FLAT NOODLE SOUP TALK - Pieter Hugo
"These photographs were taken in Beijing during a one-month residency. Before visiting China, I wasn't really aware of this vast country. China had never been part of my long-term plans or interests. When I was invited to take part in the residency, I decided to take up the challenge of my lack of plot, which I treated as an experiment. I loved Beijing: its people, its cuisine, its scale. It's huge and frenetic in a way I'd never encountered before. Its massive crowds have a way of amplifying the feeling of being an outsider - which makes it the most existential place I've ever been, especially as no one speaks English. I began the project by discreetly spreading the word that I wanted to make family portraits. Through this process, I met someone who became my access point into the young and feisty side of Beijing. My photographs focus on the contrasts or juxtapositions that animate present-day China. They include portraits of an older generation who grew up under the revolution and made incredible sacrifices for the country, as well as portraits of a younger generation - most of them art students - who have grown up in a revolutionary consumer society that is heavily constrained and mediated by the state." - Pieter Hugo on his book.
Signed copy
Published by Éditions Bessard, 2016
10 cm x 22 cm, good condition
ISBN 979-10-91406-48-2
"These photographs were taken in Beijing during a one-month residency. Before visiting China, I wasn't really aware of this vast country. China had never been part of my long-term plans or interests. When I was invited to take part in the residency, I decided to take up the challenge of my lack of plot, which I treated as an experiment. I loved Beijing: its people, its cuisine, its scale. It's huge and frenetic in a way I'd never encountered before. Its massive crowds have a way of amplifying the feeling of being an outsider - which makes it the most existential place I've ever been, especially as no one speaks English. I began the project by discreetly spreading the word that I wanted to make family portraits. Through this process, I met someone who became my access point into the young and feisty side of Beijing. My photographs focus on the contrasts or juxtapositions that animate present-day China. They include portraits of an older generation who grew up under the revolution and made incredible sacrifices for the country, as well as portraits of a younger generation - most of them art students - who have grown up in a revolutionary consumer society that is heavily constrained and mediated by the state." - Pieter Hugo on his book.
Signed copy
Published by Éditions Bessard, 2016
10 cm x 22 cm, good condition
ISBN 979-10-91406-48-2
"These photographs were taken in Beijing during a one-month residency. Before visiting China, I wasn't really aware of this vast country. China had never been part of my long-term plans or interests. When I was invited to take part in the residency, I decided to take up the challenge of my lack of plot, which I treated as an experiment. I loved Beijing: its people, its cuisine, its scale. It's huge and frenetic in a way I'd never encountered before. Its massive crowds have a way of amplifying the feeling of being an outsider - which makes it the most existential place I've ever been, especially as no one speaks English. I began the project by discreetly spreading the word that I wanted to make family portraits. Through this process, I met someone who became my access point into the young and feisty side of Beijing. My photographs focus on the contrasts or juxtapositions that animate present-day China. They include portraits of an older generation who grew up under the revolution and made incredible sacrifices for the country, as well as portraits of a younger generation - most of them art students - who have grown up in a revolutionary consumer society that is heavily constrained and mediated by the state." - Pieter Hugo on his book.
Signed copy
Published by Éditions Bessard, 2016
10 cm x 22 cm, good condition
ISBN 979-10-91406-48-2
