“Eastern and Central Europe has a lot of treasure in its photographic histories,” says Kate Bush, speaking about the exhibition she has curated for Calvert 22, Family Values: Polish Photography Now. It’s the first exhibition in the UK to focus exclusively on Polish photography and, says Bush, “hopefully, it will all be part of feeding a greater understanding and interest”. Family Values is part of Calvert 22’s mission to show the cultural and societal change in eastern Europe, the Balkans, Russia and Central Asia through photography, and Bush – who is adjunct curator of photography at Tate Britain – was commissioned by the gallery for the project shortly after the EU referendum. She sees the exhibition as an opportunity to celebrate London’s Polish community, the largest outside of Poland, as well as commemorating the centenary of Poland’s independence.
Europe boasts more than a hundred photography festivals, but few match the scale and ambition of Photo España in Madrid. This year, the organisation behind it, La Fábrica, celebrates the festival’s 20th edition with a typically eclectic summer season of activities throughout the Spanish capital, encompassing the work of more than 500 artists across dozens of venues that range from the small to the iconic. “The festival is a collective project with a wide variety of institutions, both public and private, supporting it,” says director Claude Bussac, who is hoping that the 2018 edition will “push forward both the formal and geographical boundaries of photography… We aim to celebrate our 20th anniversary questioning photographic meaning and inviting photographers from every continent.”
The 18-year-old Hamburg Triennial will be directed for the second time by Polish curator Krzysztof Candrowicz, who moved to Hamburg four years ago and set about transforming the it, bringing people and institutions together, and determined to make it more relevant to the viewing public. The 2015 edition was, he says, “The first holistic attempt to create the collaborative framework of the festival. Before, the museums were basically highlighting their own exhibitions, but there was no actual curatorial collective structure.” The determinedly political and environmentally-conscious theme this year was inspired by an amalgamation of many factors, he says, including spending a year “away from structured, mechanised and commercial reality”, travelling around Latin America, Nepal and India. “Breaking Point became, for me, a metaphor for rapid and sometimes unexpected transformation on a personal and global level.”
Unexploded landmines are responsible for the deaths of 15-20,000 people every year, and currently contaminate 78 countries worldwide. Nagorno Karabakh, a landlocked, mountainous region in South Caucasus, Eastern Europe, has one of the highest per capita incidences of landmine accidents in the world, and a third of the victims are children. Eva Clifford, former online writer at BJP, spent a week with the world’s largest mine clearance organisation, HALO, and their first female demining team in Nagorno Karabakh. Since employing its first female demining team in 2015, HALO now employs 11 women, with more undergoing training this year.
José David Valiente’s graphic flash-lit images render his native Spain in an uncanny light. Drawn to the peculiar and mysterious, his projects steer towards the oddities of everyday human behaviour. From documenting the surreal atmosphere and prized pigs of the Semana Porcina – an annual food-farming fair held in his hometown, Lorca – to capturing the dark energy of the underground punk scene, the 31-year-old’s offbeat vision sheds light on diverse aspects of Spanish society.
Emerging Spanish photographers JD Valiente and Sole Satana headed to Semana Porcina in Lorca, to shoot a project they called Fiambre, “dead body”, on the pork products and pigs that they found there
Work in Process is a new exhibition at The Print Sales Gallery, championing the work of five female contemporary artists who use alternative processes in their photography. According to Gemma Barnett, curator of the show, the initial idea was to look at artists who approach photographs as “three-dimensional objects”. She also wanted to focus on women and their approach to photography, which in turn “gave a much more personal feeling” to the exhibition.
Chrystel Lebas has won the Kraszna-Krausz Foundation Photography Book Award, beating off the two other shortlisted photographers – Stephen Gill and Dayanita Singh. Lebas won the prize for Field Studies: Walking through Landscapes and Archives, which she published with Dutch outfit FW: Books. Field Studies is framed by the work of 20th century botanist Sir Edward James Salisbury, particularly his glass plate negatives from the 1920s, retracing his steps and making new images in the same Scottish landscapes. Gill was shortlisted for Night Procession, which he self-published through his imprint Nobody Books; Singh was shortlisted for her multi-book project Museum Bhavan, which was published by Steidl.
In July 2016, Diamond Reynolds’ partner was shot dead by a police officer during a traffic-stop in Minnesota. Reynolds used Facebook Live to broadcast the moments after the shooting, creating a video that became widely circulated, amassing over six million views, and which was also played to a jury as evidence in June 2017 – in a court case which saw the officer acquitted of all charges. In November 2016, Thompson invited Reynolds to collaborate on a project that would portray her in a different way to the original, publicly-consumed image. The resulting 35mm film, autoportrait, shows Reynolds apparently deep in thought and seemingly unaware of the camera, and is presented as a large-scale installation without a soundtrack. First exhibited in London’s Chisenhale Gallery in 2017, it’s been picked out of the winner of the £30,000 Deutsche Börse Photography Foundation Prize 2018, over the three other shortlisted artists – Mathieu Asselin, Rafal Milach, and Batia Suter.
Half a century on, the events of May ‘68 still burn in the memories of its provocateurs. Morphing from a frenzy of student protests into a nation-wide revolt, embroiling seven million people at its height, France was dragged out of its post-war complacency that summer and into seven weeks of turbulent action and police brutality. The fire of the rebellion was first sparked on Valentine’s Day, when students of Nanterre University in the Western suburbs of Paris, held a residents’ strike to promote the right to move freely between male and female dorms. The university hesitated over making any change, so on 22 March, 600 frustrated students gathered to occupy an administration building in protest against the old institution’s ageing values.