In Aldershot, a town in Hampshire, England, there is an old 1930s Art Deco theatre called the Empire. Since its renovation several years ago, it operates mainly as a Nepalese community centre. On the top floor there is a restaurant and a temple; downstairs is a function room, where groups of Nepalese men meet up every so often to play xbox, table tennis and traditional Asian games like carrom.
Aldershot is home to the largest Nepali community in the UK and, because of its close proximity to an army base, Gurkha families make up a large proportion of the population. The Gurkhas are Nepalese soldiers who were recruited into the British Army following the Anglo-Nepalese war in the early 19th century. Over 200,000 Gurkhas fought for Britain in both world wars, but they were unable to settle in the UK until 2004. Since then, after a campaign famously championed by the actress Joanna Lumley, the population of Nepalis in the UK has increased from 6,000 to an estimated 100-150,000.
British-Nepali photographer Nina Manandhar’s most recent project, Gurkha Sons, questions the challenges and benefits of coming from a Gurkha family in the UK. The group she photographed calls themselves the k-BOYZ – the “k” standing for Kaprukka, the Nepali word for “frozen stiff” as that’s how they feel when they go out on their motorbikes in cold British weather. Manandhar asks how living in the UK informs their sense of identity, and most importantly, where home now lies for them
The first event of its kind in Nigeria, LagosPhoto Festival is back for its 9th edition this autumn. Themed Time Has Gone, the main show includes work by 22 artists from around the world who engage with the idea of time in various ways, from issues of archiving to nostalgia to an Afro-based future. Artists featured in the main programme include: Ola Olatunde, who’s from Nigeria; Mary Evans (Nigeria/UK); Alfredo Jaar (Chile); and Emmanuelle Andrianjafy (Madagascar); LagosPhoto has been curated by Eva Barois De Caevel, Wunika Mukan, Charlotte Langhorst, and Valentine Umansky.
In addition other spaces across Lagos will host 41 other exhibitions during LagosPhoto Festival – with the respected Market Photo Workshop, for example, hosting an exhibition of work by emerging image-makers Dahlia Maubane, Sydelle Willow Smith and Tshepiso Mazibuko. The main festival is based in The Federal Printing Press Building on Lagos Island, Lago, and in outdoor exhibitions in spaces such as Ikorodu Park and Freedom Park, while the satellite exhibitions and events will take place in institutions such as the African Artists’ Foundation, Omenka Gallery, and Gallery 16/16.
Fashion photographer Sølve Sundsbø was awarded an Emmy in 2011 for his direction of a series of short films, shot for the website of the The New York Times Magazine. The series, 14 Actors Acting commissioned by Kathy Ryan, was acclaimed as a “new approach”, but the Norwegian photographer claims he simply “dabbles” in film.
“I’m not proficient or even adequate yet,” he says. “But film is a way of rejuvenating the work I’ve already done. It’s like a little vitamin boost.”
Sundsbø’s photography career has been meteoric. Four months into a course at the London College of Printing, he attracted the attention of Nick Knight, and became his assistant for the next four years. Now he’s a regular in Italian Vogue, Visionaire and W magazine. His commercial clients include Chanel, Hermès, Nike and Yves Saint Laurent and, outside the fashion world, Royksopp, Friendly Fires and Coldplay have all chosen his work for their album covers.
Diversity has never been hotter in the fashion industry. This year, more non-white, plus-sized, and transgender models have walked the runway than ever before, and a record number of black women have appeared on the covers of glossies worldwide. Alessia Glaviano, senior picture editor at Vogue Italia and director of the Photo Vogue Festival thinks we owe it to the internet. “I believe that nothing would have happened, or not this fast, in terms of inclusivity, if it wasn’t for social media,” she says. “It’s a progressive platform for talking about race, identity, sexuality, and disability.”
But diversity isn’t just a trend, it’s a reality. Years before #diversity began to take off, forward-thinking publications such as Vogue Italia were already poking holes in the industry’s representation problem, with initiatives such as the July 2008 “all black” issue. Vogue Italia is known for being adventurous, for setting a standard for cutting-edge fashion photography. Over the years has given artistic freedom to commissioned photographers such as Steve Meisel, Ellen von Unwerth and Miles Aldridge, who have shot stories unlikely to be seen elsewhere, engaging with themes such as plastic surgery and domestic violence.
“It’s been in our DNA since the beginning,” says Glaviano. “We’ve always been really engaged and committed to this part of fashion that can be very strong and influential.
“I’ve never believed in boundaries and labelling things,” she adds. “No one cares that Michelangelo was commissioned to create the Sistine Chapel. What they care about is the final result.”
Arresting. Exquisite. Gripping. Chilling. Disgraceful. Unacceptable. These are all words people have used to describe portraits made by Jono Rotman. Created over the last decade, his project Mongrelism presents an intimate look at members of the Mongrel Mob – New Zealand’s largest, most notorious gang. Though he is looking at a subculture as an outsider – a domain regularly mined by photojournalists – Rotman eschews a traditional documentarian approach to his subject matter. In so doing, the project’s scope extends beyond the Mob itself to touch upon issues related to New Zealand’s charged colonial past and self-professed biculturalism, the politics and ethics of portraiture, and the intersections of seemingly disparate human experience.
The New Zealand-born photographer explains that since childhood, “I always felt certain violent and uneasy forces within my country”. In Lockups (1999-2005), Rotman photographed the interiors of prisons and psychiatric hospitals throughout New Zealand, exploring the medium’s ability to convey the fraught “psychic climate” embedded in these state-controlled institutions. The works are eerily devoid of people, a deliberate decision made, says Rotman, “because I wanted to encourage a direct, personal interaction with the spaces. With prisons, for example, as soon as you introduce people into the picture, it becomes easy to think, ‘Here’s the storyline: this place is for those sorts of people. And I can fit it all into my established worldview’.”
Before becoming a photographer, Sean Hillen was a tinkerer. As a young teenager, one of his favourite pastimes was to take apart his grandfather’s old cameras and then piece them back together again. It wasn’t long before he discovered that with a bit of tweaking he could fix a brand new 120 roll of film into an outmoded 620 camera. “I did that, I got them developed, and I was immediately addicted to photography”.
Hillen grew up through the Troubles in Newry, Northern Ireland, close to the border with the Republic of Ireland. “It was utter chaos,” he says. “I knew people who got killed, and I knew people who killed other people”. Hillen and his four siblings would lie awake in bed at night listening to gun battles, which were so frequent that they were able to distinguish between the sounds of different weapons.
The creation of a dummy is an integral process for any photographer with aims on publishing their own photobook. It is a visual mockup for a proposed project, created before being sent to the publishers. Organised by La Fábrica in collaboration with Photo London, the Book Dummy Award selects a entry that is renowned for its quality, uniqueness and international scope, the winners of the award will then have their dummy physically realised. The competition encourages photographers from anywhere in the world to submit a physical copy of their dummy, under the rule that no digital copies may be entered. One winner from 20 finalist dummies will then be selected by an international jury. The winner’s work will be published with a print run of at least 1000 copies, and distributed worldwide. Photographers submit entries from all over the world, as in 2017 there were participants from 45 countries and every continent. The winner of the 2017 edition was Iranian-born, Swiss photographer Arunà Canevascini. Nominated as one of British Journal of Photography’s Ones to Watch …
Founded in 2015 by Chinese photographer RongRong (who also also founded China’s first photography museum, Three Shadows Photography Art Centre) with Sam Stourdzé, director of Rencontres d’Arles, the Jimei x Arles International Photo Festival is the biggest of its kind in China. It returns this November with 30 exhibitions by over 70 artists, including shows brought over from Arles and exhibitions devoted to emerging Chinese image-makers.
The Jimei x Arles Discovery Award nominees features work by ten new Chinese photographers, for example – with one image-maker selected from the show to win 200,000 RMB plus a place in Arles’ prestigious Discovery Awards. This year the nominees are: Coca Dai (1976), Hu Wei (1989), Lei Lei (1985), Pixy Liao (1979), Lau Wai (1982), Shao Ruilu (1993), Shen Wei (1977), Su Jiehao (1988), Wong Wingsang (1990), and Yang Wenbin (1996)
In 1997, a document titled A Study of Assassination was released by the CIA as part of the Freedom of Information Act. It is believed to have been created in 1953 with the purpose of instructing agents on how to kill, and was released with a collection of files relating to the 1954 CIA-backed overthrow of the-then newly-elected leader of Guatemala, Colonel Jacobo Arbenz Guzman. The operation in Guatemala was lobbied for by United Fruit Company, an American corporation that traded in tropical fruit, mainly bananas, and which wielded huge power in Central America at the time.
When he found out about these documents, George Selley was instantly captivated, and his new project, A Study of Assassination, combines pages from the manual with archival press images, banana advertisements and Cold War propaganda. BJP caught up with the recent London College of Communication MA graduate to find out more about this project and his approach to images.
Brussels-based photographer Rebecca Fertinel has won the Unseen Dummy Award with her book Ubuntu. The book was shot in a Congolese community in Belgium, which Fertinel first visited in August 2015, when she was invited to a wedding by a friend. Whilst there she was introduced to a warm and friendly society, and the concept of “ubuntu” – the idea that “you become a human being by connecting with everything and everyone”.
The judges were particularly impressed with the editing of Fertinel’s book proposal which, they say, “transforms documentary photography into an unexpected narrative flow of community events”. The images move from one party to another party to a funeral, for example, the latter creating “a kind of breaking point” in the middle of the book, creating “a kind of dance where you don’t know what comes after”, and thereby summing up something about life.