2017 Photo London: 看「合作」與「有趣」的關鍵性

因博覽會而衍伸的活動與節目並串聯整個城市相關的藝術家、公私人空間、拍賣市場等等已經不足為奇。然而其精緻度、密集繁盛程度卻是可以比較的。2017五月中下旬的Photo London 就是眾多博覽會中非常有影響力的一個。今年進入第三屆的Photo London被媒體用聳動的標題寫下：已經超越Paris Photo這類型標題。藝廊們覺得評審機制嚴苛、而藝術市場反應是銷售上的佳績，而其中認識的多數歐洲攝影藝廊紛紛告訴我Photo London是商業的，銷售產值穩定性的成長，儼然是做出口碑的攝影博覽會。成功總是有原因的，而隨著成功經驗的積累大者恆大，不單指攝影宏觀整個當代藝術市場已經進入了此循環。在變化速度急劇的當代藝術市場裡研究與分析成功的案例顯得落伍，吸收與不斷跳脫框架式的創造更得青睞。然而對台灣攝影而言，基礎性的了解都未建構完，研究成功案例顯得必要。而Photo London 再次提醒我們整個城市的攝影藝術串聯的可貴與重要性，多才多藝的年代，單打獨鬥必定失敗。

    

合作

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Photo London展出期間官網上便有日曆提供整個月份相關的攝影活動。看似簡單效益卻無窮。美術館Tate展出Modernist Photography from the Sir Elton John collection（此展畫冊非常值得珍藏，艾爾頓．約翰的攝影收藏真的很有品味，本次展覽的裱框都依照原始框，彷彿能感受到明星家中的氛圍）跟 Wolfgang Tillmans:2017兩大攝影展，平衡現當代攝影，Tillmans 絕對不是當代的唯一，但他的重要性我認為是在於運用攝影的方式，以攝影最原始的狀態表現藝術創作，停止運用過多的方式證明攝影的藝術性、獨特性、多元性，而是讓作品的內涵純粹而外顯。此外地下室有OffPrint 的Pop-up（快閃店），熱愛攝影的人們很難不對攝影書有所眷戀，以市集(桌子)展出的方式讓大家翻閱，若喜歡便可添購而擁有。The photographers’ gallery 則是展出 Deutsche Börse Photography Foundation Prize 2017而樓下的Print Shop 總是有價位親民的攝影限量作品可以收藏。值得一題的是The photographers’ gallery 雖不是營利組織，他們定期參加攝影博覽會如AIPAD 、Photo London。Print shop 的營收成為The Photographers’ Gallery展覽檔期的經費，在補助與捐款艱鉅的時代有新的出路。公部門與營利的最佳平衡是很令人羨慕且崇拜的模式，而英國在這方面真的有太多值得我們學習的地方。公部門與營利絕非對立的兩個個體，合作才有機會建構更多的良性的循環。

另外National Portrait Gallery 則是 Gillian Wearing and Claude Cahun: Behind the mask, another mask，此展覽真的值得一看，採用鮮明的策展方式可以一次看足Gillian Wearing 的作品，不用多說在今年瑞士Art Basel上 Wearing的作品也深得藏家喜愛。（見左圖）

藝術空間像BEACONSFIELD CONTEMPORARY ART展出 Foam Talent: Shaping the future of contemporary photography，有很棒的新人作品（見下圖左），許多藝術家也早被藝廊給簽走了。Photofusion 則是Gina Glover的個展，展覽雖小巧但感受得到倫敦當地攝影界樣貌。周邊博覽會則有Fix Photo Festival（見下圖右） 還有今年首次登場的 The London Photograph Fair Special Edition（特別限定版）距離Photo London 只需步行10 分鐘。後者一年通常舉行四次，今年首度在Photo London展覽期間加開了兩天，是挖寶的好去處，我人生第一件攝影收藏就是在這個博覽會尋得的。而藝廊我就不多加以說明，很多做當代藝術的藝廊也在這段一間展出攝影與影像相關的作品。
　　　　　　　　　　　　

有趣

天文攝影比賽--參賽藝術家Sergio Garcia 的作品

藝術要蓬勃其實需要的不只是少數的認同，更多的是多數的支持與參與。如同先前提到，世界正飛快的在進步、改變，而有趣的事「有趣」成為必要。詢問攝影圈的朋友們，得到的答案是暑假全倫敦人感覺都在一個地方：格林威治天文臺。一個很漂亮的大公園，此處是校外教學、家庭一日遊與野餐的好去處同時園中的本初子午線也是觀光客朝聖的地方。　

一年一度的Insight Astronomy Photographer of the Year Exhibition（洞見 天文攝影比賽）也在這個時間點展出（見右圖），完美的地點配上好的作品是難得的。Tillmans也擔任比賽評審之一，這個細節比較呼應前一段合作的概念，當代藝術的攝影與攝影協會的攝影其實可以歸類成不同領域，然而合作互相了解與欣賞對攝影來說才有更好的未來。藝術等於生活，融入社會其實它才會有一定的意義，而正確的融入生活中才會有品質。攝影從誕生時便是多元的象徵，藝術、科學、化學、工具等等都是它擁有的特質。其中天文上的運用是非常重要的一環，此結合再好不過，輕鬆但意境上深遠。美術館們則以能鮮明的方式強調互動的重要性，從各社群網站的行銷，到設立拍照區，可以選擇手動濾鏡……（見下圖），可看出公部門非常努力地想要將藝術普及化但又不失去它的獨特性。同時「#」(hashtag)的運用是精準的，而打卡的效益它們是看見的，所以這些美術館的社群網站更新速度與當紅的部落客們不相上下。

以亞洲的視角看歐美攝影市場簡直可以用仰慕來形容，不管是對攝影的認同度、作品的多元性、收藏家的能力都與亞洲有急遽的差別。然而Photo London 第一年開始的時候，我還記得藝廊負責人向我說，英國攝影市場很冷，藏家不多，而今年眾多藝廊負責人對Photo London 非常的滿意，時間很短轉變卻很快。很可惜無法在倫敦待上一個月，好好把每一個有關攝影的展覽、活動、參觀完一輪。反思一個為期不到一周的博覽會能產生這麼大的效益是很驚人的。把倫敦的五月變成攝影蓬勃的月份不是容易的事，如果Photo London是亮點，「合作」與「有趣」才是持續這個亮點的幕後推手，並進而吸引不只是倫敦而是世界各地攝影圈的相關人們。

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Reinterpreting John Thomson’s photographic works of China and its People

“It is certainly true no photographer of his time could have made his images of China more authentic or immediate. Yet it remains part of European images of China,” concludes Grace Lau’s chapter on John Thomson in her book Picturing the Chinese Early Western Photographs and Postcards of China.[1] Her claim of Thomson’s works of China and its People published in 1873-1874 is an insight of a critical angle of Thomson’s work because authentic is the accurate word to describe this body of works. Accurate has been a troublesome adjective when applied to images that associate filming the other, the orient or more directly images taken in colonial times by colonists. The issues regarding these images surround mainly in the area when a subaltern backdrop and posing is ruled upon the person who is being photographed in the image. These images often constructed in studios become problematic due to “their generic commitment to a negotiated relationship between posing and verisimilitude, create a set of contexts for subalterns of all sorts who are rehearsing new public roles.” explained in the essay on The Colonial Backdrop written by Arjun Appadurai.[2] Indeed, the usage of props and a background to photograph people is structured and staged since the purpose of these images like Thomson’s is produced for a western audience. To fulfill the curiosity or ignorance of the audience taste becomes a factor when constructing these images and public roles is what viewers seek for categorizing the unknown or the exotic. It conveys a simplified understanding and comfort, for humans referring to Lau, have the tendency to form groups and differentiate between themselves the concept of “us” versus “them”.[3] Furthermore, positioning in the historical context during the second half of the nineteenth century taxonomic analysis, encyclopedia, concordances and compendia were a main interest in the western society and photography became a perfect tool to execute the findings and create knowledge of global facts.[4] Thomson, although facts on his earlier life are few according to Stephen White was educated in the west.[5] The influence of education and culture would, therefore, have a direct impact on his photography. Hence, Lau’s conclusion of the western gaze in his images of China and its People is unavoidable and correct. However, this essay would like to explore her former comment of authentic and immediate of Thomson’s China and its People. The possibility that under the social context of his time and a Scottish photographer, Thomson’s works in China and its People accompanied with text written by him has photographs and comments which portray images with an artistic, humanitarian and documentary vision rather than just the gaze of a typical colonist’s western photographer.  

　

　

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China and its People consist of four volumes with two hundred plates taken from China, Taiwan and Hong Kong covering a total of five thousand miles in the span of five years.[6] His works included street scenes, landscapes, the mundane, the wealthy and even the prince. Having the ability to accomplish such a mass amount and variety of work in a short period time in the nineteenth century where the convenience of transportation and communication, unlike today, seems a miracle. Furthermore, during the travels in China, he acted as an independent commercial photographer which was not commissioned or appointed by the government.[7] Under these circumstances, it appears impossible to have　collected such a wide range of subject matters in a short period of time but Thomson had the help of connections or in a sense his personality. In the essay by Nick Pearce, he provides in detail of all the connections that Thomson’s built during these five years and how it has provided him to access particular sites that were usually prohibited to foreigners.[8] Knowing fellow photographers, diplomatic personnel’s and missionaries provided him to see the Far East in depth and with a vision of an explorer with curiosity. Thomson even visited the Southern part of Taiwan, a small island near China which is often overlooked even in modern times to photograph the scenery such as Mountain pass on the island of Formosa. (Fig.1) He was introduced to Taiwan by Scottish Missionary doctor James Laidlaw Maxwell who he knew back in Edinburgh.[9] His connections often built from knowing a western and extending to locals who created opportunities to places and people that were unknown to general foreign visitors. His personality would then lead him to know an important person Mr. Yang who would offer him a chance to photograph one of his most well-known series the Manchu women. These connections led him to embark on a journey to different places and opened the breadth of images rather than constraining them to limited representations of these countries. Moreover, being an independent photographer he traveled alone during these trips and had no accompany of any foreign troops.[10]

A group of foreigners will ultimately attract much more attention than a single photographer which may suggest why his photographs have immediacy quality and characteristics of street photography. An image like Enamellers (Fig.2: See left) which judging from the plate the enamellers do not fill up the frame but rather appears to be at a distance. According to the text in the book of China Through the lens of John Thomson these artists wanted privacy for techniques of making the enamelware was a rare skill and did not allow him to take close up shots of the process.[11] This is often what photographers face upon when trying to document a scene and in Thomson’s case the notion may have little to do with an imperial gaze but more out of curiosity of what was happening before of his eyes. The freedom of not working under commission of the government also provided him more versatility of what images to photograph which may indicate that these images were accurate because they were not formed for a specific purpose. In addition, to this freedom he did not only focus on commercial success, according to the essay by Tong Bingxue, Thomson often shared photographic techniques with local artists.[12] His constant communicating and sharing information with locals demonstrated his passion for the people in that Asia.   Moreover, his character and personality are also reflected in his decision to settle in Singapore in1863. Thomson’s brother established himself working in the ship chandlery business before Thomson arrived and Thomson married his wife and both decided to live in Asia.[13] Having a family and deciding to set roots in Asia may imply his attraction for this part of the region of the world and has a significant impact on how he views the people which may mirror on his works. His educational and cultural background from the west should not be ignored but simultaneously his decision to spend his life in Asia connotes his intention to assimilate into the people and culture of this region which could be argued that his western or colonial gaze is slightly transformed in the process of understanding and living among the people that he was photographing.

        
　The historical context is also relevant when examining the works created in the nineteenth century. The colonial gaze is unavoidable as this essay has explained earlier but China may prove as an interesting paradigm. China was not part of the colonized countries like India for example.[14] Although during the second half of the nineteenth century the country was going through the process of hoping to become more modernized and educated in the western standards. In ways, the west holds no absolute power over the country. Therefore, it becomes a factor when considering how Thomson acquired his photos of the people in this area. The people who were being photographed had no obligation to obey his orders if they did not agree with Thomson. Exploring from this angle his images have the possibility of an authenticity that the countries that were colonized may not enjoy. Moreover, the concept of photography was relatively new in this region. Many citizens during that time have never seen a camera and there was a common belief that the having your images taken by the camera would result in the extraction of part of one’s spirit. In the introduction of volume one, Thomson himself states that although he was treated both with hospitality and hostility, “the forerunner of death” was a phrase that would often surround him during his time there.[15] The reluctance to have photographs taken was often solved through either endless communicating with people or bribing them with money.[16] Notwithstanding the fact that the bribing and communication is a distinct sign that the photographs were somewhat staged, the unwillingness to be photographed due to beliefs of that period was an inescapable barrier regardless of race. If there was an Asian photographer for example, without a colonial gaze at that period of time and wanted to film the people they would have been faced with the same issue regarding the superstition that the partial soul would be extracted. Therefore, communicating and bribing may also have been a practice required for taking the pictures. Thomson’s photographs authenticity portrayal of the people becomes plausible under the circumstances that he was faced upon with.

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(Left: Fig.3/ Right: Fig.4)

        Realizing Thomson’s personality, connections, life and historical background for both the east and west aids the comprehension of the mind of the photographer which reflects feasibility that his images accompanied with text have multi layers of meaning such as documentary, artistic and humanitarian values. Among the two hundred photographs a photograph The Bound and abound Feet of two Amoy Women (Fig.3) is accompanied with the text by Thomson which comments,” We despise so ridiculous a usage as this, but the following extract out of a native work will serve to show that the Chinese return us the compliment, and criticize us for deformities……The English females before marriage bind their waist, being desirous to look slender.”[17] Foot binding which has always had the connotation of a barbaric practice would definitely be a fascinating image to present for the western audience. His reaction, however, adopts a more mutual stance instead of looking down upon the practices that were different from his culture he shows an objective perception of a cultural practice by comparing the knowledge that he was accustomed to. Corresponding to a critique made by Lau that unlike Felice Beato, Thomson was not after newsworthy subjects but seemed more interested in “photographing ordinary people going about their ordinary business.”[18] Foot binding may not appear ordinary for countries outside of China but at that period of time it was a norm for the people and documenting the norm may have been Thomson’s intention. Among the plates in the four volumes various images appear to be random street scenes, rather than only filming in a studio or creating backdrops for all of his subjects, images depicted ranged from merchants, chiropodists, women, and children. Whilst backdrop arises in his books they often appear blank and the exploitation of hierarchy or props are seldom visible. These images of blank backdrops do not consist the majority of the plates in the volumes. An image like A Roadside Shrine (Fig.4) for example, pictures a man looking afar while sitting beneath a tree that has incorporated the shrine within its trunk and branches. The branches occupy the frame by flourishing through both sides and the man appears relaxed and does not meet the photographer’s gaze. This portrayal arguably is more artistic and shows aesthetic intentions rather than a gaze from an inferior. Furthermore, landscapes emerge frequently in these volumes and appear artistically beautiful. Instead of only presenting panoramic views of landscapes that appear unoccupied by people he films a great amount of images that include people in the landscapes. In colonial times, the practice of presenting landscapes without any human had connotations that the piece of land is open to exploitation or could be obtained.

Image A junk (Fig.5: See Right) for example in the foreground two people are clearly in view looking towards the waters and frame a pleasing scene with a comfortable composition. Thomson himself expressed that he found the cities that he traveled in China “highly picturesque and interesting “and people has what formed the charm.[19] As for the humanitarian aspect of his works, two set of works is good examples to illustrate this aspect. In volume one under plate XI, named Four Heads, Types of the Laboring Class is a photograph of An Old Cantonese Women.(Fig.6) Without question, the word type is thorny because it definitely draws out the issues regarding the colonial gaze where humans have become types and categories. The incentive to collect knowledge of global facts is notable .Having pointed this out Thomson’s writings on describing the Old Cantonese Woman is however very delicate. “The old women still busies herself in the lighter domestic duties; she is skillful with her needle, ……Her hair has grown thin and white, but she still dresses it with neatness and care”[20] The description is quite detailed with a hint of sensitiveness. Looking at the actual picture portrayed from the side of the woman, her figure is beautifully posed and her hair is certainly tidy and this angle shows off the style and little adornments on her mid-high bun. The sensitivity of the image and the descriptions that follow present a subtle admiration and caring attitude towards the old woman. Another image titled A Manchu Bride(Fig.7), which is under the series Manchu Ladies and a Manchu Marriage is also an adequate example. Mr. Yang which was one of an important connection for Thomson was extremely fascinated with anything foreign and collected photographic equipment.[21] He offered the chance for Thomson to photograph A Manchu Bride which was very rare encounter since during that period of time women, especially the ones who belonged in well-off families were not allowed to see men other than intimate family members. They were usually confined to their homes and did not see much of the world outside.[22] Thomson which goes in length to describe the course of the marriage seems to connote a sense of worry and sadness for the bride, for he writes the bride “is even liable to be beaten by her mother-in-law, and husband too if she neglects to discharge her duties as general domestic drudge.”[23] The bride in the image wears an elaborate headdress and is dressed in fine clothes with intricate embroidery, indicating her status and wealth also that she is about to be married. Her gaze looking slightly to her right not gazing directly at the camera and with lips unsmiling hints a gloomy and complicated expression. Around the age of fourteen or fifteen, she is about to be married to a man whom she has never met and only heard through the matchmaker. Likewise, how her future family is going to treat her is unknown it is understandable how the uncertainty could have caused her distress and putting on a bright smile may have been the last thing on her mind. Rather portraying a happy and delighted bride the in-depth understanding of the culture enable’s Thomson to have a more accurate presentation of an image. His description is both understanding and caring at the same time, which in ways reveals his humanitarian side as a photographer. Humanitarian values extend beyond countries and races for Thomson, for he also photographed a body of works titled Street Life in London indicating his interest in people and the mundane.      

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(Left: Fig.6/ Right: Fig.7)

        Understanding the historical context of nineteenth century in both the East and the West while contemplating Thomson’s personality and decisions in life provides insight of the possibilities of how a western gaze may have an alternative vision. The notion of a colonial gaze will always therefore accompany Thomson’s work since he was born under that era and is a Scottish. His gaze however, is not as single and straightforward as it appears when factors such as those mentioned above are considered when analyzing his work China and its People. The documentary style, artistic, and humanitarian implications should not be overlooked because the images accompanied with the text written by Thomson clearly expect viewers to search for deeper implications and trigger resonation. It is not as simple as a western country looking at a country that resembles a counterpart or inferior. In this essay the figures and examples that were given hopes to provide a different understanding and interpretation of Thomson’s image. Authentic portrayal of China under the circumstances provided is arguably precise. Thomson himself concludes in his last volume in China and its People with the image of the Great wall accompanied with text: “by expressing the hope that the work will convey a faithful impression of the places over which my journeys extended and of the people as I found them”, he desires readers to view China with the criticality and passion that he conveys through his images of the people in China.[24]

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[1] Grace Lau, Picturing the Chinese Early Western Photographs and Postcards of China (South San Francisco, CA: Long River Press, 2008),67.

[2] Arjun Appadurai, The Colonial Backdrop(In Afterimage: The Journal of Media Arts and Cultural Criticism, vol. 24, no. 5, March-April 1997),4.

[3] Lau, Picturing the Chinese Early Western Photographs and Postcards of China,1-3.

[4] Stephen White and John Thomson, John Thomson: Life and Photographs (London:Thames and Hudson, 1985), 7.

[5] Ibid,9.

[6] John Thomson ,China Through the Lens of John Thomson (1868-1872 = Wan Qing Sui Ying: Tangmuxun Yan Zhong De Zhongguo. Bangkok: River Books, 2010),9.

[7] Ibid,11.

[8] Ibid,6-7.

[9] Ibid,9.

[10] Ibid,11.

[11] Ibid,46.

[12] Ibid,13.

[13] White and Thomson, John Thomson: Life and Photographs,9.

[14] Lau, Picturing the Chinese Early Western Photographs and Postcards of China ,2-3.

[15] John Thomson , China and Its People in Early Photographs: An Unabridged Reprint of the Classic 1873/4 Work (New York: Dover Publications, 1982),2.

[16] Thomson ,China Through the Lens of John Thomson,13.

[17] Lau, Picturing the Chinese Early Western Photographs and Postcards of China,55.

[18] Ibid,53.

[19] Thomson, China and Its People in Early Photographs: An Unabridged Reprint of the Classic 1873/4 Work.

[20] Ibid.

[21] Thomson ,China Through the Lens of John Thomson,31.

[22] Ibid,31.

[23] Thomson, China and Its People in Early Photographs: An Unabridged Reprint of the Classic 1873/4 Work.

[24] Ibid.

Bibliography

Appadurai, Arjun. “The Colonial Backdrop”. In Afterimage: The Journal of Media Arts and  Cultural Criticism, vol. 24, no. 5, March-1111111April 1997

"John Thomson Photographs." Wellcome Library. Accessed May 10, 2016. https://wellcomelibrary.org/collections/digital-collections/john-thomson-photographs/.

Lau, Grace. Picturing the Chinese: Early Western Photographs and Postcards of China. South San Francisco, CA: Long River Press, 2008.

Thomson, J. China and Its People in Early Photographs: An Unabridged Reprint of the Classic 1873/4 Work. New York: Dover Publications, 1982.

Thomson, J. China: Through the Lens of John Thomson, 1868-1872 = Wan Qing Sui Ying: Tangmuxun Yan Zhong De Zhongguo. Bangkok: River Books, 2010.

White, Stephen, and J. Thomson. John Thomson: Life and Photographs. London: Thames and Hudson, 1985.

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【2017 Art Basel HK-2】Art Central + “M+”+ Lumenvisum

2017香港巴塞爾藝術展周邊——Art Central, M+及Lumenvisum

(Carmel Ilan's work)

1.      Art Central

Satellite art fairs have become the norm and Art central in its pretty tents opens up a few days earlier than Art Basel HK and provides complimentary shuttles to Art Basel and free admission for Art Basel VIP holders. First perception of the fair is an array of colors, decorative and very figurative works on exhibit. As many would believe it is a different tier art fair compared to Basel I feel it is always interesting to discover emerging artists and new works. Just to name a few: Loke Hong Seng, Zhang Liaoyuang, Carmel Ilan and Lim Chang-min. Also, Zhang Kechun known for his series Yellow River, sold really well at the fair for the booth was constantly renewing the space with new works from the artist. 

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(Left: Zhang Liaoyuang's work/ Middle: Zhang Kechun's work/ Right: Loke Hong Seng's work)

2. M+

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Newly opened is part of the West Kowloon Cultural District which the majority is still under construction currently is exhibiting Ambiguously Yours- Gender in Hong Kong popular culture. The district may appear a little shocking for one finds themselves in the middle of a construction site but M+ itself is definitely more than ready. With free admission and a great exhibition space its current exhibition takes Asians down a great era of Hong Kong pop culture in the 1980s. “曖昧” in Mandarin Chinese suits the exhibition precisely. Ranging from films, costumes, photographs and magazine covers an array of pieces are exhibited to portray gender roles in Hong Kong society. The way gender is viewed in Asian societies is quite different (if comparing to the west) due to the progression of history and the influences of cultural norms. Understanding its values through the entertainment industry is an intriguing take and it shares a view from the mass perspective.

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3.      Lumenvisum

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It is a small space hidden in Hong Kong but definitely worth a visit. A nonprofit organization that seeks to strengthen the understanding of photography in Hong Kong. This space divides into two parts one for exhibition and the other acts as a library for photobooks available for anyone who decides to drop by. They also regularly hold classes and events surrounding the medium. The current exhibition is The Presence of Absence a solo exhibition by Sharon Lee. Her interests is looking into how materials and texture effect the works and photography’s form in various degrees of presentation. 

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【2017 Art Basel HK-1】Highlighting Several Photographic Works

2017香港巴塞爾藝術展—攝影作品精選

  Titles sums up a piece of writing and I am afraid to say I still choose to stick with the plain old 2017 Art Basel HK. With the high price room rates of hotels surrounding the fair, various late-night events popping up everywhere in the city and the numerous art related exhibitions occupying March, Art Basel HK attracts all Asian art world and extends to the international art world. Like a magnet with a strong force art is connected simply because of this fair, making it like a personal HK art festival held by Basel. With the crazy rise of international art fairs around the world these facts do not appear new. Yet among the crazy schedule and the glitzy after-party events let us focus a little on the artworks shall we?

(Dinh Q. Lê’s The Deep Blue Sea 2017)

     Dinh Q. Lê’s The Deep Blue Sea 2017 is a hard to miss while some may consider it ”art fair art” it goes beyond what meets the eye upon first encounter. The lengthy photograph cascades from the top and forms a puddle of layers at the bottom, creating a fabric-like affect which is rare among the medium. The texture portrayal is interesting for the photographic medium usually occupies the fine art world laid flat or mounted on surfaces. With inspiration of Vietnamese grass mat weaving incorporated within his previous works it is not hard to understand this might be an extension of how he works with his materials. The Deep Blue Sea is in fact a reflection of the refugee crises in the Mediterranean Sea and correlates his practice of interweaving historical/ current events of the world into his works. Another artist Shi Guorui exhibited Light Frequencies 2015- 2016 (camera obscura images of Hong Kong) offered colossal images of Hong Kong but without any trace of human in sight, creating an eerie blandness upon first glance. Although, many would say the camera obscura is a dying art, the complicated and the nostalgic elements are still what draws numerous artists to create works by using the process, Richard Learoyd for example produces great color portraiture using the camera obscura. Dinh Q. Lê and Shi Guorui were brought by 10 Chancery Lane Gallery. For photography enthusiasts it is a sweet treat to see a gallery presenting works with variations of the usage of the photographic medium rather than just a medium for conceptual practice in Art Basel. 

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(Shi Guorui's Light Frequencies 2015- 2016)

     Artists like Masaru Tatsuki from Gallery Side 2 and Pratchaya Phihthhong from GBAgency, the former exploring time’s effect on human’s perception of history and the latter human’s lack of knowledge with the environment we inhabit are both works that have a strong narrative reflecting mankind and its relationship with the world. Tatsuki in his Kakera (First photography from mars 1976) 2016 the fragments were artifacts deemed by museums unworthy of collecting and were often wrapped with newspaper and stored until forgotten. To probe the meaning of worthiness and importance contrasted with time was the incentive. Phihthhong, on the other hand works with scientists to create A proposal to set Ch4*5.75H20 on fire (work in process) 2016, the fascination of this element buried deep under the earth and the way it ignites is a fascinating sight. 　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　(Masaru Tatsuki's works)

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 (Pratchaya Phihthhong's works)

    Lastly, Chen Wei which one can see several galleries exhibiting his works is definitely an eye candy. His newest series which is also currently exhibiting in Centre of Contemporary Photography (CCP) Australia, The Club 2013-2015 is worth the attention. The Dusseldorf influence with the deadpan feel of the images holds aesthetics that the western audience may immediately relate the content however, is the reflection of the current Chinese society which I believe is very on point. The series wishes to explore how the Chinese understand the concept of entertainment and how it is embedded in their lives. The clubbing scenes here is a metaphor for relaxing, enjoying and entertainment is linked strongly with western values, resulting in what the artist believes the essence of enjoying life that is lost to form and partial understanding. The fact of being in a club and actually enjoying and feeling at ease are two separate things. Moreover, some works depicts rainbow colored entrances and others with aftermaths of the clubs and yet no one appears to be in sight. The contrast of the excitement and distortion reflects the mental state of the people who were in the club. Chen’s images are staged scenes giving the image another depth of uncertainty for the viewers.
         

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(Chen Wei's works)

      Apparently it takes a few hours to queue for public day viewing tickets and all tickets were sold around 16:00 on the last day. The status differentiation of VIP’s means various cards divided by literally the thickness of the cards, time slots, bags and catalogue and walking in from different entrances. The prestige of the fair no doubt is also intensified through this system. Nevertheless, the works (although the blue chips may seem a little repetitive by now), do offer good quality such as interesting booths by emerging artists or booths with strong curatorial concepts. After all, who dares to question Art Basel?

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