Photomontage artist Peter Kennard is among 40 artists who have demanded their work be removed from London’s Design Museum after discovering the institution had hosted a private event associated with the arms trade. The museum complied with the requests to return work by 01 August, but defended its curatorial independence from its need to raise funds and sponsorships.
In an open letter, the artists said that they are “appalled” that the London institution arranged for Italian aerospace company Leonardo to hold an event on 17 July, during the Farnborough International Airshow. A demonstration outside the museum also took place on the same day (02 August) in which several artists arrived to collect their works.
“In my 20 years working in the industry I have never been asked if I have a degree; the only thing that really matters is the quality of your portfolio”
“In many ways Another Europe questions whether Europe is other at all,” says Hamish Park. “While this is not an explicitly political exhibition, I do hope that it will go some way to reminding the audience that we share deep cultural roots which go beyond geographic borders or treaty arrangements, and that what we share is as significant as what makes us distinct.”
Park has just curated an exhibition called Another Europe which goes on show soon around Kings Cross, London, mounted on specially-designed concrete benches. Featuring one photograph from each of the 28 European Union member states, shot by a photographer from the country, it’s been organised by the Australian Cultural Forum London to celebrate both the European Year of Cultural Heritage, and Austria’s presidency of the EU council. It’s also interesting timing for this exhibition in the UK, as the country negotiates Brexit.
Chloe Dewe Mathews has spent half a decade documenting life along the River Thames. In a new FullBleed film, produced in association with British Journal of Photography and the Museum of London, the photographer sheds light on the project
“The media still love to use grime as a buzzword but drag down the artists that keep it going”
“This trace of communication, this Derridean postcard, started me on a journey to capture the immersive and lyrical potential of London”
Shadowing a London graffiti crew for one year altered Marc Vallée’s perception of the place he calls home
Commissioned by the UK’s National Crime Agency, Invisible People is a project by British photographer Rory Carnegie that seeks to raise awareness of modern slavery. While slavery was officially abolished in the UK in 1807, the government estimates that tens of thousands of people are still entrapped by forced labour today. Defined by the Modern Slavery Act of 2015, the term covers victims of human trafficking from both abroad and within the UK, and includes people who are sexually exploited, forced to work in illegal and legal factories and farms, those in domestic servitude, and children coerced into begging, organised theft, and benefit fraud. Due to the hidden nature of modern slavery Carnegie was unable to show real victims of the crime, instead photographing friends, models and actors in reconstructed scenes. Few faces are shown in the images, but Carnegie wanted to demonstrate that modern slavery is an everyday fact of life, and that we may all have walked past slaves in the street or benefitted from their labour. “I wanted to show that the …
The overwhelming sense of being surrounded by people yet feeling alone among them is a well documented facet of city life. And even if you are among the 46 percent of the world’s population living in a rural environment, you’ll be familiar with the emblematic image of urban disconnection in which tower blocks loom over bustling streets filled with scurrying figures. But what happens when the day is over and each individual retreats into their home for a moment of calm after the storm? London-based photographer Aristotle Roufanis is fascinated by this experience of collective solitude. Trained as a civil engineer, he has an affinity for the urban structures that characterise major cities all over the world.
“If you’ve been to Morocco I think you’ll understand that we’re a very colourful country, a colourful people. We see every colour being worn. In Morocco that there is the clash of colours and an attitude not to be scared of colours,” says Hassan Hajjaj. His latest exhibition, La Caravane, is about to launch at Somerset House, the first display for the British-Moroccan photographer in London in seven years. His work reflects on identity and culture, which has featured as a big part of his life and work since moving to the UK from a small port town in Morocco aged just 13.