Pub Date : 2021-01-02DOI: 10.1080/17540763.2021.1873461
Julie Moreton
This journal, now in its 14 year of publication, continues to seek to construct new agendas for theorising photography as a heterogeneous medium that is changing in an ever more dynamic relation to all aspects of contemporary culture and aims to do so through investigating the contemporary condition and currency of the photographic within local and global contexts. It was in this spirit that we held the first photographies conference (London, 2017) on ‘Critical Issues in Photography today’, with papers subsequently published as a special issue (Vol. 11: 2/3, 2018). At that event, we were asked whether the conference might become a regular occurrence and, if so, whether we might consider basing the next one in Asia. As is clear from this collection of papers from our subsequent (second) conference on ‘Photography in Asia’, the response was a resounding yes. Dr Oh Soonhwa, Associate Professor of Photography at Nanyang Technological University, Singapore, who is a member of the journal’s advisory board and was participating in the London event, generously offered to co-host an event, thereby opening possibilities for discussing photography from a different place, both literally and metaphorically. As co-editors of the journal, we have been keen to ‘de-centre’ the focus to include work and thinking that is beyond the usual Anglo-American emphasis; hence, we have sought to advance, a more truly global dimension. The aim is not to simply substitute one cultural paradigm of thought for another, to engage in what some might describe as a kind of a ‘theoretical’ or ‘critical tourism’, but to consider the cultural interactions – and distinctions – within the globalised production and circulation of photographic imagery across all arenas, and between what the global and local: north and south, as well as east and west. We know now, of course, that globalization (and one of its valuable tools, the globalization of photography) has produced many great inequalities and this is probably true of photography criticism and theory too. The title of the conference, Photography in Asia, was somewhat open, intended to invite the question: what is it, where is it, how, when and why? As can be seen from the conference programme, included towards the end of this issue, responses were wide-ranging. Proposals were organised into themed sessions, thereby articulating dialogues between papers in each panel. We hoped that the condensing together of varying conceptual approaches might contribute to the emergences of new agendas that in turn provoke us to re-examine our own centres of attention. All contributors were invited to submit a revised version of their paper for inclusion in this special issue based on the conference; most speakers chose to do so. The schedule included six thematic panels: Ecology-Images; Archival Memories; Pictorial-Material; No Printed Matter; Form-Circulation; History-Significance. See the programme reproduced at the end of this issue. Within this,
这本杂志现在已经出版了14年，它继续寻求构建新的议程，将摄影作为一种异质媒介，在与当代文化的各个方面的动态关系中不断变化，并旨在通过调查当地和全球背景下摄影的当代状况和货币来实现这一目标。正是本着这种精神，我们举办了第一届摄影会议(伦敦，2017)，主题是“当今摄影中的关键问题”，论文随后作为特刊出版(Vol. 11: 2/3, 2018)。在那次活动中，我们被问及该会议是否会定期举行，如果是的话，我们是否会考虑将下一次会议设在亚洲。从我们随后的(第二次)“亚洲摄影”会议的论文集中可以清楚地看出，答案是肯定的。新加坡南洋理工大学摄影副教授Oh Soonhwa博士是该杂志的顾问委员会成员，并参加了伦敦的活动，他慷慨地提出共同主持一次活动，从而为讨论来自不同地方的摄影提供了可能性，无论是字面上还是隐喻上。作为期刊的共同编辑，我们一直热衷于将焦点“去中心化”，纳入超出通常英美强调的工作和思想;因此，我们已设法推进一个更真正的全球层面。目的不是简单地用一种文化思维范式代替另一种文化思维范式，从事一些人可能描述为一种“理论”或“批判性旅游”，而是考虑在所有领域的全球化生产和摄影图像流通中，以及在全球和地方之间:北方和南方，以及东方和西方之间的文化互动和差异。当然，我们现在知道，全球化(及其有价值的工具之一，摄影的全球化)产生了许多巨大的不平等，摄影批评和理论可能也是如此。会议的标题“摄影在亚洲”(Photography in Asia)有点开放，意在提出这样的问题:摄影是什么、在哪里、如何、何时以及为什么?从本期末尾所载的会议方案中可以看出，反应是广泛的。提案被组织成主题会议，从而阐明每个小组的论文之间的对话。我们希望，将不同的概念方法浓缩在一起可能有助于出现新的议程，从而促使我们重新审查我们自己的注意中心。所有投稿人都被邀请提交他们论文的修订本，以便在这个以会议为基础的特刊中纳入;大多数发言者选择这样做。日程安排包括六个专题小组:生态-图像;档案记忆;Pictorial-Material;无印刷品;Form-Circulation;历史意义。见本期末尾转载的节目单。其中，一些报告广泛地借鉴了档案研究，一些报告侧重于更多的理论问题、当代问题和新的发展，例如，展览、节日
{"title":"Editorial","authors":"Julie Moreton","doi":"10.1080/17540763.2021.1873461","DOIUrl":"https://doi.org/10.1080/17540763.2021.1873461","url":null,"abstract":"This journal, now in its 14 year of publication, continues to seek to construct new agendas for theorising photography as a heterogeneous medium that is changing in an ever more dynamic relation to all aspects of contemporary culture and aims to do so through investigating the contemporary condition and currency of the photographic within local and global contexts. It was in this spirit that we held the first photographies conference (London, 2017) on ‘Critical Issues in Photography today’, with papers subsequently published as a special issue (Vol. 11: 2/3, 2018). At that event, we were asked whether the conference might become a regular occurrence and, if so, whether we might consider basing the next one in Asia. As is clear from this collection of papers from our subsequent (second) conference on ‘Photography in Asia’, the response was a resounding yes. Dr Oh Soonhwa, Associate Professor of Photography at Nanyang Technological University, Singapore, who is a member of the journal’s advisory board and was participating in the London event, generously offered to co-host an event, thereby opening possibilities for discussing photography from a different place, both literally and metaphorically. As co-editors of the journal, we have been keen to ‘de-centre’ the focus to include work and thinking that is beyond the usual Anglo-American emphasis; hence, we have sought to advance, a more truly global dimension. The aim is not to simply substitute one cultural paradigm of thought for another, to engage in what some might describe as a kind of a ‘theoretical’ or ‘critical tourism’, but to consider the cultural interactions – and distinctions – within the globalised production and circulation of photographic imagery across all arenas, and between what the global and local: north and south, as well as east and west. We know now, of course, that globalization (and one of its valuable tools, the globalization of photography) has produced many great inequalities and this is probably true of photography criticism and theory too. The title of the conference, Photography in Asia, was somewhat open, intended to invite the question: what is it, where is it, how, when and why? As can be seen from the conference programme, included towards the end of this issue, responses were wide-ranging. Proposals were organised into themed sessions, thereby articulating dialogues between papers in each panel. We hoped that the condensing together of varying conceptual approaches might contribute to the emergences of new agendas that in turn provoke us to re-examine our own centres of attention. All contributors were invited to submit a revised version of their paper for inclusion in this special issue based on the conference; most speakers chose to do so. The schedule included six thematic panels: Ecology-Images; Archival Memories; Pictorial-Material; No Printed Matter; Form-Circulation; History-Significance. See the programme reproduced at the end of this issue. Within this, ","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"1 - 2"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2021.1873461","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44495977","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/17540763.2021.1872684
Shujuan Lim
What photographs remain once buildings are demolished, and their inhabitants displaced? This paper proposes to construct the photographic archive of a demolished site in Singapore: Rochor Centre. It focuses on the photographs made available on platforms such as publications, exhibitions and Instagram. In indexing and examining the aesthetics and subject matters of these photographs, this paper reflects on the future construction of photographic archives of buildings and urban sites that are in peril of obliteration.
{"title":"Constructing the photographic archive of Rochor Centre in tabula rasa Singapore","authors":"Shujuan Lim","doi":"10.1080/17540763.2021.1872684","DOIUrl":"https://doi.org/10.1080/17540763.2021.1872684","url":null,"abstract":"What photographs remain once buildings are demolished, and their inhabitants displaced? This paper proposes to construct the photographic archive of a demolished site in Singapore: Rochor Centre. It focuses on the photographs made available on platforms such as publications, exhibitions and Instagram. In indexing and examining the aesthetics and subject matters of these photographs, this paper reflects on the future construction of photographic archives of buildings and urban sites that are in peril of obliteration.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"57 - 72"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2021.1872684","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46310556","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/17540763.2020.1847179
John van Aitken, J. Brake
Written from an artists’ perspective this article considers photography’s engagement with the polluted meteorological atmosphere and its constitutive role in the production of megacity imaginaries. On visits to Shanghai between 2017 and 2019 we made elevated views of the megacity, generated field notes, poetics, breathed the air and became unwell. We draw on the work of Gernot Böhme and Peter Sloterdijk amongst others to initiate a new and pressing discussion: what happens when we think of photography and breathing together?
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Pub Date : 2021-01-02DOI: 10.1080/17540763.2020.1848910
Marco P. Bohr
In this essay, I analyse landscape photography produced in the aftermath of the tsunami and earthquake that hit Japan in March 2011. The aim of the essay is to unpack the profound impact the disaster has hct 3ad, and is having, and how this can be observed in the type of photographic practices that since emerged in Japan. As I will argue, one of the greatest transformations can be seen in the way artists and photographers subvert the material integrity of the image itself.
{"title":"Reconfiguring materiality in contemporary Japanese photography after 3.11","authors":"Marco P. Bohr","doi":"10.1080/17540763.2020.1848910","DOIUrl":"https://doi.org/10.1080/17540763.2020.1848910","url":null,"abstract":"In this essay, I analyse landscape photography produced in the aftermath of the tsunami and earthquake that hit Japan in March 2011. The aim of the essay is to unpack the profound impact the disaster has hct 3ad, and is having, and how this can be observed in the type of photographic practices that since emerged in Japan. As I will argue, one of the greatest transformations can be seen in the way artists and photographers subvert the material integrity of the image itself.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"73 - 83"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1848910","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42989656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/17540763.2020.1847175
Xiaoxiao Liu
Founded in 2001, Pingyao International Photography Festival (PIPF) has established a platform for photographic shows and academic exchanges. It has been making efforts to promote photography as media of expression, communication, and a form of art. This article seeks to portrait the festival through featured exhibitions and activities, including the group return of the Chinese conceptual photography, the introduction of photographic curatorial notions, the balance between professional and amateur photography, as well as the exchanges among photographic students and educators through exhibitions and forums. It also attempts to propose the main challenges PIPF confronts through the difficulties they encountered in the 2020 version, which happened without the personal presence of the international community because of the Covid-19 epidemic.
{"title":"Pingyao international photography festival (2001-2020)","authors":"Xiaoxiao Liu","doi":"10.1080/17540763.2020.1847175","DOIUrl":"https://doi.org/10.1080/17540763.2020.1847175","url":null,"abstract":"Founded in 2001, Pingyao International Photography Festival (PIPF) has established a platform for photographic shows and academic exchanges. It has been making efforts to promote photography as media of expression, communication, and a form of art. This article seeks to portrait the festival through featured exhibitions and activities, including the group return of the Chinese conceptual photography, the introduction of photographic curatorial notions, the balance between professional and amateur photography, as well as the exchanges among photographic students and educators through exhibitions and forums. It also attempts to propose the main challenges PIPF confronts through the difficulties they encountered in the 2020 version, which happened without the personal presence of the international community because of the Covid-19 epidemic.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"165 - 180"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1847175","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44412518","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/17540763.2020.1847173
Yining He
In recent years, photographers around the globe have begun to break the conventional linear sequence in the construction of photographic texts, opting for a new wave that allows multiple narrative strategies of the real or the fictional. They fuse documents, historical photos, texts, and carefully-constructed images, taking viewers to times and places in the past, to boundaries that can or cannot be told. This kind of practice not only reflects the artists’ interest and urgent desire to delve into history but also reveals the space that has been opened for photographic practices by the richness of social and cultural environments in history. In China, the research on archival art and its phenomena have appeared continuously in recent years, but it is mostly written based the theories of western scholars, such as T. R. Schellenberg, Jacques Derrida, Michael Shanks and others, and lacks discussion on archives in the political, social and cultural context of modern and contemporary China. Based on my ongoing research on the historical narrative of contemporary Chinese photography, this paper will focus on the relationship between archives and photographic art in a broader context, examining the following three interrelated archival issues: the production, dissemination, and storage of public photo archives in the 1940s; the development of the resource structure of photo archives in the recent past; and the different methods of transforming photo archives into works of art in contemporary Chinese photography.
{"title":"The writing, transformation, and rewriting of photo archives in Chinese photography from the 1940s to date","authors":"Yining He","doi":"10.1080/17540763.2020.1847173","DOIUrl":"https://doi.org/10.1080/17540763.2020.1847173","url":null,"abstract":"In recent years, photographers around the globe have begun to break the conventional linear sequence in the construction of photographic texts, opting for a new wave that allows multiple narrative strategies of the real or the fictional. They fuse documents, historical photos, texts, and carefully-constructed images, taking viewers to times and places in the past, to boundaries that can or cannot be told. This kind of practice not only reflects the artists’ interest and urgent desire to delve into history but also reveals the space that has been opened for photographic practices by the richness of social and cultural environments in history. In China, the research on archival art and its phenomena have appeared continuously in recent years, but it is mostly written based the theories of western scholars, such as T. R. Schellenberg, Jacques Derrida, Michael Shanks and others, and lacks discussion on archives in the political, social and cultural context of modern and contemporary China. Based on my ongoing research on the historical narrative of contemporary Chinese photography, this paper will focus on the relationship between archives and photographic art in a broader context, examining the following three interrelated archival issues: the production, dissemination, and storage of public photo archives in the 1940s; the development of the resource structure of photo archives in the recent past; and the different methods of transforming photo archives into works of art in contemporary Chinese photography.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"133 - 151"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1847173","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60302373","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/17540763.2020.1848909
Nayun Jang
This essay examines lens-based artworks in South Korea and Japan, focusing on the ways in which artists challenge official memory by drawing attention to the lives of women in U.S. military camp towns. Both countries witnessed growing presence and activities of U.S. military in the aftermath of the Asia-Pacific War and the Korean War, but the overwhelming impact of Americanisation in ordinary people’s lives has been neglected in the formation of nationalistic official memories. Highlighting the lens-based artists’ role as creators of “counter-memory”, which represents “individual’s resistance against the official versions of historical continuity”, the essay analyses their artistic attempts to make sense of and overcome the troubled past by means of memory.
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Pub Date : 2021-01-02DOI: 10.1080/17540763.2020.1848911
Phil Lee
This essay elucidates works of ‘the generation after’ Korean artists whose photographs reveal crevices of the modern and contemporary history of Korea. Using the medium of photography, Kwon Soon Kwan, Oh Suk Kuhn, An Jung Ju, Im Jong Jin, and Lim Anna look back and take issues with memories of then Korean War and the Gwangju Democratization Movement of May 18. I examine how their postmemory works visualize ghostly presences, dramas of anxiety, bodies as sites for trauma, and consumed and celebrated memories. I analyze ways in which they explore cultural, historical, and political transformations in collective memories based on Marian Hirsch’s theory of postmemory. Their works further pose questions on official records of the past traumatic events that were modified, edited, distorted, and even deleted for political purposes. I claim that, by giving the individual victims permanent presences, their photographic impulse is to recover what is no longer visible in society and history. Photographs in their work are places of lasting return that bring about ghosts that have disappeared in the archive. I argue that focused on the tension between national and individual memories, the artists’ imaginative horizon and creative appropriation recover specific local histories of the political violence embedded in oblivion.
本文阐释了“后一代”韩国艺术家的作品，他们的照片揭示了韩国现当代历史的裂缝。Kwon Soon Kwan、Oh Suk Kuhn、An Jung Ju、Im Jong Jin和Lim Anna以摄影为媒介，回顾并处理了当时朝鲜战争和5月18日光州民主化运动的记忆问题。我研究了他们的后记忆作品是如何将幽灵般的存在、焦虑的戏剧、身体作为创伤的场所，以及被消耗和庆祝的记忆形象化的。基于玛丽安·赫希的后记忆理论，我分析了他们在集体记忆中探索文化、历史和政治转变的方式。他们的作品进一步对过去创伤性事件的官方记录提出了质疑，这些记录被修改、编辑、歪曲，甚至出于政治目的被删除。我声称，通过让受害者个人永久存在，他们的摄影冲动是恢复社会和历史上不再可见的东西。他们作品中的照片是永恒的回归之地，带来了在档案中消失的鬼魂。我认为，关注国家记忆和个人记忆之间的紧张关系，艺术家们的想象力和创造性挪用恢复了被遗忘的政治暴力的特定地方历史。
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Pub Date : 2021-01-02DOI: 10.1080/17540763.2020.1847178
Wenhao Yu
The photography auction market in China has experienced the early stage from the 1990s to 2005, the development stage from 2006 to 2018, and the current stages from 2019 to the present. In the domestic auction market at the early stage, the auction of photography was not rare, but the special session of photography auction had not yet been formed. Photographs were auctioned in the session of Ancient Books, Stamps, Chinese Painting and Calligraphy, as well as Oil Paintings. In 2006, Chinese contemporary art rose rapidly: Sotheby’s held a special auction of contemporary Asian art on March 31 during the Asia Week New York in the spring of this year, the first large-scale Asian art special session in North America. In September of the same year, the photography work of Wang Qingsong, titled “Follow Me,” was sold at Sotheby’s in New York for 310,000 US dollars, which offers further drive to China’s photography market. Against the backdrop of the development of the markets both home and abroad, Beijing Huachen Auctions hosted the first photography session in China in November 2006, with a total of 365 lots auctioned for a total turnover of 350,857 US dollars. At this point, the photography auction market in China was officially established and entered the era of special session auctions. While Chinese contemporary photography works enjoy huge popularity in overseas markets, the domestic photography auction session shows its uniqueness from the beginning. According to the statistics of the highest-priced auction lots in the first three photography auction sessions of Huachen Auctions, the domestic secondary photography market favors historical old photos and documentary photographs more.
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Pub Date : 2021-01-02DOI: 10.1080/17540763.2020.1855232
Yajing Liu
The sociocultural climate in the first decade of twenty-first-century China has produced booming discussions on memory in photography. Many Chinese photographers have examined issues of individual and collective memory while others have conducted autobiographical explorations and reflected on historical sites. However, when considering the problems raised in contemporary society, such as the crisis of identity and the disappearance of traditional culture, memory would be better understood within the overarching context of cultural memory, which I challenge in this paper. This paper explores how cultural memory generated by changes in the landscape can be reconstructed through the lens of contemporary photography. Based on the case study of my Seaweed House project, I call for Jan Assmann’s memory studies agenda to uncover in detail the considerations involved in the reconstruction of a landscape community’s cultural memory.
{"title":"Exploring and reconstructing cultural memory through landscape photography: a case study of seaweed house in China","authors":"Yajing Liu","doi":"10.1080/17540763.2020.1855232","DOIUrl":"https://doi.org/10.1080/17540763.2020.1855232","url":null,"abstract":"The sociocultural climate in the first decade of twenty-first-century China has produced booming discussions on memory in photography. Many Chinese photographers have examined issues of individual and collective memory while others have conducted autobiographical explorations and reflected on historical sites. However, when considering the problems raised in contemporary society, such as the crisis of identity and the disappearance of traditional culture, memory would be better understood within the overarching context of cultural memory, which I challenge in this paper. This paper explores how cultural memory generated by changes in the landscape can be reconstructed through the lens of contemporary photography. Based on the case study of my Seaweed House project, I call for Jan Assmann’s memory studies agenda to uncover in detail the considerations involved in the reconstruction of a landscape community’s cultural memory.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"43 - 56"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1855232","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47914971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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