Just like the "Pre-Raphaelite Sisters" exhibition held at the National Portrait Gallery in October this year, the protagonist of the exhibition is no longer the men with brushes, but the women in the paintings. (read carefully:
The "Jimei Arles International Photography Season 2019" held in Xiamen on November 22 also noticed this angle invariably-not only the exhibition unit "female images under the annual Arles Tom Wood camera" was launched, but also on November 24 In the afternoon, a photographic talk with the theme “Women Behind the Camera” was held at the Three Shadows Xiamen Photography Art Center.
Puixian Mara N (curator of "Looking Back at Indian Photography: From Colonialism to Contemporary" exhibition, 2019 Jimei Arles Female Photographers Jury)
In November this year, the well-known contemporary art "ArtReview" announced the annual Power list. Two of the top ten are women (artist Hito Steyerl and Japanese artist Yayoi Kusama), while Chinese artist Cao Fei ranked 17th, ranking on the list The highest Chinese. It was found that in the introductions of these artists, they no longer deliberately emphasized their female identity.
As one of the guests of the talk, Cao Fei also shared the creative process of more than 10 years from the early stage to the present.
Cao Fei mentioned: "I have noticed that many younger generations now choose to have no gender. Many young people think that Ta is not a man or a woman. Ta's gender is not He or Her. Ta may be in I chose neutral, not even neutral, that is, no gender. So this is also a simple binary distinction that we humans exclude from my identity today, which is also a topic that I am very interested in. "
Artist Ying Li has a similar experience with the challenge of "beyond gender". "The same work, the audience will experience different feelings when they appreciate it from different angles and methods, so the gender sense or difference reflected in the work is also determined by the viewer. We need to open all the infinite of photography Possibility, this is also a challenge that transcends gender or diversity, "Ying Li mentioned.
In the conversation, Inri also described his creative process from the four series of photographs in different periods as his entry point. In the 1990s, he worked as a photographer in Japan, cooperated with Rong Rong after his acquaintance, and the child was born. Post works.
Every year, Jimei Arles International Photography Festival pays attention to the photographic situation of an Asian country. This year, the Photography Festival has collaborated with Indian photography agencies to host a group exhibition "Looking Back at Indian Photography: From Colonial to Contemporary."
Gerry Gil, "Mina", from the series "Girls' Fair", 2003. Fine art spray. Image courtesy of Artists & Indian MAP Museum.
As an exhibition curator and co-founder and deputy director of the Bangalore Museum of Art and Photography (MAP), Nathaniel Gaskell talks about photographers from a curatorial perspective in this conversation. The relationship with the subject, a very complex gaze relationship. "From the photographer's point of view, we can see from these works some of the problems of Indian colonization at the time, and how these problems were revealed through the lens."
Ruth Lebart is a photography historian who was the head of the Photographic Society from 2016 to 2018. She is currently working on a project about female photographers from 1839 to 1999. She invited different female writers from all over the world to write this book, and paid attention to the works of female artists from different regions in different countries.
National Science and Industry R & D Office, George Mabux's horn for aircraft positioning, May 31, 1935. It is now in the collection of the French National Centre for Scientific Research, A_3264.
"What I want to do in particular is to show the works of outstanding female photographers from all over the world so that they can be seen by more audiences. As women, we also speak for the female group. I think this is a great "Act," Ruth said at the conversation.
Puxi Mara N is an artist with multiple identities: picture and video performances, sculpture, writing and curation. Since the 1990s, she has begun artistic exploration with photos and videos, known for her strong feminism. She is interested in historical and cultural memories, and explores and questions social issues, combining and questioning the framework systems common in art history, photography, film, theater, and popular culture.
It is because of these identities and professional backgrounds that Puxi Mara ¡¤ N also shared with you the many creative processes, backgrounds and stories behind the works in the exhibition.
Ivan J¨¦riat, who works as a director and photographer, is also a guest of the talk. In her work, she explores the boundaries of the world and captures the fate of individuals under the patriarchal social transaction chain. For example, in the exhibition "The Living, the Dead, and the Seaman", she looks at the miserable individual destinies on earth: street girls, marginalized and marginalized individuals.
As mentioned at the beginning of the article, in addition to this photography conversation, this Jimei Arles Photography Season also has a special exhibition on the theme of "female images", which also seems to provide some thoughts on the issue of female identity. Space.
Tom Wood is known as the "most cautious photographer". From 1973 to 1976 he trained at Leicester Institute of Technology and became a concept painter. Later, due to his extensive involvement in experimental films, he became interested in photography and became self-taught.
During his studies at Leicester Institute of Technology, Tom Wood collected postcards and family photos dating back to the early 1920s and 1930s. He carefully swiped the photos together, as if to find similarities between the groups. Those women stand together, support each other, arms around their necks, others put their hands on their hips ... they form a chain, each of them is a bond in the collective existence, permanently connected to the photographer's "line of sight" Holder ".
In an interview in 2018, he said, "My intention is to create interesting photos from these relationships, and the visual meaning contained in them is too difficult to express in words." He identified the identity of mother, grandmother and daughter At the center of the world, through them, he studied the structure of a social group, the meaning of interpersonal relationships, ecosystems, fashion, and the market economy ... these are the epitome of a society. Wood's observational experience of society also changed, and eventually he became part of these social groups. The mothers he saw made him feel enough to let the world see their experiences. (Identify the QR code below, get the video, watch it for free: Jimei Arles Photography Season "Talk: Women Behind the Camera") Man Dong Yong hits a food