In November this year, Jimei x Arles International Photography Festival, the sister festival to the renowned Rencontres d’Arles, celebrated its fourth edition in Xiamen, in China’s Fuijan province. With an overall view to “serve as a cultural exchange between France and China”, the annual event hopes to also raise the profile of photography in China by providing a meeting place for professionals in the field and providing a platform for emerging photographers to showcase their talent.
“It is a matter of promoting an idea of culture and art, that is both creative and popular, open to greater audiences but also a site for encounters between creatives,” explains Victoria Jonathan, one half of the creative direction team alongside Bérénice Angremy. “It is also an opportunity to nurture an artistic dialogue between Chinese and European artists and audiences. 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.”
You may not know it, but you’re probably familiar with Emily Shur’s celebrity portraits, from Helen Mirren and Will Farrell to Lupita Nyong’o and Larry David. Her active, vibrant and playful commissions have been seen on posters and screens the world over, and have helped her become one of LA’s most sought-after photographers when it comes to shooting comedians, actors and musicians in their most natural – or unnatural – habitats. But in Super Extra Natural!, her new book published with Kehrer, Shur trades in the digital camera and studio lighting to take us on a journey through Japan.
Wim Wenders was given a new Polaroid camera yesterday. It was a gift. He doesn’t plan on using it. “It’s funny,” he says quietly, before pausing to carefully frame what he wants to say next. “I picked up this new One Step 2 camera and instantly everything came back to me. My hands remembered how to hold it and how to use it. But it was definitely a nostalgic act, and that felt a bit strange. When I took all these thousands of Polaroids between the late 1960s and early 80s it was anything but nostalgic. At the time, that was modernity.”
With a Lebanese-American mother and an Emirati father, Farah Al Qasimi has lived much of her life between the United States and Abu Dhabi, where she grew up. Now completing a Master of Fine Arts at Yale, she is still oscillating between her two home nations, and producing work that explores home, belonging, representation and clarity.
In September 2016, BJP published a special issue focused on the European migrant crisis which, over the last couple of years, has seen a surge of people entering the continent. Many are refugees fleeing conflict, with the United Nations High Commissioner for Refugees stating that in 2015 49% of those arriving from the Mediterranean came from Syria, 21% came from Afghanistan, and 8% from Iraq. Even so, attitudes in Europe have hardened, and photography has played a sometimes dubious role in fostering that colder climate. We interviewed image-makers such as Sam Ivin, whose defaced portraits reflect the sense of abandonment among his subjects, migrants seeking refuge in the UK; we also spoke with Patrick Willocq about his work for Save the Children, which aimed to help child refugees in two African camps express their thoughts and experiences. This issue also included interviews with Alessandro Penso, David Molina Gadea, Seba Kurtis, Daniel Castro Garcia and Dario Mitidieri on their work with migrants. In light of recent events we are offering free digital copies of this issue, …
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