JPEG

The JPEG is the most commonly used method of image compression in digital photography. Digital cameras capture images in this format and save them onto a tiny memory card that then can be transferred to computers, tablets, and smart phones. From these devices the captured images can be instantly sent to 1000’s, even millions, of people on blogs and posts on social media on the Internet, or as text messages and emails. With the click of a button on a camera to the click of a button on a computer or phone any kind of private image can made public and seen around the world immediately, if anyone cares to take a look at it. The massive overload of anonymous images filling the Internet has numbed our senses and yet we have become addicted to them at the same time.
  Bu Yunjun explores our relationship to these found images and reexamines their cultural merits. Bu states, “Because the flood of images produced come and go at such a rapid pace, they have become useless and are considered to be nothing but mere trash. But I insist that all of these trash images have value.”  “How we evaluate a picture depends on how we re-recognize it.” Bu sees much further into these images than just the sheer titillation or irritation they bring us in our day to day lives. Through Bu’s act of gathering of 100’s of “trash images” he began to see a different and unexpected picture; their relationships to historical painting.  “Classical oil painting and the contemporary “trash image” both have a type of majesty within their own individual eras.” They both speak of their times with great eloquence and clarity.  Through Bu’s search he began to sense that he was not looking at anonymous images any longer but very familiar ones.  
   In his exhibition, JPG, Bu uses selected found photos, including some of his own ‘failed’ pictures that would have normally been relegated to the trash bin.  The images have been printed on different types of papers and sizes ranging from high to low quality. Some are painted on or altered with colored tape, or partially affixed to the wall allowing the edges to curl, draped across furniture, or lying on the floor. Bu has reclaimed and redeemed these lost images and given them new identities of value and a part of our contemporary culture with links to a historical past.

                                

                                                                                                                                                                                                  _____ James Elaine


JPEG是数码摄影中最为常用的图像压缩方式。数码相机以这种格式捕捉图像,并将它们存储到一张小小的记忆卡中,以便之后能将它们传送到电脑、平板电脑和智能手机上。通过这些设备,被捕捉到的图像就能被立刻发送给在互联网社交媒体上使用博客和发帖的上千乃至上百万人,或以彩信和邮件的形式发送给人们。从在照相机上按动快门到在电脑或手机上点击按钮,任何私人图像都可以被公开,被全世界即刻看到,只要有人有心想看。过量的匿名图像大规模充斥着互联网,麻痹了我们的感知,但同时,我们也对它们上瘾了。


  卜云军探索的便是我们同这些现成图像之间的关系,他重新审视了这些现成图像的文化价值。卜云军说,“由于被制造出来的图像的洪流来去过于迅速,它们变成了无用之物,并被视作垃圾。但我坚持认为,所有这些垃圾图像都是有价值的。”“我们如何衡量一张图片的价值,取决于我们如何重新去认识它。”卜云军在这些图像中看到了更多的东西,而不仅只是它们给我们的日常生活带来的纯粹挑逗或刺激。在收集上百幅“垃圾图像”的过程中,卜云军发现了一幅别样、意外的画面;即这些图像同历史绘画之间的关联。“古典油画和当代‘垃圾图像’在其各自所处的时代中都具有某种庄严性。”它们在谈及自身所处的时代时,同样地富有口才和清晰明了。卜云军在他的搜寻中逐渐发现,他所盯着看的不再是匿名的图像,而是十分熟悉的图像。


   在展览“JPG”中,卜云军挑选出一些现成的照片,其中包括他自己拍的一些“失败的”照片——这些照片原本正常情况下会被转移到回收站。图像被打印在不同种类不同尺寸的纸张上,纸张质量高低不等。有些彩色胶带被粘在图像上,或以彩色胶带做出改动,有些则部分固定于墙面,使得图像边缘卷曲着,随意搭盖在家具上,还有些图像平铺在地板上。卜云军回收并挽救了这些被遗失的图像,并赋予了它们新的有价值的身份,将其作为我们当代文化的一部分,同历史性的过去联结在了一起。

 
                                                                                                                                                                                                          林杰明