All posts filed under: Exhibitions

A photographer documented the building of London’s 100km Crossrail Project

As Londoners go about their daily business above ground, unbeknownst to many of them, construction workers below are busy excavating, navigating and building a network of tunnels for the much-anticipated Crossrail. “You pop out of a hole in the middle of Oxford Street and no one knows where you’ve come from,” marvels John Zammit, one of the photographers charged with documenting its progress. “It’s a completely different world down there.” Transport for London subsidiary Crossrail has spent £14.8bn building that world, which will add a capacity of 10 percent to London’s railway network when it opens in 2018, and will be the most extensive addition to the city’s public transport system since World War II. Spanning east to west from Shenfield and Abbey Wood through central London and out to Heathrow and Reading, the subterranean course measures 100km, and Zammit has followed the entire route – carrying an 80lb camera bag, kitted out in safety gear from head to toe – hard hat, protective glasses, industrial boots, and toting an MSA self-rescue breathing unit and …


Sukhi, Jambur, 2005

On Belonging: Portraits of an ancient Indian community of African descent

“At the entrance of the village, there were four boys playing carrom. As I approached they looked at me with such hostility, almost resentment; I was a complete outsider.” Ketaki Sheth’s first encounter with the Sidi, an Indian community of African descent, was the kind of serendipitous occurrence that sparks photographers to action. Driving through the Gir Forest National Park while on holiday with her family, she caught glimpse of a village enveloped deep within the forest. Her curiosity piqued, she spent the next six years learning about its inhabitants. Her exhibition, On Belonging, is currently on display at the National Portrait Gallery in London. Even for a country that Muhammed Ali Jinnah termed a “subcontinent of nationalities”, the Sidi defy categorisation.


Pontus, 2012 © Délio Jasse

London exhibition showcases a new generation of conceptual photographers from across Africa

“Photography in Africa is controversial,” says Eva Langret, curator of The View From Here, an exhibition showcasing photography from Africa and its diaspora at Tiwani Contemporary, displayed until the 27 June. The camera, the exhibition posits, has been misused. Photographs have been misrepresented. It has objectified the African experience, and its relationships to past colonies. But, in recent years, the camera has also become a tool of empowerment. The seven African artists exhibiting are aware of this contradiction. They have given up on using photography as a documentation tool and instead adopted personal and subjective approaches that speak, perhaps more accurately, of wider issues. They seek to make sense of their personal narratives through collective history, between memories, the present and the self, in relation to our sense of place and belonging, of how photography can relate to, and comment on, other popular media and practices. The work of Mimi Cherono Ng’ok greets us with shots of a strangely unanimated Dakar, the capital of Senegal. Before arriving in Senegal, she started to become familiar with the …


What to see at Belfast Photo Festival

It sounds downright bonkers, but somehow it works. This year, Belfast Photo Festival director Michael Weir oversaw the creation of a to-scale replica of the famous DeLorean car from Back to the Future, crafted from wood and covered with A5 photographs printed onto brushed sheet metal panels. The sculpture, which was inspired by the work of Cyril Hatt but made by carpenter Jonathan Hickey and Robert Anderson, with photographs by Fergus Jordan, forms the centrepiece of the festival, and is on display outside Belfast City Hall. The reason for its creation is to mark the 35th anniversary of the DeLorean motor car, which was manufactured in Belfast, and because 2015 is the year the characters visited in Back to the Future Part II. It is also a fitting way to celebrate this year’s festival theme – photography and convergence – in this case showing how photography can produce interesting results when coupled with sculpture. Three editions in, Belfast Photo is starting to gather momentum. With guests this year including photographers Lorenzo Vitturi and Alec Soth, …


© Olivia Rose

Olivia Rose’s Boy London

“This is one of my good friends Dapper,” Olivia Rose points out, as we pore over the many strikingly wistful close-ups that fill her portfolio. “He was arrested for carrying a corkscrew, for which he was going to open a bottle of wine. He went to prison for that! Oh, and this is Terry. Look at his double grill. His son’s name is Terry, and his dad’s name is Terry; he’s such a sweetheart, you know. He likes dancing to Haim.” Rose is not one to shy away from the complex realities that exist within her work. The male-orientated portraits feature not the faces of your typical pin-up, agency model, but real lads and men, fresh off the street. Her repertoire of male muses originate from all walks of life; drug dealers, gang members, young London lads off of the local council estate – you name it. They have all been captured by Rose’s lens. She is leading a new wave of photographic talent who, frustrated with the fashion industry’s stagnant stereotypes, are breathing life …


Love and Lead – how paparazzi dealt truth and fiction in terror-stricken Rome

It was early on the morning of 16 March 1978. Italy’s former Prime Minister, was sitting in the back of a blue Fiat, his driver inching through the labyrinthine streets of rush-hour Rome. Moro was heading to the Italian Parliament, where he was due to chair a vote for a new government that might, for the first time, make the Italian Communist Party a party of government – the first step in what he had called “the historic compromise” between Parliamentary Social Democracy and Euro-Communism. Oreste Leonardi, a high-ranking carabiniere and his chief bodyguard, sat beside him; following his Fiat was a white Alfetta manned by three armed security agents. Driving down Via Fani – a tight road in a shady part of town – Moro’s car was hit by another Fiat, which came screeching in from a side road. A second vehicle arrived from behind, hemming Moro’s convoy in. A hail of bullets tore through the air as four uniformed men emerged from the bushes, semi-automatic weapons held to their shoulders. Leonardi was killed …


Happy museum visitor gets a shock from static generator, 2011. Silver gelatin print (unknown photographer) presented in a handmade sandstone frame enamelled blue. From the series Les Belles Images © Thomas Mailaender.

Thomas Mailaender’s weird and wonderful world

“Thomas Mailaender’s forum and sphere of operations is less the art world than the rowdier public domain where events can easily run out of control,” writes Ian Jeffrey, the respected photography critic. That rowdy sense of anarchy and fun is clearly on show in the French artist’s current exhibition at Roman Road, which is punningly titled Solo Chaud. With liberal use of sheets of white plastic, Mailaender has literally transformed the gallery into a white cube, and populated it with artwork culled from various recent projects – a print on plasterboard, showing a man grabbing and photographing a bird, is taken from his Cyanotypes series; humorous press prints ‘framed’ in roughly-shaped, brightly-coloured clay come from his Les Belles Images collection; large, roughly cut boards showing amateur snaps of everything from hapless plastic surgery fans to questionable bikini lines are relics from the Chicken Museum installation he created at Rencontres d’Arles in 2011. Behind the gallery, in owner Marisa Bellani’s home, more work is on display – lumpen vases, a more traditional large-scale print, and what look like family …


Photo-collage with Two Segments at Richard Neutra's Silver Lake house in Los Angeles 1939 © Barbara Hepworth, The Hepworth Photograph Collection

Barbara Hepworth’s never seen before photographs go on display in London

This June, Hepworth: Sculpture for a Modern World – the first major retrospective of the work of British sculptor Barbara Hepworth, as well as her never-before-seen photographs, will open at the Tate Britain. The set of photographs reveal the importance of photography to Hepworth, and how she used it to shape public opinion of her work. As Sophie Bowness, Hepworth’s granddaughter and co-curator of the Tate show explains: “Hepworth had a life-long appreciation of the importance of photography in the recording and reception of her work.” The Hungarian Constructivist artist Laszlo Moholy-Nagy is thought to have taught Hepworth how to use her first camera – a Zeiss Ikon in 1933. The two became friends when Moholy-Nagy moved to London to escape Nazism, and his modernist ideas influenced her greatly. It was after a meeting with the artist on his first trip to London that Hepworth produced her first Self-Photogram (1932 – 33), two self-portraits depicting her fuzzy profile surrounded by a halo of hair. A photogram is an image made by placing objects directly onto photosensitive paper and exposing them …


Pre -  The Entropy Pendulum archive image © Clare Strand

Five minutes with…Clare Strand

From photographs inspired by crime scenes to pseudo-scientific experiments, Clare Strand has always marched to the beat of her own drum – and her latest exhibition, Getting Better and Worse at the Same Time, is no exception. Featuring The Happenstance Generator (a machine that blows around images from her research projects) and The Entropy Pendulum (a moving arm that swings backwards and forwards over one of her prints), it’s a quirky, animated take on photography and kinesis that, like her previous projects, is somehow held together by Strand’s idiosyncratic, retro-futuristic aesthetic. BJP took five minutes with the artist to find out more. BJP: Is the work in this exhibition all new, apart from The Happenstance Generator? Clare Strand: It’s all pretty much new – there are few pieces that have been shown but never in the context of a cohesive show. BJP: Did you make it all for the show? Or have you just had a particularly fruitful time of it recently? CS: Yes, most the works have been made for this show. I like working …


© Thomas Hoepker

What to see at Norway’s Nordic Light Festival of Photography 2015

The Nordic Light Festival of Photography, spaced across galleries in the small island-city of Kristiansund, on the northern reaches of the Norwegian coastland, is now in its tenth year. Not especially well-known in international photography circles, it’s one of the most picturesque, dedicated, surprising celebrations of photography in Europe. For a festival with only a handful of full-time staff, and made possible only by the army of local volunteers, its testament to the passion of the festival that 18 established international photographers will exhibit in Kristiansund. It’s tenth year is celebrated through the reappearance of three photographers who exhibited in previous festivals, such as Giorgia Fiorio. The international photographers present range from James Nachtwey, an American war photojournalist; to Thomas Hoepker, a German documentary photographer; to Per Maning, a Norwegian fine art photographer; to Pieter Ten Hoopen, a Dutch photojournalist and filmmaker (see photographs above). The festival uses its scale to its advantage, helping local photography people mixing with world-class photographers in the local bars and restaurants. Set in the local cinema in the centre of town, Nordic Lights’ …


BJP Staff