Even though it has been only about 10 years since photography was included in art in Korea, photography is becoming the very basics and center of the whole art field as it goes through amazing changes.
In contemporary China, uncertainty about what is “true” and what is “false”, “reality” and “appearance”, extends from the realm of photography to that of existence itself. We often feel that we are confronted with such an illusory, ambiguous, unexpected “reality” as to lead us to doubt not just our perceptions, but our very capacity for interpretation.
Such photographs are there not to gratify a curiosity, but are made in response to a feeling: it is not only the landscape we see, even if it takes solid form, and darkens or brightens in certain frames, or is transformed by the space under changing skies…
Whenever people talk about ‘Indian photography’ it obviously leads to a debate and discussion about how appropriate it is to term it as ‘Indian photography’ rather than ‘photography in India’. The question is: to what extent has photography in India been Indianized?
In Pakistan we have reached a state of alchemy that typifies the post-post modern life. Life drudges through its multifarious activities of simple poverty until it climaxes into a bustle of hot abrasion in the struggle to churn out the most out of the given condition of existence. As the world turns its gaze on us, we struggle to mould a new fathomable identity- one that can be left on business tables after striking a deal or negotiation, a firm shake of the hand and a name and a number. I am Pakistani.
In this issue of PRIVATE , they are not images to be quickly rushed through like channel surfing on a television set. They are meant to be slowly appreciated for what they show us about America that we have not seen in the press or in images made by photographers who briefly visited the United States.
The collection of photographs before you is the stuff of nostalgia. Almost every work affects a spatio-temporal distance. To find the reasons, recall the events of the past two decades, beginning with the Iranian Revolution of 1979, which was a definitive rupture from a if not the past.
The objective of this issue of PRIVATE is China outside the cities, the infinite China of the countryside, and it has the declared intention to give justice to about 900 millions people who live in a huge territory at the borders of the economic miracle. The artists are all Chinese, and among the best contemporary photographers.
St. Petersburg is a utopia constructed... It's strange living in this city, but only for guests. St. Petersburg residents are used to strange things and take no notice. Amongst them, only those for whom strange things are a must take notice: painters and photographers for example.
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