Jiang Zhuyun

Jiang Zhuyun was born in Hangzhou,Zhejiang in 1984 and was admitted to China Academy of Art in 2004.He currently lives and works in Hangzhou,China.
His solo exhibition – "I Talk to the Wind"– was held at Hunsand Space,Beijing,China,2016.He participated in a number of group exhibitions,such as "Meme City",CAA Art Museum,Hangzhou,China,2015;"MIC/MAC",A2Z Gallery,Paris,France,2016;"Drug - Change and Breath ",Hunsand Space,Beijing,China,2016;"Anyball",CAFA Art Museum,Beijing,China,2017;"Culture Pavilion Online Art"project,OCAT Shanghai,Shanghai,China,2017;and "Bunker-Dialogue",THE BUNKER,Beijing,China,2017.
As a media artist,Jiang Zhuyun puts questions about images into discussion at the level of the relationship between visual technology and visual experience,from which a lot of sensitive and tactful visual experiments are derived.For example,he made a visual device,in which people can see their left eyes by their own right eyes through the reflection of a U-shape mirror.He made a little joke to people with the simplest visual technology.
The Flow of a Melting Contour in One Day presents a kind of technological poetry with stronger laboratory style.In every 15 seconds during a whole day,there are six cameras taking photos of a chair,focusing on different positions of the chair.And one of the chair legs is made of ice.Finally all the photos are edited into a fourscreen image,angles and focuses of which are switched back and forth.In the image,the chair appears to "swing" repeatedly as the viewpoint changes.Yet the ice is gradually melting down in this kind of special cycle,causing the disappearance of the chair leg,while time presents its irreversibility.

Xu Yong

Xu Yong was born in Shanghai,China in 1954 and graduated from Henan University of Science and Technology in 1978.He currently lives and works in Beijing,China.
Xu Yong held a series of solo exhibitions,such as"This Face",798 SPACE,798 Art Zone,Beijing,China,2011;"China Photo – Xu Yong",Palais de Seoul Art Center & Gallery CSP111,Seoul,South Korea,2012;"Portraits of Hutong",HUA Gallery,London,UK,2013;"Negatives",Julian Sander Gallery,Cologne,Germany,2016;and a solo exhibition at Vermilion Art,Sydney,Australia,2017.Recent group exhibitions include "Exhibition of the 20th Anniversary of Chinese Contemporary Photography",Xi'an Art Museum,Xi'an,China,2015;"The Invitational Exhibition of the BredaPhoto International Photo Festival",BredaPhoto,Breda,Netherlands,2016;"Beyond the Sphere of Reproduction",Städtische Galerie Kubus,Hanover,Germany,2017,etc.His major photographic works include Hutong 99 ,Opening Beijing ,Backdrops and Backdrops ,This Face ,Yu Na and so on.
Xu Yong installs on the camera a lens modified out of focus,which will revert every object it takes into a lump of blurred light.This turns photography,an artistic practice that has been full of political and aesthetic elements,back to a pure physical event.Based on the same logic,post-processing by directly printing the photo,to be exact,the optical representation on the surface of various materials,such as photographic paper,canvas,metal and glass,is also a presentation of the unavoidable physical property of photos.
When watching these works placed directly on floor,people find it difficult to relate to photography or photos; however,this is exactly the critical fact that Xu Yong wants to tell about photography: Photography is,first and foremost,the story about device,light,and substance,rather than images that have been instrumentalized by all kinds of ideologies.

Wang Ningde

Wang Ningde was born in Kuangdian,Liaoning and graduated from Luxun Academy of Fine Arts in 1995.He currently lives and works in Beijing,China.
His selected solo exhibitions include "Some Days",Goedhuis Contemporary,New York,USA,2006;"Photographs of Wang Ningde",SF Camerawork,San Francisco,USA,2007;"Let There Be Light",Xin Dong Cheng Space for Contemporary Art,Beijing,China,2010;"Form of Light 1",M97 Gallery,Shanghai,China,2014;and "No Name",PHOTOFAIRS | San Francisco,Fort Mason Festival Pavilion,San Francisco,USA,2017.He also participated in many group exhibitions,such as "Techniques of the Visible",the 5th Shanghai Biennale,Shanghai Art Museum,Shanghai,China,2004;"Our Future – Ullens Foundation Collection",Ullens Center for Contemporay Art,Beijing,China,2008;Home Works 6:A Forum on Cultural Practices,Artheum,Beirut,Lebanon,2013;"Contemporary Photography in China 2009-2014",Minsheng Art Museum,Shanghai,China,2014;and "CHINA 8 - Contemporary Art from China at the Rhine and Ruhr",Museum Folkwang,Essen,Germany,2015.
Wang Ningde has designed and made a lot of special slide projector,with a flash light assembled inside the rear end as the light source.Every time the light flashes,images on the slides will be projected.It is actually a reverse of the process of shooting.Generally,the work of the camera is to expose outside images on the photographic film; however,in Wang's works,images are projected outside from inside.Only one slide is put into the device,from which only one image is projected,but the flashing images at a 18% faster speed cause the audience an illusion of moving.In this sense,Wang's works contain as well his understanding and analysis on motion pictures.
Projected from the devices are all kinds of head portrait,eyes closed,that he has collected,which seems that these faces are making reaction to the intense flash.In this case,the light in the image has been no longer a kind of negative or neutral tool,but a more positive medium.

Luo Dan

Born in Chongqing,China in 1968,Luo Dan graduated from Sichuan Fine Arts Institute in 1992 and is currently living and working in Chengdu,China.
He organized his first solo exhibition "Light as Definition of Time" at Luxelakes·A4 Art Museum(Chengdu,China) in 2015 and another solo "When to Leave—Luo Dan Solo Exhibition" at M97 Gallery in 2016(Shanghai,China).He took part in several group exhibitions,including "1st Beijing International Photo Biennial" at The China Millennium Monument(Beijing,China) in 2013;"Contemporary Photography in China 2009-2014" at Minsheng Art Museum(Shanghai,China) in 2014;"Re-Exposure – Group Exhibition of Twelve Chinese Contemporary Photographic Artists" at Poly Gallery(Hong Kong,China) in 2015;"Grain to Pixel – A Story of Photography in China” at Shanghai Center of Photography(Shanghai,China) in 2015 and "Stretching Conceptual Space – State and Method" at Blue Roof Museum of Chengdu(Chengdu,China) in 2016.
On the film developed the land form shaped billions of years ago,which is then projected again on the grand-scale wet plate in the darkroom.In Luo Dan's work When to Leave ,photography is experienced in a grand scale beyond individual and human beings,whose core value has been transformed from instrumental optics to a kind of "ligh-object" ontology.
In this sense,photography is no longer the observation under geometricoptics,but has transformed from human's representation of the world to the world's demonstration on us.At the most macro but fundamental level,isn't light and time what the world wants to presents through photography? Light and time are in unity.It is light,as a constant,defines the spatial and temporal scale of the knowable universe,and thus it is a kind of prior form,as well as the framework and carrier of everything.Moreover,we can comprehend the universe as an on-going exposure,in which we are experiencing the long process of developing.In this sense,Luo Dan’s understanding of time and light has actually exceeded the cultural concept of photography.Photography is a witness of light and time,that is,the authenticity of the world.

Xie Guixiang

Xie Guixiang was born in Changle,Fujian,in 1989.He graduated from China Academy of Art in 2015 and currently lives and works in Hangzhou,China and Dalian,China.
Xie Guixiang's works showed in a series of group exhibitions,such as"TOP 20·2015 Chinese Contemporary Photography Exhibition",Zhejiang Art Museum,Hangzhou,China,2015;"New Peak Program" of Young Talents in Visual Arts in Zhejiang Province,Zhejiang Art Museum,Hangzhou,China,2016;"Endless Exploration and Naming – New Photography in Zhejiang",CipaGallery,Beijing,China,2017;"Vivivid",Fingerprint Gallery,Beijing,China,2017;and "Huan Zhong – Nature Follows Abstraction",KWM ARTCENTER,Beijing,China,2017.
Xie Guixiang's photography bypasses physical steps such as lens and shutter,and directly jumps to the chemical part.For instance,he wraps organic matters,such as fruits,fish and seeds,into development paper and buries them in the soil,in order to produce direct rubbing-type development reaction between them.He also arranges iced developer solution and fixer solution in the layout of a chessboard,producing an image of black and white liquid flowing and mixing when the ice cubes melt down on the photographic paper.In his latest work The Relics ,he directly burns and fixes the relics from his grandmother on the photographic paper,in order to record this memorial ceremony by photogram.
Jumping over the camera means breaking through artificial limits for observation,which has not only emancipated people's observation mode from machines,but also liberated the presentation path of objects.Xie Guixiang eventually eliminates the difference between subject and object in the new "photographic" dimension.

Qin Yifeng

Qin Yifeng was born in Qinghai,in 1961.He graduated from Shanghai Arts and Crafts College in 1983 and from Fine Arts College of Shanghai University in 1989.He currently lives and works in Shanghai,China.
He held a series of solo exhibitions,including "Qin Yifeng's Works",Fine Arts College of Shanghai University,Shanghai,China,1994;"Recent Works of Qin Yifeng",Red Gate Gallery.Beijing,China,1996;"Line Field",C-Space Beijing,China,2014;"Line Field",Mind Set Art Center,Taibei,China,2016;and "Qin Yifeng's Works",YUZ Museum,Shanghai,China,2017.He also took part in many group exhibitions,such as "Concave and Convex Exhibition",Culture Center in Xuhui District,Shanghai,China,1986;"Chinese Contemporary Art Exhibition",National Art Museum of China,Beijing,China,1989;"Works of Six Artists in Shanghai",ShanghART Gallery,Shanghai,China,1995;"Xing Er Shang 2001",Shanghai Art Museum,Shanghai,China,2001;and "The World Is Yours,As Well As Ours",WHITE CUBE,London,UK,2016.
Qin Yifeng started photography from taking photos of Chinese simple-styled furniture of Ming Dynasty.He chose some particular partial compositions and independent pieces to keep the final photo and the object in consistency: the feeling of restraint,prudence,and introversion.This series involves not only pictorial aesthetics,but moreover,the aesthetics of material concept.He directly scans and enlarges that black-and-white film,presenting the original negative image on the film,and at the same time,pressing the objective image into the thickness of a piece of film and the color gamut of the film base.
In fact,these works should not be merely considered as photos of furniture,but also a dialogue among physical properties: texture of the wood,structure of the furniture,the black and white colors,the film grains,as well as the dates,times and weathers appear in work titles.In this sense,photography presents its original place in the truth of things.

Lam Pok Yin & Chong Ng

Lam Pok Yin was born in Hong Kong,China,in 1988.He graduated from University of Hong Kong in 2010 and from University of the Arts London in 2015.He currently lives and works in Hong Kong and Shanghai,China.
Chong Ng was born in Singapore in 1987.He graduated from Temasek Polytechnic in 2010 and from University of the Arts London in 2015.He currently lives and works in Singapore.
They took part in a series of exhibitions,such as "GuatePhoto Festival"at la fototeca,Guatemala,2015;the "8th Three Shadows Photography Award Exhibition",Three Shadows Gallery,Beijing,China,2016;Fotopub:"Re-vision"at Fotopub,Novo Mesto,Slovenia,2016;and "40 Years of Chinese Contemporary Photography (1976-2017) – Three Shadows 10th Anniversary Special Exhibition",Three Shadows Gallery,Beijing,China,2017.
We believe that as the operation of a camera becomes automatic and intuitive,the working principle of a tool-its latent default rules will be concealed deeper for its users.Camera plays a significant role in the process of images being endowed with meaning.The structure of camera has a direct influence on the photos we can take,and thus controls the way we observe and explore the outside world.When we give up studying and criticizing the rules and limits behind image production,technology,which seems to make photography freer,may actually restrict the generation of new narrative patterns.
Therefore,in this series,we try to begin with the tool,method and process of producing images,to analyze and reflect on the fundamental elements of photography.
Seemingly old-school technology is used in the work-not for nostalgic purpose,but that its flexibility can better illustrate the role that camera plays in photographing.We try to divert and topple the image language in the instructions booklet: acting as an operator of the camera,which looks like demonstrating the correct method of application,but actually is an invader of the device who grants them new functions.

Penelope Umbrico

Born in Brooklyn,United States,in 1957,Penelope Umbrico is now living and working in Brooklyn.
Umbrico's work has been exhibited for many times nationally and internationally and is included in the collections of the Guggenheim Museum;LACMA;Metropolitan Museum of Art;Milwaukee Art Museum;Museum of Modern Art New York and SFMOMA,among others.Penelope Umbrico is the recipient of many awards,including a Sharpe-Walentas Studio Program Residency,a Smithsonian Artist Research Fellowship,and a Guggenheim Fellowship.Her monographs are published by Aperture,New York,and RVB Books,Paris.
Range: of Masters of Photography considers an analog history of photography within the digital torrent that is its current technological manifestation.For this project I focus on iconic images of mountains in various online and print media such as Aperture's Masters of Photography book series.I downloaded hundreds of camera apps for my iPhone to re-photograph the masters' mountains and process them through the multiple filters of the camera apps.Photo grain,dot-screen,pixel,and screen resolution collide performing undulating moirés.The hallucinogenic colors of the camera app filters blend with the disorienting effects of the iPhone's gravity sensor to dislodge any perception of stability in the mountain,the master (most often gendered as male),or the photographic medium.In this work the mountain,the oldest landmark,site of orientation,and spiritual contemplation,becomes unstable,mobile,has no gravity,and changes with each iteration.
Central to this work is the overwhelming number of camera app filters that simulate the mistakes of analogue film photography.Light leaks and chemical burn filters are especially absurd in the context of both analog photography and smartphone camera technology: "master" photographers would never accept such mistakes in their work,and the impossibility of holes,gaps,spatial volume,or liquid chemical necessary to produce these effects,stands in complete opposition to the very apparatus simulating them.If light is the first and foremost element of all photography,the role of light in this context is inverted.These "leaks" are the result of an algorithm loaded into the vacuum of a chip,capable of producing nearly endless variations within the space of a few seconds.
Range: of Masters of Photography presents a dialogue between distance and proximity,limited and unlimited,the singular and the multiple,the fixed and the itinerant,the master and the copy.

Zhu Yingying

Zhu Yingying was born in Xi'an,Shaaxi,in 1989.She graduated from Sichuan Fine Arts Institute in 2007 and from China Central Academy of Fine Arts in 2014.Zhu currently lives and works in Beijing,China.
In 2017 Zhu Yingying held a solo exhibition "Day and Night" at Hunsand Space,Beijing,China.She also participated in a variety of group exhibitions,such as "CAFA Postgraduates Graduate Exhibition",CAFAM,Beijing,China,2014;"Image Rebellion",Kong Space,Beijing,China,2015;"Yiruziru",ChengXi Center For Contemporary Art,Beijing,China,2015;"Drug-Change and Breath",Hunsand Space,Beijing,China,2016;and "The Shadow of Life",Xi Contemporary Art Center,Dongguan,China,2017.
Ever since photography was invented,especially when photography became a common way of visual record,a huge amount of photos have been produced,out of which there were a lot of negative films being left behind in film bags,on document shelters,and in file cabinets,until they finally appeared in the flea market.A part of these films are called wasted films because of all kinds of technological or aesthetic faults.Zhu Yingying's works are sourced from these wasted films.
However,she treats and uses these films in a way of aesthetic re-appreciation.A set of failed photos of geographic scenes are linked according to the curves and waves of the mountains,to construct a traditional landscape painting; or,fragments of failed exposure but with wonderful colors are selected from colored wasted films,to integrated into an image similar to the optical spectrum.In these works,our perception is brought to where nearly be forgotten in the image world.

Zhang Liaoyuan

Zhang Liaoyuan was born in Weifang,Shandong in 1980 and graduated from China Academy of Art in 2006.He currently lives and works in Hangzhou,China.
His solo exhibitions include "An Exhibition",Bizart Art Center,Shanghai,China,2008;"VB-0039",VIDEO BUREAU,Guangzhou,China,2015;and "Half fermentation:Chabu×Zhang Liaoyuan",Imagokinetics Lab,Hangzhou,China,2017.He also participated in a number of group exhibitions,such as "Permeability-Photographic Art Combo Exhibition by Eight Art Acedemies",Hubei Museum of Art,Wuhan,China,2015;Garden in movement-Yebisu International Festival for Art & Alternative Visions 2016,Tokyo Metropolitan Museum of Photography,Tokyo,Japan,2016;"Summer Recorder",Hunsand Space,Beijing,China,2017;"Among friends",Boers-Li Gallery,Beijing,China,2017;"Bunker- Dialogue",THE BUNKER,Beijing,China,2017;and "Moments and+More-Documents of Culture Pavilion Online Art"project,OCAT Shanghai,Shanghai,China,2017.
Zhang Liaoyuan has always been an artist emphasizing technological criticism.In his latest work,he uses ending processes like printing,mounting and displaying as starting ones such as focal point and object of modification,producing a series of creative destruction at hardware level.Rising a print head up to 1.1cm; printing images on a cutting-up board or a sponge board; making picture frames into folded or broken shapes; or installing the frames with figured glass or frosted glass.All of these tactful yet unreasonable ways are intense "criticism" on the inactive photography that people have been accustomed to.
The target of the media criticism behind these works is not oriented to a kind of substantial media nature,but to analyze any potential art morphology concept.In this sense,naming them as "photography" is as well an ironic act.

Cai Dongdong

Cai Dongdong was born in Tianshui,Gansu,in 1978 and graduated from the Beijing Film Academy in 2002.He currently lives and works in Beijing,China.
Cai Dongdong was awarded the first prize of the 3rd Premio Terna Contemporary Art Award,Italy,2010 and TOP 20 of Chinese New Photographer Award,China,2015.He took residency programme at UNIDEE Art Foundation in Italy in 2011 and residency programme at GeKA,Germany,2017.Some of his solo exhibitions include "Pulling to the Left",Taikang Space/Light Pavilion Project,Beijing,China,2012;"Fountain",Klein Sun Gallery,New York,USA,2012;and "Let it Be",Gallery 100,Taiwan,China,2012.Selected group exhibitions include "Ghost in Flash:After Photography",Taikang Space,Beijing,China,2016;"Évidences du réel:La photographie face à ses facunes",Musée d'art de Pully,Pully,Switzerland;and "Working on History:Contemporary Chinese Photography and the Cultural Revolution",Staatliche Mussen zu Berlin,Berlin,Germany,2017.
In the photography system,photos' physical existence seems to be considered as a kind of default settings,or merely the carrier of images.But in Cai Dongdong's recent works,photos' value is presented.He used abandoned photos as readymades,which are used as not only images,but also pieces of tangible paper.They can be bent,folded,scratched,punctured,cut,and woven,during which those inconspicuous images are modified and reconstructed on the hardware base,and are thus endowed with new meanings.
In artistic practice nowadays,the boundary of language is enlarged along with the creation.So is that in image art.In Cai Dongdong's works,for example,photographic paper,mounting method,ways of display and other dependent elements are pushed to the forefront,which changes our perception of photography in an unexpected aspect.

Thomas Sauvin

Thomas Sauvin is a French collector and artist, currently lives and works between Paris,French and Beijing,China.
Beijing Silvermine was shortlisted for the Paris Photo Aperture Foundation First Photobook Award,French,2013 and selected as one of the Best Photobooks of the Year for The British Journal of Photography,British,2015.Until Death Do Us Apart was also selected by Photo-eye as The Best Books of 2015,America,2015.Sauvin’s collection has been exhibited at Singapore International Photo Festival,Singapore,2012; at the Lianzhou Foto Festival,China,2013; at the Chicago Museum of Contemporary Photography,USA,2014; at Vevey’s Festival Images,Switzerland,2014; at SF Camera works,San Francisco,USA ,2016; as well as in Paris Photo,2016.
Based on a personal approach,Thomas Sauvin has dispatched several touts specialised in vintage photography,who search for unusual material in Chinese markets under a single watchword: 'surprise me'.In this way,in 2014 while one of them was in Baoguosi market in Beijing,he telephoned informing him of his discovery – "a strange album".Once Thomas Sauvin held the object in his hands,he quickly understood he was handling an unusual elaborate couturier's sewing kit,a work that was entirely handmade,a maze of folded paper in which threads,needles and patterns cut out of newspapers intertwined with one another.When he contemplated this object,he saw more than mere paraphernalia necessary for housewives in 1960s China: he deciphered a similar kind of magic that surrounded cabinets of curiosities in the Renaissance period and Chinese materiamedica closets,which comprised multiple drawers hiding well-kept secrets.This is how he has developed the idea of populating this quirky object by faithful reproductions of vintage prints,which belong to the collection he has been acquiring from all over China for several years.Entitled Xian ,similarly to the thread Thomas Sauvin has found inside one of these minuscule paper boxes,the object is revisited and composed of fifty-nine boxes that unveil,in turn,ninety prints of variable sizes that one randomly discovers as and when one allows drawers to open.The paper maintains its initial shape.Its fibres memorize every single folding and unfolding; it does not fear hand manipulation.In fact,Xian is not designed to become a photographic mausoleum but rather a living thing,an ideal assemblage of a memory in progress.The images – selected from a richly variegated archive – emerge from their black boxes,delighted to see the light and to be taken by a hand that plays around with them so as to scrutinize them.Mentally disordered persons,coquettish women,and amazed tourists appear either in black and white or in colour.Butterfly-shaped portraits of anonymous persons coexist with strange celebrities,such as the acrobat Huang Shuying or the apeman Yu Zhenhuan.Flowers adorned with admirable calligraphy spread out nearby archaeological remains.Xian unfolds and discloses Chinese modern and contemporary memory by revealing images that function as reminders against oblivion,images that one simply needs to remove from their "pharmaceutical drawer".The fifth publication of Thomas Sauvin – collector since 2006 – Xian does not designate only the couturier’s thread,it also reifies the thread of a story.One can freely remodel the plot as one opens the little and skilfully folded envelopes inside which,perhaps,other fragments of life will eventually blend together.

Kensuke Koike

Kensuke Koike was born in Nagoya,Japan in 1980 and was graduated from Painting University IUAV of Venice,Visual Arts M.A.He currently lives and works in Venice,Italy.
He held the following solo exhibitions:"Here is my secret",Ciocca Arte Contemporanea,Milan,Italy,2013;"Sleepers Awake",Jarach Gallery,Venice,Italy,2013;"Switchover",ARTcore Gallery,Bari,Italy,2014;"Saved by the bell",Ciocca Arte Contemporanea,Milan,Italy,2016;"To Wolf",A plus A Gallery,Venice,Italy,2017.He participated in a number of group exhibitions,such as "ARType",Cinémathèque Québécoise[Quebec Film Archive],Montreal,Canada,2015;" This is Today ",Mestna Galerija,Piran,Slovenia,2016;"Short Circuit",OK Corral,Copenhagen,Denmark,2017;"Maravee Ludo",Galerija Loza,Koper Slovenia,2017.
In 2015,French artist Thomas Sauvin acquired an album produced in the early 1980s by an unknown Shanghai University photography student.The album comprises original negatives,silver prints,manuscript comments from an anonymous professor,and shows the student’s diligence in mastering the rules applying to the conventional portrait.This volume was given a second life through the expert hands of Kensuke Koike,a Japanese artist based in Venice whose practice combines collage and found photography.
The series,No More,No Less ,born from the encounter between Koike and Sauvin,includes new silver prints made from the album’s original negatives.These prints were then submitted to Koike’s sharp imagination,who,with a simple blade and adhesive tape,deconstructs and reinvents the images.However,these purely manual interventions all respect one single formal rule: nothing is removed,nothing is added,“No More,No Less”.In such a context that blends freedom and constraint,Koike and Sauvin meticulously explore the possibilities of an image only made up of itself.

Gisela Motta (Brazil) & Leandro Lima (Brazil) & Claudia Andujar (Switzerland)

Both born in 1976,Gisela Motta and Leandro Lima graduated in Visual Arts from Fundaçã o Armando Alvares Penteado in 1999,and now live and work in Sao Paulo,Brazil.
They have hosted solo exhibitions together such as "ESPERA"(Wait)(Sao Paulo,Brazil) at Galeria Vermelho in 2013;"HORA-CHUVA"(Time-Rain)(Sao Paulo,Brazil) at Galeria Vermelho in 2015;"CONTANDO OVELHAS ELÉTRICAS"(Counting electric sheep)(Sao Paulo,Brazil) at Sesc Santo Amaro in 2016;and "VERSO"(Los Angeles,USA) at Young Gallery in 2017,etc.They also took part in the exhibitions such as "VIDEO ART IN LATIN AMERICA"(Los Angeles,USA) at LAXART in 2017;"BIENAL SUR"(Buenos Aires,Argentina) at C.C.HAROLDO CONTI in 2017;"THE SHAMAN AND THE MIND OF THE FOREST"(Montreal,Canada) at Museum of Pointe-à-Calliére in 2017;"THE FUTURE ISN'T WHAT IT USED TO BE"(Utah,USA) at UMOCA –Utah Museum of Contemporary Art in 2017,etc.
Claudia Andujar was born in Neuchatel,Switzerland in 1931,and lives and works in Brazil since 1954.
Claudia Andujar's work won the Kassel Photobook Award [Marcados] in Kassel,Germany in 2010 and is included in the collections of Museum für Modern Kunst(Frankfurt,Alemanha) ,Museum of Modern Art(New York,USA) ,TATE Modern(London,England) .Claudia Andujar held the following solo exhibitions:""Claudia Andujar:In the Other's place",Moreira Salles Institute(IMS) ,Rio de Janeiro,Brazil,2015;"Claudia Andujar",Red Gallery,São Paulo,Brasil,2016;"Marked",Museum of Latin American Art of Buenos Aires(MALBA) ,Buenos Aires,Argentina,2016;"Claudia Andujar:Tomorrow must not be Yesterday",Museum of Modern Art(MMK) ,Frankfurt,Germany,2017;"Claudia Andujar:Yanomami Vision",Lisbon Municipal Photographic Archive,Lisbon,Portuga,2017.
The partnership between Gisela Motta and Leandro Lima,born in 1976,began in the late 1990s.Since then,they have used different languages such as video,objects and gambiarras,using patterns,measures,structures and their variations to create highly constructed situations.In them,natural,mathematical and artificial elements emulate organic behavior,synthesize natural phenomena and create some ambiguity,despite their apparent objectivity.It is precisely the ambivalent region between the synthetic of the natural and the natural of the synthetic that the artists exploit.
The duo demonstrates that ones work is not restricted to the discussion of his means,at the same time that each technical resource has latent expressive virtues and possibilities that can be mobilized or subverted by the artist.
Of the many tasks art has taken for itself in the history of mankind,one of the most persistent has been the making of representations of parcels of the world.Today,when not all art represents something and everything that represents something is art,a work like that of Motta and Lima offers elaborate emulations of the real,be it with the most advanced or the simplest of technologies.The fundamental thing for artists is not to create replicas or simulations identical to the real,but to produce concrete systems that work in equivalent way to the phenomena that interest them.By producing images of the world that are so explicitly artificial,Gisela and Leandro end up presenting the constructed portion of any perception of the real,however immediate it may seem.

Jon Cazenave

Born in Basque Country,Spain,in 1978 JON CAZENAVE graduated from the University of Deusto in 2001.
Cazenave' swork has been exhibited at international art institutions including Canal de Isabel ll Foundation(Spain),CCCB(Spain),Museum Belvédère(The Netherlands),Foto Museum Antwerp(Belgium) or CaixaForum(Spain).He has also participated in several international photography festivals such as Les Rencontres de la Photographie d'Arles(France),Noorderlicht(The Netherlands),Photoespaña(Spain) or Tokyo International Photography Festival(Japan).
In 2016 he was selected to participate in the 18th edition of "European Eyes on Japan"program as a representative of the European Capital of Culture San Sebastian 2016.
URAITZ is a project that fuses photography and pictorial gesture to approach the Paleolithic culture through the image.After visiting Paleolithic settlements located in some of the most important caves in Europe,my approach to the subject has evolved visibly influenced by those aspects that frame human imprints in the caves: The ritual character of representations - an act that has value by itself–,the creation of a complex symbolic world of deep meaning,and the important presence of the feminine.
According to the anthropological studies,the cave was conceived as a female entity that emulated a maternal womb.A mineral lap that welcomes and intimidates,enhances the sensation of spatial disorientation and the corporal character of the aesthetic experience.To underline this experience I seek to intensify the tactile,almost sculptural qualities that were already visible in my previous series.The process aims to provide photographs with a layer of materic consistency.The colors I use are obtained from mineral pigments (manganese and ochre) or organic (coal) that I collect in the mountains or produce myself.I use the same techniques used by the human being in the Paleolithic: I apply the pigments with the fingers or the palm of my hand,use vegetable fibers that function as a sort of paintbrushes,and pulverize the pigments using an "airbrush" made of bone.
The name of the project "URAITZ " is written in Euskera,the language of the Basque Country,where I was born.It includes the two characteristic elements to obtain the color I apply in the photographs: UR (water used to dilute the pigment) and AITZ (stone mineral from which the pigment is obtained).

Felipe Esparza

Felipe Esparza was born in Talara,Peru in 1985 and completed his Master in Contemporary Photography at the Image Center,Peru.
He participated in a number of group exhibitions,such as "Drifting:Experiments in contemporary video",LuisMiro Quesada Gallery,Lima,Peru,2016;"Show of Latin American shorts",Maracaibo,Venezuela,2016;"The 20th Contemporary Art Festival Sesc_Videobrasil",San Paulo,Brazil,2017;"Constant carnival.Compilation cycle of the Third Encounter of Non-Fiction Cinema.Armando Robles Godoy",Lima,Peru,2017;" New looks vol.I.Peruvian Cinema Series ",Lima,Peru,2017.
My father is a military man and my mother is a plastic artist.That has resulted in a mixture of structure and need for expression that is always in conflict.A traditionally Catholic upbringing generated in me,from very small,a symbolic imaginary that has its consequences.
My work is between the fissures that exist between the production of traditional cinema and the video art further away from the traditional screens.It is of my interest the exploration in new cinematographic or videographic resources.Applying multimedia and new media.The expression beyond the word,without limiting with pre-assigned edges the understanding and perceptual ability of the viewer.In the same way,the process of creation by an author cinema that is always personal and with the search for a particular look.
I have a marked interest in the contents of social order and an exploration of themes such as the sacred and its symbolic drifts and the relationship between image and time,image and history and image and truth.
I seek to generate a time of transcendence between being and totality,between the individual and the surrounding universe,through contemplation and sensory impulses composing audiovisual harmonies.In addition to the themes,the reflection on the same medium and its repercussions on space-distance and space-time.
It is in my interest to concentrate on the possibilities of the audiovisual language,through its traditional form and its new means.Develop a personal aesthetic and think about the audiovisual,within the context of predominance of the image,as a way to be-in-the-world and give it meaning.

Pepe Atocha

Pepe Atocha was born in Lima,Peru,in 1976.
Pepe Atocha has hosted solo exhibitions such as "Natugrafía" (Lima,Peru) in Cultural Center JPR in 2013.He also took part in the exhibitions such as“Grand Huit,40 years of the Marciac Jazz Festival" (Marciac,France) in 2017,and "Amazon Portraits”(Arles,France) at Voies Off in 2017,etc.
The plants communicate with each other and their environment.They are not inanimate beings and are served by light and chemical processes to feed,communicate and interact with animals.My approach to this particular universe is through analog photography,because it uses,like plants,light and chemical processes to meet their goals.
In my opinion,the representation of the properties and invisible attributes of the medicinal plants should include the memory of the changes in their environment over centuries,which gives them a good part of his natural mystic.
The absence of external signs that identify to the plants,it complicates their identification and representation.So,that's why I use photography,it is a susceptible tool that could make something be unseen to visible to perception.Also,photography is a permea - ble support to the external interventions,which extend the semantic field of images.
In this set I have worked with the Peruvian Amazon's flora by merging each plant with its environment with photographs made in double exposure,which I intervene intuitively: drawing dots and lines that symbolize the movement of insects and fluctuation of the chemicals they emit.
The fact that we can't see them,doesn't mean they don't exist,what is visible is only a part of reality.


Stanley Wong,also known as Anothermountainman,was born in Hong Kong,China in 1960 and graduated from Hong Kong Technical Teachers' College (Design & Technology) in 1980.
Wong is the recipient of more than 400 Hong Kong,Asian and international awards for his art,design,photography and advertising works.He came to international attention with his Red-White- Blue series,which he presented at"the 51st Venice Biennale"in 2005 representing Hong Kong.He was awarded the Hong Kong arts development awards 2011 – award for best artist (visual arts),Hong Kong,China,2011 and the Hong Kong contemporary art awards 2012,Hong Kong,China,2012.His lanwei series was collected by M+ museum,Hong Kong in 2013.
Placing a blank photo frame in the nature environment,Anothermountainman turns the shadows of tree branches under sunlight into his own "photographic works".Just as Nièpce calling photography "sun drawing",or Talbot naming his collection as Pencil of Nature ,Anothermountainman's works are the responses to these most original photographic concepts.
On the other hand,however,he has to record his work with photography,turning the moment when the shadow casts in the frame into a photo.Therefore two kinds of photography are introduced to us,one of which is related to concept,light and shadow,and time; the other is bonded to device,viewfinder,and photographic paper.

Daisuke Yokota

Born in Saitama,Japan,in 1983,and graduated from the Nippon Photography Institute,Daisuke Yokota is currently living and working in Tokyo,Japan.
After winning the first Outset | Unseen Exhibition Fund at the Unseen Photo Fair 2013,Daisuke Yokota’s book Vertigo(2014) was shortlisted for the Paris Photo - Aperture Foundation PhotoBook of the Year Award(France).In 2015 Yokota was a "Jimei×Arles"finalist(China) In 2016 Yokota received the prestigious Foam Paul Huf Award.He presented a solo exhibition "Site/Cloud"at Foam Photography Museum in 2014(Amsterdam,Netherlands) and presented his second solo exhibition at Foam Photography Museum in 2016(Amsterdam,Netherlands).In 2015,Yokota was featured at the exhibitions such as "Shashin Festival:Photography from Japan"(New York,USA);"In the Wake:Japanese Photographers Respond to 3/11"(Boston,USA) at the Museum of Fine Arts of Boston,and "Jimei x Arles:East West Encounters International Photo Festival"(Xiamen,China).
Site began with the endless act of reviewing and selecting images from an enormous body of digital images.Photographs previously used in past works such as Back Yard were also included in the selection.The selected images have been altered to the point where the figures have been erased and only the background remains.
Yokota's approach to photography has been heavily influenced by how film and music express the flow of time.Yokota attempts to create the illusion of time in photography by deconstructing photographic images that point to a moment in the past.It is this deconstruction of the image which can be perceived as adding an additional layer of meaning to the image which can be constituted as "the present".
Furthermore,by repeatedly using the same images in numerous series,the photographer illustrates how the meaning of each image changes over time.Each new meaning attached to the image is significant in illustrating the passage of time,and therefore adds an increased awareness of reality.In Site,the details in the foreground of the images have been eliminated,thereby allowing the only background to be interpreted by the audience.This allows the viewer to absorb the images into one's consciousness and let themselves be immersed by the flowing of time which exude from the photographs without having to be distracted by frivolous detail.
In addition to Photoshop,re-touching and scanning,Yokota also poured boiling water over film during the development process in order to melt the emulsion and generate distortions and additional noise to the images.In this manner,Yokota pushes the boundaries of photography as a medium and forces us,the viewer,to re-think how photography is defined.
Site/Cloud is based on the series Site ,but integrates Yokota's Cloud images.The photographer applies the same process used for the series Site,but in contrast to the previous series,Site/Cloud carries a quality of lightness that can be found in snapshots.Also,the vivid colors of the images indicate a distinct change in style.In his previous work,the production process was the focal point of his photography,however in this series Yokota has naturally incorporated this production process in Site/Cloud in order to place a focus on the final product: a photograph.Yokota repeatedly visits an invisible place called Cloud,where an accumulation of the images used throughout the photographer's oeuvre can be found.

Antoine d'Agata

Antoine d'Agata was born in Marseilles,France,in 1961.
In 2001,Antoine d'Agata was awarded the Niépce Prize in France.In 2013,he was awarded the Photo Book Of The Year Award at Rencontres Internationales de la Photographie,in Arles,France.His first books of photographs,De Mala Muerte and Mala Noche ,were published in 1998.He continued to publish regularly:Hometown in 2001,Vortex and Insomnia appeared in 2003,Stigma in 2004,and Manifeste in 2005.He has hosted exhibitions such as "1001 Nuits" (1001 Nights) and "Le Bal" (The Ball) in 2013.
We go into the circle by night and we are consumed by fire.
While trying to take language to its ultimate limits,I turn it into material that is legible for a spectator for whom it is alien.That is the paradox of my work,which goes from the pure intensity of experience to a necessary formal utterance.Permanent flux of images,continuous disorders that break down to the brutal reality of an intimate experience of violence.The process leaves no room for lies.The impetuous need to live the situations I document leads to an inevitable slip from what one could consider the photographic idea towards performance and action: a motion of flux,a stream of images,materials,sensations and feelings.
The only markers are a few surviving images and each image is just a pause in a continuum of sensations,in an endless flow of life,emotions,gestures,situations.Each image is the seal of this paradox: it is both a fixed object and a sample,a puncture,a precipitation,in the chemical sense.The concretion of an experienced event,of a sequence of existence.A leftover,the remnant of actions or situations that are unrepresentable.The visible loses its materiality and slowly dissolves in a flood of hollow images,in a phantasmagorical space devoid of depth or substance.I yield to instinct and the urgency of existence.I make use of the world to my own ends,as a modest part of the fierce and endless struggle between the forces of abstraction and the mechanics of flesh.The only form worth considering is one that is forced by the context,not emerging from the gaz e,but from the heart of the event.

Chen Xiaoyun

Chen Xiaoyun was born in 1971 and currently lives and works in Beijing,China
Chen Xiaoyun held a series of solo exhibitions, such as "Zhuiku Tablet", ShanghART Beijing,Beijing,China, 2012;"Darker than Darkness,Death beyond Death,Fire Burning Fire,Walking Down along the Stairway,ShanghART Beijing,Beijing,China,2013;Hysteria,Metaphorical and Metonymical Life-World,CHEN Xiaoyun Solo Exhibition,A4 Contemporary Arts Center,Chengdu,China,2013;Twentyone Poems of Lenin,Main Space of ShanghART Gallery,Shanghai,China,2014;and 106 Flashes of Lightning,Main Space of ShanghART Gallery,Shanghai,China,2016.
Chen Xiaoyun presents images as isolated movements in enclosed scenarios.Lengths of the images are also related to the time duration of these movements.Hence his works show a kind of event-based feature; the sharp contrast between light and shadow,and ritualized performance,add to the works colors of symbolic theater.
China's contemporary artistic image is developed from Hangzhou Image Movement.As a part of the movement,Chen Xiaoyun emphasizes non-narration in his works,so as to separate the language structure of image—including scenarios adjusting and shots switching—from the dependence on literariness,thus producing a site for concept reflection and rhetoric experiment.

Carlos Irijalba

Carlos Irijalba was born in Pamplona,Spain in 1979 and graduated in 2002 at the Fine Arts Basque Country University and studied at UDK Berlin.He currently lives and works between Amsterdam,Netherlands and New York,USA.
He received the Guggenheim Bilbao Photography grant in 2003 and the MarcelinoBotín Foundation in 2007/2008.Awarded the Revelation PhotoEspaña Prize or Generaciones 2009,and resident at the Rijksakademie van beeldendekunsten of Amsterdam (2013-2014).Irijalba has exhibited at international Art Museums,including the CCCB Barcelona or Herzliya Museum Israel and LMCC New York.
Just as an eye blink denies the presence of a specific space or time within a continuum,so a frame freezes a particular place and moment.It is the indivisible unit of the audiovisual mechanism,and its basic inductor is light.Thereby begins a journey that takes us from the real to the represented,finally leading us to that ultimate reality,the document.
Inertia deals with the construction of reality.The piece emerged from some scenes,not included in the video of previous twilight project,that refer to the transit of light from one location to another.In both projects the lighting device engages directly with the real.In Inertia ,the route is a place and the vector imposes itself on the object.The present then tends to disappear in a continuous movement and what happens is indeed its non-presence.
In the process of preparing Inertia ,the need to question the structural parameters inherent to all audiovisual productions emerged.It is well-known that technical efforts are precisely measured in the film industry based on the profitability of certain scenes,we could call this is the hierarchy of images.Reacting to this,I approached the production of Inertia using pure analogic procedures.Here,the need we have to limit ourselves to the real is imposed against the indolent resource of postproduction.
Over its four-minutes length,Inertia responds to the conventions of rhythm,visual axes,and other narrative norms with the rules that we use to assimilate the entire audiovisual spectrum.There occurs a specific accident between the fragile rules of narration and the sophistication of what is staged,confronted with the inescapable physical connotations of gravity,weight,or the volume of the elements in its service.

Noémie Goudal

Noémie Goudal was born in Paris,France in 1984 and graduated from the Royal College of Art in 2010.She currently lives and works in Paris,France.
She won the Royal College of Art Sustain Award (Britain) in 2010,and HSBC Prix pour la Photographie(France) in 2013.Noémie Goudal held the following solo exhibitions:" The Geometrical Determination of the Sunrise",New Art Gallery Walsall,West Midlands,Britain,2014,and in FOAM Museum,Amsterdam,Holland,2015;"Southern Light Stations",the Photographers'Gallery,London,Britain,2015;"Cinquieme Corps" ,Le Bal,Paris,France,2016,and in Abbaye de Jumièges,Normandy,France,2017.She participated in a number of group exhibitions,such as "Out of Focus",Saatchi Gallery,London,Britain,2012;"Vita Vitale",Venice Biennale's Azerbaijan Pavilion,Venice,Italy,2015;and "Constructs- Constructions",Kiran Nadar Museum,Delhi,India,2015.
With the unique triptych entitled The Mechanicals(Les Mécaniques) ,the artist investigates new territories through the combination of big scale photography,sculpture and performance in order to examine the notion of landscape itself in our contemporary society.A landscape is a constantly changing and never completed reality: its story unfolds through the nature of its various stratums,the variations of its ground and the influence of men.This body of work revolves around the territory as a spatiotemporal object and living entity always in motion.In contrast with her former installations in which the artist “fixed” materials,here,Goudal resorts to more complex devices in order to make time change tangible,as well as the choreographies of a continuously transitioning landscape.
The installation,which takes up the form of hundreds of mirror facets integrated in a wooden frame,is photographed in the middle of a tropical forest,first world source of biological diversity on Earth.The structure is conceived in such a way that the facets are slowly removed creating subtle kaleidoscopic reflections of the plant formations cast by the mirrors.The fragmented surface enquires the very act of observation of nature as well as our perception of image rooted in a shattered perspective.The deliberate and visible imperfections of the crafting blend with the green profusion of this vegetal microcosms made of several layers,from the ground to the canopy.
Like a live performance,the three photographs capture the alteration of the forest stratums.Between change,disappearance and renewal,these images highlight temporality at the Anthropocene era all the while revealing its artificiality.

Jiang Pengyi

Jiang Pengyi was born in Yuanjiang,Hunan and graduated from China Academy of Art in 2014.He currently lives and works in Beijing,China.
Jiang was awarded the Tierney Fellowship Award from the First Annual Three Shadows Photography Award in 2009,the Jury Grand Prize from the Société Générale Chinese Art Awards in 2010 and the Aletti ArtVerona Prize for Photography in 2011.He held a series of solo exhibitions,such as"Glimpses",Klein Sun Gallery,New York,USA,2014;"JIANG Pengyi:Intimacy",ShanghART Singapore,Singapore,2015;and"Jiang Pengyi:Grace",ShanghART H-Space,Shanghai as well as"Jiang Pengyi:Grace",ShanghART M50,Shanghai,China,2016.He was also invited to a variety of group exhibitions,such as"CHINA 8 - Contemporary Art from China at the Rhine and Ruhr",Museum Folkwang,Essen,Germany,2015;"2nd Three Shadows Experimental Image Open Exhibition",Three Shadows Photography Art Centre,Beijing,China,2015;and"The Crocodile in the Pond,11 Artists from ShanghART Gallery",Museum Art St.Urban and Abbey St.Urban,Luzern,Switzerland,2016.
The themes of Jiang Pengyi’s photography often switch among all kinds of “light”,from The Origins series on fluorescent materials,to Dark Addiction series on fireflies.In Dark Addiction ,he puts fireflies,flashing during courtship,into the camera obscura,letting their movements directly developed on the photographic film.The work’s title refers to the process of exposure.
From symbolic images production to conceptual media experiments,Chinese artists of the new generation are emphasizing more and more self-examination on the level of media language.Nevertheless,it should not be considered as the return of formalism (especially for the word’s negative meaning in China’s mainstream context),but ought to be comprehended as a kind of highlight of the media consciousness.Based on this,the expression of concepts,instead,gets deeper into technology,giving image art a kind of definiteness supported by media.

Ji Zhou

Ji Zhou was born in Bejing, China, in 1970.He graduated from Central Academy of Fine Arts in 1994 and from Université Paris 1 Panthéon- Sorbonne in 2015.He currently lives and works in Beijing, China.
He held a series of solo exhibitions, such as‘JI ZHOU’, Lane Crawford, Beijing YinTai Centre.Beijing, China, 2015;‘Civilized Landscape’, Klein Sun Gallery, New York, USA, 2015;‘Dust’, Christian Louboutin, Hong Kong, China, 2016;‘Form’, Gallery SU, Seoul, South Korea, 2017;"Real Illusion", Klein Sun Gallery, New York, USA, 2017.His selected group exhibitions include "Jimei X Arles:East West Encounters International Photo Festival", Kah Kee Art Center Square, Xiamen, China, 2015;"The 2nd Three Shadows Experimental Image Open Exhibition", Three Shadows Photography Art Centre, Beijing, China, 2015;"Another Landscape", Yang Art Museum, Beijing, China, 2016;"Scenery Shot – Unrelated to Photography", New Gallery of Art, Shanghai, China, 2016;and "Imaginary Frontiers", Boghossian Foundation, Bruxelles, Belgium, 2017.
Ji Zhou consciously manages the influence of visual technology on our visual experience with his works.He makes full use of the potential of the advanced hardware and software,to turn daily visual into an extreme scene.In his latest works,he works with digital-cutting filming and splicing,which is,however,different from new objectivity photography.He deliberately retains,exposes,and even strengthens the features of picture splicing,and highlights the transformation of space and the continuation of time in one scenario,thus creating a visual image of "fourdimensional compound eye".
From telescope,microscope to camera,the constant update of visual technology is the most important cultural phenomenon in modern time.Besides strengthening and extending our eyesight,technology also brings those we have never seen before to our "innocent eyes".It is art's creative application of technology that has a close relation to the development of visual technology.

Ma Qiusha

Ma Qiusha was born in Beijing,China,in 1982.She graduated from Central Academy of Fine Arts in 2005 and from Alfred University,US,in 2008.She currently lives and works in Beijing,China.
Her selected solo exhibitions include"MA QIUSHA",Chinese Arts Centre,Manchester,UK,2013;"Ma Qiusha: Raw",Bei jing Commune ,Beijing,China,2014;"Ma Qiusha: Works on Paper",Beijing Commune,Beijing,China,2014;"BKMQ: Bettina Krieg & Ma Qiusha",SMAC ,Berlin,Germany,2015;"Ma Qiusha: Wonderland",Beijing Commune,Beijing,China,2016.She was engaged in many group exhibitions,such as "WANDERLUST",International 3,Manchester,UK,2017;"PROSPECTIF CINÉMA: Performing Dramas II Cinéma 2",Centre Pompidou,Paris,France,2017;"In Search of Miss Ruthless",Para Site,Hong Kong,China,2017;and "The Exhibition of Annual Contemporary Art of China 2016",Minsheng Art Museum,Beijing,China,2017.
To Ma Qiusha,photography is a way of observation as well as production.Her works always contain the application of the two features.In The Story of Space,she uses partial photos matching to flatten the indoor space according to the structure of a box.
In the repeated switching between stereoscopic and flattened visions,Ma Qiusha takes the audience forth and back between the perception of objects and the deep illusion of space,offering a sense of presence of irrealism by photography.

Marcela Magno

Born in Buenos Aires,Argentina in 1966,and graduated from Universitat Autónoma de Barcelona in 1993,Marcela Magno is currently living and working in Buenos Aires,Argentina.
Marcela Magno has hosted solo exhibitions such as "Zapping"(Rio Gallegos,Argentina) at Sala Scalabrini Ortiz in 2008,"Marcela Magno"(San Gulian,Argentina) at Academic Center of San Julian in 2009,"In Patagonia 2003/2010"(Buenos Aires,Argentina) at La ira de dios in 2010,and "In Patagonia 2003/2010"(Rio Gallegos,Argentina) at Sala Scalabrini Ortíz in 2011,etc. She/He also took part in the exhibitions such as "Mapping Territories"(Houston,USA) at the Houston Fine Art Fair in 2015,"Entropy of memory and the present"(Lima,Peru) at Centro de la Imagen in 2016,"Photo Speaks 2016"(Seoul,South Korea) at the International Festival of Photo and Video in 2016,and "The Future is Here"(Buenos Aires,Argentina) at Centro Cultural Kirchner from 2016 to 2017,etc.
Land is a photographic work in progress which aims to show cartographies of natural resources into the world,revealing the historical evolution of landscape,the political division of territory and geopolitical identity.
The images that make up the project were put together with maps taken from Google map which were printed in large scale and high definition.
They are satellite maps that reveal the topography of our world.
I am interested in seeing how utopias of modernity convert into a dystopian outcome.These maps seem to confront us with this otherness: social and economic distortion,environmental disaster,misplaced territorial boundaries and the uncertain future of our planet.

Caio Reisewitz

Born in Sao Paulo,Brazil,in 1967,Caio Reisewitz graduated from Mainz University(Germany) in 1997.
Caio Reisewitz has presented solo exhibitions such at Centro Cultural Banco do Brazil(Rio de Janeiro,Brazil) in 2010,at ICP – International Center of Photography(New York,USA) in 2014,"Plantes,pavillons et pétrole"(Plants,pavilions and oil)(Paris,France) at Galerie Bendana Piñel in 2015,"ATERRO"(Landfill)(Sao Paulo,Brazil),at Luciana Brito Galeria in 2016. He also represented Brazil in international biennials—the 51st Venice Biennale(2005),and the Daegu Biennale(2014,South Korea),etc.
Caio Reisewitz's work sets out to establish connections between the construction of what is real and the recording of what is artificial through photography.The technical exactitude and eventual placidity of his works call for careful scrutiny: after the initial moment of aesthetic delight,one realizes his photographs do not obey a merely descriptive intention,and given the lack of human figures in the pictures,the gaze (the photographer's,which also becomes that of the beholder) constitutes the final instance of visual organization or interpretation,revealing the cultural aspects of an act normally apprehended as natural.
In his photomontages,in which the curator Fernando Cocchiarale detects traces of the Dadaist legacy of Hausmann and Hannah Höch,Brazilian Modern Photography as Geraldo de Barros,human beings can be present,but then again their statute appears in transfigured form.Transversally and silently,Reisewitz's little-human landscapes address humanity in one of its most grandiose gestures.

Giancarlo Shibayama

Born in Lima,Peru,in 1979,Giancarlo Shibayama graduated from the University of Lima in 2007 and gained a master degree at Centro de la Imagen in Lima.
Giancarlo Shibayama took part in the exhibitions such as "Photoespaña"(Madrid,Spain) at Instituto Cervantes in 2014; "Entropías de la memoria y el presente"(Entropies of memory and the present) (Lima,Peru) at Gallery El Ojo Ajeno in 2016; "New Cosmos Of Photography"(Tokyo,Japan) at Tokyo Photographic Art Museum in 2017; "Intolerancia"(Intolerance) (Lima,Peru) at Centro Cultural de la Universidad de Lima(Cultural Center of the University of Lima) in 2017; "En el país de las Amazonas,150 años de fotografía"(In the country of the Amazons,150 years of photography) (Lima.Peru) at Instituto Cultural Británico in 2017; "Salón de la fotografía 2017 "(Salon of Photography 2017) (Lima,Peru) at ICPNA in 2017,etc.
I make use of my personal history in order to speak about migration and identity as social constructions.I work with photographic archives because on the one hand,they enable me to build link between the present and the past,and the other,they allow me to question the role of the image or the saturation of the images in we live.
The voyage out of the place origin,the displacement and the arrival at the destination where everything in unknown,are important themes in my Project since they are for a start,the components of any migratory movement.I began the Project in 2014 and engaged in a visual narrative that addressed the customs of my family at home,and the photos of my grandfather′s albums that bear on the reverse the traces of having been torn out,by the remnants of dried glue and black paper (vestiges of álbum pages),reminisct in form of archipelagos (like Japan).On the one hand,i have configured a personal cartography from these black traces and have thus,built fictional maps: intimate materializations produce by chance,which i recognize and enlarge.On the other i have photographed domestic interiors to show the Japanese customs that persist,such us the remembrance of the dead,or the grove and tending of local versions of bonsái,and also the signs of cultural layers in arrangements of catholic religious icons in friction with japanese traditional objects and emblematic articles of the urban modernity in latin american countries.
The main motivation of the Project is to bring home my Japanese grandfather,who was never able to return to Japan,through an exihibition and a photobook.Maps are social and political conventions and the history of japanese migration to Peru is the chronical of a human group.Personally i generate new maps and stitch together documents that are left-overs from the past into a fiction of the present,and so redraw the world at the intersection where my imagination meets my memory.

Go Itami

Go Itami was born in Tokushima,Japan in 1976.He currently lives in Tokyo.
His solo exhibition includes"'NEW TACK'Woolloomooloo",Taipei,China,2014;and "RODIN / starman",Osaka,Japan,2015.He participated in a group exhibition "TOKYO 2020 BY JAPANESE PHOTOGRAPHERS 9",held in both Tokyo,Japan and Paris,France.
Copying is what I'm interested in as the capability of photography.I use cameras as a tool to copy objects as exquisite as possible.I think when a copy looks close to what you see,it is the farthest from reality.I didn't use my camera to create this work TARANTELLA .I downloaded images from NASA's website and trimmed them.Images on the Internet do not belong to anyone else and it’s the same as the scenery I'm just looking at.I can call these are the photos taken by me even if I didn't use my camera and trim it on my screen.

Jiang Zhi

Jiang Zhi was born in Yuanjiang,Hunan,in 1971 and graduated from China Academy of Art in 1995.He currently lives and works in Beijing,China.
His recent solo exhibitions include" Half" ,Jewelvary,Shanghai,China,2016; "Predestiny",Magician Space,Beijing,China,2016; "All",OCAT Shenzhen Exhibition,Shenzhen,China,2016; "One is All,All is One – Jiang Zhi Solo Exhibition",TKG+,Taiwan,China,2017; and "To Make with Changes – Jiang Zhi Solo Exhibition",HDM Gallery,Beijing,China,2017.In 2017 he participated in a variety of group exhibitions,such as "The Exhibition of Annual Contemporary Art of China 2016",Minsheng Art Museum,Beijing,China; exhibition and show at M+ Museum for Visual Culture,Hong Kong,China; "Benevolence of Art",Hive Center for ContemporaryArt ,Shenzhen,China; Moments and+More-Documents of Culture Pavilion Online Art project,OCAT Shanghai,Shanghai,China; and the second edition of Changjiang international photography & video Biennale,Chongqing museum of Contemporary Art,Chongqing,China.
In Jiang Zhi's latest work,he arranges a series of 1980s household scenarios to match different artificial flowers,and takes photos of them in similar popular style of that time.Photography's feature of objective record is hence used to create a real illusion.
Continuing the themes of flowers and time of Love Letters series,meanwhile,Jiang Zhi creates subtle cracks between the reality of emotional atmosphere and the illusion of details in the Faded Looks series,which thus concentrates the focus and audience's viewpoints on the visual representation of photography.

Tao Hui

Tao Hui was born in Yunyang,Chongqing,China in 1987.He graduated from Sichuan Fine Arts Institute in 2010 and currently lives and works in Beijing,China.
He won the special award of Contemporary Art Archive from Sichuan Fine Arts Institute,China,2008.He also won the grand prize of 19th "Contemporary Art Festival Sesc Videobrasil",Brazil,2015,and was shortlisted for "HUGO BOSS ASIA ART Award for Emerging Asian Artists",China,2017 and International Competition of the KINO DER KUNST festival,Germany,2017.He held the following solo projects: "New Direction: Tao Hui" at UCCA,Beijing,China,2015; "Now & Then",Galeria UNTILTHEN,Paris,France,2016; "Not at all",OCAT Xi'an,Xi'an,China,2017; "Bentu - Chinese artists at a time of turbulence and transformation",Fondation Louis Vuitton,Paris,France,2016; "Why Not Ask Again: 11th Shanghai Biennale",PSA,Shanghai,China,2016; and "The mulberry forest becoming ocean",Esther Schipper,Berlin,Germany,2017.
Tao Hui's image art is closely connected with the daily TV and movie experience of the Chinese people.He appropriates and makes up all kinds of familiar plots,lines,performances and roles.He then separates these elements and regroups them into his works,dramatically exposing the aesthetic ideology which is familiar to but ignored by the Chinese people.
In his most recent work,Joint Images ,actors were performing different emotional climaxes which were playing on the screen,including dialogues in classic TV series,expressions of affection in talent shows,or interviews in news programs.Once imitated,these emotional performances,sincere or not,will lead to an exaggerated absurdity and drive the audiences away from the sense of reality attempted to construct by the film and TV culture.

Chen Wei

He was born in 1980,WenZhou,Zhejiang Province,China and currently lives and works in Beijing,China.
Chen Wei held the following solo exhibitions: Tight Rope,Yokohama Creative City Center (YCC),Yokohama,Japan,2011;Yesterday Shop,Galerie Rü diger Schöttle,Munich,Germany,2015;In The Waves,chi K11 Art Museum,Shanghai,China,2015;Noon Club,JNBYArt Space ,Hangzhou,China,2016;and The Club,Centre for Contemporary Photography (CCP),Melbourne,Australia,2017.Some group exhibitions that he participated in include The Work in Progress: Photography from China,Museum Folkwang,Essen,Germany,2015;We Chat: A Dialogue in Contemporary Chinese Art,Asia Society Texas Center,Houston,USA,2016;Chinese Whispers: RecentArt from the Sigg & M+ Sigg Collections,Kunstmuseum Bern,Bern,Switzerland,2016;The Genius of the Crowd,Jendela Visual Arts Space,Singapore,2017;and The Polaroid Project: At the Intersection of Art and Technology,Amon Carter Museum of American Art,Fort Worth TX,USA.
Chen Wei has always been working with construction and posed photography,producing scenes that appear only in photography.In his latest work,lights are focused on the window from different angles of "indoor" and "outdoor",making the window itself a scene,while leading the audience's views out of the window.
In Chen Wei's working patter,artificial light is both a significant language and an important theme.Lamps and lanterns,light boxes,LED,neon and other kinds of light properties always appear in his works,and themes of city night are thus generated.

Weng Yunpeng

Weng Yunpeng was born in Jingdezhen,Jiangxi in 1964.and currently lives and works in Beijing and Shanghai.
His solo exhibition – "Allegory of Electronic Image 2006-2009"– was held at Today Art Museum,Beijing,China,2009.He also took part in a number of group exhibitions,such as "Thirty Years of Chinese Contemporary Art-Moving Image in China 1988-2011",Minsheng Art Museum,Shanghai,China,2011;"In Time:2012 Chinese Oil Painting Biennale",National Art Museum of China,Beijing,China,2012;"Unfamiliar Asia:the Second Beijing Photo Biennial",Cafa Art Museum,Beijing,China,2015;"Moving Time:Video Art at 50,1965- 2015",The Eli and Edythe Broad Art Museum,Michigan State University,Michigan,USA,2015;and "Utopias/Heterotopia – WuZhen International Contemporary Art Exhibition",North Silk Factory and West Scenic Zone,Wuzhen,China,2016.
Wang Yunpeng's works also touch upon every aspect of "image society" issues,including TV and movie culture,display technology,digit and simulation,images and words,vision and language,or even movie piracy and subtitle translation culture.Yet he does not stop on touching upon these issues but rather organize them into poetic images with contemplation value.
In his most recent works,images,subtitles,sounds,shots or even noises and texture of the monitor all become materials and language of a kind of "Montage writing".In this context,images become a state of life and a theme for contemplation.It also constructs a language,even if "there are only screens and dusts".

Liu Yue

Born in Shanghai,China in 1981,Liu Yue graduated from Shanghai Academy of Fine Arts in 2005 and is currently living and working in Shanghai,China.
Liu Yue organized several solo exhibitions,including "Anthem –Xiao Ming & Xiao Hong"at am Art Space (Shanghai,China) in 2012,"Cygnus – Xiao Ming and Xiao Hong"at am Art Space(Shanghai,China) in 2013,“"The Gentle Slope"at am Art Space (Shanghai,China) in 2015,"Maxim"at ShanghART Gallery Beijing (Beijing,China) and "Mass"at Space Local (Beijing,China) in 2016.His works also appeared in groups exhibitions including "Histories of a Global Hub,Suzhou Documents"at Suzhou Art Museum (Suzhou,China) in 2016,"Nonfigurative"at Shanghai 21st Century Minsheng Art Museum (Shanghai,China) in 2016,"Turning a Deaf Ear"held jointly by C-Space and Space Local (Beijing,China) in 2017,and Moments and More,Documents of Culture Pavilion [wénhuàguǎn] Online Art Project at OCAT Shanghai (Shanghai,China) in 2017.
Taking a series of geometric figures for reference,Liu Yue photographs and prints a picture of a geometric object in reality,and then makes the picture another photographing target,which is adjusted to be a conceptually standard figure by perspective method in the second round of photographing.
In this process,however,the texture of the photo is enlarged and twisted.In this sense,Liu Yue indicates two dimensions of the image,one of which is the dimension of the target object or mental image,such as the geometric figure; the other is the “image” dimension of the signifier,such as the point texture of the printed picture.In this scientific experiment-liked process,Liu Yue also presents a kind of “Minimalism” concept of photography,which pulls photographing and observing out of the object and forms a pure domain of empirical things.

Zhou Siwei

Zhou Siwei was born in Chongqing,China,in 1981 and graduated from Sichuan Fine Arts Institute in 2005.He currently lives and works in Shanghai,China.
He held a series of solo exhibitions,such as "Twilight",82 Republic,Hong Kong,China,2007;"A Round Studio",Aike-Dellarco,Shanghai,China,2014;"Schematic",Galerie Urs Meile,Lucerne,Switzerland,2015;and "BEAUTIFY HOME ",Antenna Space,Shanghai,China,2017.He also participated in a variety of group exhibitions,such as "Memory between Inspiration and Media -Chongqing",International Artist-In-Residence and Workshop 2012,Chongqing,China,2012;"Studio",M50 Art Space,Shanghai,China,2013;"Rendering",Aike-Dellarco,Shanghai,China,2013;"Memo",White Space Beijing,Beijing,China,2013;"Painting Lesson III:Elementary And Extreme Structure",Gallery Yang,Beijing,China,2013;and "7th A+A,Too Smart To Be Good",PIFO Gallery,Beijing,China,2014.
Zhou Siwei cut the images mounted on boards into various irregular shapes,and piles them up as a temporary structure; something looks like a sculpture or architecture.Images in the work are sourced from various ways,no longer containing any meaning or energy,but only a kind of decorative function,or even become leftover bits and pieces for filling up the space,just like those cut images.
Images seem to become rubbish nowadays due to the constant development of replication technology.Zhou Siwei,however,with forms of product photography and advertising light box,presents the image status of politics and aesthetics being exhausted in business and consumption,making the observers face with the unconscious vision in a kind of worship-liked visual ceremony.

Lin Ke

Lin Ke was born in Wenzhou,Zhejiang in 1984 and graduated from China Academy of Art in 2008.He currently lives and works in Beijing,China.
He won the 2014 OCAT - PIERRE HUBER ART PRIZE and Youth Artist Award for the Year at the Ninth AAC Art of the Chinese in 2015.He held a series of solo exhibitions,such as "LinK",Gallery Yang,Beijing,China,2014;and "Like Me",BANK,Beijing,China,2016.He also took part in many group exhibitions,such as "Dragon Liver,Phoenix Brain – Eight Emerging Artists",OCAT Shanghai,Shanghai,China,2017;"11th Shanghai Bi ennale – WHY NOT ASK AGAIN",Shanghai Contemporary Art Museum,Shanghai,China,2016;"You Really Know Where You Are,For the First Time In History",Intelligentsia Gallery,Beijing,China,2017;"Rip it Up" – the 2nd edition of Changjiang International Photography and Video Biennial,Changjiang Contemporary Museum,Chongqing,China,2017;and "Saved by the Web?",Postmasters Gallery,New York,USA,2017.
Lin Ke's art style is a mixture of the Internet,image,screen,software,surface,body and movement.To him and many of his contemporaries,there is no longer clear distinction between the "virtual world" and the so-called "reality" in the re-definition of digital technology and Internet technology,but just a kind of nested relationship.He is both an exterior operator and a resident living inside.
Facing the totally mediatized world,should one treat everything in a criticizing attitude,or emerge oneself thoroughly in this unprecedented experience to explore new sensibility and new language? Lin Ke's work is undoubtedly the latter.Therefore,he softens the usual hardware-oriented principle of media art,and presents more possibilities of creation in the representational world of media surface.

Sheung Yiu

Sheung Yiu was born in 1991 in Hong Kong,China and graduated from Chinese University of Hong Kong in 2013.He is currently studying the Master's Programme in Visual Culture and Contemporary Art at Aalto University,Finland.
He won the Commended Photographer of 2014 Sony World Photography Awards(Japan),Professional Honorable Mention of MIFA(China) in 2014,Grand Jury Prix of Wonder Foto Day (Taipei) in 2017.Some group exhibitions that he participated in include "Color Blind",Darkroom Gallery,Vermont,US,2013;"MIFA 2014 Winners Exhibition",Rooftop Gallery,Thailand,2015;Renaissance Photo Prize 2015,Getty Images Gallery,London,2015;FAUX,The Center for Fine Art Photography,Fort Collins,USA,2016;ISSP 2016 Group Exhibition,International Summer School of Photography,Latvia,2016;and Wonder Foto Day,at Songshan Creative Culture Park,Taipei,2017.
Yao Shangqin names his work as " (PHOTO) graphy ",which includes but is not limited to photos as follow: a banana being rolled up in a photographic paper on which printed a banana pattern; a photo of sand covering on two legs on a beach; a piece of white paper on a dark-blue wall,half falling off,showing out its backside as if the galaxy desktop wallpaper of a Macintosh; and a photo of architectures,balled up,being placed before a bunch of buildings.
In these works," PHOTO " is stripped from " the skill of photo " (photography),as well as being independent from the concept of " image " to become a " photo ",in other words,a substance without distinction between object and photo.Interestingly,however,these works are displayed in the form of photos in the exhibition.The photos are presenting the part separated from themselves.

Zhang Peili

Zhang Peili was born in Hangzhou,Zhejiang,in 1957 and graduated from China Academy of Art in 1984.He currently lives and works in Hangzhou and Shanghai,China.
Zhang held solo exhibitions,such as "Zhang Peili",Art Feature,Art/43/Basel,Switzerland,2012;"Zhang Peili",ACAF Art Space,Melbourne,Australia,2013;"Because…Therefore",Boers-Li Gallery,Beijing,China,2014;"Zhang Peili:Record.Repeat.",The Art Institute of Chicago,Chicago,US,2017.Group exhibitions include "CHINA 8 - Contemporary Art from China at the Rhine and Ruhr",Skulpturenmuseum Glaskasten Marl,Marl,Germany,2015;"The Exhibition of Annual of Contemporary Art of China 2014",Beijing Minsheng Art Museum,Beijing,China,2015;"Time Test:International Video Art Research Exhibition",Redtory Museum of Contemporary Art,Guangzhou,China,2016;and "M+Sigg Collection:Four Decades of Chinese Contemporary Art",ArtisTree,Hong Kong,China,2016.
In the image,those who are being photographed show reflectively twisted facial expressions due to the sudden dazzling lights,with pupils narrowed and pores enlarged.The faces expose everything in the fierce light,including passiveness,numbness,and helplessness.Audiences are almost at the same time enduring the whole process,and experiencing the same physiological reaction,which seems that the observers are right in the place of those being watched.
The Portrait of 2012 ,with a composition of identity cards,or a scenario of questioning,seems like the disclosure of the power and violence of those who are watching or photographing,and the metaphor of a kind of state apparatus.In another aspect,it seems like a thrilling test of physiology and physics,in which people are unable to distinguish between naked-eye visual experience and machine vision effect.Throughout the image are politics,body and machine,which are exactly what impress the observers most about the current image society.

Zhuang Hui & Dan’er

Zhuang Hui was born in Yumen,Gansu,in 1963 and currently lives and works in Beijing.
He held a number of solo exhibitions,including "Zhuang Hui:Ten Years",Courtyard Gallery,Beijing,China,2003;"Yumen 2006-2009A Photography Project by Zhang Hui & Dan'er (2006-2009)", Three Shadows Photography Art Center, Beijing, China, 2009;“Zhuang Hui Solo Exhibition", Platform China Contemporary Art Institute,Beijing, China, 2014;"Zhuang Hui Solo Exhibition Project",OCAT Xi'an,Xi'an,China,2015;and "Qilian Range.Zhuang Hui",Galleria Continua,Beijing,China,2017.
Dan’er was born in Fugu Shanxi,in 1983 and currently lives and works in Beijing,China.
She solo exhibition – "Yumen 2006-2009:A Photography Project by Zhang Hui & Dan'er (2006- 2009)"– was held at Three Shadows Photography Art Center,Beijing,China in 2009.She participated in a number of group exhibitions,such as "REM(A) INDERS",Galleria Continua,Beijing,China,2010;"Four Dimensions -Contemporary Photography from Mainland China,Hong Kong & Macao",Hong Kong Arts Center,Hong Kong,China,2010;"THE UNSEEN—The Exhibition of the Fourth Guangzhou Triennial",Guangdong Museum of Art,Guangzhou,China,2012;"REACTIVATION – 9TH SHANGHAI BIENNALE",Power Station on of Art,Shanghai,China,2012;"Civilisation Round 2:Yulin",OCAT Xi'an,Xi'an,China,2014;and "CHINA 8 - Contemporary Art from China at the Rhine and Ruhr",Museum Folkwang,Essen,Germany,2014.
In 2008-2009,Zhuang Hui and Dan'er opened a photo studio in Yumen,Gansu.Yumen is the birthplace of Zhuang Hui,a resource-exhausted city,gradually becoming an abandoned land.The photo studio,called "Yumen Household",employed local residents in management,operation and photography.A large amount of photos were taken,including all kinds of certificate photos,wedding pictures,group photos,and art portraits.The studio involved in the daily life of Yumen people by a kind of image rite of public aesthetics.
By running a photo studio,which seems like an "ancient" career,to take photos of the faces in this city,Zhuang Hui and Dan'er explore photography—to be exact,taking photos—in a social daily scenario,and present the entire social relationship involved and constructed by photography,as well as the facts existing in the society.

Yang Yuanyuan

Yang Yuanyuan was born in Beijing,China in 1989 and graduated from University of the Arts London in 2013.She currently lives and works in Beijing,China.
She received the Third Prize at the Bar-Tur Award in 2011,the Tierney Fellowship at Three Shadows Photography Award in 2013,the Magenta:Flash Forward Award in 2013 and the Second Prize at Gucang Dummy Award Martin Parr Edition in 2015.In 2017 Yang participated in the residency project of New York Fellowship offered by Asia Cultural Council.Her solo exhibitions include "Inbetween Places",Being 3 Gallery,Beijing,China,2012;"Nearly There,Nearly Concrete,Chongqing",Organhaus,Chongqing,China,2014;and "At the Place of Crossed Sights (Part I)",C-Space,Beijing,China,2016.In recent group exhibitions she exhibited works in "Times Heterotopia Trilogy III:The Man Who Never Threw Anything Away",Guangdong Times Museum,Guangzhou,China,2017;"Rebel Cities",Yang Art Museum,Beijing,China,2017;and "Arrival City",Galaxy Museum of Contemporary Art,Chongqing,China,2017.
When photography becomes the major method of producing images,it is also the main way for social groups to construct identity.Yang Yuanyuan's Blue Window,Two Roses is a piece of work on the public identity construction in contemporary China.It is common to see "Green-screen photography" popular in China in the recent ten years,with which Yang combines the public's popular act of taking photos in trips with their imagination of global consumerism—transnational tourism is exactly a part of global consumerism—to help people easily stand before famous sites around the world by image synthesis.And sharing these selfies of tourist place on network community is an important part of what the public imagine about the life of the middle class.
Of course,this is an irony.Yet more significantly,these colorful photos and selfies should not be simply considered as a kind of lowbrow imitation; there also contains a kind of subjective consciousness of intentional kitsch,self-ridicule and irony.

Jiang Ji'an

Jiang Ji'an was born in Yantai,Shandong,1967 and graudated from China Central Academy of Fine Arts in 1992.He currently lives and works in Beijing,China.
Jiang Ji'an won the Merit Award of China International Annual Youth Art Exhibition in 1987;DanQing Award of the 4th Chinese Painting Exhibition in 1998;Nomination,Painting category,the 7th Award of Art China in 2012;Artists of the Year by the Beijing News in 2013;Art Figures of the Year by KUART in 2016,etc.He was widely exhibited,such as Two-bedroom Apartment,North Latitude 40°Community in Wangjing,Beijing,China,2009 and In-between Object and Shadow - Jiang Ji'an Solo Exhibition,Asia Art Center,Beijing,China in 2016.He took part in many group exhibitions,such as "Being and Inking - Documenting Contemporary Ink Art",Redtory Museum of Contemporary Art,Guangzhou,China,2016 and "Memory and Contemporary",Venice Biennale,the Arsenale di Venezia,Venice,Italy & the Forbidden City,Beijing,China,2017.
Jiang Ji'an worked for nearly two years in an apartment where almost every object was painted white.He drew shadows on all objects,trying to extract the renaissance light and shadow method from drawing and using it in real life.But he also created or exposed contradictions in this visual scene,such as disordered light source angle,overlapped space perception and visual order,showing a strong sense of unnaturalness in the naturalist visual concept.
In his painting installation,A Two Bedroom Place ,Jiang Ji'an discussed concepts and systems behind the visual presentation,namely what kind of vision was constructed,how it was constructed and in which visual order it was constructed.It was made clear in this case that before our "innocent eyes" were controlled by video technologies,it was ruled by painting.

Chen Zhe

Chen Zhe was born in Beijing,China,in 1989 and graduated from Art Center College of Design,US.Chen Zhe currently lives and works in Beijing,China.
Chen Zhe held a solo exhibiti on "Bees",Beaugeste Gallery,Shanghai,China,in 2011;and "Flown Away Is the Gold of Days",BANK Gallery ,Shanghai,China,2017.Group exhibitions include "Chinese Photography:Twentieth Century and Beyond",Three Shadows Photography Art Centre,Beijing,China,2015;"Linguistic Pavilion",Minsheng Art Museum,Shanghai,China,2016;"Why Not Ask Again:11th Shanghai Biennale",PSA,Shanghai,China,2016;"Dragon Liver,Phoenix Brain – Eight Emerging Artists",OCAT Shanghai,Shanghai,China,2017;"Anyball",CAFA Art Museum,Beijing,China,2017;and "ZHONGGUO 2185",Sadie Coles HQ,London,UK,2017.
In her work,Towards Evenings: Six Chapters ,Chen Zhe called for a possibility of Gesamtkunstwerk.Using "dusk",a moment when light and time change simultaneously,as the theme,she experimented a new form of art integrating photograph,video,installation,objects and literature.In her chapter-structured work,writing was conducted at three levels,namely words,photos,and objects,while meaning sparkled occasionally in this repeated process.
Chen Zhe does not see images as an existence beyond language,but consistently gives literature a nature of image and represents it in specific forms such as memos,hand-written letters and sketches on photos.Thus images are materialized such as superimposed cards.

Gong Jian

Gong Jian was born in Jingzhou,Hubei in 1978 and graduated from the Oil Painting Department of Hubei Institute of Fine Arts in 2001.He now lives and works in Wuhan,China.
He organized anumber of solo exhibitions ,including "Unhappy",Fine Arts Literature Art Center,Wuhan,China,2007;"People’s Park",Boers-Li Gallery,Beijing,China,2008;"You Should Learn to Wait",Fine Arts Literature Art Center,Wuhan,China,2009;"Nothing Is Important",Boers- Li Gallery,Beijing,China,2012;"From Byzantine Community to East Lake Park",Antenna Space,Shanghai,China,2016.His works also appeared in groups exhibitions including "Exotic Stranger",Galerie Paris-Beijing,Paris,France,2016;"Our Painting",Yang Art Museum,Beijing,China,2016;"On Drawing:Apperceive of Liberation",Wuhan Art Museum,Wuhan,China 2016;"Among Friends",Boers-Li Gallery,Beijing,China,2017;"Fantasy Creator",chi K11 Art Museum,Shanghai,China,2017.
As a photographer who engages in drawing and teaches in an animation academy,Gong Jian's photos usually only serve as a record of his life with families,friends and strangers on the street.The most important theme in his works is the "Fruit Lake",a block not far away from his apartment.
The contents and style of his photos define typical characteristics of the daily life in mainland cities of China,noisy,trivial,idle,enchanting,peaceful,and giving out a sense of hedonism.But rather than emphasizing the documentary value of these photos,Gong attached more importance to their essay-like colors.Therefore he added music,poetry into images,melodies and words.In this sense,photos represented their original state which was least affected by the contemporary art language.

John Thomson

John Thomson (1837- 1921),born in Edinburgh of Scotland,was a pioneering Scot-tish photographer,geographer,and traveler,who was regarded as the first documentary photographer in the history of world photography.He was one of the first photographers to travel to the Far East,who had documented the cultural customs and natural landscapes throughout the country with image.In October,1867,John Thomson moved to Hong Kong.During 1867 to 1872,he travelled over 5,000 miles across China,and took a large amount of photos of civic landscapes,daily life and customs of China,giving him the name of “Chinese Thomson”.These photos were collected in his best-known photo album,Illustrations of China and It’s People (1873-1874),which became the earliest panoramic image record of China.It veritably recurred the general pictures of the late Qing Empire,which existed approximately 150 years ago.Among which,the photos of Hong Kong,Macau,Guangzhou,Shantou,as well as the other areas,were the most extraordinary.Illustrations of China and It’s People and another photo album of Thomson,Foochow and the River of Min (1873),were both listed as the most important picture album in the world photography history Top 100 .


Afong,originally named Lai Afong (?—1890),born in Canton,was one of the most well-known Chinese photographers in the 19th century.He started Afong Photo Studio in Hong Kong in 1859,which was the best renowned photo studio run by Chinese at that time.For his superb technical skills which had nothing short of the foreign counterparts had,Afong had drawn high praise from John Thomson,who believed that Afong had exquisite artistic taste and distinctive point of view towards art.Afong’s aesthetic taste was infected by Chinese traditional form of painting.He insisted that the portraits should not completely follow the natural features on styling and painting processing,making his works widely acclaimed at home and abroad.
Those photographs of Hong Kong and Guangzhou which recorded the worldly life and scenery at that time,are the earliest documentary photography of Chinese people,leaving the historical images of great value for the later generations.Before Afong,the photographs of Chinese society were only shot by western preachers and explorers.His works,such as Shaqi Street ,Guangzhou Longevity Palace ,Baiyun Temple ,are in generous major public museums and galleries collections around the world,including but not limited to British Museum.

Sha Fei

Sha Fei,born in 1912 and died in 1950,was originally named Situ Chuan.Sha,originally from Kaiping,Guangdong,was born in Guangzhou.He joined the Northern Expedition in 1926 and served as a radio operator in the National Revolutionary Army and then worked in the Guangdong Shantou Radio Station in 1932.He was enrolled by Shanghai Academy of Fine Arts in 1936.In October of the same year,he filmed and published a series of photographic work of Lu Xun's remains and funeral,which attracted wide attention.After the outbreak of the War of Resistance Against Japanese Aggression on July 7,1937,he went to the front line.He then joined the Eighth Route Army in Fuping,Hebei in December,1937.Since then,he served as the deputy director of the Paper of War of Resistance Against Japan,chief of photography section of the Publicity Department of Shanxi-Chahar-Hebei Military Region,director of Jin-Cha-Ji Pictorial and director of North China Pictorial.
On March 4,1950,he was executed in Shijiazhuang by the North China Military Region for shooting dead a Japanese doctor.In May 1986,the Military Court of the Beijing Military Region revisited the case and overruled the death penalty due to Sha’s mental disorder when he committed the crime.


K.W.Kwok (1895-1976),born in Zhongshan,Guangdong,was an early master of fine art photography in China.Kwok commenced his photographic creation in 1914,and joined the Chinese Photographic Society in 1929.Kwok along with the other renowned photographers like Lang Jingshan,Chen Wanli and Hu Boxiang,became actives in the society.In 1948,the Chinese Photography Association was established in Nanjing,with Kwok working as director.In 1949,He began his work in Art Department of Shanghai Merchants Bureau.Since 1950,he resigned and became an amateur photographer.He died in Shanghai in 1976.
Kwok was adept at landscape photography,and especially skilled in photo coloring technique,known as one of the best color-filling photographers.Since he studied in photography,from shooting,developing,printing,enlarging to repairing,coloring,he worked on every process by himself to guarantee the high quality of his photographs.During 1934 to 1946,Kwok had held six solo photography exhibitions in Shanghai,Kunming,Nanjing,and Hangzhou.He also had his photo albums,The Splendours of Historic Nanking and The Beautiful Image of West Lake published.

Fan Ho

Fan Ho (1933–2016) was a world-renowned photographer from Shanghai,China.He had won over 280 awards from international exhibitions and competitions worldwide for his masterful works capturing the 'resilient' soul of Hong Kong in the 1950’s and 1960’s.Through his work,Fan Ho’s Hong Kong becomes an ethereal image of smoky lights,dramatic shadows,and isolated figures captured in a decisive moment of stillness.Fan Ho had been invited by 12 universities in Taiwan and Hong Kong as a visiting professor.His work is featured in many private and public collections,of which most notable are:M+ Museum (Hong Kong),Bibliothèque Nationale de France (France),San Francisco Museum of Modern Art (USA),Santa Barbara Museum of Art (USA),Cleveland Museum of Art (USA).Fan Ho had attended several solo exhibitions and group exhibitions.The solo exhibitions included "On the stage of life"(M97 Gallery,Shanghai,2016),"A Hong Kong Memoir"(AO Vertical Art Space,HK,2014),"Hong Kong Yesterday 1950s – 1960s"(SFO Museum,USA,2014),"Shadows and Silhouettes"(The Wing Gallery,UK,2012),while the group exhibitions contained "Hong Kong Narratives"(Michael Wolf's Studio,HK,2015),"2012 Center for Photographic Art Juried Exhibition"(Center for Photographic Art,USA,2012),"POST-WAR PERSPECTIVES 1945 – 1960"(Laurence Miller Gallery,USA,2008),etc.

Meng Minsheng

Meng Minsheng (1919-2007) was a photographer originally from Guangzhou,who was born in Shanghai and immigrated to Hong Kong in his youth.He once worked in film factory transitorily in 1950s,and later started his photography career.
Most of Meng’s works were documentary photography,recording the social life in Hong Kong,especially the living position of the ordinary laboring people.From 1960s to 1980s,he shuttled back and forth between Hong Kong and Guangdong for several times,and recorded considerable social images of Guangdong during the Cultural Revolution.When the Cultural Revolution spread to Hong Kong,he shot the photos of leftist workers in Hong Kong in the theme of anti-British and anti-violence,as well as the formative photographs in the theme of he Cultural Revolution.The greatest value of Meng’s works was that they had shown another aspect of Hong Kong—the labour class,which made him a leftist photographer.
The group exhibitions Meng’s works had attended includes "The 2nd Chinese Landscape",See+ Gallery,Beijing,China,2011;"Figures of Speech",Shanghai Center of Photography,Shanghai,China,2015;"Image of Decades,13 Years of Meng Minsheng",798 Photo gallery,Beijing,China,2016;"Jimei × Arles International Photo Festival:Askien-Skeleton of Guangzhou Images",Jimei Citizen Center,Xiamen,China,2016.图片 

Pok Chi Lau

Pok Chi Lau was born in 1950 in Hong Kong in a middle and lower class family.He emigrated to Canada in 1969 after sec-ondary school where his interest in social documentary photography began.He gained his bachelor’s degree of fine art from Brooks Institute in 1975,and obtained his master’s degree from California Institute of the Arts in 1977.later,he photograghed the life and proliferation of overseas Chinese in North and Central America and Cuba.In 1978,Lau started to teach multimedia photography at the University of Kansas.Now a Professor Emeritus at the University of Kansas,he lives in Kansas,USA.
Pok Chi Lau held a series of solo exhibitions,such as "Flow China ",Guangdong Museum of Art,Guangzhou,China,2008;"Floating Genes:Immigrant Stories of Cuba by Pok Chi Lau",R Space,Canada,2017.The group exhibitions Pok Chi Lau's works had attended includes "Pleasures and Terrors of Domestic Comfort"The Museum of Modern Art/LA County Museum of Art,Losangeles/New York,USA,1991-1993;"Points of Entry - A Nation of Strangers",Hign Museum of Art /Jimmy Carter Presidential Art Museum / New York Jewish Museum,Atlanta /Atlanta /New York,USA,1995-1998;"Deep in China-town",Les Recontres d’Arles,France,1999;"Only Skin Deep:Changing American Perstectives",International Center of Photography / Seattle Art Museum,USA,2003-2005;"Jimei × Arles 2016 International Photo Festival:Askien-Skeleton of Guangzhou Images",Jimei Citizen Center,Xiamen,China,2016.The albums he published include Dreams of Golden Mountain,Flow China,and Dream Seekers in the Golden Mountain and Details of Southern Homes.His works are collected in Center for Photography San Diego,the Houston Museum of Art,Center for Creative Photography,Shatin Museum of Heritage Culture,Hong Kong.

Zhang Hai'er

Zhang Hai'er was born in 1957 in Guangzhou,China.He graduated from Shanghai Theater Academy majoring stage design in 1982.During 1985 to 1988,he worked as a set designer in Guangdong Provincial Television.Then he continued his study in Guangzhou Fine Art Academy majoring oil painting in 1985.He had been a photographer for Agence VU in Paris from 1988 to 2005,and has been a photographer for New Weekly Magazine since 1996.He is one of the Chinese photographers who are the earliest to exhibit their works in the International Photography Festival,Arles,France.
Zhang held a series of solo exhibitions,such as "Zhang Hai'er",Image FotografiskGalleri,Aarhus,Denmark,1995;"Poppy",Taikang Art Space,Beijing,China,2014;"Muse",Shanghai Center of Photography,Shanghai,China,2017.The group exhibitions Zhang’s works had attended include "EtrePhotographe En Chine Aujourd'hui",19me,RencontresInternationales De La Photographie,Arles,France,1988;"Contemporary Photographic Art from the People's Republic of China",Neuer Berliner Kunstverein,Berlin,Germany,1997;"Guangzhou Station:Contemporary Art in Guangdong",Guangdong Museum of Art,Guangzhou,China,2008;"Portrait of the Times:30 Years of Chinese Contemporary Art",Power Station of Art,Shanghai,China,2013.

Greg Girard

Greg Girard(b.1955) is a Canadian photographer whose work has examined the social and physical transformations in Asia's largest cities for more than three decades.Central to his practice is the presentation of work in book form.City of Darkness Revisited,is the most thorough photographic record of Hong Kong’s infamous Kowloon Walled City.Released in 2014,it revives an early collaboration with co-author Ian Lambot,and updates their original book City of Darkness:Life in Kowloon Walled City (1993).
While based in Shanghai between 1998 and 2011 he published Phantom Shanghai (2007),which explores the rapid and at times violent transition of Shanghai as the city raced to modernize at the beginning of the 21st Century.Girard's work is in the collection of National Gallery of Canada,The Art Gallery of Ontario,Vancouver Art Gallery,M + Hong Kong,and other public and private institutions.
Greg Girard held a series of solo exhibitions,such as "A Better Tomorrow",Monte Clark Gallery,Vancouver,Canada,2013;"Richmond-Kowloon",Richmond Art Gallery,Richmond,Canada,2015;"Under Vancouver 1972-1982",Monte Clark Gallery,Vancouver,Canada,2017;He also participated in many group exhibitions,such as "Shanghai Kaleidoscope",Royal Ontario Museum,Toronto,Canada,2008;"Perspectives";International Centre of Photography,New York,USA,2012;"Pictures From Here";Vancouver Art Gallery,Vancouver,Canada,2017.

MAP Office (Laurent Gutierrez & Valérie Portefaix)

MAP Office is a multidisciplinary platform devised by Laurent Gutierrez (1966,Casablanca,Morocco) and Valérie Portefaix (1969,Saint-Étienne,France).This duo of artists/architects has been based in Hong Kong since 1996,working on physical and imaginary territories using varied means of expression including drawing,photography,video,installations,performance,and literary and theoretical texts.
MAP Office held a series of solo exhibitions,such as "Moving sideways",Tang Gallery,Hong Kong,China,2010;"Runscape Berlin",Goethe Institut,Hong Kong,China,2013;"The Oven of Straw",UCCA,Beijing,China,2013;"Tracking Baudelaire",Shanghai Gallery of Art,Shanghai,China,2013;"Islands,Archipelagos and other Liquid Territories",DIA Projects,Ho Chi Minh City,Vietnam,2015.Map Office also participated in many group exhibitions,such as "2nd Guangzhou Triennial",Guangdong Museum of Art,Guangzhou,China,2005;"Uneven Growth",MoMA,New York,USA,2014;"Witte de With:'Art In The Age Of...Energy and Raw Material'",Rotterdam,The Netherland,2015;"6th Singapore Biennale",Singapore Art Museum,Singapore,2016;"6th Yokohama Triennale",Yokohama Museum of Art,Yokohama,Japan,2017.

Chen Shaoxiong

Chen Shaoxiong (1962-2016) was a native of Shantou,Guangdong.With a major of print making,he graduated from the Guangzhou Academy of Fine Arts in 1984.He founded a modern art creative group,the "Big Tail Elephant Group",and later he set up an international group named "Xijing Men"in 2007.In 2013,he was awarded the Rockefeller Bellagio of Creative Arts Fellows Sort.He succumbed to a disease in Beijing in 2016.
Chen's work has been exhibited in numerous solo and group exhibitions domestically and internationally.His solo exhibitions include "Prepared:Strategies for Activists",Spencer Museum of Art,University of Kansas,Lawrence,USA,2012;"Chen Shaoxiong:Ink,History,Media",Seattle Art Museum,Seattle,USA,2014;"Prepared",Power Station of Art,Shanghai,China,2016.His group exhibitions comprise of "the 2nd Guangzhou Triennial:BEYOND - an Extraordinary Space of Experimentation for Modernization",Guangdong Museum of Art,Guangzhou,China,2005;"the 10th Lyon Biennale –The Spectacle of the Everyday",Lyon,France,2009;"Ink Art:Past and Present in Contemporary China",Metropolitan Museum of Art,New York,USA,2013;"the Cultural Capital of East Asia 2017 Kyoto:Asian Gallery Modern Art Exhibition",Kyoto,Japan,2017.His works have been collected by several art institutions including MoMA,Victoria and Albert Museum ,Kunst Halle Bern,Guangdong Museum of Art,and M+ Museum of Art.

Liang Juhui

Liang Juhui (1959–2006) was a Cantonese who had devoted himself to modern art since the 1980s,the time when he became a member of Southern Artists Salon.In 1990,he formed a modern art creative group,"Big Tail Elephant Group",with Chen Shaoxiong and Lin Yilin.He graduated from Guangzhou Academy of Fine Arts in 1992.Liang died of an illness in Guangzhou in May,2006.
Listed below are the main exhibitions Liang attended:"Southern Artists Salon First Experimental Show",Sun Yat-sen University,Guangzhou,China,1986;"New Asia,New City,New Art 97",Chinese-Korean Contemporary Art Exhibition,Changning Culture and Art Center,Shanghai,China,1997;"Breach",the Hong Kong Polytechnic University,Hong Kong,China,1998;"Virtual Future:An Exhibition of Chinese Contemporary Art",Guangdong Museum of Art,Guangzhou,China,2001;"Pause,the 4th Gwangju Biennale",Gwangju,South Korea,2002;"Reinterpretation:A Decade of Experimental Chinese Art(1990-2000) - The 1st Guangzhou Triennial",Guangdong Museum of Art,Guangzhou,China,2002;"Zone of Urgency,the 50th Biennale di Venezia,Venice",Venice,Italy,2003;"BEYOND:an Extraordinary Space of Experimentation for Modernization - the 2nd Guangzhou Triennial",Guangdong Museum of Art,Guangzhou,China,2005;"Guangzhou:Cantonese Artists in the Sigg Collection",Kunstmuseum Bern,Kunstmuseum,Swiss,2006.

Cao Fei

Cao Fei,born in Guangzhou in 1978,currently lives and works in Beijing.
Cao Fei is one of the most innovative Chinese young artists to have emerged on the international scene.She mixes social commentary,popular aesthetics,references to surrealism,and documentary conventions in her films and installations.Her works reflect on the rapid and chaotic changes that are occurring in Chinese society today.Previous works of Cao Fei had participated in a number of international exhibitions including Shanghai Biennale,Moscow Biennale,Taipei Biennale,the 15th & 17th Biennale of Sydney,Istanbul Biennale,Yokohama Triennale,and the 50th,52nd & 56th Venice Biennale.She also exhibited her works and projects in Serpentine Gallery,Tate Modern;New Museum (New York),Guggenheim Museum,MoMA;Palais de Tokyo and Centre Pompidou .Her recent projects include her first retrospective at MoMA PS1 and BMW Art Car #18.Cao Fei was a nominee for the Hugo Boss Prize 2010.She recieved the Best Young Artist Award of the Chinese contemporary Art Award (CCAA) in 2006. 


Qiu was born in Pingyuan,Guangdong in 1974.He currently works and lives in Guangzhou,China.
Qiu participated in many group exhibitions,such as "Humanism in China - A Contemporary Record of Photography",Guangdong Museum of Art,Guangzhou,China,2003;"Asian photography Ⅳ - where are you heading? Mother China",Japan,2004;"2005 Guangzhou Photo Biennial",Guangdong Museum of Art,Guangzhou,China,2005;"Sleepwalker-Qiu,Rencontres d'Arles",Arles,France,2007;"Outward Expressions",Three Shadows Photography Art Centre,Beijing,China,2008,"Daegu Photo Biennale 2008",Daegu,South Korea,2008;"International Arts Festival Europalia China",Brussels,Belgium,2009;"Inner Ear",UCCA,Beijing,China,2011;"The 1st Beijing Photo Bienniale",The China Millennium Monument,Beijing,China,2013;"Chinese Photography:Twentieth Century and Beyond",Three Shadows Photography Art Centre,Beijing,China,2015;"Jimei×Arles International Photo Festival",Xiamen,China,2016.

Daniel Traub & Wu Yongfu & Zeng Xianfang

Daniel Traub,born in 1971,is a New York-based photographer and filmmaker,originally from Philadelphia.Traub,whose mother is Chinese,lived in China from 1998 to 2007,working as a cinematographer on documentary films.He was also engaged in long-term photographic projects,including "Simplified Characters",a series of street pictures that explore the vast changes at the beginning of the 21st century in urban China,as well as the series "Peripheries",which looks at the landscape at the outskirts of several major Chinese cities.His photographs have been exhibited internationally,including solo exhibitions at the Catherine Edelman Gallery in Chicago,Slought Foundation in Philadelphia and the Lianzhou photo festival in China.His work can be found in public and private collections,such as the Margulies Collection at the WAREHOUSE and the San Francisco Museum of Modern Art.His work has also appeared in publications including Aperture ,European Photography and The New York Times Magazine .He has published two monographs with Kehrer Verlag:North Philadelphia (2014) and Little North Road (2015).
Wu Yongfu,born in 1979,has lived in Guangzhou since 2003.Originally from Jiangxi Province,he left his home in search of opportunity.After working for some years in the aluminum industry,he began to make a living taking souvenir photographs for tourists in Zhongxin Square.From 2009 to 2011,he applied his photographic skills to making portrait mementos for many Africans and other passersby who commissioned his work in the Little North Road area.While he no longer takes photographs,he continues to live and work in Yuexiu District.His son and ex-wife now live in Hunan Province.
Zeng Xianfang,born in 1980,has lived in Guangzhou with his wife,two children and extended family since 2009.Originally from Hunan Province,he migrated to Guangzhou in search of work.He learned to make photographs and,together with his wife,began producing portraits.He worked on the pedestrian bridge in the Little North Road area from late 2009 to the summer of 2015.Together with his family,he continues to live and work in the vicinity.
  • The Flow of a Melting Contour in One Day , video, 17'00, 2015-2016.jpg
  • When Left Eye Encounters Right Eye , installation (mixed media), 39cm×16cm×9cm, 2015.jpg
  • The Wavelength is Around 500nm , installation (canvas, toughened glass, brushed stainless stee l, inkjet printing paper), 240cm×120cm×4, 2017.jpg
  • Transmission and Focus 016, installation (toughened glass), 120cm×100cm×4, 2016.jpg
  • Transmission and Focus 015, installation (toughened glass), 120cm×100cm×5, 2016.jpg
  • 27 ×18% , image installation (LED, horn, slide, camera len, single-chip microcomputer, adapter), variable size, 2009-2010.jpg
  • 27 ×18% , image installation (LED, horn, slide, camera len, single-chip microcomputer, adapter), variable size1, 2009-2010.jpg
  • When to Leave 1 , photography (silver halide, collodion, acrylic), 160cm×110cm, 2015.jpg
  • When to Leave 2 , photography (silver halide, collodion, acrylic), 160cm×110cm, 2015.jpg
  • When to Leave 3 , photography (silver halide, collodion, acrylic), 110cm×77cm, 2015.jpg
  • When to Leave 4 , photography (silver halide, collodion, acrylic), 110cm×77cm, 2015.jpg
  • When to Leave 6 , photography (silver halide, collodion, acrylic), 110cm×77cm, 2015.jpg
  • When to Leave 8 , photography (silver halide, collodion, acrylic), 110cm×77cm, 2015.jpg
  • When to Leave 9 , photography (silver halide, collodion, acrylic), 110cm×77cm, 2015.jpg
  • When to Leave 11 , photography (silver halide, collodion, acrylic), 110cm×77cm, 2015.jpg
  • Excavated Fish-9 , potography (silver print, sole plate), 26cm ×31cm, 2016.jpg
  • Remains 3 , potography(silver print, sole plate), 62cm×51cm, 2016.jpg
  • Remains 4 , potography (silver print, sole plate), 30cm ×26cm, 2016.jpg
  • Remains 6 , potography (silver print, sole plate), 62cm ×102cm, 2016.jpg
  • 2013-05-14 1415 Cloudless , photography (silver-film, natural light exposure for 8'), 10 9.9cm×136.8cm, 2013.jpg
  • 2013-06-27 1515 Rain , photography (silver-film, natural light exposure for 48'), 1 36.8cm×109.9cm, 2013.jpg
  • 2013-10-23 1220 Cloudy , photography (silver-film, natural light exposure for 12'), 13 6.8cm×109.9cm, 2013.jpg
  • 2014-09-28 09 54 Cloudy , photography (silver-film, natural light exposure for 12'30), 109.9cm×136.8cm, 2014.jpg
  • 13 Door Viewer Sample Units from A&H Brass , photography (digital print), 69.96cm×48.77cm, 2015.jpg
  • Adaptation of a Slide Projector into a Camera , photography (digital print), 60.96cm×76.2cm, 2015.jpg
  • Adaptation of a Time Measuring Device into a Photographic Appar atus , photography (digital print), 76.2cm×95.25cm, 2015.jpg
  • Glass Sphere Negative 17 , photography (digital print), 48.77cm×60.96cm, 2015.jpg
  • Glass Sphere Negative 17, Re-photographed by Modified Ektapro 9 020 Cine , photography (digital print), 40.64cm×50.8cm, 2015.jpg
  • Range of Masters of Photography-Adams , phptograpgy (grunge, intensepeach, popart, splitscreen and lightleak, C-print), variable size, 2014.jpg
  • Range of Masters of Photography-Adams , phptograpgy (summer glow, split screen and lightleak, C-print ), variable size, 2014.jpg
  • Range of Masters of Photography-Weston , photography (35mm medium format, vintage instant 5, lightleak, C-print), variable size, 2014.jpg
  • Range of Masters of Photography-Weston , photography (blueplastic, popart, lightleak, C-print), variable size, 2014.jpg
  • Range of Masters of Photography-Weston , photography (calotype sepiapale oyster2 grungescratch, splits creen, lightleak, C-print), variable size, 2014.jpg
  • Chuan Zhi , three channel video, 25'50, 2017.jpg
  • Chuan Zhi , three channel video, 25'50, 2017(2).jpg
  • Shan Gui , photography (black and white digital print on silk), 17.7cm ×416cm, 2015.jpg
  • On the Edge of the Bridge , photography (ultra giclee print, beech frame), 54cm x 130cm x 3.4cm, 2017.jpg
  • Three Special Bamboos , photography (ultra giclee print, patterned glass, beech frame ), 68.4cm ×108cm ×7.3cm, 2017.jpg
  • Made in TaiWan , photography (ultra giclee print, cut version), 60cm ×90cm, 2017.jpg
  • A Tree , image installation (silver gelatin printed photo, wooden box) , 40cm ×30cm, 2016.jpg
  • Hanging , image installation (silver gelatin printed photo, string, nai l), 126cm ×63cm, 2016.jpg
  • Moved Moon , image installation (silver gelatin printed photo), 50cm ×55cm, 2016.jpg
  • Spring , image installation (silver gelatin printed photo, camera len) , 48cm ×54cm, 2016.jpg
  • Xian , image installation (handmade book, vintage prints), 25.5 ×40.5cm, 2016.jpg
  • Xian , image installation (handmade book, vintage prints), 25.5cm ×40.5cm, 2016(2).jpg
  • Xian , image installation (handmade book, vintage prints), 25.5cm ×40.5cm, 2016(3).jpg
  • Xian , image installation (handmade book, vintage prints), 25.5cm ×40.5cm, 2016(4).jpg
  • No More, No Less , image installation (silver print), 24cm x 18cm, 2017(1).jpg
  • No More, No Less , image installation (silver print), 24cm x 18cm, 2017(2).jpg
  • No More, No Less , image installation (silver print), 24cm x 18cm, 2017(3).jpg
  • No More, No Less , image installation (silver print), 24cm x 18cm, 2017(4).jpg
  • No More, No Less , image installation (silver print), 24cm x 18cm, 2017(5).jpg
  • No More, No Less , image installation (silver print), 24cm x 18cm, 2017(6).jpg
  • YANOA ,video installation (screen of 180cm×320cm), 2005 (2).jpg
  • YANOA ,video installation (screen of 180cm×320cm), 2005 (3).jpg
  • YANOA ,video installation (screen of 180cm×320cm), 2005.jpg
  • 《URAITZ:Ihesa》,摄影装置(矿物颜料,照片),40cms×60cms,2017.jpg
  • 《小屋》,选自《URAITZ》,摄影(矿物颜料,混合媒材),40cms×60cms, 2017.jpg
  • 《URAITZ:Talka》,摄影(矿物颜料,混合媒材),100cms×150cms,2017.jpg
  • 《URAITZ》,摄影(印于棉纸),35cms×35cms×8, 2015 -2016.jpg
  • Rope of the Dead, video (HD, 169) , 06'31'', 2015.jpg
  • Rope of the Dead, video (HD, 16 9) , 06'31'', 2015.jpg
  • Ayahuasca Cielo, image installation (gelatin silver print on ilford FB matt paper intervened with acrylic and shellac gum inks recovered wood frames), 197.5 cm x 120 cm, 2016.jpg
  • Chiric Sanango, image installation (gelatin silver print on ilford FB matt paper intervened with acrylic and shellac gum inks recovered wood frames), 40cm×50cm, 2016.jpg
  • Chiric Sanango, image installation (gelatin silver print on ilford FB matt paper intervened with acrylic and shellac gum inks recovered wood frames), 50cm×40cm, 2016 (2).jpg
  • Chiric Sanango, image installation (gelatin silver print on ilford FB matt paper intervened with acrylic and shellac gum inks recovered wood frames), 50cm×40cm, 2016.jpg
  • Painted by God (Portion), installation, 2009-2010.jpg
  • Painted by God , installation (aluminum, steel ), 75cm×105cm×7.5cm, 2008.jpg
  • Painted by God , installation (aluminum, steel), 105cm×75cm ×7.5cm, 2008.jpg
  • Cloud , photography (inkjet print), 100cm×150cm, 2013, Collection of SFMOMA.jpg
  • Untitled , from Site , photography (inkjet print), 100cm×150cm, 2012, Collection of Museum Fine Arts, Boston and SFMOMA.jpg
  • Untitled , from Site , photography (inkjet print), 150cm×100 cm, 2012, amana collection (JP).jpg
  • Untitled , from SiteCloud , photography (inkjet print), 74cm×100cm, 2012, courtesy of GP Gallery, Tokyo, Japan.jpg
  • NEW YORK, photography, 1993.jpg
  • Aokigahara , photography, 2016.jpg
  • Frontline , photography, 2016.jpg
  • Values Training Enzo Yakovlev Volcano , multiple channel video (color HD stereo), 40 , 2013.jpg
  • Values Training Physiotherapy , multiple channel video (color HD stereo), 03'07, 2013.jpg
  • Values Training Self Entertainment , multiple channel video (color HD stereo), 17 ,2013.jpg
  • Values Training The Night Already Past, the Little While We Last, multiple channel video (color HD stereo), 01'00 , 2013.jpg
  • Values Training You Can't Walk Through the Same Woods Repeatedly, multiple channel video (color HD stereo), 01'00, 2013.jpg
  • Inertia , production shot.jpg
  • Inertia , video (HD), 04'20'', 2011(1).jpg
  • Inertia , video (HD), 04'20'', 2011(2).jpg
  • Inertia 1 , photography ( C-print ), 110cm × 127cm, 2012.jpg
  • Inertia 3 , photography ( C-print ), 127cm×190cm, 2012.jpg
  • The Mechanicals I , photography (lightjet print), 168cm×200cm, 2016.jpg
  • The Mechanicals I-III , photography (lightjet print), 168cm×200cm, 2016 (2).jpg
  • The Mechanicals I-III , photography (lightjet print), 168cm×200cm, 2016.jpg
  • Dark Addiction 1H14'16 , photography (C-print, framed by aluminum composite panel), 178cm×300cm, 2013.jpg
  • Dark Addiction 17'33 , photography (archival inkjet print, framed by aluminum composite panel), 192cm×153cm, 2013.jpg
  • Dark Addiction 22H14'08 , photography (C-print, framed by aluminum composite panel), 223cm x 178cm, 2013.jpg
  • Dark Addiction 55'36 , photography (archival inkjet print, framed by aluminum composite panel), 120cm×150cm, 2013.jpg
  • City 1 , photo collage, 120cm×230cm, 2017.jpg
  • Green House 1 , photo collage, 120cm×120cm, 2017.jpg
  • Park2 , photo collage, 166cm×120cm×3, 2017.jpg
  • Story of Space Cheap Hotel , photography (digital print), 86.5cm×118cm, 2007-2008.jpg
  • Story of Space Church , photography (digital print), 86.5cm×118cm, 2007-2008.jpg
  • Story of Space Laundry Room , photography (digital print), 86.5cm×118cm, 2007-2008.jpg
  • Story of Space My Grandma's Living Room No.1 , photography (digital print), 86.5cm×118cm, 2007-2008.jpg
  • Story of Space Shoe Shop , photography (digital print), 86.5cm×118cm, 2007-2008.jpg
  • Gold and Iron , Yanacocha, Peru, 07Jul 2005, photography (printed on Canson Baryta 310g),320cm×150cm,2016.jpg
  • Lithium , Salar de Atacama, Argentina, 04 Nov 2010, photography (printed on Canson Baryta 310g), 320cm×150cm, 2016, Museum Caraffa collection, Cordoba.jpg
  • Oil , 38° 4'8.34S, 67° 49'16. 56O, 14 Jan 2012, photography (printed on Canson Baryta 310g), 320cm×150cm, 2015.jpg
  • Oil , 45° 52'5.13S, 67° 52'5. 29O, 17 Oct 203, photography (printed on Canson Baryta 310g),320cm×150cm,2015.jpg
  • Soy , Santiago del Estero, Argentina, 30 Dec 2016, photography (printed on Canson Baryta 310g),320cm×150cm,2016.jpg
  • Casa Canoas , photography (C-print mouted on Diasec), 180cm×233cm, 2016.jpg
  • DAEGU Photo Bienalle 2014, exhibition space.jpg
  • TABATIOCA , photography (inkjet print mounted on Zeiss Museum glass), 2009.jpg
  • He Traveled on an Island, photography (inkjet print on Washi paper HOSOKAWA 50g, Natural Color), 61cm×91cm, 2016(1).jpg
  • He Traveled on an Island, photography (inkjet print on Washi paper HOSOKAWA 50g, Natural Color), 61cm×91cm, 2016(2).jpg
  • He Traveled on an Island, photography ( inkjet print on Washi paper HOSOKAWA 50g, Natural Color ), variable size, 2016.jpg
  • Untittled , photography ( printed on cotton paper ), 90cm×60cm, 2014.jpg
  • TARANTELLA , photography (archival inkjet print), 145.6cm×103cm, 2017 (2).jpg
  • TARANTELLA , photography (archival inkjet print), 145.6cm×103cm, 2017 (3).jpg
  • TARANTELLA , photography (archival inkjet print), 145.6cm×103cm, 2017.jpg
  • Faded Looks 2 , photography (archival inkjet print), 200cm×150cm, 2016-2017.jpg
  • Faded Looks 4 , photography (archival inkjet print), 200cm×150cm, 2016-2017.jpg
  • Faded Looks 12 , photography (archival inkjet print), 200cm×150cm, 2016-2017.jpg
  • Joint Images , video (multi-screen video), 14'27, 2016(1).jpg
  • Joint Images , video (multi-screen video), 14'27, 2016(2).jpg
  • Joint Images , video (multi-screen video), 14'27, 2016(3).jpg
  • Joint Images , video (multi-screen video), 14'27, 2016(4).jpg
  • Joint Images , video (multi-screen video), 14'27, 2016.jpg
  • Trouble , installation shot.jpg
  • Trouble 17031 , image installation (LED display module, LED display control card, iron plate), 230.4cm×25.6cm×8.5cm, 2017.jpg
  • Trouble 17032 , image installation (LED display module, LED display control card, iron plate), 102.4cm×38.4cm×8.5cm, 2017.jpg
  • Trouble 17033 , image installation (LED display module, LED display control card, iron plate), 48cm×80cm×8.5cm, 2017.jpg
  • Wonderful 2017 , photograpgy (archival inkjet print), 100cm×100cm, 2017.jpg
  • How to die, HD giclee, variable size, 2016.jpg
  • All kinds of misinterpretation , HD giclee,variable size, 2016.jpg
  • A Therapy Related to Your Inner Spirit , single channel, 12'53, 2017.jpg
  • Maximum Deserves Uniqueness 7 01 , photography, 210cm×150cm, 2009.jpg
  • Maximum Deserves Uniqueness 7 02 , photography, 210cm×150cm, 2009.jpg
  • Maximum Deserves Uniqueness 7 06 , photography, 210cm×150cm, 2009.jpg
  • Maximum Deserves Uniqueness 7 09 , photography, 210cm×150cm, 2009.jpg
  • Images Carrier 01, light box installation (mixed media), 200cm×150cm×10cm, 2015.jpg
  • Images Carrier 02 , light box installation (mixed media), 200cm×150cm×10cm, 2015.jpg
  • Images Carrier 03 , light box installation (mixed media), 200cm×150cm×10cm, 2015.jpg
  • Images Carrier 04, light box installation (mixed media), 200cm×150cm×10cm, 2015.jpg
  • Background , screen shot (giclee print), variable size, 2015, courtesy of BANK MABSOCIETY.jpg
  • Ghost , performance video, 0'54, 2013, courtesy of Gallery Yang.jpg
  • Jesus , screen shot (giclee print), 80cm×80cm, 2015, courtesy of BANK MABSOCIETY.jpg
  • What is the Time , photography (giclee print), 250cm×188cm, 2016, courtesy of BANK MABSOCIETY.jpg
  • Photo of Banana , photography (C-print), 50.8cm×76.2cm, 2015.jpg
  • Photo of Building , photography (C-print), 76.2cm×50.8cm, 2015.jpg
  • Photo of Sand , photography (C-print), 101.6cm×68.6cm, 2015.jpg
  • Photo of the Universe II , photography (C-print), 76.2cm×50.8cm, 2015.jpg
  • Portraits of 2012 , image (single channel video), 22'09, 2012.jpg
  • Portraits of 2012 , image (single channel video), 22'09, 2012 (2).jpg
  • Yumen (portion), installation, variable size, 2006-2009 (2).jpg
  • Yumen (portion), installation, variable size, 2006-2009 (3).jpg
  • Yumen (portion), installation, variable size, 2006-2009.jpg
  • Iphot (portion), installation, variable size, 2006-2009 (2).jpg
  • Iphot (portion), installation, variable size, 2006-2009 (3).jpg
  • Iphot (portion), installation, variable size, 2006-2009 (4).jpg
  • Iphot (portion), installation, variable size, 2006-2009.jpg
  • Blue Window, Two Roses (portion), installation shot, 2016.jpg
  • Heading towards the Whole World within One Stop 1 (portion), image installation (archival pigment print), 76cm×51cm, 2016.jpg
  • Ideal Life 5 (portion), photography (archival pigment print), 30.5cm×46cm, 2016,.jpg
  • Living in Trendy Acient Castles, Being Leaders of the City 1 (portion), photography (archival pigment print), 45cm×45cm, 2016.jpg
  • Photos Taken When Miracles Happened (portion), image installation (digital prints, foam board), 150cm×130cm, 130cm×110cm, 2016.jpg
  • A Two Bedroom Place NO. 1, painting installation, 366cm×264cm×200cm, 2007-2009.jpg
  • A Two Bedroom Place NO. 2, painting installation, 366cm×264cm×200cm, 2007-2009.jpg
  • A Two Bedroom Place NO. 5, painting installation, 366cm×264cm×200cm, 2007-2009.jpg
  • A Two Bedroom Place NO.3 , painting installation, 244cm×164cm×200cm, 2007-2009.jpg
  • In-Between Obiect and Shadow-solo exhibition of Jiang Ji'an, painting installation of A Two Bedroom Place , Asia Art Center.jpg
  • An Expansion of Kobo Abe's The Red Cocoon, Experiment II , image installation (archival pigmented inkjet prints), 70cm×100cm×4 cm, 2016.jpg
  • The Only Question is How to Endure (portion), image installation (metal shelf, archival pigmented inkjet prints mounted on diabond and glass), 180cm×180cm×10cm, 2017.jpg
  • Towards Evenings Clock , installation (engraved brass, LED lightbulb), diameter 46.8cm, thickness 10 cm, 2017.jpg
  • Fruit Lake2 , photography (multiple channel video, the length variable), variable size, 2013-2017 (2).jpg
  • Fruit Lake2 , photography (multiple channel video, the length variable), variable size, 2013-2017 (3).jpg
  • Fruit Lake2 , photography (multiple channel video, the length variable), variable size, 2013-2017.jpg
  • A Bridge , Pear River, China, photography (wet plate collodion), 1870-18 71.jpg
  • A Canton Junk , photography (wet plate collodion), date unavailable.jpg
  • Entrance to Village , China, photography (wet plate collodion), 1868-1870.jpg
  • North Branch , Pearl River, China, photography (wet plate collodion), 1870.jpg
  • Ruin of Church , Macao, China, photography (wet plate collodion), 1870-1872.jpg
  • The Peak , Hongkong, China, photography (wet plate collodion), 1868-1871.jpg
  • Boat, Huangpu, Guangzhou , photography (albumen print), 21cm×27cm, 1870-1880.jpg
  • Street Pedlar , photography (albumen print), 21cm×27cm,1870-1880.jpg
  • The Barber , photography (albumen print), 24cm×17cm,1870-1880.jpg
  • The Officer , photography (albumen print), 27cm×21cm,1870-1880.jpg
  • The Suburb of Guangzhou , photography (albumen print), 20cm×26cm, 1870-1880.jpg
  • Bethune was Sunbathing , photography, 41cm×40cm, 1939.jpg
  • Lu Xun at the Second National Woodcut Exhibition (Shanghai Baxi anqiao youth annual conference) , photography, 34.8cm×22cm,1936.jpg
  • The Battle is at the Ancient Great Wall , photography, 33cm×51cm, 1938.jpg
  • The Militiamen Fought with the Army , photography, 35cm×51cm, date unavailable.jpg
  • Trumpet Call , photography, 51cm×35cm, date unavailable.jpg
  • Hall of Wuliang, Temple of Linggu , Nanking, photography (gelatin silver print), 1920s.jpg
  • Heritage Building of Nanking , photography (gelatin silver print), 1920s.jpg
  • Nanking Central University Hall , photography (gelatin silver print), 1920s.jpg
  • Sweep Leaf Building of Nanking , photography (gelatin silver print), 1920s.jpg
  • Yunnan Xi Temple , photography (gelatin silver print), 1920s.jpg
  • Down, photography (gelatin silver print), 1962.jpg
  • HK Yesterday – Controversy , photography (gelatin silver print), 1956.jpg
  • HK Yesterday - Her-Study , photography (gelatin silver print), 1963.jpg
  • Private , photography (gelatin silver print),.jpg
  • Serenity , photography (gelatin silver print), 1964.jpg
  • World Upside Down , photography (gelatin silver print), 1960.jpg
  • Burning-wood by Zhang Side , colour photography, 1960s.jpg
  • Guangzhou Garden , photography, 100cm×100cm×4,1968 (2).jpg
  • Guangzhou Garden , photography, 100cm×100cm×4,1968 (3).jpg
  • Guangzhou Garden , photography, 100cm×100cm×4,1968 (4).jpg
  • Guangzhou Garden , photography, 100cm×100cm×4,1968.jpg
  • Learning Chairman Mao's Quotation , colour photography,80cm×80cm,about1965.jpg
  • The African People's Awakening , colour photography, 80cm×80cm,1965.jpg
  • The Red Army Cross The Snow Montain , colour photography, 1960s.jpg
  • A Single Man Living in NewYork, USA , photography (resin-coated), 21cm×21cm, 1978.jpg
  • Chinese American Girl Watching Disney Animation , photography (resin-coated), 21cm×21cm,1975.jpg
  • Chinese Cuban , photography (giclee print), 2009-2017 (2).jpg
  • Chinese Cuban , photography (giclee print), 2009-2017 (3).jpg
  • Chinese Cuban , photography (giclee print), 2009-2017 (4).jpg
  • Chinese Cuban , photography (giclee print), 2009-2017.jpg
  • Owner of Chinese Restaurant and a Status of Kuan Im , photography (resin-coated), 21cm×21cm, 1976.jpg
  • The Corner of Uncle Lam's Home , photography (resin-coated), 21cm×21cm, 1976.jpg
  • Donghaochong, Guangzhou , photography (high resolution gallery quality ink jet on fine art paper), 40cm×60cm, 1986.jpg
  • Guangzhou , photography (high resolution gallery quality ink jet on fine art paper), 33.33cm×50cm, 1987.jpg
  • Shamian Island, Guangzhou , photography (high resolution gallery quality ink jet on fine art paper), 50cm×33.33cm, 1987.jpg
  • Kawloon Walled City Temple, photography,giclee print,1987~1992.jpg
  • Kowloon , photography, (giclee print), 1987-1992.jpg
  • Roottop, Plane , photography, (giclee print), 1987-1992.jpg
  • Storytelling in the Rooftop , photography, (giclee print), 1987-1992.jpg
  • Walled City , photography (giclee print), 1987-1992.jpg
  • My PRD Archives (1995-2005) (2).jpg
  • My PRD Archives (1995-2005), photography, 2017.jpg
  • My PRD Archives (1995-2005).jpg
  • PRD Lean Planning, Thin Pattern.jpg
  • Street View 2005 (The 4th Avenue) photo collage, 35cm×1000cm, 2005.jpg
  • Street View Dong Shankou , photography, 85cm×128cm, 1999.jpg
  • Street View Zhongtian Plaza , photography, 85cm×128cm, 1999.jpg
  • Cit y (portion), image installation (projector, loudspeaker, transparent light s heet, wood construction), 300cm×180cm×650cm, 2002 (2).jpg
  • Cit y (portion), image installation (projector, loudspeaker, transparent light s heet, wood construction), 300cm×180cm×650cm, 2002 (3).jpg
  • Cit y (portion), image installation (projector, loudspeaker, transparent light s heet, wood construction), 300cm×180cm×650cm, 2002 (4).jpg
  • Cit y (portion), image installation (projector, loudspeaker, transparent light s heet, wood construction), 300cm×180cm×650cm, 2002 (5).jpg
  • Cit y (portion), image installation (projector, loudspeaker, transparent light s heet, wood construction), 300cm×180cm×650cm, 2002.jpg
  • City, image installation (projector, loudspeaker, transparent light sheet, wood construction), 300cm×180cm×650cm, 2002.jpg
  • La Town Sales Center , photography, (C-print), 80cm×120cm,2014.jpg
  • La Town Train Station , photography, (C-print), 70cm×130cm,2014.jpg
  • My Future is Not a Dream 03 , photograph, (C-print), 120cm×150cm,2006.jpg
  • My Future is Not a Dream 05 , photograph, (C-print), 120cm×150cm,2006.jpg
  • Splendid River 03 , photography (C-print), 65cm×100cm,2015.jpg
  • Datang Guangzhou , photography (gelatin silver print), 40cm×40cm, 2010.jpg
  • Enning Road 03 , image installation (porcelain picture, old pieces of Enning R oad, bronze art), 19cm×5cm×50cm, 2016.jpg
  • Guangdong, photography, (gelatin silver print), 92cm×125cm,2003.jpg
  • Jinsheng Cinema , image installation (porcelain picture, old pieces of Enning R oad, bronze art), 19cm×5cm×50cm,2016.jpg
  • Zhongcun Panyu , photography, (gelatin silver print), 40cm×40cm, 2010.jpg
  • LITTLE NORTH ROAD Man in Yellow , photography, (archival pigment print), 25.4cm×35.56cm, 2009.jpg
  • LITTLE NORTH ROAD Man with Long Coat , photography (archival pigment print), 25.4cm×35.56cm, 2012.jpg
  • LITTLE NORTH ROAD Two Women in Hooded Suits ,photography (archival pigment print), 25.4cm×35.56cm, 2011.jpg
  • LITTLE NORTH ROAD Woman in Brown and Green , photography (archival pigment print), 25.4cm×35.56cm, 2009.jpg
  • LITTLE NORTH ROAD Woman in Lavender , photography (archival pigment print), 25.4cm×35.56cm, 2010.jpg
  • LITTLE NORTH ROAD Woman under the little north road Pedestrian Bridge , photography archival pigment print,25.4cm×35.56cm, 2012.jpg