“La Chine offre 18000 kilomètres de côtes, entre l’estuaire du fleuve de Beilun au sud et celui de Yalu au nord. Ces rivages sont les « fenêtres de la Chine » sur le monde extérieur . Ils sont aussi le lieu d’une urbanisation galopante, plus encore que dans le reste du pays. Ces bords de mer sont l ’objet d’un rêve pour de nombreux chinois qui quittent les campagnes pour y arriver en masse, pensant y trouver du travail et une vie plus facile. Xiao Zhang, photographe chinois de Chengdu, formé à l’architecture, nous livre une dérive étonnante le long de la côte. Il la décrit comme « belle et douloureuse ». On y voit les vacances, lesmariages, les déchets, la solitude, une Chine intime et contemporaine sans aucune facilité exotique. Ce jeune artiste chinois, déjà remarqué en Chine pour son travail sur le chantier du barrage des Trois-Gorges, est fasciné par la mer depuis son enfance; il y cherche « une résidence pour son âme » et parvient à saisir , dans cette errance au fil de l’eau, des images extrêmement fortes d’uneChine à la croisée de deux mondes.” Texte d’Agnès Sire, conseillère artistique 2011 du Prix HSBC pour la Photographie.

Like is a symptom, a disruption in the ecosystem of visual production. It reveals the existence of a deranged approach to pictorial representation in which more importance is attached to showing our place in the world than to showing the world itself. In a society imbued with the capitalism – the excess, total accessibility and asphyxia – of post-photographic era images, the question arises whether it is any longer possible to experience the excitement of discovery. Like is a printed image of our age, of this global village in which we live and where the human figure melts into the background like some kind of diluted being: a sign floating on the surface with no order, coherence or identity. And that explains Nave’s determination to move to some new, uninhabited land, perhaps further away than ever and perhaps even outside this reality.

In 2016, Berlin-based Chinese artist He Xiangyu (born 1986) began producing an encyclopedic collection of the meanings and functions of lemons and the color yellow. This Japanese-bound monograph collects a number of these writings, presented alongside more than 500 of He Xiangyu’s drawings entitled Research on Yellow.

A collection of works by Japanese photographer Katsuhiko Okazaki and writer and critic Masami Akiyama “Lesbian Technique-Sex Life of Women and Women”. Katsuhiko Okazaki, born in Nagoya in 1929, is an avant-garde photographer and poet who represents the area, and is interested in photography under the influence of Kansusuke Yamamoto, who is famous as a surrealist artist, and has since been accompanied by Keiichiro Goto and others. Joined the avant-garde poetry group “VOU”, which was presided over by Katsuzo Kitazono, and has published many subjectiveist works in the VOU magazine since 1950s. Katsuhiko Okazaki, who has held exhibitions at galleries and galleries in the Tokyo area as a life-work of “Sexial Report” and “Lesbian Love” since the 60’s, and has been devoted to creative activities of “sexuality”. This book is a book with works by Masami Akiyama, a writer who has published many books related to “sex” and “subculture” since the 1960s, accompanied by an illustration of “Lesbian” by Katsuhiko Okazaki.

This book presents 123 calling cards of artists (painters, sculptors, photographers, architects, graphic designers, illustrators etc.) from the 18th century to the present day. The facsimiled cards are slipped like bookmarks into a book by several authors on the history of the use of calling cards, the social context in which they were produced, and related historical and fictional narratives. The often unexpected graphic qualities of these personalized objects, each designed to capture an individual identity within the narrow confines of a tiny rectangle card, implicitly recount a history of taste and typographic codes in the West. But this calling card collection also lays the foundations for a microhistory of art, inspired by the Italian microstoria, or a looser narrative that breaks free from geographic contexts and historical periods. We can imagine how social networks were formed before the advent of Facebook, and how artists defined themselves in the social sphere, whether they were students or teachers, dean of the art school or museum curator, founder of a journal, firm, restaurant or political party, and so on. Superimposed on this imaginary or idealized network formed by chance encounters is a living network of students of art or history, historians or anthropologists, librarians, archivists, gallerists, museum curators and artists themselves, the network upon which this pocket museum is constructed. The sheer variety of perspectives and stories brought together here makes this book a prodigious forum for discussion. The carded artists include: Absalon, Anni and Josef Albers, John Armleder, Iain Baxter, Larry Bell, Joseph Beuys, Joseph Binder, Max Bill, Pierrette Bloch, Rosa Bonheur, Irma Boom, Aglaüs Bouvenne, Constantin Brancusi, Marcel Broodthaers, Antonio Canova, Caran d’Ache, A.M. Cassandre, Chenue malletier, Iris Clert, Claude Closky, Le Corbusier, Silvie Défraoui, Sonia Delaunay, Fortunato Depero, Marcel Duchamp, A.R. Dunton, Céline Duval, Nathalie Du Pasquier, Yan Duyvendak, Daniel Eatock, Edward Fella, Sylvie Fleury, Schwestern Flöge, Piero Fornasetti, Hans Frank, Lene Frank, Emile Gallé, General Idea, Dan Graham, Wolfgang von Gœthe, Jean-Baptiste Greuze, Walter Gropius, Guerrilla Girls, Hector Guimard, Friedrich Haeffcke, Raymond Hains, Keith Haring, Raoul Hausmann, John Heartfield, Anton Herrgesell, Jean-Auguste-Dominique Ingres, Ray Johnson, Ana Jotta, Wassily Kandinsky, André Kertész, Martin Kippenberger, Paul Klee, Johann Adam Klein, Yves Klein, Július Koller, Joseph Kosuth, Yayoi Kusama, Carl Gotthard Langhans, Fernand Léger, Pierre Leguillon, George Maciunas, Robert Mallet-Stevens, Edouard Manet, Piero Manzoni, Christian Marclay, Filippo Tommaso Marinetti, Karel Martens, Annette Messager, Lucia Moholy, Piet Mondrian, Valérie Mréjen, Félix Nadar, Isamu Noguchi, The Offices of Jenny Holzer, Peter Nadin, Richard Prince and al., Yoko Ono, Claes Oldenburg, Nam June Paik, Francis Picabia, Adrian Piper, Emil Pirchan, Man Ray, Les ready made appartiennent à tout le monde®, Carl August Reinhardt, Gerrit Rietveld, Auguste Rodin, Edward Ruscha, Alexander Search, Willem Sandberg, Erik Satie, Gino Severini, Johan Gottfried Schadow, Egon Schiele, Oskar Schlemmer, Käthe Schmidt, Roman Signer, Alec Soth, Gertrude Stein and Alice Toklas, Jack Smith, Hélène Smith, Harald Szeemann, Sophie Taeuber, Karel Teige, Oliviero Toscani, Theo van Doesburg, Roman Vishniac, Andy Warhol, Weegee, Neill Whistler, Heimo Zobernig, Piet Zwart, Emmy Zweybrück Prochaska With texts by: Samuel Adams, Damarice Amao, Daniel Baumann, Stuart Bertolotti-Bailey, Géraldine Beck, Paul Bernard, Christian Besson, Christianna Bonin, Véronique Borgeaud, Marie de Brugerolle, Garance Chabert, Kyrill Charbonnel, Yann Chateigné, Manuel Cirauqui, Chiara Costa, Caroline Coutau, Jean-Baptiste Delorme, Carla Demierre, Dakota DeVos, Corinne Diserens, Eva Fabbris, Patricia Falguières, Arthur Fink, Sophie Gayerie, Kati Gegenheimer, Mark Thomas Gibson, Nicolas Giraud, Victor Guégan, Andrea Gyorody, Nastassja Haidinger, Dean Inkster, Aurélie Jacquet, Elisabeth Jobin, Vincent Jolivet, Moritz Küng, Angela Lampe, Charlotte Laubard, Anaël Lejeune, Quentin Lannes, Pierre Leguillon, Charlotte Magnin, Nicole Marchand-Zañartu, Valérie Mavridorakis, Aurélien Mole, Michael J. Moore, Adrien Mouginot, Christiane Mühlegger, Émilie Parendeau, Ying Sze Pek, Corine Pencenat, Mathias Pfund, Fabien Pinaroli, Raphaël Pirenne, Paulo Pires do Vale, Carrie Pilto, Frans Postma, Jeanne Quéheillard, Fabienne Radi, Ivan Ristić, Vincent de Roguin, Paul-Louis Roubert, Margot Sanitas, Gilles Saussier, Elana Shapira, Klaus-Peter Speidel, Friedrich Tietjen, Rebecca Topakian, Gesine Tosin, Xiaoda Wang, Christophe Wavelet, David Zerbib, Célia Zuber Co-published by HEAD – Genève (Geneva University of Art and Design) and Edition Patrick Frey under the patronage of the Museum of Mistakes Editors: Pierre Leguillon in collaboration with Barbara Fédier and Kyrill Charbonnel, Pauline Cordier, Aurélie Jacquet, Aline Melaet, Anaïs Perez, and Charlotte Schaer, students of WorkMaster at HEAD – Genève

Antologia a cura di Franco Farinelli Illustrazioni di Stefano Arienti Traduzione di Giuseppe Lucchesini “Fin dalla mia prima giovinezza ho provato un ardente desiderio di viaggiare in terre lontane e inesplorate. È un sogno questo che caratterizza quell’età in cui la vita ci appare come un orizzonte sconfinato, quando nulla ha per noi maggiore attrattiva dei forti turbamenti dell’anima e dell’immagine di pericoli concreti”. La Coruña: 5 giugno 1799, un giovane scienziato prussiano s’appresta a varcare l’Oceano Atlantico lasciandosi alle spalle non soltanto l’Europa ma il XVIII secolo. Fino ad allora i viaggi erano stati d’esplorazione, occasioni per allargare i confini del mondo conosciuto. La spedizione che Alexander von Humboldt compie insieme all’amico e botanico Aimé Bonpland termina nel 1804, dopo aver percorso buona parte delle tre Americhe (Venezuela, Colombia, Ecuador, Perù, Cuba, Messico, per tornare poi in Europa dagli Stati Uniti) ed è, come scrive Franco Farinelli nell’introduzione, “il viaggio dei viaggi, nel senso che la sua forma ne riassume e comprende tutti i generi e tutti i modi: dal viaggio sentimentale a quello d’esplorazione, dal viaggio scientifico a quello letterario (…) per tale motivo, lo spazio americano viene definitivamente acquisito, finalmente depurato di ogni mito e credenza, dalla cultura europea”. Tornato in Europa raccoglie quest’esperienza, scientifica, intellettuale e naturalmente avventurosa, nei trenta volumi del Voyage aux régions équinoxiales du Nouveau Continent. L’antologia, a cura di Franco Farinelli, traccia un quadro esatto del personaggio e del viaggio ed è illustrata da Stefano Arienti.

Based in New Jersey, Factory2000 make low-budget exploitation films which inhabit a place removed from the traditional realms of cut-price sex and violence. Courtesy of exclusive interviews, on-set reports and film reviews, Headpress 22 investigates these highly controversial asphyxiation-fetish filmmakers, whose most recent effort-Duck! The Carbine High Massacre-resulted in their arrest. Also included are interviews with James Ellroy, gay pornographer Bruce La Bruce, tasteless impersonator Dead Elvis, and porn star-cum-brother girl Jeannie Rivers.

45 graphic designers, 90 photographs, 10 years of books on contemporary art. This book is based on an invitation to graphic designers to choose two books on contemporary art from the past decade whose design they think is particularly pertinent to the content, to photograph one double-page spread from each book and, if they wish, to comment on their choices. Double Page provides a selection of recent art publications as viewed by graphic designers who are internationally known for their contribution to that field, and offers a glimpse at the role of book design today in our knowledge and understanding of contemporary art. Shedding light on this prevalent relationship between art and graphic design by means of photography, Double Page constitutes an unprecedented document of how graphic designers see the work of their peers and their own practices as an essential part of the editorial process. Contributors: Philipp Arnold, Stuart Bailey, Ludovic Balland (Typography Cabinet), Jean-Marc Ballée, Peter Bilak (Typotheque), Julia Born, Change is Good (José Albergaria & Rik Bas Backer), Jocelyn Cottencin (Lieuxcommuns), Jean-Marie Courant (Regular), Sara De Bondt, Linda van Deursen & Armand Mevis (Mevis & van Deursen), deValence (Alexandre Dimos & Gaël Étienne), Markus Dreßen (Spector), Daniel Eatock, Gavillet & Rust (Gilles Gavillet, David Rust), Christian Haas (Raffinerie AG für Gestaltung), Will Holder, Simon Josebury (Secondary Modern), Erik Kessels (KesselsKramer), Kummer & Herrman (Arthur Herrman, Jeroen Kummer), Aude Lehmann, Lehni-Trueb (Urs Lehni and Lex Trueb), Joseph Logan, Jonathan Maghen (Textfield), Mike Meiré, Maureen Mooren, Stephan Müller (Müller & Wesse), NORM (Dimitri Bruni & Manuel Krebs), Warren Olds (Studio Ahoy), Tania Prill, Alberto Vieceli (Prill & Vieceli), Purtill Family Business, Yvonne Quirmbach, Manuel Raeder, David Reinfurt (Dexter Sinister, O-R-G), Alex Rich, Georg Rutishauser, Benjamin Sommerhalder (Nieves), Christoph Steinegger (Interkool), Jon Sueda & Gail Swanlund (Stripe) Frédéric Teschner, Alexia de Visscher & Pierre Huyguebaert (Speculoos, SPRL), Markus Weisbeck, Dorothea Weishaupt (groenlandbasel), Roger Willems (Roma), Michael Worthington (Counterspace). Edited by Christophe Keller, Jérôme Saint-Loubert Bié, Catherine de Smet Graphic Design: Caroline Fabès & Joséphine Guérin with Jérôme Saint-Loubert Bié. Copublished with École régionale des Beaux-Arts de Rennes

In the early 1990s, the idea of contemporary art in China simply did not compute to a foreign audience. But in 1993, ten contemporary Chinese artists debuted at the 48th Venice Biennale. They were immediately hailed as progenitors of a Chinese „avant-garde.” Their brightly colored, Pop Art-inspired paintings played with socialist motifs, parodied Mao, and gave a visual expression to the feelings of disaffected Chinese youth. They were everything western audiences expected of contemporary art from the People‘s Republic of China. But a number of critics were rather guarded in their opinions. Was this another flash-in-the-pan phenomenon just as Soviet art had been in the 1980s? Could a Chinese avant-garde maintain a distinct identity of its own and shake off its penchant for imitation? The answer is clearly „yes.” The emergence of a market for their art transformed the lives of these avant-garde pioneers from rags to riches, from outcast to hero, from social pariah to cutting-edge cool in a Chinese society adapting to a new era. They did not change but China has changed. The ideology they once had to fight now propagates a cultural climate of laissez-faire that is tantamount to encouragement. Set against China’s official program of modernization, Nine Lives paints a compelling picture of artists working beyond the pale of official culture, who started a new cultural revolution that is sweeping China today.

Nine Lives introduces nine artists (Wang Guangyi, Geng Jianyi, Fang Lijun, Gu Dexin, Li Shan, Zhang Xiaogang, Xu Bing, Zhang Peili, and Wang Jianwei), their personal histories and views on China today. Karen Smith‘s highly accessible introduction to an emerging art scene in a society unknown to most of us makes good reading not only for art-world insiders, but for anyone curious about recent history and its effect on the booming Chinese society. The book opens with a glossary for readers unfamiliar with Chinese history and culture, and a time line placing each of the nine artists within the context of the Chinese art world and political history.Karen Smith was born in Hertfordshire in the United Kingdom. She graduated from Wimbledon Art School in 1987 with a BA in fine art. A year later, she moved to Asia, settling in China in 1993, curious to explore its practically unchartered art scene. She calls Beijing her home, and is one of the foremost authorities on China’s contemporary art scene, both in China and abroad.

Axial Age is the title of a series of seven paintings completed by Sigmar Polke between 2005 and 2007. With his camera, Polke created a fascinating photo documentary of the painting process, including 187 images specially selected by the artist to be featured in this large-format book. By revealing the materiality and structural complexity of the works from a variety of perspectives and under different lighting conditions, Polke provides the reader with analogies to his oeuvre that are as explicit as they are unique. Polke makes use of a broad range of materials in his work, including varnishes and pigments, photographic chemicals, gold and silver, lapis lazuli and malachite – all references to alchemistic processes of transformation. Axial Age is a reference to the term coined by Karl Jaspers to describe the period between 800 BC and 200 BC, during which the world was reinvented based on the principle of transcendence – a principle that finds full expression in this series of paintings. English and German text.

Andy Warhol’s silk screens, Gerhard Richter’s blurred images, Vija Celmins’ hyperrealism: some of the most influential developments in the history of contemporary art hinge on the use of photographs as source material. Beginning in the early 60s, with seminal works by the aforementioned artists, The Painting of Modern Life charts the 45-year evolution of the translation of photographic images to paint–revealing an extraordinary breadth of stylistic and thematic diversity. This volume features 22 painters whose sources range from snapshots to commercial media, among them Richard Artschwager, Robert Bechtle, Celmins, Peter Doig, Marlene Dumas, Thomas Eggerer, Judith Eisler, Franz Gertsch, Richard Hamilton, Eberhard Havekost, David Hockney, Johannes Kahrs, Johanna Kandl, Martin Kippenberger, Liu Xiaodong, Malcolm Morley, Elizabeth Peyton, Michelangelo Pistoletto, Richter, Wilhelm Sasnal, Luc Tuymans and Warhol. Essays by curator Carolyn Christov-Bakargiev, writer and critic Martin Herbert, Hayward Director Ralph Rugoff and poet and critic, Barry Schwabsky lend insight to issues of translation, context and content.

‘Aeronautics in the Backyard’ is a catching, fairytale-like photo series about the dream of flying, freedom, and creativity. In China, in the most unexpected of places, farmers rise up to build their own aircraft from recycling scrap metal. Some of these aeronauts have worked for decades but never achieved to get airborne. Xu is driven by questions of why, of all people, Chinese farmers have the guts and skills to become aeronauts, even though they lack both education and resources. Their stories, pictures, original sketches, and technical documents are brought together in the book, unveiling the hidden world of Chinese aeronautics in full detail for the first time.

Si usted ha visto algo no importa en que rincon de Nuestra America- que no tiene ya un lugar en este libro, entonces hemos fracasado. Y puede que asi sea. Nos propusimos dinamitar las asfixiantes fronteras clasistas de lo que hasta hoy se ha venido llamando las artes visuales en America Latina. Hemos intentado incluir el amplio mundo de imagenes que golpea, incita e irrita en nuestras ciudades y pueblos. Toda la vasta iconografia del continente: desde la estatua del procer en la plaza hasta la foto de un carnet de identidad, desde los dioses solares indoamericanos, las deidades del esclavo africano, la cruz y la estrella tupamara hasta la banista rubia que anuncia una nueva crema para dorarse al sol. Hemos visto en ese prolijo mundo la historia visual del continente y sus agudas contradicciones actuales. Hemos tratado cada imagen de ese campo visual como un indice de los valores que se disputan hoy el territorio de America Latina. Hemos intentado abarcar mucho y apretar poco. Puede que sea por aqui y por alla vulnerable a las medidas de la estetica elitista, del rigor academico, era inevitable. Si de alguna manera Nuestra America se hace visualmente mas inteligible a traves de estas paginas, habremos sido utiles. utiles para que? Para la unica empresa que hoy merece toda nuestra inteligencia y todo nuestro esfuerzo: desenmascarar y matar al lobo antes de que nos obligue a consumirnos consumiendo.

catalogo della mostra a Verona, Galleria Fuxia, a Bologna, Galleria Neon e a Ravenna, Loggetta Lombardesca, 1989

The late 1950s and early 1960s saw a large number of central and sub-Saharan African countries gaining independence, and one of the key ways in which they expressed their newly established national identity was through distinctive architecture. Parliament buildings, stadiums, universities, central banks, convention centers, and other major public buildings and housing projects were built in daring, even heroic designs&;markers of the bright future these nations envisioned after independence. African Modernism is the first book to take a close look at the relationship between these cutting-edge architectural projects and the processes of nation building in Ghana, Senegal, Côte d’Ivoire, Kenya, and Zambia. Presenting some seven hudnred color photographs by celebrated photographers Iwan Baan and Alexia Webster and insightful analyses of the interactions of architectural innovation and developing national political and social cultures, African Modernism will be of interest to historians of architecture and Africa alike.D

The late 1950s and early 1960s saw a large number of central and sub-Saharan African countries gaining independence, and one of the key ways in which they expressed their newly established national identity was through distinctive architecture. Parliament buildings, stadiums, universities, central banks, convention centers, and other major public buildings and housing projects were built in daring, even heroic designs&;markers of the bright future these nations envisioned after independence. African Modernism is the first book to take a close look at the relationship between these cutting-edge architectural projects and the processes of nation building in Ghana, Senegal, Côte d’Ivoire, Kenya, and Zambia. Presenting some seven hudnred color photographs by celebrated photographers Iwan Baan and Alexia Webster and insightful analyses of the interactions of architectural innovation and developing national political and social cultures, African Modernism will be of interest to historians of architecture and Africa alike.

L’immagine vive in relazione allo spazio che la contiene. La scena, trovata o costruita, suggerisce un’azione lasciando alla fotografia un prima e un dopo istintivamente percepibile. Lo sfondo, l’ambiente, le condizioni, sono i limiti in cui l’azione si svolge o accadrà. Da un lato lo scenario è uno stage teatrale, dall’altro è un luogo perfetto in cui assistere a un racconto.

The image lives in connection with the space in which it is. The scene, which may be found or built, suggests an action leaving an immediately perceptible “before” and “after” to photography. The background, the environment, the conditions, are the limits in which the action is taking place or will happen. From one side the scenery is a theatrical stage, from the other side it is a perfect place to attend a story.


‘Genda’ continues its intersection of Western and Eastern culture by providing a platform for accidental, compressed, and distant yet dangerously similar material. The images here live in connection with the spaces they inhabit. The scene, which may be found or constructed, suggests an action leaving an immediately perceptible “before” and “after” in the photography, with its background, environment, and conditions. This issue features photographers Todd Hido, Federico Clavarino, Morgan Ashcom, Zhao Qian, Zhu Mo, Yishu Wang, Claudio Gobbi, Zhang Xiao, Ronghui Chen, Matteo Mastronardi, Sarah Pickering, Amiko Lee, Yifan Hu, and Pietro Mattioli.

Almost Naked is a series of portraits exploring identity and sexuality in America. Inspired by the artist’s upbringing in conservative China, and motivated by his passion to understand the complexity of emotion, desire, introspection and instinct. About the Artist Shen Wei was born in 1977 in Shanghai, China. His work has been exhibited internationally, with venues including the Museum of the City of New York, the Philadelphia Museum of Art, the Power Station of Art in Shanghai, the North Carolina Museum of Art, the Flowers Gallery in New York, and the Signum Foundation in Poland. His work is included in the permanent collection of the Museum of Modern Art in New York, the Getty Museum, the Museum of Contemporary Photography, the Library of Congress, the He Xiangning Art Museum, the Carnegie Museum of Art, and the Museum of Chinese in America, among others. He is a recipient of the Rockefeller Foundation Bellagio Center Arts Residency, the Asian Cultural Council Arts Fellowship, the New York Foundation for the Arts Photography Fellowship. He holds an MFA in photography, video, and related media from the School of Visual Arts, New York; and a BFA from Minneapolis College of Art and Design. Signed Copy Available!

with contributions from: Pierre-Olivier Arnaud, Léopold Banchini, Carola Bonfili, Susanne Bürner, Isabelle Cornaro, Jérémie Gindre, Nicolas Giraud, Raphaël Julliard, Laurent Kropf, Stéphane Le Mercier, Anne Minazio, Aurélien Mole, Olivier Mosset, Samuel Ostermann, Yann L. Popper, Frédéric Post, Fabienne Radi, Christophe Rey, Tatiana Rihs, Christian Robert-Tissot, Izet Sheshivari, Derek Sullivan, Lance Wakeling, Eric Watier, Christine Würmell, Zhang Xiao

Closing Ceremony Magazine is a ceremony for the traditional/classic photography and a warm welcoming to the new. We would like to offer a platform for those new photographers who might or might not get market recognition yet to present their works on printing and create a dialogue with the world. The début issue is street photography. Well, street to photography is not something new, plenty of magazines and photographers were concentrated on this classic topic. Nevertheless, we found out through internet, social media that this classic topic are continuously discussed by a lot of young photographers. Then we invite the photographers to create this issue together. Interestingly, these photographers are intensively active, they would high-frequently post what they shoot in their cities. However, It also seems like a video-game, everyone involved trying complete their mission. That’s what attracted us at the first place, it’s a visual dialogue created by a circle of photographers sharing a similar style while they all have a strong personal style or techniques. The internet and use of graphics software has facilitated an unprecedented speed, which has had a decisive impact on the ways we see and represent our direct environment. While at the same time, the new generation of photographers has found groundbreaking to relocate the borders, hence our awareness of urban reality. The bond between photography and the urban environment has to be reconsidered through a wider range of affiliations, and what makes contemporary street photography so compelling is its ability to lay bare the intricate that determine our perception of reality. Closing Ceremony magazine début issue features 14 contributing photographers: Bruno Zhu, Corey Olsen, David Brandon Geeting, Daniel Everett, Go Itami, Hiroyuki Sato, Izaac Enciso, John MacLean, KangHee Kim, Ryan Oskin, Sergiy Barchuk, Shen Li, Xiaopeng Yuan and Yoshinori Mizutani, their unpublished new works and interviews along with an essay written by Joël Vachero (ECAL Teacher / Visual Researcher) and exhibitions.

In the early 1980s, upon the opening up of Chinas economy under Deng Xiaoping, farmers left their hometowns seeking work in Chinas developing cities as a response to the resulting agricultural reforms. These people from Chinas vast rural areas are referred to as the floating population. By visually assembling photographs, video stills and photographed objects like textiles, rubber shoes, construction materials, a sock, piles of postcards and posters and more Nadine Stijns investigates this stream of migrant labourers. With texts by sinologist, journalist and writer Catherine Vuylsteke.

Exhibitions Theme Pavilions   Urbanian Pavilion  Pavilion of City Being  Pavilion of Urban Planet  Pavilion of Footprint  Pavilion of Future Pavilions in Zone A  China Pavilion  Asia Joint Pavilion I  Bangladesh Pavilion   Kyrgyzstan Pavilion  Maldives Pavilion   Mongolia Pavilion  Tajikistan Pavilion   Timor-Leste Pavilion  Asia Joint Pavilion II  Afghanistan Pavilion   Bahrain Pavilion   Jordan Pavilion   Palestine Pavilion   Syria Pavilion   Yemen Pavilion  Asia Joint Pavilion III  Laos Pavilion   Myanmar Pavilion  Chinese Provinces Joint Pavilion  Beijing Pavilion   Tianjin Pavilion  Hebei Pavilion   Shanxi Pavilion   Inner Mongolia Pavilion   Liaoning Pavilion   Jilin Pavilion    Heilongjiang Pavilion   Jiangsu Pavilion   Zhejiang Pavilion    Anhui Pavilion   Fujian Pavilion   Jiangxi Pavilion   Shandong Pavilion   Henan Pavilion   Hubei Pavilion   Hunan Pavilion   Guangdong Pavilion   Guangxi Pavilion   Hainan Pavilion    Chongqing Pavilion   Sichuan Pavilion   Guizhou Pavilion    Yunnan Pavilion   Tibet Pavilion   Shaanxi Pavilion     Gansu Pavilion   Qinghai Pavilion   Ningxia Pavilion   Xinjiang Pavilion   Shanghai Pavilion  Democratic People’s   Republic of Korea Pavilion  Hong Kong Pavilion  India Pavilion  Iran Pavilion  Israel Pavilion  Japan Pavilion  Kazakhstan Pavilion   Lebanon Pavilion  Macao Pavilion  Morocco Pavilion  Nepal Pavilion  Oman Pavilion  Pakistan Pavilion  Qatar Pavilion   Republic of Korea Pavilion  Saudi Arabia Pavilion  Sri Lanka Pavilion  Taiwan Pavilion  Turkmenistan Pavilion  UAE Pavilion   Uzbekistan Pavilion  Vietnam Pavilion Pavilions in Zone B Pavilions in Zone C Pavilions in Zone D Pavilions in Zone E Events Forums Landmarks Services Expo SHanghai Online Publisher’s Notes

The title of this book is taken from an image coined by Deng Xiaoping: “To cross the river you must touch the stones.” This metaphor for slow and painful progress can be applied to the development of the arts in China since the beginning of the reforms in the early 1980s. The present volume includes contributions from over 50 artists, critics and academics, and provides a complete overview of the developments in the Chinese art world. There are chapters dealing with the three important generations of contemporary Chinese artists, interviews, illustrations, a chronology and commentary of major exhibitions, extracts from influential reviews, as well as unpublished articles by leading scholars.