Residual of Watch




Residual of Watch

The 7th Jinan International Photography Biennale





Art Museum of Shandong Institute of Arts and Crafts





CURATOR:   Li Boyan

ARTISTS: Chen Liyang, Cui Bo, Gao Yu, Ge Yajing, Lao Jiahui, Li Haiguang, Pan Wei, Sun Cunming, Wang Dandan, Wen Junjie, Yang Xinjia, Ye Su, Yuan Yue, Zhang Jiaxing, Zhang Si, Zhang Yehong, Zhang Yunfeng, Zhao Yu.







Seeing preexists hypothesis. Reality precedes illusion. The seeing at the moment when images are captured is seeing the event itself, which is different from seeing the images. If the significance of photography lies in freezing the moment of reality which is difficult to grasp, the gravity of seeing images resides in the perceiving, assuming and interpreting as outsiders. For this reason, the significance of photography transfers to viewers from producers.

Since the birth of photography, it has prompted discussions on seeing. Because of the homogeneity of photographs’ material base, photography could be regarded as holistic and objective fact, not affected by subjectivity. In The Work of Art in the Age of Mechanical Reproduction, Walter Benjamin argues that the similarity between modern photography and ancient print making in the west speaks to the influence on western aesthetic asserted by the long tradition in respecting image imitation. It creates a passage – in which the derivation of new images could be assisted by images of previous generations – to recover the framework standardization, which is close to the classical.

With the restructure of the classical, image appropriation and imagination of literature colours, it is the special right of viewing photographs to have narration and knowledge structure finding their correct place. When photography captures an image, it gives expression to the atmosphere of the environment, temperature, colour, and even emotion, and brings about hypothesis beyond the level of image.

When we are seeing an image, what we take as the important thing is whether there are something, beyond the restriction of time and space, we could recognize in the images. In the afterwards imitation and copying, the significance of photography is replaced by that of seeing in the empire of image. Photographing becomes an action to chase the wind and capture the shadows. It is the price of image excess. It is as well the turning point to readdress the value of images. Here, in the remaining seeing, it alters the purpose of image producers and makes photography no longer the objective fact controlled by subjectivity.