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| Zhu Feng 朱锋 | |
1974年出生于上海 ，毕业于华东师范大学艺术系 ，现居上海。 |
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tiananmen
2007 |
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TOP
2004 |
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| Photography is generally directed by the object photographed. Without the existence of a concrete target, there cannot be photography. The work of the Shanghai based photographer Zhu Feng however does not proceed of this logic. By re-photographing photographs of architecture taken in brochures or magazines, the author makes "reproductions of reproductions". By tiny "tricks", this "second hand reality" leads to urban images leaving an impression of blur close to the mirage, as if the buildings were melting little by little in space. While stressing the dubious aspect of the cities and the illusory side of reality, these images also oppose a simplistic recognition of reality. ——Guzheng
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hills&waters
2005 |
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“Urban Landscapes”
By Congyun
The masters at the end of the 19th century and early 20th century put great efforts to explore and develop the functions of photography - “describing the nature” different from drawing or painting. Photography therefore was able to establish itself as an independent disciple sharing the ground with the traditional fine art. In recent years, however, photograph increasingly involves in contemporary art as an essential media. The boundary between photograph and traditional fine art blurred, photograph as the “nature’s stamp” has become a photographer’s stamp. "Urban Landscape" series, as the title indicates, is a work with metaphor. First, it gives the impression of association with the Chinese landscape in ink painting. The Chinese ink painting focus on the levels of black, white and grey, from the grey scale to create, perform and release a sort of humanistic feelings and subjective moods. Chinese ink painting, with strong subjectiveness, abstracting the details and pursuit of spirits, eventually became the reflection of creator’s inner world. "It looks like mountains, it is because I made them mountain-like; it looks like a pile of soil, they in fact are." That is a typical Zhu Feng style straightforwardness and humor. In these photographs, the artist uses black, white and grey to erase the dramatic character of photograph as a "writing of light". We could barely see the pursuit of light by the photographer, in the midst of the unknown details of blurry images, the nature of photography was once again been lifted and challenged. These "hill" and "water" was intercepted from the complex realistic scenes and displayed simply and abstractly. If we put the "water" pictures together, it will be exactly as a Chinese landscape scroll. Wavelets contain numerous Chinese-style embodiment of rhythm. However, they are still in photographic style. Photographer got even closer and closer to his objects, "watched" more carefully the temporary existence of constructions: a mountain of garbage, soil, rivers…… These vague soils, waters and trees were re-interpreted, noted, refined and processed. Their meaningless existence had been granted with magnitude, meaning and “aura” by the photographer’s imaginations. With the strong hint of the title, the photographer combined perfectly urban nature with subjective attempt.
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Zero shanghai
2005 |
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| Shanghainese artist Zhu Feng allegorically captures the visual reality of a modern city with his long and wide imagery. The trail left by people and the aspirations revealed by mankind in this space, as well as the direct effect of human behavior, sometimes seem to be ridiculous. The photographer captures images of unique dimensions, which concurrently give the viewer a sense of strange unfamiliarity and represent an absurdity beyond reality. In his images, cities become even stranger through the settings and our relationship with the cities becomes more and more suspicious and unbelieable. ——Guzheng With the same regular city sceneries, Zhu Feng takes the narrow corners, silent wall surfaces and build-ups of city into his panorama images. In the process of viewing our psychology collides with vision; and what makes us uneasy is that the images we see are just the absurd and exotic aesthetic feeling which is unique to the vehement transformation period, and the bloodstain remained on the razor of urbanization. The author says that such images are just around his daily life and work, and the city inhabitants have already been accustomed to appreciating in doubt, and to doubting in appreciation. by Shi Hantao, ABSENT MINDED 9 Photographers from Shanghai
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loveischocolate
2000 |
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newconstruction
2002 |
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“New Construction”
By Congyun The
"New Construction" is an early series of works on urban landscape. As mentioned above, the city scenes in photo may not be the ordinary sense of the scenic landscape, or it is not important for being the scenic landscapes, but the most accessible places, and the most direct objects used as a photographic subject by the photographer. He used Ricoh GR1V camera loaded with China made black-and-white films, watching the "scenery" everyday along his way to and from work. Once he found suitable pictures, he then stopped. "The main purpose on my way to and from work is not to take pictures; I won’t be disappointed if I didn’t take even one picture …… the place I lived is in the endless process of construction, rapid changes in everything. I live in such an environment that my shooting has much uncertainties, I do not know what it will happen tomorrow. I will continue to shoot the meaningless sceneries. I sometimes ask myself why I shoot these views. I have no idea as well, but once you are there you will have a strong desire to shoot them……" From the parallel perspective of the target, the photographer took immediate landscape in a both strange and intimate sense. In the process of framing, the sceneries were arranged in a random, but well-thought manner. No unusual perspective, nor exaggeration, the central-horizontal format was the result that the photographer finally decided to use after continuous watching and shooting, putting the subject at the center of the frame. The strong sense of the form tells us that the photographer behind the viewfinder watches and selects carefully, just like working on a picturesque paintings. The difference is that the photographer obviously wants to break the shackles of traditional aesthetic layout of the screen. We have seen a successful attempt. Meanwhile, these works with the traces of documentation have been given a strong subjective feeling. The pictures are enlarged and displayed in front of us, just like the scenery in front of the photographer. Let us try to understand the feelings of photographer, "the only scenery I saw on the road is the residential buildings under construction. There is ubiquitous smell of dust wafting in the air. You will sense it as long as you are there." The picture froze the moment and the emotions. The photographer slowed down the pace, after a careful and time-consuming watching; the snapshot turned into a well-conceived “that one”. The “city” on the photo, being the places that the photographer passed by everyday, shows a sense of distance and alienation. "Lonely people were surrounded by air. I see the buildings that have little to do with me. I want to treat them as a scenic view, to build a sort of relationship with them. However, they left there right before the relationship is established, and I have not got enough time to keep them on my film." The newly constructed buildings should have a spick-and-span appearance, but they looked somewhat bleak in the pictures. It is a changing city, as we start to make acquaintance with it, it changes again - the trash hill turned to grassland with trees transplanted; mud pile became a road installed with ancient-like street lights…… in the end it is the changing city made the photographer feels a loss, or it is the photographer’s by-standing watch made the city distant. Perhaps, the photographer is still in search of another way of expression and watching……
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paradizelost
1999 |
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xiaoli
2006 |
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| Education and biography | |
| 1974年出生于上海 ，毕业于华东师范大学艺术系 ，现居上海。 1974 Born in Shanghai Graduated from East China Normal University, Fine Art Deptartment Currently lives in Shanghai 展览： 2007《上海零度》 上海威马影廊 2006《山水》 连州国际摄影年展 2005 2nd International Photography Competition FOTO ART MAGAZINE 2005《向大道致敬—上海青年摄影家5人展》 上海爱普生影艺坊 2005《自私、走神—中国新生代摄影联展》 广州伊云小镇艺术沙龙 2005《走神—上海摄影师九人展》 连州国际摄影年展 2005《丰—中国当代摄影展》 艺术景画廊 2005《CHINA-青色—关于试探首届影像展》 杭州Ag-ART影像艺术仓库 重庆TANK仓库艺术中心 2005《城市-重视—2005广州国际摄影双年展》 广东美术馆 2004《武夷山国际摄影周---虚弱的人》 福建武夷山 2004《六筒---都市新生代影像展》 上海星光摄影家画廊 2003《平遥国际摄影节---失乐园》 山西平遥 2002《平遥国际摄影节---中国新摄影》 山西平遥 2002《图像*变像》观念摄影展 上海师范大学无形画廊 2000《上海第五届国际影展黑白摄影联展》 上海展览中心 2000《夜上海》 上海威马影廊 EXHIBITIONS: 2007 Zero shanghai Shanghai Weima Gallery 2006 HILLS AND WATERS Lianzhou Intl.Photography Festival 2005 2nd International Photography Competition Foto Art Magazine 2005 SALUTE TO DAIDO MORIYAMA, The Exhibition of 5 Shanghai Photographers epSITE-Epson Imaging Gallery 2005 SELFHOOD·ABSENT MINDED, the Joint Exhibition of The New Generation Photographers in China Yiyun Town Art Saloon Guangzhou 2005 ABSENT MINDED, the Exhibition of 9 Shanghai Photographers Lianzhou Intl. Photography Festival 2005 HARVEST, Chinese Photography Exposition, Art Scene Warehouse 2005 CHINA·QINGSE, About Exploration, 1st Exhibition, Ag-art Warehouse Hangzhou, Tank Art Warehouse Chongqing 2005 RE(-)VIEWING THE CITY, 2005 Guangzhou Photo Biennial, Guangdong Museum of Art 2004 WEAKLINGS, Wuyi Mountain International Photo Week, Fujian Province 2004 LIUTONG, New Generations of Metropolis Photography Exhibition, Shanghai Xingguang Photographer Gallery 2003 PARADISE LOST, Pingyao International Photography Festival (PIP Festival), Pingyao, Shanxi Province 2002 CHINA NEW PHOTOGRAPHY, Pingyao International Photography Festival 2002 IMAGES AND VARIATIONS, Shanghai Normal University Wuxing Gallery 2000 5th Shanghai International Photography Exhibition, the Associated Exhibition of Black-and-white Photographs, Shanghai Exhibition Center 2000 THE NIGHT OF SHANGHAI, Shanghai Weima Gallery |
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