Artist
Yao Yuan
Yao Yuan (b. 1988) is a non-binary artist born in Sichuan, China. Their practice navigates between photography, design and moving image. Using documentation and staging, their photographic work expresses an intrinsic curiosity for intersectionality and spirituality. Their investigations explore the power of storytelling and dramaturgy, to rethink the binary framework of dominant norms, particularly those that relate to gender and sexuality. In recent years, the focus of Yuan’s work has touched upon topics of non-normative narratives surrounding motherhood, queer intimacy and representation.
1 2 3 2 1
In 2012, Yuan Yao (they/them/theirs) moved from their native China to Japan. In Tokyo they befriended Nagakura Nami, who asked them to document her pregnancy and childbirth. This pact resulted in 1 2 3 2 1, a beautifully crafted, 304-page photographic memoir challenging customary views on gender, friendship, role models and motherhood. The camera explores intimacy and vulnerability, but also witnesses strength, elegance and resilience.
Yuan engages with the metamorphosis of the body, spaces and rituals to touch the fragile fabric of life. Maintaining an affectionate vision, the sequence charts the transformative journey of two becoming three. As it seeks alternatives to prevailing models of representation, a symmetrical connection develops. The portraits are formed by both sides through a relationship of differences (multiplicity) and similarities (analogy).
Every image has its place in Yuan’s approach. Raw emotions, sensual portraits, charged cityscapes and tranquil natural sceneries coexist. It recalls If one thing matters, everything matters, the title of Wolfgang Tillmans 2013 exhibition at Tate Britain.
At first glance, some of the pictures in 1 2 3 2 1 may seem overly seductive, perhaps even too sweet. But the book convincingly shows that such value judgements are meaningless, aesthetic criteria secondary, in this naturalistic portrait of a transitional period. This generous flow of authentic slices of life muses on time, femininity, boundaries, nature, care, reality and mystery.
Geert Goiris
The format hasn’t changed since the magazine’s inception in 2012. However, the project's scope has expanded significantly – .tiff has evolved into a platform, offering a year-long trajectory of presentations, conversations with experts, and exhibitions. FOMU leverages its extensive network, expertise and resources to stimulate the artists' artistic practices and personal visions.
The selection process involves reaching out to professionals in the Belgian photography scene, as well as to previous participants. This results in a long-list encompassing a diverse range of backgrounds. For this edition, FOMU departed from its usual practice and solicited the expertise of 3 external jurors: Sorana Munsya, independent curator; Anna Planas, artistic director of Paris Photo; and Max Pinckers, .tiff alumnus and artist. Together, we carefully curated a diverse group of artists, always mindful of whether the participants would benefit from our support at this particular juncture in their careers.
This 11th edition of .tiff marks a new beginning with a fresh design, while it also safeguards its strengths. Throughout the years, .tiff has fostered a thriving Belgian photography community that transcends language barriers, enabling rich exchanges of ideas between artists, curators and critics. The current selection exemplifies the continued growth of this community, and Belgian photography’s ability to reinvent itself year after year.