Nadya Sheremetova and Yury Gudkov from the St Petersburg-based photography gallery, publishing house, and creative hub pick out their top five of 2017 – including the second edition of FotoDepartament’s Presence festival
Christian Boltanski’s After in Amsterdam’s Oude Kerk This recently-opened exhibition in the Oude Kerk in Amsterdam is a real must-see. It’s a radical and site-specific exhibition by Christian Boltanski, who is known as one of the greatest artists in the world, with a ouevre that deals with the way we remember and commemorate. In the Oude Kerk, with its eight centuries of history and 2,200 memorial stones, his work is very much at home. The artist is creating a site-specific composition consisting of seven different works that address the existential question of what happens after our life has come to an end. Considering Boltanski made a bet on his own life, a bet which expired this year, this work is very much autobiographical. After is an exhibition that is expected to have a profound impact on the audience. The installations, which are in proportion to the size of the centuries-old church, are invasive and they address the visitor even in a literal sense. Over 50 black tombs, varying in size and height, arise from the …
The Washington Post picture editor picks out his top five of 2017 – including Peter DiCampo and Austin Merrill’s Everyday Africa photobook
The founder of Firecracker and Global Business Development Manager of Magnum Photos picks out her top five of 2017 – including Megan Doherty’s Instagram feed
The photographer, director of the International Festival of Photography at Valparaiso, Chile, and editor of the South American photo magazine Sueño de la Razón picks his top five of 2017 – including Andres Figueroa’s photobook Bailarines del desierto
Vogue Italia’s picture editor picks out Monica Alcazar Duarte’s The New Colonists as one of her top five of 2017 – and throws in one more selection for luck
The Guardian’s photo critic picks out his top five of the year, including Sohrab Hura’s installation The Lost Head & The Bird at The Nines, London during Peckham 24
Tate Modern’s curator of photography picks out his top five of the year, including Maisie Cousins’ grass, peonie, bum show from TJ Boulting Gallery
The Walther Collection has kicked off an 18-month exploration of vernacular photography with a show titled The Shadow Archive: An Investigation into Vernacular Portrait Photography. Taken from the 1850s to the present day, the collected portraits depict groups such as ‘migrant laborers’, ‘inmates of an asylum’, ‘criminal photographs’, and ‘G&G Precision Works Photographic Identity Badges’, and, says the organisers, show how “identification photographs have been used to sort, shape, segregate, and select subjects based on occupation, social group, body type, or political affiliation”. The title references a phrase used by writer and photographer Allan Sekula to reference “the entire social field of human representations, comprising both heroes and deviants, within which every portrait takes its place as part of a moral hierarchy”.
The London Art Fair is back, with its Photography Focus Day on 19 January and the Photo50 group show curated by a collective the first time – the Hemera Collective curatorial group, which currently includes Jaime Marie Davis, Ashley Lumb, Helen Trompeteler and Kay Watson. The Hemera Collective has put together a show called Resolution is not the point. which gathers photography and lens-based media artists from nine countries, including Larry Achiampong, David Birkin, Qiana Mestrich, and James Tylor & Laura Wills. The exhibition also includes work by several collectives, one of its points of enquiry is the way in which photography is encouraging artists to collaborate as it evolves, “as they push conceptual and technical boundaries of image-making, reaching beyond their own specialisms and drawing on the circulation of images, knowledge, and resources”.