Born in 1991, Polish photographer Karol Palka is currently working on a PhD at the Jan Matejko Academy of Fine Arts in Krakow, which he hopes to finish in 2021. His series Edifice documents communist-era buildings in Poland and neighbouring Eastern Bloc countries. It includes shots of the Polana Hotel, once owned by the Communist Party of Czechoslovakia, and the former office building for the management of the Nowa Huta Steelworks, which was once visited by Nikita Khrushchev and Fidel Castro.
Based in Paris and Bristol, ESSARTER Éditions is a “photo-documentary publishing house”. Founded by the photographer Mathilde Vaveau and the graphic designer Lou Reichling, it aims to “gather around common interests – the book, photography and documentary”. ESSARTER has published four projects so far – Ukraine Post Euro Maidan, Usée Immédiat, À la Vôtre, and its most recent, a trilogy called Red Utopias. Including work by ten photographers drawn from across Europe and the former USSR, Red Utopias and considers the Soviet Union and its legacy from a variety of perspectives. It is published in French, Russian, and English.
Our pick of the key stories from the past week, including interviews with image-makers such as Yorgos Yatromanolakis, Sara Cwynar, Hiro Tanaka and Patrick Waterhouse, updates on news and exhibitions such as the Deutsche Börse Photography Foundation Prize, and an appreciation of the photojournalist Yannis Behrakis
Now in its 22nd year, the Deutsche Börse Photography Foundation Prize is awarded each year to image-makers who’ve made the biggest contribution to the medium in the previous 12 months in Europe. This year the shortlisted artists are: Laia Abril, for her publication On Abortion; Susan Meiselas, for the retrospective exhibition Mediations; Arwed Messmer, for his exhibition RAF – No Evidence / Kein Beweis; and Mark Ruwedel, for the exhibition Artist and Society: Mark Ruwedel. The winner of the £30,000 prize will be announced at The Photographers’ Gallery on 16 May 2019.
Virginie Rebetez is a photographer preoccupied by absence. Her work explores themes around disappearance, loss and death, her subjects often physically absent or removed from the projects that depict them. Such is the case with Out of the Blue, which centres around the unresolved disappearance of Suzanne Gloria Lyall, who went missing in 1998 at the age of 19, in Albany, upstate New York. Out of the Blue was published last year by Meta/Books, and is showing in Mutable/Multiple at Quad during Format.
Lyall has never been found but traces of her remain even now, more than 20 years later. “Photography has this relationship with traces but also with proof and reality,” explains Rebetez, whose work attempts to make concrete something unthinkable, this vacuum, by becoming acquainted with Suzanne and her life in her absence. “It’s really interesting to work on something invisible with photography because somehow it gives something material to that which is not present,” she says.
“A festival is about taking risks,” says Louise Clements, founder and director of Format International Photography Festival, which returns this year to celebrate its ninth edition. “Festivals can come and go, but to sustain something for so many years, you have to work out how to make it valuable for its participants and its audience, by giving people something to work towards.”
The city of Derby, in the UK’s post-industrial Midlands, is not large, but over the last 15 years the biennial event has helped place it on the cultural map. Over the course of each festival some 100,000 visitors will gather there – the city’s compact size lending it some advantages. “Derby is small, like Arles [whose 50-year-old Rencontres photography festival remains the blueprint], so there is this critical mass-like feeling,” says Clements. “People are likely to bump into each other, see our bags and totes – the guides see and integrate them, for example, when we work with the local microbreweries.”
“I believe that collective memory and individual experience, politics and personal beliefs, are interrelated,” says Yorgos Yatromanolakis, and it’s easy to see why. Born in Crete in 1986, he got into photography in December 2008 because he wanted to document the riots that broke out in Greece after a 15 year-old, Alexandros Grigoropoulos, was shot dead by the police. Shot in grainy black-and-white and printed by Yatromanolakis, the resulting images were later self-published as a book, Roadblock to Normality.
“Roadblock to Normality is a small, personal, but at the same time collective notebook emanating from my participation in political and social movements in my country,” says Yatromanolakis. “It certainly captures, in a subjective way, some critical political events.”
Our pick of the key stories from the past week, including interviews with World Press Photo-nominated photographers, details of Bangladesh’s Chobi Mela festival, plus Piero Percoco on his wildly successful Instagram The Rainbow is Underestimated
In 2016, Natascha Libbert was commissioned to photograph the sea locks of IJmuiden – large constructions which allow ships and boats access to the Dutch port, and which are therefore of tremendous importance to the economy of the Netherlands, and in particular the port of Amsterdam further downriver. But while they’re important, they’re not necessarily exciting photographic subjects, and some of what makes them significant is hard to pin down visually – as is shown by the phrases and thoughts that the Dutch photographer jotted down in her notebook while working on the project, such as “man-made landscape”, “90 per cent of all trade is transported by sea”, and “at sea, the brain receives 85 per cent less information than on land”.
Documentary photographer Carly Clarke has shot a remarkable array of subjects. One of her projects explores the modern epidemic of India’s ‘forgotten elders’, a generation neglected and abused by their adult children. An earlier project, in contrast, explores the lighter topic of a Sussex brewery, while a third gives a behind-the-scenes view of a group of UK fishermen at work. Though her subjects differ hugely, the common thread is Clarke’s fascination with the way communities live across the globe. Clarke creates her most compelling portraits, however, when she turns the camera on herself. Last Day of Chemotherapy, the image that was shortlisted for Portrait of Britain 2018, is part of her series Reality Trauma. Clarke started the series after being diagnosed with cancer, and the result is an unflinchingly honest stage-by-stage account of her chemotherapy treatment. This deeply personal, contemplative work, is proof of Clarke’s absolute dedication to photography, the art form that gave her hope during an extremely challenging time. The image that was shortlisted for Portrait of Britain 2018 is a self-portrait taken …