Curated by du xiyun
Ai Moyang (1969), Hu Weiyi (1990), Li Bo (1982), Meng Huang (1966), Mo Junfeng (1963), Qin Jin (1976), Zhang Zhuyun (1984), Zheng Hongchang (1982).
Being open to the future is a prerequisite for stimulating creativity. In this process, diverse patterns are formed in their most natural way. China today, having sustained many years of fast-paced economic growth, has driven all kinds of change, some with immediate effect and some where the impact has been slower to emerge.
With technological development, photographic production and transmission has become a daily technology for everyone, and the threshold of photographic skills has almost vanished. At this time, the border between professional and amateur has turned to the curation of experience and the quality of thought.
So, in the context of the festival, the participants of this exhibition are not professional photographers, but rather are frequent users of the tools and methods of photography to express themselves. If photographers have strict tricks of the trade, these exhibitors do not follow the rules. For their own purposes of expression, their methods are self-sufficient. From the perspectives, attitudes and ideas revealed in the works, artists of different ages, genders, and from various regions are very different: Mo Junfeng using documentary photographic techniques as far as possible to capture the maze of multiple fragments of China; Ai Mo Yang combines photos and computer generated virtual images, so that the ruins of the invisible psychological state can magically become real; Li Bo slows down the shutter speed to capture the naked body on a dark campus night; Hu combines photography and installation, a flash of quiet fluorescent light passes through a young body and other equipment, fishing out life’s inexplicable nature in time and space; Qin Jin takes Chinese young peoples’ emblems, slogans, school uniforms, and offers a psychological account of the mixed feelings young people have in their vast mental universe. Both Meng Huang and Zhang Zhujun use archival methods in creating regular images. Although the logic of the combination is different, both are quite conscious of the particular living environments they find themselves in and question; Zheng Hongchang’s composition uses genetically modified radishes and blood as his model, to create a concrete, visual image, turning the common situation of people living in China into an abstract that almost no one can stay out of.
These intuitive works reveal a lot about China. Compared with the past, changes now happen anytime and anywhere, and their whereabouts may twist and turn, without recourse to a reverse. No matter their differences, artists share a concern for the fate of the individual and a hope in a more open future. This is the instinctive call of life, however expressed. Because human nature has never changed, despite our ever increasing number of options.