRONT OF THE EYES，Arch Gallery，Changsha 2022；
IPE 163，Royal Photographic Society，Bristol 2022；
HOT WHEELS，The Glue Factory，Glasgow 2021；
My truth is your story，Britannia Panopticon Music Hall，Glasgow, 2019；
他的近期部分写作可⻅于：Slected Writing :
从革命语境到现代范式：新中国摄影创作变迁
Revolutionary Context to Modern Paradigm: Changes in Photography Creation in New China
去影留图——数字语境下图像与摄影的新存在论
Removing Shadows, Preserving Images: A New Ontology of Images and Photography in the Digital Context
技术逻辑——影像被隐瞒的理论起点
Technical Logic: The Theoretical Starting Point Where Images Are Concealed
历史的摄影术，记忆的考古学
Historical Photography: An Archaeology of Memory
南⽅寄意
A Southern Reflection
重构：摄影传统的切⼝与时代对技术的限制
Reconstruction: The Cutting Edge of Photographic Tradition and the Constraints of Technology in the Era
陈秋的研究式创作以⾃身被抛⼊的历史语境为起点，试图在伦理，近代史及当下社会状态相交的暧昧契机中，将摄影及其衍⽣图像视为与思想史遗产最直观的沟通⽅式。其作品并⾮意在诠释当代摄影路径及图像形式的可能性，⽽是以其⽅法论及图式为契机，以期寻找图像与⼈性的螺旋交往史。他认为当代影像艺术除了着重于学科⽅法或新的案例批判外，还需基于本⼟语境持续发掘图像⽣产、交换机制与个体（集体）相对恒久的欲望情感间发⽣的巧妙制衡与维系。Chen Qiu's research-based art work starts from the historical context in which he himself is immersed, attempting to use photography and its derivative images as the most intuitive way of communicationwith the intellectual history heritage amidst the ambiguous opportunities that intersect ethics, modern history, and the current social state. His works are not intended to interpret the possibilities of contemporary photography paths and image forms, but rather to use his methodology and schema as an opportunity to explore the spiral history ofinteraction between images and humanity. He believes that in addition to focusing on disciplinary methods or new case critiques, contemporary image art also needs to continuously explore the delicatebalance and maintenance between image production, exchange mechanisms, and the relatively enduring desires and emotions of individuals (or collectives) based on the local context.
偷情Adultery
一个南方的中年男子来到山西农村
A middle-aged man from the south came to a rural area in Shanxi province
地缘山水
Fictional Geopolitic
我将这些被美国人拍摄的，被置于全球化进程中的不同时空国家与地区的影像，按照政治的视角，拼合于⼀处，形成地缘的蒙太奇。
这些被虚构所组织的真实⽚段在图像的伪装下成为既存的事实。当地质地貌、城市规划、云层疏密、⽐例尺与噪点符合了我们对图像的认识却⼜在历史的逻辑中发⽣错误，真伪松动了视觉的权⼒，图像本身则在误解中现身。⾃然或是事实的⾃⾜只是偶然，意义与问题的衔接才构成历史之链。
I have assembled images of countries and regions that have been placed at the diplomatic table or tied to different times and spaces in the process of globalisation,and these fictitiously organisedfragments of reality become pre-existing facts under the guise of images.When geological features, urban plans, cloud formations, scale and noise conform to our perception of the image,but then err in the logic of history, truth and falsity loosen the power of vision, and the image itself appears in misunderstanding. The self-sufficiency of nature or fact is only accidental; it is the meaning and question that forms the chain of history.
耶路撒冷—乌兰巴托，
“地缘山水”系列 数字合成图像艺术微喷于铝板，悬浮装裱
2023年
Jerusalem - Ulaanbaatar,
"Fictional Geopolitic" Series
Digitally Composited Image Giclée Print on Aluminum Plate, Floating Mounting
2023
南京—基辅，
“地缘山水”系列 数字合成图像艺术微喷于铝板，悬浮装裱
Nanjing - Kyiv，
"Fictional Geopolitic" Series
Digitally Composited Image Giclée Print on Aluminum Plate, Floating Mounting
2023
德黑兰—西伯利亚，
“地缘山水”系列
数字合成图像 艺术微喷于铝板，悬浮装裱
2023年
Tehran - Siberia，
"Fictional Geopolitic" Series
Digitally Composited Image Giclée Print on Aluminum Plate, Floating Mounting
2023
波斯湾—克什米尔，
《地缘图》系列数字合成图像艺术微喷于铝板，悬浮装裱
2023年
Persian Gulf - Kashmir， "Fictional Geopolitic" Series
Digitally Composited Image Giclée Print on Aluminum Plate, Floating Mounting
2023
某人对影像的兴趣
Someone's interest in images
崇拜、艺术、再现，这些共存于照⽚。⽽我感兴趣的是它们隐居于从现实变为图像的过程。如今图像浸⼊我们的⽣活、⼯作，⽽与旧⽇不同，⽣产却不再意味着拥有解释的权⼒。我开始对图像意义在⽂化间的往复转变或是共通产⽣疑惑，并开始以图像志的⽅式在异国拍摄下许多“⺟题照⽚”，以期显现出图像在不同状态下⾯对现实的反应。它可以是个⼈⽇记，也可以是意义交换市场中的某种货币。通过作品，我得以看到图像是如何成为欲望与现实的中转站，也得以反思如今社会中图像交换所附带的牺牲与交易。Worship, art, and representation coexist in photographs. However, what fascinates me is the process hidden within the transformation from reality into images. Nowadays, images permeate our lives andwork, yet unlike in the past, producing them no longer implies the power to interpret. I have begun to question the reciprocal transformation or commonality of image meanings across cultures and haveembarked on taking numerous "motif photographs" in foreign lands through the methodology of iconography, hoping to reveal how images respond to reality under different conditions. They can serve aspersonal diaries or as a form of currency in the marketplace of meaning exchange. Through my works, I am able to observe how images become transit stations between desire and reality, and also reflecton the sacrifices and transactions inherent in image exchange in today's society.
⿊⽯铺
Black stone stall
项⽬基于对中南地区后军事单位的影像及档案研究。该类组织为周边提供了更多的就业岗位与基础设施，但也由于与地⽅政府管辖权冲突与相对独⽴的⽣产，从⽽始终与区域发展保持⼀定的脱节。⼀种有趣但⼜现实的对⽐出现在这些社区中，有的关于物质条件，也关于⼈们的思维⽅式与⾃我认知。他们显现出既与乡村伦理融合，⼜有⾼度统⼀的现代制度的状态；既有政党，⼜有⻤神的独特故事。The project is based on the research of images and archives of post-military units in the central and southern regions of China. These organizations have provided more jobs and infrastructure for thesurrounding areas, but due to conflicts with the jurisdiction of local governments and relatively independent production, they have always been somewhat out of touch with regional development. Aninteresting yet realistic contrast emerges in these communities, both in terms of material conditions and people's way of thinking and self-cognition. They display a state of both integration with rural ethicsand a highly unified modern system; they have both political parties and unique stories of rural gods and ghosts.
衰⽼
senescence
噪点与星星
The Stars Over Beijing are in the Noise
在中国⽓球飘向美洲⼤陆后，我开始在北京每天拍摄头顶，然后试图在那些充满噪点的图像中找出⼀两个星星。
After the Chinese balloon drifted toward the American continent, I began to looking for stars in the image noise which i took from Beijing
The first group of climbers after Covid
⻩⼭更名前，古称黟⼭。因远远望去，⼭⾊如黛，故此以"黟"为名，为⿊的意思。⽽以⿊⽩为形，从笔墨到银盐，⻩⼭似乎⼀直纠缠这样的图景中，成为中国各阶层利⽤正统与重绘政治的空间。 ⾯对那些飘荡在图像史中的⼭影，我拍下那些在肺炎康复后第⼀时间爬⼭之⼈。‘Huangshan’ (Huang Mountain） is often called the most wonderful mountain in the world by the Chinese. It is the focus of Chinese art and religion. After Chinese government announced covid end, I came to this most famous mountain in China to find those who came to worship after recovering from serious illness.But the fact was that there was onlyfog in front of them.
景⼭—原点
Jingshan——The Intersection of Vision, History and Power.
景⼭公园位于北京市中⼼，紫禁城（今故宫博物院）北侧，是⼀座历史悠久的皇家园林，也是北京城内的制⾼点之⼀，虽然其海拔⾼度并不⾜以称为传统意义上的“⾼⼭”，但在平坦的北京市区中，它确实显得尤为突出。站在景⼭上环顾四周可看到分布在周围的平时⼤⻔紧闭的各⼤部委与⾏政机关，这是历史与当下的交叉点Jingshan Park, located in the center of Beijing, to the north of the Forbidden City (today's Palace Museum), is a historic imperial garden and one of the highest points in Beijing. Although its altitudeis not enough to be considered a "mountain" in the traditional sense, it stands out prominently in the flat urban area of Beijing. Standing on Jingshan Hill and looking around, one can see variousministries and administrative organs, which are usually closed to the public, scattered around. This is indeed a crossroads of history and the present.
第三世界的劳动者之⼿与第⼀世界被切断的阴茎
The Hands of Third World Workers and the Severed Penis of the First World
Officail Eye
These eyes all come from official propaganda publications in China between the 1950s and 1990s.
图⼀：⽅向、形象及⽆时间，1950s—1970s1，Direction, Pictorial and No time, 1950s -- 1970s
图⼆：事件、职业及⼈物，1970s-1980s2，Events, Occupations, and Figures, 1970s-1980s
图三：状态、混合及冲突，1980-1985s3，State, Mixing and Conflict, 1980-1985
造坟——申时 ⼋宝⼭
GMT+8—3：00 PM
