My exibition Moving Images, Moving People is now on view @ 401 Richmond as part of the Scotiabank CONTACT Photography Festival. This is also the first exhibition of this body of work after more than 4 years of research and collaboration funded by The Social Sciences and Humanities Council of Canada (SSHRC), as well as 15 months of planning, curatorial design, and production. The exhibition is made up of illuminated
Posters for my upcoming exhibition in this year’s Scotiabank CONTACT Photography Festival and the related talk + roundtable event.
Is it possible to develop an aesthetics of resistance in a world that is dominated by spectacles sanctioned by the state and capital?
Le Monde, the Paris-based daily, reports on the censorship problems in this year’s Lianzhou Foto Festival. They estimate that at least 10% of the approximately 2,000 photographs, including several of my photographs, were censored in the exhibition. I spoke briefly with an editor from the paper: Festival de photographie : en Chine, l’art mystérieux de la censure
My solo exhibtion The Theater of War will open on December 1 as part of the 2018 Lianzhou Foto Festival. The exhibition draws on my ongoing investigation of the relation between aesthetics and military violence, nuclear fallout, and Cold War ruins. In his treatise On War published nearly two centuries ago, the Prussian military theorist Carl von Clausewitz deploys the idea of the “Theater of War” to analyze warfare. By
In the latest issue of Radical History Review that focuses on Photography and Work, my extended photo-essay, “Portable and Precarious: Life and Spectacle in China’s Construction Camps,” explores the relations betwen mobile cinema and the portable life of migrant workers inside China’s construction compounds. “[W]hereas shipping containers are transported between seaports and other logistic centers that are mostly devoid of humans, dormitory containers are packed with migrant bodies to be
Let’s take a break from Cold War ruins and check out these abandoned factories from the post-socialist era.
The Chernobyl Exclusion Zone is hardly a dead zone or time capsule. For these self-settlers who have moved back to their villages inside the zone illegally, life has to go on. Still, aside from their contaminated farmlands, memories of a better time are what they really cherished.
Oftentimes, after I’ve posted an image on social media, people would ask me about its location, even though they did not necessarily have the desire to go there. Somehow, I suspect that that curiorsity is driven by our desire to place a scene to a specific place and therefore insulate it from “our” world. But the truth is that these scenes are all coming from a place called the Planet