21世纪影像：数字生存中的影像

21st-Century Images: The Moving Image in Digital Existence

主办 ：

南京艺术学院美术馆

北京德国文化中心-歌德学院（中国）

X—SPACE 富士胶片影像空间

日期 ： 2025年11月13日-12月1日

地址 ：南京艺术学院美术馆2展厅

前言

当我们用技术累加的眼光去看待影像的诞生时，上个世纪的本雅明给出了另一种回答：早在制作影像的技术或机器被发明之前，人类对影像的感性接受已经悄然确立。在超出摄影的绘画起源以及其纪实功能外，一种漫无目地的摄影首次对图像提出了文字阐释的需求，同时也首次诞生了本雅明所言的：“用上一张图像去解释下一张图像的接受方式。”

When we approach the emergence of the image through the lens of technological accumulation, Walter Benjamin, writing in the last century, offered a different kind of answer: long before the invention of the technologies or machines that produce images, humanity had already established a sensory disposition toward the image. Beyond photography’s painterly origins and its documentary function, a kind of aimless, wandering photography first invoked the need for a verbal interpretation of the image. It was also the first time, as Benjamin observed, that Each image carries within it the logic of another, shaping how we learn to see the next.

而在另一边。当代理论学者W.J.T.米歇尔，在他的图像学三部曲中，用“生命”和“欲望”描述了形象的“活化”特征。形象，总是为了自身的延续，而在数字社会中展现出某种特定的“取向”与“选择”。如此一正一反。究竟是我们的欲念决定着技术？还是说技术在控制着我们的欲念？

On the other side, contemporary theorist W. J. T. Mitchell, in his iconological trilogy, describes the animation of images through the notions of life and desire. Images, he argues, always strive toward their own continuation, exhibiting particular orientations and choices within the digital condition. Between these two poles, a question emerges: do our desires determine technology, or does technology now govern our desires?

现在，影像不断扩展的功用与外延，正使其与我们的生存无比紧密的联系在一起。面对影像，我们如何规训自身的感性接受？我们又如何依照自身的标准，去接受、规定影像？而在另一面，有哪些艺术母题参与了对人类数字生存这一现状的回答？我们又该如何重新反思艺术的社会公用与形式传统？

Currently, as the functions and extensions of the image expand incessantly, images have become inseparable from the conditions of our existence. How, then, do we discipline our sensory modes of reception in the face of the image? By what standards might we accept—or delimit—the image according to our own criteria? Conversely, what artistic motifs are engaging with the realities of human digital existence? And how might we re-examine the social utility and formal traditions of art itself?

AMNUA年度“21世纪影像”项目聚焦21世纪媒介生态中的移动影像。《数字生存中的影像》作为这一项目的第二届，由南京艺术学院美术馆联合德国歌德学院主办，在柏林实验艺术剧场HAU Hebbel am UFfer与FIRST惊喜电影展以及富士XSPACE等国内外影像机构的协助下，展览将涵盖摄影、影像、影像装置三种连续又渐进的媒介，并在展览、放映、剧场、对谈等一系列持续延展的活动中，将目光聚焦于这些媒介背后所暗含的接受方式，以及这种接受方式反过来又对人类数字生存产生的深远影响。

The AMNUA annual project “21st-Century Images” focuses on the role of mobile images within the contemporary media ecology. The second edition, “The Image in Digital Existence,” jointly organized by the Art Museum of Nanjing University of the Arts (AMNUA) and the Goethe-Institut, with collaboration from Berlin’s HAU Hebbel am Ufer Theater, the FIRST International Film Festival, FujiFilm XSPACE Gallery and other image-based institutions in China and abroad, encompasses photography, moving image, and video installation—three contiguous yet progressively unfolding media. Through exhibitions, screenings, theatrical events, and dialogues, the project turns its gaze toward the modes of reception embedded within these media, and to the profound ways in which such modes, in turn, reshape the human condition of digital existence.