Title:青春吉日 The Best Days
Artist: 梁丞佑 YANG Seung Woo
Book Size: 182 × 257 mm
Pages: 192 pages
Publication Date: 2012
Publisher: Zen Foto Gallery
"One of me old mates died. Actually he stopped himself, but his dying changed nowt. The other lads will just forget him, I will forget him too, I looked for a photo so I could see his face, but there weren’t any. I thoght he was me special mate. Sooner or later I will be gone too, it made me want to take photographs…." —- Yang
Peste Noire La Sanie des Siècles – Panégyrique de la Dégénérescence
Orchard Beach: The Bronx Riviera
Although New York’s Bronx is considered one of the most diverse communities in America out of which many subcultures originated, such as Hip Hop and Salsa, it’s still viewed as a no man’s land by many of the city’s inhabitants. Perhaps it is a matter of simple geography that many refuse to venture to the northernmost of the city’s five boroughs or, quite possibly, it may be the Borough’s malevolent reputation lingering from its tumultuous past.
From its earliest years, the Bronx has been a hotbed of immigrant working class families, but its image has largely been defined by the urban blight of the late 1960’s through to the 1980’s when arson, drug addiction and social neglect decimated many of its neighborhoods. For the families who have called this scarred landscape home, Orchard Beach, the only beach in the borough, was and remains a treasured respite from the sweltering confines of the concrete jungle. Built in the 1930s by urban planner Robert Moses, the beach carries the stigma as being one of the worst in New York and is commonly known as Horseshit Beach or Chocha Beach.
I began shooting portraits of Orchard Beach’s summertime regulars in 2005 shortly after moving to New York, realizing that the stigma attached to this oasis was largely unjustified - I felt compelled to engage with this community of working class families and colorful characters. The photographs in ‘Orchard Beach – The Bronx Riviera’ celebrate the pride and dignity of the beach’s visitors, working-class people.
Immediately catching the viewer’s eye is the extravagant style of many of the photographs’ subjects – a quest for identity and sense of belonging. Some individuals carry scars and markings that hint to their own personal histories, which often reflect the complex history of the borough itself. Within the gaze of those portrayed we see a community standing in defiance of popular opinion.
The six years I spent photographing Orchard Beach have not only given me the time and space to reflect on the importance of family and community, but also a sense of belonging and purpose. After having experienced the most profound grief when my older brother was brutally murdered, photography has not only offered me an opportunity to give a voice to a community often misunderstood but also a means of healing from the loss experienced.
— Wayne Lawrence / INSTITUTE
"It was 1997 and the new millennium was imminent, one could feel the tense anticipation about what was to come next.
I was alone in Japan, a place I had never been before. During the day I would go out looking for my own sense of the place, photographing, exploring notions of center, a place of convergence, as the world expanded before me in its uncertain course.
Many years have passed and I felt a need to go back to these images. The millennium is long gone but the vertigo of uncertainty is yet to disappear.”
—António Júlio Duarte