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2010 Fall Limited Edition
preface
本期介绍的年轻艺术家是Pixy,
也不属于什么系列。有些影像，放
Liao Yijun 廖逸君。在她网上教学
在一起确实有意思，有种不可言喻
的一期课程里提到“面无表情”的
的思考。这期的影像，都是一些带
审美——“......我们对摄影师的情
着某种温和情绪的图像，既不快
绪无法了解，无法依靠摄影师的观
乐，也不悲伤，代表着某种角度的
点来了解图像的意义。那么这里摄
观察世界思维。
影的重 点，就是作为一种超越个
× 2
人的角度限制，描绘管理人为和自
人，物，景，对于我来说都是一样
然世界无形力量的观察方式。无表
的。都是一种实在的事物。有很多
情摄影可能对它所描述的对象非常
看得见摸得着的实物，过后就忘记
具体，但更主要的是在表面上的中
了；有很多事物，凭着一种向往和
立性和整体性的视点。”——或
无以到达却可以铭记于心。
多或少与本期的影像志的定位相 吻合。 有时候我很难把自己的摄影作品分
谢建鲲
类。既不好集成一个所谓的项目，
2010 8 芝加哥
In the book Cruel and Tender, Thomas Weski wrote, “ ... If, on the other hand, the photographer succeeds in penetrating more deeply into the object, then we can relish the realisation that what at first seemed familiar has been charged with additional meaning by the photographer’s perception and we can enjoy the sensation of being confronted with a form of autonomy that we recognise from the world of visual art. Photographs of this kind do not simply confirm what we already know, but instead point to some difference between the photographer’s view of reality and our own. And the finer this difference, the greater its impact on us. What we then have before us is a representation of reality that not only reports on the object question but also formulates a worldview. On this basis, it is perfectly possible to talk of the photographer as an author who, by minimally shifting the perspective on certain facts, creates a narrative that is close to ‘real’ life...” I still clearly remember my first critique class six years ago in Syracuse, when I showed the class a 23-foot-long strip of slides illuminated by fluorescence lights from the back, well framed and installed on one wall of the gallery. The slides represented a continuous scene of streets and houses from the place where I lived to the campus, the actual walking distance of which was 2.2 miles. I viewed the slides as a straightforward documentation of the empty city with endless scenes of slum houses, construction sites, empty streets and beautiful school buildings, thus I had a hard time explaining it -“Where did you feel most comfortable when you were shooting the photographs?” Somebody asked. “Under a bridge.” I answered. “Why?”
Examining the presence through photographs is always my approach to unravel the emotions behind the images. The conversations between images and viewers will raise awareness, bring forth queries, create estrangement, and even result in disinterest and disconnection, because of the diversity of knowledge, experience, culture and consciousness. I will be introducing young and emerging artists in each issue. In this first issue, we will meet Pixy (Liao, Yijun). Based in Brooklyn, New York, Pixy just finished her A-I-R (Artist In Residence) in Woodstock a month ago. One of her recent works is showcased here. For those who are interested in contributing to or being featured in the zine, please do not hesitate to send me your articles or samples of work with accompanying text. With the honor of graduating from Syracuse University, I am also introducing Lightwork A-I-R in this issue. Lightwork started the A-I-R program in 1977 and has supported over 300 artists. Jeff Hoone, Director of Lightwork, said in the recent Contact Sheet, “... This process taught us two valuable lessons. One was the importance of relying on artists to recommend other artists, and the other was that if you let artists know that their voices will be heard you can create a program of inclusion that becomes a natural rules rather than a forced exception.” The zine was created to serve as a platform to introduce young artists, whose specialized areas are not limited to photography, and to create a community therefrom for ongoing dialogues. In the meantime, I will unofficially release my own work here on a quarterly basis. With a hope of opening up conversations at the international level, the zine is in multiple languages. If you come across a language that you don’t recognize, don’t worry - image is the language without borders. Let’s start from there.
“I... don’t know, I just feel so...” “How do you like to... “ “Have you read a book by... “ “You should look at his work...” Many questions and comments were raised here and there. I felt very nervous explaining and communicating to people in a language that I didn’t feel confident expressing myself at that time. Nevertheless I survived my first critique.
Jiankun Xie August 2010 Chicago, USA
SPECIAL THANKS TO David Parker Pixy Liao, Yijun Shi, Hantao Lesley Sheng, Jie
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For more information about ordering print version of this zine, giving feedback, contributing or making donation, please visit zine.xiejiankun.com
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index 6ARTIST - Liao, Yijun 10Being 24Excerpt - The Judgment Seat of Photography
26The Bible | Part I 38Nowhere in Somewhere 48Stranger 66Essays 68F.I.Y.
COVER
Zhuhai, 2009 by Jiankun Xie
PUBLISH
www.xiejiankun.com
facebook.com/jiankun
douban.com/people/jiankun
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Yijun (Pixy) Liao was born in Shanghai in 1979. She graduated from Shanghai International Studies University in 2002. After graduation, she worked as a freelance graphic designer for three years before moving to the United States to study photography. She received her MFA from the University of Memphis in 2008. Her first solo show was at Adam Shaw Studio in Memphis. She has participated in several group shows, both in the US and in China, including: 2008 China Lianzhou International Photography Fest, 2008 China Pingyao International Photography Fest, the Latana Project’s Class of 2006 and 2007 group exhibitions. Her work was also shown in the 2007 and 2008 Annual Juried Student Exhibition at the University of Memphis and in the This and That exhibition at the University of Louisiana at Monroe. She was a Hot Shot in the 2008 second edition and won honorable mentions in the 2008 PDNedu Student Photography Contest and 28th Annual Spring Photography Contest. Her work has also been featured in the Chinese publications of Computer Arts and After 17 web magazine.
www.bloodypixy.com
Artist
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5 o’clock, walk through the forest, passing the cemetery, there he is, under the tree, hug him, now.
Yijun (Pixy) Liao
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Being Xie, Jiankun
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Chicago 2008
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Beijing 2006
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Beijing 2006
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Hongkong 2009
× 20
Zhuhai 2009
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Coney Island 2009
摄影的裁判席 节选 The Judgment Seat of Photography 克里斯多夫·菲力普斯 (Christopher Phillips)
施翰涛 翻译 (Translated by Shi, Hantao)
如果对现代美术馆1960年代初到今天的摄影展的布置做一个纵
化”的方向没有兴趣，比如说米诺·怀特（Minor White）的摄
向的考察的话，就可以看到摄影文化形象的变化之迅速。在此过
影神秘主义以及阿伦·西斯金德 （Aaron Siskind）抽象表现主
程中，人们有机会亲眼见证斯泰肯的那种亢奋的高密度的展示是
义。沙科夫斯基指出了在过去十年产生的大量照片中的“开始衰
如何变成了冷静的白色空间，作品在其间被稀疏地悬挂着。壁画
竭”的情况，并且补充到，“坦白地说，这些作品的意义简单得
尺寸的大照片缩小到了传统的比例，大小各异的照片的非规律性
几近于空白。”58
的成组展示变成了完全一致的尺寸的作品整齐地排成一行。纽霍
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尔时代的用于纯艺术作品的装裱方式——标准白卡纸，木框，以
沙科夫斯基没有像纽霍尔那样，将“高雅的”艺术摄影加以隔
及玻璃覆盖——得以重现。即便不了解约翰·沙科夫斯基担任现
离，多多少少地独立于这一媒介的日常应用之外；取而代之的
代美术馆摄影部主任期间活动的具体细节，我们也会很容易地猜
是，他尝试着把摄影从大众文化的侵蚀中作一次整体上的理论拯
想到美术馆关于摄影的“膜拜价值”的主张又重见天日并且获得
救。出于这个想法，他将摄影带上了绝对自主的道路，并希望以
了重生。57 但我们当然推测不出的是那么一种发展的程度，即那
此重新定义摄影媒介的美学特性。当时大多数对摄影史的研究依
些关于摄影的主张已经超越了美术馆的白墙，而在一个由画廊、
然遵循纽霍尔在“摄影大师”的展览中所采用的方式，它包括严
收藏家、批评家和艺术管理者所构成的迅速扩展的网络间回响，
格地溯源－传记的体裁，以及对“必定存在的天生权威”的强
并且那些角色都是专门为摄影而存在的。
调。但与此同时，沙科夫斯基则已经聪明地利用起（从斯泰肯处 继承过来的）那么一种假设，即现代美术馆的摄影部的工作可能
沙科夫斯基所组织的第一个展览是“五个不相关的摄影师”
会致力于这一具有多重性的媒介中的任何一个方面。基于机构的
（Five Unrelated Photographers，1962），它的富有特殊意
这一特点，他为摄影重新创建起一个鲜明的现代主义的美学，并
味的标题就已经显示了新的主任并不是前任的追随者，尽管他是
且通过重新书写这一媒介的“核心传统”，为此美学主张提供合
被前任亲自挑选为继任者的。而后可以越来越清楚地看到的是，
法性的支持。59
带有艺术史教育背景的沙科夫斯基对斯泰肯将摄影打造为社会工 具和“世界性的语言”的做法没有感情。相反，他还就斯泰肯将
甚至在来到现代美术馆之前，沙科夫斯基已经清晰地提出了一
摄影与大众传媒的等同化予以了美学上的反击。他在对现代新闻
个方向，而他将从这个方向为摄影去寻找一个有用的传统。在
摄影中的“图像体操”深表遗憾的同时，也对正在发生的“艺术
1958年时，他把自己作为一个摄影师的梦想与上一世纪由布莱
57 现代美术馆的档案保存了一整套从1930年代到今天的展览实际效果的照片。这一极其珍贵的记录使
60 摘自约翰·沙科夫斯基，《明尼苏达的表情》，明尼阿波利斯，明尼苏达大学，1958年。该书采用
我们可以了解在过去半个世纪中，艺术是以怎样的方式被呈现给公众的。
一张照片配一篇短文的形式，这一形式也预示了后来沙科夫斯基在现代美术馆的工作风格。而他在两年 前出版的，由古根海姆赞助的《路易斯·沙利文的构想》就已经引起了人们的注意。这本书是由他所拍
58 约翰·沙科夫斯基，《摄影与大众媒体》，《光圈》杂志，第13卷，第三期（1967年）。
摄的沙利文的建筑以及抒情短文组成的。他的照片也成为他最初得以结识纽霍尔以及斯泰肯的起因。
59 安德里亚斯·胡森（Adreas Huyssen）分别考察了现代主义和先锋艺术这两者与艺术传统各自的
61 沙科夫斯基，《摄影与大众媒体》。
关系，以此作为区分两者手段；现代主义试图用一种越来越封闭的方式来保护艺术自主的领域，而先 锋艺术则是后灵光（postauratic）时代反传统的化身。参见《找寻传统：1970年代的先锋与后现代主
62 同上。在此需要指出的是，沙科夫斯基用来支撑他的观点所例举的两个画面，只有一幅是照片（弗
义》，《New German Critique》杂志，第22期（1981年冬季），第23－40页。相应地也可参见希
朗西丝·本杰明·约翰斯顿所拍摄的一个经过精心布局的场景）。另外一幅是普桑的“阿卡迪亚的牧羊
尔顿·克莱默（Hilton Kramer）不留情面的文章《关于摄影被博物馆化的忧虑》（Anxiety about the
人”，它关系着沙科夫斯基对一个更老更重要的图像传统的关注。而最近路易·马林（Louis Marin）
Museumization of Photography），《纽约时报》1976年7月4日。在文中作者严厉批评了沙科夫斯
正是以这幅作品作为研究对象，对那个显得可疑的冥思作用以及视觉艺术中显得偏颇的“阅读的历史”
基实际上“将反艺术的激情放进了天堂。”
作了精彩的分析。马林所说的后文艺复兴的经典再现理论建立在两个基础之上，单点直线透视和假设画 面本身是直白的。但是该理论同时存在着两种矛盾的解读方式：其一画面是对物体或情景的复制或者直
迪、欧沙利文、杰克逊等人所创立的一些传统联系在了一起，他
（Poussin）和皮耶罗（Piero）的风格。”他建议到，这样的
说“我想创作的照片应该具有如下的特点，它们应该是宁静的、
照片“不仅仅是让人看的，更是适合于冥思的。”62
目的明确的、具有自然之美的，而这些特点正存在于那些优秀的 湿版照相的摄影师的作品中。”60 1967年，他来到现代美术馆 5年之后，对这个观点做了进一步阐述。在文章《摄影与大众媒
沙科夫斯基的想法是雄心勃勃的，他要在摄影自己的美学领域中
体》（Photography and Mass Media）中，他将那些19世纪
去重新塑造摄影。这样的想法并不是体现在他的某一项工作中，
摄影家的作品与媒体时代“软弱无力”而表面上富有创意的作品
而是散布在过去20年的一系列的文章之中。我想他的工作可以
作了明确的区分。他指责后者“越来越缺乏对敏锐观察的兴趣”
主要分为如下三个方向。其一，引入形式主义的语言，从理论上
，而他认为那种观察恰恰正是摄影的能力和使命所在。
说它们可以用来解释任何一张照片的视觉结构（“照片中各元素 的构成方式”）。其二，提炼出摄影画面中固有的现代主义的视
在摄影的第一个百年中，人们逐渐认识到......摄影所最擅
觉“语法”。其三，为摄影的“核心传统”确定方向，使其摆脱
长的是去描述事物：它们的形状、表面肌理、情景以及关
（已经枯竭的）斯蒂格里茨／韦斯顿的高潮现代主义（High-
系。而照片最大的长处是表达的清晰和信息的丰富。它们
Modernism）的路线，并转而从那些曾被视为艺术摄影的边缘
既可以读也可以看；它们的意义是确实的和智性的，也是
地带中寻找资源。
关系到内心的和形象化的。61 基于摄影的这么一种特性——具体的描述而没有明确的指向， 沙科夫斯基得以平静地面对即将到来的1970年代初的新闻摄 影的衰退。通过对摄影的美学角色的反复探讨，他将阿杰、 桑德（Sander）和弗朗西丝·本杰明·约翰斯顿 （Frances Benjamin Johnston）等人的实践作为不同的模式向年轻的摄 影师们推荐。它们都是“从容的、描述性的，”并且“以宁静和 稳定为基础得以构筑起来的；在这种宁静和稳定中可以看到普桑
接反映；其二画面是（某些人）对物体和情景的重新描述。正如我们将看到的，对沙科夫斯基来说，这
本文摘自顾铮《摄影.社会.空间》(【ISBN】978-7-5452-0504-6)，施翰涛翻译的《摄影的裁判席（The
两个矛盾的模式的存在正是他所说的现代主义艺术摄影中 “叙述的声音”出现的前提。参见马林的《走
Judgment Seat of Photography）》第五章。原文作者是克里斯多夫·菲力普斯（Christopher Phillips）
向视觉艺术的读解理论：普桑的“阿卡迪亚牧羊人”》（Toward a Theory of Reading in the Visual
。此书中文版《摄影.社会.空间》可在网上http://www.china-pub.com/1915238 获得更详细信息。 英文原
Arts: Poussin’s The Arcadian Shepherds），选自苏雷曼和克罗斯曼编写的《文本中的读者》
文”The Judgment Seat of Photography”出处 - http://www.jstor.org/pss/778362
（Suleiman and Crosman, ed., The Reader in theText），普林斯顿，普林斯顿大学出版社，1980 年，第293－324页。也可参考克雷格·欧文斯在《再现，挪用和权力》中的富有价值的评论（Craig
This is the Chinese version of “The Judgment Seat of Photography”, the first seven para-
Owens, Representation, Appropriation, and Power），选自《美国艺术》（Art in American）
graphs of Chapter 5, by Christopher Phillips. Translated by Shi, Hantao. The original journal was
，1982年5月，第9 - 21页。
published by The MIT Press, October, Vol. 22, (Autumn, 1982), pp. 27-63 (article consists of 37 pages) - http://www.jstor.org/pss/778362
故事是这样的—— “1898 年某一个夜晚，尼柯逊(John Nicholson)和西尔(Samuel Hill)在威 斯康辛一家旅馆相遇。当他们发现对方也是基督徒的时候，彼此乐不可支。 那天晚上他们分享了灵修的时光，然后畅谈了好一会儿。他们想，如果旅 馆 每一个房间里都放一本圣经，该是多么美好的事情。那一夜，一个美梦诞生 了！ 一年以后，尼柯逊和西尔在威斯康辛州的珍维耳市 (Janeville)又碰面了，除 此还加上了一位奈特先生(W. J. Knights)。为了要在全美各地的旅馆、汽车 旅馆放置圣经，他们组成了一个小团队。他们为团队的名字向神祷告，最后 得了启示，而以士师记六十七章为之 「基甸」(Gideon)为名。 今天，不到一百年之后，基甸国际圣经协会往全球 269 个国家省份里分赠 圣经，对象则超过了当年所锁定的旅馆和汽车旅馆。他们每七天就要送出一
× 26
百万本的新约圣经(包括诗篇和箴言)。基甸会把圣经摆在医院。监狱 和军队 里；他们也把圣经送给学生和护士。今天只要你进了世界上任何一家旅馆， 几乎部有基甸会的人先你一步进到你的房间，把圣经摆在里面供你阅读。 ” 在美国多年，几乎走遍了大半个国家。我入住汽车旅馆进房间的第一件事情 就是搜寻抽屉里是否有圣经。我曾想，会有多少人去汲取这些西方精神粮 食。想想，在凯鲁亚克或者小说中的雷·史密斯的背包里，《金刚经》换掉 了《圣经》，成了他效仿东方托钵僧云游美利坚的“LP”。无论禅宗还是耶 稣，这种陪伴我们上路的精神意义让人玩味其中。在这个宗教盛行的西方社 会，无论你是否在意或者需要，旅馆里的圣经成了无数的精神节点。我并无 意特地去阅读圣经里的任何章节，一来我并非虔诚之徒，尚未顿悟；二来， 我只想用直接的影像形式去表现表象，来研究和思考这背后的文化含义以及 影响。
谢建鲲
The Bible . Part I Xie, Jiankun
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Benton Harbor, Michigan 2009
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Las Vegas, Nevada 2008
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Cincinatti, Ohio 2009
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Claremont, Oklahoma 2008
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Chicago, Illinois 2009
Urbanism is a historical stratification. Each generation adds layers on it. People work and live within duplicated spaces, the same houses, the same apartment buildings and offices.
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Walking on the street, accessing the building, shopping, traveling, people live in a restricted world. Furthermore, the world has had many revolutions and democratic transformations. It’s a progress that people have strive for – the liberation of democracy and the freedom of life. The source of these changes is from city. Jiankun Xie
Nowhere in Somewhere
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Cincinnati 2009
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Chicago 2009
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Chicago 2009
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San Francisco 2010
× 48
Stranger Xie, Jiankun
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Shanghai 2009
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Shanghai 2009
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Kim Busse from the series ROUTE 66
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Dallen from the series ROUTE 66
× 58
Guangzhou 2006
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Guangzhou 2006
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Ronni Colwell from the series ROUTE 66
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Jerry Bowden from the series ROUTE 66
Photographers: Some useful tips David A. Parker http://www.dparkerart.com
A conversation with the excellent people at world-class vintage photo dealer Stephen Daiter Gallery this week yielded some info that may be of use to photographers working now: •
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Some artists (Paul D’Amato is one) choose to leave an open edition in a smaller print size, then limit the edition of the same image at a larger print size (edition of 10, in D’Amato’s case). This way he is able to widely distribute the smaller ones by keeping prices low, while gaining the higher price point of the scarcity factor for the larger prints. Another advantage that this gives is he can have prints available for donation to museums, charity auctions etc. without eating into the numbered edition. Other artists keep one print size, but have larger editions, stepping the pricing up from very low to much higher. Michael Kane is one example; when new works are released in editions of 50, there is a lot of market interest to get the
work at the low price. In this way he keeps buyer interest in his works. •
Artist proofs: 20% of the edition is standard (e.g. an edition of 10 numbered prints + 2 A.P. = 12 prints total)
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Printing the entire edition: some artists are loathe to print an entire edition if they do not have ready buyers, preferring instead to print on demand as the works sell so that they can save money, materials, storage space, etc. This can lead to problems with consistency across the edition, as papers, chemicals (inks, in the case of inkjet), etc. change with time. Artist Ken Josephson has a smart solution: he prints a reference standard to which he matches all subsequent prints.
Top 5 questions at the gallery receiption desk (Lesley) Sheng, Jie
5. Can you tell me more about this artist? 4. How much is that painting? 3. Can I take picture? 2. This is my portfolio, how can i have show in your gallery? and #1: (of course) WHERE IS THE BATHROOM?
FYI ARTIST-IN-RESIDENCE
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ach year Light Work invites 12-15 artists to participate in its residency program, including one artist co-sponsored by Autograph ABP. Artists selected for the residency program are invited to live in Syracuse for one month. They receive a $4,000 stipend, an apartment to stay in, a private digital studio, a private darkroom, and 24hour access to our facility. Our color-managed digital imaging lab features Macintosh workstations equipped with flatbed and film scanners. Output options include Epson 9900, 9800, and 4880 printers that can render continuous gray-scale and color prints onto a broad variety of materials. Artists use Adobe Photoshop, Illustrator, InDesign, and Macromedia Director Studio, Flash, 68 Dreamweaver, Adobe Premiere, Apple Final Cut Pro, DVD Studio Pro software packages, iLife, and more programs. In addition, our traditional lab facility can accommodate just about any black and white process from alternative processes to mural printing.
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Participants in the residency program are expected to use their month to pursue their own projects: photographing in the area, printing for a specific project or book, and so on. Artists are not obligated to teach at our facility, though we hope that the artists are friendly and accessible to local artists. Work produced by the Artists-in-Residence will also be published in Light Work’s publication Contact Sheet. All artists working in photography and related media are eligible to apply to Light Work’s Artistin-Residence program. There is no application form or deadline.. Visit www.lightwork.org
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OODSTOCK A-I-R is a workspace residency program designed to support artists of color working in the photographic arts who reside in the United States with access to time, facilities, financial, critical, and technical support. This activity is created with an emphasis on supporting artists working in the photographic arts who are at the brink of their careers and promising talent. All of us lead very busy lives – the drive for this program is to free the artist - from the busy routines and demands of everyday – and to provide a sanctuary for creativity. Visit: www.cpw.org
for the launching of their career in professional photography. Since the inception of the Photography Talent Award, Photographie.com has successfully run 40 sessions; 47 photographers won the first prize or special mention,;1000 semi-finalists and honorable mentions saw the online publication of their first professional portfolios. Photographie.com receives on average 750 portfolios each year. Starting from 2010, the Talent Award will launch its Chinese version, open to all Chinese-born photographers (including Taiwan, Hong Kong, and Macao regions) without age limit. Our aim is to discover and show contemporary works that deserve to be seen more in the West. The
AWARD/COMPETITION
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he Photography Talent Award - in China is coorganized by the influential French online photography magazine Photographie.com and the Chinese magazine Lens/Caijing. The Talent Award, created and ran by the influential web magazine Photographie.com since 1998, has been one of the most dynamic and effective springboards for emerging photographers in France. This quarterly award, juried by a prestigious panel of professionals, selects coherent portfolios from four different categories: Portraiture, Documentary/Reportage, Space/ Landscape, and Fashion. Characteristic of Photographie.com’s engagement vis-à-vis the photographic profession, the Talent Award shows its commitment to accompany and promote the works of young photographers by the attribution of awards in the form of online portfolios, professional photographic equipment, limited edition books, and highly regarded yearly exhibitions at the National Library of France (BnF – Mitterand ). These are often departure points
modality of the competition will be similar to the French Talent Award. There will be four categories: 1) Documentary/Reportage; 2) Portraiture; 3) Fashion/Studio; 4) Landscape/Space/Architecture. The jury will be composed of Chinese AND international high-caliber professionals, and the winners will have large-scale exhibitions both in China and in France. Lens/Caijing magazine is the Chinese lead sponsor of the Photography Talent Award in China and will co-organize with Photographie. com to run the competition. The Photography Talent Award is a designated China-France friendship project of the French Embassy in China, and its Chinese exhibition is also one of the key events of the Festival Croise-
ments organized by the French Embassy. Visit talentchina.photographie.com Fall (2 sessions) 3. Fashion + 4. Landscape/Space/Architecture Submission: September 1 – October 15 Announcement of Pre-selected Candidates: Late October Final Selection Time November 3 – November 11 Final Selection Location Paris, France
EXHIBITION/EVENTS
Brighton Photo Biennial 2010 October 2 – November 14, 2010
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or its fourth edition, Brighton Photo Biennial 2010 will present New Documents, curated by the internationally renowned photographer, editor and curator Martin Parr. New Documents will reflect the immediacy and vibrancy of contemporary photographic practice, the eclectic passions found in collections of historic and vernacular photography and new commissions informed and inspired by the diverse communities and contexts of Brighton & Hove. BPB 2010 will be the world’s first frame free photography festival and the curated programme will be viewable entirely on foot presented in the public galleries and spaces of Brighton & Hove. A programme of related exhibitions will be on show at venues across the South East. Brighton Photo Biennial works in partnership with Brighton Photo Fringe, collaborating on various projects and creating joint platforms, including the Fringe’s keynote exhibition and the portfolio reviews. Visit www.bpb.org.uk
Henri Cartier-Bresson: The Modern Century July 25–October 3, 2010
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he two most important developments in photography in the first half of the 20th century were the emergence of lasting artistic traditions and the rise of mass-circulation picture magazines. Henri Cartier-Bresson (1908–2004) was a leading figure in both domains. In the early 1930s, he helped to define photographic modernism, using a handheld camera to snatch beguiling images from fleeting moments of everyday life. After World War II, he turned to photojournalism, and the magic and mystery of his early work gave way to an equally uncanny clarity and completeness. Before the dominance of television, most people saw the world through the eyes of picture magazines. Early in Cartier-Bresson’s postwar career, his photographs of Gandhi’s funeral and the Communist revolution in China were journalistic scoops. But the vast majority of his photographs describe everyday events, for his essential subject was society and culture— civilization. Cartier-Bresson began traveling at the age of 22. For nearly half a century, he was on the road most of the time, and the geographical range of his work is notoriously wide. Its historical range is just as broad—from ancient patterns of preindustrial life to our contemporary era of ceaseless technological change. In the realm of photography, Cartier-Bresson’s work presents a uniquely rich, far-reaching, and challenging account of the modern century. This retrospective exhibition—the first since the photographer’s death in 2004—draws extensively on the collection and generous cooperation of the Fondation Henri Cartier-Bresson in Paris. Visit www.artic.edu/aic/
From Here to There: Alec Soth’s America September 12, 2010 - January 16, 2011
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he Walker presents the first U.S. survey of the work of Alec Soth, one of the most compelling voices in contemporary photography, whose offbeat images of everyday America form powerful narrative vignettes. Featuring more than 100 photographs made between 1994 and the present, the exhibition includes examples from Soth’s well-known series Sleeping by the Mississippi and Niagara, a selection of rarely seen early black-and-white work, and a broad range of portraits. Also on view is the Minneapolis-based artist’s newest series, Broken Manual, exploring places of escape in and individuals who seek to flee civilization for a life “off the grid.” Working in a photographic tradition of road photography established by such figures as Walker Evans, Robert Frank, William Eggleston, and Stephen Shore, Soth captures stunning largescale color images often using a cumbersome 8x10 field camera, with an eye toward finding overlooked beauty in the banal. His curiosity, penchant for research, and openness to serendipity in seeking out subjects have all become hallmarks of his working process. The wanderlust embodied in Soth’s work is an impulse to uncover his own versions of the narratives that comprise the American experience. His images offer insight into broader sociologies while forming an unexpected portrait of the country. Visit www.walkerart.org
Eighth Gwangju Biennale 10,000 Lives: September 3 – November 7, 2010 The Gwangju Biennale Foundation and Artistic Director Massimiliano Gioni are pleased to present 10,000 Lives, the 8th installment of the Gwangju Biennale. Featuring works by 134 artists from 30 different countries, along with a diverse collection of cultural artifacts that range from traditional Korean funerary dolls to an archive of 3,000 photographs of people with teddy bears, the exhibition is a sprawling, multifaceted investigation of the ties that bind people to images and images to people. More of a temporary museum than a traditional contemporary art biennale, the works included in 10,000 Lives span more than a century, beginning with the exhibition’s earliest work, from 1901, and extending up to the present day 70 through a series of special commissions realized exclusively for the show.
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The exhibition’s title is borrowed from Maninbo (Ten Thousand Lives), the 30-volume epic poem by Korean author Ko Un, which was completed this year after nearly thirty years of work. Originally conceived during the two years Ko Un spent in solitary confinement as punishment for his participation in the 1980 South Korean Democracy Movement, Maninbo is a collection of over 4,000 poetic portraits chronicling every person Ko has ever met, including figures from history and literature. Visit www.10000lives.org
Liverpool Biennial 18 September – 28 November 2010 Liverpool Biennial is the largest and one of the most exciting contemporary visual arts events in the UK, and, with 975,000 visits in 2008, one of the best attended in the world. Liverpool Biennial International Festival of Contemporary Art 2010 takes place in venues and sites around Liverpool City Centre, including the Walker Art Gallery, FACT (Foundation for art and creative technology) the Bluecoat, Open Eye Gallery, Tate Liverpool, A Foundation Liverpool, and many other gallery and non-gallery sites. The International: Touched At the heart of the festival is Liverpool Biennial’s International Exhibition: Touched. Selected international artists are invited to showcase their work, principally new commissions as well as several key works previously unseen in the UK. Touched can be seen at Non-gallery sites: unusual and non-gallery spaces, concentrated around Renshaw Street. Former Rapid Hardware: the old ‘Rapid’ houses the festival visitor centre and a wealth of exhibitions and projects. A Foundation: The beating heart of Liverpool’s contemporary art scene, in the Baltic Triangle district. the Bluecoat: newly refurbished, this is Liverpool city centre’s oldest building, the UK’s oldest arts centre and a community of creative businesses. FACT (Foundation for Art and Creative Technology): the UK’s leading organisation for the com-
missioning and presentation of film, video and new media art forms. Open Eye Gallery: For over 30 years at the cutting edge of contemporary photography and a range of media, including film, video and installation. Tate Liverpool: home to the national collection of Modern and Contemporary art and one of the most visited galleries outside of London. John Moores Painting Prize The UK’s leading contemporary painting competition at the Walker Art Gallery organised in partnership between National Museums Liverpool and John Moores Liverpool Exhibition Trust. Bloomberg New Contemporaries: the very best from the UK’s up-and-coming artists at A Foundation. City States: International exhibitions exploring the cultural dynamics between cities and states at the Contemporary Urban Centre including: Future Movements – Jerusalem; Vilnius: City Without Walls; Caribbean Pavilion: The Bahamas, Barbados, Martinique; Norway, Sweden, Iceland, Denmark: Nordic Artists; Québec City: Tactful Rituals; Taipei: Organic Interface; Seoul (Loop): Moving Fast. S.Q.U.A.T. Liverpool 2010: presented by No Longer Empty/The Art Organisation (TAO) to reanimate abandoned spaces in the city centre. The Cooperative: one-off high-impact activity that brings together the foremost arts collectives in Liverpool. Visit http://www.biennial.com
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