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La Maison de Z

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La Maison de Z

La Maison de Z est une plateforme de livres photo axée sur la photographie contemporaine chinoise et les publications indépendantes. Utilisant l'édition comme moyen de recherche qui explore la relation complexe entre réalités et souvenirs, La Maison de Z a été fondée en 2015 et a commencé à publier ses propres éditions en 2018. La plateforme permet à un public croissant de découvrir les œuvres les plus récentes d'artistes chinois émergents et établis.

  • Luo Yang - Carpe Diem
    Luo Yang - Carpe Diem
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    Luo Yang – Carpe Diem

    Introduction to Chinese youth, beyond the imposed stereotypes When we talk about “Ba ling hou” (born after the 1980s) in China, we are actually talking about the first generation born under the one-child policy and raised during the reform and opening up led by Deng Xiaoping after the Cultural Revolution (1966-1976). This generation grew up together with the Internet and social media, melting into a consumer society that is totally in rupture with the preceding generations. Luo Yang, a photographer born in 1984, is also one of them. In 2007, at the age of 23, Luo started the series Girls, which brought her international recognition. For ten years, Luo Yang followed more than a hundred of women from her generation, recording changes to their bodies and their lives, observing and capturing their delicate transition to adulthood. It's as if the photographer was capturing their (her) emotions as a young woman by holding a mirror up to her own growth and evolution alongside those of her models. Now, Luo Yang is in her late 30s. In the new series Youth that she started in 2019, Luo shifts her focus to a younger generation born in the late 1990s and early 2000s. She continues to explore through Generation Z the changes of contemporary China now globalized and reached on a new scale and tries to preserve a photographic trace of these “atypical characters” in a social context. From Girls to Youth, Luo Yang keeps “documenting” the post-teenagers and young adults that she met in her everyday life, using her works to tell the "story of youth" across generations. She depicts an emerging Chinese youth culture through her work that defies imposed expectations and stereotypes, showing evidence of her subjects’ individuality and personality. It is a personal account at femininity, gender, and identity that reflects the profound and ongoing changes taking place in our society.
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  • Liu Silin - Celine Liu
    Liu Silin - Celine Liu
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    Liu Silin – Celine Liu

    Liu Silin creates through herself a character, Celine Liu, who traverses history, culture, politics and identity, while asserting that Celine Liu is in fact no one: she can be anyone, and anyone can be Celine Liu. In an age of image overload, Celine Liu uses herself as a medium to push back the boundaries between the real and the fictional, the mundane and the ritualistic, the private and the public, the individual and the universal, allowing the fictional character to circulate, evolve and be "consumed" in the virtual world of the Internet. In "I'm everywhere", the artist "falsifies history" by inserting herself seamlessly as Céline Liu into old photographs of celebrities, travelling in and out of major historical scenes, or chatting and laughing with them in private. In "Appme", she creates a series of hybrid self-portraits of Celine Liu using a selfie app, and depicts people from various decades and identities of the 20th century. In the "Siren" series, she travels through cities and villages looking for passers-by who can lip-sync and imitate the sound of mermaids with her. These people come from different parts of the world, have different identities, are well known or completely anonymous. While many artists choose to focus on the "art" aspect, Liu Silin instead diverts attention away from "art", trying to dissolve the "elitism" and limitations of art itself, in an effort to bridge the gap between art and the general public. As she said when working on the "Siren" series, "Everyone should have the right to express themselves and the awareness to do so." Through her self-constructed images, Liu Silin re-examines historical narratives and cultural memories, and reflects on the obsession with cultural icons and the value of commodity culture in the mass media environment. In his artistic practice, Liu Silin investigates and reinterprets the traditional social conventions of the "image cult", conventions that are constructed and shaped precisely by the mass media environment and our digital life.
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  • Li Lang - 1974
    Li Lang - 1974
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    Li Lang – 1974

    Each has a unique starting point in their own memory. For Li Lang, it all began in 1974. This work, "1974", consists of 390 slides played in a loop, accompanied by the artist's voice-over, 4 stories from his memory of 1974, and a summary of the important events of that year. Li Lang's work reconstructs his imagination from his memory, through a voice-over and old photos. The images and texts are no longer just traces of the past. They also explore the potential dialogue with reality, in the space between light and shadow. Li never asks the audience to accept his account of history. Instead, he invites us to join him as an explorer of the past.
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  • Zhen Shi - Tragédie, Coïncidence et La Double Vie de L.L.D.M
    Zhen Shi - Tragédie, Coïncidence et La Double Vie de L.L.D.M
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    Zhen Shi – Tragédie, Coïncidence et La Double Vie de L.L.D.M

    "Tragédie, Coïncidence et La Double Vie de L.L.D.M" is the second chapter of the "Memories of Things Past" trilogy, a fiction-documentary project based on historical documents that Zhen Shi started in 2015. She uses a nineteenth-century Belgian family diary as her source. Tracing a series of coincidences and tragedy that took place over the years. Combining text, images, correspondence, telephone records, archives and other media in its presentation, the book seeks to explore the complex relationship between reality and memory under the general proposition "Archive et fiction" / "Privé et public' in the context of contemporary art.
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  • Wang Juyan – Uncharted+
    Wang Juyan – Uncharted+
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    Wang Juyan – Uncharted+

    "Uncharted+" continues the dystopian character of Wang Juyan's work. As the title suggests, the book presents a series of unexplored landscapes, either through their physical existence or through digital collages, from Wang's "2084, 2085 and 2086" project. Somehow, through a bird's eye view, the perspective seems to be inhabited by a power. "Uncharted+" is inspired by the ambiguity of the power of aerial images, which do not contain a linear narrative but monumental and metaphorical landscapes.
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  • Sun Yanchu – Even Us Even Me
    Sun Yanchu – Even Us Even Me
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    Sun Yanchu – Even Us Even Me

    In the "Lost Souls" series that Sun Yanchu began in 2013, the subject, or object, can be a priori described as a landscape, but it seems to be much more. As through the evolution of 'shanshui' painting in China, in his work nature serves as a metaphor or vehicle to convey a state of mind. It may be the photographer's state of mind, but also that of his or her generation, the society in which he or she lives or the general aura of the time. A mix of "Obsessed", "Lost Souls" and Sun's latest work, "Ficciones", "Even Us, Even Me" is most appealing for its underlying sense of confirmation of the existence of a world outside ourselves. These quivering images attract us. We feel the vibrations of the elemental energy that flows through the vistas and carries us away in its currents. We lose ourselves in their movement, we step out of ourselves, while remembering moments when we found ourselves in the embrace of nature, braving the wind and realising how good, though sometimes difficult, it is to be alive.
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  • Yingguang Guo - The Bliss of Conformity
    Yingguang Guo - The Bliss of Conformity
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    Yingguang Guo – The Bliss of Conformity

    Her boyfriend's parents could not accept his age, and their relationship ended there. This is how Chinese photographer Yingguang Guo (b. 1983) became single at the age of 33, a "reject" in the eyes of contemporary Chinese society. Overwhelmed by all the questions she couldn't find answers to, Guo went to Shanghai's People's Park to play the role of her own "matchmaker", holding a sign with her own accomplishments, while parents came snooping around to assess whether she was suitable for their children. As well as being a place to relax, Shanghai People's Park is also a well-known matchmaking market that has been running for ten years. Hundreds of parents gather there every weekend, regardless of the weather, clutching information sheets of their children with their age, height, education, work, salary, etc., all in an effort to find an "acceptable" partner to marry them. By photographing the everyday scenes and adding personal elements, Guo also uses photo-engraving techniques to create a series of abstract images that reveal the turbulent truths of arranged marriages underneath the seemingly calm surface depicted by the peaceful images of the park, such as traditional inter-generational relationships and views on marriage, as well as discrimination against the so-called 'remaining women'.
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