223

223

Lin Zhipeng, also known as 223, is considered to be part of the ‘next generation’ of young chinese photographers. Within his work the, previously mentioned term, ‘young generation’ is of major importance: ‘Internet users have always had a thirst for novelty and an interest in sharing the lifestyle of young people. The photographs Iíve taken of the lives of Chinese youth are like that, mainly disseminated and shared online. The youth culture that is the subject of the photographs seems to be that of a minority, marginalised, even to the point of the bizarre, breaking away from the mainstream (often referred to as ìguai kaî online). The young people that I knew and photographed, from 2004 to today, are all growing up. Photographing youth is not just a wilful act. I would most like to continue photographing my own development, as well as the changes in feelings and experiences around me. Maybe ten or 20 years later, when Iím middle-aged, with the young people once in front of the camera also ageing, our thoughts will no longer be so wild and restless. Maybe weíll be more calm and at peace, and the subject of the photograph will probably also change along with it. When youth are young no more, the images are no longer intense.’

Lin Zhipeng, also known as 223, is considered to be part of the ‘next generation’ of young chinese photographers. Within his work the, previously mentioned term, ‘young generation’ is of major importance: ‘Internet users have always had a thirst for novelty and an interest in sharing the lifestyle of young people. The photographs Iíve taken of the lives of Chinese youth are like that, mainly disseminated and shared online. The youth culture that is the subject of the photographs seems to be that of a minority, marginalised, even to the point of the bizarre, breaking away from the mainstream (often referred to as ìguai kaî online). The young people that I knew and photographed, from 2004 to today, are all growing up. Photographing youth is not just a wilful act. I would most like to continue photographing my own development, as well as the changes in feelings and experiences around me. Maybe ten or 20 years later, when Iím middle-aged, with the young people once in front of the camera also ageing, our thoughts will no longer be so wild and restless. Maybe weíll be more calm and at peace, and the subject of the photograph will probably also change along with it. When youth are young no more, the images are no longer intense.’

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