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《中国当代摄影四十年》重版出来!

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《中国当代摄影四十年》

40 YEARS OF CHINESE CONTEMPORARY PHOTOGRAPHY


页码:379 页

编著:巫鸿 

出版时间:2020年1月 

开本:889mm×1194mm  1/16

中英双语,精装

2020年1月第1次印刷

出版:三影堂摄影艺术中心&浙江摄影出版社

 

600幅照片全貌展现

近200位中国当代摄影师的经典作品

中国当代摄影40余年风雨历程

2017年中国摄影图书榜“年度自制摄影图书”



重版出来!


2017年,画册《中国当代摄影40年》与展览《中国当代摄影40年(1976-2017)——三影堂10周年特展》同期推出,线下展览和纸质画册同时呈现了自1976年以来的中国当代摄影。为举行此次特展,三影堂特邀著名艺术史家、艺评家和策展人巫鸿先生策展。展览开幕后,获得界内外的好评,并于2018年南下,在OCAT深圳馆展出,扩大了展览的影响力。


2017年“中国当代摄影40年(1976-2017)——三影堂10周年特展”展览海报

点击图片,了解更多展览详情。


画册《中国当代摄影40年》像是一场永不落幕的展览,时至今日,仍在为每一位关注中国当代摄影、当代艺术的朋友呈现中国当代摄影40多年的风雨历程。正如荣荣老师所言,回溯历史,搜集和整理没有被系统化的资料,并依据时代背景对其加以梳理和研究,将具有重要学术和历史意义的作品齐聚一堂,也是三影堂一直以来的夙愿和目标。


两年后的今天,《中国当代摄影40年》的第二版对第一版的内容进行了一定的扩充,新增了多位摄影师的作品,以反映当代摄影的不断推进。正如巫鸿教授在画册前言中提到:


“当代摄影”是一个国际通用但不具备共同定义的概念。对中国来说,当代摄影有着一个相当明确的起点四十多年前的1976、1977年。中国当代摄影的概念并非一成不变,而是随着国内和国际上社会、经济、文化的大潮以及摄影本身的发展,在以往四十余年中经历了相当大的变化。


根据这些变化,中国当代摄影的进程在这本画册中被大体分为四个阶段:

“民间摄影团体和展览的浮起”(1976 - 1979) 

“摄影新潮 ” (1980 - 1989)

“实验摄影”(1990 - 2006)

“实验性摄影机构的发展 ”(2007年至今)

 

画册汇聚了以下艺术家作品

罗小韵 | 王立平 | 吴鹏 | 李京红 | 王志平 | 贾育平 | 蔡海峰 | 张炬 | 齐国华 | 廖增益 | 张海潮 | 洪克 | 张征 | 刘绍强 | 李英杰 | 鲁忠民 | 黄渝生 | 王昀 | 贺延光 | 李晓斌 | 李恬 | 闻丹青 | 李江树 | 吕小中 | 刘建华 | 凌飞 | 许涿 | 任曙林 | 王享 | 王苗 | 于康鹰 | 沈延太 | 黄云生 | 吴大轸 | 李国华 | 龚田夫 | 赵介轩 | 金伯宏 | 严可 | 马晓青 | 任国恩 | 刘世昭 | 陈凡 | 鲍昆 | 罗坚 | 王雁 | 王文澜

安哥 | 伍时雄 | 胡武功 | 侯登科 | 石宝琇 | 潘科 | 于晓洋 | 陈勇鹏 | 李世雄 | 周跃东 | 谢平 | 蔡铭 | 王耀东 | 顾铮 | 吴家林 | 于德水 | 吕楠 | 张海儿 | 陆元敏 | 陈宝生 | 石志民 | 解海龙 | 王福春 | 朱宪民 | 刘香成 | 杨绍明 | 牛国政 | 汪芜生 | 莫毅 | 徐勇 | 袁东平 

庄辉 | 荣荣 | 海波 | 高波 | 洪磊 | 韩磊 | 郑国谷 | 颜磊 | 熊文韵 | 洪浩 | 邢丹文 | 蒋志|赵亮 | 左小祖咒 | 缪晓春 | 崔岫闻|王宁德 |马六明 | 张大力 | 王劲松 | 邱志杰 | 冯梦波 | 杨福东 | 苍鑫 | 赵半狄 | 翁奋 | 高氏兄弟 | 施勇 | 管策 | 罗永进 | 朱冥 | 刘勃麟 | 何崇岳 | 颜长江 | 徐志伟 | 付羽 | 邵译农&慕辰 | 李天元 | 何云昌 | 卢广 | 宋冬 | 尹秀珍 | 迟鹏 | 封岩 

阿斗 | 蔡东东 | 陈荣辉 | 陈维 | 陈萧伊 | 陈哲 | 程新皓 | 储楚 | 杜艳芳 | 范冉 冉 | 冯立 | 黄晓亮 | 蒋鹏奕 | 李朝晖 | 李俊 | 良秀 | 林博彦&黄承聪 | 刘垣 | 刘 张铂泷 | 卢彦鹏 | 罗洋 | 骆丹 | 木格 | 鸟头组合 | 丘 | 任航| 孙彦初 | 塔可 | 王 欢 | 王淋 | 王拓 | 王岩 | 魏壁 | 杨泳梁 | 杨圆圆 | 游莉 | 张晋 | 张克纯 | 张晓 | 张之洲 | 朱红绫 | 朱岚清


上下滑动可查看更多


目前,《中国当代摄影40年》新书已到店,线上线下均可售。而且,我们为前50位画册购买者,准备了特别的新年礼物。



购买方式

扫描下方二维码或点击阅读原文



前20购买画册者,新年礼物是价值120元的张克纯《北流活活》展览画册一本




第21-50位购买画册的读者,新年礼物是三影堂限量小笔记本一个


(三款笔记本随机赠送)




以下文章为巫鸿教授在画册中的前言

先睹为快吧!


For English version please scroll down


民间摄影社团和展览的浮起

1976-1979





发生于1976至1979年的三起事件构成了中国摄影史上的一个重要转折点。首先,一些业余摄影家组成了一个民间网络,系统地拍摄周恩来总理逝世后群众自发举行的悼念活动,并将这些照片编辑成册在社会上传布。这批被称为“四·五运动摄影”的历史图像保存了人们对这个事件的记忆,在当代中国的一个关键历史时刻起到了重要作用。


● 罗小韵 / Luo Xiaoyun

广场悼念活动 / The Mourning Ceremony 

in the Square

明胶银盐 / Gelatin Silver Print

1976



● 王立平 / Wang Liping
让我们的血流在一起 / Let Our Blood Flow Together

明胶银盐 / Gelatin Silver Print

1976


第二个富于意义的现象是独立摄影社团的出现。成员达30余人的“星期五沙龙”是其中较早的一个,于1976年冬已在北京开始活动。另个团体的成员大多参与过“四·五运动摄影”,1977年以后定期聚会。这些自发形成的社团把有志于摄影的年轻人联系在一起。在文革以后的开放气氛中,这些人开始系统了解摄影史的信息和材料,也开始探索摄影作为一门艺术的特质。

 

 王享 / Wang Xiang

凝视 / Gaze

明胶银盐 / Gelatin Silver Print

1976-1986


 王苗 / Wang Miao

笼里笼外 / Inside and Outside of the Cage

明胶银盐 / Gelatin Silver Print

1976-1986


 李江树 / Li Jiangshu

他俩和它俩 / The Two and the Other Two

明胶银盐 / Gelatin Silver Print

1976-1986


此期的第三个事件——即1979年初成立的“四月影会”以及该会在当年四月举行的《自然·社会·人》首展——有着更明确的里程碑性质。这个展览包括了由45位艺术家创作的170件作品,其中不少出于非专业摄影师之手。展览前言清楚地表明了“为艺术而艺术”的宗旨,将摄影从政治宣传的禁锢中解放出来。展出作品反映了重返人本、回归自然和表现社会三个基本倾向。一些图像引导观众思考自然世界的优美和宁静,另一些作品则发掘人的情感世界和捕捉生动的日常情节。它们所蕴含的人文精神和审美意识在文革后的中国可说是耳目一新,解释了该展览对公众所产生的巨大吸引力。



摄影新潮

1980-1989




 

从上世纪80年代早中期开始,全国各地出现了许多影会和影展,较早者有西安的“四方影会”和吸引了大批观众的广州《人人影展》。其它具有影响力的地方影会包括“陕西群体”、上海的“北河盟”和厦门的“五个一”等等。上百个摄影团体在这段时间内出现于北京,“裂变群体”和“现代摄影沙龙”是其中较重要的两个。后者通过在1985-1988年间组织三次颇有影响的展览而成为摄影新潮的牵头者之一。

 

 石宝琇 / Shi Baoxiu

西安古城东门外 / Outside of the East Gate of Xi’an

数字微喷 / Inkjet Print

1987 / 2017 


 安哥 / Ange

首届大龄青年集体婚礼上的一对夫妇 广东广州 /

Mew Couple on the First Collective Wedding Ceremony for Older Single Youth, Guangzhou, Guangdong

明胶银盐 / Gelatin Silver Print

1983


 周跃东 / Zhou Yuedong

“牛眼城市”系列,街巷1 /

 Street 1, City Scene through a Cow’s Eyes series

数字微喷 / Inkjet Print

1985 /2017 


这一新潮运动的出现与80年代的 “文化热”、“85美术新潮”,以及文学艺术中的“信息爆炸”密切相关。文革期间被禁止的各类西方艺术通过复制和展览在这一时期内被大量介绍入中国,数百种理论著作在短期内得到翻译出版。新型摄影期刊和杂志也出现了,如创刊于1984年的《现代摄影》激起了年轻艺术家的极大兴趣。这个“信息爆炸”在摄影创作中的结果是:二十世纪初以来的主要西方摄影风格都在80年代的中国得到重现。


 李世雄 / Li Shixiong

灿烂的宁静 / Splendid Silence

数字微喷 / Inkjet Print

1985 /2017 


 于晓洋 / Yu Xiaoyang

俄狄浦斯 / Oedipus

彩色合剂冲印 / C-print

1980s中期 / Mid-1980s 


 刘香成 / Liu Heung Shing

1980,云南省,思茅 / 1980, Simao, Yunnan Provice

明胶银盐 / Gelatin Silver Print

1980


 王福春 / Wang Fuchun

火车上的中国人 / Chinese People on the Train

明胶银盐 / Gelatin Silver Print

1998


 陆元敏 / Lu Yuanmin

90年代的上海 / Shanghai in the 1990s

数字微喷 / Inkjet Print

1990s / 2017 


 潘科 / Pan Ke

故都--某企业的气功爱好者,时值全国气功热 西安 /

Former Capital—A Qigong (Breathing Exercise) Hobbyist, During the National Breathing Exercise Craze, Xi’an

数字微喷 / Inkjet Print

1987 / 2017 


● 袁东平 / Yuan Dongping

精神病院(天津)/ Mental Patients in China (Tianjin)

数字微喷 / Inkjet Print

1989


经过这个学习和吸收西方摄影风格的“多样化时期”,纪实摄影于80年代后期成为新潮运动的主流。与美国上世纪30年代的纪实摄影运动类似,80-90年的中国纪实摄影作品也与当时的社会和政治环境密切相关;它们的内容、形式和手法服务于摄影家们为之献身的社会改革潮流。总的说来这些作品沿循两个主要方向,或与当时流行的“乡土美术”平行发展,表现普通人民和中国文明的永恒精神;或与“伤痕美术”息息相关,以社会中“人”的悲剧命运作为表现主题。前者往往呈现带有浪漫气息和象征意味的影像,反映了强烈的民族志兴趣;后者则具有历史批判性的本质,把刚刚过去的一段中国历史看成是一个需要修补的巨大断裂。大约同时,由于中国城市的爆破性发展,越来越多的纪实摄影家将镜头聚焦于剧烈变化中的都市景观。拆迁场地的废墟、市场经济和西方文化的涌入、变动中的城市人口和都市生活等等,都成为纪实摄影的常见题材。




实验摄影

1990-2006




至80年代末,新潮摄影在很大程度上已经完成了在中国重建摄影艺术的历史使命。更有当代气息的新一代“实验摄影”开始取而代之,与方兴未艾的前卫艺术联手共进。从时间上看虽然实验摄影于80年代末已经出现,但直到90年代中期才形成实验艺术领域中的一个具有影响力的潮流。实验摄影家通常和实验艺术家一起生活和工作,在同样的独立艺术展中展出他们的作品。随着实验艺术的迅速国际化,实验摄影也得到参加国际大展的机会并开始为全球艺术市场提供商品。在这个新的环境中,实验摄影家一方面在国内具有另类地位,另一方面也与国外美术馆、策展人以及画廊发展了合作关系。


 洪磊 / Hong Lei

紫禁城的秋天(太和殿东回廊) / Forbidden City Fall (Taihe Hall East Corridor)

彩色合剂冲印 / C-print

1997


三个事件对实验摄影运动的形成起到关键作用。一是东村艺术群体在北京出现,聚集了行为艺术家、实验摄影家和实验性画家。他们大多数来自地方省份,在共同兴趣的促动下施行了富有冲击力的实验艺术项目。这种合作也预示了实验艺术在此时期的一个双向发展:当实验摄影家日趋将自己的作品设计成行为表演,实验艺术家也越来越被摄影吸引,不但从摄影中获取灵感并且开始自己拍摄和制作摄影图片。


 荣荣 / RongRong

1994.No.1,“北京东村”系列 / 1994. No.1, East Village Series

明胶银盐 / Gelatin Silver Print

1994


● 宋冬 / Song Dong 

哈气 / Breathing

彩色合剂冲印 / C-print

1996


 杨福东 / Yang Fudong

情氏物语之四季青 2 / 

The Evergreen Nature of Romantic Stories 2

数字微喷 / Inkjet Print

1999 / 2017


 苍鑫 / Cang Xin

150-6 京剧女 / Beijing Opera Actress, 

Identity Exchange series, Performance Photography

数字微喷 / Inkjet Print

2000


第二个事件是新型的实验摄影出版物的出现,其中最重要的是1996年以复印技术出版的《新摄影》。此外,称作“黑皮书”、“白皮书”和“灰皮书”的一套无标题独立出版物把摄影作为实验艺术的重要媒介进行介绍,提供了最早出版的东村行为艺术照片和许多代表性实验艺术家的观念摄影作品。



 张大力 / Zhang Dali

拆-故宫1998125B / 

Demolition-Forbidden City 1998125B

明胶银盐 / Gelatin Silver Print

1998


第三件大事是观念摄影的流行。《新摄影》第三期的前言只有一句话:“观念进入中国摄影时,就好像尘封多年的屋子里突然开启的一扇窗户,我们可以舒服地呼吸,可以获得‘摄影’的义”。在这个潮流中,摄影家把概念和话语置于表现之上,通过艺术实验解构现实。他们不再致力于捕捉生活中的瞬间,而是更多地关注艺术表现的方式并努力掌控对作品的观看,导致“人为组构”影像的流行。



实验性摄影机构的发展

2007 至今



 

2000年的《第三届上海双年展》和2002年的《首届广州三年展》标志了中国实验艺术---包括实验摄影---的合法化和国际化。随后展开的是当代摄影在中国大地上的新的一章:这门艺术开始从实验摄影家及批评家的小圈子中走出来,参与到全社会的文化生活和艺术教育之中。与这个变化同步,新的摄影展示场地、研究中心、批评研究、商业渠道陆续出现,表明中国当代摄影进入了一个新的、机构化的阶段。当代摄影作品不但在大型双年展、三年展中占有显著地位,而且与大众文化混合,发展出具有中国特色的大型摄影节。开放空间中举行的个展和群展迅速增多,一些仍坚守着实验摄影的初衷。有关摄影的写作也更为频繁的出现,预示着这一艺术史和艺术批评领域的建立。


● 丘 / Qiu

2004 02 0513 广东平远 / 2004 02 0513 Pingyuan, Guangdong

明胶银盐 / Gelatin Silver Print

2004


 陈荣辉 / Chen Ronghui

收缩城市/ Reducing City

数字微喷 / Inkjet Print

2016迄今


● 游莉 / You Li

“寂静的纬度”系列 / Latitude of Silence Series

数字微喷 / Inkjet Print

2010


 木格 / Mu Ge

生火取暖的夫妻 / 客轮男人 

A Couple Lights a Fire to GetWarm / A Man on the Ferry

明胶银盐/GelatinSliverPrint

2006


三影堂艺术中心在这个潮流中应运而生,旨在支持和促进当代摄影在中国的继续发展。经过十年来的奋斗,这个由艺术家自己出资建立的第一个中国摄影机构已经成为展示第一流摄影作品和进行摄影艺术教育的基地,也已发展成为一个开放和互动的国际交流平台。一系列国内外重要摄影展览和学术活动在这里举行。“三影堂摄影奖”(TSPA)于2008年建立,至今已进行了十次。这个奖项一方面鼓励对摄影艺术前沿的持续探索,一方面发掘和支持富有潜力的年轻摄影家。通过这种种活动,三影堂提供了一个在中国发展当代摄影和当代艺术的机构模式,具有继往开来的历史意义。这一部分除了对国内大型摄影展和摄影节进行总括介绍外,集中呈现了历年“三影堂摄影奖”的获奖作品,从一个侧面反映了中国当代摄影近10年来的发展趋势和走向。这一部分除了对国内大型摄影展和摄影节进行总括介绍外,集中呈现了历年“三影堂摄影奖”的获奖作品,从一个侧面反映了中国当代摄影近10年来的发展趋势和走向。


● 冯立 / Feng Li

受伤的兔子 / Injured Rabbit

艺术微喷 / Gidee Print

2015


● 罗洋 / Luo Yang

大非和她的男友 / Da Fei & Her Boyfriend

数字微喷 / Inkjet Print

2000 / 2008


● 任航 / Ren Hang

无题 / Untitled 

彩色合剂冲印 / C-print

2012


 陈哲 / Chen Zhe

身体/伤 #005,“可承受的”系列

Body/Wound #005, The Bearable series

数字微喷 / Inkjet Print

2007/2012


 良秀 / Liang Xiu

生旦净丑 / Sheng, Dan, Jing, Chou

数字微喷 / Inkjet Print 

2016



40 YEARS OF 

CHINESE CONTEMPORARY PHOTOGRAPHY


-Part One-

The Rise of Unofficial Photographic Groups and Exhibitions (1976–1979)


Three events from 1976 and 1979 together constituted a turning point in the history of Chinese photography. First, a group of amateur photographers formed an unofficial network, systematically documenting the mass mourning of Premier Zhou Enlai's passing and compiling their photographs into volumes for public dissemination. Known as the April Fourth Movement Photographs, these images preserved people's memories of the incident and played an important role at a critical moment in contemporary Chinese history.


The second significant phenomenon was the emergence of coterie photography groups. One of the earliest such communities in Beijing was the Every Friday Salon comprised of more than thirty members, which began meeting in the winter of 1976. Another group in Beijing, whose members had generally participated in April Fifth Movement Photography, started meeting regularly in 1977. These spontaneously formed communities brought young people with photographic ambitions together. In the more relaxed political atmosphere after the Cultural Revolution, they began to acquaint themselves with information and materials related to the history of photography, and to explore the characteristics of photography as a unique art form.


The third event from this period—the founding of the April Photo Society in early 1979 and their first exhibition Nature, Society and Man which opened in April—was an unequivocal milestone in the history of contemporary Chinese photography. The exhibition featured 170 works by 45 artists, many of whom were amateur photographers. The exhibition's preface clearly expressed the aim of fostering an “art for art's sake,” liberating photography from the confines of political propaganda. The exhibited works reflected three general tendencies: reembracing humanistic values, returning to nature, and representing society. Some of the images lead viewers to contemplate the beauty and tranquility of the natural world, while other images explored the realm of human emotion and captured minute details of daily life. Their humanistic spirit and aesthetic awareness felt extremely fresh in Chinese art after the Cultural Revolution, explaining the great public affinity for this exhibition.


-Part Two-

New Wave Photography (1980-1989)


From the early to mid 1980s onward, numerous photography groups and exhibitions emerged all over the county. Among the earliest ones were the Four Directions Photo Club (Sifang yinghui) in Xi'an and the Everyone’s Photography Exhibition (Renren yingzhan) in Guangzhou, both of which attracted huge crowds. Other influential regional groups included the Shaanxi Group (Shaanxi qunti), Shanghai's North River League (Beihe meng), and Xiamen's Five Ones (Wugeyi) group. Hundreds of photo societies sprang up in Beijing during this time; Rupture Group (Liebian qunti) and the Modern Photography Salon (Xiandai sheying shalong) were among the two most important. The latter organized three influential exhibitions in the period of 1985-1988, becoming a leader in the New Wave movement.


This New Wave movement was intimately connected to the Culture Craze and the ‘85 Art New Wave of the 1980s, and was also closely linked to an “information explosion” in literature and art at the time. Various kinds of western art including photographic images, which had been forbidden during the Cultural Revolution, flooded into China en masse via reproductions and exhibitions, while hundreds of theoretical and art historical books were translated and published over a short period. New forms of photography periodicals and magazines also appeared, such as In Photography (Xiandai sheying) which came out in 1984 and became extremely popular among young artists. As a direct result of this information explosion, major trends in Western photography since the early 20th century were restaged in China in the 1980s.


After this period of reintroduction of western photographic styles, documentary photography came to dominate the New Wave Movement in the later part of the 1980s. Similar to the American documentary photography movement of the 1930s, Chinese documentary photography of the 1980s-1990s was closely related to the contemporary social and political environment; the subject, style, and technique were all in service of photographers who dedicated themselves to the cause of social reform. Generally speaking, these documentary works took two major directions, either developing in tandem with Native Soil Art (xiangtu meishu), representing ordinary people and the eternal spirit of Chinese civilization; or linked to Scar Art (shanghen meishu), taking humankind's tragic fate in Chinese society as their subject. The former showed a strong ethnographic interest, featuring romantic imagery with symbolic significance; the latter was historical and critical in nature, reflecting on recent Chinese history as a great rupture requiring repair. Around the same time, due to the explosion of China's urbanization, an increasing number of documentary photographers focused their lenses upon metropolitan landscapes in the midst of violent transformation. Ruins of demolition sites, the invasion of Western culture and the market economy, urban populations and metropolitan existence in the midst of change—all became common themes.



-Part Three-

Experimental Photography (1990-2006)


By the end of the 1980s, the New Wave Movement had largely accomplished its historical mission of restoring photography’s status as an art in China. A new kind of photography with a stronger experimental intent emerged and allied itself with the burgeoning avant-garde art. Chronologically, this photography first emerged in the late 1980s, but only became a powerful trend as of the early to mid-1990s. Experimental photographers often lived and worked together with experimental artists, and showed their works almost exclusively in unofficial exhibitions. Following the rapid globalization of experimentala rt during this period, works of experimental photography appeared in increasing frequency in international exhibitions while also becoming a commodity in the global art market. In this new environment, these photographers could claim an alternative status domestically, while at the same time collaborating with international museums, curators, and dealers abroad. 


Three events were pivotal in the formation of the experimental photography movement.First was the establishment of the East Village community in Beijing, a gathering of performance artists, experimental photographers, and avant-gardepainters. Most of these artists emigrated from the provinces, who discovered common interests and began to conduct collaborative experimental art projects.This type of collaboration was also indicative of a bi-directional development in experimental art at the time: experimental photographers increasingly envisioned and designed their works as performances, and many experimental artists were increasingly attracted by photography, not only deriving inspiration from it but also making photographs themselves. 


The second event was the appearance of new kinds of experimental photography publications, the most important of which was the photocopied NewPhoto (Xin sheying) in 1996. In addition, a set of untitled privately published volumes—known as The Book With a Black Cover (Heipi shu), The Book with a White Cover (Baipi shu), and The Book With a GreyCover (Huipi shu)—introduced experimental photography as an important branch of experimental art, providing the earliest reproductions of EastVillage performance photographs, as well as conceptual photographic works by a number of representative experimental artists.


-Part Four-

The Development of Experimental Photography Organizations (2007-present)


The Third Shanghai Biennial in 2000 and The First Guangzhou Triennial in 2002 marked the legitimization of experimental Chinese art—including experimental photography ---and its internationalization. Soon after, a new chapter opened for contemporary photography across China. This art form began to participate in the cultural activities and art education of broader society beyond the small circle of experimental photographers and critics. Simultaneous with this change, new photography exhibition spaces, commercial venues, research centers, as well as criticism and scholarship arose in succession, indicating that contemporary Chinese photography had entered a new phase of institutionalization. Not only did this photography constitute a notable section in large-scale biennials and triennials, but it also penetrated popular culture, as evinced by the emergence of large photography festivals with Chinese characteristics. Solo and group photographic exhibitions held in newly opened spaces increased rapidly, some still holding fast to the original intention of experimental photography. Writings on photography also appeared in greater volumes, anticipating an academic subfield within art history and art criticism. 


Three Shadows Photography Art Centre was borne of this situation, with the aim to spur the continued development of contemporary photography in China. After a decade of struggle, this art institution dedicated entirely to contemporary photography, established with private funds from its two artist founders, has become a premiere exhibition place in China to display first-rate photography as well as a base for photography education. It has also developed into an open and interactive platform for international exchange. A series of important domestic and international photography exhibitions and scholarly activities have taken place here. The annual Three Shadows Photography Award (TSPA) was established in 2008 and has been awarded nine consecutive times. This award encourages thecontinued exploration of art photography and helps discover and support talented young photographers. Through these and other activities, Three Shadows providesan institutional model in China, connecting the past of contemporary Chinese photography and its future developments. 


END ■


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