It was this disordered transition that Tim Franco, a photographer who splits his time between South Korea and China, decided to explore in a new portrait series called “Unperson.” A riff on an Orwellian construct from the novel “1984,” his work examines the “vaporization” of the defectors’ past, which has left many in limbo, free but incomplete. “[North Korea] is their home, they left people behind,” Mr. Franco said. “Even if they live in a modern country, they will never be completely happy in South Korea.”
If you’re measuring by sheer space, Chongqing is the largest city in China. Over the last few decades, it has grown so large that in 1997 its status was changed from that of a city in Sichuan province to a direct-controlled municipality; it was essentiall
If you’re measuring by sheer space, Chongqing is the largest city in China. Over the last few decades, it has grown so large that in 1997 its status was changed from that of a city in Sichuan province to a direct-controlled municipality; it was essentially made its own mini-province. In the latest project from Tim Franco, Metamorpolis, the Shanghai-based photographer seeks to document the 21st century mega-city, in all its gritty magnitude.
This sprawling megacity, the locus of scandals and political machinations, has fixed the interest of Tim Franco, a Shanghai-based French photographer. With his ongoing series, “Vertical Communism,” Mr. Franco endeavors to show how the political and cultural forces of the area shape the cityscape and how ordinary people are affected as Chongqing elbows its way into modernity.
the talented group of photographers that comprise this issue: James Whitlow Delano, Markel Redondo, Katharina Hesse, Ryan Pyle, Xiqi Yuang, Wayne Liu, Carolyn Drake, Rian Dundon, Tim Franco, Eric Guo, Christian Als and Holly Wilmeth, M. Scott Brauer
