With so much to see condensed into one city over the course of five days during Paris Photo (09-12 November), you’d be tempted to skip round the 149 galleries lining the elegant, glass-topped halls of the Grand Palais in a couple of hours, or even miss the main event altogether, as many do. That would be a mistake. You won’t get a better snapshot of what constitutes saleable photography in 2017, from the blue-chip North American dealers such as Gagosian, Pace MacGill and Howard Greenberg, to the work of younger artists championed by the likes of Project 2.0, Trapéz and Taik Persons. And eavesdropping on the sales patter can be a real an eye-opener.
Colin Pantall began photographing his daughter, Isabel, in the delivery room moments after she was born. From then on, “it was just constant”, he says. Previously, the pictures he took were architectural, environmental, sometimes historical; but becoming a father re-oriented him entirely. The transition wasn’t effortless. In the early days his experience of fatherhood was spiked with feelings of claustrophobia and intense anxiety – fear of Isabel’s death, fear of his own. A sense that he could easily become obsolete.
The last time we spoke to Vasantha Yogananthan he was preparing to release chapter one of his hugely ambitious seven-part project A Myth of Two Souls. A project that he started in 2013 with his first trip to India, the collection is a photographic re-imagining of one of the most significant Hindu texts, the epic poem Ramayana. Dating back to the 4th century, the Ramayana still holds tremendous significance in India, with its allegorical, mythical stories helping convey concepts such as love, duty, violence, loyalty and divinity. Yogananthan had always been familiar with the Ramayana growing up – his Sri Lankan father told him stories from it during his youth in Grenoble, France, and he picked up comic book adaptations of it as a teenager. But it was only when he visited India that he realised just how interwoven the analogies presented in Ramayana are with the experience of everyday life on the subcontinent, and just how thin the line can be between mythology and reality.
“Kid was a bit of a boorish figure – a troubled man with limited capacities. He could also show his bad temper sometimes, so I can understand why many people found his bellowing voice and coarse speech intimidating. Over the years, I saw the police delivering him home several times after short detentions for various minor misdemeanours he apparently committed. Kid was also addicted to hard drugs, but I only understood all this at a later stage. He was a different person when he allowed me into his apartment, where I got to see another side of his character.”
Venezia graduated from university in 2016; starting life as his end-of-year project, Nekyia demonstrates the research-based direction he moved into, drawing on classical literature to explore the complex economic and political situation of modern Greece. It focuses on the river Acheron, which flows through Epirus in northwestern Greece, and is featured in classical epics such as The Odyssey, Aeneid and The Divine Comedy as the boundary between this world and the underworld. Its name literally translates as the ‘river of woe’.
“Very often when dealing with Albania, artists, photographers and journalists – especially those who don’t come from the country – deal in a very repetitive form with the poverty, the post-communism, and the old and sporadically still-practiced traditions,” says Anna Ehrenstein. “All in all they focus on the otherness of the people and the country.” Brought up in Germany but of Albanian heritage, Ehrenstein has done something very different with her project on Albania, Tales of Lipstick and Virtue. Rather than focusing in on picturesque, unchanged farming life or remaining vestiges of the Soviet Block, she hit contemporary values on the jugular, photographing women into “a certain kind of aesthetic that can be found in Albania, but comes from all over the globe”.
“Nothing that can prepare you for the shock of becoming a parent; you kind of lose yourself,” he says. “It drives you insane. But then you gain a new identity, only for that to die too, when you realise they have their own lives to lead. Then you have to have another rebirth. I don’t think it’s always that comfortable. Sometimes you wish things were different. You wish your children away at times. You always wish them back.” A much loved photography writer, teacher, and practitioner, Colin Pantall is launching his photobook All Quiet on the Home Front, this month on the Polycopies Boat during Paris Photo. It’s a thoughtful take on his daughter Isabel and the experience of raising her, designed by Alejandro Acin and published by ICVL Studio, which has already featured in BJP online and in print. Pantall’s now taken over BJP‘s Instagram, posting images from the book and more until Sunday @bjp1854. Check it out! http://colinpantall.com/ http://icvlstudio.com/ Polycopies takes place from 08 November-11 November on Bateau Concorde-Atlantique, Berges de Seine, Port de Solferino 75007 …