BJP, Documentary, Fine Art

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A scarecrow, erected to stop migratory birds from landing in open oil slicks, on a decommissioned tailings pond at the Syncrude oil sands site in 2014. From the series As long as the sun shines © Ian Willms

Our pick of the key stories from the past week

World Press Photo Foundation’s 6×6 talents from North and Central America
World Press Photo Foundation’s 6×6 Global Talent Program picks out under-recognised visual story-tellers from around the world; its now on its fifth region out of the six it’s identified around the world – North and Central America. The selected talents are: Dylan Hausthor, USA; Ian Willms, Canada; Mariceu Erthal García, Mexico; Nydia Blas, USA; Tomas Ayuso, Honduras; and Yael Esteban Martínez Velázquez, Mexico.

She’s inside me, 2018. From the series Letters to Gemma © Mariceu Erthal García

Kensuke Koike and Thomas Sauvin’s No More No Less
Kensuke Koike has built up a loyal following on instagram by posting videos of himself cutting and rearranging – but never adding subtracting – from found images. So when Thomas Sauvin, the collector behind the Beijing Silvermine archive, invited him to collaborate, something striking was bound to emerge. The result, No More No Less, took months to make – especially as it was published simultaneously in three different editions by three different publishers.

No more no less 12-1, 2017, collage photographique © Kensuke Koike & Thomas Sauvin

Graciela Iturbide’s Mexico
“I do not like Mexican stereotypes, but unfortunately many photographers who come from abroad and who have not understood my country fall into this error,” says Graciela Iturbide, as a solo show of her work opens at Boston’s Museum of Fine Arts. Well-known in Latin America, her work seeks to reflect the richness of life in Mexico.

Angel Woman, Sonoran Desert, Mexico, 1979 © Graciela Iturbide. Courtesy of the Museum of Fine Arts, Boston

Q&A: JA Mortram on his ten-year project Small Town Inertia
“I’d look at mainstream media and see no reflection of the realities I see portrayed within it,” says JA Mortram, a full-time carer who photographed those worst affected by Austerity around him in the small town of Dereham, Norfolk. His book Small Town Inertia was published to acclaim in 2017, and images from it are now on show at Side Gallery, Newscastle until 24 March.

Jimmy. “You couldn’t get nothing, no work. You used to go up the farms, stand on the corner waiting to see if there was work all fucking day, just hoping a farmer would stop by and take some hands for a couple of hours work but no, they’d not take any notice of you. All the power then was with the farmers and if we ever did get a job for a day or two with the farmers, they were bastards to us. Your sweat wasn’t enough, they wanted your blood. They would expect you to do as much work as a horse.” From the book Small Town Inertia © J A Mortram

Jimei x Arles puts Chinese photography on the map
The Jimei x Arles International Photography Festival just finished but, say its art directors Berenice Angremy and Victoria Jonathan, the photography community in China is just getting started. “It is also an opportunity to nurture an artistic dialogue between Chinese and European artists and audiences,” they explain. “Ideas travel with exhibitions and art projects. For Arles, it is also an opportunity to have a foot in China and grow a deeper knowledge of the Chinese and Asian photography scenes.”

I’m just Wan Chai girl, 2018 © Lau Wai. From the Jimei x Arles Discovery Award

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