Archive: communist
The million-dollar broken vase – Ai Weiwei

The million-dollar broken vase – Ai Weiwei

Ai Weiwei - Dropping a Han Dynasty Urn, 1995, Second panel of the triptych

Ai Weiwei - Dropping a Han Dynasty Urn, 1995
Ai WeiweiDropping a Han Dynasty Urn, 1995

The return of Ai Weiwei to China after living in New York City for more than a decade marked the beginning of a new form of art. No one knew all long he was thinking about the themes of transformation and destruction. He embarked on collecting ancient vessels with the aim of converting them into contemporary art pieces. Some people viewed this act as a way of collaborating with the ancient artists’ work, but some argued that it was misappropriating the artists’ work without their approval. This act provoked emotions since the urns were considered a form of consumer culture and heritage preservation, especially since he dropped it intentionally.

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Viewers mislead: These people are not famous

Viewers mislead: These people are not famous

Braco Dimitrijevic - Casual Passer-by I met at 11.09 AM, 1971
Braco DimitrijevićCasual Passer-by I met at 11.09 AM, 1971

Braco Dimitrijević’s Casual Passer-By series are a series of canvas based photographs created as from 1971. The works feature large-scale images of people that the artist met in the streets. Each of the pieces comes with the exact time and place where the artist met with the person. However, he did not always put the exact date. These images were then placed on some of the prominent positions on the facades of high traffic areas such as the museum, advertisement displays, or the underground train service.

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This is how Hong Kong looked like 60 years ago

This is how Hong Kong looked like 60 years ago

Fan Ho - Hong Kong Venice, 1962

Fan Ho - Inferno, 1962
Fan Ho – Inferno, 1962

Photographer Fan Ho was born in Shanghai, China in 1931 and immigrated to Hong Kong in his teens where he then began to photograph the drama of city life, ranging from the teeming markets to desolate alleyways. A Hong Kong Memoir completes Ho’s trilogy that he began with Hong Kong Yesterday and The Living Theatre, in which he introduced viewers to Hong Kong during the 1950s and 1960s, using his exceptional eye for light, structure, and his patience, waiting for the right moment to take the photo.

His photobook, A Hong Kong Memoir, illuminates the differences in Hong Kong during different times, and highlights the differences in wellbeing when so many different people were immigrating to Hong Kong, many fleeing Shanghai due to the Nationalist-Communist Civil War, serving to create an assortment of cultural diversity and language barriers, and of course social inequality. The government provided those who were born in Hong Kong with housing and education, the incoming refugees were not provided with the same opportunities by any means. This discrepancy is highlighted in Ho’s photos, as you can see the distinct differences between precarity and affluence, while the use of light and dark emphasizes the dualistic nature of life in Hong Kong in the 1950s and 1960s.

The influential photographer Fan Ho shows the beauty of life while also showing disparity that accompanies social and economic inequality- using light and dark to contrast the images.

Fan Ho - A Day is Done, 1957
Fan HoA Day is Done, 1957

Fan Ho - World Upside Down, 1960
Fan HoWorld Upside Down, 1960

Fan Ho - Works, 1964
Fan HoWorks, 1964

Fan Ho - W, 1959
Fan HoW, 1959

Fan Ho - The Omen, 1964
Fan HoThe Omen, 1964

Fan Ho - The Lone Ranger, 1954
Fan HoThe Lone Ranger, 1954

Fan Ho - Sun Rays, 1959
Fan HoSun Rays, 1959

Fan Ho - Street Scene, 1956
Fan HoStreet Scene, 1956

Fan Ho - Steps
Fan HoSteps

Fan Ho - Private, 1960
Fan HoPrivate, 1960

Fan Ho - People Crossing, 1957
Fan HoPeople Crossing, 1957

Fan Ho - Pattern, 1956
Fan HoPattern, 1956

Fan Ho - On the Stage of Life, 1954
Fan HoOn the Stage of Life, 1954

Fan Ho - Obsession, 1964
Fan HoObsession, 1964

Fan Ho - Mother's Helper, 1967
Fan HoMother's Helper, 1967

Fan Ho - Man Carrying Box, 1954
Fan HoMan Carrying Box, 1954

Fan Ho - Lines & Forms, 1959
Fan HoLines & Forms, 1959

Fan Ho - Journey to Uncertainty, 1956
Fan HoJourney to Uncertainty, 1956

Fan Ho - In a Chinese Street, 1959
Fan HoIn a Chinese Street, 1959

Fan Ho - In a Buddhist Temple, 1961
Fan HoIn a Buddhist Temple, 1961

Fan Ho - Hong Kong Venice, 1962
Fan HoHong Kong Venice, 1962

Fan Ho - Her Study, 1963
Fan HoHer Study, 1963

Fan Ho - Flare, 1966
Fan HoFlare, 1966

Fan Ho - Danger, 1965
Fan HoDanger, 1965

Fan Ho - Daily Routine, 1961
Fan HoDaily Routine, 1961

Fan Ho - Coolies and Hawkers, 1958
Fan HoCoolies and Hawkers, 1958

Fan Ho - Construction, 1957
Fan HoConstruction, 1957

Fan Ho - Childhood, 1959
Fan HoChildhood, 1959

Fan Ho - Busy Harbor, 1964
Fan HoBusy Harbor, 1964

Fan Ho - Between Showers, 1962
Fan HoBetween Showers, 1962

Fan Ho - Ashore, 1963
Fan HoAshore, 1963

Fan Ho - As Evening Hurries By, 1955
Fan HoAs Evening Hurries By, 1955

Fan Ho - Arrow, 1958
Fan HoArrow, 1958

Fan Ho - Approaching Shadow, 1954
Fan HoApproaching Shadow, 1954

Fan Ho - A Day is Done, 1957
Fan HoA Day is Done, 1957


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Sensational photos of North Korea’s mass games

Sensational photos of North Korea’s mass games

andreas-gursky-pyongyang-I1
Andreas Gursky – Pyongyang I, 2007, c-print, 307 x 215,5cm
© Andreas Gursky / VG Bild-Kunst. Courtesy: Monika Sprüth / Philomene Magers

Renowned for his large-format colour photographs charting themes of globalised society at work and play, Andreas Gursky’s production employs the digital technology to capture and refine an astounding compilation of detail on an epic scale. The perspective in many of Gursky’s photographs is drawn from an elevated vantage point. This position enables the viewer to encounter scenes, encompassing both centre and periphery, which are ordinarily beyond reach.

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German photographer visits North and South Korea

German photographer visits North and South Korea

Thomas Struth – Semi Submersible Rig, DSME Shipyard, Geoje Island, 2007
Thomas Struth – Semi Submersible Rig, DSME Shipyard, Geoje Island, 2007

ABOUT STRUTH’S WORKS IN KOREA

In March 2007, Thomas Struth went on a first trip to South Korea. He spent time in the two largest cities, Seoul and Busan, as well as visiting religious and cultural sites, important landscapes and shipyards. At the vast DSME shipyard on Geoje Island, one of the largest in the world, he photographed tankers under construction and an immense semi-submersible drilling rig. Struth made two further visits to South Korea in 2008 and 2010, as well as visiting Pyongyang in North Korea for the first time.

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Public Delivery

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