9th – 30th January 2016 Thursday – Sunday 12-6pm or by appointment. Artists; Sarah Beddington, Beth Collar, Aleksandra Domanović, Mathilde ter Heijne, Aura Satz, Maud Sulter, Niina Vatanen and Ye Funa Secret Agent is a group exhibition composed from the viewpoint of feminist authorship in contemporary art practices. The artists in the exhibition actively challenge the institutional structure of history and patriarchal authority – and imagine alternative narratives, often through the specificity of lens-based media. Acts of image-making, archiving, or guerrilla information tactics enable visibility and challenge relationships between author and authority. Each artist utilises language and the literary in dialogue with image-making to harness the intertextual, as archival photographs and stock footage are transformed through repetition, re-staging and re-imagining. Representation of western history through both image and text, with the inherent parallels between historical and photographic truth – and the legacy of radical image/text practice in the 1970s and 1980s – are central to the development of this exhibition. The enabling of voice(s) of authorship whereby subjectivity is activated in order to challenge the …
Zhuang Xueben, The front cover of “Xikang special issue” of The Young Companion , 1942.
I have collected a list of websites about Chinese photography, primarily focusing on the Chinese Cultural Revolution. Some websites are in Chinese. I apologise for the inconvenience. If you know any website that is not listed in here, please let me know. I will really appreciate your help.
These photographs were selected from Ren Shulin’s The Innocent in 80, which focuses on teenagers in Chinese middle and high schools in Beijing during the 1980s. Ren started to take photographs since 1976 and became a member of the April Photography Society. He belonged to a generation that grew up during the Cultural Revolution.
These photographs were taken by Muge, a Chinese photographer. I first saw them in the Atsushi Fujiwara’s photo-book exhibition at the Format Festival. They belong to a series entitled “Going Home”. They were taken quite literally during the photographer’s journey home, an area upstream of the Changjiang. These photographs recorded immigrant revisitations home, painting a portrait of movement and the meaning of place and identity in an immigrant community (de- and re-territorialised). Differing from regular labour immigrantsin China, these peoples were forced to move away from their traditional ‘homes’ due to the building of the Three Gorges Dam. They remind me quite poignantly of Zhangke Jia’s film Still Life （三峡好人）; both cannot return to a geographically located home anymore, and instead must re-imagine and reconstruct one. 这些照片的拍摄者是中国摄影师木格。我第一看到这些作品是在今年的Format国际摄影节。木格的作品被收录进藤原敦的摄影图册展览中。 这个系列的作品被命名为“回家”。实际上也真的是拍摄于摄影师回到长江上游家中的旅途中。拍摄的题材则是移民重归故里。不同于中国常见的劳工移民，这些出现在画面中的人多数是因修建三峡水库被迫离乡背井。 看到这些照片，我立刻回想起贾樟柯的电影《三峡好人》。这些都是回不去家的人。
There is an interview of Christian Caujolle, the ex-founder of Agence VU, on The Outlook Magazien (China). He mentioned a few Chinese photographers who are signed with Agence VU. Therefore, this agency gets my attention. Yang Yankang (born.1954)’s photographs remind me Zhuang Xueben, who taken photographs of Chinese “minorities” between 1930s and 1950s. There are two series of Yang’s work, showing on Agence VU’s website: Buddhism in Tibet (2009) and Catholic in the Villages of Shanxi Province, China (2001). Yang has anthropological eyes as Zhuang Xueben, chasing the people who live with their own lifestyle and culture (religious).
Diary:1/20000, by Dai Jianyong Curated by Fangfei Chen and Hemera Collective. This exhibition was invited to join in the The Gallery Project’s 2nd exhibition season. The Gallery is a multimedia art project created by Chinese artist Xin Wang in 2013. It is part of the Chinese Visual Festival 2014, which ran from 7 – 18 May at King’s College London and consisted of 16 exhibitions over 10 days, with each exhibition lasting five hours.