Our Rail Trips are our most planet-friendly itineraries that invite you to take the scenic route, relax whilst getting under the skin of a destination. Our Trips are suitable for both solo travelers, couples and friends who want to explore the world together.Ĭulture Trips are deeply immersive 5 to 16 days itineraries, that combine authentic local experiences, exciting activities and 4-5* accommodation to look forward to at the end of each day. That is why we have intensively curated a collection of premium small-group trips as an invitation to meet and connect with new, like-minded people for once-in-a-lifetime experiences in three categories: Culture Trips, Rail Trips and Private Trips. Increasingly we believe the world needs more meaningful, real-life connections between curious travellers keen to explore the world in a more responsible way. We are proud that, for more than a decade, millions like you have trusted our award-winning recommendations by people who deeply understand what makes certain places and communities so special. Since you are here, we would like to share our vision for the future of travel - and the direction Culture Trip is moving in.Ĭulture Trip launched in 2011 with a simple yet passionate mission: to inspire people to go beyond their boundaries and experience what makes a place, its people and its culture special and meaningful - and this is still in our DNA today. Of this recurring theme in his work, Hong explains, ‘Over time, I have come to see the dead bird as the embodiment of my own self.’ In a later series titled Forbidden City, Hong photographed a dead bird on the imperial palace grounds, juxtaposing historic grandeur with weakness, morality, and loss. Hong went on to photograph classical Chinese artworks to express his anxiety about the tension between past and present, tradition and modernity. In 1996, Hong garnered critical acclaim for his installation titled Chinese Box, in which a dead bird lay in a jewelry box filled with pearls, gems, and other precious treasures. A commentary on the trauma of modern Chinese life, Hong’s compositions are inspired by his training in classical Chinese paintings and literary works, such as The Dream of the Red Mansions and The Gold Plum Vase. ‘I hereby proclaim that I am terrified of globalization and I abhor it.’ Hong Lei’s work is heavily reflective of this statement his images subvert reality and create surreal, anachronistic scenes that weave imagination, alongside traditional and contemporary imagery, into an enhanced reality. One doesn’t have to fall from another planet to feel it,’ the artist explains. ‘This feeling of having fallen headfirst into something and of having nothing firm under the feet is familiar to everyone. In describing the conceptual nature of this series, Li references the malaise of finding oneself in uncontrollable situations, driven by stronger forces such as politics, the economy, and social pressure. Li rose to prominence with his performance series titled Falls, in which he forced himself, like a fallen missile, into the ground, into a body of water, and through a car head first, with only his legs and feet protruding at an uncomfortable, unnatural angle. His photographs are not the result of digital manipulation, but are rather produced via acrobatic stunts with the aid of props such as scaffolding, mirrors, and metal wires. The multimedia artist often depicts himself in gravity-defying situations that both threaten and endanger him. Li Wei’s photographs are an extension of his performance pieces. Representing both personal and collective memory, these images are nostalgic and charged with historical intensity. All portrayed in emptiness, devoid of human presence, they are ghostly depictions of the affect of history and the powerful presence of memory. The abandoned and rehabilitated structures somehow symbolise and mirror the individuals who have experienced the changes through extreme political turmoil and rapid modernisation. The series entitled Assembly Halls is a poignant example of these transitions and depicts various empty halls renovated or still in degradation that were annexed for official political meetings during the Cultural Revolution. Their eerie images of the interior of buildings now in ruins portray the effects of the transformation of China from an agrarian society to the rapidly modernised, urbanised and consumerist environment it is today. who create photographs referencing the different facets and functions of memory. Shao Yinong and Mu Chen are a husband and wife artist duo based in Beijing.
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