“Tu sais qu’est-ce que c’est le rayon vert?” Marie Rivière’s listless character Delphine asks, her legs swinging, in Éric Rohmer’s 1986 film Le Rayon Vert [The Green Ray]. The film – a portrait of its main character’s halting search for summer romance – was based on Jules Verne’s 1882 novel of the same name. While in theory its title refers to an optical phenomenon – in which the appearance of the sun as it rises or falls beyond the horizon creates a brief flash of green, and with it a supposed moment of mental clarity for all those who see it – in reality its subject matter is far more elusive. “I related the ‘rayon vert’ phenomenon to the process of photography – this special and quick moment that happens rarely,” Swiss photographer Senta Simond explains, referring to her project of the same name. Her series, which will be published by Kominek and shown at London’s Webber Gallery soon, adds a new, compelling layer to the meteorological event/Jules Verne/ Éric Rohmer mix of references. Indeed, Simond, a former student of ECAL, University of Art and Design Lausanne, from which she graduated last summer, first encountered the concept via the 1986 film.
On 13 February, Çağdaş Erdoğan will stand trial in Istanbul accused of membership and support of the Kurdistan Workers’ Party (PKK), a separatist group classified as a terrorist organisation by the Turkish government. Erdoğan is of Kurdish descent, grew up in the region and, as an adult, embedded with affiliates of the PKK during the complex, multifactional conflict that has crossed the borders of Syria, Iraq and Turkey. But he did so, he claims, purely as a photojournalist intent on documenting an unseen conflict for the world’s media and without any alliance with or allegiance to any organisation. His only allegiance was to photography.
Arunà Canevascini was nominated by Erik Kessels for the richness of her projects, which merge femininity, domesticity and migration. In Villa Argentina, Canevascini examines these themes through elaborately-designed images in which the domestic settings she photographs are disrupted by intrusions from both the history of art and her own family past.
After graduating in 2012 with a BA in photography from University of the West of England, Bristol, Max Ferguson became quickly disillusioned by the lack of viable career paths or platforms that would publish his or his friends’ work.. Growing frustration quickly turned into inspiration, however, and with that came the idea to create a platform from scratch in the form of Splash and Grab.
“The magazines I really liked or wanted to work for were either shutting down or not in a position to reply to emails, let alone give me a job,” he explains. “So I just decided to start something myself. Lots of magazines start in those DIY circumstances I suppose, with some hot headed graduate who thinks everything will be really easy but ends up finding it really difficult.”
Born in 1983, Emmanuelle Andrianjafy grew up in Madagascar and worked as an engineer in France before moving to Dakar in 2011. Relocation to Senegal proved quite a shock. “It’s very energetic, very hectic, very loud,” she told BJP for the June Ones to Watch issue. “It’s very different to where I’ve lived before. It’s by the sea but it’s not peaceful; the landscape is harsh and dry. I was tempted to not deal with it and just stay at home.”
“This exhibition doesn’t have any of the clichés people might expect Irish photography to have,” says Vivienne Gamble. “I want it to give a viewpoint of the country that a lot of people wouldn’t necessarily expect.”
The director of Peckham’s Seen Fifteen Gallery is talking about Triptych, an exhibition showing in Paris from 09-12 November in association with Centre Culturel Irlandais. The exhibition, which will be held across the three levels of the Espace Lhomond gallery just across the street from the CCI, features work by three of Ireland’s most promising photographers: Ciarán Óg Arnold, Megan Doherty and Martin Seeds, each of whom is showing photographs deeply rooted in their homeland.
“MY FRIENDS!” writes Çağdaş Erdoğan from the Silivri Prison, Istanbul on 21 September, in a handwritten letter translated by a curator contact and circulated by his publisher Akina Books. “I salute all of you with my heart. Regardless of the illogical times we have been having, I hope you are well. Don’t worry about me. I’m doing well despite the physical and psychological negativities I experienced since the last two weeks.” Erdoğan was taken into custody at the start of September and officially arrested on 13 September, when he was put into pretrial arrest on accusations of membership to a terrorist organisation. In his letter, Erdoğan discusses the reason he was initially apprehended, and discusses some of the reasons he has been given for the terrorism charges.
Turkish photographer Çağdaş Erdoğan has been arrested in Istanbul according to his agency 140journos. The photographer, who was featured in the British Journal of Photography’s Ones to Watch list earlier this year, is thought to have been arrested whilst taking photographs in Istanbul’s central Kadikoy district
The celebrated young fashion photographer opens a solo show in Huis Marseilles on 09 September, but was a BJP One to Watch back in January 2014. “On the one hand, he is quite at home documenting passers-by in the grade II-listed Preston Bus Station, the future of which hangs in the balance, or photographing a British polo contest at Cowdray Park, as he did for Man About Town,” wrote Gemma Padley. “On the other, he has shot campaigns for designers Céline and Marc Jacobs, and has been featured in magazines such as i-D and Paris Vogue. In light of this impressive CV, Hawkesworth’s ability to turn his hand to whatever comes his way seems to know no bounds.”
For Lisa van Casand, photography provides carte blanche to investigate places and people she would otherwise not have access. Her projects often revolve around waarheidsvinding, a peculiarly Dutch term best – if imprecisely – translated as ‘truth-finding’, an interest she attributes to her upbringing. “I grew up with people around me that had quite a variety of strong beliefs,” says the 26-year-old from Eindhoven. “Which is not necessarily a bad thing in itself but it did confuse me at a young age – how people could believe so strongly in opposite things?” Though interested in the idea of photography as evidence and document, it was the fallacy of the tools we use to order reality, and the limitations of seeing, that she often reflects on in her research-led projects. “I am drawn to things that are shrouded in mystery. The bigger the impossibility of reaching the object of investigation, the better,”says the final-year student at the Royal Academy of Art in The Hague. Clarity and knowledge are not the desired outcomes of her research: it’s the …