“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.”
Running since 2013, the PHM Grant has a reputation for finding interesting new photographers such as Max Pinckers, Tomas van Houtryve, and Salvatore Vitale. Now the 35-strong shortlist for the 2018 has been announced, with the winners due to be announced on 08 May and four prizes up for grabs – a first, second and third in the main award, plus a New Generation Prize. Each winner gets a cash prize plus a publication on World Press Photo’s Witness, a projection at Cortona On The Move and at Just Another Photo Festival, and promotion via PHmuseum. The jury handing out the awards is made up of photography specialists – Genevieve Fussell, senior photo editor at The New Yorker; Roger Ballen, photographer and artist; Emilia Van Lynden, artistic director of Unseen; and Monica Allende, independent photo editor and cultural producer. The jury is able to give Honourable Mentions, up to six in the main prize, and up to three in the New Generation Prize.
“The stories that grabbed my attention were those created through unique personal approaches with a clear vision and a rich visual vocabulary,” says Noriko Hayashi, a Panos Pictures photographer who was a Joop Swart participant in 2015, and a judge for this year’s competition. Established in 1994, the Joop Swart Masterclass aims to reward the most talented emerging visual journalists and is designed to boost diversity in visual journalism and storytelling. This year 219 candidates from all over the world were nominated, and the 12 participants are: Mustafah Abdulaziz (US), Sharon Castellanos (Peru), Sabiha Cimen (Turkey), Samar Hazboun (Palestine), Alexandra Rose Howland (US), Katinka Hustad (Norway), Ksenia Kuleshova (Russia), Philip Montgomery (US), Léonard Pongo (Belgium), Ashfika Rahman (Bangladesh), Tasneem Alsultan (Saudi Arabia), and Cansu Yildiran (Turkey). There are also two runners-up, Alfredo Bosco (Italy) and Marie Hald (Denmark).
Pongo has won the prize for his ongoing series The Uncanny, which is shot in The Congo. Born in Belgium in 1988 to a Belgian mother and a Congolese father, Pongo started the project as an attempt to reconnect with his Congolese heritage. He first visited the country in 2011, staying with his Congolese family – most of whom he had never met before – and arriving as the DRC held its second ever democratic elections, for both Presidential and Legislative positions. “I am conscious that photographing in the Congo, as a photographer educated in Europe, reveals my own limitations (in accessing and understanding the environment), bias, and stereotypes,” he says. “However, by turning to a more personal story and documenting my confrontation with my family, the country, and by relying on friends and siblings to introduce me to their visions of this environment, I hope to be able to overcome some of these limitations.
NOOR, the prestigious photo agency and foundation, has signed up three new nominees – Sanne de Wilde, Arko Datto and Leonard Pongo. Hailing from Belgium, India and Belgium/DR Congo respectively, all three are known for their cutting-edge work, rooted in documentary but pushing the aesthetic boundaries of image-making.