On 13 and 19 April last year, two migrant boats capsized off the coast of Libya, with the loss of more than a thousand lives. Many of those who drowned were refugees, fleeing civil war, and therefore protected under the 1951 Refugee Convention, but their deaths won little sympathy on the pages of some of the UK’s biggest newspapers. On 17 April, The Sun columnist Katie Hopkins wrote an article comparing migrants to cockroaches or the norovirus, adding that Britain needed gunships, not rescue boats, to send them back. “No, I don’t care,” she wrote. “Show me pictures of coffins, show me bodies floating in water, play violins and show me skinny people looking sad. I still don’t care.” As the so-called migrant crisis continued unabated, so too did the negative press. By July, the Daily Mail, Britain’s most-read newspaper brand and Hopkins’ new employer, was running headlines like “The ‘swarm’ on our streets”, calling for the army to go to the Jungle refugee camp in Calais. A year later, the Daily Express warned of …
The first European and Paris solo exhibition by the Winnipeg based artist Karel Funk, known for his mesmerizing portraits of lone figures, is about to launch in Paris.
As identified by the UN in the 2013 General Comment on Article 31 – the Convention on the Rights of the Child – a child has a universal human right to play. A new exhibition of photographs, as well as a symposium and photobook, by photographer Mark Neville, aims to generate debate around the complex nature of child’s play, and to advocate for improved provision for this universal right.
In conjunction with the 1:54 fair of contemporary African art in London, Somerset House is to stage the first major solo show of the Malian photographer, who died this year after a lifetime spent photographing the lives and culture of the Malian capital, Bamako, in the wake of the country’s independence.
In 1979, there were 250 serious crimes reported in the New York subway system – per week. There were six murders in the first two months alone. No other subway in the world was more crime-ridden and infamous. New Yorker Willy Spiller braved the labyrinth transport system for a photography series that says so much about the modern tone and texture of the world’s most iconic city. In a foreword to a new photobook, published by Sturm & Drang, Dr. Tobia Bezzola writes of Spiller’s achievements.
‘Nahrung’ means food in German and ‘aufnahme’ means picture. When brought together, they form the word ‘nahrungsaufnahme’ which roughly translates as food intake – an apt title for Korean photographer Kyung Nyu Hyun’s latest project.
When Alnis Stakle first took up photography, he was faced with a rigid conception of the medium. In Latvia in the 1990s it was largely considered a commercial craft, he says, with any more artistic ambitions restricted to banal nudes and sunsets. But for Stakle photography is “a kind of religion”, which has the power to change our relationship to the world.
Czech photographer Stanislav Bříza’s self publishing platform BFLMPSVZ publishes a chronicle of a joint road trip through America, and through the dark recesses of a relationship “that goes beyond the confines of the road.”
In the eighteenth century, the Kings of Siam found an ingenious way of excluding a courtier they didn’t like. They would present the offending socialite with a white elephant, a rare and unusual creature, one very difficult to make space for. No-one would dare decline a gift from the King. And so the recipient would be lumbered with something they could not maintain. They would invariably be ruined by the cost of trying to keep the white elephant, and would then be forced to take their leave of the Kings’ circles. Siam is now modern-day Thailand, but the idea of the white elephant has endured, entering our modern parlance. Shadman Shahid, a documentary photographer born and raised in Dhaka, Bangladesh, and a graduate of the city’s revered Pathshala South Asian Media Academy photography course, used the term to describe a remarkable discovery in China; a “ghost-city” called Chenggong, designed for more than a 100,000 people but standing silent, unpopulated, empty but for tiny pockets of life. “I was born and raised in a city where …
Magnum photographer Jonas Bendiksen has created a unique tribute to his homeland’s cultural defining Norwegian Black Metal in his new series, Singing Norwegian Singers.