“I consider myself a son of the European project,” says Tommaso Rada. “I am part of a generation that lived through the opening of the borders between many different countries, the introduction of the euro, and all the new cultural and linguistic mixing that the European project meant. The feeling of being Italian as well as European is the reason why I am interested in the European Union.”
Rada is now based in São Paulo, but was born in Biella in northern Italy and lived in his home country until he was 25. He watched as the policies of the EU evolved, and as the meaning of the Union began to change. His ongoing series Domestic Borders frames a number of different projects he has made, evoking the varying perspectives of those living along the borders of the member countries.
Back to South, the most recent chapter, focuses particularly on the countries that would be affected if a ‘two-speed’ Europe was implemented – a proposal in which certain members, perhaps those in better economic positions and political situations, would integrate at a faster pace, leaving the others on the periphery. Visiting the areas that would be ‘left behind’, Rada hopes to show the “challenges of living in a unique space with a different passage of time”.
Our pick of the key stories from the past week, including a new book on London’s Thamesmead estate, an exhibition of Diane Arbus’ early work, and World Press Photo Foundation’s pick of the emerging photographers from Asia
The World Press Photo Foundation has announced the six talents from Asia in its ongoing 6×6 Global Talent Program. Aimed at picking out under-recognised visual story-tellers from around the world, the 6×6 programme is now on its sixth and final region in its first cycle. The photographers picked out this time are: Amira Al-Sharif, Yemen; Azin Anvar Haghighi, Iran; Saumya Khandelwal, India; Senthil Kumaran Rajendran, India; Shahria Sharmin, Bangladesh; and Yan Cong, China.
The image-makers were recommended by an international group of over 100 nominators, and selected by a jury comprised of: Ammar Abd Rabbo (Syria), photographer and journalist; NayanTara Gurung Kakshapati (Nepal), photographer and curator; Claudia Hinterseer (Netherlands), senior video producer South China Morning Post; and Kazuma Obara (Japan), photographer.
Photographed in the forests and mountains of the Ozarks, Matthew Genitempo’s first book, Jasper, published by Twin Palms, is a poetic exploration of the American landscape and the people who seek peace within its grasp, filled with an emotional range that is hard to pin down. Completed as his graduate thesis for an MFA at the University of Hartford in Connecticut, it’s the first major project he’s fully completed, and a gear shift towards leading from his gut.
“I was making photographs of the American Southwest, and Jasper [named after the town in Arkansas where many of the pictures were made] began when I abandoned all that work,” he says from his home in the west Texas town of Marfa. “I had been making photographs that were preconceived, but I wanted to make pictures that were leading with my eyes and my instincts.
“My aim is not to make PHOTOGRAPHS, but rather CHARTS and MAPS that might at the same time constitute photographs,” writes photographer and prolific writer on his craft, Luigi Ghirri in his 1973 essay, Fotografie del periodo iniziale. Trained as a surveyor, the iconography of maps and atlases prevail Ghirri’s photography. “But what if you map his work?” asks curator James Lingwood. “He was, in a way, mapping the changing topography of modern life in Europe in the 1970s and also the change in the relationship between people and images.”
Travelling to Kiev in the wake of protest, revolution and civil war, Belgian photographer David Denil set about documenting the aftermath of conflict in the minds of ordinary people still coming to terms with the country’s sharp divisions. The resulting series, Let Us Not Fall Asleep While Walking, departs from journalistic record, instead attempting to depict “the psychological state of this Ukraine looking at its future while haunted by its past and memory,” he says. “The images are metaphorical representations from the everyday life encountered where time seems frozen but dreams of hope still linger.”
This summer marked 10 years since Nacho Alegre and his partners, Omar Sosa and Marco Velardi, co-founded Apartamento magazine – a publication which, since its inception in 2008 in Barcelona, has peered into the interiors of people’s homes through the prism of their lives. As of October there’s even an Abrams-published book, The World of Apartamento, to prove it. Succinct and delightfully subjective, the biannual magazine has become synonymous with direct, characterful interviews and unmistakable images, in features which team some of contemporary culture’s best-loved figureheads with photography talents original enough to capture them as they have never been seen before. A photographer by trade, Alegre is also known for his fashion shoots and creative still lifes.
Born Diane Nemerov in 1923, to a wealthy family in New York, Diane Arbus started out in photography shooting fashion with her husband, Allan Arbus, working for magazines such as Glamour, Vogue, and Harper’s Bazaar. In 1956 she quit commercial photography – apparently announcing “I can’t do it anymore. I’m not going to do it anymore” during a spring shoot for Vogue – and took to the streets, documenting passersby, and studying with Lisette Model. Quickly finding her signature style, her work was shown in the New Documents exhibition at the Museum of Modern Art in 1967, which was curated by John Szarkowski and also included work by Garry Winogrand and Lee Friedlander.
Her portraits proved divisive, and has remained so – some, mostly notably Susan Sontag, judging it coldly voyeuristic, while others feel a sense of empathy. Arbus’ subjects often came from outside of her personal sphere, the circus, for example, or New York’s clubs, and she herself stated that her favourite thing was “to go where I’ve never been”. On the other hand, she could also find a sense of the unsettling in Central Park. In 1971, she took her own life.
With Nature & Politics, Thomas Struth told BJP back in 2017, he hopes to “open doors to what our minds have materialised and transformed into sculpture, and to scrutinise what our contemporary world creates in places which are not accessible to most people”. Shot at industrial sites and scientific research centres throughout the world over the last 10 years, the large-scale colour images show the strange contraptions created at the cutting-edge of technology.
But these images also, he told BJP, say something about his own relationship to the world, and the place in which he finds himself at this particular point in time. “I am an observer and participant in contemporary culture, and what matters to me is that I can only being something new depending on my situation in my own life,” he said. “When I was at school, 1984 seemed like a futuristic date. To have reached the age of 62 feels incredibly strange and choking, and to acknowledge the reality that I have perhaps 20 or 25 years left. There are complex evaluations that play a role in what I am attracted to, and I try to find the pictorial equivalent.”
Our pick of the key stories from the past week, including details of Photo London 2019, an interview with Don McCullin, an interview with photobook specialist Manfred Heiting, and several emerging photographers