1938年世界杯上，莱昂尼达斯·达·席尔瓦用一记“倒挂金钩”打开了波兰队的大门，他成为世界杯史上首次使用倒钩进球的人，更值得一提的是，他也成为摄影史上第一位被记录下这一壮举的球员。“倒挂金钩”这一不合规矩却充满了灵感、想象力、爆发力的动作，成为传世经典，被更多的球员所使用。在莱昂尼达斯·达·席尔瓦之前，这个动作是否存在？成了一个永远无法被证实的问题。我们会特别记得那些精彩的“进球”瞬间，却忽略了更多重要的时刻——而摄影会捕捉、留下每一个有意义的真实影像，它无所不在的魅力正向我们展现了摄影超现实的存在感。

In FIFA World Cup 1938, Léônidas da Silva scored a goal against the Polish team with a “overhead kick”. He became the first person to score a goal with this manner in the history of the World Cup. What is more noteworthy is that he was the first player recorded with this feat throughout the history of photography. “Overhead kick”, an action which is unconventional but brimming with inspiration, imagination and explosive power, has become a classic from generation from generation and performed by more players. Was there a precedent set by any other person before Léônidas da Silva? There is no answer to this question for ever. People especially remember those wonderful “goal-scoring” moments, but ignore more important moments. However, photography captures and retains every meaningful and true image, and its ubiquitous charm is now impressing us with the surrealistic presence of photography.

1938年，卡帕抵达中国中部城市武汉，此时，以蒋介石为首的国民政府临时定都于此。在卡帕的镜头下，普通民众、年轻的士兵、政要名人成为了中国那段风雨飘摇历史的见证。摄影为历史搭建了档案库。在蒲英玮的作品中，我们可以看到由他本人搜集并重新定义的残酷战争所引发的“文化病症”，当阿比·瓦尔堡(Aby Warburg)将其表述为一场旷世的悲剧并赋予它“文明”的名义时，日常观看的图与图之间发生的观看逻辑，被重新发展为另一种叙事。

In 1938, Robert Capa visited Wuhan, a central Chinese city. At that time, the KMT National Government, headed by Chiang Kai-shek, temporarily established the capital city here. Under Capa’s lens, ordinary people, young soldiers, politicians and dignitaries bore witness to China swaying in history. Photography builds an archive for history. Pu Yingwei’s works reveal “cultural illness” caused by the brutal wars, which are collected and redefined by himself. When Aby Warburg describes it as an everlasting tragedy and make it the name of “civilization”, the logic of viewing, which works between the images viewed in daily life, is re-developed into another narrative.

图集-关于某种形状的虚构 蒲英玮 尺寸可变  铝塑板打印（此图为170x470cm），2018

Atlas of Images—Fiction of Certain Shapes

Pu Yingwei, variable size, aluminum-plastic panel printing (size: 170×470cm), 2018

而当佐证历史纪念碑的建筑物同时出现在世界公园中时，一种虚假的标榜历史的伟大而滑稽的状态被高岩再次利用。他的摄影作品《a货》将摄影的欺骗性、视觉惯性与现实真像之间的差距微缩成模型，并引发了一种对历史真实性的质疑。在此，摄影扮演着造假者的身份。

When the buildings in proof of the historical monuments appear in the World Park, a false state of flaunting great and comical history is employed by Gao Yan again. His photographic work Grade-A Counterfeits miniatures the differences among photographic deceptiveness, visual inertia and true image of the reality into a model, and questions about historical authenticity. Here photography acts as a “counterfeiter”.

A货-雅典卫城/比萨斜塔/美国曼哈顿/华盛顿纪念碑  高岩  摄影 150×100cm，2011

Grade-A Counterfeits: Acropolis of Athens/Leaning Tower of Pisa/Manhattan/Washington Monument

Gao Yan, photography, 150×100cm, 2011

在杨欣嘉看来，观看图像的自由和获取图像的自由同样重要，那些被安排观看的政治新闻摄影被他用作素材，并利用政治新闻惯用的删减手段，将图像中的人物保留得只剩漫步的休闲者之态，形成与大众所相信的真实截然相悖的结论，并用他特有的方式对“权力”进行了反讽和调侃。同样，关注图像在公共空间中的安放，激起了艺术家耶苏的兴趣，摄影装置《刺菻》将绿化带围挡制作成了永不凋谢的固体丛林，来暗示对图像权力的合法性输出与传播的反思。

In Yang Xinjia’s view, the freedom to view images is as important as the freedom to obtain images. Yang Xinjia makes the best of the political news photography as raw material, which was arranged to view. Then he takes the traditional abridgment means of political news, makes the characters only show the posture of leisurely strolling in the images, draws a conclusion that is completely contrary to the truth that the public believes. Moreover, he satirizes and ridicules the “power” in his own way. Similarly, attention to the placement of images in public spaces inspires the artist Ye Su, whose photographic installation work Thorny Artemisia transforms the green belt enclosure into such a solid jungle that never withers, thereby implying the reflections over the legal output and dissemination of image power.

漫步者的身影（之一）  杨欣嘉  数字图像  尺寸可变 ，2018

Silhouette of a Walker (Part One)

Yang Xinjia, digital image, variable size, 2018

刺菻 耶苏  180×156×120cm   木，金属，照片印刷 ，2018

Thorny Artemisia

Ye Su, 180×156×120cm, wood and metal, photo printing, 2018

可见图像可以改写历史，亦可以改写地理。我们现在要问的是：图像还有什么是不可改写的呢？在这种改写的进程中，艺术家和观众是同谋还是也彼此具有某种权力之间的张力呢？事实上，观众对图像进行解读的同时，拥有了对于图像暂时的所有权，因为它构建的观看逻辑形成了观者选择图像的新权力。

Evidently, images can rewrite not only history, but also geography. It is urgent to ask some questions now: What else can’t be rewritten by images? In the process of this rewriting, do an artist and a viewer work in partnership or have a certain power tension between each other? In fact, while unscrambling the images, the viewers have the temporary ownership because the underlying viewing logic forms every viewer’s new right to choose the images.

新图像的诞生暗示观者去理解，乃至会过度地理解，从而诞生新的含义。在何绍同的《永久观察者》这组作品中，我们看不到真正的作品（纪录片），而是徘徊在图像生产过程中的若干节点上。这说明图像诞生的本质对创作者来讲似乎并无意义，而是图像自身的观念，激发了观者的兴趣。

The birth of a new image implies that the viewer understands or even over-understands, which gives rise to a new connotation. In a series of works Permanent Observer, created by He Shaotong, any real work (documentary) is not viewed. Instead, the viewers focus on several nodes in the image production process. In this regard, the essence of image creation seems meaningless to the creators, whereas the concept of the image itself arouses the viewers’ interest. 

永久观察者  何绍同 录像、摄影、电视机、文本、场记板，2017-2018

Permanent Observer

He Shaotong, picture recording, photography, TV set, text, clapperboard, 2017-2018

在孙存明的作品《道士下山》里，我们看到了一件因文件受损而诞生的新的录像，这一随机获得的“现成品图像”同样使作者放弃了“创作”这一严肃的环节。而针对创作者的失误和遗憾，张业鸿提出了一个相反的构思,对《缺席的照片》一书中的故事进行编改和杜撰后，为了弥补摄影师的遗憾，他努力构架并实施了那些原本是文字表达上的遗憾。

According to In a Floating World, created by Sun Cunming, it can be found that a new video comes out due to file damage. This randomly-obtained “ready-made image” also forces the creator to abandon the meticulous procedure of “creation”. In response to the creator’s mistakes and regrets, Zhang Yehong proposes an opposite idea. After editing and fabricating the story in The Absent Photos, in order to make up for the photographer's regrets, he spares no effort to structure and shed light on the original matter for regrets in words.

道士下山 孙存明  高清视频、电视机  96分钟、重复播放，2018

In a Floating World

Sun Cunming, HD video, TV set, 96 minutes, repeat play, 2018

一个摄影师的非摄影笔记  张业鸿  尺寸可变  图片打印、文字，2018

A Photographer’s Non-Photographic Notes

Zhang Yehong, variable size, picture printing, text, 2018

在卜云军的艺术实践中，他将搜集而来的大量被遗忘的图像重新制作，通过改变形态、剪接内容以及调整布局，使其在当下产生了新的意义，他所做的持续项目《JPEG》检测了图像失败和成功之间的辩证性。

Throughout Bu Yunjun’s artistic practice, he remake a large number of forgotten images collected by himself. By reengineering the form, editing content and adjusting the layout, he endows forgotten images with new meanings in the contemporary era. His ongoing project, entitled JPEG, probes into the dialectic between failure and success of the images.

JPEG 卜云军 图片打印 尺寸可变，2014-2018

JPEG

Bu Yunjun, picture printing, variable size, 2014-2018

王轩鹤的一件摄影作品《IMG_1363》让我至今难忘，吸引并打动我的是普通手机下拍摄的一个象征着“新穷人”的黑人的局部形象，金色的领带、钢笔、手表等饰品勾勒出了一个对现实充满渴望的人生。这让人想到颜磊的一件摄影作品《隐私》，这件作品戏讽了一个政治新闻事件所引发的娱乐性消费，他模拟摆拍了法国前总统萨科齐夫人布吕尼的艳照，揭示了消费社会中个体隐私通过网络传播所带来的大众消费。

IMG_1363, one of Wang Xuanhe’s photographic work, is still unforgettable to me. What attracts and moves me is a partial image of a black man who symbolizes “New Poor”, and this image is taken with an ordinary mobile phone. The golden tie, pen, wrist watch and other accessories outline a life with full of desire for the reality. A photographic work Privacy by Yan Lei occurs to the people, which satirizes recreational consumption arising from a political news event. He poses for the camera with reference to sexy photos of the former French President Nicolas Sarkozy’s wife Carla Bruni, which reveals the mass consumption brought about by individual privacy via the Internet in a consumer society.

IMG_1363 王轩鹤 摄影 36×50cm，2017

IMG_1363

Wang Xuanhe, photography, 36×50cm, 2017

隐私 颜磊 摄影 尺寸可变 ，2007

Privacy

Yan Lei, photography, variable size, 2007

同样直面消费问题的，还有姚清妹的作品《林威登女士在蒙田大道》系列，这些貌似将时代的消费心理外化的景观由若干张图像和录像组成，它虚构了一个女人对名牌物质疯狂追求的戏剧化过程。那些在公共空间中引起人们消费欲望的图像，被司马源直接“获取”。在系列作品《获取》中，她将包装、广告、宣传册，直接运用为“作品”，仅仅在图像上加了一行字，那些字大都是古代欧洲的谚语，这些文字对商业图像进行了四两拨千斤式的干预和破坏，提示我们商业图像和艺术作品之间仅存的微妙边界是如此薄弱。

The series of Mme Ling. V devant le magasin LV, taken by Yao Qingmei, also rises to the issue of consumption. These landscapes, which seem to externalize the consumer psychology of the times, consist of several images and videos, and cook up a dramatic process of a woman’s frantic pursuit for famous brands and extravagant material life. Those images, which arouse the people’s desire to consume in public spaces, are directly “accessed” by Sima Yuan. In the series of Acquisition, she directly adopts packages, advertisements and brochures as “works”, and only adds a line of words to the images. Most of these words are cited from the ancient European proverbs. These characters achieve intervention and destruction for commercial images in a well-leveraged manner, thereby warning that the only remaining subtle boundary is quite fragile between commercial images and artistic works.

Mme Ling. V devant le magasin LV 姚清妹 摄影 40×40cm，2014

Mme Ling. V devant le magasin LV

Yao Qingmei, photography, 40×40cm, 2014

“Even if I break the clock, I can’t stop the passage of time” 司马源 数码输出 60×40.5cm，2019

“Even if I break the clock, I can’t stop the passage of time”

Sima Yuan, digital output, 60×40.5cm, 2019

“放弃了摄影的记录性，只选择已有的图像”成为一部分艺术家价值观的体现。诚然，最初摄影记录事件是一种偶然，大众因此会记住这“偶然”的事件，而渐渐遗忘没有图像的事件。摄影是一个个误用动作所引发的时刻，摄影是进入其它学科的变向过程，摄影是捕捉所有事物的工具，成为时间的证明。“观看的历史”正是由这样的奇迹碎片拼贴而成，将它潜藏的力量置于不断被“误用”的创作中。

Some artists’ values are mirrored by “abandoning the recordability of photography and merely choosing the existing images”. It is true that initial photographic recording of events is a kind of accident. Therefore, the public accordingly remember such an “accidental” event, and gradually forget those events without images. Photography is a moment triggered by a lot of perversive actions, a process of changing directions into other disciplines, a tool to capture everything and serves as an evidence to time. “History of Viewing” is composed of such miraculous fragments, and embeds its hidden strength in the endless “perversive” creation.

注：文中提及的蒲英玮、高岩、杨欣嘉、耶苏、何绍同、孙存明、张业鸿、卜云军、王轩鹤、颜磊、姚清妹及司马源均为艺术家。

Note: Pu Yingwei, Gao Yan, Yang Xinjia, Ye Su, He Shaotong, Sun Cunming, Bu Yunjun, Wang Xuanhe, Yan Lei, Yao Qingmei, and Sima Yuan, are all artists.