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Friday, 14 February 2014

Subjective City Valentine


Girl (Chongqing): photo by wang yuanling, 8 December 2010

Face (Chongqing): photo by wang yuanling, 29 April 2012

No. 302: photo by wang yuanling, 12 April 2011

The subjective city -- No. 15.  Man (Chongqing): photo by wang yuanling, 5 June 2009

Girl (Chongqing): photo by wang yuanling, 12 April 2011

The subjective city -- No. 19. Playing cards (Chongqing): photo by wang yuanling, 26 June 2009

[Untitled]: photo by wang yuanling, 4 June 2010

Portrait 1 (Chongqing): photo by wang yuanling, 18 June 2010

The subjective city -- No. 23. Playing in the summer evening (Chongqing): photo by wang yuanling, 27 July 2009

The subjective city -- No. 17.  Loving (Chongqing): photo by wang yuanling, 16 March 2009

Newlyweds (Chongqing): photo by wang yuanling, 2 November 2010

Congratulations. I found a nice husband, me:): photo by wang yuanling, 15 May 2013

Wedding: photo by wang yuanling, 14 September 2012


Lally said...


Nin Andrews said...

Wow indeed! What an amazing series.

Hazen said...

These are pictures of absence. There’s a lack of feeling, of emotion, especially the one emotion celebrated on this day. The images pose a question. They bring to mind the contemporary, neo-amorous phrase “to hook up,” and the dearth of sensuality and warmth and caring implied in those words, that are better suited to describe a mechanical coupling.

manik sharma said...

Stunning,stunning pictures..And after returning from watching a screening of "Her"..I hesitantly possess a visual perspective of what a mechanical coupling would look like for us(the literal one) ain't pretty..neither are the transition should be the time iphone 10 or 15's are out..who knows what these images will look like..

Wooden Boy said...

They have a performative feel and yet there's allusion to the given world. Makes for some odd spaces in the frames.

And the question of where to place the subject colours everything.

TC said...

Performative is definitely the apt term.

A poverty of feeling, or a poverty of means, and circumstance?

The smogcloaked landscape in which these pathetic theatrics play out:

Down by the River

The photographer is of the generation that came of age at the time of this remarkable and as it now seems prophetic film document of post-postmodern phantasmagoria, alienation and mass virtual spectacle.

Jia Zhangke: The World (2004)