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Archives 2007 Public Art

ShangHigh

May 1 – 31, 2007
  • Brassaii
Jonathan de Villiers, From the series ShangHigh, 2005

In ShangHigh, European fashion photographer Jonathan de Villiers plays the concept of “constructed couture” to its literal and conceptual limit, using Chinese labourers as high-fashion models for designer suits, shooting the resulting Vogues Hommes International spread in dusty concrete-and-I-beam work sites. De Villiers’ choice of site has been led by the symbols of modern Shanghai’s excessiveness: the frantic construction and the enormous expansion of the urban area. Yet these elements, thousands of miles away, also resonate in the urban landscape of Toronto’s King West area, dotted as it is with a mix of construction sites and high-end boutiques.

Though he is unquestionably a fashion photographer, de Villiers is certainly not typical within his realm. He is well known for subverting the codes of his genre. In a series shot in Kenya, he satirized the role of actress or model as UN Special Envoy and the neocolonial conventions of fashion shoots in Africa. In another piece, de Villiers photographed a couple of prostitutes in Amsterdam’s red-light district modelling new Dutch fashion in the windows and rooms where they usually ply their trade. As his admirers have pointed out, in a climate where just about everyone in fashion is “chasing the campaign” via conservative editorial photography, more critical or challenging work is disappointingly rare.

Jonathan de Villiers, born in London in 1968, currently lives in Paris. After working in a commercial photographic lab and studying philosophy at King’s College, Cambridge, he became a fashion photographer. He has worked for British, Italian and French Vogue, Wallpaper, Numero, the New York Times Magazine and the fashion houses of Anne Klein and Alessandro Dell’Acqua, among many others. His work has been shown at the Victoria and Albert Museum, London, the Institutes of Contemporary Art in London and Boston, Festival International de Mode et de Photographie, Hyères and the Rencontres d’Arles, where he received the No Limit Award.

Michel Mallard was the artistic director for ShangHigh.

ShangHigh

Brassaii
Archives 2007 Public Art

Untitled Legacy, 2007

The Drake Hotel
Archives 2007 Public Art

Between Life and Death, 2006

MOCCA Parking Lot
Archives 2007 Public Art

Outdoor Sculptures, 1998–2004

St Patrick Subway Station
Archives 2007 Public Art

Selected Works, 1990–2006

St Patrick Subway Station
Archives 2007 Public Art

Warflowers, 2007

Transit Shelters on Queen St W
Archives 2007 Public Art
OverviewCorePublic ArtOpen Call
  • Overview
  • Core
  • Public Art
  • Open Call
Archives 2007 Public Art

ShangHigh

May 1 – 31, 2007
  • Brassaii
Jonathan de Villiers, From the series ShangHigh, 2005

In ShangHigh, European fashion photographer Jonathan de Villiers plays the concept of “constructed couture” to its literal and conceptual limit, using Chinese labourers as high-fashion models for designer suits, shooting the resulting Vogues Hommes International spread in dusty concrete-and-I-beam work sites. De Villiers’ choice of site has been led by the symbols of modern Shanghai’s excessiveness: the frantic construction and the enormous expansion of the urban area. Yet these elements, thousands of miles away, also resonate in the urban landscape of Toronto’s King West area, dotted as it is with a mix of construction sites and high-end boutiques.

Though he is unquestionably a fashion photographer, de Villiers is certainly not typical within his realm. He is well known for subverting the codes of his genre. In a series shot in Kenya, he satirized the role of actress or model as UN Special Envoy and the neocolonial conventions of fashion shoots in Africa. In another piece, de Villiers photographed a couple of prostitutes in Amsterdam’s red-light district modelling new Dutch fashion in the windows and rooms where they usually ply their trade. As his admirers have pointed out, in a climate where just about everyone in fashion is “chasing the campaign” via conservative editorial photography, more critical or challenging work is disappointingly rare.

Jonathan de Villiers, born in London in 1968, currently lives in Paris. After working in a commercial photographic lab and studying philosophy at King’s College, Cambridge, he became a fashion photographer. He has worked for British, Italian and French Vogue, Wallpaper, Numero, the New York Times Magazine and the fashion houses of Anne Klein and Alessandro Dell’Acqua, among many others. His work has been shown at the Victoria and Albert Museum, London, the Institutes of Contemporary Art in London and Boston, Festival International de Mode et de Photographie, Hyères and the Rencontres d’Arles, where he received the No Limit Award.

Michel Mallard was the artistic director for ShangHigh.

ShangHigh

Brassaii
Archives 2007 Public Art

Untitled Legacy, 2007

The Drake Hotel
Archives 2007 Public Art

Between Life and Death, 2006

MOCCA Parking Lot
Archives 2007 Public Art

Outdoor Sculptures, 1998–2004

St Patrick Subway Station
Archives 2007 Public Art

Selected Works, 1990–2006

St Patrick Subway Station
Archives 2007 Public Art

Warflowers, 2007

Transit Shelters on Queen St W
Archives 2007 Public Art

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CONTACT is a Toronto based non-profit organization dedicated to exhibiting, analyzing and celebrating photography and lens-based media through an annual festival that takes place every May.

Land Acknowledgement

CONTACT acknowledges that we live and work on the traditional territory of many nations, including the Mississaugas of the Credit, the Anishnabeg, the Chippewa, the Haudenosaunee and the Wendat peoples, and that this land is now home to many diverse First Nations, Inuit, and Métis peoples. CONTACT is committed to promoting Indigenous voices; to generating spaces for ongoing, meaningful, and creative Indigenous-settler dialogue; and to continuous learning about our place on this land.

Anti-Oppression

CONTACT is committed to the ongoing development of meaningful anti-oppressive practice on all levels. This includes our continuing goal of augmenting and maintaining diverse representation, foregrounding varied and under-represented voices and perspectives via our public platform (the Festival and all related programs), as well as continually examining the structures of power and decision-making within the organization itself. We aim to actively learn, grow, and embody the values of inclusivity, equity, and accessibility in all facets of the institution, as an ever-evolving process.