Ruben Lundgren – Flowers in the Mirror: A Reader
As a photography student, Ruben Lundgren (NL) travelled to China in 2005, where he settled for the next twenty years. Flowers in the Mirror draws on his life and observations in China. His enduring fascination with photography and the tension between image and reality form the starting point of his work. Over time, this interest has evolved into an existential inquiry, in which Lundgren explores his queer identity, his position as both an outsider and insider in China, and his long-standing fascination with facades.
Flowers in the Mirror presents a kaleidoscopic overview of Lundgren’s work, bringinge together new projects, earlier series, found footage, and photographs from his personal archive. Through the layering of images, unexpected connections and combinations emerge. The title refers to the Chinese proverb “As the moon in the water and flowers in a mirror,” a metaphor describing something that seems clear but ultimately remains elusive. Together with Lundgren’s working method, the title underscores a central question of this publication: What is the relationship between photography and reality, and how do we record a culture that remains partially intangible?
At a time when Dutch perceptions of China are often lost in a gap of incomprehension, Lundgren offers a nuanced and human perspective. His work reveals a China that is intimate, multifaceted and less stereotypical than prevailing narratives suggest. His open approach allows him to engage deeply with contemporary Chinese culture while maintaining his own position. Flowers in the Mirror thus offers a compelling reflection on both China and the nature of photography itself.
More Images
Ruben Lundgren – Flowers in the Mirror: A Reader
As a photography student, Ruben Lundgren (NL) travelled to China in 2005, where he settled for the next twenty years. Flowers in the Mirror draws on his life and observations in China. His enduring fascination with photography and the tension between image and reality form the starting point of his work. Over time, this interest has evolved into an existential inquiry, in which Lundgren explores his queer identity, his position as both an outsider and insider in China, and his long-standing fascination with facades.
Flowers in the Mirror presents a kaleidoscopic overview of Lundgren’s work, bringinge together new projects, earlier series, found footage, and photographs from his personal archive. Through the layering of images, unexpected connections and combinations emerge. The title refers to the Chinese proverb “As the moon in the water and flowers in a mirror,” a metaphor describing something that seems clear but ultimately remains elusive. Together with Lundgren’s working method, the title underscores a central question of this publication: What is the relationship between photography and reality, and how do we record a culture that remains partially intangible?
At a time when Dutch perceptions of China are often lost in a gap of incomprehension, Lundgren offers a nuanced and human perspective. His work reveals a China that is intimate, multifaceted and less stereotypical than prevailing narratives suggest. His open approach allows him to engage deeply with contemporary Chinese culture while maintaining his own position. Flowers in the Mirror thus offers a compelling reflection on both China and the nature of photography itself.
Product Information
Product Information
Shipping & Returns
Shipping & Returns
Description
As a photography student, Ruben Lundgren (NL) travelled to China in 2005, where he settled for the next twenty years. Flowers in the Mirror draws on his life and observations in China. His enduring fascination with photography and the tension between image and reality form the starting point of his work. Over time, this interest has evolved into an existential inquiry, in which Lundgren explores his queer identity, his position as both an outsider and insider in China, and his long-standing fascination with facades.
Flowers in the Mirror presents a kaleidoscopic overview of Lundgren’s work, bringinge together new projects, earlier series, found footage, and photographs from his personal archive. Through the layering of images, unexpected connections and combinations emerge. The title refers to the Chinese proverb “As the moon in the water and flowers in a mirror,” a metaphor describing something that seems clear but ultimately remains elusive. Together with Lundgren’s working method, the title underscores a central question of this publication: What is the relationship between photography and reality, and how do we record a culture that remains partially intangible?
At a time when Dutch perceptions of China are often lost in a gap of incomprehension, Lundgren offers a nuanced and human perspective. His work reveals a China that is intimate, multifaceted and less stereotypical than prevailing narratives suggest. His open approach allows him to engage deeply with contemporary Chinese culture while maintaining his own position. Flowers in the Mirror thus offers a compelling reflection on both China and the nature of photography itself.
