Born in 1982, Alexander Bondar grew up on the outskirts of Moscow and studied photography in the Faculty of Press Photographers at the St Petersburg House of Journalists. From 2010-2013 he took part in several workshops organised by FotoDepartment and ROSFOTO in St Petersburg, and in 2013 he started studying Photography and Time-Based Media at Jan Evangelista Purkyne University, Usti and Labem, in the Czech Republic. Bondar has shot four major photographic series, Unfit (St Petersburg, 2010-13), Pavlov’s Dog (St Petersburg, 2008-2015), No Dream To Dream (Czech Republic, 2013-2017), and Cat’s Eye (Warsaw, 2015-2016), plus another project called So Cliché (2009-2013), which uses deliberately heavy-handed retouching. He recently published Cat’s Eye and So Cliché with Zoopark Publishing Collective, a project which he set up with Tatyana Palyga in 2016. Bondar and Palyga have also published two editions of a magazine called Zoopark together, and have presented their work in Paris at Polycopies in 2016 and 2017. Bondar is represented by the FotoDepartment Gallery.
Luce Lebart has hopped across the Atlantic Ocean to take the helm of the newly-minted Canadian Photography Institute (CPI), which fills the large gap left by the abrupt and permanent closure of the Canadian Museum of Contemporary Photography in 2009, thanks to the support of Scotiabank, the Archive of Modern Conflict and the National Gallery of Canada Foundation
Tormented by a traumatic past and challenged by a difficult present, Sicily is still haunted by the destructive presence of Cosa Nostra. In Terra Nostra, Mimi Mollica shows this problematic entanglement, focusing on the legacy of the Mafia in Sicily. Born and raised in Palermo, Mollica says the series was a labour of love on his homeland, and he tells BJP how he created it, and how he got into photography in the first place.
“This exhibition doesn’t have any of the clichés people might expect Irish photography to have,” says Vivienne Gamble. “I want it to give a viewpoint of the country that a lot of people wouldn’t necessarily expect.”
The director of Peckham’s Seen Fifteen Gallery is talking about Triptych, an exhibition showing in Paris from 09-12 November in association with Centre Culturel Irlandais. The exhibition, which will be held across the three levels of the Espace Lhomond gallery just across the street from the CCI, features work by three of Ireland’s most promising photographers: Ciarán Óg Arnold, Megan Doherty and Martin Seeds, each of whom is showing photographs deeply rooted in their homeland.
Born in Washington DC in 1981, Peter van Agtmael studied history at Yale before moving into documentary photography. Largely focusing on America, his work considers issues such as power, race and class; he also works on the Israel/Palestine conflict and throughout the Middle East. He has won the W.Eugene Smith Grant, the ICP Infinity Award for Young Photographers and many more, and joined Magnum Photos in 2008. His book Disco Night Sept 11, a study of the USA post-9/11, was published in 2014 and named a Book of the Year by titles such as The New York Times Magazine and Time Magazine. His latest photobook Buzzing at the Sill is the sequel.
Born in the Italian South Tyrol in 1967, Marco Pietracupa moved to Milan in the early 1990s, where he studied at the Italian Institute of Photography and swiftly started working in the art and fashion industries. His work has been published by L’Officiel, L’Uomo Vogue, Harper’s Bazaar, Wallpaper and Rolling Stone, and he has also shown at Vice’s Milan Gallery, the Brownstone Foundation in Paris, the Asni Gallery in Addis Ababa, among others. He recently published his first monograph, Shapeshifter, with Yard Press.
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
Foto/Industria Biennial returns to Bologna, with 14 exhibitions centring around the idea of identity and illusion in photographs of work, curated by Francois Hébel and including image-makers such as Thomas Ruff, Josef Koudelka, Lee Friedlander, Joan Fontcuberta, Alexander Rodchenko, Mitch Epstein, Yukichi Watabe, John Myers and Michele Borzoni.
Nicholas Bonner first visited Korea in 1993, and since then has spent “most of my adult life involved in North Korea”. Now based in Beijing, he makes regular trips to the country with his company, Koryo Tours, and has also put together films and other cultural projects with North Korea with his other business, Koryo Studio. Bonner has collected ephemera from North Korea for nearly 25 years and recently published a book showcasing some of it with Phaidon, Made in North Korea: Graphics from Everyday Life. Featuring everything from metro tickets to stamps, postcards to luggage labels, tinned food labels to gift-wrap, it includes a healthy proportion of photographs made and disseminated by the DPRK. BJP caught up with him to find out more.
“Neverland came via my participation in the Wrzesnia Collection, a long-term photography project and ongoing photographic residency which is creating an ever-growing photo archive on the Wrzesnia Town and Commune. Every year, the Mayor of Wrzesnia Town and Commune invites one photographer, selected by the curator, to spend some time in the town creating a personal series of images that illustrates the district and its inhabitants. I had a very open brief, it was completely up to me how to portray the place. It’s an extraordinary little city, but it also seems very boring and calm on the face of it. I had to work like a journalist, cooperating with the local newspaper and researching every local event, initiative, meeting or story that could be interesting. All these events were an opportunity to meet the people, to spend some time with the community,” says Polish photographer Adam Lach