VISUALITY IS THE SCENE OF NEGLIGENCE
curated by wang qi
Chen Yi, Cheng Ran (1981), DevolutioN (2016), Dai Lei, Huang Zhenwei (1986), Jiang Hanming (1994), Candida Höfer, Dina Kelberman, Kim Laughton, Liang Ban (1985), Lin Ke (1984), Penelope Umbrico, Tao Hui (1989), Wang Haiqing, Wu Xihuang
Let us first put away the internal language of photography, and imagine what could be your daily life - you take the elevator down from your apartment and leave the tower block, swipe your way through the day's news on your smartphone; enter the underground system and switch between looking around at expressionless people and at the colourful ads. Office work continues to revolve around the Internet. Your leisure time is filled with social media. If you pass a shopping mall after work, the window display will remind that a new summer season is fast approaching. And photography? Where does that come in?
Maybe you just got home and are sitting on the sofa glancing at a pretty photo? Or you go to an art exhibition in the weekend? In alternating these scenes of contemporary life, we are placed in an atmosphere surrounded by a huge amount of image information, entertainment, and consumer networks. These images were made on your 1.5 million pixel phone camera, a piece of social software, or a variety of product advertisements. Everywhere you read, search, use, manufacture, tamper with, comment on or ignore these images. Whether or not you are willing to admit it, our relationship with photography has changed. In this era, modern business has set up another image production mechanism, and we are being pushed on a wave of images. The continuous development of Internet technology, and the personal, social and image connections that come with it, will become strong and diverse. On the one hand, we are producers, consumers and communicators of images, and on the other hand, we are not aware of ourselves in the visual landscape of the image's production, consumption and dissemination.
Visuality is the Scene of Negligence is shown at Jimei × Arles International Photo Festival, with the aim of embracing a wider social context, exploring and discussing photographic art and image production, artistic creation and the boundaries of commercial mechanisms. One of our jobs is applying a reading of commercial images that puts these photographers' works in a completely different context - in your daily life, they may replace your elevator's real estate advertising or your computer desktop image. The viewing conditions will also change. Next to different mounting methods, they will be exposed to the rough lighting in the post-industrial era - office buildings, shopping malls, street lights or the beam of a car light passing through a projection. This takes you far away from the light you are accustomed to as you stand before an exhibit at the museum. You are no longer a well-prepared art spectator, and you go back to your daily identity, someone able to quickly switch scenes and apply business mechanisms to your life. What you are able to do now is screen the photographic art you see, or simply ignore it.
Assistant Curator: Wang Haiqing
location & duration:
ZHONGJUN BUILDING (NOVEMBER 26 - DECEMBER 18, DAILY 10AM-6PM)
SIMING CINEMA (NOVEMBER 26 - DECEMBER 2, DAILY 10AM-6PM)
SHOUXING MOVIE THEATRE (DECEMBER 13 AT 3PM, BY RESERVATION ONLY)