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Ever since photography pushed Western painting away from its reliance on realistic representation over a century ago it has taken over society’s desire to represent their lives and surroundings as a form of fac simile. Today’s non-stop hurricane of photo-images in print and web media i s so much part of our physical and psychological landscape that we have alm ost ceased to recognize them as photographs. Within this field of image sat uration\, the quest for visual arts photographers has been to create images that stay. This is attested by the millions of spectacular images created in the media everyday that are quickly forgotten compared to images created by artists such as Jeff Wall or Wolfgang Tillmans that are remembered desp ite their seemingly mundane imagery. For Western artists\, their own art hi story allows access to concepts and techniques going back two thousand year s\, but the same cannot be said for Chinese contemporary artists. Unlike We stern art\, Chinese traditional art was not based on realistic depiction\, and as such does not offer a vast back-catalogue of visual ideas for artist s to access from their own cultural memory banks. Consequently\, the ‘weake r’ imagery that Western photography based artists can explore is far harder to exploit for Chinese artists. Instead\, they need to find formal or subv ersive conduits between the worlds of photography\, conceptual art\, and th e media.

Dada achieved this by exploding the materiality of phot ography and media with conceptual bombs and to use the debris in creating h ybrids called collage. While collage is now an established art form in the West\, Chinese artists have seldom explored this territory even though it a ppears to be a language that can resonate with the chaos of Chinese contemp orary urban existence. In order to explore new possibilities more actively\ , a group of Chinese artists not exclusively engaged in photography have pr oposed a new approach in an attempt to open up a broader vision of photogra phy: Instead of inviting photographers to re-imagine contemporary photograp hy in China\, the proposal is for artists working in other media but who ex plore their visual world using a kind of editorial visual logic can transpo se their ideas on to a photo based plane. The result is the exhibition EDIT \, for which a curatorial group of four Chinese artists have invited 14 lea ding artists including art teams working in installation\, film and video\, painting\, and photography to search for new ideas in photo based imagery.

DTEND:20121005 DTSTAMP:20140822T165341 DTSTART:20120906 GEO:31.2487514;121.4466722 LOCATION:ShanghART H-space\,50 Moganshan Rd.\, Bldg 18 \nShanghai\, 200060 SEQUENCE:0 SUMMARY:EDIT: Image Fetish and Phobia \, He An\, Colin Chinnery\, MadeIn Co mpany\, Zhang Ding\, Yang Fudong\, guest\, Zhao Renhui\, Wu Shanzhuan & Ing a S. Thorsdottir\, Tof\, Liu Wei\, Zhou Xiaohu\, Zhu Yu\, Yang Zhenzhong UID:231208 END:VEVENT BEGIN:VEVENT DTEND:20120905T190000 DTSTAMP:20140822T165341 DTSTART:20120905T170000 GEO:31.2487514;121.4466722 LOCATION:ShanghART H-space\,50 Moganshan Rd.\, Bldg 18 \nShanghai\, 200060 SEQUENCE:0 SUMMARY:EDIT: Image Fetish and Phobia \, He An\, Colin Chinnery\, MadeIn Co mpany\, Zhang Ding\, Yang Fudong\, guest\, Zhao Renhui\, Wu Shanzhuan & Ing a S. Thorsdottir\, Tof\, Liu Wei\, Zhou Xiaohu\, Zhu Yu\, Yang Zhenzhong UID:231209 END:VEVENT END:VCALENDAR