Dutch conceptual artist Hans Eijkelboom's work is very much in line with the deadpan, seemingly mechanistic note-taking of Ed Ruscha and Hans-Peter Feldman. In Paris-New York-Shanghai , Eijkelboom creates a witty comparative study of three major contemporary metropolises, each selected for having been the cultural capital of its time--Paris during the nineteenth century; New York, the twentieth; and Shanghai, the twenty-first.
This uniquely bound three-volume accordion-folded set opens up to allow the reader not only to view each city individually, but also to compare simultaneously the three photographic studies of each metropolis and its citizens. The large-format cityscapes with the identifying quirks of each city and the snapshot-style grids of their inhabitants soon reveal how similar one city is to another today. For example, Eijkelboom's grids of mothers carrying their infants in Baby Bjorns, or men wearing striped polo shirts highlight the ubiquity of many of our most intimate possessions. As Eijkelboom writes, "Globalization, combined with the desire of cities for visually spectacular elements, is leading to the appearance everywhere of city centers that look the same and where identical products are sold." With an introduction by Martin Parr.
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把上海拍得真土。
评分比《21世纪的人们》有趣，装帧画龙点睛。
评分翻完这本书顿时觉得哪里都不值得去，反正全世界都一个样，待在上海就挺好。荷兰艺术家Hans Eijkelboom依次挑选了巴黎、纽约、上海。并在街头拍摄这三个城市里的街景和人探讨无聊的全球化问题，三个城市里的穿条纹衫的男人，开摩托的，还是出租车司机，都像是产于同一个大工厂。
评分很有意思。书本的装帧很有新意，可单册纵向阅读，也可以三册对比 横向阅读。但是希望，作者作为visitor，在城市以及在拍摄地点的选择上能够更加用心和赋予逻辑性，只有这样，才能让这本摄影集展现the nature of city life。
评分We are a product of the culture that we live in.
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