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Introduction

Why buy at an Art Fair?

Why Photography?

Collecting | the 10 commandments

Key Terms

Black & White Photography

Colour Photography

New Approaches | Uniques | Video

Landscape | Architecture

Figurative

Insights

Building a Collection

The Online Market for Photography

Thank you

To celebrate the fifth edition of PHOTOFAIRS | Shanghai we bring you a savvy guide to the fair on what to see, what to look for and how to buy.

Photography is the medium of our generation; yet taking a photograph is different from making a photograph. Pictures are not just images but also objects. The same image can be printed in multiple editions, on a variety of mediums, using distinct techniques, technology and materials.

We hope this guide can help further that understanding of photography. As you walk through the fair, you will see classic masterpieces, contemporary photography, large-scale installations, moving-image and the latest innovations in technology.

Introduction

As the leading destination in Asia Pacific for discovering and collecting photography, the Fair acts a barometer of tastes and trends for you to explore new opportunities in the market. Whether you are a first time buyer or an established collector we offer tips and insights to help you get the most enjoyment and profit from your collection.

You are always welcome to ask our advice, and if you would like to join a tour of the Fair, please email vip@worldphoto.org

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A good art fair allows you to discover great artists from all over the world under one roof. It is a window into current trends, emerging markets and ideas. The galleries have been handpicked from a long list of applicants, with carefully curated booths, so you can feel confident in the quality and authenticity of the artwork. The Public Program enables you to learn more about works you are interested in and meet the artists through talks and book signings.

Why buy at an Art Fair?

Photography is...• Diverse, exciting and can be an excellent investment.

• One of the youngest categories of collectable art and as such there are still great deals to be had!

• The chance to purchase iconic masterpieces at accessible prices. The average auction price for a photograph is 10,000USD compared with 60,000USD for a painting.

• The medium of our generation with strong potential for market growth. Photography’s price index has grown 48% between 2000 – 2015.

• Exciting! It is not just an image on a wall, it can be installations, video and sculptural pieces.

• A medium that bridges fantasy and reality – consistently expanding our horizons through technology

And... China is the number two art market in the world.

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Collecting | The 10Commandments

Instinct. First and foremost, buy what you love. Buy what excites you.

Understand your own taste, look and explore different styles, themes and methods.

Assess an image for its worth, not just its financial value. Research the artist and career to understand the individual work that you are interested in.

Understand editions and condition. The rarity of an image helps to decide its value. How many editions are available? What condition is the image in?

Look at past schooling, prizes, museum and solo shows for future potential. Take part in the talks program and learn from the experts

Some artists offer editions in different sizes so if you have a budget or a certain sized wall ask the gallery what is available.

Look for originality. Consider perspective, technique, technology and interpretation.

Take risks. Take the plunge on an emerging artist - all the masters started somewhere!

Don’t be afraid to ask questions; galleries welcome engaged and interested visitors.

Embrace social media, it’s a unique insight into an artist’s current shows and works. If an artist is working near you, seek them out.

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Key Terms All work exhibited at PHOTOFAIRS | Shanghai is for sale and galleries would be delighted to answer any questions you might have, so don’t be frightened to ask. If you have a budget but love a particular work, feel free to discuss alternative print sizes or editions to fit within your budget.

Here are a few technical terms to help you on your way:

Paper typesMost black and white photographs are printed as gelatin silver prints, most contemporary color prints are chromogenic prints. You will see a variety of paper types and techniques at the fair and one is not seen as superior to the other, they are simply used to achieve different effects.

EditionsPhotographs are usually from an edition - that is - they are numbered. Most photographs at the Fair will not exceed 25. It is up to the artist to edition their works as they see fit. This means editions can vary from editions of 3, 8, 20 etc. However, the editions are always respected by the artist and controlled by their gallery.

If a work is not editioned or numbered, it was most likely made at a time when editioning had not yet become an industry norm. A good example of this is Henri Cartier-Bresson, who did not edition his prints.

Contemporary photographers always edition their prints and it is understood in the industry that smaller editions are more desirable and therefore on average, more valuable, than prints from a larger edition.

An important thing to remember is that as an edition is sold the price may go up as it becomes a scarcity. Do ask the gallery how they stagger the pricing so that you understand the value of each print you are looking at.

Artist Proof - Artists’ Proofs are the first works the artist made in the edition. These are often very desirable and rare to come by as they are the first prints made in the edition.

Unique worksSome photographers only make one print per image or work onto the image with text, paint, gold leaf etc which makes each print a unique art work. PHOTOFAIRS presents a lot of unique prints and good examples of this can be seen in the work of Jim Goldberg (Magnum Photos, London), Nobuyoshi Araki (Taka Ishii Gallery, Tokyo & New York), and Hu Jieming (ShanghART Gallery, Shanghai, Beijing & Singapore).

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Key Terms

Vintage Vs Printed later‘Vintage’ denotes a print printed by the photographer in the year it was taken. This is a term often seen with black and white photography but can also apply to chromogenic prints and other color prints. ‘Printed Later’ means that the image was printed after the artist's death and this is usually shown in all captions. A good example of a work printed later can be found by the artist Ansel Adams.

Condition reportsCondition reports are not necessarily provided by the gallery. Wear and tear is expected with older prints so the condition ‘issues’ become a part of the print, rather than a hindrance. However, any large format color contemporary work should be in excellent condition and should not show any issues. These are standards that are ensured at the fair.

ProvenanceProvenance relates to where the print is coming from. In terms of the artist and authenticity look for a signature or artist’s stamp. On the other hand, in terms of Value, provenance has a significant effect for example, was the print once owned by an important collector or a leading Museum? If so, this will add to the desirability and value of the print and people will pay over the odds for this. This is interesting to consider when buying photography as an investment and good example of this is the work of Robert Mapplethorpe (Galerie Thaddaeus Ropac) who was featured in museum shows in 2017.

Digital ManipulationThere is a lot of debate around digital manipulation in photography but it really is no different from the manipulation techniques like burning or montage used in more historical works. This won’t have an impact on the value of the work and it doesn’t make an artist ‘less’ than one that doesn’t use digital manipulation.

Secondary MarketThe market created by the auction houses or dealers i.e. A work which has been owned by one or more people before it came up for sale.

VAT, framing & shippingPrices quoted to you by galleries will not usually take into account VAT and shipping costs. Framing on contemporary works is sometimes included in the price, but it is always good to check.

Caring for your printsLike with any art work you need to consider the environment the works are hung in not only in terms of aesthetics but also to ensure they are looked after. Photographs aren’t necessarily fragile but they are works on paper and that paper is sensitive to light damage so you should always consider where you are storing/hanging your works. In general photographs should never be hung in direct sunlight. If your print is open-mounted (framed without glass) then make sure it isn’t hung in a hallway or an area where the print could get scratched by accident.

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Black & White | From modern masters through to cutting-edge abstract works Colour | Vibrant abstracts through to mysterious mise en scenes and natural wonders.

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New Approaches | From collage and paintings through to scanned images and video Landscape | From traditional landscapes through to city-scapes and interiors.

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Figurative Insights | A selection of works from the exhibition The Same But Also Changed curated by Victor Wang.

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Black & White1 © CHEN XIAOYI, Pine, 2014. Courtesy of A Thousand Plateaus Art Space (Chengdu). Stand D112 © ROBERT MAPPLETHORPE, Calla Lily, 1985. Courtesy of Galerie Thaddeaus Ropac (Paris, Salzburg & London). Stand D263 © HAI BO, Still Life - Bird, 2017. Courtesy of Pace Gallery (New York, London, Palo Alto, Seoul, Geneva & Beijing). Stand D10 4 © CHRISTINE TURNAUER, Ailanish (Hands), Kazakh nomad, Mongolia 2013. Courtesy of KLV Art Projects (Vienna). Stand D23 5 © SHAO WENHUAN, Galaxy Box No. 2, 2013 - 2018. Courtesy of Three Shadows + 3 Gallery (Beijing, Xiamen). Stand D246 © BRETT WESTON, Bamboo Forest, Japan, 1970. Courtesy of Timeless Gallery (Beijing). A047 © XYZA CRUZ BACANI, Cherry Ann Wears Her Hijab, 2015. Courtesy of Christine Park Gallery (New York). Stand D228 © HANS OP DE BEECK, Staged Exterior (forest) (black and white), 2018. Courtesy of GALLERIA CONTINUA (San Gimignano, Beijing, Les Moulins & Havana). Stand D06

Colour9 © JULIE BLACKMON, Airstream, 2011. Courtesy of Cipa Gallery (Beijing). Stand B0310 © CHRISTY LEE ROGERS, Imagine, Courtesy of Art Labor (Shanghai). Stand A0511 © GAO YAN, Festival Hall No. 1 Limoges, 2007. Courtesy of Cipa Gallery (Beijing). Stand B0312 © LEA JESSEN, Wall Composition #6, 2017. Courtesy of In The Gallery (Copenhagen). Stand B0113 © CHEN WEI, In the Waves #3, 2013. Courtesy of ShanghART Gallery (Shanghai, Beijing & Singapore). Stand D0314 © NOBUYOSHI ARAKI, Flowers, 1990. Courtesy of Art Space AM (Tokyo). Stand B0415 © JIANG ZHI, Faded Looks 11, 2016-2017. Courtesy of Blindspot Gallery (Hong Kong). Stand D2516 © YOSHINORI MIZUTANI, The Birds, 2015. Courtesy of Brownie Project (Shanghai). Stand B08

New Approaches17 © JAVIER MARTIN, Pablo Picasso, 2015. Courtesy of Matthew Liu Fine Arts (Shanghai). Stand D0918 © JULIAN ROSEFELDT, Manifesto (Wyndham Lewis, 1914), 2015-2017. Courtesy of König Galerie (Berlin & London). Stand D0119 © JIM GOLDBERG, China 2017, 2017. Courtesy of Magnum Photos (London & Paris). Stand B0620 © NOBUYOSHI ARAKI, Saint Laurent Shiki-in (Color Lust), 2017. Courtesy of SAINT LAURENT and Taka Ishii Gallery (Tokyo, New York). Stand D1221 © AKI LUMI, Garden No.9. Courtesy of Vanguard Gallery, (Shanghai). Stand D1622 © CAI DONGDONG, The Thousand-face Door (detail), 2018. Courtesy of One Way Art Gallery (Beijing). Stand D1323 © KELVIN KYUNG KUN PARK, A Dream of Iron Head, 2013. Courtesy of Vanguard Gallery. Stand D1624 © YANG YONGLIANG, Time Immemorial Old Pine, 2016. Courtesy of Matthew Liu Fine Art, (Shanghai). Stand D0925 © VIK MUNIZ, Flip (Album), 2014. Courtesy of Matthew Liu Fine Arts (Shanghai). Stand D0926 © RYUSUKE KIDO, Inner Light - City H 1, 2016. Courtesy of Christine Park Gallery (London, New York). Stand D2227 © HONG HAO, My Things of Book Keeping of 2004-5A, 2006. Courtesy of Pace Gallery (New York, London, Palo Alto, Seoul, Geneva & Beijing). Stand D10

Landscape28 © TACA SUI, Bashan Mountain and Chu Water, 2018. Courtesy of Chambers Fine Arts (Beijing & New York). Stand D0229 © STEPHAN SCHNEDLER , DOOR #1, 2016. Courtesy of In The Gallery (Copenhagen). Stand B0130 © DUBRAVKA VIDOVIK, Shikumen’s walls series #16, 2014. Courtesy of ArtCN Gallery (Shanghai). Stand C0231 © EASON TSANG KA WAI, New Landmark No. 6, 2014. Courtesy of Blindspot Gallery (Hong Kong). Stand D2532 © DIETER NUHR, Shanghai 70, 2017. Courtesy of Matthias Kueper (Beijing, Stuttgart). Stand D0733 © ALEC SOTH, Chongqing, China, 2008, Magnum Photos (London & Paris). Stand B0634 © GIOVANNI OZZOLA Sunset Sand Red mood, 2015. Courtesy of GALLERIA CONTINUA (San Gimignano, Beijing, Les Moulins & Havana). Stand D0635 © BURKHARD VON HARDER, GerMANIC Trek1941 Re-enactment, 2003. Courtesy of Being 3 Gallery (Beijing). Stand A0336 © Henk van Rensbergen, The Unburnt Library. Courtesy of Galerie DUMONTEIL (Shanghai, Paris & New York). Stand D2137 © Yuki Tawada PD (Shanghai) 2018. Courtesy of Rin Art Association (Takasaki). Stand D19

Figurative38 © ANJA NIEMI, The woman who never existed, The bedroom, Galerie Photo12 (Paris, Los Angeles & Shanghai). Stand D2039 © NELSON RAMIREZ DE ARELLANO CONDE, History of Cuba, 2016. Courtesy of Nine Art Space (Beijing). Stand A0140 © JAMIE MCCARTNEY, Dive, 2016. Courtesy of Frogman Art Gallery (Beijing). Stand D1741 © PIXY LIAO, Kiss Exam, 2015. Courtesy of Chambers Fine Art (New York & Beijing). Stand D0242 © FENG LI, Summer, 2017. Courtesy of A Thousand Plateaus Art Space (Chengdu). Stand D1143 © STANLEY FUNG, 塔瑪. Courtesy of M Art Center (Shanghai). Stand A0244 © EIKOH HOSOE, Rose penalty mishima yukio. Courtesy of see + gallery (Beijing). Stand D1445 © VALIE EXPORT, Einschluss, 1972. Courtesy of Galerie Thaddeaus Ropac (Paris, Salzburg & London). Stand D2646 © BARBARA MORGAN, Martha Graham-Lamentation, 1935-printed 1975. Courtesy of Time Space Gallery (Beijing & Zhengzhou). Stand C0447 © YU DESHUI, Lankao, Henan, 1989. Courtesy of Pan - View Gallery (Zhengzhou). Stand D18

Insights48 © HU JIEMING, Postcards (4) Old Summer Palace, 2002. Courtesy of ShanghART Gallery (Shanghai, Beijing & Singapore). Stand D0349 © XIANG LIQING, Haul these stuff - 4, 2007. Courtesy of ShanghART Gallery (Shanghai, Beijing & Singapore). Stand D0350 © FAN XI, The line from Here to There, 2018 Courtesy of Liusa Wang Galerie (Paris)51 © MIAO YING, Contant Aware, installation view, 2016. Courtesy of MadeIn Gallery (Shanghai)52 © KAN XUAN, Tablet is White, 2003-2006. Courtesy of GALLERIA CONTINUA (San Gimignano, Beijing, Les Moulins, Havana). Stand D0653 © SHI ZHENG, TITLE & DATE MISSING AIKE Gallery (Shanghai). Stand D0854 © YANG ZHENZHONG, Cycle Aerobics, 2005. Courtesy of ShanghART Gallery (Shanghai, Beijing & Singapore). Stand D0355 © CHEN XIAOYUN, You are the specific moment for this, 2013. Courtesy of ShanghART Gallery (Shanghai, Beijing, Singapore). Stand D0356 © MA QIUSHA_Page 23. 2017-2018, Cyanotype. Courtesy of the artist and Beijing Commue (Beijing)57 © XU ZHEN. Images of Installation courtesy of MadeIn Gallery (Shanghai)58 © GENG JIANYI, The Window’s World, 2008. Courtesy of ShanghART Gallery (Shanghai, Beijing & Singapore). Stand D0359 © LIANG YUE, Not the Same Time, 2008. Courtesy of ShanghART Gallery (Shanghai, Beijing & Singapore). Stand D0360 © YANG FUDONG, Seven Intellectuals in Bamboo Forest, Part IV, 2006. Courtesy of ShanghART Gallery (Shanghai, Beijing, Singapore). Stand D03

Image List

© SOUTH HO SIU NAM, The Umbrella Salad II, 2014. Courtesy of Blindspot Gallery (Hong Kong)

It is an exciting time for photography in China. There has been a proliferation in recent years of photography museums like the newly established Lianzhou Museum of Photography. The number of art fairs dedicated to photography in mainland China has also risen, as has the value of works by contemporary Chinese photographers, with works by photographers like Hong Kong’s Fan Ho setting records at auction in recent years. However, with all of this increased attention to photography, there are still apprehensions amongst newer collectors, who can be put off by their unfamiliarity with the medium. Its specificity and unique vernacular can be misinterpreted as too niche, a domain with too high a barrier to entry. Yet, photography is, in fact, one of the most democratic art forms. Every day we experience a barrage of images, from photos on Instagram to images accompanying news stories. Interpreting images is something we all do daily as we conduct our digital lives.

A photography collection is, ultimately, a space to make sense of images, to examine, engage with, and interpret how certain images give us pause and force us to think more deeply about our relationship to the larger visual landscape. A particular photography collection might favor breadth, incorporating a broad range of objects from the medium’s invention through the present day, or may focus primarily on artworks from a specific region or provenance. For instance, a collection of works by photographers like Julia Margaret Cameron, Edward Steichen, Man Ray, Ansel Adams, Robert Frank, Cindy Sherman, and Andreas Gursky, tells a story about the history of photography beginning with the medium’s earliest processes that continues through to the contemporary era with its expanding digital technologies and conceptual practices. In other cases, a collection can reflect changing values; recent acquisitions at the Museum of Contemporary Photography of work by artists like South African photographer Mary Sibande, whose striking images reflect upon the legacy of apartheid, reveals an increased emphasis on diversifying a collection by incorporating more works by people of color.

Building a Collection

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Collecting works by Chinese photographers is no different. For instance, a collection of works by Chinese photographers could capture the diversity of work in the last 30 years, including seminal documentary photographer Zhang Hai’er, alongside artists like Rong Rong, whose experimental work captured the birth of Chinese conceptual art in Beijing’s East Village, and Yang Fudong, whose dramatic photographs encapsulate the feeling alienation in a rapidly changing society. Another approach could be focusing specifically on young, emerging talent, like Shanghai artist Lu Yang, whose work broaches the relationship between humans and technology or Birdhead, whose collective work documents the panoply of images abundant in the modern metropolis; in both cases, these artists create photographs that are in dialogue with an increasingly globalized art world.

Whether you are a new or established collector, it is an exciting time to start a photography collection. No matter how you choose to shape your collection, do pick artworks that excite you, that challenge you. Build a collection to more deeply examine and define what a photograph can be.

Marissa FoxMuseum of Contemporary Photography, Chicago

Ritual, a group exhibition of Chinese photography, opens at the Museum of Contemporary Photography, Chicago in October 2019.

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© GIOVANNI OZZOLA, Solamente tu ed io, 2017. Courtesy of Galleria Continua (San Gimignano, Beijing, Les Moulins & Havana)

Since its launch five years ago, PHOTOFAIRS | Shanghai has established itself as Asia’s most professional and also most innovative fair dedicated to contemporary and historical photography. With its adventurous line-up of galleries from throughout Asia as well as Europe and North America, Photofairs Shanghai has become a crossroads for international collectors, museum curators, and image entrepreneurs in search of exciting work not yet on the radar in Paris, New York, and London. It has also played an important role in shaping the tastes of the new generation of photography collectors who are increasingly evident in China. The fair has clearly struck a resonant note in Shanghai, to judge by the throngs of enthusiastic young visitors who fill the exhibition space on the fair’s public days each year.

Christopher Phillips Independent curator, New York

Technology continues to push the boundaries of photography, making it a dynamic and rapidly changing field—and a truly global artistic movement. The different approaches to the medium, from documentary photography to photo-abstraction, make photography one of the most versatile. While photography has been around for over a hundred years and has been popular in the Americas and Europe for some time, we are seeing a more recent boom in the Asian market, as collectors are more eager to expand their collections to include editioned works and works of new media..

An Accessible MediumThe price point of photography is often more accessible than other artistic media, so photography provides an excellent entry point to new buyers all over the world who are looking to start collecting art. Though we do see works by sought-after photographers sell for five- and six-figures, it is easy to find affordable works below $5,000 USD. There are also many galleries and fairs (like PHOTOFAIRS) that specialize in photography, which is a great place to start, as determining authenticity can be more challenging with the medium, and these institutions are true experts. Some great photography galleries based in Asia include Blindspot, Three Shadows +3 Gallery, and Taka Ishii. Browsing international photography galleries and art fairs online is a great place to start researching and collecting. On Artsy, you’ll discover over 150,000 works of photography—and many of them are offered by these top photography galleries, art fairs, and auctions.

Passion for ProcessAppreciating a work of photography is as much about the production process as the final product itself. We often find that photography collectors are true connoisseurs, who enjoy learning about the process and technology behind producing the work. They can tell captivating stories of the print’s origin, complex printing mechanisms, and the details of the edition. Understanding these details is arguably just as important as knowing the content and meaning of the work, especially because the rarity of a print will help determine its market value. Some

The Online Market for Photography

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editions are open (unlimited in production), while others are limited (in an amount set by the artist). Prints produced around the same time as the negative are considered “vintage” (these are often the most valuable), while those produced after the artist’s death are “posthumous” and can have the artist estate stamp which vouches for its origin. The presence of the artist signature, the print studio, or the artist estate stamp contribute to the work’s market value. Commonly, prints from open editions are not signed. Those collectors who invest time in learning about and appreciating the creative process get the most out of their investment..

Photographers to WatchAs technology advances, the price of photography equipment decreases over time, which makes this medium increasingly more accessible to both new and experienced artists. Some artists use iPhone cameras instead of DSLR or film, and push the traditional boundaries of the medium. As the definition of photography expands, the list of emerging artists grows as well. With many exciting talents to choose from, a clear collecting focus—theme, technique, movement—is critical when making purchase decisions. Works by established photographers who are part of Group f/64 (such as Ansel Adams and Edward Weston) or Düsseldorf School (such as Andreas Gursky and Candida Höfer) only gain value over time, as they are canonized. Newer names such as Ren Hang, Alex Prager, Jiang Zhi, Catherine Opie, Chen Wei, and Deana Lawson have nearly become household names and are on path to universal recognition. Other top photographers to watch in Asia include Wing Shya, Yang Yongliang, Yang Fudong, Lu Yang, Chen Xiaoyuan, and Liu Bolin. If you’re interested in fresh talent, Artsy Editorial regularly profiles emerging photographers. You can now access many of our articles via Artsy’s official WeChat account, Artsy 官方, which you can follow using the QR code on the next page of this guide.

Stas Johnson-Chyzhykov Director of Collector Relations, Artsy

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Thank you

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InsightsShanghART Gallery (Shanghai, Beijing & Singapore) MadeIn Gallery (Shanghai)Galerie Liusa Wang (Paris)Beijing Commune (Beijing)GALLERIA CONTINUA (San Gimignano, Beijing, Les Moulins & Habana)Long March Space (Beijing) AIKE Gallery (Shanghai)

2018 GalleriesA01 | Nine Art Space | 玖 空间 | ShanghaiA02 | M Art Center | M艺术空间 | ShanghaiA03 | Being 3 Gallery | 在3画廊 北京 | BeijingA04 | Timeless Gallery | 泰吉轩 | BeijingA05 | ART LABOR| ShanghaiB01 | In The Gallery | CopenhagenB02 | Juhui Art Gallery | 聚会艺术 | BeijingB03 | Cipa Gallery | 希帕画廊 | BeijingB04 | art space AM | TokyoB05 | Lucie Chang Fine Arts / L+ | Hong KongB06 | Magnum Photos | London, & ParisB07 | Per van der Horst Gallery | The Hague & TaipeiB08 | BROWNIE Project | ShanghaiB09 | Books & Photographs | ParisC01 | C14 Gallery | C14 画廊 | ShanghaiC02 | ArtCN Gallery | ArtCN画廊 | ShanghaiC03 | BOCCARA ART | New York, Monte Carlo & LondonC04 | Time Space Gallery | 时光空间画廊 | Beijing & ZhengzhouC05 | Between Art Lab | Shanghai & BeijingD01 | KÖNIG GALERIE | Berlin & LondonD02 | Chambers Fine Art | New York & BeijingD03 | ShanghART Gallery | 香格纳画廊 | Shanghai, Beijing & SingaporeD04 | 10 Chancery Lane | Hong KongD05 | Pékin Fine Arts | Beijing & Hong KongD06 | GALLERIA CONTINUA | 常青画廊 | San Gimignano, Beijing, Les Moulins, HabanaD07 | Matthias Küper Galleries | Stuttgart & BeijingD08 | AIKE | 艾可 | ShanghaiD09 | Matthew Liu Fine Arts | ShanghaiD10 | Pace Gallery | New York, Beijing, London, Hong Kong, Palo Alto, Seoul, GenevaD11 | A Thousand Plateaus Art Space | 千高原艺术空间 | ChengduD12 | Taka Ishii Gallery | Tokyo & New YorkD13 | One Way Art Gallery | 单行道画廊 | BeijingD14 | see + gallery | see+ 画廊 | BeijingD15 | Novalis Contemporary Art | Hong KongD16 | Vanguard Gallery | ShanghaiD17 | Frogman Art Gallery | 蛙人艺术画廊 | BeijingD18 | Pan - View Gallery | 全视影像画廊 | ZhengzhouD19 | rin art association | TakasakiD20 | Photo 12 Galerie | Paris, Los Angeles & ShanghaiD21 | Galerie DUMONTEIL | 杜梦堂 | Paris, New York & ShanghaiD22 | Christine Park Gallery | New YorkD23 | KLV Art Projects | ViennaD24 | Three Shadows + 3 Gallery | 三影堂+3画廊 | Beijing & XiamenD25 | Blindspot Gallery | Hong KongD26 | Galerie Thaddaeus Ropac | Paris, Salzburg & London

StagedCai Dongdong (One Way Art Gallery, Beijing)Chen Chieh Jen (Long March Space, Beijing)Won Seung Won (Arario Gallery, Seoul, Cheonan & Shanghai)Seung Woo Back (Gana Art & SUUM Projects, Seoul)

ConnectedHow Art Museum (Shanghai)Video Bureau (Beijing & Guangzhou)Videotage (Hong Kong)Nowness (Shanghai)