Dong Gang International Photography Festival : The Constructed View

Jungjin Lee was born in Korea in 1961.[2] She studied calligraphy in childhood and majored in ceramics at Hongik University, graduating with a Bachelor's of Fine Art in 1984. After graduating Lee worked as a photo journalist and later as a freelance photographer.

South Korea –

Now in its 12th edition, the Dong Gang festival is held across several venues in the city of Yeongwol, about 3 hours drive east of Seoul in South Korea.  Yeongwol is a beautiful mountainous city famed for rafting on the wild river Dong and also for having a cluster of fantastic museums dedicated to photography.

Each edition collaborates with international curators and awards a major prize to a leading Korean Photographer – this year Jungjin Lee was honoured.

The guest country is the UK with an exhibition of over 80 works by 13 major UK-based photographers, curated by Louise Clements and Joanne Junga Yang, titled, UK Photography Now : The Constructed View


Full Spectrum Dominance © Simon Norfolk


It features : Maurizio Anzeri, Lottie Davies, Cristina De Middel, Chino Otsuka, Simon Norfolk, Tom Hunter, Esther Teichmann, Julia Fullerton-Batten, Tim Simmons, Helen Sear, Melinda Gibson, Mishka Henner & David Oates, Adam Broomberg  &  Oliver Chanarin.

It is possible that there is practically nothing that has gone before that has not already been seen or recorded as a still image. Our collective image memory bank contains everything from natural disaster, society, war and crime to glimpses into the private lives of strangers on a nano, global and interstellar scale. As Baudrillard relates in his theory of the simulacra, in this era of simulation, the real is quickly fading, leaving us behind to become part of layers upon layers of simulations and representations. The message common to all photography is that every image, be it natural or artificial, is a construction. In our hyper-real contemporary mass media society, we are nearly at the point where only the things that become image can be considered real. In this extraordinary time of transition and process of reversal, the representation of the world, as it becomes a place that we inhabit digitally, begins to almost replace the world itself.


Tokyo © Julia Fullerton Batten


This exhibition explores divergent photographic perspectives in contemporary practice in which photographers are creating new photographic realities and are pushing the boundaries of the form. Featuring 13 of the UK’s leading contemporary photographers, UK Photography Now: the Constructed View, features artists who work with conceptual, documentary, vernacular, fine art and freeform agendas to build up narratives in distinct layers. The degree of construction is diverse and presents a fascinating perspective on contemporary photography today. While differing in subject matter, the works presented here address the question of the construction of reality, which deals in turn with addressing the complex of vision and cognition or more precisely, reality and perception. Perception moves within set boundaries and if it is true that perception is eighty percent memory and conditioning and only twenty percent objective vision, then the world is a construction, both in a photograph and in the human consciousness.

The theme of this exhibition is the broad exploration of the constructed view from the point of the artist and the onlooker. It has been arranged in terms of how the photographer/artist controls the view or the content, whether the image is composed or found.


Memories and Nightmares © Lottie Davies


A unifying feature of practice today is the diversity of techniques: vernacular portrait photographs with embroidered patterns in the work of Maurizio Anzeri; the technical, layered and cinematic landscapes of Tim Simmons; the shifting physical and political geographies of Palestine and Israel by Adam Broomberg and Oliver Chanarin; the childhood photographs of Chino Otsuka, which form a digital time machine to revisit her younger self in photographs originally made by her parents; the mysterious worlds of young women by Julia Fullerton-Batten; Helen Sear’s double-layered images that sit between colour and form, figure and ground, the visible and unseen; the dreams and nightmares of Lottie Davies; fascinating ‘documents’ from the African space race by Cristina De Middel; personal imagined worlds merging the body with histories and landscape by Esther Teichmann; collaged pages reinvestigating the Photograph as Contemporary Art by Melinda Gibson; photographs that expose the hidden world of complex global communications, uncovering the clandestine moments at the launch of satellites by Simon Norfolk; Tom Hunter’s everyday tales of abandonment and loss, music and hedonism; and Mishka Henner & David Oates 10-minute film collage featuring clips of photographers, sourced from over 100 films.

In the premise of even the most radical Constructivists, the human brain is not capable of reproducing or representing reality per se. As a consequence of the selective way that our biology works, the brain of each individual viewer constructs and cultivates its own image of the world. When we think about how each person understands an artwork it is important to consider that perception is forged by the capacity to recognise, which is sequentially made possible by past experience.


Untitled © Maurizio Anzeri


All individuals differ hugely in terms of experience and knowledge, so do their perceptions. Each viewer is inevitably subject to her own cultural/social influences and can see or ‘read’ further meaning beyond the material or intended content of an image. Perception manifests as a consequence of our social, cognitive and cultural habituation and for that reason, ‘all we see is seen through the kaleidoscope of all that we have seen before.’ (Andy Grundberg, ‘The Crisis of the Real: Writings on Photography 1974-1989’. Aperture, New York, 1999, p16)

Louise Clements, CoFounder and Director, FORMAT International Photography Festival

Joanne Junga Yang, Director,  Dong Gang International Photography Festival

Related Posts

Chandan Khanna Instagram

Indian photographer Chandan Khanna takes over Emaho Instragram handle

India – Chandan Khanna is a photojournalist with AFP, based in Delhi, India. His work features the best of India, …

Edward Middeltich

Edward Middleditch: The Pencil of Nature

United Kingdom –  James Hyman Gallery is pleased to present an exhibition of drawings by Edward Middleditch. Focused on the …

Kaunas Photo Festival

3 in 1 Call For Entries from Lithuania: Kaunas Photo Festival 2015, on-line portfolio reviews’ platform of KAUNAS PHOTO festival, announces the open call for its third edition. The call is extended until 3 March, …

Organ Vida: Support the Biggest Balkan Photography Festival

Croatia –   International photography festival Organ Vida, held in the capital of Croatia – Zagreb, has started a crowdfunding campaign …

Warsaw Photo Days : Photography Festival in Poland

Warsaw Photo Days festival was initiated by its organizer, the Association of Polish Artists Photographers ZPAF Warsaw District in 2013. …

Ishan Tankha : ‘Inbetweeners – In the Shadows in Tokyo and New Delhi’

Is it possible for photography to disrupt the image of a city’s relentless march, to offer a chance to reflect …

Anthony Friedkin: The Gay Essay

USA – The Fine Arts Museums of San Francisco are pleased to present Anthony Friedkin: The Gay Essay, a photographic series …

Gomma Photography Grant 2014: Final Call

Italy – The Gomma Photography Grant deadline is approaching on October 31st and they want photographers from anywhere, of any background, …

Iranian Photographer Newsha Tavakolian Wins 2015 Principal Prince Claus Award

Netherlands –  On 2 December 2015, HRH Prince Constantijn of the Netherlands will present the Principal Prince Claus Award to …