关于艺术家 ABOUT ARTIST

苏杰浩，1988年出生于广东（他不会讲粤语），曾在北京电影学院学习摄影，毕业于罗德岛设计学院 (RISD) 幷获得艺术硕士学位。他曾作为驻地艺术家入选Independent AIR(丹麦)，SMArt(瑞士)，Light Work(美国)，AIR Krems(奥地利)，Yan Garden(中国) 等艺术驻留项目。他之前在 RISD摄影系任教（2018-2019），目前生活工作在美国普罗维登斯和中国北京。苏杰浩的摄影作品展出地点包括巴黎凯布朗利博物馆，北威州论坛美术馆，雅典贝纳基博物馆，新墨西哥州立大学美术馆，德比QUAD画廊，贝尔法斯特艺术中心，联合图片画廊，真实尺寸空间，Schützenlaube画廊以及三影堂摄影艺术中心等。他的作品收藏于美国新墨西哥大学艺术博物馆，雪城大学 Light Work，罗德岛设计学院，以及瑞士FDDM基金会。他曾获得Gabriele Basilico景观与建筑摄影奖，Arte创意奖，以及Feature Shoot新锐摄影奖等。

Su Jiehao, born in Guangdong (1988), Su studied photography at Beijing Film Academy, he received an M.F.A. from the Rhode Island School of Design (RISD). He has been a resident artist at Independent AIR (Denmark), SMArt (Switzerland), Light Work (U.S.), AIR Krems (Austria), and Yan Garden (China). He has taught at the Department of Photography at RISD during 2018-2019. He is currently based in Providence, U.S., and Beijing, China.Su's work has been exhibited in international solo and group exhibitions at institutions such as the Musée du Quai Branly (Paris, France), NRW Forum (Düsseldorf, Germany),  Benaki Museum (Athens, Greece), UNM Art Museum (Albuquerque, U.S.), QUAD Gallery (Derby, UK), Cultúrlann McAdam Ó Fiaich (Belfast, UK), United Photo Industries Gallery (New York City, U.S.), Actual Size (Los Angeles, U.S.), Galerie Zur Schützenlaube (Visp, Switzerland), and Three Shadows Photography Art Centre (Beijing, China). His work is in the public collections of the University of New Mexico Art Museum, Light Work, and Rhode Island School of Design in the U.S., as well as FDDM in Switzerland. Su has received the Gabriele Basilico Prize (Italy), the Arte Creative Award (Germany), and the Feature Shoot Emerging Photography Award (U.S.).

早晨的风暴

The Storm in the Morning

2019年12月09日（周一）19:30
2019.12.09 (Mon.) 19:30

放映Screening ︎

《自我呈現》
Self-Reflection

《北京：场所与结构》
Beijing: Sites and Structures

《早晨的风暴》
The Storm in the Morning

《自我呈現》，2019
Self-Reflection, 2019


《北京：场所与结构》，幻灯片视频
Beijing: Sites and Structures, slideshow video, 2018


《早晨的风暴》，单频高清影像，17’45’’
The Storm in the Morning, single-channel HD video, 17’45’’, 2017-2018

摄影是我最初接受艺术训练的媒介，它也影响了我观看事物的方式。作为一种普遍的视觉媒介，它涉及到处理事物的外观和形态，将现实转换为二维图像。在此过程中，引发了有关感知，记忆，时间和空间等诸多问题。这些也是在我跨媒介创作实践中最感兴趣的概念，包括如何将个人的感知与外部的世界连接起来，在一种所谓的去中心化和离散的情境下去检视个体的生存经验，并试图创造某种多维叙事来对日趋复杂的现实做出反应。

在燕岭园短暂的两个月驻地期间，我试图在一种相对孤立的地理/心理环境下透过挖掘个人档案来对自身的生活经验进行检视，包括个人过往的图像和文本资料，以及由此延伸而来的公共素材，并将其进行组织处理再呈现出来。展览《自我呈現》结合了影像装置，声音，文本等不同材料和媒介，试图将建筑/现实空间和图像/文本空间桥接起来幷转化为综合的感知，幷唤起某种共情的体验。

在《北京：场所与结构》摄影项目里面，我试图从日常情境中的诗性/政治两者出发来描绘北京。其中，我感兴趣的一方面是观察城市中人与空间的关系（公共空间如何被塑造；以及空间如何规束人们的行为）；另一方面是借助摄影转译现实的能力来探讨日常事物某种形而上的价值。整组照片可以被视为是对北京的一种视觉研究，或者是一种主观化的社会纪实。在图像语言上，我试图保持一种克制的目光，借助图像本身丰富的含义来传递信息。在编辑和呈现上，我想通过对节奏和结构的安排来形成一种非线性的空间叙事，在纸面上再现关于空间和时间的体验。最终，我希望整部作品不仅呈现被观察对象（北京）的某些面貌，同时也呈现观察者（作者）的若干方法和态度。

《早晨的风暴》是一部自传性的散文电影，混合了许多来源不同的材料来构建一种综合的叙事，将记忆，语言和图像交织在一起，并且模糊了空间和时间的界限。借此我从个人角度出发探讨一种微妙的归属感，同时试图回应中国古典文学中关于追忆的传统，在经验和感知，文本和图像，现在和过去之间形成某种对话和联系。




Photography is the primary medium I approached in the art field, and it profoundly affected the way I see things. As a universal visual medium, it deals with the appearances of things and transforms reality into two-dimensional images. In this process, it raises questions about perception, memory, time, and space. These are also the concepts that interest me most in my interdisciplinary practice, including how to connect personal perception with the world, to examine the individual's living experience in a decentralized and nomadic situation, and to create a multi-dimensional narrative to reflect the complexity of reality.

During my two-month residency at Yan Garden, I have been living in a relatively isolated geographical and psychological environment. This project examines my living experience by digging through personal archive including images and texts, and extended materials from the public, and present them openly. The exhibition Self-Reflection combines different materials and media such as video installations, sounds, texts, etc., my intention is to bridge the space of architecture/reality and the space of image/text, transforming them into a complex of perception, and evoking some kind of empathetic experience.

This photography series Beijing: Sites and Structures is my personal attempt to depict Beijing in terms of both the poetic and the political aspects of its everyday scenes. On the one hand, my interest is to observe the relationship between people and space in the city, and in so doing, to explore how public space is created and how space shapes people’s behaviors. On the other hand, I seek metaphysical values in daily objects through the ability of photography to translate and transform reality. As a result, this series of photographs can be interpreted as a visual study of Beijing or a subjective social documentary. In terms of photographic language, I maintain a consistent personal approach of a reserved, non-interfering, and poetic view, relying on the rich connotations of the images to convey any message interpretable and personal to the viewer. In editing and presentation, I create a non-linear spatial narrative by carefully arranging rhythm and organization to recreate the spatial and temporal experience for the viewer. In the end, I hope this body of work not only reveals some characters of the observed object (Beijing) but also reveals certain methodology and approach of the observer (the photographer).

The Storm in the Morning is an autobiographical essay film. It blends digital, natural, and cultural elements to build a multi-dimensional narrative where memories, languages, and images work together to navigate and reconstruct my personal experience and perception. By returning to the tradition of remembering in classical Chinese literature, I aim to create new dialogues or connections between the experience and memory, languages and images, the present and the past.