Greg Girard

Under Vancouver 1972-1982 is a collection of photographs of Girard's hometown, Vancouver (and published as a book of the same title),[4] a series that began while he was still in high school. In this early work the city's origins as a west coast Canadian port at the end of the rail line are still much in evidence. Soon after this work was made, Vancouver began to be noticed by the wider world (after Expo 86), and the city began refashioning itself as an urban resort close to nature, also attracting attention as a destination for real estate investment. The photographs in Under Vancouver 1972–1982 reveal an early interest in the hidden and the overlooked, the use of color transparency film at night, and the extended photographic inquiry of a specific place, all of which became signature features of later books such as City of Darkness and City of Darkness Revisited (about the Kowloon Walled City), Phantom Shanghai and Hanoi Calling.[12][13]

Photographed between 1986 and 1992, Girard's Kowloon Walled City photographs form the basis for the books City of Darkness: Life in Kowloon Walled City and City of Darkness Revisited, a record of the final years of the infamous Kowloon Walled City in Hong Kong: a largely self-governing enclave of more than 35,000 people living in 300 interconnected high-rise buildings, constructed without architectural, engineering or health and safety oversight.[14] While it stood (until 1992) Kowloon Walled City was the most densely populated place on Earth. Girard’s photographs, along with co-author Ian Lambot’s, provide the most thorough record of what life was like for Walled City residents, and have served as a visual reference for film production designers (e.g. Batman Begins directed by Christopher Nolan),[15] writers (e.g. The Bridge Trilogy by William Gibson),[16] video game designers (e.g. Call of Duty: Black Ops) and others in creating an imagined dystopian urban environment.[17]

Photographed between 2000 and 2006, Phantom Shanghai defines a key historic moment as China’s largest city was racing to make up for "lost time" (following China’s isolation after Mao Zedong’s victory in 1949 and the tumult of the Cultural Revolution, 1966-1976). The destruction of architecturally and historically significant buildings and neighborhoods is a significant feature of this series by Girard.[18] Phantom Shanghai is featured in Martin Parr and WasinkLundgren’s The Chinese Photobook.[19]

Photographed by Girard in 2009 and 2010, Hanoi Calling was published in 2010 to commemorate the millennium anniversary of the founding of the Vietnamese capital. Looking at the often ignored and overlooked features of the everyday city, Hanoi Calling is a record of the public and private spaces that form the foreground and background to daily life as the millennium anniversary approached.[20][21]

In the Near Distance, published in 2010, looks at Girard’s early work between 1972 and 1986, in his home town Vancouver and on travels to the US, Japan, and other parts of Asia. The early use of colour transparency film and long exposures at night, which became a signature feature of his later work, especially in Phantom Shanghai, are first in evidence here.[22][23]

Japan’s southernmost prefecture, Okinawa, hosts a concentration of US military bases unlike anywhere outside the continental United States. More than half the 50,000 US troops stationed in Japan are based here. On the main island of Okinawa nearly 20% of the land is occupied by these bases. This large US military footprint, and the legacy of Okinawa’s history as a US-administered territory until 1972, means that the social and physical landscape of Okinawa is shaped by this relationship with the US military like few other places. In Hotel Okinawa (2017), Girard looks at this unique world "on base" and off, separate and yet conjoined, the result of decades of living in close proximity with the US military. Additionally, archival photographs, periodicals and other artefacts, some dating back to the US occupation, appear throughout the book, registering historical strands that are part of the complex fabric of Okinawa today.[3]

• Phantom Shanghai, Monte Clark Gallery, Vancouver/Toronto, Canada, 2008. With a foreword by William Gibson.[24]
• Half the Surface of the World, Monte Clark Gallery, Vancouver/Toronto, Canada, 2010[24]
• Hanoi Calling, Monte Clark Gallery, Vancouver/Toronto, Canada, 2011[24]
• A Better Tomorrow, Monte Clark Gallery, Vancouver, Canada, 2013[25]
• Selects, Monte Clark Gallery, Vancouver, Canada, 2015[26]
• Under Vancouver 1972-1982, Monte Clark Gallery, Vancouver, Canada, April 22 – May 27, 2017[27][12][28][29][13]

• Cities on the Move, Hayward Gallery, London, 1999[30]
• Cities of the 21st Century, Bauhaus Dessau, Germany, 2000
• Unfinished Business, Presentation House Gallery, North Vancouver, Canada, 2004[31]
• Shanghai Kaleidoscope, Royal Ontario Museum, Toronto, Canada, 2008[32]
• People Meet in Architecture, Hong Kong Pavilion, Venice Biennale of Architecture, Italy, 2010[33]
• Towards a Social Landscape, Lianzhou Photography Festival, China, 2011[34]
• The Near and the Elsewhere, PM House, London, 2012[35]
• Perspectives, International Center of Photography, New York, 2012[36]
• One Percent: Privilege in Time of Global Inequality, Pingyao Photography Festival, Pingyao, China, 2015[37]
• Pictures From Here, Vancouver Art Gallery, Vancouver, Canada; May 18 – September 4, 2017[38][39]

• Phantom Shanghai. Toronto: Magenta, 2007. ISBN 978-0973973914.[40]
• In the Near Distance. Berlin: Kominek, 2010.[41]
• Hanoi Calling. Toronto: Magenta, 2010. ISBN 978-1926856018.
• Hotel Okinawa. The Velvet Cell, 2017. ISBN 978-1-908889-41-6. Edition of 500 copies.[3]
• Under Vancouver 1972-1982. Toronto: Magenta, 2017. ISBN 978-1-926856-10-0.[4]
• HK:PM Hong Kong Night Life 1974-1989. Asia One Books, 2017. ISBN 978-9887712176.[2]
• Tokyo-Yokosuka 1976-1983. Magenta, 2019. ISBN 978-1926856148.[42]

• City of Darkness. With Ian Lambot. London: Watermark, 1993.
• City of Darkness Revisited. With Ian Lambot. London: Watermark, 2014. ISBN 978-1873200889.[5]