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.
“The works selected here have all run up against a more or less bitter-sweet reality, and their authors have liberally arranged, glued, assembled, masked and cut out the components of that reality in order to present it to us as something different, eminently subjective, and decidedly moving,” writes Raphaëlle Stopin, artistic advisor for the 2018 Prix HSBC. She’s writing of the 12 photographers shortlisted for two top prizes, which this year have gone Antoine Bruy (France, 1986) and Petros Efstathiadis (Greece, 1980). The other shortlisted photographers are: Olivia Gay (France, 1973), with the series Envisagées; Karin Crona (Sweden 1968), De la possibilité d’une image; Elsa Leydier (France, 1988), Platanos con platino; Sandra Mehl (France, 1980), Ilona et Maddelena; Shinji Nagabe (Brazil, 1975), Espinha; Michele Palazzi (Italy 1984), Finisterrae; Walker Pickering (USA, 1980), Esprit de corps; Marie Quéau (France, 1985), Odds and ends; Brea Souders (USA, 1978), Film electric; and Vladimir Vasilev (Bulgaria, 1977), T(h)races.
Six years ago, when John Arsenault first started taking photographs of flowers, they were intended as modern-day love letters to his new boyfriend. Posted on Instagram with the ambiguous title ‘For You!’, the tender images depicted roses the NYC-based, fine-art photographer had picked out for his lover – but the identity of that new beau stayed private at the beginning. Six months later he was ready to reveal the secret recipient – his partner, and now his husband, Raf. Shortly afterwards For You! became a series for everyone, as Arsenault started tagging all the people he was thinking of while photographing the flowers. For You! Was completed in 2017, when he captured the image ‘9:15am, Haverhill, Massachusetts’ at his aunt’s home. “I took the image and knew immediately it was the final image of the series,” he says, adding that he used the same simple facts for the captions of each of his images – the time, the date, and often the location.
Last month BJP focused in on group work; this month we’re looking at a different kind of collaboration – projects in which photographers engage in a two-way dialogue with their subjects. One of the best – and the best-known – examples is Jim Goldberg, who works with subjects such as teenage runaways and migrants to tell wide-sweeping stories of marginalisation and economic disparity. Using an eclectic mix of photographs, archive materials and video, and both marking up himself and invites his subjects to write on, he creates complex montages guided by his sense of “intimacy, trust and intuition”. Incorporating the perspectives of the communities and subcultures he represents, his work is informed by his own background in a blue-collar family in New Haven.
In the UK nobody lives more than 72 miles from the sea, and the seaside is entrenched in our culture because of it. “The coastline is significant to Brits whether we live there, or not,” says Simon Roberts, who lives in the seaside town of Brighton, and who has returned to the coast again and again in his work. Now his images are appearing in an exhibition called The Great British Seaside at the National Maritime Museum this spring, alongside work by David Hurn, Martin Parr and the late Tony Ray-Jones.
“The work represents my experience in recovering and understanding my parents, their life and their relationship towards myself,” says Marco Marzocchi of his series Oyster. “I never knew them well because they split when I was 6 years old, and they both died young.
“Drugs, addictions, jail, and dysfunctional environment, these were constant elements. This work is focused on dealing and replacing all the doubts and the fears that I had. Exorcising the pain and the searching for love.” A bold mix of colour, black-and-white, contemporary and archive images, presented with hand-written text, Marzocchi’s series has scooped first prize in the 2017 Gomma Grant. Marzocchi has worked on the project for a decade, honing down on the editing last year with distinguished photographers JH Engstrom and Margot Wallard at the celebrated Atelier Smedsby workshop.
“It may seem like a provocation, but I am not particularly interested in architecture – at least not in that of great architects and cult buildings,” says Eric Tabuchi. “I’m interested in what humans build, whether for shelter, work, recreation or worship. Basically, what has captivated me for 20 years is the vast domain of anonymous architecture, which is the daily environment of most of the inhabitants of this planet, and which we do not look at it so much. It appears to us without any real quality.”
“We’ve had five great extinctions,” says Edward Burtynsky. “Now our species is having a similar effect – we are the equivalent of a meteor impact.” He’s currently working on a five-year project on the Anthropocene – the proposed name for our current geological age, an age on which human activity has had a profound and still ultimately unknown impact. A multidisciplinary initiative with long-term collaborators Jennifer Baichwal and Nicholas de Pencie, Anthropocene includes images showing urbanisation, urbanisation, industrialisation and mining, from oil bunkering and sawmills in Nigeria to the salt mines of the Ural Mountains. Now a preview of this project, plus other new work by the renown Canadian artist including an AR experience, is going on show at Photo London 2018, which takes place from 17-20 May at Somerset House. The public programme, which is supported by LUMA Foundation, will also include an exhibition called Exit from Paradise: Japanese & Chinese Contemporary Photography, presented by Korean curator Jiyoon Lee, and a photography-themed installation by set designer Es Devlin. The International Center of Photography (ICP) and Photo London will …
“It’s amazing how such a seemingly simple, common and universal concept as ‘home’ actually becomes incredibly complicated and difficult to pin down, once you really start to consider it on a personal level,” says Aaron Schuman, curator of this year’s JaipurPhoto festival in India, which is themed Homeward Bound. After discussing with the festival’s artistic director, Lola MacDougall, he discovered that JaipurPhoto was originally established as an “open-air travel photography festival”, a label he was initially wary of. For him, the term travel photography “generally alludes to a type of imagery that’s often rather simplistic, generic, stereotypical or predictable”, he says – but he liked 2017 edition of the festival, which was guest-curated by Federica Chiocchetti and themed Wanderlust.
At first glance, the suburban district of Southall, West London seems the epitome of harmony. Home to 70,000 people, nearly half of whom were born outside the UK, it boasts Sikh Gurdwaras, Christian churches, Islamic Mosques, and Hindu temples. The dominant population is Asian, earning the area the nickname Little India and bilingual English/Punjabi signage. But for Manny Melotra, who was born in the area and still lives there, that apparent harmony is an illusion. “If you’re a resident, you know a completely different Southall,” he says.