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Issue 49 (Jul/Aug) The Photography Annual is now available.

總第四十九期 (七、八月):攝影年鑑。

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PIPELINE issue 49 cover

(中文請往下)

The Photography Annual

Every photography issue of Pipeline has been different. We made our first efforts to acknowledge the medium in 2011, with a special issue about photographers, then put out a call inviting them to participate a year later. Last year I invited co-jurors to help us expand our judging muscles, and we have kept this model for this second juried issue of our Photo Annual. The various approaches have reflected our intention to poke around and discover things, try new angles and enjoy the level of experimentation that a non-commercial, independent magazine affords us.

For this issue I had the pleasure to be joined as co-jurors by curators Alia Swastika and Esther Lu. We came up with a selection in which no one series resembles another. They include a photo essay by Ange Ong, who roams the post-umbrella-movement streets of Hong Kong experimentally; and young practices of self-exploration through geography, such as Mahroo Movahedi’s mirror images, John Clang’s superimposed portraits about family ties, and the Nordic reveries documented in Cédric Maridet’s landscapes. We slipped in a couple of more established series: a documentary but artistic take on portraiture of young male street prostitutes in Thailand by Ohm Phanphiroj, and a project by Wawi Navarroza that is both street-based and rather plant- and earth-oriented. There is also room for staged photography and Photoshop, with Allysa Sing Zhi Bing’s kitsch, amulet-like constructions, and Daniel Eskenazi’s smoke machines resembling Chinese stones.

We will always value photography as a medium and are thrilled to offer a platform for the expression of projects that place an idea or concept at their core. I would like to encourage more original takes, critical vision and openness from artists, especially in a medium that still has so much unexplored potential.

Also in this issue, the closing chapter in Pipeline of the Museum of the Lost by Leung Chi Wo + Sara Wong, a project larger than our pages that we invite our readers to explore further; as well as William Lim’s Diary of a Collection, with many artists meets this time.

In Reviews: in Hong Kong Caroline Ha Thuc takes a look at the Beyond the Sound exhibition at Comix Home Base; in Singapore Ruyi Wong reviews 03-FLATS by Lilian Chee and Lei Yuan Bin; and Ysabelle Cheung denounces the orientalist shortcuts of the New York Metropolitan Museum of Art’s China: Through the Looking Glass exhibition.

Cristina Sanchez-Kozyreva

Pipeline.的夏季刊主推攝影,每年一度出版的攝影年鑑總有不同之處,今期也不例外。我們從最初打算以攝影媒介為題材,到後來公開邀請攝影師徵稿。去年起,我們開始組織評審團來擴大我們的審核能力。來到今期的攝影年鑑,我們仍保留這種評審方式。我們試圖以各種方式用新角度探索新事物,並享受這本非商業、獨立的雜誌為我們創造的實驗空間。

我很榮幸能與策展人.Alia Swastika.及.Esther Lu.一同成為評審團。本期想介紹一系列新鮮之作,讓人眼前一亮。作品包括.Ange Ong.的照片散文,記述藝術家走在雨傘運動後的街道上所體會到的景象;以及透過地理學嘗試自我探索的新作品,例如.Mahroo Movahedi.用鏡子拍攝照片、John Clang.用疊加製作人像照,描述家庭關係、Cedric Maridet.用照片記錄其對北歐的遐思。本期除刊登新作品外,還會介紹一些較為熟悉的作品,包括.Ohm Phanphiroj.創作的影像記錄,拍攝了泰國年輕的男性街頭性工作者的人像照片;以及.Wawi Navarroza.的作品,此作品既以街頭為基礎,又以植物和地球為主題。另外, 亦為大家帶來劇場式攝影和.Photoshop,介紹.Allysa Sing Zhi Bing.和.Daniel Eskenazi.的作品。Allysa Sing Zhi Bing.帶來像符咒的華麗作品,而.Daniel Eskenazi.帶來看似中國石頭的煙霧作品。

我們常視攝影作為一個重要媒介,我們很高興.Pipeline.能作為攝影家表達作品意念的平臺。我覺得藝術家需要更多原創舉動、批判視野及開放思考,特別是在攝影此媒介,仍有許多未知的發展空間。

本期會繼續收錄梁志和+黃志恆的《迷失博物館》(Museum of the Lost )這個長期系列的最終章,繼續邀請我們的讀者一同進行探索,還會繼續林偉而的《收藏品的日記》(Diary of a Collection),今期的日記將與眾多藝術家相遇。

最後在「評論」中,香港的.Caroline Ha Thuc.點評了在動漫基地舉辦的展覽《眾聲之外》,新加坡的.Ruyi Wong.評論.Lilian Chee.和.Lei Yuan Bin.的作品《03-FLATS》,Ysabelle Cheung.批評於紐約大都會藝術博物館舉辦的展覽「中國:鏡花水月」。

Cristina Sanchez-Kozyreva