新展
山水行动——新媒体影像装置艺术展（上海站）
Shanshui Action: Shanshui Moving Image Installation Art Exhibition (Shanghai Stop)
“山水行动——新媒体影像装置艺术展（上海站）”将于2025年3月20日至5月10日在上海浦东碧云美术馆举行，展出由艺术家高世强带领的山水影像创作集体自2017年开始并持续至今的以山水影像为主的综合艺术巨构。
山水影像创作集体将山水作为一门世界观的艺术，在遍及中国各地的山水之间进行了持续近十年的影像实践，以多种数字影像技术作为主要媒体，进行当代的山水艺术创作，试图累积山水经验，激活山水精神。山水影像创作集体长期与众多山水研究者展开沟通与合作，试图对中华文明中的山水基因进行全方位的回溯、挖掘、探讨与思考，想象一种超越人类纪危机达成世界山水化的可能。山水令人陶然，无需翻译，可使得人与人、人与天地相互通达，是中国送给世界上最广泛的朋友的一份发心厚礼。
该展获得国家艺术基金“2025年度传播交流推广项目”资助，已于2025年8月12日至10月18日在中国美术学院美术馆首展,并将在上海站巡展结束后于2026年6-7月在武汉合美术馆继续巡展。
展览信息
总策划｜高世强
制作人｜林薇
策展人｜唐晓林、张婷
策展执行｜吴穹、王敬蓉、孙晓宇
工作团队｜张立、张抒言、罗晓楠、杨凯、黄敬涛、高雨晨、杨书妤、李天行、郑悦、樊金琪、秦晨茹、沈昳楠、孙叶凡、陈熠诺、碧云美术馆展览部、碧云美术馆公教部、张佳乐、王舒燕、曹梅清、韩媛、朱沈钰、杜润凡、林芝卉
参展艺术家｜高世强、陈璇、范献鑫、黄佳怡、蒋奔、林祚雄、吕艺杰、孙晓宇、万梦圆、汪嘉欣、王晨、吴穹、张诚林、张立、张抒言
空间设计｜高雨晨
视觉设计｜非白工作室
主办：中国美术学院、上海浦东碧云美术馆
承办：中国美术学院跨媒体艺术学院、上海浦东文化传媒有限公司
展览时间: 2026年3月20日 – 5月10日
展览地点：上海浦东碧云美术馆，上海市浦东新区红枫路135号
前言
山水的境域
许 江
2017年，法国斯特拉斯堡的莱茵宫，高世强团队的《山水宣言》第一次以磅礴的气势面世。那多屏的影像，拔地而起，栉比叠立。无声的亚细亚大陆的莽山让这座旧日的皇宫陷落在山水的影像之中。这山水迥然于欧罗巴大陆的山脉，以直上直下的碑状的气势，牵动着云雾，缠绵着烟雨，掩映着松柏，摇曳着草木，又诱引着千百年来东方诗人们的情往兴答。这山水以大自然本有的升势与平势，宣示着某种古远而幽茫的东方谱系的观看，述说着“吟啸且徐行”的诗性的世界观。这山水的“宣言”，一方面回应着一百多年前这里展示的中国首次古典与现代绘画展览，以传统的竖状画面的复数方式，向着中西艺术交流的先驱致敬；另一方面又借此表达中国人生生不息的山水经验，及其在新的媒介语言中发扬光大着的独特的世界观诗学。
八年过去，宣言鸣响，山水始终在行动。这个展览正是这“山水行动”的集阅。
山水是什么？山水不唯是关于山与水的风景。当“世界”被前所未有地图像化之时，“风景”这一人类观看与再现世界的最古老的范式之一，既呈现为一种似是而非的空泛，又遽然变化为一个亟待审视的问题。山水，从根本上说，是一种关于造化的谛视。此种谛视，让谛视者将其一生的历练与胸怀置入山水云霭的聚散之中，将生命的起落、冷暖、抑扬、明暗纳入内心的世界观照之中，形成的“心与物游”的整全的存在。于是，这种静穆的、多屏的方式，成为人与山、与水游目玄览、相望相答的基本的方法。
正是在这个方式之中，我们遭遇山水风景作为众多“问题场域”的追问。首先，我们由此进入登临之境。登高涉远，在山水中穿梭，在吟叹中相会，那攀援的艰辛，那风雨的临对，那生命的悲欢，那云气的苍凉，俱在此时聚拢，断石、深崖、虬木、孤院凝在一起，供我辈临远眺望，并始终合为一体，蔽藏在山水幽茫的深处。同时我们又进入怀远之境。“江山留胜迹，我辈复登临。”当年羊祜携诸子登岘山时发怀古之咏叹：“自有宇宙，便有此山，由来贤者胜士登此远望如我与卿者，皆湮灭无闻，使人伤悲。”登高即怀远，在这个所谓的地形学的历史追怀中，我们总与古人在精神上契合。复登临，不仅是奇观的阅览，更是“曾日月之几何，江山不可复识”的政治意义上的往复与慨叹。
于是我们又进入了一个批判与自省的境遇，一个悲慨之境。自然本无情，宇宙了无时间伤害的痕迹。中国的诗人们总怀一种共通的时间感受的模式，将天地恒常与人世无常铿然对照。于是，在远山的迷宫中，风情总带着萧然，流光便是空寂，即目之所，处处泛起悲歌。在这个訇然而启的批判性转向之中，我们常怀御风陶然的兴味。我们超越了“地方摄影”“景观摄影”“奇观迷恋”等等流向，铺展开了真正意义上的方法论的反思，世界观的反思。在今天的时代，直面山水，正是直面我们自己。“山舞银蛇，原驰蜡象，欲与天公试比高。”我们开始通过山水来弥合艺术与我们时代最根本的问题之间的重要链接。山水的行动让我们以观看的诗化，来浸润在充满中国意蕴的、在信仰与现实之间跋涉的“山水化”的沉思与无尽藏。
在这样一个宏大的山水凝视的奠基时刻，我们用登临之境、怀远之境、悲慨之境、陶然之境的追叙，借以抒发所有的山水谛视者的心语，并向这个葳蕤而磅礴的山水阅场，表达深深的敬意。
2025年8月4日
“Shanshui Action: Shanshui Moving Image Installation Art Exhibition (Shanghai Stop)” will be held from March 20 to May 10, 2026 at the Being Art Museum (No. 135 Hongfeng Road, Shanghai, China). This exhibition will display the comprehensive art works based on shanshui moving images, which have been created since 2017 by the shanshui moving image creating collective led by artist Gao Shiqiang, who is the professor and depuyy head of the School of Intermedia Art from China Academy of Art.
The collective regards shanshui as an art of worldview, and has been carrying out moving image creating practices across China for nearly 10 years. Taking multiple digital imaging technologies as their primary medium, they engage in contemporary shanshui art creation, accumulating shanshui experiences and revitalizing shanshui spirit. The collective has been collaborating with many researchers in the field, seeking to comprehensively revisit, explore, and reflect on the shanshui gene in Chinese civilization, imagining the possibilities of surmounting the Anthropocene crisis and Shanshuification of the world.
Shanshui evokes spontaneous joy that transcends languages, fostering communicating and understanding between people and between the human and the cosmos. It is a sincere and profound gift from China to the most extensive circle of friends all around the world.
The exhibition, funded as a 2025 Communication and Promotion Project by the National Arts Fund, debuted at the China Academy of Art Museum from August 12 to October 18, 2025. It will continue its tour at Wuhan Unites Art Museum from June to July 2026, after its Shanghai tour concludes.
Director: Gao Shiqiang
Producer: Lin Wei
Curators: Tang Xiaolin, Zhang Ting
Curatorial Executives: Wu Qiong, Wang Jingrong , Sun Xiaoyu
Team: Zhang Li, Zhang Shuyan, Luo Xiaonan, Yang Kai, Huang Jingtao, Gao Yuchen, Yang Shuyu, Li Tianxing, Zheng Yue, Fan Jinqi, Qin Chenru, Shen Yinan, Sun Yefan, Chen Yinuo, Exhibition Department of Being Art Museum, Public Education Department of Being Art Museum, Zhang Jiale, Wang Shuyan, Cao Meiqing, Han Yuan, Zhu Shenyu, Du Runfan, Lin Zhihui
Artists: Gao Shiqiang, Chen Xuan, Fan Xianxin, Huang Jiayi, Jiang Ben, Lin Zuoxiong, Lyu Yijie, Sun Xiaoyu, Wan Mengyuan, Wang Jiaxin, Wang Chen, Wu Qiong, Zhang Chenglin, Zhang Li, Zhang Shuyan
Spatial Design: Gao Yuchen
Visual Design: Transwhite Studio
Organizer: China Academy of Art | Shanghai Being Art Museum
Hosted by: School of Intermedia of Art of CAA | Shanghai Pudong Media Group
Duration: March 20 – May 10, 2026
Venue: 135 Hongfeng Road, Pudong New Area, Shanghai Being Art Museum
Preface
The Realm of Shanshui
Xu Jiang
In 2017, at the Palais du Rhin in Strasbourg, France, Shanshui Manifesto—a monumental moving image installation by artist Gao Shiqiang and his shanshui (mountains-waters) collective—made its breathtaking debut. Towering multi-screen projections rose from the ground, standing in layered formations. The silent, primordial mountains of Asia immersed this former imperial palace in shanshui imagery. This shanshui stood in stark contrast to the mountain ranges of Europe—soaring vertically like steles, stirring clouds and mist, lingering in rain and haze, veiling pines and cypresses, swaying with grass and trees, and evoking the lyrical dialogues of Eastern poets across millennia. Through the primordial cadence of ascent and repose, the shanshui proclaimed an archaic yet luminous Eastern scopic regime—one that echoes Su Shi’s poetic defiance: “chanting and sauntering” through life’s tempests. The shanshui “manifesto” performed a dual homage: it responded to China’s first exhibition of classical and modern paintings held here over a century ago—the seminal “Exposition Chinoise: D’art ancien et moderne” in 1924 —through serial vertical compositions that honor the pioneers of East-West artistic exchange, while simultaneously expressing the enduring Chinese experience of shanshui, showcasing how this unique worldview poetics flourishes anew through contemporary media language.
Eight years on, the shanshui manifesto still resonates as the collective continues its artistic actions. This exhibition presents a culminating survey of these ongoing “Shanshui Actions.”
What, then, is shanshui? It is never merely scenery of mountains and waters. When the “world” (in Chinese, shi jie, the fused continuum of time-space) is unprecedentedly rendered as images, “landscape” (feng jing)—one of humanity’s oldest paradigms for seeing and re-presenting the world—now vacillates between a hollow simulacrum and an urgent problematic demanding epistemic rupture. Shanshui, in its ontological essence, is to behold the hidden heart of creation and evolution (zao hua). Such contemplative gaze enables a beholder to dissolve a lifetime’s trials and horizons into the very rhythm of shanshui—where clouds gather and scatter, where life’s undulations (rise/fall, warmth/chill, cadence/silence, light/shadow) coalesce into the mirror of consciousness. Here crystallizes a holistic state of being: the Daoist unity of “heart-mind roaming with/through things” (xin yu wu you). Thus, this serene and multi-screen approach becomes the collective’s fundamental method through which humans engage with mountains and waters: a contemplative wandering of the gaze, a silent dialogue of mutual seeing and responding.
It is precisely through this mode that we encounter shanshui as an inquiry into multiple “fields of questioning.” First, we thereby enter the realm of ascent (deng lin). To climb high and traverse afar, to wander through mountains and waters, to meet in sighs and chants—Here converge the toil of the climb, the confrontation with wind and rain, life’s joys and sorrows, the desolation of drifting clouds—where broken cliffs, gnarled trees, and solitary courtyards fuse into a single gaze, ever unified, ever hidden in the boundless obscurity of shanshui.
At the same time, we enter the realm of anamnestic longing (huai yuan). “The land retains its timeless majesty, as we pilgrims tread the ancient way.” These lines distill Yang Hu’s eternal lament atop Mount Xian: “This mountain has stood since the dawn of the cosmos. Through the ages, all worthy souls who climbed here to gaze afar—you and I among them—have vanished without a trace, leaving only sorrow.” To ascend is to remember—in this so-called topographical anamnesis, we commune across millennia with the ancients in spirit. Each renewed ascent is never merely a viewing of wonders, but rather a political recursion—a lamentation over how “so few moons may wane, yet these rivers and mountains grow estranged.”
Thus we enter anew the dialectical space of critique and introspection—a realm of beikai, where sorrow is tempered by transcendence. Nature remains unmoved; the cosmos bears no scars of time’s passage. Yet Chinese poets have cultivated a shared grammar of temporality, forging stark counterpoints between cosmic permanence and human transience. And so, within the labyrinth of distant peaks, the very wind carries whispers of desolation; flowing light crystallizes into void. Every gaze falls upon a world humming with elegies. Yet in this thunderous pivot—this critical turn—we abide in the Confucian joy of “bathing in breezes and chanting homeward” (yu feng tao ran). We have transcended the tropes of “local photography,” “landscape photography,” and “visual fetishism,” entering a methodological awakening—a tectonic shift in worldview. To engage with shanshui today is to confront our very being. “The mountains dance like silver snakes, The highlands charge like wax-hued elephants, Vying with heaven in stature.” Here, through shanshui, we forge vital connections between art and the primal questions of our age. Through shanshui action, we immerse ourselves in poeticized seeing—a meditation that traverses the terrain between faith and reality, dissolving into the boundless alchemy of “shanshuiification.”
At this foundational moment of shanshui gazing—as we recount the realms of ascending to a scenic wonder, anamnestic longing, lamentative critique, and Confucian joy—we channel the silent discourse of all shanshui beholders, rendering homage to this luxuriant and sublime shanshui theater.
August 4, 2025
☟
即将展出
展览｜山水行动——新媒体影像装置艺术展
展期｜2026年3月20日-5月10日
地点｜碧云美术馆1、2、3号展厅
上海市浦东新区红枫路135号
No.135,Hongfeng Road,Shanghai
联系电话（Tel）：021-58878879
咖啡服务（Coffee）：Andrew's House（1F）
周二-周五10:00-18:00
17:30停止入场，周一闭馆
周六、周日延迟开放至20点
19:30停止入场
Tue to Fri 10:00-18:00Last entry at 17:30，Closed on Monday
Late opening on Saturday and Sunday until 20:00 (last admission at 19:30)
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跨媒体艺术学院是中国美术学院最新锐的学科集群，也是中国第一所真正意义上的实验艺术学院，聚集了一批具有国际影响力的艺术家与学者，拥有一支高水平的国际化教学团队，2010年被美国《亚太艺术》杂志评为“亚洲最值得期待的当代艺术教育机构”。
跨媒体艺术学院的学术宗旨在于：促进媒体技术开发，推动当代艺术实验，从媒体中发掘创意，从技术中发显人文；以媒体实验、艺术创作、社会思想、策展实践四维互动的格局，在国际平台上推动当代艺术的跨学科研究和跨领域实践。学院专业一方面提供最前沿的新媒体艺术创作与媒体设计的训练，另一方面，强调社会思想与艺术策划的智识培养；注重媒体手段与思想方法的综合训练，致力于培养掌握新媒体技术、具有实验精神和创新能力的当代艺术与媒体创意人才。
来源｜“碧云 BAM”微信公众号
责编｜林芝卉 王世桦
终审｜李凯生 高世强
