“To look ahead we first need to look back in time,” write Kim Knoppers and Ann-Christin Bertrand, curators of Back to the Future: The 19th Century in the 21st Century – an exhibition that presents contemporary artists whose experimental approach to photography echoes that of the 19th century pioneers of the medium.
Federica Chiocchetti, the writer, curator, lecturer, and founding director of the photo-literary platform Photocaptionist picks out her top five of the year – including Giorgio Di Noto’s The Iceberg, published by Edition Patrick Frey
“On s’engage, on va le faire” – that is, “We’re in, we’ll do it”. The New York-based, French-Venezuelan photographer Mathieu Asselin goes back and forth from Spanish to English to French as he recalls how Sam Stourdzé, the director of the Rencontres d’Arles, enthusiastically agreed to exhibit his five-year long, research-intensive project about the US chemical corporation Monsanto. It happened a week before last year’s festival, and Asselin was then showing the dummy of his photobook, Monsanto®. A Photographic Investigation. This year the project is being shown at the Magasin Électrique at Arles, and the book has been published in French by Actes Sud, and in English by the Dortmund-based Verlag Kettler. Asselin’s project is conceived as a cautionary tale putting the spotlight on the consequences of corporate impunity, both for people and the environment. Designed by fellow countryman Ricardo Báez, a designer, curator and photobook collector who has notably worked with the Venezuelan master Paolo Gasparini, Monsanto® submerges the reader into an exposé of the corporation’s practices, whether by showing contaminated sites and the health and …
Born in 1983 in the United States, Lucas Foglia grew up on a small farm some 30 miles east of New York city. His family grew their own food and lived a life away from the bustle of shopping centres and the surrounding suburbs. “The forest that bordered the farm was my childhood wilderness,” he says. “It was a wild place to play that was ignored by our neighbours, who commuted to Manhattan.” But in 2012 Hurricane Sandy charged through his family’s fields, flooding the farm and blowing down the oldest trees in the woods. “On the news, scientists linked the storm to climate change caused by human activity,” Foglia recalls. “I realised that if humans are changing the weather then there is no place on earth unaltered by people. I looked through my archive and set aside some photographs that became the seeds for my third book.”
“With this exhibition FOAM is trying to form a vision of how contemporary photography is shaped by young photographers,” says Mirjam Kooiman, curator at the FOAM Fotografiemuseum Amsterdam. “These artists have already made really good work, and they have a lot of potential.”
“People consume photographs,” says Erik Kessels, “they don’t look at them anymore.” It’s a theme he’s played with in his work, most notably in the installation 24hrs In Photos, in which he printed out all the images posted on Flickr on a single day.
The director of Self Publish, Be Happy on what made 2016 for him – and what he’s looking forward to in 2017
The magnitude of Harley Weir’s success is unparalleled compared to most photographers of her age. At 27-years-old, her work has already graced the pages of AnOther, i-D, Dazed, Pop, The Gentlewoman and British Vogue. She has shot campaigns for the some of the biggest names in the fashion industry, and just produced a series of short films about creative women for Chanel and i-D’s Fifth Sense project. When Weir recently revealed her debut book Homes, containing photographs she had taken immediately before and during the clearing of the Calais Jungle, it sold out within a number of days, raising over £10,000 for La Cimade, a French charity committed to protecting and defending the human rights of refugees and migrants. The images, both disturbing and beautiful, show Weir’s commitment to the personal, shelters cobbled together with wood, rope and tarpaulin are transformed by her lens into dreamlike structures, imbued with a homely tenderness not often equated with the now dismantled refugee camp. Weir’s intimate approach is what marks her work in any context, be it a border zone …