傅文俊 Fu Wenjun

初次近距离欣赏傅文俊先生的作品已是去年的事情，作为广州三年展项目展的参展艺术家，其作品给人留下了深刻的印象。之后在翻阅傅文俊先生摄影图集时，更是不免感动于他对观念摄影的执着投入。从最早为大众所知晓的《退场》系列开始，艺术家孜孜不倦的创作了《他心通?》、《十二生肖》、《万国园记》、《幻化》等大型系列作品。其作多以纪实摄影的手法结合后期制作来表达有关历史、宗教的文化观念，并用高水准的大画幅视觉表达予以呈现。纵观每一系列作品其并未囿于符号化的形式语言，在创作方法、技术运用与媒介选择上皆有改变，尤其在媒介与科技的结合上更是做了多方面的艺术实验。就我个人而言，我认为其中最富实验性的创作当属《图腾》。

It has already been one year since the first time I had the opportunity to appreciate closely the works of Mr. Fu Wenjun, whom was an exhibitor at the Guangzhou Triennial Project Exhibition, and I have been deeply impressed. Then, browsing his photography collection, I was unavoidably moved by his persistence in conceptual photography. Starting from the earliest known work, Leaving the Stage, the artist perseveres with the creation of Thought Reading, Twelve Chinese Zodiac Signs, Story of the Expo Park, Illusory Metamorphoses, and others large-sized works. He usually employs the technique of documentary photography, combine with the post production work in order to express cultural concepts related to history and religion, while displaying the visual expression in large size and high quality. Looking over each series of his works, it can be noted that he is not confined in a symbolized language of form, but he always changes the creation method, the technologies used and the medium; in particular, he did many different art experiments concerning the combination of medium and technology. Personally, I think that his most experimental work is Totem.

从《图腾》的视觉展示上我们可以看到与之前作品在创作风格上的较大变化，傅文俊通过蒙太奇技法的后期制作，使画面更多的蕴含了多媒体艺术的创作因素，以往作品中的深沉与内敛也转换成轻松与魔幻的情景表达。艺术家此组作品中为媒体跨界所做的努力是不言而喻的。蹴足于《图腾》作品前，观者不得不被画面所释放的视觉张力所吸引，平面空间的视觉组接使静止的摄影作品具有了3D效果的视错觉，从而改变了观者的视觉感知。多媒体艺术之所以具有较强的吸引力，关键在于它具有鲜活性、互动性、虚拟性，而这些特点使其更容易得到传播与接受。傅文俊在不突破摄影概念的前提下，将各种多媒体艺术语言：数字化技术、应用编程、信息技术、计算机技术、图形设计软件、数字输出打印等技术手段嫁接于自己的作品，使作品本身的展示与传播方式有别于媒介本身的特质，从而改变主体观者与客体平面摄影之间的接受关系。画面中奥巴马与原始部落、野生动物与世界名胜的拼接，使视觉空间拥有了魔幻般的幻觉塑造。傅文俊镜头下神秘的三维图景可为是再现世界的另一方式，其中蕴含了艺术家本人对世界的观看角度以及对当下社会、文化、历史与生活的生存体验。作品中每一主题元素的空间占用以及各因素之间的平面关系和特效处理，不言自明的宣称着艺术家对文化中心主义、后殖民文化、人与历史、人与自然关系的认知与批判。正如艺术家所言，图腾所隐喻的文化现象和文化意义在当下的社会、文化、历史与生活中也有着具体而强烈的体现，比如对文化中心话语的惟命是从、对西方中心主义的既定认知、以及对后殖民文化理论的盲目推崇等等，何尝不是一种图腾的崇拜。各种权利关系的对抗在艺术家的图景下得到了充分的揭示，并以轻松鲜活的方式为观众所接受。

From the visual expression of Totem, we can notice a significant change on the creation style compared with his previous works: by using the post-production montage, Fu Wenjun introduces more multimedia elements into the picture. The profundity and implicitness of his previous works have changed into the expression of relaxed and magic scenes. The great effort that artist has made in the cross-media art is clear. Standing in front of Totem, the viewer will be attracted by the visual power released from the picture; the 2D montage makes the still photographic work possess a 3D illusion effect, so the feeling is changed. The reason why multimedia art is so attractive lies on its vivid, interactive and fictitious features, which make it easier to spread and be accepted. On the premise of not breaking the concept of photography, Fu Wenjun grafts onto his works kinds of multimedia art languages and technologies, like digital technology, application programming, IT, computer science, graphic design software, digital output printing etc., which makes the work’s displaying and its transmission different from the medium itself, so the perceived relationship between the subjective viewer and the objective photography is changed. In the picture, the montage with Barack Obama and primitive tribes, as well as that with wild animals and sights of the world, brings an almost magic illusory figure into the visual space. The 3D scenes through the camera lens of Fu Wenjun represent another way to portray the world, which imply the artist’s own viewpoint on the world, and his lived experience about society, culture, history and life. In this work, the occupation of the space of every single thematic element and the planar relationship between each other, as well as the special effects, all self-evidently claim the artist’s cognition and critique towards the cultural centralism, the post colonialism, the relationship between human and history as well as that between human and nature. Just as Fu Wenjun has said, the cultural phenomenon and meaning implied by Totem are also embodied in the current society, culture, history and life, like the total obedience to cultural authorities, the established recognition of Western centralism, the blind worship towards the post colonialism theories etc. also seems like the worship of a totem. The conflict between different rightful relationships is fully revealed in the images created by the artist and it is accepted by the audience in a relaxed and vivid way.

傅文俊是一位智者，他充分调动了多媒体艺术的形态特点，通过极具科学性、技术性的艺术实验，以理性的科学精神和反思能力表达出自己的观念。最重要的是艺术家一直在摄影与新媒体、新技术、新知识、新数字之间寻找适宜的衔接方式，以探索摄影艺术新的可能性，从而保持艺术形态自身的活力。毕竟，在各种媒介急剧出现并且相互混合的当下，如若固守单一媒介，可能无法诠释当代社会与艺术家心理观念的复杂变化，更无法满足观众日益丰富的观看方式。所以，希望大家都可以拭目以待傅文俊镜头下那魔幻的图景，在以后的创作中又会给我们带来怎样特殊的视觉体验。

Fu Wenjun is a wise artist; he fully brings the features of multimedia art into play, and by means of the scientific and technological art experiment expresses his own ideas with scientific spirit and reflective ability. The most important issue is that the artist is always searching for an appropriate way to connect the photography and new media, new technology, new knowledge and new figures, so as to explore the new possibilities of photography art, thus maintaining the vitality of the art form itself. After all, with the appearing of various media and the mixture of each other in our days, if the artist had insisted just on one single medium, he wouldn’t have been able to annotate the complex change happened to the contemporary society and to the artist’s psychological perception, furthermore to satisfy the audience’s manifold way of watching. So I hope you can wait and see the images through the camera lens of Fu Wenjun and what special visual experiences he will bring to us in his next works.

关于作者：罗一平，策展人，时任广东美术馆馆长

About the author: Luo Yiping is a curator and served as Director of the Guangdong Museum of Art at the time