The Canadian photographer explores the fractured identity of second-generation members of the Chinese diaspora, and the rapid cycle of destruction and construction in modern China
The images in Yuan’s latest book are gentle and dream-like, but looking closer, something’s not quite right
A new exhibition in London presents the work of seven contemporary Chinese artists, raising questions about gender, beauty, censorship, and the concept of diaspora
Li Yang returned to photograph his hometown, an abandoned city known as 404, which was once China’s largest nuclear base
As part of OpenWalls Arles 2020, we are highlighting photographers whose work is connected to this year’s theme: Growth. Find out how your work could be exhibited alongside Les Rencontres d’Arles 2020 at openwalls.co. Over the last fifteen years, a large number of settlements have been built on the outskirts of cities like Shanghai and Hangzhou in China, to replicate Western metropolises. In one, Venice’s canals are reconstructed between Venetian-style buildings. In another, the Eiffel Tower has been reproduced in the centre of a network of mock Parisian streets. Elsewhere, the Western features are more subtle; the odd red phone box or Roman pillar nestled among Mandarin street signs. “China has this culture of imitating and taking inspiration from different places around the world,” says Cian Oba-Smith. The photographer explored this copycat architecture, for his series Shanzhai. “I wanted to look specifically at Western copies of architecture, which have been imported to China,” he continues. Shanzhai explores this phenomenon in the wider context of globalisation, and the resulting collision of cultures. When these Western-style settlements …
Thirty years since the Tiananmen Square massacre, Liu Heung Shing, the photojournalist who captured the transformation of China, reflects on his coverage of the protests and his wider body of work
Broken Sleeve 缎绣, the title of Shen Wei’s latest body of work, is borrowed from a Chinese story about Emperor Ai and his lover in the Han Dynasty. After waking from a nap, rather than disturb his lover, who was still asleep, the Emperor cuts the sleeves off his precious garments to get out of bed, leaving his lover to rest peacefully. Wei was struck by the simple romantic gesture of the story, but its narrative has nothing to do with the work the photographer created. In fact, when read aloud, the Chinese version of the project’s title – Duàn xiù – sounds like “broken sleeve”, but the symbols themselves translate to “silk fabric”. “The story is like a metaphor,” says Wei. “It injects feeling into the work, like when you touch a piece of smooth silk – it’s a feeling that is hard to describe.” Broken Sleeve 缎绣 is Wei’s latest, ongoing series. Five of the images are on show, alongside work from previous series, in Wei’s first solo exhibition in the UK, opening …
From the vast Xinjiang region of China, Patrick Wack presents a contradictory country as it expands its Silk Road heritage
The World Press Photo Foundation has announced the six talents from Asia in its ongoing 6×6 Global Talent Program. Aimed at picking out under-recognised visual story-tellers from around the world, the 6×6 programme is now on its sixth and final region in its first cycle. The photographers picked out this time are: Amira Al-Sharif, Yemen; Azin Anvar Haghighi, Iran; Saumya Khandelwal, India; Senthil Kumaran Rajendran, India; Shahria Sharmin, Bangladesh; and Yan Cong, China.
The image-makers were recommended by an international group of over 100 nominators, and selected by a jury comprised of: Ammar Abd Rabbo (Syria), photographer and journalist; NayanTara Gurung Kakshapati (Nepal), photographer and curator; Claudia Hinterseer (Netherlands), senior video producer South China Morning Post; and Kazuma Obara (Japan), photographer.
The collages of Kensuke Koike have been one of the purest forms of visual pleasure over the last two years. Videos of his working process on his Instagram account show him making miraculous reinventions of images with a single rip (his smoking woman), with a pasta machine (his dog), and with three-dimensional transformations (his sinking boat). It’s work that attracts because it seems so simple.
Take an old portrait of a loving couple, cut their eyes out, switch them around and the relationship takes a new direction. Cut a circle around the middle of a face, offset it a couple of inches, and you’re left with a pathway to that person’s interior. These are pictures that seem simple, but link up to ideas of image compression, ways of seeing, facial recognition and visual agnosias. It’s The Man who Mistook his Wife for a Hat in photographic form.
Koike’s work has attracted a loyal following, inspired countless copycat activities at photography workshops around the world, and invited collaborations from parties ranging from Gucci to Thomas Sauvin of Beijing Silvermine. It’s the Sauvin collaboration that resulted in Koike’s latest work, a book launched in November. Titled No More No Less, the publication came about after Koike was invited to work with Sauvin’s archive of old images that he recovered from Beijing silver-recycling centres.