This first issue of “Whitelies Index,” a quasi-successor to the Berlin- and Tokyo-based international photography magazine “Whitelies,” brings together work by four distinct artists: Ziyi Le, Stefan Dotter, Zheng Lu Xinyuan, and Li Hui. The common thread between the four series is a location – West Lake in Hangzhou, site of the recent Métiers d'Art Collection held by Chanel. In “The Open Fold,” these artists enter into a multidimensional conversation mediated through their work, with the editing placing photographs from each artist into a continuous series without separation. “
Their folds and shadows carried time, memory, and movement. They conjured places not just seen, but felt – much like the lake itself when witnessed through the lens of performance and artifice. What happens when an artwork comes to life – not in a gallery, but in its imagined origin?” ― from Stefan Dotter’s introduction
“There is the age-old question of whether photography wills the world into being, ad yet observer’s bias is undetectable for the observer, it is, for them, si somly real. ‘Point-and-shoots’ and ‘viewfinders’ may tell otherwise, because this is the language of an equipment dealing with the politics of seeing. But then, to say ‘look at me’ is the same as to say, ‘look into the camera.’ Suffice to say this small instruction again calls into effect the twofold, duplicitous movement: as much as the camera acts as an extension of the self, it grows increasingly enmenshed with our behaviour, our bodies.” ― from Elaine M.L. Tam’s opening essay “View Finder”
Their folds and shadows carried time, memory, and movement. They conjured places not just seen, but felt – much like the lake itself when witnessed through the lens of performance and artifice. What happens when an artwork comes to life – not in a gallery, but in its imagined origin?” ― from Stefan Dotter’s introduction
“There is the age-old question of whether photography wills the world into being, ad yet observer’s bias is undetectable for the observer, it is, for them, si somly real. ‘Point-and-shoots’ and ‘viewfinders’ may tell otherwise, because this is the language of an equipment dealing with the politics of seeing. But then, to say ‘look at me’ is the same as to say, ‘look into the camera.’ Suffice to say this small instruction again calls into effect the twofold, duplicitous movement: as much as the camera acts as an extension of the self, it grows increasingly enmenshed with our behaviour, our bodies.” ― from Elaine M.L. Tam’s opening essay “View Finder”
Hardcover Publication, 2026
1000 copies, 128 pages, 266 × 200mm
ISBN978-3-00-082693-1
1000 copies, 128 pages, 266 × 200mm
ISBN978-3-00-082693-1
156-0042 TOKYO, JAPAN
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