Hundreds of people crowd in the city of Ukraine, wearing helmets and holding flags, while a fire breaks out. A person in white-gloves wipes the blood off the face of a young man. Police line up with their bulletproof shields; one stands on the bonnet of a van preparing to fire his rifle. Maxim Dondyuk is a documentary photographer. His 2013-2014 project, Culture of the Confrontation, showcases perspective-shifting images of Euromaidan, the three-month long protests that erupted in Ukraine against the government, characterised as an event of major political symbolism for the European Union.
Has anything improved since Linda Nochlin’s 1971 essay Why Have There Been No Great Women Artists? The fact that women make up just 15.5% of the artists’ files on Wikipedia suggests not. According to L’Observatoire de l’Egalite, only 30% of the artists exhibited in galleries are women, even though more than 60% of art students in France are women.
Even so, there is some cause for optimism – as French photographer Vincent Ferrané points out. “Of the top 500 contemporary artists in 2017 [in France], only 14% of women,” he says. “But 30% of those were born after 1980.”
Photographer Shahidul Alam has been imprisoned by Dhaka Metropolitan Magistrate’s Court for spreading “false and harmful information” against the government after remaining in police custody for seven days.
He was placed before authorities around 3pm on Sunday 12 August, and charged under section 57 of the Information and Communications Technology Act, Moshiur Rahman, deputy commissioner of police, told the Bangladeshi title The Daily Star. His lawyer and his family members were not informed about the court hearing.
In a letter submitted by investigating officer Mr Arman Ali, the 63-year-old was accused of giving “false and harmful information through Al-Jazeera, various electronic media, and his Facebook timeline, which led to deterioration of the law and order situation in the country, and created fear and terror in the minds of the public”.
Photography is generally accepted as a medium representing reality or the idea of that revealing what you see before you, onto a two-dimensional plane. Multiple Planes, an exhibition organised by Thai New Wave Photography, uses its platform to construct works, in terms of its materials, processes and notions, that relate to photography through atypical dimensions. “It’s a place where you can expect to see inventive works,” says curator Mary Pansanga.
As the apps we use become a bigger part of our daily routines, the line between our digital and real lives is increasingly blurred. “But there’s a tension point where privacy comes in which makes everything even more complicated,” says VICE editor in chief Ellis Jones. How much of ourselves do we share publicly and how do we decide which pieces to share? Which labels do we use to describe ourselves? And how do we avoid others imposing labels onto us? These are a few of the questions posed in “The Privacy and Perception Issue”, VICE’s annual photography magazine.
“Most people would walk by a dump pile and assume that there’s no picture there,” says global industrial landscape photographer Edward Burtynsky. “But there’s always a picture, you just have to go in there and find it.” Born in Canada in 1955, Burtynsky has been investigating human-altered landscapes in his artistic practice for over 35 years, capturing the sweeping views of nature altered by industry; from stone, to minerals, oil, transportation, and silicon. “Of course, it’s important to me to make sure that my pictures are attractive to the eye,” he says. “But beneath the surface there’s always a bigger, deeper environmental issue.”
Under the back garden of an unremarkable family home in Las Vegas is an extraordinary 16,000sq ft, all-pink, bomb-proof bunker. Inside are decadent bedrooms decorated with crystal chandeliers and baby pink wallpaper, and a bathrooms with a hot-pink toilet, white marble hot tub, and opulent golden fittings. Surrounding the house is a hand-painted mural of the countryside, and an underground garden with a swimming pool and fake trees growing out of a carpet that stands in for grass.
“It’s basically a house within a house,” explains Juno Calypso, who spent three days of solitude in the bunker, for her project What To Do With A Million Years. Designed to be safe from any disaster or intruder, the bunker was built in 1964 by Avon cosmetics founder Gerry Henderson and his wife, who were terrified of a potential nuclear breakout in the advent of the cold war.
Calypso is currently showing the series at London’s TJ Boulting gallery, and has transformed the basement space into a version of the garden, complete with fake plants, eerie mood lighting, and a soundtrack of soft romantic rock that plays against the continuous sound of running water from a stone fountain in the corner.
The winners of the International Photography Award 2018 are Copenhagen-based collective Sara, Peter & Tobias, who have won with their series The Merge, an in-depth exploration into artificial intelligence and robotics, which aims to explore and visually interpret the possibility that we are living inside a simulation. Having shared a studio but worked separately for several years, Sara, Peter and Tobias came together to start a collaborative creative studio in 2013. “Coming together gave us room to experiment,” Sara explains. “We each wanted to move away from the conventional shape and form of documentary or editorial photography. Then we realised that if we wanted to do things differently, and wanted something different to happen, we needed to do everything differently, so we came together as a collective.” Since forming their collective, Sara, Peter and Tobias have made a name for themselves with their first project and photobook, Phenomena. This debut project was an anthropological study of UFOs and extraterrestrials, and was exhibited at Rencontres d’Arles and nominated for Prix de la Photo Figaro. It introduced …
Peter, Sara and Tobias met while attending the Fatamorgana School of Photography in Denmark, where they now share a studio. They made a name for themselves with their first project and photobook, Phenomena, in 2015. This debut project, an anthropological study of UFOs and extraterrestrials, was exhibited in 2016 at Rencontres d’Arles and nominated for Prix de la Photo Figaro. Since their initial collaboration, the collective has developed a conceptual and subjective approach akin to documentary, which considers issues founded on theories and first-person accounts, rather than fact. How did you come together as a collective? Sara: We’ve all shared an office together for the last six years, and we came together to start our first series, Phenomena, three years ago. We all struggled doing our own personal work alongside our businesses, so collaborating was a way of shaking up our professional lives. Coming together gave us room to experiment. It’s about finding the space and projects that let us do things the way we want to, instead of being governed by other people’s interests …
The series draws on contemporary documentary practices to reflect the bewildering atmosphere of the region, using pictures of foreboding landscapes and festivities alongside images of locals uncovering crime scenes. Basu hopes the project will shed light on real narratives from the east, and force western viewers to see India without their cultural preconceptions. Basu has become known for documenting women’s experiences in isolated communities and conflict zones. In 2017, her series A Ritual of Exile was shortlisted for the Tim Hetherington Trust Visionary Award, and also earned her the Magnum Emergency Fund grant in 2016. Last year, Centralia was shortlisted for the Mack First Book Award. Can you tell me about your IPA shortlisted series Centralia? Centralia is the tale of a fractured landscape in extremis. It’s about the shifting planes of reality: an India of the mind, a place both hyper real and metaphorical; familiar yet alien. Centralia is a passage deep into the forests of central India where a little known and under reported conflict between a Maoist guerrilla army and the …