陈秋实的创作以自身被抛入的历史语境为起点,在经历装置、行为等实践后,将摄影及图像作为最终表达方式。
他将摄影技术及其衍生图像视当下社会交流与经济往来的基建之一,其作品并非意在诠释当代摄影路径及图像形式的可能性,
而是以其方法论及图式为契机,以期寻找图像与人性的螺旋交往史。
他认为当代影像艺术除了着重于学科方法的创新或新的案例批判外,
还需基于本土持续发掘图像生产、交换机制与个体(集体)相对恒久的欲望情感间发生的巧妙制衡与维系。
Qiushi's works start from the historical context he is thrown into, and after going through installation and performance ,
he takes photography and images as the final expression.
He believes that photography and its derivative images are one of the infrastructures of social and economic exchanges,
and his works are not intended to interpret the path of contemporary photography and the possibilities of image forms,
but to take that methodology and schema as an opportunity to find the spiral history of interaction between images and human nature.
He believes that contemporary photography should not only focus on the innovation of disciplinary methods or new case critiques,
but also on the continued exploration of the subtle checks and balances between the mechanisms of image production
and the relatively constant desires of individuals (collectively) based on the local context.




不安的地缘
Fictional Geopolitics



从大连港到地中海/尺寸可变/2022
From the DaLian Port to  Mediterranean






南北朝鲜交界地带/尺寸可变/2022
Image collage of the border zone between North and South Korea







航道-从亚丁湾到墨西哥湾/尺寸可变/2022
From the Gulf of Aden to the Gulf of Mexico









耶路撒冷-乌兰巴托-洛杉矶/尺寸可变/2022
Jerusalem-Ulaanbaatar-Los Angeles



我将被置于在外交谈判桌前、或是被系于全球化进程中不同时空的国家与地区的影像拼合于一处,
这些被虚构所组织的真实片段在图像的伪装下成为既存的事实。
当地质地貌、城市规划、云层疏密、比例尺与噪点符合了我们对图像的认识却又在历史的逻辑中发生错误,真伪松动了视觉的权力,图像本身则在误解中现身。
自然或是事实的自足只是偶然,意义与问题的衔接才构成历史之链。

I have assembled images of countries and regions that have been placed at the diplomatic table or tied to different times and spaces in the process of globalisation,
and these fictitiously organised fragments of reality become pre-existing facts under the guise of images.

When geological features, urban plans, cloud formations, scale and noise conform to our perception of the image,
but then err in the logic of history, truth and falsity loosen the power of vision, and the image itself appears in misunderstanding.
The self-sufficiency of nature or fact is only accidental; it is the meaning and question that forms the chain of history.






症状即药方
Taking symptoms for medicine







崇拜、艺术、再现,这些共存于照片。而我感兴趣的是它们隐居于从现实变为图像的过程。如今图像浸入我们的生活、工作,而与旧日不同,生产却不再意味着拥有解释的权力。

在对图像意义往复转变的疑惑中,我按照传统的摄影方式拍摄大量照片,其中有各种类型的胶片或是数字影像,加以现成图像、以及不同的美学修辞,以期显现出图像在不同状态下面对现实的反应。它可以是个人日记,也可以是意义交换市场中的某种货币。

通过作品,我得以看到图像是如何成为欲望与现实的中转站,也得以反思如今社会中图像交换所附带的牺牲与交易。


Worship, art, reproduction, these co-exist in photographs. And what interests me is their seclusion in the process of changing from reality to image. Nowadays, images are immersed in our lives and work, and unlike the old days, production no longer means having the power of interpretation.

In the midst of my doubts about the repeated transformation of the meaning of images, I take a lot of photographs in the traditional way of photography, with various types of film or digital, with ready-made, and with different aesthetic rhetoric, in order to reveal how images react to reality in different states.It can be a personal diary or a kind of currency in the market of meaning.

Through the works, I can see how images become a transit point between desire and reality, and I can reflect on the sacrifices and transactions attached to the exchange of images in today's society.












表面战争
Surface war

这些被战争眷顾的表皮,将我们搅入数十年来个人与时代积累的经验中。
不需要深入的外壳,在感性中将文本重新链接、分配,使我们在不知不觉中通向与集体纠缠的、不可掉头的未来。

These surfaces, favored by history and war,stir us into all  experiences that have lived in (PRC,after 1949)history;
They re-link and redistribute texts in sensibility,
allowing us to pass unnoticed into a future in which the individual and the collective are entangled and irreversible.












黑石铺
Black stone stall

项目基于对中南地区后军事单位的影像及档案研究。
该类组织为周边提供了更多的就业岗位与基础设施,但也由于与地方政府管辖权冲突与相对独立的生产,从而始终与区域发展保持一定的脱节。
一种有趣但又现实的对比出现在这些社区中,有的关于物质条件,也关于人们的思维方式与自我认知。
他们显现出既与乡村伦理融合,又有高度统一的现代制度的状态;既有政党,又有鬼神的独特故事。

This project  based on a visual and archival study of post-military units in the South Central China.
This type of organization provides more jobs and infrastructure to the surrounding area, but also remains somewhat disconnected from regional development due to conflicts with local government jurisdiction and relative economic independence.
An interesting but realistic contrast emerges in these communities, both in terms of physical environment  and in terms of the way people think and perceive themselves.
There reveal a state of both integration with rural ethics and a highly unified modern system; a unique story of both political parties and rural ghosts.



                                                                                                                 


















Stealth
隐身系列 (2022)

When I step into these relics that once belonged to the Emperor, there is always the sun high in the sky.
The blinding light turns the solid high walls into a blur of black shadows.
Inside must be an void,
Absence, suppressing all the warblings.
                                                                                                                                         
当我步入曾属君主的古迹,
总有当空的太阳高悬,高墙也因照射变成黑影。
院内是一片虚空,
缺席,压抑着所有的莺歌。


藏于宫中之人总是主动选择隐身,将空缺化作权威。
                                         













可编程的
Reprogrammable 

可编程的系列是根据毫米波实验室内部环境及实践进行的一次视觉转译

“实验室研究”(Laboratory studies)是科学知识社会学( SSK) 在 20世纪 70 年代形成的一个研究热点,侧重于对科学研究活动进行田野调查,将实验室看做一种社会建构。在这之前,传统科学哲学关注的焦点是实验,而非实验室。科学知识社会学认为实验室不是自然呈现的场所,反而作为制度环境遮蔽了科学研究的真实过程,人们难以看到形成中的科学是怎样的。其是生产知识的场所,是一种社会与政治机构,所有人员和活动都是围绕发表知识产品而构筑。

在实验室中,自然对象被一次次干预,成为被分解的实体和短暂的对象状态。自然对象已经不再是它原初的状态,而是被重新改造的物质。


The Reprogrammable series is a visual translation based on the environment and practices of the laboratory of Millimeter Waves.

"Laboratory studies," a research hotspot formed by the sociology of scientific knowledge ( SSK) in the 1970s, was concerned to examine how scientific knowledge is a social construction or laboratory production. Prior to this time, traditional philosophy of science focused on experiments, not laboratories. The sociology of scientific knowledge sees the laboratory not as a site of natural presentation, but rather as an institutional environment that obscures the real process of scientific research and makes it difficult for people to see what science in formation looks like. Its a site for the production of knowledge. It is a social and political institution where all people and activities are constructed around the production of knowledge products.
In the laboratory, natural objects are intervened in again and again, becoming disintegrated entities and transient object states. The natural object is no longer in its original state, but a remodeled substance.













我带来了浸满蓝色的编织袋
I bring you woven bags dipped in blue