白水賞 SpringBao Award

謝雨潼是一名攝影師，1999 年出生於雲南省曲靖市。他的實踐聚焦於空間的探索， 關注空間中的人類活動，以及歷史，社會，政治對空間留下的痕跡。在布拉格電影學院學習期間，他進行了多種媒介的探索，透過錄影，裝置，現成圖片等媒介，討論身份，政治，遷徙，以及親密關係。

捷克風景

捷克人總會自豪地說，自己在歐洲的心臟。他們不位於東歐，而是中歐。中間是捷克的位置，在開放和保守之間，在歡愉和傷痛之間，在蘇聯和美國之間。捷克共和國就像斯柯達轎車，它運作良好，但是在大眾汽車和LADA汽車之間。中心的另一重意義是邊緣。在西歐的邊緣，也在東歐的邊緣。邊緣是地理界限的概念，也是一種無形的處境。從慕尼黑協定到布拉格之春，捷克斯洛伐克一直被困在邊緣。在天鵝絨革命之後，這種處境並未消解，而是以一種新的面孔悄然降臨。

這組作品試圖討論全球資本主義對捷克共和國的另類衝擊。新自由主義的更替，作為受害者的自我認知，重複的邊緣化過程，透過對空間的塑造而得以視覺化。透過一個外來者的眼光，集體記憶的歷史創傷，社會工程的影響，重工業的痕跡，可疑的再開墾，性旅遊和其他邊境產業被揉捏在一起。它闡釋了人們如何與後工業時代的景觀共存，迎接不確定的轉型。

Czech Landscape

Czechs often proudly say that their country is the heart of Europe. They are not located in Eastern Europe but in Central Europe. The Czech position is one of being in between—between openness and conservatism, between joy and pain, between the Soviet Union and the United States. The Czech Republic is like a Škoda car: it runs well, but it exists somewhere between Volkswagen and LADA. The center also carries another meaning: the periphery. It is on the edge of Western Europe, and likewise on the edge of Eastern Europe. This idea of the periphery reflects not just a geographical boundary but also an intangible predicament. From the Munich Agreement to the Prague Spring, Czechoslovakia was perpetually trapped in the margins. After the Velvet Revolution, this predicament did not dissolve but instead quietly returned in a new guise.

This body of work seeks to explore the unique impacts of global capitalism on the Czech Republic. The neoliberal transition, the self-perception as victims, and the repeated processes of marginalization are visualized through the shaping of space. Seen through the eyes of an outsider, elements such as historical trauma from collective memory, the legacy of social engineering, the traces of heavy industry, dubious reclamations, sex tourism, and other border industries are intertwined. Together, they reveal how people coexist with the landscapes of a postindustrial era, facing an uncertain transformation.