Since its discovery in 2009, Vivian Maier’s work – and her life – has attracted global attention. It been exhibited all over the world, featured in mainstream media outlets, and circulated in multiple books and films. Even so, many details of the American street photographer’s life remains a mystery.
We know that she worked as a nanny for 40 years in Chicago, and that she liked to spend time walking the streets, taking photographs with her Rolleiflex camera – with and without the children she was looking after. We also know that Maier took more than 150,000 photographs, many of which remain unseen, mostly of the people and architecture in Chicago, New York and LA, but also of herself, and her young charges.
Although it is Spanish photographer Sole Satana’s latest body of work, From a Bad Place was conceived several years ago, during a difficult time when she was struggling with anxiety and depression.
Closely related to her personal life, Satana’s photography tells a very subjective story about her take on everyday life. Her images will be on show at the Centro Parraga in Murcia, Spain, as part of a collaborative project between the gallery and collective UnderPhoto. Now in its second edition, the project aims to bring together emerging creators who offer a “deeply personal representation of reality”.
From a Bad Place will be exhibited alongside photography from Satana’s partner in life and work JD Valiente, a BJP One to Watch this year. The couple met when they were teenagers and have been together for 14 years. They often now collaborate on joint projects, such as the story Dead Meat, but this show, titled Parentésis, is made up of two solo series.
“How to fill the gap between politics and art? This is both an old and a new problem,” writes Takuma Nakahira, in the afterword to PROVOKE no.1, published 50 years ago this month. Led by some of Japan’s best-known photographers and art critics – including Takuma Nakahira, Koji Taki, and iconoclast Daido Moriyama, who joined from the second issue – the magazine stemmed from the anger and discontent that they felt towards the post-war world. Though it survived only three issues, and was criticised at the time, it is now widely recognised as a ground-breaking publication in the history of contemporary Japanese photography.
The magazines were printed in 1968 and 1969, both turbulent years for politics which featured the May 1968 riots in Paris; the assassination of Martin Luther King Jr and the anti-Vietnam protests in the US; the end of the Prague Spring. In Japan, 1968 was the year that a string of violent student uprisings forced many of the top universities to close.
It’s better-known as a medical process, but x-ray imaging has helped Nick Veasey carve out a very successful career over the last 20 years, working with clients such as the V&A, Adidas, H&M, Time, Harper’s Bazaar, and Vice, and exhibiting at galleries such as Stockholm’s Fotografiska. Now Veasey is opening an exhibition space next to his studio in Kent, rural England, in which visitors can watch him work in a purpose-built x-ray chamber, and see exhibitions by him and other contemporary artists.
Process Gallery is set in the middle of a two-acre site that will be landscaped into a sculpture garden next year. The opening exhibition is dedicated to Veasey’s work, but the photographer plans to show work by other artists, specialising in those who take an alternative approach to process.
As of 2019, Nadia Arroyo will be the new cultural director at Fundación MAPFRE in Madrid. She will be replacing Pablo Jiménez Burillo, who announced at a press meeting last week that he would be retiring after 30 years and over 500 curated exhibitions at the museum.
Jiménez was the first to bring a permanent exhibition space for photography to the museum, and championed the once-undervalued world of nineteenth century Spanish painting, bringing the gallery to the forefront of the art world in Spain. Arroyo is currently Head of Exhibitions at the Fundación MAPFRE.
To the people of Provence, the Mistral is a local menace. It regularly ruins weddings, steals hats and scarves with ease and, at its worst, this epic wind has the strength to sweep up metal chairs and smash them into neighbouring windows. Even so, says Rachel Cobb, “I think maybe they actually like it”. “What I feel is that it’s a source of pride among the Provincials, a way of defining the region,” she adds. “They can withstand it, and they’ve learned to live with it.”
Cobb’s new book, Mistral: The Legendary Wind of Provence, is a record of the 20 years she spent hunting the wind. She has holidayed in the south of France for 40 summers now and, though she has been victim to the perils of the strong gales, she’s also found it inspirational – as have many other artists and writers. “I’m energised by it,” she says. “At night, when you hear it stir, you can feel the energy in the air.”
Out of nearly 1000 submissions, the winners for this years Paris Photo/Aperture Foundation Photobook Awards, established in 2012 to celebrate the photobook’s contribution to the narrative of photography, have been announced at Paris Photo.
The Photobook of the Year award went to Laia Abril, for part one of her long-term project, A History of Misogyny, Chapter One: On Abortion (Dewi Lewis). The project is not about the experience of abortion itself, but about the repercussions for women who do not have access to legal, safe or free abortions, forcing them to consider dangerous alternatives that cause physical and mental harm.
Nataal.com was born in 2015 as a platform to communicate the creativity coming out of Africa. It was launched by Sara Hemming, former art director at AnOther, Helen Jennings, former editor at Arise magazine, and Senegalese actor and director Sy Alassane. Focusing on fashion shoots, long form features and visual essays, Nataal collaborates with emerging artists around the world who are shaping global narratives around African culture.
This year, Nataal published its first annual print magazine, built around the theme “Future Gaze” and containing 336 pages of photography by well-known artists such as Viviane Sassen, Lorenzo Vitturi and Ayana V Jackson, as well as commissions by up-and-coming photographers such as Arielle Bobb-Willis. The photography is accompanied by in-depth editorials covering a range of topics including fashion, visual arts and music, as well as a short story by American-Ghanaian writer Nana Ekua Brew-Hammond, and articles about contemporary African culture and business.
BJP spoke to creative director Sara Hemming and editorial director Helen Jennings about Nataal media and why photography is so integral to their magazine.
When Michelle Sank approached young people on the streets of Sandwell, asking to take portraits of them in their bedrooms, most were happy to be photographed. It was trickier to negotiate with their parents, who were sceptical for obvious reasons. “I had to explain why it was so important for me to photograph them in their bedrooms,” says Sank. “What’s on their walls is a metaphor for their identity and personality”. My.Self is a collaboration with Multi Story, a local charity that works with artists to make work for and about the people of Sandwell. The charity hadn’t produced any work yet on young people in the Black Country – a name for this region of the British West Midlands believed to have come from the layer soot it was covered with in the Industrial Revolution – so with her past experience of working with young people, Sank decided to make portraits of them in their bedrooms, wearing the clothes, and surrounded by the items, which help to confer their identities. The book is dedicated to …
“I like objects that don’t have much of a style. Like patterns in colouring books, clean black lines, and primary colours. Things that aren’t trying to sell you an ideology or concept,” says Peng Ke, who calls from her home in Shanghai, where she has just closed her first solo exhibition in the city, I Have Seen Many People Although They Have Not Seen Me. “Most visual languages are so coded, so if I see things that are almost innocent, they really stand out to me.”
Peng Ke’s exhibition coincided with the launch of Salt Ponds, her first book published by Jiazazhi. The project has been ongoing for five years now, but only became a solid body of work after her friend and graphic designer Pianpian He approached her to collaborate on a book. It began in the cities where Peng’s parents grew up, and quickly expanded to other fast developing, smaller cities in China. Though they are shot hundreds of miles apart, her photographs are anonymous; you can never tell which city she is in. So the project became less about her own hometown, and more about the collective experience of Chinese people who live in these places, “because in a way, everyone comes from the same city”.