NEW TAIPEI CITY.- Rooted in research on Taiwanese photographic history, this exhibition revisits how “Minjian” became a crucial field of attention, intervention, and reflection for photographers across different generations.

The decision to retain “Minjian” in Mandarin pinyin is part of the exhibition’s critical framework. Rather than translating it into “folk,” “vernacular,” or “popular,” the exhibition treats Minjian as a concept that must remain partially resistant to immediate equivalence. Within the historical contexts of Taiwan and East Asia, Minjian is therefore understood not as a fixed cultural category, but as a dynamic social space in which local networks, daily practices, religious life, publishing media, and the circulation of images continually intersect. It is a field in which photography observes, enters, and reframes reality. The slash (/) in the exhibition title marks this reciprocal historical relation: photography has shaped how Minjian is seen and understood, while Minjian has also summoned, conditioned, and transformed the photographic gaze.

Since the period of Japanese colonial rule, photography has not just documented the local landscape but also played a profound role in shaping “Minjian” as a visual subject. Photographers of different eras, working under distinct historical constraints, gradually developed their own ways of seeing reality, locality, and Minjian society. This was especially significant during the long martial law period after World War II, when mainstream photography in Taiwan remained largely dominated by salon pictorialism and aestheticized image-making. Under such political and cultural constraints, subjects related to folklore, locality, streets, markets, religious practices, and vernacular life became indirect yet vital pathways through which photographers could approach social reality. In these seemingly apolitical gaps and margins, Taiwan’s documentary photography gradually cultivated its own realist consciousness and historical trajectory.





This exhibition centers on photographers including Matsuyama Kenzo, Chang Tsai, Huang Tse-hsiu, Chang Chao-tang, Huang Yung-sung, Yao Meng-chia, Liang Cheng-chu, and Lin Bo-liang. It moves beyond their stylistic development to investigate how photography interacted with a multilayered media environment comprising publishing culture, folklore surveys, and local itineraries that shaped photographers’ perspectives. Confronting the challenge of fragmented archives, the exhibition features work prints, manuscripts, magazine pages, and documentary films, aiming to reconnect images with the historical scenes from which they emerged. By cross-referencing artworks and archival materials, visitors are invited to re-examine how images—from creation and editing to publishing and circulation—contributed to the construction of social knowledge and collective memory.

This exhibition ultimately aims to show that Taiwanese documentary photography is not a fixed style or a simple imitation of foreign models. Rather, it is a historical formation produced through continual encounters, frictions, and negotiations with reality under the conditions of colonial rule, the postwar martial-law state, and modernization. Through the combined practices of photographing, editing, publishing, exhibiting, and archiving, these photographers did more than capture their times. They actively participated in the formation and reinvention of Minjian as a visual experience, a cultural imagination, and a critical field through which the meaning of “documentary” in Taiwan could gradually emerge.

With works by: MATSUYAMA Kenzo, CHANG Tsai, HUANG Tse-hsiu, HUANG Yung-sung, YAO Meng-chia, CHANG Chao-tang, LIANG Cheng-chu, LIN Bo-liang