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.
“The works selected here have all run up against a more or less bitter-sweet reality, and their authors have liberally arranged, glued, assembled, masked and cut out the components of that reality in order to present it to us as something different, eminently subjective, and decidedly moving,” writes Raphaëlle Stopin, artistic advisor for the 2018 Prix HSBC. She’s writing of the 12 photographers shortlisted for two top prizes, which this year have gone Antoine Bruy (France, 1986) and Petros Efstathiadis (Greece, 1980). The other shortlisted photographers are: Olivia Gay (France, 1973), with the series Envisagées; Karin Crona (Sweden 1968), De la possibilité d’une image; Elsa Leydier (France, 1988), Platanos con platino; Sandra Mehl (France, 1980), Ilona et Maddelena; Shinji Nagabe (Brazil, 1975), Espinha; Michele Palazzi (Italy 1984), Finisterrae; Walker Pickering (USA, 1980), Esprit de corps; Marie Quéau (France, 1985), Odds and ends; Brea Souders (USA, 1978), Film electric; and Vladimir Vasilev (Bulgaria, 1977), T(h)races.
Lianzhou has developed a reputation as an important international location for Chinese photography, having hosted an annual photography festival since 2005. Now it is hoped that the opening of a brand new museum of photography this December will cement Lianzhou as a destination for national and international photographic excellence.
Combining projects shot in China, Cameroon, the USA and Namibia, As Entertaining As Possible gives an insight into how images “have transformed the individual into a privileged witness to his own alienation”