Tseng Kwong Chi 曾廣智 (1950 in Hong Kong - 1990 in New York). 

Tseng Kwong Chi 曾廣智 (1950 in Hong Kong - 1990 in New York). 

Dali Photographic Festival 2013

These photographs were selected from Ren Shulin’s The Innocent in 80, which focuses on teenagers in Chinese middle and high schools during the 1980s.

After the Cultural Revolution there were a few art exhibitions, which included for instance the sculptures of Auguste Rodin in 1979. Ren was influenced by these exhibitions significantly. He became interested in the feet and back as motifs, as he accepted a point from one of the exhibitions’ captions that one’s hands can be more expressive than face. What attracted my attention was the colourful clothes of these students. If you read Roland Barthes’s Travels in China, you will find a world in black, white, dark blue and green.

It can be seen as both an objectification of the teenage process and the subjects’ puberty, as well as proof—to and extent—of the social liberation of the Chinese people at this time. I have to admit that I enjoyed these photographs from both sides. 

Fangfei, April 2013. 

Lu Nan (born. 1962) is a freelance photographer. He has three series’: The Forgotten People, The State of Chinese Psychiatric Wards (1989-1990); On the Road, The Catholic Church in China (1992-1996); and Four Seasons, Everyday Life of Tibet Peasants (1996-2004). 

“Mental patients, those practicing religion and Tibetan’s themselves. Until today, most people put emphasis on the importance of ‘mental disorders’, ‘beliefs’ and ‘Tibet’ [in the understanding of my work.] However, my emphasis has always been on people” Lu Nan. 

“从精神病人到有信仰的人,再到西藏人——直到今天,大部分人在看我的作品时,都把着重号点在了“精神病”、“有信仰”和“西藏”上;但我自己的着重号,自始至终都点在后一个字—“人”上”, 吕楠

The photographs above are selected from the Four Seasons. 

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). 

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.

These photographs belong to a series, called “Going Home”. They were literally taken during the photographer’s journey to his home, where is the upstream of the Changjiang (Yangzi River). These photographs recorded immigrants revisited their hometown. Different from the regular labour immigrants in China, they were forced to move away from their home because of building the Three Gorges Dam.

These photographs remind me Zhangke Jia’s film Still Life(三峡好人). They cannot go back to their real home anymore. 

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。

sasakidesign:

From the Archives

An early version of Facebook? Check out this interesting and helpful employee directory from the 1970s! 

How do you preserve this object at your archive? Do you rehouse all these photographs or leave them within original enclosure?

(via awesomearchives)