“Tu sais qu’est-ce que c’est le rayon vert?” Marie Rivière’s listless character Delphine asks, her legs swinging, in Éric Rohmer’s 1986 film Le Rayon Vert [The Green Ray]. The film – a portrait of its main character’s halting search for summer romance – was based on Jules Verne’s 1882 novel of the same name. While in theory its title refers to an optical phenomenon – in which the appearance of the sun as it rises or falls beyond the horizon creates a brief flash of green, and with it a supposed moment of mental clarity for all those who see it – in reality its subject matter is far more elusive. “I related the ‘rayon vert’ phenomenon to the process of photography – this special and quick moment that happens rarely,” Swiss photographer Senta Simond explains, referring to her project of the same name. Her series, which will be published by Kominek and shown at London’s Webber Gallery soon, adds a new, compelling layer to the meteorological event/Jules Verne/ Éric Rohmer mix of references. Indeed, Simond, a former student of ECAL, University of Art and Design Lausanne, from which she graduated last summer, first encountered the concept via the 1986 film.
Photography on a Postcard is offering the chance to own a signed, one-off print by a world-renowned photographer for just £55 at Photo London. The twist is that the photographer will remain anonymous until after the sale. Buyers can choose from 350 postcard-sized prints, and the photographers involved include Bruce Gilden, Mark Power, Dougie Wallace, and Laura Pannack, as well as 35 hand-selected emerging image-makers. Buyers will be able to choose their postcard-sized print in person, but priority will be given to those who pre-register online. All money raised will go to the Hepatitis C Trust and its campaign to eliminate the virus from the UK by 2025.
Poulomi Basu’s Centralia is no easy read. The situation it unravels − a protracted fight for land and resources in central India − is not only complex, but also largely unheard of, especially in mainstream Western media. And Basu, reflecting on contemporary documentary practices, refuses to simplify it into a readily digestible format. Instead, she wishes to reflect the bewildering atmosphere that reigns in the region. “The adage ‘The first victim of any conflict is the truth’, is particularly apt here,” she says. “The conflict, with its many actors all occupying opaque roles, has created a space with its own internal logic and landscape.” Thus, she hopes to take the audience “on a journey to a place where truth and lies, reality and fiction have become blurred”.
“In Centralia, Poulomi Basu continues to focus her gaze on the interrelation between violence, state power, and gender,” says Monica Allende, member of the jury for the PHM grant. “By intertwining multilayered fictional narratives she aims to challenge the viewer’s perception of reality, as well as established neocolonialist histories. “In an era of post-truth and fake news, where we battle for control of “official” narratives, Basu’s work forces us to reflect on our own prejudices and educated preconceptions. Despite addressing such complex issues, the work is both illuminating and engaging – a testament to her innate ability as a documentarian. The result is a beautifully executed story which is thoroughly deserving of the winning grant.”
BJP has joined forces with 10 cultural institutions across Europe to promote emerging photography talent under the umbrella of a new photography network, named Futures. Initiated by Unseen Amsterdam and the fair’s owner, Vandejong Creative Agency, the platform launched in spring and continues with a series of shows, events and residencies across the continent, culminating in a large-scale exhibition at Unseen in September. The partners include museums and galleries in Hungary, Belgium and Italy, alongside photofestivals in France, Germany, Poland, Ireland and Romania. Each will present shows and events of their own talent programmes in their own countries, and then elements of these events will come together for the collaborative exhibition in Amsterdam, showcasing 10 emerging photographers from across the continent – a pick from each country. “We realised that we could do more to create opportunities for artists, and that is where we came up with Futures,” explains Menno Liauw, strategy director at Vandejong, which is coordinating activities, having created the platform in the mould of Unseen, the first art fair of its kind, …
She stands on a San Francisco rooftop looking out over the South of Market neighbourhood – the area that was the subject and title of her sumptuous 2013 book, published by MACK Books, which led to her solo show at the city’s prestigious De Young Museum. Thousands have now seen the series, but Janet Delaney shot it in the early 1980s, just as the district was being primed for redevelopment and gentrification. Now middle-aged, as a young woman Delaney was fiercely committed to the idea that photography could and should change the world. Thinking of herself as a “cultural worker”, she hoped her project would advocate for the working class people and businesses who had helped make the area so vibrant, and help stop them from being displaced.
If the inaugural Photo London seemed a little light on contemporary work, there is plenty in the fourth edition to show that the organisers were determined to do something about it. It is evident in the public programme, and it is there to see on the shop-floor too, with the Discovery section devoted to emerging galleries now given over to 25 dealers. Tristan Lund, formerly of Michael Hoppen Contemporary, now an art consultant and dealer in his own right, returns as curator, charged with injecting some cutting-edge elements into the fair, but remaining mindful of his responsibilities to the young galleries he is enticing in.
“My aim is not to make PHOTOGRAPHS, but rather CHARTS and MAPS that might at the same time constitute photographs,” writes photographer and prolific writer on his craft, Luigi Ghirri in his 1973 essay, Fotografie del periodo iniziale. Trained as a surveyor, the iconography of maps and atlases prevail Ghirri’s photography. “But what if you map his work?” asks curator James Lingwood. “He was, in a way, mapping the changing topography of modern life in Europe in the 1970s and also the change in the relationship between people and images.”
Interviewing Nigel Shafran is a circuitous, informal affair. Meeting him at his North London home, I immediately recognise Ruth, his partner and the subject of many of his photographs. I also meet his son Lev, who, though somewhat older, is also still easily discernible from his father’s pictures. The interview takes place in the kitchen familiar from Flowers for ____. Every now and then a friend calls round or phones, with plans made to throw a boomerang around in the park that afternoon, or play ping pong in the evening. Lev occasionally interjects from the living room with his take on the interview process, or on “nattering on about photography” as he puts it. “Sorry. Oh my God!” says Shafran, as the phone rings for the second time. “No worries,” I say. “You’re a busy man.” “A busy family man!” he replies. It doesn’t always make for an easy interview, but it feels appropriate for a photographer who focuses on the everyday, the domestic and the personal.
Alighting at Peckham Rye train station in south London, a short walk across a busy market street takes you to the Bussey Building complex, a former cricket-bat factory that is now home to an assortment of bars, music venues, yoga studios and art spaces, including the Copeland Gallery. This bright exhibition space is once again the main site of Peckham 24 festival of contemporary photography, celebrating its third edition this year and running over the weekend of 18 to 20 May to coincide with Photo London – more than the 24 hours with which it launched and gave it its name. “Last year we were literally pushing people out of the door at midnight,” laugh the co-founders, Vivienne Gamble, whose Seen Fifteen gallery is in a nearby space, and artist Jo Dennis.