2019年第八屆大理國際影會

“水是一切自然的驅動力”——萊昂納多·達芬奇  Brad Temkin 的系列作品“水之狀態”（The State of Water）延續了藝術家的長期項目，該項目將人類與環境的關系引入受關注的焦點。 特姆金的水圖像表露了我們通過科技和基礎設施來嘗試處理與水的脆弱之關系。通過他的創造性圖像，特姆金向我們展示了維持我們的生活、健康、農業、旅游、貿易和工業生產等的這一重要元素——水的各種抽象的狀態。— 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％被水覆蓋，水存在于空氣中，如蒸汽，冰蓋和冰川，地下土壤水分和含水層。其中只有2.5％是淡水，其余為生理鹽水和海洋。只有0.007％的地球水能夠為70億人提供燃料和飼料。我們需要水來生存，我們認為它是理所當然的。  大多數雨水被認為是廢物，而現在有700多個城市在回收廢水和雨水，將其用于農業用途和人類消費。當我們模仿自然并分離污泥，鹽或化學品等雜質時，現象就會發生轉變。我有興趣將注意力轉移到這種轉變的視覺和生態美，并展示出無人能見到的基礎設施和建筑的創造感。我被這些形式的陌生感和扭曲的尺度和色彩所吸引，擁抱抽象的，超現實的水回收景觀。   “水之狀態”持續關注著我們與自然的關系 - 我們如何欣賞和容納自然，以及自然如何適應我們。通過展示從污泥到純凈水的各種狀態的美感，我的目的是鼓勵觀者提出自己的問題，提倡我們最寶貴的資源的重要性。  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  展覽主辦Government of Pondicherry Department of Tourism  本地治里政府與旅游局PICFA－Pondicherry India China Friendship Association 本地治里印中友好協會INTACH － Indian National Trust for Art and Cultural Heritage Pondicherry本地治里印度國家藝術和文化遺產信托基金會Incredible India 不可思議的印度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.“本地治里印中友好協會”是致力于促進印度人民和中國人民之間在教育、文化、貿易和旅游等領域的友好關系。本地治里印中友好協會和大理州外事辦共同努力建立大理州個本地治里特區的城市友好關系。這次，一個來自本地治里的代表團將來到大理用照片為我們展示他們在自己國家的生活方式。

前言商業攝影是商品生產者、經營者和消費者之間溝通信息的重要載體，也是企業占領市場、推銷產品、提供勞務的重要方式；主要目的是提高經濟效益和擴大社會影響力，因此，商業攝影是推動經濟發展的重要手段之一。商業攝影的藝術表現是為了更準確的體現產品的創意故事，形式為內容服務，形式的藝術性能夠將創意升華到更高的藝術境界，因為藝術作品最終的呈現是要通過感官去體會的，形象，色彩，空間的組合的結果是一張張照片，這一張張真實的有內容的照片感染、感動著觀者，所以，商業攝影是通過作品的表現形式體現出其自身的藝術價值的，是一個極其寬廣的攝影領域。近年來，隨著中國商業攝影師在各個商業攝影比賽中頻頻獲獎，越來越多的國內商業攝影師，渴望和國際接軌，渴望增加自己在世界舞臺上的分量。他們希望他們的名字也能像他們仰慕多時的前輩大咖一樣，用自己的實力把自己的名字留在中國商業攝影史上。本影展收錄了2016、2017、2018中國商業攝影大賽部分優秀獲獎作品，給廣大商業攝影師一個展示才華的平臺。

手機拍大片“手機攝影一日一圖”2019第八屆大理國際影會手機攝影展策展前言今天，手機攝影的普及已經顛覆了人們對近二百年攝影發展歷程的傳統認知，人人都能拿起手機進行創作已是不爭的事實。早在2010年，曾在媒體做專業攝影工作的我，就預感到手機攝影時代即將來臨，因此我們創立了“手機攝影一日一圖”攝影社區，隨即在國內攝影界引起高度關注，并成為了國內手機攝影領域的一座豐碑。時至今日，“手機攝影一日一圖”攝影社區已發展到20000余人，每天投稿量超過2000幅（組），本屆影會我們帶來的部分手機攝影精選作品，無論是人文、風光還是創意類，均具有較高的欣賞價值。今天我們用這種夸張到近乎極致的特殊形式在影會上大幅面展示，旨在向觀者傳遞這樣一個信息：手機攝影，同樣可以“把日常生活拍成美學大片”！ 策展人：林添福2019年7月15日 于臺北

滇南建水，古稱臨安。明朝初年邊屯興起，于洪武二十年建城。因境內盛產五色陶土，內地工匠聞之前來，在城邊開窯燒碗制盆，逐步形成以手工為生的村莊，取名碗窯，沿用至今。1953年，縣政府把附近幾家燒制飯碗、酒罐、水缸、腌菜罐的手藝人組成“瓦貨社”，后更名“土陶廠”，再后叫“陶瓷總廠”，生產百姓生活所用陶器。三年前，總廠倒閉，工人回家，窯爐停火，機器朽壞。目前來洽談轉讓的地產商人絡繹不絕……我發現，在每一位無奈回家的工人心中，都固執留存著自己留在工廠里的青春和汗水，歡悅和苦痛。我希望自己一次次摁下的快門，能留住他們珍貴的往昔，并和他們完成一場深情的懷想，并唱出難舍的離別之歌。                              段瑞秋（攝影師）                          2019年5月  中國·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 

北京攝影函授學院云南分院師生聯展The Teacher-Student Joint Exhibition of Beijing Photography Correspondence College in Yunnan Branch策展人：鮑利輝攝影師：耿云生 范毅 金飛龍 李一波  陳靖南 陳睿 杜一梅 樊梅紅 馮琳 王波 王會元 王璟 王文生 熊發壽 楊東 游靜怡 趙峰 鐘海龍 朱杰 朱培壽 莊郁蔥 北京攝影函授學院由中國攝影家協會主辦，1984年經中國文聯批準成立，是我國實行改革開放以后創辦最早的民辦高校之一。33年來，學院堅持依法辦學，特色辦學，被攝影界稱為“攝影家的搖籃”。 北京攝影函授學院云南分院成立于1988年，現任院長鮑利輝系大理國際影會藝術總監。分院具備豐富的攝影大師資源和影像平臺資源，以“互動學習，實踐提升”為教學原則，致力于幫助學員創作提升，開闊眼光，并提供更好的成長平臺。在分院老師理論面授教學、實踐課程指導之下，學員們的攝影理念和攝影能力都取得了實質性的進步。本次師生聯展，全方位展現了分院老師與來自于全省各地、各行各業的學員們的風采和學習成果。是云南分院辦學理念的重要體現，也是推動云南攝影藝術發展結出的碩果之一。 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.

北京電影學院攝影學院2019屆商業攝影本科畢業作品展 Undergraduate Photography Exhibition 2019Beijing film Academy, Photography Department 又逢仲夏，綠樹陰濃，我們迎來了畢業展。這四年中，同學們行走著，發現著，閱讀著，思考著，在扎實的學院教育基礎上，不斷探索商業攝影發展的新方向。     二十位同學的作品各有特色，散發著豐富的想象力與生機蓬勃的創造力。在本次展覽中，有些作品體現了深刻的自省與剖析，而有的作品則呈示了對外界、對未知的孜孜探索。我們的視角包括了女性的成長和家庭的內涵，包括了宏大的宇宙與微觀的細胞，還包括了戲劇化敘事和夢境的回溯 。不同的作品中有東方視角與西方視角的復古美學碰撞，也有先鋒攝影語言的嘗試，這些作品都展現了影像的包容性與強大力量 。    星光明熠，相映成輝，未來可期。我們二十位同學在光與影之中成長、成熟，共同度過了難忘的四年，念昔同攜手，風期不暫捐。希望每個人未來都能夠繼續開拓自己的一片天地，期待再次聚首時碩果累累！2019屆商業班      仲夏畢業之季，終于迎來了我們翹首以盼的攝影學院15級商業本班的畢業作品展出。在這場以飽滿的影像張力交織而成的視覺饕餮盛宴里，我們看到的累累碩果既屬于每一個學生的勤奮努力，也屬于北京電影學院的孜孜教誨；在這場天馬行空的視覺旅行中，既是學生們腦洞大開的影像探索和創作體驗，也是他們嘗試與社會接軌、彰顯商業氣息的本能和努力。創作實踐，從來都是北京電影學院鮮明的特點；做的比說的更好，更彰顯了我們的學生所具備堅實的動手能力和實干精神。經過了四年的學習，北京電影學院開放、自由、激情、務實的學風早已轉化成為他們身上的最強基因，我們在這場華麗的畢業作品展中所看到的扎實的攝影功底、蓬勃的創作力量以及自信與激情，便可歸結于此！      借由這次完美的畢業展，我祝愿即將展翅高飛的你們，不忘攝影之初心，傾心影像為伴。在離開母校之后，仍能不斷錘煉專業技能、塑造人格素養。就讓我們以這次畢業展為始吧，準備好！昂首闊步的奔赴你們寬廣和榮耀的人生！   ——班主任 崔暢

口 岸/攝影家：徐波 北侖河位于中越邊境線，廣西東興與越南芒街隔河相望。一百多年前這里就是中國與越南的邊界，兩岸的百姓就有貿易的往來；六十年前，北侖河友誼大橋竣工通行，這里是抗美援越的重要通道；四十年前，象征友誼的橋梁被炸毀，十年的自衛反擊戰開始，這里是戰爭的最前沿；二十五年前，東興口岸再次開放，兩國人民重拾友誼與信任，共同發展的信念催生了兩岸貿易的再次繁榮。隨著中國東盟命運共同體的建立， “21世紀海上絲綢之路”、“一帶一路”等一系列戰略合作的開始，東興口岸開啟了它前所未有的勃勃生機。今天，每天大量的木薯粉、橡膠制品、水產品、芝麻等農副產品在東興貿易口岸的“邊民互市貿易區”交易，幾百個精瘦但強壯的越南裝卸工人在碼頭上忙碌，繁重的體力勞動沒有抹去他們臉上不經意間的笑意，其中不乏女性的身影。他們一定在心里描畫過美好生活，船岸間的跳板在他們腳下有節奏地顫動，如同心頭跳動的希望。生活總是褒獎努力的人，祝福每一位勞動者，無論國籍與民族，在最好的時代中迎來最好的生活。  無論你在河的哪一邊/策展人：高健生 2002年11月，受廣西壯族自治區政府和中國攝影家協會委托為出版《山水甲天下》畫冊曾經到過東興，當時所住的口岸賓館位于北侖河一個轉彎處，從賓館俯瞰即可看到邊貿碼頭。時值北侖河枯水期，水很淺，窄的地方三五步就可以趟過去。那時邊境貿易主要是越南人帶過來的紅木產品和仿制的法國香水。看到徐波于2019年拍攝的這組圖片，現在的邊貿內容已有所不同，更多的越南初級產品被送到中國來，這種變化可以看出兩國不同的社會發展階段。最沖擊眼球的是那些搬運木薯粉的越南勞工，作者鏡頭的取舍沒有歧視，沒有自傲，只有對勞動者的尊重和對他們追求幸福生活的精神贊美。除了表現辛苦的勞作之外，我們還能通過不同的姿勢和眼神感覺到他們之間的關系，甚至你還可以看到越南小鎮青年的時尚追求。國家關系是復雜的，但人性相通，看一個相連的口岸，看一組特定的人群，他們的今天曾是我們的昨天，這就是生活，無論你在河的哪一邊。

荷蘭藝術家埃舍爾畫了一群鱷魚，它們擁擠在密不透風的平面，一條不安分的鱷魚偶然間爬上了一本書，知識的力量使它逐步登高，它看到了這個世界是有高度的。這條處在三維空間的鱷魚，急迫地回到原來的那個平面，告訴自己的伙伴，高處不擁擠，有更多值得探索。 “攝影黃埔”俱樂部的會員來自四面八方，他們中的一些人已經踏上知識的基石，探索處于更高維度的精神世界，更多人聽到了來自這個世界的回響，開始掙脫曾經束縛他們的扁平世界。 拍攝內心浩瀚的宇宙，因為自我意識在那里暢游。 影像是高維空間的語言，相機將她編成詩，譜成曲。 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.

當代社會的女性視覺書寫--七位女性影像藝術家作品聯展 傳統藝術史是一部男性的歷史，攝影史更是亦然。 不過，在西方隨著女權運動的高漲，女性攝影史也開始了全新的書寫，被大家所熟知的，如辛迪·舍曼(Cindy Sherman)用自我身體自拍、扮演的照片被充分挖掘出來。還有被譽為私攝影鼻祖的南-戈爾丁用那些傷痕累累的作品展現了現場與真實。 本次聯展的七位影像藝術家，用鏡頭為畫筆去描繪人與自然之間微妙而脆弱的關系，以底片為畫布記錄下她們對于生命意義與生活方式的大膽嘗試，用快門為紐帶以女性視角對當下社會的問題與沖突提出質疑和批判，對生命價值的真實體驗與真誠表述。女性的細膩和感性促使藝術家不斷渴望探索自己與社會環境的關系，去征服公共空間和隱秘之處。對藝術中性別問題的探究，往往表現為對女性主義的質疑或者闡釋。藝術作為一種人類的精神活動，不可避免地會反映出作者的社會性別意識的影響，正如階級、種族、文化和個人經歷都會折射到藝術中一樣，然而對這樣一個不言自明的問題，“女性主義藝術最終的目標是超越性別，從傳統的‘二元論’向多元化的發展;從‘小我’走向‘大我’，從女性的‘自覺’走向人的‘自由’”。 女性藝術家們不再關注那些外在的，與個人情感生活不相關的事物，更加注重挖掘內心的資源，從個人經驗乃至軀體語言中獲取靈感，作品更具有個人化特色和私秘化傾向；很少從理性角度介入題材和把握主題，更注重藝術的感性特征，更注重直覺的、觀能的呈現。作品更多孩童般的幻想，順手牽羊的隨意，意象模糊的非理性和說不清道不明的生理-心理感應；對于政治的、歷史的、哲學的大主題缺乏興趣，而對自然的、生命的、人性的乃至生存問題相關的主題表現出一種特殊的關愛，甚至對于平淡生活和平凡事物的關注，都勝于對崇高、輝煌的追求；對男人的世界普遍缺少興趣，很少以男性作為藝術對象。 批評家何桂彥的《藝術終歸是沒有性別的》一文中曾經提到，“如果藝術家僅僅停留在淺層次的性別符號的復制中，而無法涉及到圖像符號背后潛藏的社會問題，那么這種女性藝術反而會因為淺薄、表層而容易掉入藝術市場設定的陷阱。因此，女性藝術最大的價值不在于尋求藝術在表達時的兩性差異，而在于真正能夠將個性的自由提高到一個更高的層面。”最后他下了這樣一個結論說“因為藝術最終是沒有性別的”。 通過本次展覽，希望展現中國的女性影像藝術家不是一個“失聲的群體”，中國女性不再僅僅出于一種被說、被寫、被畫、被賞的客體地位，她們已經反客為主，從自身經驗出發去說、去畫、去寫、去做。用她們內心資源去建構一種屬于自己的，也屬于全人類的女性藝術與女性文化。女性藝術家也在這一過程中被去掉“他者”的身份，成為當下塑造歷史的“主體”部分。  金酉鳴2019年7月

《新視線》策展前言 策展人：安光系  攝影師（排名不分先后）： 崔建玲   高艷  李紅    陸煥東  李鈞  李蓉 李尊先  毛巧媛  史發翠  王家璜 吳力 汪雪涯 辛剛  徐建東  許小英  燕蒼娜 殷鳴鏑 余敏山  張倫 張仁明 趙立群  毋庸置疑，攝影已經成為當下社會人們最重要的書寫方式之一。擁有相機、會拍照，仿佛是一件與生俱來的事情。 也正因為如此，拍攝成了最為重要的民主方式。人人都能參與，人人都會拍攝，很多人的日常生活都是以攝影的方式進行。記錄、表達、甚至通訊與交流，攝影在日常生活中扮演起越來越重要的作用。 世界是個巨大的藝術倉庫，如果細看，似乎一切都可以紀錄，人類活動的一切痕跡都值得留下。在這里展現的，是21位攝影師的作品，他們以相機為媒介，對周圍世界進行視覺勘探。他們正在以不同的方式，重新審視自己身邊的人或事，重新認識并理解這些內容并使之成為拍攝對象。 在全球化的大環境下，一方面，舊的傳統和景觀正在慢慢消失，新的文化和建筑正在出現。攝影師開始關注這種變化并以此作為紀錄或創作內容；另一方面，攝影師開始發現身邊容易被人忽略的事物，賦予了它們新的內涵，以此來表達自己對世界的理解。無論是記錄新事物還是對舊事物重新進行發現，都成了這些攝影師們的職責所在。 攝影成了我們觀看世界的重要方式。因為這些審視已經不同于一般的觀看，我們稱之為《新視線》。  攝影師陸煥東、余敏山、汪雪涯開始關注當代社會呈現出來的新建筑，他們冷靜陳列，以類型學的方式進行拍攝。無論是小區大門、公共衛生間還是各種新出現的歐式建筑，都能折射出當下社會人們的喜好和夢想。攝影在這里扮演了博物館考古的作用，為未來研究當代社會的公共建筑文化提供了視覺檔案。 攝影師李紅、張仁明，以攝影的方式介入私人家庭生活。他們深入私人生活空間，一方面展現普通百姓的生活景觀，另一方面展現中國家庭的精神信仰和生活夢想。在這里，普通百姓的生存現狀、文化、空間、信仰、欲望、時尚、矛盾和沖突等信息都得以展現。 攝影師吳力、李鈞，把鏡頭對準了當下的新景觀。人們對自然強行改造后留下新景觀，能讓我們去解讀當代社會快速發展、新舊交替過程中所展現出來的矛盾與沖突，也在提醒我們思考人類自身的行為是否得當。 攝影師高艷通過論述和日常生活有關的瑣事兒并對這些物件進行拍攝和解碼，努力去發現隱藏在里面的種種親密，以此探尋上一代人的生活史和精神空間。李蓉、殷鳴鏑則分別以日常生活中的餐飲和服飾為創作對象，開始對日常生活進行審視和發掘，使觀者進行閱讀并產生想象。毛巧媛和李尊先則在一些生活場景進行重新發現，以女性主義視角去理解和詮釋老百姓的生活藝術和生活美學。她們把相機當成了凝視、觀察、記錄和理解外部世界的途徑和工具，拍下了當代人們日常生活中留下來的痕跡和生活景觀。 在全球化的趨勢下，一部分攝影師開始關注身邊人的變化。因為擔心時光流逝，這些攝影師試圖拍下一些人群的肖像，為未來人們留下視覺檔案。燕蒼娜、史發翠、王家璜、趙立群、崔建玲，紛紛重新返回到自己當年生活的場地或人群，以影像為媒介，再次審視這些看似平凡實則不易的人們，開展一次大發現之旅。拍下這些影像，既表達對特定人群的同情，也有質疑和反思。張倫、許小英、辛剛、徐建東等人則以影像調查的方式，為老人、喜歡COSPLAY的年輕人、狗販等幾類人群建立生活檔案，展示出他們對部分人群命運的關注和社會責任感。 攝影是捕捉客觀世界的重要方式，也是攝影師作為個體的一種表達。對攝影師而言，其重要職責就是試圖去看見一切事物，去發現并揭露這些被隱蔽的現實。每幅照片都是世界的一個片段，這些新視線，既向我們展現世界、揭露問題，又向我們表達觀點、引發思考。 這是對人類當下發展的記錄與展現，更是攝影師對人類命運的審視與發問。 策展人簡介：  安光系：媒體人，國內多家媒體專欄作者暫居英國倫敦，致力于視覺文化的研究和解讀。  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.