On November 23, the fourth annual Jimei x Arles International Photo Festival will open its doors in Xiamen, on China’s southeastern coast. Those lucky enough to nab tickets to the event, which closes on January 2nd, will catch sight of work by some of the most innovative artists working in photography today.
A spin-off of the Rencontres d’Arles, the prestigious photo festival held every summer in southern France, Jimei x Arles will bring together work by established international figures and up-and-coming artists in China. Inspiration for the event came from Chinese photographer RongRong, one of the founders of the Three Shadows Photography Art Centre—the first museum of its kind in China—and Sam Stourdzé, director of the Arles festival.
Each year the festival gives a Discovery Award to an emerging Chinese photographer. This year’s ten finalists—Shen Wei, Shao Ruilu, Su Jiehao, Pixy Liao, Coca Dai, Yang Wenbin, Lau Wai, Hu Wei, Lei Lei, and Wong Wingsang—show intensely personal work that spans the breadth of the medium. Neocha is proud to showcase the work of these photographers.
Click on the arrows to see more of each artist’s work.
集美·阿尔勒摄影季是世界著名、每年夏天在南法举行的阿尔勒国际摄影节（Rencontres d’Arles）所衍生出来的展览。由阿尔勒摄影节的总监萨姆·斯道兹（Sam Stourdzé）和中国当代摄影艺术家荣荣（中国第一家专业摄影艺术中心—三影堂摄影艺术中心创始人）联合发起，致力于展示来自中国的国际摄影大师及新晋摄影师的作品。
每年摄影季都会为杰出的新晋中国摄影师颁发 “集美·阿尔勒发现奖”。今年的十位入围者分别为沈玮、邵睿璐、苏杰浩、廖逸君、杨文彬、刘卫、戴建勇、雷磊、黄永生和胡伟。他们带有强烈个人色彩的作品，拓展了摄影媒介的广度。Neocha 这次很荣幸能展示这些摄影师的作品。
沈玮 Shen Wei
Shen Wei‘s photos have a deceptive stillness, like a muscle at rest. An image of the artist pausing as he descends into a pool is permeated with an eerie tension, while a photo of newly opened cherry buds seem to leap out of the frame. Two close-up self-portraits—one with eyes open, one with eyes closed—cloak his features in darkness, hiding as much as they reveal. Shen’s careful manipulation of light and color imbue static images with dynamic strength.
邵睿璐 Shao Ruilu
Shao Ruilu’s photos are visual riddles whose answers lie just beyond our reach. Perhaps the coins in various currencies suspended in mid-air offer a commentary on international finance or economic uncertainty. Perhaps the two still lifes, composed like paintings by Zurbarán, are a gloomy meditation on mortality: between one frame and the next, the peaches have rotted, the ash pile has grown, the newspaper’s been replaced. With her unusual subject matter, Shao raises questions that linger long in your mind.
苏杰浩 Su Jiehao
At first glance, Su Jiehao‘s photographs look like pure compositions of color and form—you could be forgiven for mistaking them for abstract paintings. Only upon closer examination do they come into focus as ordinary scenes: a ruler, a rainbow, a rooftop covered in snow. The final three images—stills from his video The Storm in the Morning—are less abstract but no less enigmatic. With his stunning sense of composition, Su creates images with an arresting beauty.
廖逸君 Pixy Liao
For the past eleven years, Pixy Liao has been documenting her life with her boyfriend Moro in the photo series Experimental Relationship. Often she places him in submissive positions, upending the traditional gender roles in which she was brought up. In these images, Liao, previously the subject of a Neocha profile, examines intimacy with a playful eroticism.
戴建勇 Coca Dai
Shot over a period of seven years, Coca Dai‘s series Judy Zhu 2008-2015 chronicles the life of his girlfriend (now wife) Judy through pregnancy and motherhood. His images have an unrehearsed quality that only film can provide, and taken together, they offer a candid, multi-faceted portrait of one woman in contemporary China.
戴建勇用 7 年的时间拍摄了《朱凤娟（2008-2015）》系列，记录了他的女朋友（现在的妻子）朱凤娟从怀孕到成为母亲的过程。他的作品有一种不假修饰的自然特质，只有胶卷才能呈现出来。两者相结合，全方位地呈现出一名当代中国女性的真实写照。
杨文彬 Yang Wenbin
While other artists here explore love and relationships, Yang Wenbin shows the technology involved in solitary expressions of desire. The photos in his series Euphoric Mirror are utterly without eroticism: in one, vibrators are presented as simple industrial products, assembled on production lines in factories; in another, a computer mouse in a crotch hints at the dissatisfactions of internet stimulation. Yang’s offers an unsentimental view of sexuality in the digital age.
刘卫 Lau Wai
In her series Memories of the Future, Hong Kong artist Lau Wai takes old photos and film stills of her hometown and adds her own cyberpunk touches. The effect is playful but hints at a more serious purpose: is she suggesting that the city’s history, as documented in photos from the last century, is as fake and retouched as her own images? Or is she hinting that Hong Kong’s future won’t be so different from its past? Lau’s work offers an ambiguous meditation on fantasy and time.
胡伟 Hu Wei
Hu Wei explores the commemoration of the past in his unconventional series Proposal for Public Assembly / Encounter. A native of Dalian, he presents photos and souvenirs of the monument built in 1995 to mark the fiftieth anniversary of the city’s liberation from Japanese occupiers. By using found images nearly as old as he is, Hu challenges the very notion of what constitutes photography. And when the past can’t be openly discussed, he perhaps offers an oblique commentary on which histories are remembered and which are passed over in silence.
雷磊 Lei Lei
Like many of the other Discovery Award finalists, Lei Lei uses digitally altered images to test the boundaries of photography. His 1700 Poses of Human Gesture shows the same girl sitting in countless different positions, while other images of his shown here present small variations in a violinist’s pose. Carefully manipulated to look old, Lei’s photos explore the ability of photography to capture the reality and the past from more than one perspective.
和许多其他 “发现奖” 入围者一样，雷磊也采用了数码处理图像来探索摄影的界限。在他的《人体动势1700例》中，同一个女孩以无数个不同的姿势坐着。在另一作品中，一名小提琴手在不同画面中细微地变换姿势。雷磊精心地 “做旧” 图像，以此探索摄影从不同角度捕捉现实和过去的能力。
黄永生 Wong Wingsang
Reflection and repetition underpin the work of Wong Wingsang. Polaroid head shots, samples of leaves, a sunset framed through reflections in a window: in each case, Wong draws our attention to tiny differences in nearly identical images. Conversely, his final photo included here—a triptych consisting of a house cat, cruise ships, and a solid black square—seems to dare us to find a common thread among seemingly unrelated images.