“Photography is endlessly linked to technology, it’s always moving forward with it. There are lots of ways you can reproduce a photograph, ways that are often forgotten about,” says Anthony Cairns, describing the technology behind his electronic ink images. Since realising he could freeze the display on his kindle book reader by disconnecting its power, Cairns has acquired over 500 second hand e-readers, mostly from eBay. By hacking into the e-readers he’s is able to upload his photographs, suspend them within the screen, and then remove the screen from the device’s casing. “I’m not a computer whizz kid hacker,” he says, “I just watched a lot of YouTube!” 45 of these screens are now on show at Tate Modern in Shape of Light: 100 Years of Photography and Abstract Art, showing abstract images of global metropolises.
“Tu sais qu’est-ce que c’est le rayon vert?” Marie Rivière’s listless character Delphine asks, her legs swinging, in Éric Rohmer’s 1986 film Le Rayon Vert [The Green Ray]. The film – a portrait of its main character’s halting search for summer romance – was based on Jules Verne’s 1882 novel of the same name. While in theory its title refers to an optical phenomenon – in which the appearance of the sun as it rises or falls beyond the horizon creates a brief flash of green, and with it a supposed moment of mental clarity for all those who see it – in reality its subject matter is far more elusive. “I related the ‘rayon vert’ phenomenon to the process of photography – this special and quick moment that happens rarely,” Swiss photographer Senta Simond explains, referring to her project of the same name. Her series, which will be published by Kominek and shown at London’s Webber Gallery soon, adds a new, compelling layer to the meteorological event/Jules Verne/ Éric Rohmer mix of references. Indeed, Simond, a former student of ECAL, University of Art and Design Lausanne, from which she graduated last summer, first encountered the concept via the 1986 film.
“It is an opportunity to meet people in the industry in a relaxed and enjoyable setting,” says Mimi Mollica, photographer and founder of Offspring Photomeet. “It’s easy to build contacts when you hang out for a couple of days with editors and publishers who share the same passion as you.” Offspring Photomeet will return to Space Studios in Hackney in June for its 5th annual portfolio review, offering one-on-one reviews with experts from Tate Modern, British Journal of Photography, The Guardian and more.
Tate Modern’s show Shape of Light: 100 Years of Photography and Abstract Art includes over 300 works by more than 100 artists, making it the first show of this scale to trace abstract art and photography’s parallel development. On show from 2 May to 15 October, the exhibition spans from early experiments of the 1900s to digital innovations of the present day, examining how photographers through the years have responded to the emerging field of abstract art. It places pioneering work such as Alvin Langdon Coburn’s Vortographs (1917) and Imogen Cunningham’s Triangles (1928) alongside iconic paintings and sculptures by the likes of George Braque and Jackson Pollock.
In 1969 the Finnish-born photographer Sirkka-Liisa Konttinen ditched her filmmaking course, moving to Newcastle with a group of idealistic young ex-students to found the Amber collective, and embarking on a series of long-term projects, including her seminal work on Byker, which was inscribed in the Unesco UK Memory of the World Register. Nearly 50 years on, she continues to live and work in the north-east as a member of Amber
“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.
Situated on the harbour in the Stadsgårdskajen district of Stockholm is the privately-owned and commercially-run photography centre Fotografiska. A self-styled museum housed in an impressive and beautifully-renovated former customs house, built in 1906 in the Art Nouveau style, Fotografiska opened in 2010, and has since exhibited the work of renowned photographers such as Annie Leibovitz, Joel-Peter Witkin, Anders Petersen, Sarah Moon and Christer Strömholm, to name but a few. Two of the most recent solo exhibitions were of the photojournalist Paul Hansen and the fashion and art photographer Viviane Sassen. Such is the success of Fotografiska that the museum is now set to open two new galleries, with others planned for the future. New York will be first, then London – and the plans for London would make the world’s largest photography gallery.
When he joined Tate Modern in 2009 he was Tate’s very first photography curator – but now Simon Baker is on the move, succeeding Jean-Luc Monterosso as the director of the Maison Européenne de la Photographie in Paris. Monterosso, who founded the MEP back in 1996, will leave the institution on 31 March. The news comes just weeks after Shoair Mavlian, assistant curator at Tate Modern, announced she was leaving the institution to become Photoworks’ new director. In October 2017 Kate Bush joined Tate Britain as its adjunct curator of photography, however, responsible for “researching and building the collection of British photography and curating exhibitions and displays”. In September 2017, Tate announced that it had acquired Martin Parr’s 12,000-strong photobook collection, making it one of the leading institutional collectors in this field.
“I’m thrilled to be given the opportunity to lead an organisation I have admired for so many years,” says Shoair Mavlian of her new role, director of Photoworks. “I look forward to working with the team, developing partnerships and supporting artists at local, national and international levels to connect new audiences with photography.”
Tate Modern’s curator of photography picks out his top five of the year, including Maisie Cousins’ grass, peonie, bum show from TJ Boulting Gallery