“编辑:图片强迫症”以“摄影”为展览缘起,有摄影之名,无摄影之实。14位参展艺术家均不是摄影师,大多活跃于装置、影像领域,其中杨福东、赵仁辉等人虽长期与摄影结缘,但摄影于他们更多是手段而非目的。这个展览将摄影作为底牌,让艺术家们在台面上用各种媒介方式去试探图像的边界和效用,却意在言外。摄影的历史或可被视为是一个关于对象和图像的操控史。除开科技手段的影响,它也在试图完成从文献纪录到艺术创造的身份置 “Edit: Image Obsessive-compulsive disorder ” To “Photography ” For the exhibition origins, the name of photography, photography without real. None of the 14 participating artists is a photographer, most of whom are active in installations and video fields. Among them, Yang Fudong and Zhao Renhui have become attached to photography for a long time, but photography is more of a means than a purpose for them. This exhibition uses photography as a bottom line, allowing artists to explore the boundaries and utility of images on various kinds of media on the stage, with the intention of saying something. The history of photography may be considered as a history of manipulation of objects and images. In addition to the influence of technological means, it is also trying to complete the documentary record to the identity of art creation