New York’s Chinatown

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A man looks at job postings on small slips of paper.

New immigrants often flock to one of the twenty unregulated employment agencies in the area. Each paper slip in the area represents a job offer which is usually either in a restaurant, a garment factory, or a construction site.

© Chien-Chi Chang

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Workers in a garment factory.

More than 300 garment factories, often located in hidden lofts and garrets, manufacture clothes for most of the nation's major retailers.

© Chien-Chi Chang

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A man looks at a photograph of his son.

Having not seen his son for more than five years, this immigrant can only watch his kid growing up in photographs, which his family sends him regularly.

© Chien-Chi Chang

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Men playing cards in a small space.

Living in airless cubicles on Bowery in Chinatown, Fujianese spend their lonely evenings playing cards with people from the same village.

© Chien-Chi Chang

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A man eating on a fire escape.

Avoiding blistering summer heat, this newly arrived immigrant eats his supper on the fire escape oblivious to the cars and pedestrians rushing by.

© Chien-Chi Chang

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Two men sleeping on a fire escape.

When the temperature reaches 100F, their squalid tenement, which is subdivided into 32 units, of which only four have windows, turns into an unbearable oven. Subsequently immigrants sleep on fire escapes to avoid heat.

© Chien-Chi Chang

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A person sleeping on a mattress on a roof.

Unemployed and with no one to turn to for help, this immigrant ends up sleeping on the roof of a building for the whole summer.

© Chien-Chi Chang

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A man in a window overlooking the Bowery.

American mainstream society seems out of touch and out of reach to this immigrant who cannot speak English and feels that he is trapped on an island within an island.

© Chien-Chi Chang

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A man on the phone seated at a table with food.

Fujianese manage to save every penny they earned from substandard wages by sharing food with the same villagers so that they can pay off their debts.

© Chien-Chi Chang
Chien-Chi Chang

After graduating from Soochow University in Taiwan with a Bachelor of Arts in English Language and Literature, Chien-Chi Chang continued his studies at Indiana University, completing a Master of Arts in Education. He was staff photographer at the Seattle Times (1991–1993) and later at the Baltimore Sun (1994–1995). He became a Magnum nominee in 1995. Since then he has completed a project on Chinatown for National Geographic. He has also published photographs in the New York Times Magazine, the New Yorker, and GEO. Chang published “The Chain” in Photographers International, which conveyed the stories of life among 700 patients in a Taiwanese asylum. Chang was also the recipient of the W. Eugene Smith Memorial Fund in Humanistic Photography and was awarded the Visa D’Or in magazine photography at the Visa pour l’Image International Festival of Photojournalism in Perpignan, France. He was the Missouri/NPPA 1999 Magazine Photographer of the Year. Chang also won 1999 World Press Photo’s first place award for Daily Life Story. 

Artist Statement

Chien-Chi Chang

When I was growing up in a farming village in central Taiwan, I heard endless stories about New York’s Chinatown. They told of an immigrant community so self-contained that it was virtually a nation unto itself. It was a place where anyone could get rich, if only they worked hard enough.

I took a job in the United States in 1991 and discovered a different reality. Tens of thousands of poor Chinese place themselves in the hands of unscrupulous smugglers who often starve and torture them during the long sea journey to the United States. Once here, the immigrants are delivered into a life of indentured servitude and extortion, and soon discover that it would take years to earn enough to pay off the $50,000 smuggling debt. They work seven days a week in Chinatown’s restaurants and garment factories for extremely low wages, and must face the resentment from the legal immigrants. 

I asked myself what life must be like for these illegal immigrants when even I, an educated man with a U.S. work permit, had experienced that ache of loneliness, the sting of racial prejudice, the alienation of culture shock?

In 1996 I went to live alongside the “invisible immigrants” who left their families behind in China to sleep in shifts on rows of shared bunk beds crammed into roach-infested Bowery tenements. I profiled my bunkmates and next door neighbors, who worked 16 hours each day, then paid for the right to spend the remaining eight sleeping in a bed that would be occupied by someone else as soon as they left for work.

There is no political agenda behind this project. I only hope to illustrate how in this modern, global age, we cannot separate ourselves from the sufferings of those in other countries, no matter how distant, for, all too soon, the consequences spill over onto our shores.

In some ways, the plight of these illegal immigrants echoes my own history. A family of seven, we lived in a small village and shared a single bed. My parents worked in nearby rice paddies. Before I became a teenager we moved to a large city in Taiwan. Our lives were displaced by the move. We lived in a two-room apartment with another family of six. We faced an uncertain future in a city teeming with thousands of others trying to eke out an existence in the hopes of a better life.

Whether the switch is from rural to city or to a land thousands of lonely miles away, the forces that propel the poor to emigrate, despite the uncertain outcome, is a universal story and one I feel compelled to document.

Chien-Chi Chang, October 2000

Moving Walls is an annual documentary photography exhibition produced by the Open Society Foundations Documentary Photography Project. Moving Walls is exhibited at our offices in New York, London, and Washington, D.C., and includes five to seven discrete bodies of work.

Since its inception in 1998, Moving Walls has featured over 175 artists whose works address a variety of social justice and human rights issues that coincide with the Open Society mission.

Are You a Photographer?

The Documentary Photography Project is soliciting proposals for our next exhibition, Watching You, Watching Me: Photography in an Age of Surveillance.

Plan a Visit

The Moving Walls 21 exhibit is open free-of-charge to the public from January 29 through October 3, 2014.