We have recently invited Rachel Liu - a visual artist based in the San Francisco Bay Area - to take over Photography of China's Instagram account to share her ongoing project based off of an extensive personal family photo archive. Discover all her works below.
Keith Macgregor documented Hong Kong during the economic boom period from the 70s to the 90s, a time of immense prosperity, social development and general optimism. His works are currently exhibited at Blue Lotus Gallery (Hong Kong) until 18th November 2018.
We have recently invited Olivia Martin-McGuire to take over Photography of China's Instagram account to share her series “China”, which follows the 'pre-wedding' photo industry in China. Every couple gets a wedding shoot well before their actual wedding. The shoot is fantasy based where you can dress up to be anything your heart desires. This series quickly became a Feature Documentary which is currently screening in cinemas in Australia. The film captures a 'country dreaming' through these photos - and offers another window into this fascinating country. You can find out more at www.chinalovefilm.com
Read the exclusive interview of the two French collectors Frédéric Robin & Philippe Gilbert from the Whilte Villa Collection.
Yao Lu’s works use the form of traditional Chinese painting to express the face of China.
We have recently invited Li Hui to take over Photography of China's Instagram account to share some of her photographs, which capture her friends (and fruit) in fleeting moments of intimacy. She explains: “What I want to show in my work is the sheer diversity of nature and life, that even though society promotes uniformity, human interaction can overcome social constraints. I try to explore or even create the unknown, and focus on visible but easily overlooked intimate details, looking for a balance between daily and mystery. observing and maintaining this awe of human nature and complexity.“
In “Traces I”, the Malaysian born Chinese photographer Ian Teh photographed the coal industry in China and its impact on the western hinterlands of the country.
“The Post-War Dream: A visual journey into the Anthropocene”
In the late summer of 2016, I spent six weeks in the Inner Mongolia Autonomous Region, making photos to document the transformation process of the most important cities in the region: Ordos, Hohhot, and Baotou. Surprisingly, these images recalled me the post second world war Italian film season that wished to raise awareness on the booming developments surrounding the historic cities of Italy.
The shocking similarity between images made over 50 years away, testify to a dominant, globalized and normalized character of these settlement processes. There is a common denominator, which seems to cancel the geography and the temporal distance between the events told by my visual-journey. The gaze moves in silent and mysterious places that seem to push the viewer beyond the empirical evidence towards an almost dreamlike dimension. Or a "post dream" scenario.
During my journey in the Inner Mongolia region, I discovered that no matter the scale, the definition of habitat tends to be homologated. What I was experiencing, was the impact of the present geological era, the Anthropocene, where landscape, as well as earth system processes and dynamics, are altered by humans. The question posed by the project is if there is still space for another image of the city, beyond the apocalyptic dystopia laid ahead by the great metropolis of the twenty-first century.
It is no surprise the abrupt acceleration that urbanism has achieved at the beginning of the new millennium. The post-war urbanization responded to the need for real house policies in an increasingly industrial society that was huddled at the gates of ancient cities. What we observe in China, on the other hand, is a projection of needs not entirely expected, which foreshadow the construction of a priori housing complexes often empty. This is why the few people we see appear to us more like mannequins, or puppets of a show that got out of hand, victims like mythological shadows of a stage from whose destiny they are excluded.
My wish is to stimulate to an historical thinking, in order not to be dazzled in the future by the easy clamor of an inexistent present, and therefore to position our gaze in a critical perspective as when photography becomes a project.
Edition: 150 signed and numbered copies Extent: 104 pages, excluding cover
Texts: Marco Bertozzi, Elena Rapisardi, Chen Liu
Language: English and Mandarin
Size: 33 cm x 22 cm [13 inches x 8.7 inches]
Printing on Tatami white 150 gr
Finishing: Thread Sewn, Bodonian Binding Cover: Fedrigoni Materica 720 gr
Forthcoming: 5 November 2018
In collaboration with Steve Bisson of Urbanautica Institute (https://www.urbanauticainstitute.com/)
For more information: https://www.indiegogo.com/projects/the-post-war-dream#/
In his newly published photobook “Approximate Joy”, Christopher Anderson considers the relationships between technology, happiness and humanity through a haunting series presenting the melancholic faces of Shenzhen’s city-dwellers. His works are currently exhibited at the Danziger Gallery (New York) until October 20, 2018. Guest article written by Alex Merola.