Valuable belongings

The adage "less is more" rings true when describing the design of Yunnan restaurant Southern Barbarian. There is no superfluous decor, silverware adorning wooden tables is meant to be used, and the bar is stocked only with what can be drunk. Nothing is ornate; nothing feels coerced.

The restaurant therefore lends an appropriate canvas to art found on its walls, including photographer Huang Qinjun's photo series, "Belongings." It reflects Huang's decade behind the lens capturing families posing with all their material possessions, offering a glimpse of life from rural China's heartland.

Southern Barbarian follows Yunnan native and owner Feng Jianwen's restaurant of the same name in Shanghai, which also features art.

There is a subtle statement made at this shared space: one by photographer and one by the restaurateur, both pioneering men with a similar sentiment: You could be satisfied with what you see in front of you, but there's more than meets the eye.

Feng explained that Chinese restaurants are often at extremes, either small and dingy or overly outlandish. He aims for a "middle ground" kind of establishment, executed successfully in the discreet quality of the restaurant.

"I wanted to make it comfortable and put art on the wall. It's mutually beneficial, helping the artist and creating ambiance in the restaurant," he said.

Feng found Huang online and felt moved by his series of photographs.

"It doesn't just capture a beautiful landscape; it captures something real, not just superficially beautiful. It's an authentic portrait of people's belongings," said Feng.

Feng was drawn by the entire concept and not an individual photo, which is why 12 prints of the 40-strong collection hang throughout the space.

But visitors are mistaken if they think Feng's home is a similar shrine to Huang's handiwork. "My home is filled with my kids' toys," he laughed. "Personally, I don't have a lot of stuff. Belongings represent what you have, but also what you are thinking. Belongings can't exclusively be material."　

Both men agreed on their most important belonging: family.

Huang, 41, confessed he met challenges during the project that limited the scope of representation he had hoped for.　

"There were many people who I couldn't photograph," he said, referring to wealthier people.

Huang's subjects, from lower income brackets, appreciated the monetary compensation he offered for their portrait. "Taking a photograph is quick, but preparation is a lengthy process," lamented the native of Daqing, Heilongjiang Province.

Towards the end of his interview, Huang interjected and asked: Is his art written about a lot in Western media?

"I realize people have written about this as I've done interviews, but I don't pay much attention," he said.

Huang seemed pleased when he heard of his popularity on the Internet, reflecting both a distance from the material world and interest in discussion of it, emblematic of his art.

"Their living circumstances may comparatively be simpler, but many of the people I photographed feel fortunate. Fortune has little to do with material possessions," Huang said.

Material needs have changed today, he said. Not everyone understands the subtlety of the art. Criticism that his photographs are derivative or voyeuristic could surface, but such pictures may not be easily replicated in the future as China continues its social and economic transformation.

Feng and Huang predict a problematic housing market in coming years, coupled with a generation of only children assuming greater responsibilities - both of which could change the value people attach to their "belongings."

When: Conclusion TBA

Where: Southern Barbarian, 107 Baochao Hutong, Dongcheng district

Admission: Free for customers

Contact: 6401-3318