Only a small percentage of the 400 books that Ben Krewinkel has collected and featured on his website, Africa in the Photobook, are actually African. Many are historical publications, political pamphlets, or children’s books, written, photographed, and published by Europeans – including old colonial texts, which seem to obsess over hairstyles and traditions of scarification. Even the books by contemporary African photographers are mostly published in the West. As a collection that covers more than a century from 1897 to 2018, Africa in the Photobook follows the changing visual representations of the continent through the medium of the photobook – and soon it too will be transformed into a series of photobooks.
Krewinkel, a Dutch photographer, curator, and educator, is working with South African publishers Fourthwall Books on this series, and hopes to publish volume I by the end of 2019. Focusing on Africa under colonialism, it will include a long historical introduction, 40 case studies, and plenty of space to show large spreads from the books. Volume II will sketch a path from the beginnings of decolonisation in the 1950s to the late 1990s, marking the end of Apartheid and also the “re-evaluation of African photography”. Krewinkel then hopes to create a third volume, focusing on contemporary African photo books.
The life expectancy of transgender women in Brazil is just 35 years old. They are subject to extensive daily abuse, and around 90% of them work as prostitutes, having been ostracised by family and friends. The country also has the world’s highest murder rates of transgender women; there have been 113 this year alone. With no social visibility, there is very little being done to counteract the epidemic of abuse. Times are changing, thanks to the women leading the fight for their rights, but there is a long way to go. To understand this fractured, but resilient, community, Camila Falcão spent the last eighteen months photographing them in São Paulo. Falcão’s work seeks to elevate and celebrate her subjects, by presenting them as individuals, and not statistics. Through two projects, Abaixa Que É Tiro and Onika, she has constructed an intimate and timely portrait of the community. Given the environment in which these women exist, the response to the work has defied expectation; Falcão has been invited to give interviews for publications such as Brazilian …
In 1997, a document titled A Study of Assassination was released by the CIA as part of the Freedom of Information Act. It is believed to have been created in 1953 with the purpose of instructing agents on how to kill, and was released with a collection of files relating to the 1954 CIA-backed overthrow of the-then newly-elected leader of Guatemala, Colonel Jacobo Arbenz Guzman. The operation in Guatemala was lobbied for by United Fruit Company, an American corporation that traded in tropical fruit, mainly bananas, and which wielded huge power in Central America at the time.
When he found out about these documents, George Selley was instantly captivated, and his new project, A Study of Assassination, combines pages from the manual with archival press images, banana advertisements and Cold War propaganda. BJP caught up with the recent London College of Communication MA graduate to find out more about this project and his approach to images.
The biggest photo fair in Europe, Paris Photo returns from 08-11 November, with a new section on erotic images, and a walk-through focusing on female photographers.
Curated by Martha Kirszenbaum, curator of the French Pavilion at the 2019 Venice Biennale, the Curiosa sector will bring together intimate images by 13 artists such as Nobuyoshi Araki, JoAnn Callis, and Antoine d’Agata. Kirszenbaum hope to challenge the viewer’s gaze on the fetishised body, and tackle “relations of power, domination, and gender issues”. “There are images not everyone would like to see, which I think is good,” Kirszenbaum told BJP in an article published in our November issue.
Born in Tehran, Iran, in 1988, Hashem Shakeri studied architecture in TAFE (New South Wales Technical and Further Education Commission of Australia), and started his professional photography career in 2010. In 2015 he was Commended in the Ian Parry Scholarship, and in 2017 his images were included in the Rencontres d’Arles exhibition Iran, Year 38, alongside work by photographers such as Abbas Kiarostami and Newsha Tavakolian.
Shakeri’s ongoing series on climate change in Sistan and Balouchestan looks at the effect of drought in the Iranian province, which is located in the southeast of the country, bordering Afghanistan and Pakistan. It has been suffering from drought for the last 18 years, which has created severe famine in a region once famed for its agriculture and forests. “Nowadays, the Sistan region has faced astonishing climate change, which has turned this wide area into an infertile desert empty of people,” writes Shakeri.
Hundreds of people crowd in the city of Ukraine, wearing helmets and holding flags, while a fire breaks out. A person in white-gloves wipes the blood off the face of a young man. Police line up with their bulletproof shields; one stands on the bonnet of a van preparing to fire his rifle. Maxim Dondyuk is a documentary photographer. His 2013-2014 project, Culture of the Confrontation, showcases perspective-shifting images of Euromaidan, the three-month long protests that erupted in Ukraine against the government, characterised as an event of major political symbolism for the European Union.
“We do not need to specifically just focus on changing stereotypes of what being African is through our visual storytelling; I think that’s an additional burden that other artists from other continents are not expected to subscribe to. I do think that through our visual storytelling, whatever theme we choose, and the quality of our work, we already do so much to challenge external perceptions of the African continent,” says Ngadi Smart, one of the image-makers whose work will feature in the exhibition Foreseen: New Narratives from the African Photojournalism Database.
It’s just one of the shows in the forthcoming Nuku Photo Festival Ghana, the first event of its kind in the country. Featuring exhibitions, a conference, a portfolio review, and networking events, Nuku Photo Festival Ghana aims to “create a space for artistic explorations and exchanges”, according to the festival founder Nii Obodai. “For this first edition, we have curated a diverse programme in cooperation with local and international partners that showcases the works of 50 both established and up-and-coming photographers and visual artists.”
“The ethics for me is the backbone of what we do. If we don’t follow strict ethics within our work, I think we are damaging the credibility of the whole of this profession,” says Bénédicte Kurzen, a photographer and member of the prestigious NOOR photography collective since 2012. Now she, and seven other NOOR photographers are putting her words into action, with three masterclasses offered free of charge to budding photojournalists.
Supported by Nikon Europe, the masterclasses are four days long, and each feature three tutors. Kurzen is teaming up with Sanne De Wilde and Francesco Zizola for the masterclass in Turin, held from 12-15 November; Tanya Habjouqa, Sebastian Liste and Kadir van Lohuizen are at the masterclass held in Budapest from 26-29 November; and Tanya Habjouqa, Jon Lowenstein and Léonard Pongo are at the masterclass held in Zürich from 03-06 December.
Bangladeshi photographer and Drik Gallery director Shahidul Alam has reportedly been denied bail by a court in Dhaka.
Various local media outlets, including United News of Bangladesh, The Daily Star, and Bangla Tribune, have all reported that Judge KM Imrul Kayes of Dhaka Metropolitan Session Judge’s Court passed the order on 11 September. Public Prosecutor Mohammad Abu Abdullah moved against the bail petition, while Barrister Sarah Hossain stood for Alam – who filed the bail petition through his lawyers on 28 August, asking for it to be granted as he is ill.
EyeEm is currently the world’s largest photography competition, and this year it welcomed a record 700,000 entries. The submissions came from more than 100,000 photographers, hailing from over 150 countries, who have now been whittled down to 100 finalists. The daunting task of selecting the finalists from this number came down to a panel of industry experts that included Nik Schulte, Image Director of High Snobiety; Jose Cabaco, the Global Creative Concept & Storytelling Director at Adidas; Lucy Pike, Director of Photography at WeTransfer; and Sasha Dudkina, last year’s EyeEm Photographer of the Year, among others. Together, they selected the top 10 images from each of the nine categories, and the 10 shortlisted photographers for Photographer of the Year. Among the diverse categories are ‘The Architect’, ‘The Creative’, and ‘The Traveller’, with shortlisted images ranging from Juan Manuel Molina Avilés’ eerie photograph of a man with his head submerged under a tap in ‘The Creative’ category; Maxym Gorodetskyy’s depiction of far-right protesters baring #freetommy posters, and fighting for the release of ex-EDL leader Tommy Robinson …