We may have only just finished welcoming entries to Portrait of Humanity, but we are now eagerly preparing for the next steps in its global journey. Following on from our international call for entries, which welcomed thousands of images from photographers across the globe, judges now face the daunting task of whittling these down to the winning entries. There will be 200 shortlisted images, 100 commended, and finally, 50 winning photographs. At each stage, photographers will receive worldwide exposure to the photographic industry, international press and general public. Hoxton Mini Press, who created our first ever Portrait of Britain book in 2018, will be binding together 200 shortlisted images in a Portrait of Humanity book, to go on sale worldwide later this year. And we are pleased to announce that up to 100 commended photographs will also be displayed on Clear Channel Out of Home screens across the globe. Our partnership with Clear Channel gives us access to some of the world’s best placed digital screens, which we will be repurposing for Portrait of Humanity. We …
“Such great number of photo books in one place has never been presented in Kyiv before – since the foundation of the city more than 1500 years ago,” says Dmitriy Krakovich, director of the Kyiv Photo Book festival. “The goal of the festival is developing a communication between authors-photographers and publishers from one side, and broad circles of art lovers and photography art lovers in Ukraine.”
The first event of its kind in Ukraine, Kyiv Photo Book festival will feature both local and international photographers, publishers and galleries, with organisations such as MOKSOP (Museum of Kharkiv School of Photography) and Rodovid Press lined up to take part.
The Circulation(s) festival returns to Paris from 20 April – 30 June, featuring work by photographers based in or originally from Europe. This year the festival has been directed by Francois Cheval and Audrey Hoareau, who used to work together at France’s respected Musée Nicéphore-Niépce but left to set up The Red Eye project. As they’re at pains to explain, though the festival is pitched as a festival of “young photography”, it actually promotes emerging work, whatever the photographer’s age.
“There isn’t really an age limit, the only “true” condition is to come from Europe or to reside in a European country,” they say. “Another criterion is to not have been shown very much in France and Europe. We know that the term ‘young photography’ is ambiguous… Circulation(s)’ desire is simply to offer emerging photographers, regardless of their age, a springboard.”
They add that the festival was one of the first to question the overrepresentation of male photographers, and also to pay its exhibitors; in addition, this year’s edition includes photographers from “countries whose state of contemporary photography is insufficiently known”, such has Georgia or Estonia. It also includes Romania, which this year has a special focus as part of the French Institute’s France-Romania Season.
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.”
Derby is a small British city but once every two years it hosts a big event – the FORMAT Festival. Directed by the well-respected photography specialist Louise Fedotov-Clements and running since 2004, FORMAT has established a firm reputation for interesting international work, and FORMAT19 looks set to continue the good work with exhibitions spread across both Derby and another neighbouring city, Nottingham. Taking place next spring, FORMAT19 is themed FOREVER/NOW and takes on an interesting contemporary question – the role of documentary photography.
“In 2007, while the photography world was still grappling with the idea of photography as an interpretive, non-narrative, non-representational medium, writer Lucy Soutter wrote about the ‘expressive’ versus the ‘straight’ documentary photograph, insightfully characterising the then two sides of the debate,” runs the FORMAT19 press material.
“Since then photography has grown to encompass many manifestations of the ‘crooked’ image through hybrid forms and visual practises and no longer worries about narrative versus abstraction, expressive versus objective. The new generation of photographic artists rush towards the new, embracing the rapid transformation that technology and cultural exchanges bring to it.”
BJP-online Loves Lei Lei and Pixy Liao win at the 2018 Jimei x Arles festival
bjp-online has been following both Lei Lei and Pixy Liao for a while, so we were happy to see them both win prizes at the Jimei x Arles festival. Lei Lei picked up the Jimei x Arles Discovery Award, giving him 200,000 RMB plus a spot in Arles’ prestigious Discovery Award exhibition and competition next summer; Pixy Liao won the Jimei × Arles – Madame Figaro Women Photographers Award. And bjp-online loves the Jimei x Arles initiative in general, which is packed with interesting work by image-makers from China and beyond. Plus six other key stories from the last week
“One of our long-term aims is to help encourage the development of uniquely Asian approaches and perspectives to photography,” says Jessica Lim, director of the Angkor Photo Festival. “There is certainly more than enough talent in Asia for this to happen. Think of it as a postcolonial response that is very long overdue.”
Angkor Photo Festival returns for the 14th time to Siem Reap in Cambodia, a city known as “temple town” as it lies at the gateway to the magnificent ruins of Angkor Archeological Park. Several exhibitions will be dotted around the city, including one that will travel around on a tuk-tuk. The programme also includes artists talks, workshops, photo book displays and free daily portfolio reviews.
Chinese photographer Lei Lei has won the Jimei x Arles Discovery Award, giving him 200,000 RMB plus a spot in Arles’ prestigious Discovery Award exhibition and competition next summer. Born in 1985 and now living in Beijing and Los Angeles, the photographer won with the project Weekend, which uses archive images to consider history, nostalgia, and personal identity. Lei Lei’s previous projects include Hand-coloured, a joint series with French artist Thomas Sauvin which also features archive images, and which was exhibited at the Festival Images Vevey and previously published on bjp-online in December 2017.
Lei Lei was picked out from the 10 photographers shortlisted for the Discovery Award, all of whose work is currently on show in Citizen Square in Jimei, South East China. The other photographers included by the curators Dong Bingfeng, Li Jie, Chelsea Qianxi Liu, Holly Roussell and Wang Yan were: Coca Dai (1976), Hu Wei (1989), Pixy Liao (1979), Lau Wai (1982), Shao Ruilu (1993), Shen Wei (1977), Su Jiehao (1988), Wong Wingsang (1990), and Yang Wenbin (1996).
Its opening has been pushed back to 2020, but the LUMA Arles complex is taking shape in the French town celebrated for its prestigious Les Rencontres d’Arles photography festival.
Set on the site of the former SNCF rail yard long used for exhibitions by Les Rencontres, LUMA Arles will be an interdisciplinary arts centre aimed at supporting and producing exhibitions, research, education and archives. It is backed by Swiss collector Maja Hoffmann, whose LUMA Foundation has been involved with Les Rencontres d’Arles since 2013. LUMA Arles will occupy a 20-acre site when it’s complete, and the arts centre will be the centre-piece.
“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.