Photography has been a part of China's cultural landscape since the mid-1800s, coinciding with the arrival of European photographers in Macao during that period. Initially, in the 1850s, these photographers established studios primarily in coastal port cities. However, over time, their Chinese apprentices and local competitors expanded their presence across various regions.
By the close of the 19th century, photographic studios had proliferated in all major Chinese cities, offering services to the burgeoning middle-class population for capturing portraits during significant family events. Both Western and Chinese photographers actively documented everyday street scenes, pivotal wartime events, and notable personalities of the era. Photography also gained traction as a hobby among the affluent, with figures such as Empress Dowager Cixi frequently sitting for portraits.
The early 1990s marked a period of remarkable creative resurgence in Chinese photography, which unfortunately waned over the following decade amidst a climate of uncertainty and apprehension. This era was characterized by a profound shift in socio-political dynamics. The optimism fostered by the embrace of capitalist principles and the loosening of restrictions on political and artistic expression during the 1980s abruptly gave way to somber reflections following the tragic events of the Tiananmen Square massacre on June 4, 1989. By 1992, while economic reforms continued unabated, the political liberalization witnessed in the previous decade came to an abrupt halt.
Amidst this tumultuous backdrop, artists found solace in their creative endeavors, using the medium of photography to articulate their emotions and perspectives. Unlike conventional street photography or photojournalism, the prevalent artistic expressions took on a more avant-garde and introspective tone. Notably, within the vibrant community known as the East Village on the outskirts of Beijing, where free-spirited artists congregated. Photographer Rong Rong captured poignant moments of performance art
and co-founded the first Chinese conceptual art photography magazine, New Photo.
In the present day, contemporary photographers primarily draw inspiration from international sources, driven by two key factors. Firstly, their cultural environment strongly incentivizes this approach, and secondly, their educational background has previously hindered a comprehensive understanding of their own photographic heritage, although this trend is gradually shifting. Unlike their predecessors, these modern photographers tend to prioritize aesthetic principles over documentary elements, often aligning themselves closely with the ethos of visual artists.
It appears imperative to delve deeper into the realm of Chinese photography, considering its plurality. Throughout the 20th century, there was a tendency to categorize and encapsulate everything into predefined concepts, imbuing a sense of uniformity. Breaking away from this notion proves challenging, hindering the recognition of its diverse expressions. What does it truly entail to be a Chinese artist in a digitally interconnected world, where camera-equipped devices are ubiquitous and censorship is increasingly difficult to enforce?
While the significance of location remains paramount, the term "Chinese photography" seems to lack tangible meaning and connection to reality. Nevertheless, China does possess its unique characteristics. In the early 2000s, the prevalence of photographs was scarce, but today, numerous young individuals are embracing this medium from an early age. This burgeoning interest is accompanied by a dynamic landscape characterized by rapid changes and bold experimentation, evoking a sense of both excitement and apprehension. It is precisely this element of risk that initially captivates, prompting galleries to actively engage with artists in a continuous process of introspection and daring innovation.
Photography in China faces a significant challenge in terms of institutional backing. Nonetheless, there is a burgeoning array of private initiatives that are just starting to emerge. Huang Yunhe, a gallery proprietor, voices his aspiration to establish a dedicated photography museum in China: "I am keen on championing the concept of a photography museum. Having been involved in gallery ownership for five years, I strongly believe there is still considerable groundwork needed in China to advance photography. While the public craves more exhibitions, the impact of a single gallery is limited. Hence, deeper collaboration with other institutions is imperative." It is these exhibitions that cultivate audiences, heightening awareness of photographic art. Although everyone can capture images with their smartphones, the essence differs. It necessitates an educational initiative for audiences to truly comprehend and appreciate photography. This effort also nurtures emerging talents, facilitates residencies, all of which are long-term endeavors. Overseas locales showcase diverse dynamics. For instance, in Arles, where Bérénice Angrémy showcased Dan Shanzi in 2007, in Paris, London, and beyond. Eli Klein Gallery in New York City also presents exhibitions dedicated solely to Chinese photographers. These exhibitions catalyze underlying movements, with enduring repercussions that contribute to validating Chinese-origin photography. Support from museums or galleries, whether institutional or otherwise, is indispensable.
Here are 10 contemporary photographers featured on All About Photo you should know.
