Nadia Shira Cohen has won the $10,000 Women Photograph + Getty Images grant for her work on the abortion ban in El Salvador – and the five grants of $5000 awarded by Women Photograph with Nikon have gone to Tasneem Alsultan, Anna Boyiazis, Jess T. Dugan, Ana Maria Arevalo Gosen, and Etinosa Yvonne Osayimwen.
Nadia Shira Cohen’s series Yo No Di a Luz documents the effect that the complete ban on abortion in El Salvador has had on women – particularly on those forced to give birth to children conceived as a result of rape. “Doctors and nurses are trained to spy on women’s uteruses in public hospitals, reporting any suspicious alteration to the authorities and provoking criminal charges which can lead to between six months to seven years in prison,” writes Shira Cohen. “It is the poorer class of women who suffer the most as doctors in private hospitals are not required to report.
Paulien Oltheten has won the Arles New Discovery Award with her series La Défense, le regard qui s’essaye. Rencontres d’Arles will now buy €15,000 of her work, and add it to the festival collection.
La Défense, le regard qui s’essaye encompasses a video essay, a photo series, and a collection of objects, and was shot mainly in the La Défense financial district in Paris. Recording people going about their everyday lives, the series creates imaginary links between them, adding a fictional element to a documentary project, and a layer of poetry to the otherwise unremarkable. Born in 1982 in Nijmegen, Netherlands, Oltheten studied at the Rijksakademie in Amsterdam, and is now based in Amsterdam and Paris.
Oltheten was selected from the ten photographers who made it into the Arles New Discovery Award exhibition this year – Sinzo Aanza, Monica Alcazar-Duarte, Christto & Andrew, Anne Golas, Chandan Gomes, Thomas Hauser, Anton Roland Laub, Ali Mobasser, Feng Li, Aurore Valade, and Wiktoria Wojciechowska.
Born in The Netherlands in 1964, Paul Kooiker is known for creating unsettling, uncomfortable work. Focusing on themes of watching, voyeurism, and distance, his exhibition at FOMU, Untitled (nude), draws the viewer into a seemingly obsessive world, which shows on everything from nudes to eggs with the same sense of queasy intensity. “Kooiker raises questions,” reads the FOMU press material, “but rarely answers them, so it’s over to you.”
The exhibition is Kooiker’s first major museum show outside The Netherlands, and he’s created a new series specially for it titled Eggs and Rarities. When studying at art school (Koninklijke Academie van Beeldende Kunsten, Den Haag from 1982-1986, then the Rijksakademie van Beeldende Kunsten, Amsterdam from 1990-1992), Kooiker made a photographic ‘encyclopaedia of life”; now, 30 years on, he’s attempting a more comprehensive version.
“In many ways Another Europe questions whether Europe is other at all,” says Hamish Park. “While this is not an explicitly political exhibition, I do hope that it will go some way to reminding the audience that we share deep cultural roots which go beyond geographic borders or treaty arrangements, and that what we share is as significant as what makes us distinct.”
Park has just curated an exhibition called Another Europe which goes on show soon around Kings Cross, London, mounted on specially-designed concrete benches. Featuring one photograph from each of the 28 European Union member states, shot by a photographer from the country, it’s been organised by the Australian Cultural Forum London to celebrate both the European Year of Cultural Heritage, and Austria’s presidency of the EU council. It’s also interesting timing for this exhibition in the UK, as the country negotiates Brexit.
Marina Gadonneix has won the 2018 LUMA Rencontres Dummy Book Award and a €25,000 award to publish her project, Phénomènes. Shot in various laboratories, Phénomènes considers the paradox at the heart of these places – microcosms of larger environments, but microcosms in which nature is strictly measured and controlled.
Born in Paris in 1977 and graduating from the l’École nationale supérieure de la photographie d’Arles in 2002, Gadonneix specialises in creating photographing highly specialised and controlled zones, creating works which “play with the clash of document, simulation and fiction”. Gadonneix won the Prix HSBC pour la photographie in 2006 for a project called Remote Control, a series of empty TV sets.
“When I was younger I was jealous of photographers who had their own very personal subject matter and aesthetic. It’s so important to allow yourself the freedom to be truly creative,” says Dutch artist Viviane Sassen. “Experimentation is central to my practice.”
Sassen’s daring and idiosyncratic approach hangs somewhere between fashion and fine art. At the core of her practice is an understanding of the importance of constant experimentation, thus making her images complex, unexpected and disarming. Her works are often an exchange or interaction between different elements, contributing to the tactility and physical quality of images. Colour, shape, powder and paint are just some of the tools she uses as enhancers.
Running during Les Rencontres d’Arles and with an opening week all of its own, Voies Off is a well-established, free, fringe festival. Featuring exhibitions, evening projections, portfolio reviews, and parties – this year sound-tracked by the Africa Fete Festival – it’s the place to discover and be discovered.
Based in the Cour de l’Archevêché in the centre of Arles but with exhibitions running all over town, Voies Off is sponsored by Leica and is screening the 2018 Leica Oskar Barnack Award finalists every night this week except Wednesday. But it also has a well-defined programme of their own, which this year includes an exhibition titled If Slovenia Were… curated by the respected Slovenian/French photographer Klavdij Sluban and featuring work by 19 contemporary Slovenian photographers.
Three winners and one special mention have been announced for the 2018 Prix du Livre at Rencontres d’Arles – and in all four cases, the books use archival or found photography. The Author Book Award went to Laurence Aëgerter’s Photographic Treatment, which is published by Dewi Lewis; the Historical book award went to The Pigeon Photographer, a collection of images by Julius Neubronner published by Rorhof; and – controversially – the Photo-text Book Award went to Adam Broomberg and Oliver Chanarin’s War Primer 2, which was first published by MACK in 2011 but reissued in paperback this year. A special mention went to Giorgio Di Noto’s The Iceberg in the Author Book Award, which is published by Édition Patrick Frey.
Every year, Cortona On The Move has a focus, and this time it reflects the festival’s mission more directly than before by placing the spotlight on female photographers. “My selection is never a list of ‘favourites’, but rather involves an attempt to listen to what is happening around me, globally, both on a political, social and economic level, as well as in the field of photography itself,” says Rinaldo.
“These past months, women and women’s issues have been at the forefront of discussion in various fields, often in the news and even more on the street – protesting, resisting, demanding. My small contribution to this ‘movement’ is to acknowledge the numerous women photographers who tread the world to tell stories; to give them space and make them protagonists.”
Photobooks have been booming for the last ten years or so but one prize has been there for the last 49 years – Les Prix du Livre at Arles, which was set up at the same time as the Rencontres d’Arles festival. With its long history and prestigious jury, which is this year overseen by FOAM director Marloes Krijnen, the Prix du Livre are some of the best-respected in photography.
Three Prix are up for grabs in three categories this year – the Historical Book Award, the Author Book Award, and the Photo-text Book Award, each of which come with a €6000 prize to be shared between the photographers and their publishers. The books are on show at Arles until 23 September, and the winners will be announced in the opening week.