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——广州美术学院绘画艺术学院-法国阿维尼翁高等艺术学院

2025年春季联合工作坊

导师：米莲娜·马尔贝蒂、桂晓昕

展期：2025.04.14-05.04

开幕式：2025.04.14 14:00

主办：GAFA油画系X筑梦空间

项目总监：刘可，尤国强

地点：广州市天河区羊城创意园3-03号筑梦空间

艺术家：亚历桑德拉·里维利亚恩特扎、艾昊、陈哲能、付茜雅、高金阳、郭珉汛、胡巧玲、黄子乐、刘彦君、刘钰、林心怡、莫映琳、施怡文、石鸿宇、沈鑫磊、吴怡晴、许聪聪、余明隽、赵旭辉、周付川、朱子璇、邹彦希 

Instructor: Mylène Malberti, Gui Xiaoxin

Duration: 2025.04.14-05.04

Opening: 2025.04.14 14:00

Host: Department of Oil Painting，D_LAB

Project Director: Liu Ke, You Guoqiang

Venue: No.3-03, Yangcheng Creative Park, Guangzhou

Artists：Alessandra Antezza Rivelli, Ai Hao, Chen Zheneng, Fu Qianya, Gao Jinyang, Guo Minxun, Hu Qiaoling, Huang Zile, Liu Yanjun, Liu Yu, Lin Xinyi, Mo Yinglin, Shi Yiwen, Shi Hongyu, Shen Xinlei, Wu Yiqing, Xu Congcong, Yu Mingjun, Zhao Xuhui, Zhou Fuchuan, Zhu Zixuan, Zou Yanxi

工作坊简介

工作坊将探索生活在城市和周边环境的肖像和绘画的主题，与历史遗迹意义相关。

让学生沉浸在艺术实践中探索摄影舞台和对现实的解释。 重点是在构图、框架和视觉叙述上制作肖像城市及其居民，学生作为演员。

这种形式鼓励艺术探索和研究的发展个人创作路径，同时促进与中国师生合作和交流。

关键字：城市面孔，公众面孔，镜头，城市镜头

时间安排：4月7日9:00-12:00讲座，4月7日-11日全天工作坊教学

Workshop Introduction

The workshop will explore the themes of portraits and paintings of people living in cities and their surrounding environments, which are related to the significance of historical sites.

Immerse students in artistic practice to explore the stage of photography and the interpretation of reality. The focus is on creating portraits of the city and its residents in terms of composition, framework and visual narrative, with students acting as actors.

This form encourages the development of individual creative paths in artistic exploration and research, while promoting cooperation and exchanges with Chinese teachers and students.

Key words: City face, public face, lens, city lens

Schedule: Lecture from 9:00 to 12:00 on April 7th, and full-day workshop teaching from April 7th to 11th

前言

在广州美术学院和阿维尼翁高等艺术学院的伙伴关系合作框架下，艺术和教育的再次交汇融合。做为一次在城市空间中的行动体验，积极探讨城中村生活，呈现 “tableau vivant” ——人物的行动图像结合城市生活为主题的创作，强调视觉叙述，让学生可以成为 “演员” 再现这座城市及其居民。

每张照片的创作都是预判地点与模型一起共同进行讨论并被选中。这座城市变成了艺术家的取景区域，在这样的自主创作组群中，艺术家时而可以相互转换体验角色，假设模特、导演、场景摄影师、剧本的动作。在探索摄影取景与诠释真实生活的冲突间，运用笔记、草图、场域勘探、创作意图等方法建立了逻辑清晰的文案, 使得学生沉浸在创新艺术实践的研究中。

这种形式既能够鼓励体验和发展个人艺术创作空间，同时也促进互相之间不同专业学科和学习水平的合作交流。强调了艺术创作过程的重要性，促使短时间内从原创想法到个人主题观念的协调发展，成功的调动了艺术家在直觉和分析之间反复博弈。

米莲娜·马尔贝蒂

Préface

Une rencontre artistique et pédagogique dans le cadre de nos échanges entre le GAFA et l’ESAA. Ce workshop explore le thème du portrait et du tableau vivant dans un contexte urbain.

Le focus est mis sur la narration visuelle pour réaliser un portrait de la ville et de ses habitants, avec les étudiants comme acteurs.Chaque prise de vue s’organise avec le modèle dans un lieu précis préalablement repéré et choisi. La ville devient notre plateau de tournage où chacun, tour à tour,

assume l’action de modèle, de réalisateur, de photographe de plateau, de script. Les notes, croquis, repérages, intentions font l’objet d’une documentation de la recherche qui permet aux étudiants de s’immerger dans une pratique artistique en explorant la mise en scène photographique et l’interprétation du réel. 

Ce format encourage l'expérimentation et le développement d'un univers plastique personnel, tout en favorisant la collaboration et l'échange entre les étudiants de différents départements et niveaux d’études. Il met en avant l’importance du cheminement, de l’idée à l’élaboration du projet, dans un court délai. Un perpétuel aller-retour entre intuition et analyse.

 Mylène Malberti

展览作品Exhibition works

亚历桑德拉·里维利亚恩特扎、邹彦希、黄子乐、赵旭辉《23.0400611，113.3847921》

Alessandra Antena Rivelli, Zou Yanxi, Huang Zile, Zhao Xuhui, "23.0400611, 113.3847921"

我们以南亭地图作为棋盘进行四人五子棋游戏。获胜者最后落子的位置，将对应成为我们在南亭地图上的拍摄起点。从这个起点出发，每人将相机挂在脖子上，自主选择行进方向。每走一步拍摄一张照片，每人共需拍摄五张。最后我们相互编辑对方的照片，并将照片重叠，模拟游戏中的五步。

The starting point of the process was to draw the backgammon game board on the Nannying map. Upon reaching the winning position , each player placed on the same starting point, hung the camera around his or her neck and took 5 steps to which corresponded 5 photo shots with different viewpoints. The process ends by reversing and editing the others' photos, and then creating overlaps that simulate the 5 movements used in the final phase of the game.

艾昊《城中村噪音的诗意抵抗》

Ai Hao, "Poetic Resistance to Noise in Urban Villages"

噪音是这里最诚实的居民。它们肆无忌惮地穿行在狭窄的巷道间，从每一个敞开的窗口涌出。这些声音从不会轻手轻脚，就像生活本身从不温柔。

在规整的写字楼与商场之外，城中村的噪音像野草般顽强，提醒着我们：有些生命，注定要以最喧闹的方式存在。

Noise is the most honest resident here. They waded through the narrow alleys without restraint, gushing out from every open window. These voices are never casual, just as life itself is never gentle.

Beyond the neatly arranged office buildings and shopping malls, the noise in the urban villages is as tenacious as wild grass, reminding us that some lives are destined to exist in the noisiest way.

陈哲能《Time》

Chen Zheneng, "Time"

作品方案图

Work scheme drawing

刘彦君、付茜雅《障碍》

Liu Yanjun & Fu Xiya, "barrière"

在南亭村的画材街上行走觉着里外都不是人，开着电动车飞驰地急于将外卖送达的外卖员、迫切想要回到自己一席之地的南亭村村民、饥肠辘辘寻找食物的大学生等等不同的身份在狭窄而不规则的道路任意处都像是他者的障碍。

我想要作为一个“人”而行走在道路上，而在画材街我更多的感受是作为一个“屏障”。

En marchant dans la rue des fournitures d'art du village de Nanting, je me sens étrangère, ni dedans, ni dehors — comme si je n'appartenais à aucun lieu. Les livreurs lancés à toute allure sur leurs scooters, pressés de livrer à temps, les habitants de Nanting cherchant à regagner leur espace intime, les étudiants affamés errant à la recherche de nourriture: toutes ces figures, avec leurs rôles distincts, deviennent des obstacles les unes pour les autres sur cette route étroite et irrégulière.

Je voudrais avancer simplement en tant qu'« être humain ». Pourtant, dans cette rue, ce que je ressens avant tout, c'est être une « barrière » — un corps qui gêne, une présence qui dérange, une frontière involontaire dans la circulation fragmentée et tendue de la vie quotidienne.

刘彦君Liu Yanjun

在自己熟悉的一条南亭画材街的路上，通过绳子设置的移动路障，在行人或者行车通过的时候，造成了一定的障碍，带给行人在日常熟悉通行路上的一点疑惑。

当自己通勤在这狭窄的巷子里，要避免行人或者电动车，他人通行时，同样要避让电动车或者行人，看人或者行车都是路障，他人也是如此，既然都是障碍，让这种隐形比喻的显现，那就把自己和绳子相接，和同伴一起变成一个可移动的高度路障，观察路人的来往，遇到障碍物时，人们下意识的避让以及心理的变化，就如同障碍物看人也是障碍物一般。

Sur une route familière de la rue des fournitures d'art du village de Nanting, j'ai installé une barrière mobile faite de cordes. Lorsqu'un piéton ou un véhicule passe, cette structure crée une légère gêne, suscitant chez les passants une interrogation face à ce parcours pourtant habituel et quotidien.

Dans cette ruelle étroite que j'emprunte souvent, je dois constamment éviter les piétons ou les scooters ; de la même manière, les autres usagers doivent aussi adapter leur trajectoire. Les passants, les véhicules - tous deviennent des obstacles potentiels. Et moi aussi, je suis un obstacle pour eux. Si chacun est à la fois sujet et objet d'interruption dans l'espace urbain, pourquoi ne pas rendre visible cette métaphore invisible ?

En me reliant physiquement à la corde, avec mes camarades, nous formons ensemble une barrière de hauteur variable et mobile. En observant les réactions des passants - leur réflexe d'évitement, leurs hésitations, leurs expressions - nous explorons les micro-transformations psychologiques que provoque la rencontre avec l'obstacle. De même que l'obstacle perçoit les passants comme des obstacles, cette installation performative interroge la réciprocité des corps dans l'espace public.

付茜雅Fu Xiya

高金阳《时间被碎片，化为永恒的当下》

Gao Jinyang, "Time Fragmented into the Eternal Present"

这座建筑是见证者，亦是容器。当清晨的薄雾、正午的灼光、暮色里的霓虹在同一张相纸上悄然渗透，时间的褶皱便显影成情绪的万花筒。那些在窗棂间游走的暗影是昨日的怅然，墙角斑驳的光斑是此刻的悸动，而永远矗立的廊柱则是无数个"我"交汇的坐标。

每一次重叠都在建筑轮廓线上刻下新的折痕，而最终展开时，所有瞬息都在晨昏线处获得赦免。这是记忆的考古层，亦是未来的预言书——当我们凝视碎片拼合的完整，才惊觉永恒的形态原是流动的琥珀。

以长曝光捕捉时光冲刷的轨迹，却让建筑本体始终如锚点般清晰。或许生命正是一场温柔的悖论：正是那些不断碎裂又重组的情绪，将我们浇筑成完整的存在。当所有时刻同时在场，我们终于明白，自己始终站立在风暴中心最寂静的坐标，像这座建筑般既承载着风雨的侵蚀，又收留着永恒的月光。

This building is both a witness and a container. When the mist of the early morning, the scorching light of noon and the neon lights of dusk quietly seep through the same photo paper, the wrinkles of time manifest as a kaleidoscope of emotions. The shadows wandering among the window lattices are the melancholy of yesterday, the mottled light spots in the corners are the palpitations of the present, and the ever-standing colonnades are the coordinates where countless "me" converge.

Each overlap carves a new crease along the building's outline, and when it is finally unfolded, all the fleeting moments are forgiven at the terminator line. This is an archaeological layer of memory and also a prophecy book of the future - when we gaze at the completeness of the pieced fragments, we are shocked to realize that the eternal form is originally flowing amber.

Capturing the trajectory of time's erosion with long exposure keeps the building itself always as clear as an anchor point. Perhaps life is precisely a gentle paradox: it is those emotions that constantly shatter and reassemble that shape us into a complete existence. When all moments are present simultaneously, we finally understand that we have always stood at the quietest coordinate in the center of the storm, like this building, bearing the erosion of wind and rain while also embracing the eternal moonlight.

郭珉汛《尘影蔽眸-广州大学城南亭村周边翻新的视觉之困》

Guo Minxun, "Dust Shadows Obscure the Eyes - The Visual Dilemma of Renovation around Nanting Village in Guangzhou University Town"

这组作品围绕生活区域附近道路翻新所产生的尘土对眼睛的影响展开。创作中，我以自身为表达载体，运用行为艺术与摄影结合的⽅式传递感受。

在表现形式上，多幅画面以遮挡眼睛为核心动作。用沾有尘土的透明胶带遮蔽双眼，模拟尘土对视线的阻碍，胶带的透明与尘土的浑浊形成对比，暗喻视觉在尘土侵扰下似明实暗的状态。如在施工围栏、工程车等道路翻新场景前的拍摄，凸显尘土产生的源头。

树叶元素的运用，既象征自然原本的清新，又与尘土形成反差。被尘土沾染的树叶覆于胶带之上，暗示自然在施工影响下的改变，如同眼睛在尘土环境中美好视觉体验的消逝。

后期裸露上身、连接输液装置的画面，是对眼睛受尘土侵害后渴望修复的隐喻。输液象征着对受创视觉的“治疗”，表达在尘土困扰下对清晰视野、舒适视觉环境的向往。

这组作品通过视觉化呈现，记录道路翻新尘土对眼睛的切实影响，也借此呼吁人们关注城市建设中环境与个体健康的关联。

This group of works focuses on the impact of dust generated from the renovation of roads near living areas on the eyes. In my creation, I take myself as the medium of expression and convey my feelings by combining performance art with photography.

In terms of presentation form, the core action of many pictures is to cover the eyes. Cover your eyes with dusty transparent tape to simulate the obstruction of dust to your vision. The transparency of the tape contrasts with the turbidity of the dust, symbolizing the state of vision that seems bright but is actually dark under the disturbance of dust. For instance, the shooting in front of road renovation scenes such as construction fences and engineering vehicles highlights the source of dust generation.

The use of leaf elements not only symbolizes the original freshness of nature but also forms a contrast with dust. The leaves stained with dust are covered on the tape, suggesting the changes in nature under the influence of construction, just like the disappearance of the beautiful visual experience of the eyes in a dusty environment.

The later scene of exposing the upper body and connecting the infusion device is a metaphor for the desire to repair the eyes after being damaged by dust. Infusion symbolizes the "treatment" of the injured vision, expressing the yearning for a clear vision and a comfortable visual environment amid the disturbance of dust.

This set of works, through visual presentation, records the real impact of road renovation dust on the eyes, and also calls on people to pay attention to the connection between the environment and individual health in urban construction.

胡巧玲《寻艺》

Hu Qiaoling, "Seeking Art"

刘钰《合群》

Liu Yu, "Fit in"

林心怡《回到2010》

Lin Xinyi, "Back to 2010"

莫映琳《公共厕所》

Mo Yinglin, "Public Toilet"

公共厕所对于大部分人来说是普通不过的存在，但对于一些人来说却截然不同，我希望通过拍公厕来反映中国性少数群体的困境。

Public toilets are a common existence for most people, but for some, they are quite different. I hope to reflect the predicament of sexual minorities in China by photographing public toilets.

施怡文《以持续推墙的动作解救被围困的身体……》

Shi Yiwen, "The action of continuously pushing against the wall serves to rescue the body that is besieged."

《困》

Besiege

《推》

Push

作品方案图

Work scheme drawing

石鸿宇《兵卒过河》

Shi Hongyu, "Soldiers Crossing the River"

在中国象棋中，兵卒过河前只能向前走，过河后可以左右移动，攻击力增强，但行动仍然受限，不能后退。这象征着突破和转变，但同时也有限制。井盖作为城市地下管网的物理屏障，承载着现代性工程的理性秩序。棋盘格纹与井盖螺纹的几何碰撞，暗示着城市管理逻辑与传统生存智慧的博弈，如同中国象棋中"兵卒过河"的生存法则，隐喻着城中村居民在制度缝隙中寻求突破的生命力。

In Chinese chess, before crossing the river, soldiers can only move forward. After crossing the river, they can move left and right, enhancing their attacking power, but their movements are still restricted and they cannot move backward. This symbolizes breakthrough and transformation, but at the same time, there are also limitations. Manhole covers, as the physical barriers of urban underground pipe networks, carry the rational order of modern engineering. The geometric collision of the checkerboard pattern and the manhole cover thread implies the game between urban management logic and traditional survival wisdom, just like the survival rule of "soldiers crossing the river" in Chinese chess, metaphorically representing the vitality of the urban village residents seeking breakthroughs in the institutional gaps.

沈鑫磊《What is there，Where？》

Shen Xinlei, "What is there, Where?"

《What is there, Where？》是一件以机器视觉为核心、探讨现实建构的数字绘画作品。艺术家将城中村的日常影像输入人工智能视觉模型以进行目标检测，生成边界框、标签和锚点等标注，以揭示技术中介对视觉经验的塑造。算法生成的标注有的精确、有的谬误。作品由此引导观众参与一场视觉游戏。在判定标注正误时，观众倚赖的是对“真实图像”的既有经验。

然而，作品进一步揭示出，这些图像及标注均由模型生成，而非源自客观现实。这种错位在后真相时代动摇了人类的感知与信任机制。作品中特别呈现了一幅去除色彩仅保留结构的“白模”图像，凸显出图像不再是对现实的客观再现，而是一种建构的产物。通过机器对现实的重构以及人类视觉认知的受挫，《What is there, Where？》使观看行为本身转化为对图像真相的质询过程。

What is there, Where? It is a digital painting work that takes machine vision as its core and explores the construction of reality. The artist inputs the daily images of the urban village into an artificial intelligence visual model for object detection, generating annotations such as bounding boxes, labels, and anchor points to reveal the shaping of the visual experience by the technology medium. The annotations generated by algorithms are either precise or erroneous. The work thereby guides the audience to participate in a visual game. When determining the correctness of the annotations, the audience relies on their existing experience with the "real images".

However, the work further reveals that these images and annotations are all generated by the model rather than derived from objective reality. This dislocation has shaken human perception and trust mechanisms in the post-truth era. The work particularly presents a "white model" image with the color removed and only the structure retained, highlighting that the image is no longer an objective reproduction of reality, but a product of construction. Through the reconstruction of reality by machines and the frustration of human visual cognition, "What is there, Where?" Transform the act of viewing itself into a process of questioning the truth of the image.

吴怡晴《镜子剧场》

Wu Yiqing, "Mirror Theatre"

许聪聪《龙舟之上：力量与传承的共鸣》

Xu Congcong, "On the Dragon Boat: Resonance of Strength and Inheritance"

余明隽《嘴唇》

Yu Mingjun, "Lips"

每个人都认为自己是主体，又都认为他人是客体，通过对嘴唇的长时间聚焦，使他者不得不意识到自己被置入客体角色当中，对他们会作何反应，我很感兴趣

Everyone considers themselves as the subject and others as the object. By focusing on the lips for a long time, the other is forced to realize that they are placed in the role of the object and how they will react to them. I am very interested

周付川《管道之下》

Zhou Fuchuan, "Under the Pipeline"

一个头戴通风管道的形象，很难说具体所指是什么。戴上了这个“面具”，来尝试体验我所饰演这个角色在一定空间中的状态。在小洲的一片小树林里，我尝试做出一些行为，来完整我饰演的角色。在表演过程中，我的视野并不开阔，只能用余光透过自己钻的小孔来查看情况。但是作为一个比较内向的人来说，戴上这个道具反而让我觉得心安，在戏剧表演中，这也是“面具”的作用。

疲惫、逼仄、 还有一些孤独感，是我在这个面具下所体验到的感觉，我就依靠这种感受去产生与周围环境互动的行为.........

It's hard to say exactly what an image of someone wearing a ventilation duct on their head refers to. Put on this "mask" and try to experience the state of the character I'm playing in a certain space. In a small forest on Xiaozhou, I attempted to perform some actions to complete the character I was playing. During the performance, my field of vision was not wide, and I could only use the corner of my eye to check the situation through the small hole I drilled myself. However, as a rather introverted person, wearing this prop actually makes me feel at ease. In theatrical performances, this is also the role of a "mask".

Exhaustion, cramped, and a bit of loneliness, these are the feelings I experience under this mask, I rely on these feelings to generate the behavior of interacting with the surrounding environment.........

朱子璇《出租一分钟的孤独》

Zhu Zixuan, "Renting a Minute of Loneliness"