“Hosting OpenWalls is an exciting opportunity to create an outstanding curated exhibition in an unusual setting,” says Julia de Bierre, who is opening up the walls of her internationally renowned gallery, Galerie Huit Arles, to exhibit 50 shortlisted images for a month in July 2019. Launching to coincide with the 50th edition of Les Rencontres d’Arles, the world’s first and foremost photographic festival, OpenWalls is an awards initiative that gives emerging and established photographers the chance to exhibit in reputable locations around the world. For our first exhibition we are inviting work responding to the theme ‘Home & Away’, with the aim being to capture a sense of belonging, escapism, or identity. “I hope that the response to the theme will reflect all the qualities, and possibly contradictions, of British Journal of Photography’s readership,” says Julia. Which are? “Talented, informed, curious, conventional, cutting-edge, international or home-grown, and numerous!” We couldn’t have said it better ourselves. Galerie Huit Arles is located in the centre of Arles. Once used as a remarkable 17th century mansion, its classical …
It was while working as an art director that rising talent Justine Tjallinks decided she wanted to make her own images. Born in a small village in the east of the Netherlands, the 32-year-old moved to the Dutch capital to study at the Amsterdam Fashion Institute before immersing herself in the commercial world, working on several leading fashion publications.
Out of a 1200km-stretch of grassland in northern Kazakhstan, glistening skyscrapers shoot up into the landscape. Among the impressive buildings rising out of the otherwise sparse terrain are two identical golden towers, a fantastical presidential palace, and a looming centrepiece that blossoms into a large golden sphere. It packs quite a visual punch, but what’s most impressive is that it’s all been built in just 15 years.
Astana became the capital of Kazakhstan in 1997, and has since developed into one of the most modern cities in Central Asia. It’s futuristic buildings are designed by world-famous architects such as Norman Foster and Zaha Hadid, their work paid for via the country’s recently-discovered oil reserves.
“Most of my initial photography projects have grown by asking myself questions about my heritage, culture and where I come from,” says Kovi Konowiecki, who’s currently based between his native California and Mexico City. Brought up in a Jewish home in Long Beach, the 25-year- old former footballer has intimately captured his hometown and its surrounding areas, as well as travelling further afield, to document the wider Jewish diaspora. The nebulous concept of home – what it means and what it is like to voyage beyond it – is a recurring theme in his work. From exploring contemporary notions of Orthodox Judaism in England, the US and Israel, to the racial and cultural discrimination faced by Ethiopian Jews in Israel, Konowiecki’s drive to better understand aspects of his own identity has brought him into contact with a broad range of distinct cultures and communities. Over the past three years, he began to trace similarities between the people he was photographing, who all tended to occupy a liminal space between belonging and isolation. His latest project, …
Yassine Alaoui Ismaili (Morocco), Paul Botes (South Africa), Anna Boyiazis (USA), Tommaso Fiscaletti & Nic Grobler (South Africa), and Phumzile Khanyile (South Africa) are the five winners of the seventh CAP Prize. Open to photographers of any age or background, the CAP Prize is awarded to work that engages with the African continent or its diaspora.
Born in 1984 in Khouribga, Morocco, Yassine Alaoui Ismaili – aka Yoriyas – lives in Casablanca and has been awarded his prize for the series Casablanca Not the Movie (2014–2018). “It is both a love letter to the city I call home and an effort to nuance the visual record for those whose exposure to Morocco’s famous city is limited to guide book snapshots, film depictions or Orientalist fantasies,” he says.
“It asks, inevitably, questions about who we are. Who we are in Britain, or who we are in the world. It asks questions about legacy, my own life, and cycles; the very folding of time,” says Vanessa Winship of her latest project, the ongoing series And Time Folds. “It’s difficult to say exactly what it is about because I don’t really know what it will end up being,” she adds.
Winship was the first woman to win the prestigious Henri Cartier-Bresson Award back in 2011, and she now has a major solo show opening at London’s Barbican Art Gallery on 22 June, also titled And Time Folds. It features over 150 photographs including previously unseen projects and archival material; it also includes her newest series, a mixture of “completely different, random formats” and found objects, inspired by her granddaughter and “how she frames herself in the world in relation to seeing, hearing and touching”.
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.
In June, we brought you the latest edition of Ones To Watch, our annual talent issue, spotlighting emerging photographers from around the globe. By way of follow-up, our July edition features the work of three former Ones To Watch who have come good on their promise. No path has been the same. Ricardo Cases, who was included in our first talent issue in 2011, quickly came to international acclaim with his book, Paloma al aire, and its follow-up, El porqué de las naranjas, published by Mack. Yet he chose to move away from the Spanish capital and quietly focus on his work, settling in a rural enclave on the outskirts of Valencia, recording his offbeat take on Spain’s east coast region. The results can be seen in a retrospective of his projects over the last eight years, An Elemental study of the Levante, showing at Madrid’s spectacular Sala Canal Isabel II (a water tower converted into a gallery space) during Photo España. Max Pinckers, who appeared in Ones To Watch in 2013, one year after …
For the past five years, Ulla Deventer has been working on a project about women and prostitution in Europe – specifically in Brussels, Athens and Paris – but also, more recently, in Ghana. Several of the women she met in the project’s early days were from West Africa, and Deventer developed close friendships with some of her subjects, who inspired her to travel to their home countries to experience first-hand what life is like for women living there.
In May 2017, Deventer, who was born in Henstedt-Ulzburg in north Germany and is now based in Hamburg, spent six weeks in Accra, the capital of Ghana, where she focused her attention on the living conditions of the city’s youth, particularly its female sex workers. She recently returned to the country to continue to work on Butterflies Are a Sign of a Good Thing – an extension of her original project.
In Chongqing, the largest city in southwest China, city officials have been planting trees for over a decade, aiming to create a “forest city”. But after investigating the origins of these trees, photographer Yan Wang Preston uncovered a troubling process. “The whole concept of trying to be green is being abused,” she says.
By way of example, she tells the story of Frank – a 300 year-old tree that’s a central character in her new book, Forest. When Preston first encountered Frank in 2013, he was being forcefully removed from a small village that was soon to be flooded by one of the Yangtze River dams. Frank was sold to the owners of a five-star hotel in a nearby county for 250,000 RMB, approximately £30,000. When asked whether the tree would survive, one of the guards replied with pride, reassuring Preston that they were all experts at transplanting trees.
But when she returned in 2017, Frank had been dead for over two years – and so had the tree that had followed it. “The older the trees are, they more likely they will die, because it’s hard for them to adapt to a new environment,” says Preston. “I’m interested in the complicity of this whole thing. For the tree, it’s very sad to be relocated. But then, the ultimate motivation is to be closer to nature”.