____ in the Room 房间里的____

in the room_840mmX594mm_CS3

____ in the Room
2015.8.9 – 9.5

开幕:2015年8月8日 晚上4-7点
展览:2015年8月9日 – 9月5日
开幕表演:河野幸人 ( Yukihito Kono)
地址:视界艺术中心(上海莫干山路50号 3号楼210 & 6号楼104)

Opening reception: August 8, 2015, 4-7 PM
Duration: August 8 – September 5, 2015
Opening performance: Yukihito Kono
Venue: Venue: V ART CENTER
Address: No.50 Mo Gan Shan Rd, Shanghai, Building 3, 2nd fl & Building 6, 1st fl

参展艺术家 Artists

Jocelyn Allen
Julie Bentley
Geoff Buono
Xiaoyi Chen 陈萧伊
Jisun Choi
Imogen Freeland
Debbie Harman
Sarah Janes
Betty Ketchedjian
Yukihito Kono
Karina Lax
Wenting Liu 刘雯婷
Mels van der Mede
Zaynab Omotoyosi Odunsi
Yifan Qian 钱一帆
Alessandra Rinaudo
Veronique Rolland
Emilie Sandy
Ian Samels
Paloma Tendero
Tessa Williams
Zhanglu 章璐

策展人 Curators
何伊宁 Yining He 张涵露 Hanlu Zhang

展览支持 Special Thanks to:
瑞象馆 Ray Art Center

The title of the exhibition is inspired by the English idiom “elephant in the room”, which refers to existent situations that are overlooked or ignored, or problems too difficult to talk about; it is the emperor’s new clothes. In sociology, the phrase is used to describe conspiracy of silence. Photography as a creative form not only reinforces the visibility of things, but also leads us to their invisible facets – whether that invisibility is due to physical, psychological, or social factors.

This exhibition presents the final projects and recent works by the London College of Communication MA Photography graduates from the class of 2014. It dialectically unfolds three pairs of phrases: visibility/invisibility, surface/content, and looking/overlooking. Through the works, we discover that the reason why we often regard the medium of photography closer to truth, if there is any, is not merely because of its reality reproducing capacity, but its potential of exploring and discussing “seeing” on all levels. Their course leader Weibke Leister writes in the degree show catalog: “…where the medium of photography is heading today: still or moving, digital or analogue, based on how we continue to learn seeing and engaging with it as a cultural phenomenon.”

At the same time of investigating seeing as a cultural phenomenon, the artists in the exhibition are also concerned about the current state and ultimate potential of photography. Some post questions such as: “what is considered a serious photography”, while others tend to what photography is or can do, in an era when everyone is born a photographer. In the works presented, the seemingly contradictory qualities of visibility and invisibility collapse, exchange, reconcile, befriend, and blend. When confronting visible facts, the camera may offer the candidest response, and it may also builds up a convoluted labyrinth, perplexing and concealing.

The “surface/content” is a paradoxical opposition intrinsic to photography. Corresponding to the surface and the content it might be truth and fiction, and it can also be fiction and truth, or the subjective and the objective, fantasy and reality… Is it really like what writers such as Baudrillard claim: the flat photography has murdered the three-dimensional reality? Is indexicality the only connection between the two?

Artist from “____ in the Room” offer different answers. Several photographers discuss surface/content through the representation of the body, it as struggles between the public and the intimate, and as embodiment of certain socio-cultural convention.

In the exhibition, visual habits are subverted, social stereotypes shaken. The artists think in the image and encourage us to think through the image. Looking, in some sense, conceal the overlooked. Whether or not directly using the medium, the artists are fluent in conceiving perspectives and analytically engaging in contemporary visual and political culture. In the works presented, the elephant is nowhere to hide.

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