On 13 February, Çağdaş Erdoğan will stand trial in Istanbul accused of membership and support of the Kurdistan Workers’ Party (PKK), a separatist group classified as a terrorist organisation by the Turkish government. Erdoğan is of Kurdish descent, grew up in the region and, as an adult, embedded with affiliates of the PKK during the complex, multifactional conflict that has crossed the borders of Syria, Iraq and Turkey. But he did so, he claims, purely as a photojournalist intent on documenting an unseen conflict for the world’s media and without any alliance with or allegiance to any organisation. His only allegiance was to photography.
Turkish photographer Çağdaş Erdoğan has been arrested in Istanbul according to his agency 140journos. The photographer, who was featured in the British Journal of Photography’s Ones to Watch list earlier this year, is thought to have been arrested whilst taking photographs in Istanbul’s central Kadikoy district
“We are criticising everything; art, science, politics, animal rights, human rights, simply anything we can imagine. Yet we continuously declare our opinions as correct under our perfect profile pages. Are we really so good? I don’t think so,” says Karakas. Her project, The Anatomy of Things, transports her subjects to an altered reality, where everything is perceived to be perfect and everyone looks the same. This disquieting vision plays with our ideas of perfection and our global obsession with curating our lives online.
When Mathias Depardon was released by the Turkish government on 09 June, he had been held in custody for 32 days. Detained on 08 May in Hasankeyf in South East Turkey, the French freelancer had been on his very first day of shooting on assignment for National Geographic. “It was my first day photographing the new settlement of Hasankeyf, 300km from Batman,” he explains, adding that he had been in the region for 10 days and was driving back from Gaziantep when he was stopped.
Swedish documentary photographer Loulou d’Aki’s Make a Wish has been a long time in the making. The project, which was shortlisted for the Grand Prix at Lodz Fotofestiwal this year, revolves around the aspirations and dreams of young people across the globe, recorded in a sweeping compilation of portraits and landscapes. Shot alongside commissions for international publications such as Le Monde, The New York Times and Die Zeit, it evolved over a number of years, charting the photographer’s life on the move.
Taking a new approach to documentary photography after a near-death experience in Libya, Guy Martin captured Turkey’s fantasies and created a series now on show at Arles. “To not learn from that event in April 2011, I couldn’t do that to myself,” he says. “I couldn’t justify it to my family, I couldn’t be put in that same situation again. The starting point was to take control of my photography, to use my photography instead of letting it use me.”
“I believe Turkey is photographed deficiently,” says Çağdaş Erdoğan. “The photographs we see of Turkey are propaganda for the nationalist movement, or they’re Orientalist images for the outer world since these are what they want to see.”Erdoğan, 24, is a Kurdish Turk born in a small town in the east of the country who has established himself as one of the leading young photojournalists in a newly authoritarian and conservative Turkey
Despite an order for his deportation issued on 11 May, Mathieu Depardon remains in Turkish custody, his only contact with the outside world via his lawyer, Emine Şeker – who now has informed RSF that he began a protest hunger strike on 21 May
Non-governmental organisation has called for French photographer Mathias Depardon’s immediate and unconditional release, describing his detention in Southeast Turkey since 8 May “completely unjustified”. Aged 30 and based in Istanbul, Depardon was arrested while doing a report on the Tigris and Euphrates rivers for National Geographic magazine.
For the thousands of migrants entering Europe, the journey of making a home in a foreign place has just begun. The work of Aikaterini Gegisian, 38, is especially relevant for those of such placelessness. Her surreal multi-national collages form a seven-chapter narrative in her 2015 book A Small Guide to the Invisible Seas. Gegisian was one of 18 artists to exhibit in the Armenian pavilion at the Venice Biennale this year, which won the Golden Lion at the Biennale’s awards for Best Country. The exhibition, Armenity, is set apart from the main body of the art festival, on an island called San Lazzaro degli Armeni, a 20-minute boat from the mainland across the lagoon. Its distance from the bustle of Venice neatly reflects the exhibition’s theme of a diasporic people – those who have been forcibly moved from, or have had to flee, their original homeland and scattered across the globe. Being situated in the island, inside a monastery, compounds the exhibition’s overriding sense of being adrift. In the Middle Ages, the Mekhitarist Monastery …