Dream within a Dream | Zhou Yang 《寻梦》| 周仰

Zhou Yang, Dream within a Dream, 2014
Zhou Yang, Dream within a Dream, 2014

Text by Zhou Yang

Is all that we see or seem,
But a dream within a dream?
Edgar Allan Poe

My friend Camille SHANGGUAN has been learning Kunqu Opera from a master for eight years. Being an intellect instead of a professional actress, she sees this ancient performance art not as a form to entertain others, but as a way to create a lucid dream within the hustle and bustle of modern life.

The first time I listened to Camille singing Kunqu Opera was in a small gathering of friends. There were no dramatic lights or stage settings, nor dashing costumes. Only herself, sitting in the centre of the group. She took a breath, and the enchanting voice that followed had us all spellbound. She chanted a verse from , the most-known Kunqu Opera masterpiece created in Ming Dynasty, which starts with a fair maiden’s dream to find love.

We all hold dreams in our hearts, trivial or noble. We share the experience of pursuing dreams, even though we have to make compromises when faced with the reality. The chanting of Kunqu Opera offers a rare remedy, for both the singer and the listeners, a breathing space parallel with the present. To me, Camille’s chanting is a unique channel leading me away from here and now. I believe that, in a moment of synesthesia, I see the world around me a bit differently, which is what I try to capture on the films. Whenever she starts her chanting, it seems, we are magically transported to another space and another time. It could be the remote past, or it could be our imagery backyard. Or, are we not in a dream within a dream?

 Zhou Yang, Dream within a Dream, 2014
Zhou Yang, Dream within a Dream, 2014
Zhou Yang, Dream within a Dream, 2014
Zhou Yang, Dream within a Dream, 2014
Zhou Yang, Dream within a Dream, 2014
Zhou Yang, Dream within a Dream, 2014

Zhou Yang (born. 1985) is a photographer, writer and translator. Graduated from MA in Photojournalism, University of Westminster, Zhou Yang had intensive working experiences in the media industry. She was photo editor of EllEMEN magazine and editor in International Channel Shanghai. She is currently working closely with City Pictorial, Travel + Leisure, Time-Weekly, Travel & Photographer and many other magazines in China. Zhou Yang is also translator of Annie Leibovitz at Work by Annie Leibovitz.

Website: www.zyfotos.viewbook.com


『最撩人春色是今年/說什麼低就高來粉畫垣/原來春心無處不飛懸/是睡荼蘼抓住了裙釵 線/恰便是花似人心向好處牽』(《牡丹亭 尋夢》懶畫眉)


进入了21世纪,在园子里唱曲听曲的机会已十分难得。但只要笛子吹响,檀板轻敲,曲人启 迪喉开声之际,无论身处何地,多嘈杂的环境,昆曲都能奇妙地將人们带入到园林景致里头, 让人体会到那一份渐已遗失的风雅。欣赏昆曲这样古老美好的艺术实际上并不需要太深入的了解,随着委婉的唱腔和精美的唱詞,听者自然被引领进入,梦境。



1985生于上海, 英国威斯敏斯特⼤大学报道摄影硕⼠。媒体⼈, 曾任《ELLEMEN睿⼠士》杂志图⽚编辑,与许多摄影师、插画师有合作。目前是独立摄影师、翻译, 与《城市画报》、《招⾏行财智⽣生活》、《旅⾏摄影》、《碳商》等多家媒体有合作; 译作《安妮在⼯工作》由北京美术摄影出版社出版, 获得摄影⼈和普通读者的认可。在上海持续拍摄个⼈人项⽬目,作品关注年龄、记忆与生命。


Let the Orange in | Grey Chen

Text by Huang Shisi

Let the Orange In
Hard Cover, 52 pages, 41 color plates, 25x20cm
Self published, Nottingham UK, Jul 2012

Book cover, Let the orange in, book by Grey Chen
Book cover, Let the orange in, book by Grey Chen

“It’s easy to lost the joy of photography since we are doing so hard – trudged thousands of miles, wrestling with different compositions, staging for large scenes, manipulating a single image all day long; while it is much easier to forget the reason of taking photographs when serious documentary, mass advertising and fine art market were taking advantages of photography itself.”
__ Grey Chen, Let the Orange in

Let the Orange in is the photobook made by photographer Grey Chen — the essential collection of her photography project about Light. In this project, she has been taking photographs of the scenes with light illuminated since 2010. While the fondness of light must be dated back much earlier, just as she mentioned in the book — sometimes, light is the only inspiration since most of the things are quicker to get tired with after long period of study.

British typical haze weathers awakened her deep desires of sunshine in the beginning, and then she started thinking about the connections between sunlights and emotions. Afterwards, her research went to the direction if the color of light could work instead of light itself in photography – since nothing could be seen without light, while in color photography, light becomes colors after processing. That is why Grey used Orange to replace Sunshie in the title – Let the Orange in. The relationships among light, objects, colors and emotions are what she has interests in.

It is intriguing that her book has haunted me since the first look — the warm fading orange cover, the photographs recorded scarce sunshine fulfilling British people’s daily life, the oily bacon and egg in the morning sunshine, the mouldy lemon slices in the sunset. Grey is a master playing with color photography — she turns the gentlest daily scenes into dynamic photographs, creating a world fulfilling with light, keeping our eyes open for her love of the world.

Let the orange in, photography by Grey Chen, 2013
Let the orange in, photography by Grey Chen, 2013
Let the Orange In, photography by Grey Chen, 2013
Let the Orange In, photography by Grey Chen, 2013
Let the Orange In, photography by Grey Chen, 2013
Let the Orange In, photography by Grey Chen, 2013

Grey Chen (灰小), MA in Photography in Nottingham Trent University, UK; BA (Second Year) in Graphic Design, Camberwell College of Arts, University of Arts London. Her works have been selected in several exhibitions in Europe, mainly UK.

See more, www.greychen.com


Let the Orange in是由摄影师Grey Chen创作且自行出版的摄影画册,此书选取了她的摄影项目“光”中的主要作品。从2010年起,她便开始了不断追寻光的旅程。而对光的热爱,其实始于更早的时候。正如她在书的后记中所提,对事物关注过久总会让人容易感到厌倦,唯有光是她永恒的灵感。

英国典型的阴霾天气唤醒了她对阳光的深深渴望,促使她开始思考光线和情绪的关系。尔后,她的研究方向走上颜色是否能代替光线本身来作用——因为万物离开光线便不存在(不可被看见)。在彩色摄影中,呈现在底片上的光经过冲印之后便呈现为颜色。这也是为什么在标题Let the Orange in中,Grey用Orange(光的常见色)来代替光线本身。光、被摄物、颜色和情绪,这四者的关系,正是她的兴趣点。


Grey Chen (灰小),英国诺丁汉特伦特大学摄影研究生;本科(二年级)毕业于伦敦艺术大学坎布威尔艺术学院平面设计专业。她的作品被屡次选入欧洲(英国为主)的展览。

Coming Exhibition: 50 Contemporary Photobooks from China 2009-2014

Go East: 50 Contemporary Photobooks from China 2009-2014
FORMAT International Photography Festival
Derby, UK
Curator: Yining He

Zhang Lijie, Midnight Tweedle, 2013 © Zhang Lijie
Zhang Lijie, Midnight Tweedle, 2013 © Zhang Lijie

China has a fascinating history of photobook publishing. As Martin Parr considers, China is a forgotten land of photobook that no one knew about. The Chinese Photobook exhibition, coproduced by the Rencontre d’Arles and Aperture, revealed for the first time the richness and diversity of this heritage.

Entering the new millennium, China as the world’s second largest economy is undergoing the most rapid urbanization. As a result of these emerging challenges and creative energies, contemporary Chinese photography has flourished into one of the most vibrant art forms of our time. In the meantime, the publishing of independent photobook among young photographers has become a trend over the past five years. At the early stage, some Chinese photographers published photo-books with the aid of overseas galleries and independent publishing companies. Zen Foto Books is an example; it was established in Tokyo in 2009, specializing in Asian photography with a particular emphasis on China. They successively published photo-books for several Chinese photographers, including Lin Shu’s Toxic and Zhang Yuming’s The Ancient Tower. Didier Quarroz from Switzerland founded Sandmeier Press in Zurich in 2011, and soon afterwards he moved to Shanghai to cooperate with active local photographers and publish photo-books. Meanwhile, independent publishing companies that emerged in China, such as Banana Fish, Gooooodies and Jia Za Zhi Press, are constantly discovering distinctive Chinese photographers and helping them with photo-books publishing. In addition, some photographers choose to express their ideas by means of handmade books. Zhu Lanqing is a youngish photographer born in 1991, and she attained Three Shadow Photography Awards with A Journey in Reverse Direction, a sophisticatedly complied handmade book.

from the photobook 'A Journal In Reverse Direction', 2013 ©  Zhu Lanqing
from the photobook ‘A Journal In Reverse Direction’, 2013 © Zhu Lanqing

50 Contemporary Photobooks from China is aimed at collectively presenting the photo-books created by Chinese photographers from 2009 to 2014 to audience in the UK and the Europe. Photographers that attend the exhibition are from all parts of China and living in different cities in the world, and thus they have a diversity of academic and professional backgrounds. Some of the artists graduated from domestic universities and have experiences as a journalistic photographer; some others were born in the 1990s and went to the Europe or America for photographic education soon after they graduated from high school. Most of the 50 photo-books at the exhibition are produced by independent publishing companies, among which there are photo-books that the photographers print through companies like Blurb or local printing houses; also, there are quite many handmade by the photographers. The works gathered in the 50 photo-books have covered nearly all genres of contemporary photography, including portraits, landscape, fashion, documentary, conceptual and so forth. Albeit these photo-books are not all produced in China, the subject matters centre on the contemporary discourses of China without exception. Photography has long been deemed as the evidence of recording the reality, and the photo-books keep such evidence permanently. 50 Contemporary Photo-books from China is trying to present the lateral of Chinese contemporary photography by virtue of “evidence”, the theme of FORMAT Festival 2015.

Yang Yuanyuan, 10 Days in Krakow, 2014 @Jiazazhi Press
Yang Yuanyuan, 10 Days in Krakow, 2014 @Jiazazhi Press

It is designed as an integral exhibition that showcases photobooks, selected photography and multimedia works. 50 Contemporary Photobooks from China is more than an exhibition that reports the gradations of Chinese photography; moreover, I hope to spark a series of discussions via the exhibition. It is trying to examine the historical, social and visual discourses of Chinese independent photobook publication industry by exploring the interrelationships of photographers, publishers, consumers and the photographic industries. By looking into the current trend of independent and self-publishing photobook movement in China, we can address the following questions: How did the independent photobook trend start in China? What is the social and cultural background behind the industry? How does small presses like Jia Za Zhi Press shape the business of contemporary photobook in China? What are the roles of the photography galleries and art schools in response to such trend?

During the process of preparing the proposal, I received great supports from many photographers and publishers. I wish to assemble the youthful forces of Chinese photography through this opportunity and create an exhibition of the international standards. In addition, I plan to print a catalogue of the exhibition for selling on the site. Furthermore, subsequent to the FORMAT International Photography Festival 2015, 50 Contemporary Photobooks from China will be on itinerant exhibitions in Beijing, Shanghai and other cities in China.


中国摄影画册出版有着令人沉醉的历史。正如马丁·帕尔(Martin Parr)所说,中国是被遗忘的摄影画册之国,其非凡的摄影画册作品鲜有人知。与阿尔勒摄影节和光圈出版社合作的中国摄影书展览,正是第一次向全世界观众展示了中国摄影画册遗产的丰富性和多样性。


早先,中国的一些摄影师们借以境外画廊或独立出版社的帮助出版画册, 比如2009年在东京成立的Zen Foto Books,专门为亚洲摄影师尤其是中国摄影师服务。他们先后为几位中国摄影师出版画册,包括摄影林舒的《鸠》(Toxic), 张玉明的《古塔》(The Ancient Tower);来自瑞士的Didier Quarroz 于2011年在苏黎世创办Sandmeier Press, 随后便搬到中国上海来和当地活跃的摄影师合作,出版画册。于此同时, 先后在中国成立的独立出版社,如香蕉鱼Banana Fish,Gooooodies以及假杂志社(Jiazazhi Press),一直以来都在不断地挖掘来自中国的优秀摄影师,帮助他们出版画册。除此之外,一些摄影师选择手工书的方式充分表达自己的创意,朱岚清是一位1991年出生的年轻摄影师,她凭借一套精心编辑的手工书作品:《负向的旅程》(A Journey in Reverse Direction),获得2014年三影堂摄影大奖。

“来自中国的当代摄影画册”展旨在将2009——2014年中国摄影师创作的画册集中带到英国及欧洲观众的眼前。参展的摄影师们来自中国的各个角落,生活在地球上的不同城市,也有着截然不同的学习和工作背景。他们中的一些人在国内的大学毕业, 有过报刊摄影师的经历, 也有从高中毕业就远赴欧美院校学习摄影专业的九零后艺术家。 参展的50本画册大多由独立出版社制作,其中也有摄影师自己通过像Blurb这样的公司,或当地工厂印制;还有相当一部分由摄影师手工制作。这50本画册中的作品几乎涵盖了当代摄影的所有类别,包括肖像、风景、时尚、纪实、概念等。虽然这些摄影书并不都是在中国制作,但摄影作品的主题都始终围绕着中国当代的议题所展开。一直以来,摄影都被当作纪录现实的“证据”(Evidence),而摄影书更将这些证据长久地保留了下来, “始生如孽——来自中国的当代摄影画册”的展览正是想借“证据”(Evidence) ——2015年FORMAT国际摄影节 的主题,将中国当代摄影的这个侧面展现在观众眼前。

此次展览参展的作品包括摄影画册、精选摄影作品以及多媒体作品。当然, 的展览不仅仅是一次阶段性的报告展,我更希望通过展览引发一系列的讨论。我希望通过发掘摄影师、出版商、消费者和摄影行业之间的关系来观察中国独立画册出版的历史、社会和视觉内涵。看到中国目前独立自主出版画册的趋势,我们可以提出以下问题:中国独立画册的趋势是如何兴起的?这一产业的社会文化背景是什么?假杂志这样的小媒体如何塑造了中国当代画册的运营模式?摄影画廊和艺术学校在这一趋势中扮演了怎样的角色?

在准备这个项目书的过程中,我受到了很多摄影师和出版人的支持,也希望通过这个展览的机会将中国摄影圈里的年轻力量集合起来,做一场国际水准的展览。此外,我还计划印制和展览相配合的展览图册,用于在展览会场推广。此外,在Format Festival 2015 举行之后,“始生如孽——来自中国的当代摄影画册” 还会在2015年期间在中国北京、上海和其他城市进行巡展。