Photography is Art, Issue 6. 2018.6 p 20-33
When I first read British artist Paul Graham’s defence of photography, the endeavours of Gao Yan – a Chinese photographer who made his career in France – immediately sprang to mind. A graduate from Dunkirk Art Academy, National School of Art Limoges, and the National School of Fine Arts Lyon, Gao has long been immersed in studying European conceptual art and French post-structural theories. From En Transit, which explores identity and space, to The third Arrangement, which contemplates the production and reading of museum displays, then to Windy City, which explores the urbanisation of pristine villages, Gao’s works ingeniously combine disparate concepts in contemporary art -presence and absence,ready-mades, copy-left, parody,the everyday, and documentary images- to expound on the innate characteristics of photography as contemporary art.
当我第一次读到英国艺术家保罗格雷厄姆为摄影辩护的文章时，我便立刻联想到了旅法摄影艺术家高岩的艺术实践。 作为先后毕业于法国敦刻尔克艺术学院丶利摩日国立高等美术学院,以及里昂国立美术学院的留法毕业生，高岩长期浸泡在欧洲艺术观念和以法国为中心的后结构主义的学习与艺术环境中。 从探讨身份认同与空间互动的《夹层》，到思考博物馆陈列与观看方式的《第三次摆放》，再到探讨原生态村落城镇化以及旅游资源开发问题的《风城》,高岩的摄影作品巧妙地将当代艺术中的概念——在场与缺失、现成品、挪用、戏仿、日常, 与他的纪实影像结合在一起，巨细无遗地演绎了作为当代艺术的摄影内在的特质。
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