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.
Tackling excessive consumption and its parlous effect on the environment and on mental health, Excessocenus uses brightly-coloured, staged images rather than the gritty photojournalism more familiar in this field. “On one hand we wanted to point out the culture of excess that is driving the planet to a total collapse, but on the other hand we also wanted to make a point about how this dramatic situation is normally presented to the audience,” says its creators, Cristina de Middel and Bruno Morais
The opening image in his latest book, Sacrifice Your Body, typifies Roe Ethridgeʼs approach. At first sight, itʼs just an ordinary product shot of a Chanel No 5 bottle and its packaging, but closer inspection reveals chipped paint, stray drops of perfume and an intruding wasp. Rippling the surface of a glossy ad with droll other-world elements, itʼs the kind of image thatʼs made him a star in contemporary art, fashion and advertising. Like Juergen Teller, he shoots both commercial and editorial (for the likes of Kenzo, Self Service, Acne Paper and W) alongside his own artwork, and has been shortlisted for the Deutsche Börse Photography Prize (in 2011, alongside Elad Lassry, who heʼs often cited with as evidence of a new trend for dry conceptualism). The Deutsche Börse organisers described his work as follows: “Blurring the boundaries of the commercial with the editorial, and the mundane with the highbrow, Ethridge’s conceptual approach to photography is a playful attack on the traditions and conventions of the medium itself.”
Questions of truth and fiction, doubt and certainty, and the relationship between the observer and the observed are the key themes of the £30,000 prize – which rewards a living photographer, of any nationality, for a body of work felt to have significantly contributed to photography