陳曼(陳漫)，中國(guó)當(dāng)代建立自我獨(dú)立視覺(jué)語(yǔ)言的攝影師及視覺(jué)藝術(shù)家，其作品多次在國(guó)際獲獎(jiǎng)，她在法國(guó)，美國(guó)，英國(guó)，日本及香港等地舉辦多次個(gè)展，并且在中國(guó)上海當(dāng)代美術(shù)館及北京今日美術(shù)館舉辦兩次美術(shù)館級(jí)別個(gè)展，作品被美術(shù)館所收藏。2003年至2007年為《VISION》雜志拍攝封面，并且建立她在藝術(shù)領(lǐng)域全新陳曼(陳漫)式視覺(jué)藝術(shù)風(fēng)格，也成為其第一階段藝術(shù)作品，從一開(kāi)始就獲得時(shí)尚雜志界的關(guān)注，引發(fā)了國(guó)內(nèi)時(shí)尚攝影圈的一次創(chuàng)新潮。并此后長(zhǎng)期與《VOGUE》、《ELLE》、《BAZAAR》、《MARIE CLAIRE》、《L‘OFFICIEL》、《WALLPAPER》、法國(guó)《PREFERENCE》、《Madame Figaro》、紐約《UNLIMITED》、英國(guó)《NYLON》、《SPORTSTREET》《i-D》《MUSE》等國(guó)際知名雜志合作并為其拍攝封面。

攝影師陳曼（陳漫）

攝影師陳曼（陳漫）

There is no such thing as a clear-cut boundary between fashion photography and so-called artistic photography in China. The female photographer Chen Man 陳曼 (born in 1980 in Beijing) might exemplify this phenomenon. Graduated from the photography department of the Central Academy of Fine Arts in Beijing in 2005, Chen Man has been working on both personal projects and commissioned works for luxury fashion brands and authoritative magazines, such as Vogue, Harper’s Bazaar, Cosmopolitan, and Vision. One of the chief visual vocabularies of Chen Man is photomontage. “Some people consider that to be fake art,” she says, “but Photoshop is just a tool for the making of my art works, it doesn’t define them. (…) My generation is really into computer reality, a reality that we can control and perfect in the way we choose.” Through her eccentric digital manipulations, Chen Man creates an ethereal world inhabited by fantasy creatures – mostly female – appearing under the guise of contemporary beauties or alternative mythological figures.

陳曼(陳漫)官網(wǎng)