“光”是无形而不可触的，但是数字时代的科技已经赋予它更多的内涵。它形态万千，光怪陆离，作为艺术创作的媒介，具有无限广阔的运用空间，能实现各种形态和方式的艺术作品，也是艺术与科技结合的典范。甚至有人断言，“光”将成为未来的主要艺术形式之一。以“光媒介”为切入点邀请艺术家进行创作，是表达“光影万象”的始于光而藏匿于光的“万象之光影”。

2022年6月29日，第一届的“光影万象·千岛湖国际光影艺术双年展”在千岛湖月光岛开幕。首届双年展从启动作品征集到开幕，共收到来自全球10个国家、208位艺术家的258件作品方案，最终有26件入选作品。第一届双年展的主题为“澄明之xia”。2024年，第二届“光影万象·千岛湖国际光影艺术双年展”即将开启，本届双年展的主题为“光的姿态（HOW IS LIGHT?）”。

Light is immateriality and untouchable, but in the digital age, science and technology have given it more connotations. With its many shapes and forms, it has a wide scope for use as an artistic medium, enabling artworks of all shapes and forms to be presented. It is an exemplary combination of art and technology. Some have even asserted that light will become one of the dominant art forms in the future.We regard the light as an entry point and invite artists to create artworks. The "Light and Shadow" is a "light and shadow" that begins with light and hides in light.

On June 29, 2022, “Qiandao Lake International Biennial of Light Art” opened on Moonlight Island of Qiandao Lake.The first biennial from the start of the call for entries to the opening, received a total of 258 pieces of work from 10 countries, 208 artists from all over the world program, and ultimately there are 26 selected works.The theme of the first biennale was “ the Summer of Clarity”, and in 2024, the second “Qiandao Lake International Biennial of Light Art” will be opened, and the theme of this biennale will be “HOW IS LIGHT?”.

除了在传统视野下以“自然光”来理解“光”之外，“人造光”与其演变至当代的“数字光”进一步显示了“光”的形态变迁、技术基础和运用图景。在技术和工业层面，从傅立叶变换到芯片设计，从色彩管理到将矢量图形转化为算术显示，从液晶屏到图像处理软件，从手持设备到体育场和城市广场的屏幕，“光”都支撑着人类的日常生活，并主导了视觉文化。

在科学界，尽管对于“光”的认识历史悠久，但直到19世纪中叶，对于什么是光也没有定论。英国物理学家詹姆斯·克拉克·麦克斯韦（James Clerk Maxwell）发现所有形式的电磁辐射都代表一个连续的光谱，并以相同的速度在真空中传播；德国物理学家菲利普·勒纳德（Philipp Lenard）提出了“光电效应”（Photoelectric Effect）；到二十世纪初，阿尔伯特·爱因斯坦（Albert Einstein）假设光实际上可能具有一些粒子特征。爱因斯坦的理论在美国物理学家阿瑟·康普顿（ Arthur H. Compton）的实验中得到巩固，他证明光子具有动量，是支持物质和能量可以互换的理论的必要条件。法国科学家路易·维克多·德布罗意（Victor de Broglie ）则将波的频率与粒子的能量和质量联系起来，最终被用于解释光的波浪状和粒子状特征。

然而，光不仅是当代视觉的基础，还在很大程度上与文明的根基相关。古希腊哲学家柏拉图通过火和自然的光影，提出了“洞穴隐喻”。这是对世界之存在的哲思、认识和伦理表达，也体现了有关艺术的态度，还是一个启蒙的故事。而在古代中国，对于光的关注则与一个整体性的宇宙形成论相关，《尚书·尧典》所谓“立象日月星辰，敬授人时”，意味着通过“光”而观天象，不仅影响了对时空的感知，还确立了“礼”。

正是考虑到“光”在工业技术演变、文明根基和时代创新等层面的形态，第二届“千岛湖国际光影艺术双年展”将以“光的姿态（HOW IS LIGHT?）”为题。即我们有关“光”的“姿态”的理解，不应局限于已有的形态，而是需要更多的可能性和更加开阔的想象空间。我们希望这些新的可能在关注“科技”“交互”和“生态”等维度的基础上，提出更多的设想。

“光的姿态（HOW IS LIGHT?）”既是一个描述，更是提出一个问题：艺术（家）如何在有关“光/影”已知的理解维度接续传统和开拓创新。这不仅关乎“光”的认识论命题，还是艺术介入其中的方法论，以及更为关键的想象力问题。“光的姿态（HOW IS LIGHT?）”意味着在已知的范畴之外，还能怎么样？

我们需要更多的想象，来照亮世界！

In addition to the traditional understanding of “natural light”, “artificial light” and its evolution to the contemporary “digital light” have further revealed the changes in the form of light, its technological basis and its application. At the technological and industrial levels, from Fourier transforms to chip design, from color management to the conversion of vector graphics into arithmetic displays, from liquid crystal screens to image-processing software, and from hand-held devices to screens in stadiums and city squares, light underpins human daily life and dominates visual culture.

In the scientific realm, despite the long history of the understanding of light, until the mid-19th century, there was no definitive definition of what light was. British physicist James Clerk Maxwell found that all forms of electromagnetic radiation represent a continuous spectrum and propagate at the same speed in a vacuum; German physicist Philipp Lenard proposed the Photoelectric Effect; by the early twentieth century, Albert Einstein hypothesized that light might actually have some particle characteristics. Einstein's theory was solidified by the experiments of American physicist Arthur H. Compton, who demonstrated that photons have momentum, a necessary condition to support the theory that matter and energy are interchangeable. French scientist Louis Victor de Broglie then linked the frequency of waves to the energy and mass of particles, which was eventually used to explain the wave-like and particle-like characteristics of light.

However, light is not only the basis of contemporary vision, but is also largely associated with the roots of civilization. The ancient Greek philosopher Plato proposed the Allegory of the Cave through fire and natural light and shadow. This is a philosophical, cognitive and ethical expression of the existence of the world, and it also embodies an attitude towards art, as well as a story of enlightenment. In ancient China, the concern for light was associated with a holistic theory of cosmogenesis. The Book of Yao, which states that  the sun, the moon, the stars and the moon are established, and the time of the people is honored, implies that the observation of the heavens through light not only influences the perception of space-time, but also establishes the rites of the world.

It is in consideration of the form of light in the evolution of industrial technology, the foundation of civilization and the innovation of the times that the second“Qiandao Lake International Biennial of Light Art will be entitled “The Gestures of Light (HOW IS LIGHT?)”. That is to say, our understanding of the meanings of light should not be limited to the existing forms, but requires more possibilities and a broader space for imagination. We hope that these new possibilities, based on the dimensions of “technology”, “interaction” and “ecology”, will lead to more visions.

“The Gestures of Light (HOW IS LIGHT?)” is not only a description, but also a question: how can art continue the tradition and develop innovation in the dimension of understanding the known light/shadow. This is not only about the epistemological proposition of light, but also about the methodology of artistic intervention in it, as well as the more crucial question of imagination. “The Gestures of Light (HOW IS LIGHT?) ” implies that beyond the known, what else can be done?

We need more imagination to illuminate the world!

千岛湖位于浙江省杭州西郊淳安县境内。它是首批国家5A级旅游景区，“***旅游度假区”，目前正致力于建设景区和“湖泊+”旅游度假区。它是１９５９年为建造新安江水电站而筑坝蓄水形成的人工湖。因其山青、水秀、洞奇、石怪而被誉为“千岛碧水画中游”。湖区面积573平方公里，湖中拥有形态各异的大小岛屿1078座，平均水深34米，能见度9-14米，属国家一级水体，被原新华社社长穆青赞誉为“天下第一秀水”，整个湖区分为东北、东南、西北、西南、中心五大湖区。千岛湖碧波万倾，千岛竟秀，群山叠翠，峡谷幽深，溪涧清秀，洞石奇异，还有种类众多的生物资源，文物古迹和丰富的土特产品，构成了享誉中外的岛湖风景特点。

Qiandao Lake is one of the national 5A-level tourist resorts.Currently, it is making efforts to develop it into a world-class scenic area and a world-class "lake+" tourist resort.It is an artificial lake formed by damming water for the construction of the Xin'an River Hydropower Station in 1959. It is known as the "Thousand Islands and Green Water as A Painting" because of its green mountains, beautiful water, strange caves and rocks.The lake covers an area of 573 square kilometres, with 1,078 islands of different sizes, an average water depth of 34 metres and visibility of 9-14 metres, and is a national-level water body.It was praised by Mu Qing, the former president of Xinhua News Agency, as "the most beautiful water in the world".The lake is divided into five major areas, namely the northeast, southeast, northwest, southwest and centre. The lake is characterised by blue waves, thousands of islands, mountains, deep gorges, streams, caves and rocks, a wide variety of biological resources, cultural relics and rich local products.

项目概述

Overview

一、展览时间与地点

Time and Site

展览开幕时间/ Opening：

2024年9月13日/September 13, 2024

展览地点/Site：

浙江千岛湖风景名胜区月光岛

Yue Guang Island,Qiandao Lake Scenic Spot, Zhejiang

二、展览组织机构

Exhibition Organization

主办单位：

·中国美术学院

联合主办：

·淳安千岛湖旅游集团

Organizer:

·China Academy of Art

·Chun'an County People's Government of Zhejiang Province.

承办单位：

·中国美术学院雕塑与公共艺术学院

·浙江千岛湖旅游股份有限公司

·中法文化艺术平台

Undertaker：

.The School of Sculpture and Public Art, China Academy of Art

.Chun'an County Culture, Radio, Television, Tourism and Sports Bureau

.Chun'an Qiandao Lake Tourism Group Co., Ltd.

.Zhejiang Qiandao Lake Tourism Co., Ltd

.China-French Cultural and Artistic Platform

策展机构：

·中国美术学院艺术工程与科技研究所

Curatorial Institution:

·Institute of Art Engineering and Technology,China Academy of Art

协办单位：

·德国柏林公共艺术研究中心

·日本环境艺术学会

·泰国Silpakorn University美术学院

·纽约大学（上海校区）

·泰国PSG美术馆

·荷兰Willem de kooning美术学院Stadslab研究所

·敦煌当代美术馆

·杭州百水文化艺术有限责任公司

Co-organizers:

·Centre for Public Art Research, Berlin, Germany

·Institute of Environmental Art and Design, Japan

·School of Fine Arts,Silpakorn University,Thailand

·NYU Shanghai

·PSG Art Museum of Thailand

·Willem de kooning Academy of Fine Arts, The Netherlands

·Dunhuang Contemporary Art Museum

·Hangzhou Baishui Culture and Art Co.,Ltd.

三、展览组织架构

（一）艺术委员会：

艺术顾问：高世名

中国美术学院院长，教授，中国美术家协会副主席、浙江美术家协会主席

Art Consultant: Prof.Gao Shiming

Dean of China Academy of Art. Vice Chairman of China Artists Association, the  President of Zhejiang Artists' Association.

首席专家：杨奇瑞

中国美术学院教授，博士生导师。浙江省特级专家、中国美术学院学术委员会副主任、中国城市雕塑家协会副主席

Chief Expert: Prof.Yang Qirui,

He is a Special Expert of Zhejiang Province,Deputy Director of Academic Committee，China Academy of Art,Vice-Present of Chinese Urban Sculptors Association.

学术主持：班陵生

中国美术学院教授，博士生导师，雕塑与公共艺术学院院长。中国美术家协会雕塑艺委会委员，浙江省第九届美术家协会副主席，中国雕塑学会理事

Academic Chair:Prof.Ban Lingsheng

He is a Doctoral supervisor and Dean of the School of Sculpture and Public Art.He is a member of the Sculpture Art Committee of the Chinese Artists Association, Vice Present of the Ninth Zhejiang Artists Association and a member of the Chinese Sculpture Society.

策展人：郑靖

中国美术学院教授，博士生导师，雕塑与公共艺术学院副院长、公共空间艺术系 系主任、艺术工程工作室主任

Curator:Prof.Zheng Jing

He is a Doctoral supervisor and Vice Dean of the School of Sculpture and Public Art, Head of the Department of Art in Public Space and Director of the Art Engineering Studio.

委员/Committee Member

余晨星  中国美术学院雕塑与公共艺术学院副院长

Yu Chenxing, Vice Dean of the School of Sculpture and Public Art, China Academy of Art .

翁剑青  北京大学艺术学院教授、著名艺术理论家

Weng Jianqing, Professor, Peking University,Art Theorist.

马钦忠  著名艺术评论家、策展人

Ma Qinzhong, Art Critic and Curator

阿萨杜尔·马克洛夫  保加利亚索菲亚国家美术学院教授

Assadour Markarov Professor, National Academy of Fine Arts Sofia, Bulgaria.

让-嘉沃蒂  法国莱茵高等艺术学院艺术造型学院院长

Jean F.Gavoty, Director, School of Art and Design, Ecole Supérieure des Beaux-Arts, France.

（二）组委会：

姜　君

淳安县人民政府副县长

郑   靖

中国美术学院雕塑与公共艺术学院党委书记 副院长

方必盛

淳安县文化和广电旅游体育局局长

程剑明

淳安千岛湖旅游集团总经理

杨一峰

浙江千岛湖旅游股份有限公司总经理

Organizing Committee:

Jiang Jun, Deputy Governor of Chun'an County People's Government

Zheng Jing, Secretary of the Party Committee and vice President of the School of Sculpture and Public Art, China Academy of Art

Fang Bisheng,  Director of Chun’an County Culture, Radio, Television, Tourism and Sports Bureau

Cheng Jianming, General manager, Chun'an Qiandao Lake Tourism Group Co.

Yang Yifeng, General manager of Zhejiang Qiandao Lake Tourism Co., Ltd

（三）策展团队：

郑   靖     阮悦来   张钟萄

寇树德    陈芷豪   王   帅

徐肖华    林上通   刘舸帆

Curatorial team：

Zheng Jing, Ruan Yuelai, Zhang Zhongtao, Kou Shude, Chen Zhihao, Wang shuai, Xu Xiaohua, Lin Shangtong，Liu Gefan

四、创作原则

1.敬畏自然，保护生态

2.激活文化，充分结合地方人文背景

3.作品应与湖面相关联系，或漂浮或潜于水面，充分考虑  “科技”  “交互” 与 “生态”

Principles of Creation：

1. Respect for nature and ecological protection.

2. Activate culture and integrate the local contexts.

3. The artwork should relate to the lake, either floating above or below the surface,Respect for nature and ecological condition.

Renewing the culture with the local context.

Focusing on the dimensions of “Science & Technology”, “Interactivity” and “Ecology”.

五、创作环保要求

Environmental requirements for works

1.作品不得对湖区水质造成污染；

The work must not cause pollution to the water quality of the lake.

2.作品不得对湖区生态平衡造成影响；

The work must not have an impact on the ecological balance of the Lake District.

3.作品不得对湖区自然景观造成负面影响；

The work must not have a negative impact on the natural landscape of the lake area.

4.作品不能影响航线，需提前报备作品方案，并在设备外围设置浮漂；

The work must not affect the route, and the scheme of the work must be reported in advance, and floating floats must be set up at the periphery of the equipment.

5.作品不得存在其他影响工程运行和危害工程安全的行为，在水利工程保护范围内，禁止从事影响水利工程运行、危害水利工程安全的活动；

The work must not have any other behaviour that affects the operation of the project and endangers the safety of the project. Within the protection area of the water conservancy project, activities affecting the operation of the water conservancy project and endangering the safety of the water conservancy project are prohibited.

6.作品不能存在滴漏和冒油的情况。

The work must not have dripping or bubbling oil.

邀请征稿

方案征集/Call for proposal

艺术展采用邀请+征稿的方式，每位作者可提交1-3件作品供艺委会评选；填写组委会统一制定的报名登记表并提供相应附带资料。作者请于 2024年6月17日24:00时前  将报名登记表电子版与参展作品方案（模板见附件）、作品视频、个人照片、身份证（正背面）扫描件发至指定电子邮件 ysgcykjyjs@163.com   提交的作品方案信息要与作品报名登记表对应，且每个方案单独对应一张作品展板。若同一作者投稿多个方案，则每个方案都需独立附报名登记表、每个方案一张展板，参展作品方案展板版面尺寸为A0（横式/见附件二）  ，解析度应在300DPI以上，JPG格式（展板版面不标注任何作者信息） 。组装作品要有清楚明了的安装图；文件名按照作者姓名、作品名称、规格、材料格式命名（例如：米隆《掷铁饼者》长*宽*高=100*100*152cm、青铜.JPG）；投稿作品严格按照投稿模板进行投稿、报名登记表填写清楚、不漏项，报送材料逾期不予受理。

The art exhibition will be held by invitation + call for entries. Each author may submit 1-3 pieces of artworks for selection by the Art Committee; fill in the registration form and provide the corresponding accompanying information.Authors should submit an electronic version of the registration form together with a proposal for the artwork to be exhibited (see attached), a video of the artwork, a personal photograph and an ID card (front and back) to ysgcykjyjs@163.com by 24:00 on June 17, 2024 The information submitted should correspond to the entry form and each proposal should be accompanied by a separate exhibition board. If the same author submits more than one scheme, each scheme should be accompanied by a separate registration form and one exhibition board for each scheme. The size of the exhibition board should be A0 (horizontal/see attached II), with a resolution of 300 DPI or more, in JPG format (the exhibition board should not be marked with any author information). The installation should be clearly illustrated; the file name should be in accordance with the name of the author, the name of the work, the specifications and the material format

(e.g.Miron,DiscusThrower,L*W*H=100*100*152cm,bronze.JPG);submissions should be made strictly in accordance with the submission template; the registration form should be filled in clearly and without omission; late submissions will not be accepted.

知识产权保护/

Protection of Intellectual Property Rights

1.参展作者申报的项目不得侵犯其他第三方的专利权、著作权、商标权、名誉权或其他任何合法权益。

2.参展作者申报的项目所包含的任何文字、图片、图形、音频或视频资料，均受版权、商标权和其它所有权的法律保护，未经参展作者同意，  上述资料不得公开发布、播放。

1. The application must not infringe on the patent, copyright, trademark, reputation or any other legal rights of third parties.

2. Any text, images, graphics, audio or video materials contained in the application are protected by copyright, trademark and other proprietary rights and may not be published or broadcast without the consent of the exhibiting artist.

时间计划/Timeline

2024年6月17日24:00前

艺术家提交作品方案

2024年6月25日前

公布入选方案

2024年9月13日前

完成作品的制作与现场安装

By 24:00, June 17, 2024

Artists submit proposals

By June 25, 2024

Announcement of Short list

By September 13, 2024

Complete the production

and on-site installation of the works

方案提交/Submission

1.报名登记表（附件一）

2.艺术作品方案

（方案效果图（作品展板 附件二）/视频）；

3.个人照片（1张）、身份证（正背面）扫描件。

4、艺术家个人简历

1. Registration form (attached I).

2. Proposals

(programme renderings, work display boards/video).

3. Scanned copy of personal photograph (1),

ID card (front and back).

4.CVs of the artist.

作品提交日期：2024年6月17日24:00前作品提交邮箱：ysgcykjyjs@163.com

Submission date:  June 17, 2024 Works to be submitted to ysgcykjyjs@163.com

         报名附件链接：

         (点击进入链接)

       https://pan.baidu.com/s/1IXmX5TehhifdTSsNxf_dbg?pwd=2024 

         提取码：2024

         Registration attachment Link:

         (请复制到浏览器打开)

https://u.pcloud.link/publink/show?code=kZwHQj0ZQPKTk9B1PDkczgkuH64j4ybB74g7