Year: 2014

Review: for the Hemera Collective Photo Blog

Dali is a highly romanticised city which is located in Yunnan Province, China. I say this as the area Dali is situated in is complimented with scenery replete with paddies, mountains, a lake (with fish being caught in some areas by cormorant) and picturesque farmers traditionally plowing their fields; scenes that are endeared and idealised by Chinese urbanites. At one time this scenery and the relaxed atmosphere of Dali brought in backpackers (who would make up the majority of tourists) from outside of China. Nowadays however it attracts millions of national tourist groups and student travelers who travel for the amazing landscapes and welcoming minority and folk cultures. The major events of the 5th Dali International Photography Exhibition(DIPE) were held at this city between 1st and 5th Aug 2013. It displayed more than 6,000 photographic works in over 200 exhibitions. See: REVIEW by Fangfei Chen: The 5th Dali International Photography Exhibition(DIPE)

Review: Illusionary Memory by Chinese Photographer Mo Yi.

Original published at: Hemera Collective Photo Blog: REVIEW by Fangfei Chen: Illusionary Memory by Chinese Photographer Mo Yi.   Although I have seen many photographs by MO Yi before, I met him for the first time in person at the Dali International Photography Exhibition this year. There he invited my friends and I to visit his new exhibition Illusionary Memory at the Three Shadows Art Centre. The exhibition uses images taken from the Cultural Revolution—including photography and poster art—to discuss and explore notions of memory and history. Nearly all of the installations are made of squared industrial tiles. Each of these tiles has been painted with a small Chinese character on a single colour backing. But they can also be divided into three kinds.   Firstly and most dominantly, tiles are glued together to make a flat surface which hangs from the wall. In the newsletter from the Three Shadows Gallery, GU Zheng emphasises that these works present the passivity of history and discusses the relationship between viewers, artworks and history. It is true that viewers …