艺术家：崔博 / 高岩 / 高宇 / 刘聪 / 罗苇 / 刘耀华 / 牛文博 / 耶苏 / 杨欣嘉 / 张巍 / 张业鸿
CURATOR: Li Boyan
ARTISTS: Cui Bo/ Gao Yan/ Gao Yu/ Liu Cong/ Luo Wei/ Liu Yaohua/ Niu Wenbo/ Ye Su/
Yang Xinjia/ Zhang Wei/ Zhang Yehong
地址：希帕画廊/ CIPA GALLERY
Red No.1, Caochangdi, Chaoyang District, Beijing
Starting with thoughts on capturing images with equipment, the exhibition discusses the perceptual and rational correlations established with the outside world while achieving accuracy, to prove the inherent variability of photography. With the development of camera technology, the quick capture of object images makes many problems such as thinking, observation and analysis quietly placed behind, for nothing is quicker than capturing an image.
From a historical perspective, the birth of photography has brought painting and sculpture in history to an end, marking the termination of art in stages. On the other hand, the turning point of artistic creation is also related to the variation when it is fused with photography. Artists require photography to be not a tool for accurately capturing images, but a conceptual extension. At least, since the 1960s, concepts in the minds of people have successfully turned new art with an anti-art attitude, without depending on any tool for expression.
In the current round, the accuracy of images captured is changed with an image as a starting point, to create imaginary and natural real empiricism, and become reproduction separating traditional spirit of photography from image experience. Spiritual accuracy of images surpasses technical difficulty, trying to question the social value system in many aspects. The snake arms implies the action of capturing images accurately, which can be regarded as an imaginary action, as well as a letter symbol used for splitting the boundary of photography.