BredaPhoto, De Grote Kerk Breda

September 9th - October 25, 2020

In collaboration with He Yining

The exhibition China Imagined, curated in collaboration with He Yining, gives an insight into contemporary Chinese photography.  We feel the urgency to make exhibitions like these to help bridge an undeniably gap of incomprehension between western and Chinese audiences. China Imagined presents over 20 visual projects made by both Chinese and foreign photographers, artists and archivists covering contemporary issues and developments within China. This exhibition will be the first major survey of Chinese contemporary photography covering the past decade.

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Jimei x Arles International Photofestival

November 2018 - January 2019

In collaboration with Timothy Prus and The Archive of Modern Conflict

*with the worlds first ever Sandworm Jelly Photo Contest

A lot of these vernacular albums, catalogues and prints are part of a fascinating and often overlooked collective Chinese memory that we explore in this exhibition Anything That Walks, Vernacular Food Photography from China. Most materials are extracted from the collection of the Archive of Modern Conflict sourced by Thomas Sauvin and Ruben Lundgren over the last 8 years. The exhibition playfully explores and celebrates the role of food within contemporary Chinese history in a visual explosion of photographs.

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Brokenice: 160118 - 170811

Jimei x Arles photofestival, Xiamen, China

November 2017 - January 2018

In collaboration with Chinese blogger BrokenIce

 

In his spare time blogger BrokenIce hits the streets of old Beijing armed with a camera and one request: “Tell me one thing about yourself that is true and one thing that is not true”. It's a simple concept, consistently executed, that led to remarkable results. The blog is a collection of his findings on the street titled according to the date of the post. It combines observations on the street and full body portrait photographs with detail shots of the out ts and answers given by the models. Which part of the answer is true and which part is not often stays unclear adding an extra layer to the portraits.

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Ullens Centre for Contemporary Arts (China)

April 2015 - June 2015

The Photographers Gallery (U.K.)

April 2015 - July 2015

In collaboration Martin Parr, Thijs groot Wassink and Aperture.

 

The status of the photobook has undergone a major reappraisal during the past decade. Produced in a wide range countries and contexts for over a century, photobooks have added enormously to our understanding of photography and its social and cultural importance. Although China boasts a fascinating history of photobook publishing, its importance in this larger global history has not been adequately recognized; this exhibition brings to light the richness and diversity of this heritage.

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Les Rencontres d'Arles

July 2014 - September 2014

In collaboration Martin Parr, Thijs groot Wassink and Aperture.

 

The status of the photobook has undergone a major reappraisal during the past decade. Produced in a wide range countries and contexts for over a century, photobooks have added enormously to our understanding of photography and its social and cultural importance. Although China boasts a fascinating history of photobook publishing, its importance in this larger global history has not been adequately recognized; this exhibition brings to light the richness and diversity of this heritage.

*Exhibition photos by Martin Parr

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Suzhou Jinji Lake Art Museum (China)

July 2014 - September 2014

In collaboration with FOAM photography museum artistic director Marcel Feil, curator Feng Boyi and Liu Gang

 

Feng Boyi on the exhibition: "WassinkLundgren is indifferent to whether a photograph is good or bad; the duo does not care about the angle at which it was taken, because the photograph is an experiment. Perhaps they believe that, behind systems and norms hide a certain discursive power, and they hope to place this discursive power back in their own hands, as the embodiment of individual speech. The meaning of this experiment is the use of a new visual idea to highlight both the circumstances in which they find themselves and its collision with our habitual modes and lived experiences of viewing images"

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Print Shop New York

Unseen Photofair Amsterdam (the Netherlands)

September 2013

In collaboration with Lucid-Ly Project Space

While the Unseen Photo Fair took place in Amsterdam, WassinkLundgren is in New York to make a new body of work. At the fair, WassinkLundgren’s new images will be presented in a print shop set up at a project space. From the Aperture office in New York, the duo will send a first edit of their work to Unseen. One image will be printed out, displayed, and offered for sale. Visitors will then have 10 minutes to decide if they would like to purchase this one-off edition. However, if the print is not sold within the allocated time, it will be destroyed and the original file will be deleted. A next image will roll out of the printer and the process repeats itself.

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FOAM photography museum (the Netherlands)

January 2013 - March 2013

In collaboration with curator Kim Knoppers

 

One Group Show is the first major solo exhibition by the duo WassinkLundgren. This exhibition presents a broad overview of their work, including projects shown for the first time. The work develops from small observations or humorous twists of situations from everyday life. Their starting point is always a social interest in the world around them, but equally interesting to them is how the medium of photography can deform reality. WassinkLundgren playfully subvert some of the unwritten rules of the medium. Like in Tokyo Tokyo, a series of diptychs in which the decisive moment is approached in a lighthearted way. Or Empty Bottles, which catches 24 Chinese people as they scavenge bottles placed by the photographers in various locations.

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QUICKSCAN NL#01, Nederlands Fotomuseum (the Netherlands)

January 2010 - March 2010

In collaboration with curator Frits Gierstberg

 

'Tokyo Tokyo consists of a series of diptychs in which the mythical “decisive moment” of traditional documentary photography is lampooned. In their projects, WassinkLundgren playfully turn the unwritten rules of the photography upside down. But behind the joke is always a serious attempt to expand both the artistic as well as the social significance of their medium.’ (Frits Gierstberg, Dutch Photo Museum, Rotterdam)

In this group exhibition the Dutch photography museum in Rotterdam follows the latest developments in the national photography scene. In this first edition about 25 photographers and artists show their most recent work, some never shown before like Tokyo Tokyo, a work in progress.

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Central Academy of Fine Arts (China)

March 2009

In collaboration with curator Kathy Fung and writer Yang Lin

Especially within the first few months after I moved to Beijing I had to get used to all attention I got as a tall foreigner. It was confusing sometimes, I felt kind of famous although I had no idea why. As a joke, I decided to declare myself officially famous and create photographic evidence to prove it. The images and performances in this project explore cultural differences between China and the West by using my 200 cm as a tool. The exhibition was created and during my postgraduate study in Beijing to create online exposure to make my self fulfilling prophecy of being a star come true.

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FOAM Photography Museum (the Netherlands)

March 2007 - April 2007

In collaboration with graphic designers Kummer&Herrman and curator Collette Olav

The publication Empty Bottles shows 24 people collecting plastic bottles in Beijing and Shanghai. It was a subject we came across by accident. While setting up the camera, a woman walked into the image and picked up a bit of plastic that we used as a means of focusing in the hazy light. We liked the photograph so we set out to photograph more bottle collectors. We didnʼt want to try to show the subject from the viewpoint of the bottle collectors, but to show it from our own (foreign distance) point of view. This approach resulted in a way of shooting where we planted an empty bottle in front of our view camera and waited until somebody picked it up. Sometimes the bottle was gone before we were behind the camera, other times it lasted more than an hour before someone cared to pick it up. The camera was always in plain view, and the subject of our images only a few meters away. The empty bottle, which almost functioned as a cable release here, decided the moment the film was exposed, and the people in front of the camera directed their own scene on our stage.

For this exhibition we decided to use the high quality printing of the book in our advantage by framing it and hanging it on the wall. In this way we could make full use of the exhibition budget to print our second photography book together.

*Winner Contemporary Photography Book Award Rencontres Arles photography festival 2007

© 2019 Ruben Lundgren

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