Now in its third year, the Sicilian photo festival is tackling big issues under a theme of “Communication in uncertainty and chaos”. The idea is telling of its locale: a crucial crossing point in the Mediterranean and an entry gateway to Europe, Sicily has been at the centre of the migrant crisis as people cross the sea in search of peace and a better life. The photographs in this series cover ideas of identity, politics, war, nationality, feminism and more.
If you type “Paul Outerbridge” into a Google image search it doesn’t take long before work by other photographers turns up – images by contemporaries, such as Edward Weston, but also by successive generations of photographers who’ve been inspired by his work. The feminist Jo Ann Callis explicitly referenced Outerbridge’s nudes in her 1970s work, for example; in contemporary photography, the new wave of still life photography championed by image-makers such as Bobby Doherty and Grant Cornett references his work, especially his lurid use of colour. Outerbridge’s striking photography comes in and out of fashion, as it did in his own lifetime, but, nearly 100 years on, somehow still retains a contemporary edge.
“Most people I meet are not satiated or fulfilled and desire more. Desire to be heard. Desire to be seen. Desire to connect and matter,” says Phyllis B. Dooney, the American photographer behind the photoseries Gravity is Stronger Here. The project, which started as an exploration of the American South, centres on a Greenville family trying to negotiate life in middle America. Their needs and wants are the same as those across the country: to be heard, to be seen, to be accepted.
The September issue brings the otherwise invisible into sharp focus. Invisible World explores forgotten conflicts, intimate retreats, abused landscapes and remote islands to uncover the hidden realities and unknown societies behind ordinary backdrops. “As social beings, we all demand to be seen,” says Hoda Afshar, whose latest series, Behold, takes us to an exclusive male-only bathhouse. Her point resonates with all the photoseries explored in this issue: how do we negotiate our surroundings, how do we see our societies, how do we interpret our world? We need to first see the invisible to answer these ever salient questions.
For over four decades, the documentary photography course has forged a reputation as one of the UK’s leading photography teaching destinations. In fact, the very first photography class can be dated back even further to 1912, when it was introduced by the head of the school of art at Newport Technical Institute. The course, however, was set up in 1973 by Magnum photographer David Hurn as a 12-month Training Opportunities Scheme to ‘re-skill’ miners and steelworkers.
Founded in 2006 by photographer and curator Olga Korsunova, art-manager and photography critic Nadya Sheremetova, and art historian Elena Zyrianova, FotoDepartment is a gallery, bookshop, library and education hub in St. Petersburg, Russia. Aiming to promote and develop contemporary Russian photography at home and abroad, FotoDepartment runs many events, exhibitions and workshops, and represents internationally-recognised artists such as Kirill Savchenkov, Irina Yulieva, and Jana Romanova. FotoDepartment is also currently running several digital projects. Now it’s started a publishing project called Amplitude, creating photobooks of emerging Russian photographers’ work which can be read individually, or gathered together into groups. Amplitude No.1 includes photobooks by Alexey Bogolepov, Margo Ovcharenko, Irina Zadorozhnaia, Anastasia Tsayder, Igor Samolet, Yury Gudkov, Olya Ivanova, Irina Ivannikova, Anastasia Tailakova, and Irina Yulieva. BJP caught up with Nadya Sheremetova to find out more
The director of Seen Fifteen Gallery on her five favourite at Arles this year – from the official programme, the Luma Rencontres Dummy Book Award, and the LUMA Foundation Parc des Ateliers
For his latest project, Andreas Mühe has opened a dialogue between the centuries. For alongside the photographs of austere politicians and dramatic cliffs in Pathos as Distance, he has interwoven excerpts from a novel, 1913 – The Year before the Storm by Florian Illies. In doing so, he hopes to give readers a sense of perspective about our own, increasingly fractious era. “1913 reminded me a little bit of our here and now,” says Mühe. “This unburdened and rather easy-going lifestyle right before World War One breaks out – [the start of the war] completely surprising, but very predictable at the same time.
No matter how hard you try, sometimes Arles can be just like Glastonbury (sans mud) – lots of things going on and you get sidetracked, and don’t get to see the one thing you wanted to. However I did manage to get round a diverse group of exhibits this year, one of my favourites actually being the Alice Neel painting show at the Fondation Van Gogh. Here is my round-up of what I saw of note this edition. The House of the Ballenesque, Roger Ballen This was very talked about in Arles – an old ramshackle house that Ballen has taken over, to express somewhat of what goes on in his mind and informs his photography. Like a giant walk-in sketchbook, it’s part fun-house and part mental asylum, with lots of creepy figures and dolls heads stuck on mismatching bodies. It’s worth seeing because it’s a bit different, though it doesn’t quite feel like the main event – it’s more of a fun sideshow to his practice, but interesting nonetheless. Try to go on a …
“Breaking onto a dance floor with a large format camera and a portable photography studio, as in my case, paralyses everything that happens,” says Jesús Madriñán, a Spanish photographer whose nightlife photos document the 21st century youth in different communities across the world. He is looking for an unique authenticity from his participants: “For me that’s really interesting: it gives them the opportunity to express themselves in front of the camera and in front of the eyes of the others.”