Established in 1986 as a festival for young fashion designers, and adding a prize for emerging photographers in 1997, the International Festival of Fashion, Photography and Fashion accessories, Hyères has established itself as a small but beautiful festival with a cutting-edge handle on photography in fashion and beyond.
The artistic director for photography is Raphaëlle Stopin, and this year she’s presenting exhibitions such as a solo show by Craig McDean plus a 25-year retrospective of Self-Service magazine. As usual, the festival also features work by 10 up-and-coming photographers, plus exhibitions by the two prize winners from 2018 – Eva O’Leary (who won the Grand Prix for photography last year) and Sarah Mei Herman (who won the American Vintage-sponsored prize).
The finalists for the 2019 competition are: Federico Berardi (Switzerland – Italy); Hubert Crabieres (France); Kerry J Dean (United Kingdom); Tommy Kha (China – USA); Hilla Kurki (Finland); Vincent Levrat (Switzerland); Alice Mann (South Africa); Andrew Nuding (Ireland); Jean-Vincent Simonet (France); and Elsa & Johanna (France). Their work will be on show until 28 May, and as well as competing for main prize, they will be commissioned to shoot new images for a Still Life Prize, and for the American Vintage Photography Prize.
Maurice Scheltens and Liesbeth Abbenes have long been preoccupied by perspective. In fact, this year is the 18th that the artist duo – partners in life, as well as in work – have spent creating their painstakingly controlled scenes to capture on camera together. Translating their immaculately constructed three-dimensional sets into technically precise two-dimensional images, they have made a name for themselves with rich, playful and illusory works that toy with spatial dimensions, and which, though aesthetically pleasing, are conceptually rigorous first and foremost. The concept, Abbenes assures us, always precedes the picture.
Their spring exhibition at Amsterdam’s Foam Museum (from 15 March to 05 June) is something like a retrospective, giving the Dutch duo an opportunity to look back over almost two decades of work from a new perspective. And true to form, they are first rearranging the rooms their work will inhabit by uncovering windows that have not been opened in many years. “We will have light and some fresh air, hopefully. We have to give up walls for that, but it’s good to have a bit of the outside world coming in,” they say. Shifting the dimensions and conditions of the space itself will alter the way viewers see the work, and that typifies their approach to the exhibition, rethinking how the works will appear in this new context, and how they relate to each other.
Succeeding the museum’s founding director, Jean-Luc Monterosso, Simon Baker plans to open up both its collection and its programme to audiences, carving out a space for emerging artists, fashion photography, ideas on geography, and newer names to the city’s rich artistic ecosystem. “We have to think about what isn’t being done in the photographic landscape in France,” he explains. “We really want to support younger artists – particularly with solo shows. While there are amazing fairs and group shows, that’s something that’s been missing.”
What better way to start, then, than with a solo exhibition by Coco Capitán? Since she graduated from the Royal College of Art in London in 2016, the 26-year-old Spanish artist has become a never-predictable presence. Her work is always dynamic and often playful, but underpinned by a precision and a poignancy too – whether created for, and thanks to fashion, such as her ongoing artistic collaboration with Gucci creative director Alessandro Michele, or her diverse self-initiated series comprising text and paint along with traditional photography.
Hanna Moon was born in South Korea, Joyce Ng “spent her youth in the multitude of sprawling malls throughout the city of formerly-colonised Hong Kong”; both are now based in London, where they’re fast making their mark in fashion photography. They’ve joined forces for an exhibition at London’s Somerset House titled Hanna Moon & Joyce Ng: English as a Second Language, which explores their take on Western conceptions of beauty.
The exhibition includes new work commissioned by Somerset House as well as images from the photographers’ archives: Moon opted to shoot two of her favourite models – Heejin, from South Korea, and Moffy, from London, in Somerset House’s handsome Neoclassical buildings; Ng, who prefers to street-cast, chose to make images with people who work in, or were visiting, Somerset House. Also shot at Somerset House, Ng’s images were inspired by the 16th century Chinese novel Journey to the West.
In 2010, when BJP first came across Jamie Hawkesworth, he’d just been shooting in Preston Bus Station along with Adam Murray and Robert Parkinson from the Preston is my Paris zine. Picking out passersby who caught his eye in the rundown but celebrated Brutalist transport hub, Hawkesworth’s images were published in a free newspaper and given to the disadvantaged teenagers who used the buses. They helped save the bus station from demolition, but they also helped launch a stellar career, with Hawkesworth signing up with the prestigious London agency MAP soon afterwards.
Fast-forward to 2018 and Hawkesworth is a celebrated fashion photographer, who’s shot ad campaigns for Alexander McQueen and Marni, and editorial for publications such as Vogue Italia, W, and Purple. He’s also got an exhibition on show in London, a blue painted fence, which shows off his film, drawings, and writing, as well as new photographs from Kenya, Louisiana and Romania. Despite his success he’s still very much the same man BJP first met eight years ago, down-to-earth and modest, with a refreshingly breezy approach to his many talents.
Of his drawings, for example, he says it’s just a case of “having room to get out there and explore, of being open to chance”. “I found myself giving it a try, thinking ‘Oh I’ll just try some charcoal’, and it went from there,” he says. “The great thing about charcoal is it’s easy to get it on [the paper] and see where energy takes you.”
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.
Think of Guy Bourdin, and you’ll probably think of intense, transgressive images shot in highly-saturated colours. There’s his photograph for Pentax in 1980, for example, which shows a gush of red liquid apparently streaming from a prone woman’s mouth; or his shot from 1978, which shows a woman’s bottom and legs lying on orange sofa – her head firmly out of the picture.
But Bourdin also shot award-wining black-and-white work, which is less known now but which was celebrated in its time. There’s his black-and-white campaign for Chanel’s first ‘Premiere’ watch, for example, which he shot in 1987. Influenced by his interest in Surrealism – in particular Man Ray – and not clearly advertising images, this campaign went on to win the Infinity Award at the International Center for Photography (ICP) in New York in 1988.
The winners were announced during Berlin Photo Week in Germany (10 – 14 October) where all 100 finalists were exhibited in Supermarkt, a repurposed supermarket and exhibition space. Pachnanda received a trip to Berlin for the event, as well as a Sony Alpha camera. As part of the award, Pachnanda will act as the EyeEm ambassador during 2019. Much of his work centres on bold portraits of unusual people, often in urban areas of London. On receiving the Photographer of the Year title, Pachnanda said, “winning an award with so much calibre from an organisation so pivotal to the world of 21st century photography is amazing”. The EyeEm Awards, run by global community and marketplace for photography EyeEm, currently stands as the world’s largest photography competition. This year marked its fifth edition, and it welcomed a record 700,000 entries from 100,000 photographers, hailing from more than 150 countries across the globe. Covering nine diverse categories – ranging from ‘The Creative’ to ‘The Great Outdoors’ – the award attracts a huge breadth of subject matter. This …
In Aldershot, a town in Hampshire, England, there is an old 1930s Art Deco theatre called the Empire. Since its renovation several years ago, it operates mainly as a Nepalese community centre. On the top floor there is a restaurant and a temple; downstairs is a function room, where groups of Nepalese men meet up every so often to play xbox, table tennis and traditional Asian games like carrom.
Aldershot is home to the largest Nepali community in the UK and, because of its close proximity to an army base, Gurkha families make up a large proportion of the population. The Gurkhas are Nepalese soldiers who were recruited into the British Army following the Anglo-Nepalese war in the early 19th century. Over 200,000 Gurkhas fought for Britain in both world wars, but they were unable to settle in the UK until 2004. Since then, after a campaign famously championed by the actress Joanna Lumley, the population of Nepalis in the UK has increased from 6,000 to an estimated 100-150,000.
British-Nepali photographer Nina Manandhar’s most recent project, Gurkha Sons, questions the challenges and benefits of coming from a Gurkha family in the UK. The group she photographed calls themselves the k-BOYZ – the “k” standing for Kaprukka, the Nepali word for “frozen stiff” as that’s how they feel when they go out on their motorbikes in cold British weather. Manandhar asks how living in the UK informs their sense of identity, and most importantly, where home now lies for them
Fashion photographer Sølve Sundsbø was awarded an Emmy in 2011 for his direction of a series of short films, shot for the website of the The New York Times Magazine. The series, 14 Actors Acting commissioned by Kathy Ryan, was acclaimed as a “new approach”, but the Norwegian photographer claims he simply “dabbles” in film.
“I’m not proficient or even adequate yet,” he says. “But film is a way of rejuvenating the work I’ve already done. It’s like a little vitamin boost.”
Sundsbø’s photography career has been meteoric. Four months into a course at the London College of Printing, he attracted the attention of Nick Knight, and became his assistant for the next four years. Now he’s a regular in Italian Vogue, Visionaire and W magazine. His commercial clients include Chanel, Hermès, Nike and Yves Saint Laurent and, outside the fashion world, Royksopp, Friendly Fires and Coldplay have all chosen his work for their album covers.