A trip to Shanghai allowed Chloé Milos Azzopardi to open her mind – and image-making – to the fictions and interconnectedness of the natural world
The Shanghai-based publisher invited five photographers to make use of Amazon’s return policy, exploring current trends in life-style products and the role of photography in consumerist culture
When Kanghee Kim started making photographs, it was out of frustration. Due to visa complications,…
Last year, after 10 years of creating hundreds of images for a project about her relationship, Pixy Liao decided it was finally time to create a book. “I’m not a very productive photographer, so I always felt like I didn’t have enough images” she says, “but ten years felt like the right time”.
As a woman brought up in China, Liao always thought she would end up with an older man who would look after her and protect her. But while studying for an MFA in photography in Memphis, Tennessee, she met Moro, a Japanese musician five years her junior. Being with Moro challenged her own views on how a man or woman should behave in a heterosexual relationship, and so she began to explore this through photography with a project titled Experimental Relationship.
“I like objects that don’t have much of a style. Like patterns in colouring books, clean black lines, and primary colours. Things that aren’t trying to sell you an ideology or concept,” says Peng Ke, who calls from her home in Shanghai, where she has just closed her first solo exhibition in the city, I Have Seen Many People Although They Have Not Seen Me. “Most visual languages are so coded, so if I see things that are almost innocent, they really stand out to me.”
Peng Ke’s exhibition coincided with the launch of Salt Ponds, her first book published by Jiazazhi. The project has been ongoing for five years now, but only became a solid body of work after her friend and graphic designer Pianpian He approached her to collaborate on a book. It began in the cities where Peng’s parents grew up, and quickly expanded to other fast developing, smaller cities in China. Though they are shot hundreds of miles apart, her photographs are anonymous; you can never tell which city she is in. So the project became less about her own hometown, and more about the collective experience of Chinese people who live in these places, “because in a way, everyone comes from the same city”.
Yan Wang Preston’s Mother River is both a physical odyssey through China and a metaphor for its…