Article 14 of the Universal Declaration of Human Rights states: “Everyone has the right to seek, and to enjoy in other countries, asylum from persecution.” The UK was one of 48 nations to vote in favour of this document at the United Nations General Assembly in 1948 and now, 68 years later, British photographer Sam Ivin prints the full statement at the start of his first photobook, Lingering Ghosts. Made up entirely of portraits of people who have applied for asylum here, the book is a reminder – and an interrogation – of the codified notions of morality and fairness that Britain voted for but is not living up to.
Published by Fabrica, Lingering Ghosts asks a simple but thorny question – what does it mean to be an asylum seeker in the UK? Ivin scratched out the eyes of his subjects to induce a sense of foreboding, discomfort and alienation. As Gemma Padley notes in the foreword, “Once we remove our ability to connect with a subject through a person’s eyes, what remains?”
First established in 1970 by Angela Flowers in London’s West End, Flowers Gallery now has two central London locations – one in Mayfair and another in Shoreditch, along with a space in New York. The gallery currently represents 48 international artists working across a wide range of media. Flowers Gallery has been recognised for its engagement with important socio-cultural, political and environmental themes. We spoke to Director of the Photography Department, Chris Littlewood, about the artists’ work he is bringing to Photo London later this month, which include an array of well-known names such as Edward Burtynsky and Nadav Kander. Littlewood has also helped predict a number of future trends, from experimental installation techniques, to elements like 3D printing and augmented realities. What excites you the most about exhibiting your artists at Photo London? It’s always exciting to present at fairs, especially if the work is fresh and audiences are engaging with it for the first time. If someone appreciates an artist’s work the same way I do, an amazing energy can come out of …
Alighting at Peckham Rye train station in south London, a short walk across a busy market street takes you to the Bussey Building complex, a former cricket-bat factory that is now home to an assortment of bars, music venues, yoga studios and art spaces, including the Copeland Gallery. This bright exhibition space is once again the main site of Peckham 24 festival of contemporary photography, celebrating its third edition this year and running over the weekend of 18 to 20 May to coincide with Photo London – more than the 24 hours with which it launched and gave it its name. “Last year we were literally pushing people out of the door at midnight,” laugh the co-founders, Vivienne Gamble, whose Seen Fifteen gallery is in a nearby space, and artist Jo Dennis.
It’s one of the most interesting prizes for emerging photography, with previous winners including Sølve Sundsbo, Anouk Kruithof, and Lorenzo Vitturi – it’s the Grand prix du jury photographie at the International Festival of Fashion, Photography and Fashion Accessories in Hyères and the 2018 finalists are: Eva O’Leary (Ireland, USA), Teresa Eng (Canada), Pascale Arnaud (France), Laetitia Bica (Belgium), Sarah Mei Herman (Netherlands), Allyssa Heuse (Philippines, France), Jaakko Kahilaniemi (Finland), Csilla Klenyánszki (Hungary), Sanna Lehto (Finland), and Aurélie Scouarnec (France). The ten shortlisted photographers will present their work at a group show at the Villa Noailles from 26 April-27 May; the winner will be announced during the festival, which takes place from 26-30 April.
As we move into 2018, BJP review the themes explored in our 2017 editions and ask what you would like us to cover this year
The founder and director of the African Artists’ Foundation and curator of this year’s Lagos Photo picks out his top books, exhibitions and Instagram feeds of 2017
The British Journal of Photography’s editorial director picks out his top five of 2017 – including Sam Contis’ Deep Springs
In Money Must Be Made, Lorenzo Vitturi’s latest photobook, the photographs address the question of how, not merely where. It is not exceptional to visit a market in Lagos with a camera, especially if, as white, you are working within a tradition of photography that depicts Africans in despair and as NGO-needy. What distinguishes this work is the complexity suggested, an indication that the market – one of the largest in west Africa – is connected to its people and products in many, many ways.
The November issue of BJP takes you on a round the world trip with Journeys. From the markets of Lagos to the search for Jesus across the world, these are more than just trips; these journeys will alter your way of looking at the world.
Dalston’s Ridley Road Market is an East London institution, but to a newcomer it can feel like an overwhelming assault of sights, sounds and smells. At once thrillingly vibrant yet strangely anachronistic, the market is the sort of place where you’re as likely to pick up a goat’s head or a Giant African land snail as you are hair extensions or an international phone card. It has been a focal point for the area’s diverse demographic since the 1880s, and apparently inspired the fictional market in BBC1’s Eastenders. Yet in recent years gentrification has laid claim to much of the surrounding area, threatening the delicate balance of this microcosm of East London life. That this complex and captivating social nexus might be lost for future generations has been one of the main motivations for photographer and local resident Lorenzo Vitturi, putting his successful advertising career on hold for a year in order to explore it more thoroughly. “I wanted to do a project before gentrification completely transformed the area,” he explains. “Even while working in advertising, …