Founded in 1997 the Pingyao International Photography Festival is China’s most prestigious photo festival, featuring images from more than 50 countries each year in indoor and outdoor venues across the UNESCO-listed ancient city. This year it includes a huge exhibition called Distinctly, which is curated by Open Eye Gallery’s Tracy Marshall and which will travel to Merseyside in 2019 as one of the main exhibitions of LOOK International Photo Biennial.
Featuring work by 12 documentary photographers – Martin Parr, Chris Killip, Daniel Meadows, John Myers, Markéta Luskačová, Tish Murtha, Ken Grant, Paul Seawright, Niall McDiarmid, Robert Darch, Elaine Constantine, and Kirsty MacKay – the exhibition “takes a unique approach to the depiction of Britain and its distinct landscapes, industries, social and economic changes, cultural traditions, traits and events” over the last six decades says Marshall. “The exhibition looks at the gentle, the humorous, the starkness, the beauty, and the realities experienced and captured by the photographers around their lives living and working in Britain,” she adds.
“It’s hard to know when to stop,” says Gregory Halpern. “I remember putting my camera away on a trip home and being relieved it was out of sight. I never feel that way, so that was clearly a sign. I haven’t kept track, but I shot maybe 700 to 1000 rolls of film.”
He’s talking about ZZYZX, which he’s worked on for five years, partly supported by a Guggenheim fellowship. Shot in Southern California, starting out on the eastern fringes of the state then moving slowly westwards towards Los Angeles and the Pacific, it’s named after an ‘unincorporated community’ in the Mojave desert, and has a similar sense of the outsider. The opening picture shows a gnarled hand, with a callus on the thumb and dirt in the fingernails, outstretched to show seven stars tattooed on the palm. The next shows stark black trees in the desert in the wake of a fire.
Magnum Photos just completed its annual AGM and has announced five new photographers are to join as Nominees – Rafal Milach (Poland), Sim Chi Yin (Singapore), Lua Ribeira (Spain), Gregory Halpern (USA), and Lindokuhle Sobekwa (South Africa).
Under Magnum’s system, photographers first join as Nominees, before graduating to become Associates a couple of years later. After a spell as Associates, they then become full Members – a status which confers life-time membership of the world-famous agency. Magnum has also announced that previous Nominees Sohrab Hura (India) and Lorenzo Meloni (Italy) have become Associates.
Taking place between 17 and 20th May at Somerset House, Photo London has become a popular fixture in London’s cultural calendar. For its fourth edition, the fair will exhibit more than 100 of the world’s leading galleries, along with a series of talks and discussions with photographers and curators. British Journal of Photography will be present across this exciting celebratory weekend as Photo London’s media partners! This year brings a number of new aspects to the fair; the Discovery section has been expanded, increasing the presence of emerging galleries and artists, and the programme of satellite events is bigger than ever. Every corner of London is playing host to some of the world’s most vibrant photographers and institutions. Among these satellite events are Hauser & Wirth’s exhibition devoted to August Sander, featuring 40 rare large-scale photographs, which have come directly from The August Sander Family Collection. Plus, Foam Talent returns to London’s Beaconsfield Gallery with an exhibition of forward-thinking photographers under the age of 35, an exhibition which will then travel to Amsterdam, New York …
Five contemporary Austrian photographers – Stefanie Moshammer, Thomas Albdorf, Hanna Putz, Klaus Pichler and Daniel Gebhart de Koekkoek – present work responding to the place they call home
In July 2016, Diamond Reynolds’ partner was shot dead by a police officer during a traffic-stop in Minnesota. Reynolds used Facebook Live to broadcast the moments after the shooting, creating a video that became widely circulated, amassing over six million views, and which was also played to a jury as evidence in June 2017 – in a court case which saw the officer acquitted of all charges. In November 2016, Thompson invited Reynolds to collaborate on a project that would portray her in a different way to the original, publicly-consumed image. The resulting 35mm film, autoportrait, shows Reynolds apparently deep in thought and seemingly unaware of the camera, and is presented as a large-scale installation without a soundtrack. First exhibited in London’s Chisenhale Gallery in 2017, it’s been picked out of the winner of the £30,000 Deutsche Börse Photography Foundation Prize 2018, over the three other shortlisted artists – Mathieu Asselin, Rafal Milach, and Batia Suter.
Half a century on, the events of May ‘68 still burn in the memories of its provocateurs. Morphing from a frenzy of student protests into a nation-wide revolt, embroiling seven million people at its height, France was dragged out of its post-war complacency that summer and into seven weeks of turbulent action and police brutality. The fire of the rebellion was first sparked on Valentine’s Day, when students of Nanterre University in the Western suburbs of Paris, held a residents’ strike to promote the right to move freely between male and female dorms. The university hesitated over making any change, so on 22 March, 600 frustrated students gathered to occupy an administration building in protest against the old institution’s ageing values.
It’s a prestigious prize, which earns the winner an exhibition at Photo London plus a photobook published by the well-regraded specialist MACK Books. This year it’s gone to Hayahisa Tomiyasu for his book dummy TTP. Shot from the window of his eighth-floor student flat in Leipzig, Germany, TTP shows a park with a ping pong table, shot at various times of day and in various seasons, and showing different protagonists each time. The table is used as a tischtennisplatte (table tennis table, as a sun lounger, as a climbing frame, as a skate obstacle, and as much more, and, states MACK Books “thanks to Tomiyasu’s sustained curiosity, we observe the habits, humour, and idiosyncrasies of human behaviour”.
ALMANAQUE opened in February 2016 in Mexico City, with a dedication to contemporary photography. The gallery exhibits and sells international works from both established and emerging artists, exploring current manifestations on image as an artistic dispositive. Alongside gallery work, ALMANAQUE has begun a Portafolio initiative, offering professional consultations on collecting, curating and art direction for individuals, corporations and institutions. We spoke to director Arturo Delgado ahead of Photo London, to find out more about the artists ALMANAQUE are bringing to the event, and to hear Arturo’s insights on collecting. What excites you the most about exhibiting your artists at Photo London? The opportunity to share our multi-award winning artists with the UK public. We are bringing four artists to the fair; three from Mexico and one from Russia, representing several generations of contemporary imagery. These renowned artists all have an unexpected bond to the UK. Which artists’ work will you be showing at Photo London? Why? We will be showing work by the preeminent Pablo Ortiz Monasterio, one of the most renowned Mexican photographers, whose …
In 1935 Roy E. Stryker, head of the Information division of the Farm Security Administration (FSA), commissioned several photographers – including Walker Evans, Dorothea Lange and Russell Lee – to document America’s farm life and workers. The USA was in the throes of the Great Depression, and the scenes that the image-makers captured, from 1935-1944, created a damning and lasting vision of destitution. Lange’s 1936 portrait of the so-called Migrant Mother became a symbol of the plight of the impoverished itinerant farmers, for example – and, for Stryker, summed up his entire project at the FSA. “She has all the suffering of mankind in her but all of the perseverance too,” he reportedly said. “A restraint and a strange courage. You can see anything you want to in her. She is immortal.” As Stryker’s words suggest, he had a very particular vision of what he wanted to achieve with these photographs. Images that did not fit in with that vision were ruthlessly “killed” – rendered unpublishable by having a hole punched through the negative. Thousands of photographs were defaced in this way, in an act of censorship that has since been described as vandalism.