I first saw this exhibition in a Liverpool last year; the photo that I still remember now is the one that I have shown above. They had a large-scale print of ‘Reunification Avenue’ on a wall by itself and looking back at it I can see why. This one image says so much about the communist country that he was in. The first thing I picked up on was its uniformity and cleanliness; it looks such a surreal image I first thought it might have been doctored. All the buildings here are constructed in the same style, with each side of the road being a virtual reflection of the other even down to the lampposts and road markings. Everything is so uniform, which is as much reflective of the country’s culture as the single street Philippe Chancel is photographing.
The next thing that struck me was the proportion within the photo. The eight-lane road is obviously being photographed in day light, yet it looks deserted and unnecessarily wide. This is especially true when you look at the amount of land, or in this case area in the photo that has been dedicated to what I assume is public housing. Everything here is done for the benefit of the whole not the individual, and when you look at this photo even those who like me know very little about communist regimes can interpret that.
The next two images included I have been unable to find the titles of, but are equally as expressive without. The Image above is shocking for an obvious reason. Even in today’s society where we are used to seeing images designed to challenge us, seeing a photo where child carries a gun is still haunting.
One thing I really want to mention here is that it is not only the subject that makes these photographs so powerful. Philippe Chancel would probably have had a split second opportunity to take this photo in which the smaller of the two boys is looking directly into the lens. This timing alongside the overall composition is equally key to the photo’s success. It shows the younger boy’s look of suspicion and almost fear at a photographer being there, this in turn draws the contrast between what is considered the norm in both western and Korean culture
The final photo that I have included is so dramatic not only due to the building in the centre but also the seemingly deserted place all bar one figure. I read a review of this exhibition that concluded “Although I admire this work, I also find it quite disturbing, which is a reflection of the power of the photography rather than a criticism”. This is how I feel when I look at this image. Although architecturally I am sure that this building is truly unique, its not this that you look at, it’s the implication in the sculpture and the way it towers over the solitary figure. It reflects true power and uniformity, but overall I can’t find a better word to sum it up than disturbing.
2 comments:
Philippe may be a good photographic artist and you may be a good reviewer. The photos you selected and the writings you made suggested me a feeling of desertedness - apart from wholeness, alienated from socialist collectivism. Would this be what Philippe intended to show? In that sense, Philippe is a talented blocker that does not allow outsider from seeing into the "joy, anger, sadness and happiness" of the DPRK and its people.
Thank you for taking the time to read my rather long post.
There is no denying that when you look at a photo, you will always be seeing it through the eyes of the artist. Therefore as we only see DPRK through Philippe Chancel's, we are subject to his views and interpretation of it.
When you look at the exhibition as a whole (beyond the few photos that I have sellected), the contiuous impression I got was of uniformity and strength. But this can't be the only aspect of North Korea as you highlighted.
In your comment you suggested that this type of photography could be seen as blocking an outsider from seeing the real emotions of the DPRK people. I can't begin to guess if Philippe Chancel went around deliberatly photographing images that reflected his preconceptions therefore blocking any other view from being shown.
Or alternativly, if he did what most photographers do when visiting a foreign country, try to capture images and buildings that are unique to that place.
Having never visited DPRK myself, I do not know what the culture is like. From a technical photography point of view, I do still admire this work, however you have made me question if the 'distubing' feeling that you are left with is one that you are designed to feel. If this is the case, these photographs should be viewed as as propoganda as well as art.
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