线云强今年抛出了一组以“天下”为题的作品，令我们的瞳孔被强烈地闪了一下。我们之所以有如此强烈的反应，是基于线云强一直以来的影像风格与态度。作为军人的线云强，他的拍摄一直没有离开过他的军队。前些年，他的着作《战友》以其具有硬度和温度的人性化叙事，让我们为之感动，并且多少看到了一些在以往的军旅影像中所没有的角度。《战友》是线云强以一个普通士兵与战友的姿态进行叙述的作品。严格地说，在线云强的心目中，没有太多关于艺术的考虑，记录是他拍摄这一切的全部动机。

　　Xian Yunqiang released works with theme of “world” which attracted our eyeballs. We’re shocked by his style and attitude of his photography. As a soldier, his works are always closely related to army. In early years, people are moved by his humanized work “Comrades-in-arms”, which is about an ordinary solider and his comrades-in-arms, and there is unprecedented vision which never appears in military photography works. He considers for record only rather than for art itself.

　　有意思的是，“天下”的作品也出自于以记录为目的之动机，但是，却呈现了完全不同的面貌以至观念。这组作品是线云强最为特别的作品，无论从内容还是语言，都与军队生活完全没有关系。于是，我们从中看到了线云强对自己的超越，对于当代社会问题的敏感。也许这种敏感只是一种感性层面，但是，摄影就是这样一种特别的视觉方式，它的直接性的、瞬间触感似的观看，常常激发我们的潜意识成为显像。任何被凝固为影像的现实图景，一定与拍摄者深层的动机与感触密切关联。

　　What’s interesting is that World was created for record. However, it shows different look and idea. As the most special work of Xian Yunqiang, it has no relationship with army life. We can see that Xian Yunqiang surpasses himself and his sensitivity to social problems. However, photography is a special way of vision because its direct and momentary sight always stimulates our sub-consciousness to become image. Any solidified actual scene must be closely related to the deepest motivation and emotion of photographer.

　　线云强的这十几年，不断地飞行，因为工作，他有了一个非常特殊的高空视点。之前，他与中国许多航拍的摄影家们毫无二致，他的拍摄目的更多地是记录大东北这块生他养他的土地。同时，还掺杂与国家意识形态相一致的记录城市发展的意图。我们可以想象，建立在这样一种拍摄动机之上的线云强在航拍之初，应该是带着人的骄傲俯视大地的，他拍摄了许多美丽的风景和宏大叙事中的城市与工业场景，并且在这些图像中充满了赞颂与溢美。也许大地最终征服了他的骄傲，使他在人对自然与空间的驾驭中看到了问题，看到了不尽人意之处，看到了人与自然博弈之后的结果。于是，便有了“天下”不同的视域。否则，我们无法解释为什么在他早些年的航拍照片中，就有许多不符合当时审美观念的图像?

　　Xian Yunqiang keeps flying in over 10 years. He has a special point of view due to his job requirements. Before this, he’s similar with most Chinese aerial photographers who aim to record the Northeast region, and to be in consistent with state ideology, he aims to record urban development. With such purpose, we can imagine that he overlooks the earth with proud in early period and he shoots and eulogizes many beautiful landscapes and scenes of urban and industries. Maybe finally conquered by the earth, he observed problems in relationship between human being and nature & space, as well as bad results in competition between human being and nature. That’s why World was created in different sight. Otherwise, we can never explain why there exist many images inconsistent with aesthetic idea in his early aerial photography works.

　　空间景观的表达在这些年日愈成为艺术创作的重要内容，这种现象是因为空间景观越来越强烈而鲜明地成为集中反映时代社会的表象，在巨大、奢华、不可思议的建筑群中，在惨遭破坏而不忍目睹的自然环境中，在一些荒诞、奇思异想、冲突矛盾的场景中，我们看到了没有什么时代比当下更为膨胀的欲望。

　　Space landscape has become a major target of artistic creation in recent years, because it reflects contemporary social phenomena strongly and vividly. We can see greediest desire among huge, incredible, luxurious buildings, destructed natural environment, conflicting and absurd scenes.

　　从高空中看上去如蚁般的人，竟然能够改天换地到如此的地步。许多空间不再只是满足人们生存与栖居基本要求之地，而是权利、欲望、资本谋合的场所，在这些空间中体现出的变异与扭曲，强硬地耸立于我们的眼前，形成了一道现实图景。“在现代生活条件无所不在的社会，生活本身展现为景观的庞大堆聚。直接存在的一切都转化为一个表象。”居伊·德波在他的《景观社会》深刻地揭示了当代社会的处境，在庞大堆聚的物质表象中，人的精神充满着被抽空的危险。任何有良知的艺术家，都会对此深刻反思，并且努力用艺术的方式发言，当代空间景观的变化形成了当代艺术转向的生态环境。

　　Human beings dramatically change space to make it a place full of rights, desire and capital, rather than a living base only. Distortion and variation in the space stand in front of us. Landscape is how life shows itself in modern society and all existence transfers to phenomenon. Guy Debord recovered conditions of modern society in "The Society of Spectacle", and human spirit becomes barren among huge material phenomenon. All conscientious artists should think over and make all efforts to speak out in artistic way. Changes in space landscape in modern society changes modern art.

　　蔡萌曾称空间景观的这一类作品为当代摄影的一种转型现象。他说：“从表象上看，这种转型后的摄影恰好是一种介于”纪实摄影“和”作为当代艺术的所谓观念摄影“之间的摄影类型。无论将其视为当代艺术的社会意义转向，还是看作纪实摄影出现的一个新的变体来考察，这种介于传统纪实与当代艺术观念之间的摄影表达已逐渐成为中国当代摄影实验的新热点”。

　　Cai Meng points that photography works are featured by space landscape in modern society, which seem to be between documentary photography and conceptual photography. We can regard this as its new social significance or a new variant of documentary photography, whatever, it has gradually become a new hot spot in Chinese modern photography experiment.

　　当下关于空间景观的表达与传统的纪实摄影相比，的确发生了很大的改变，它一方面呈现记录似的现实影像，但是它又在拍摄方式上有所不同，它极端地放大了现实景观，以超写实的方式，大景域的空间，极其精微呈现了景观中的一切细节。同时又使用了数字化的手法，对色彩进行了大幅度的调整，抽去原景观丰富的色阶，使之呈现出冷漠、暧昧、时尚，同时明亮得近乎空洞的色彩表情，这种色彩表情的遮盖使被记录的现实场景变异为一种虚幻的影像，犹如海市蜃楼一般。纵观这类作品，特殊的色彩表情几乎成为它们的共同语言。

　　Expression of space landscape and traditional documentary photography varies a lot. They seem similar, but space landscape is extremely enlarged and all details in vast space are expressed by ultra-realistic way. Meanwhile, photography works are digitalized to remove original color gradation until fashionable, offish and ambiguous effect. Extremely bright color turns actual scene to virtual image like mirage. Special colorful expressions are common features of such works.

　　线云强的高空视点正好符合了空间景观的表达模式。他甚至在某种意义上为这类作品补充了一个难得而可贵的视点。线云强不仅在高空获得了纵览全地的视点，还呈现了局部而单一的建筑面貌，这些建筑犹如钉在大地上的钉子，呈现了一种与自然完全不和谐的关系。

　　His high-above viewpoint accords with expression of space landscape. Xian Yunqiang supplements a valuable viewpoint to such works and overviews all landscapes in high above and presents partial and single buildings, which seem like disharmonious nails on the earth.

　　线云强的这组作品在拍摄上与许多艺术家的作品并不完全相同，他不是在一个统一的语言模式下完成的，作品的形态因此显得非常的丰富与随意，当然从另一种意义上说，也使观念意识稍显薄弱。但是我认为，正是这种随意性，更增加了线云强作品的价值。这些在随意积累中完成的作品，显现着日积月累中生成的摄影家对现实的体验以及现实空间对于人的操控性。即便在远离大地如此之遥的高空，人的眼睛也不得不被刺痛以至成伤。

　　His works are not totally the same with other artists. He creates in different language modes to make works casual and diversified. In another sense, however, idea and consciousness weakens. I think this casual style adds value to his works and because it's an accumulated experience of a photographer and the nature controls human beings. Human eyes get hurt when viewing the landscape even in the sky.

　　从线云强，我想到一个问题，摄影家需要对于自己的作品时常进行重新整理与发掘。线云强的“天下”中的许多照片并不是拍摄于今天，而是在长达十多年的拍摄形成的某一种类型的积累。如果不是因为受到安德烈·古斯基、爱德华·泊丁斯基的影响，如果不是在公共空间中呈现出越来越集中、尖锐、强烈、荒诞的矛盾与问题，如果不是线云强具有对当代社会问题的敏感以及不断超越自己的能力与热情，也许线云强的这些照片还会沉睡在自己的影像档案中。这就是摄影的价值。

　　I realize a problem that photographers should reorganize and explore his works constantly. Most photos in World are not created recently, but accumulated in recent ten years. Without influence from Andreas Gursky and Edward Burtynsky, without more and more public space sharp, fierce and absurd conflict and problems, without his sensitivity to modern social problems and ability and passion for surpassing himself, his works may still be preserved in archive. This is where the value of photography lies in.

　　我看过线云强全部的航拍照片，我感觉他当初的拍摄似乎就潜藏着一些模糊的想法，他的镜头不仅仅只对准美丽宏伟的风景。他不断地拍摄土地，土地上劳作的人们;他还反复地拍摄房子，一片一片如积木似的楼房;他还拍摄了飞行的状态，飞机扫过草丛，侧身向地面的角度;我甚至还看到了一些充满孤寂的影像。作为军人的线云强，高空拍摄与他对于宏大气魄的追求相吻合是合理而正常的。难得的是，他能够在高空感受千米之下的细微之处，并且富有细节性地进行表达。似乎他一方面有一种童话似的满足，另一方面又有一种恶梦似的惊叹!从他的航拍照片看，他在飞行时的感受一定是非常复杂而矛盾的，他能做到的只有犹如飞行的速度一样飞速地拍摄。如果不是这样，一定不会有我们现在看到的“天下”。

　　I've viewed all aerial photographs of Xian Yunqiang and I can feel ambiguous ideas because his target is more than magnificent landscape. He keeps shooting farmland and farmers, houses, buildings, angel of aircrafts against ground when flowing over the grassland. I can even see lonely images. As a soldier, Xian Yunqiang chooses to shoot in the sky to pursue grand scene. However, he can express details also in high above. Maybe in this way he can satisfy his fairy demand and shock himself. Judging from his photos, he must feel complicated and conflicted when flying and all he can do is shooting at quick speed. That's how World comes out.

　　也许“天下”只是线云强亮出的一组新作，说不准什么时候我们又会被他的新作闪了眼睛。

　　Maybe World is just new works of Xian Yunqiang and we never know when will be unexpectedly shocked again by his new works.

　　中国著名策展人、摄影评论家李媚撰文

　　By Li Mei -Chinese famous curator & photography critics

作者：李媚