The creation of a dummy is an integral process for any photographer with aims on publishing their own photobook. It is a visual mockup for a proposed project, created before being sent to the publishers. Organised by La Fábrica in collaboration with Photo London, the Book Dummy Award selects a entry that is renowned for its quality, uniqueness and international scope, the winners of the award will then have their dummy physically realised. The competition encourages photographers from anywhere in the world to submit a physical copy of their dummy, under the rule that no digital copies may be entered. One winner from 20 finalist dummies will then be selected by an international jury. The winner’s work will be published with a print run of at least 1000 copies, and distributed worldwide. Photographers submit entries from all over the world, as in 2017 there were participants from 45 countries and every continent. The winner of the 2017 edition was Iranian-born, Swiss photographer Arunà Canevascini. Nominated as one of British Journal of Photography’s Ones to Watch …
Founded in 2015 by Chinese photographer RongRong (who also also founded China’s first photography museum, Three Shadows Photography Art Centre) with Sam Stourdzé, director of Rencontres d’Arles, the Jimei x Arles International Photo Festival is the biggest of its kind in China. It returns this November with 30 exhibitions by over 70 artists, including shows brought over from Arles and exhibitions devoted to emerging Chinese image-makers.
The Jimei x Arles Discovery Award nominees features work by ten new Chinese photographers, for example – with one image-maker selected from the show to win 200,000 RMB plus a place in Arles’ prestigious Discovery Awards. This year the nominees are: Coca Dai (1976), Hu Wei (1989), Lei Lei (1985), Pixy Liao (1979), Lau Wai (1982), Shao Ruilu (1993), Shen Wei (1977), Su Jiehao (1988), Wong Wingsang (1990), and Yang Wenbin (1996)
In 1997, a document titled A Study of Assassination was released by the CIA as part of the Freedom of Information Act. It is believed to have been created in 1953 with the purpose of instructing agents on how to kill, and was released with a collection of files relating to the 1954 CIA-backed overthrow of the-then newly-elected leader of Guatemala, Colonel Jacobo Arbenz Guzman. The operation in Guatemala was lobbied for by United Fruit Company, an American corporation that traded in tropical fruit, mainly bananas, and which wielded huge power in Central America at the time.
When he found out about these documents, George Selley was instantly captivated, and his new project, A Study of Assassination, combines pages from the manual with archival press images, banana advertisements and Cold War propaganda. BJP caught up with the recent London College of Communication MA graduate to find out more about this project and his approach to images.
Brussels-based photographer Rebecca Fertinel has won the Unseen Dummy Award with her book Ubuntu. The book was shot in a Congolese community in Belgium, which Fertinel first visited in August 2015, when she was invited to a wedding by a friend. Whilst there she was introduced to a warm and friendly society, and the concept of “ubuntu” – the idea that “you become a human being by connecting with everything and everyone”.
The judges were particularly impressed with the editing of Fertinel’s book proposal which, they say, “transforms documentary photography into an unexpected narrative flow of community events”. The images move from one party to another party to a funeral, for example, the latter creating “a kind of breaking point” in the middle of the book, creating “a kind of dance where you don’t know what comes after”, and thereby summing up something about life.
Last week, a group of Croatia’s leading cultural pioneers welcomed the 10th jubilee edition of Organ Vida photofestival. Co-curators, Marina Paulenka and Lea Vene were joined by Nataša Ivančević, Paola Orlić, Morana Matković, Nevena Tudor Perković and Veljko Mihalić to address visitors and guests at the Museum of Contemporary Art in Zagreb for the grand opening, getting the festival underway for the tenth consecutive year. The opening of the festival signalled the announcement of the second annual Marina Viculin prize to photographer Denis Butorac. Using personal experience as a driving force behind his work, he focuses on family, intimacy and the sense of ‘(not) belonging’. Following the opening week, the exhibitions are now open to the public, free of charge, during the month of September. Hosted by a number of galleries throughout Zagreb as well as in the Croatia’s biggest and most modern museum, the Museum of Contemporary Art, the works on display explore creative interpretations of the contemporary female experience. Each show follows the main theme, borne out of a desire to combat modern …
“I’m usually looking for things that surprise me, things that have a deeper significance, a sense of humour, I suppose. I’m always open to what happens in life, because it tends to be more interesting than anything you can imagine.”
Now in its seventh edition, Unseen Amsterdam has confirmed itself as one of Europe’s most dynamic photography events. Featuring over 300 emerging and established artists, the release of the complete 2018 programme brings together the international photography community to discuss and debate the future of the medium. Running from 21-23 September in Westergasfabriek, Unseen Amsterdam will host over 85 photographic debuts. 50 galleries from 17 countries will be present, showcasing new work from emerging artists such as Mustafa Saeed from Somaliland, whose work explores war, environment and conflict; Keyezua from Angola, who revisits clichéd representations of African women, and France’s Elsa Leydier, who examines and reconstructs exotic environments. Inez & Vinoodh, Rafal Milach, and Isaac Julien will also premiere unseen work over the weekend. Also present at Unseen is CO-OP, a platform for international artist collectives to present their ideas and work in new and innovative ways. In its second year, collectives involved include the Migrant Image Research Group, exploring Mediterranean migration to Europe, 280-A from Vienna who challenge the concept of authorship, and Switzerland-based …
Born in Tehran, Iran, in 1988, Hashem Shakeri studied architecture in TAFE (New South Wales Technical and Further Education Commission of Australia), and started his professional photography career in 2010. In 2015 he was Commended in the Ian Parry Scholarship, and in 2017 his images were included in the Rencontres d’Arles exhibition Iran, Year 38, alongside work by photographers such as Abbas Kiarostami and Newsha Tavakolian.
Shakeri’s ongoing series on climate change in Sistan and Balouchestan looks at the effect of drought in the Iranian province, which is located in the southeast of the country, bordering Afghanistan and Pakistan. It has been suffering from drought for the last 18 years, which has created severe famine in a region once famed for its agriculture and forests. “Nowadays, the Sistan region has faced astonishing climate change, which has turned this wide area into an infertile desert empty of people,” writes Shakeri.
Last year, VII Photo Agency invited six women to join its collective. With seven female members in total, “the seven of VII” quickly became a phrase that stuck. After numerous email exchanges, and a big discussion at the annual general meeting in Barcelona in March, the seven of VII are now staging a group exhibition together – Her Take: (Re)thinking Masculinity, which opens at Photoville in Brooklyn, New York on 13 September.
The exhibition is made up of seven separate projects, each exploring the topic of masculinity. “The exhibition is a conversation, and it’s a conversation that we want to have with both women and men,” explains Sara Terry, whose project recreates Manet’s famous painting, Le Déjeuner sur l’herbe, with a naked man replacing the female nude.
“We do not need to specifically just focus on changing stereotypes of what being African is through our visual storytelling; I think that’s an additional burden that other artists from other continents are not expected to subscribe to. I do think that through our visual storytelling, whatever theme we choose, and the quality of our work, we already do so much to challenge external perceptions of the African continent,” says Ngadi Smart, one of the image-makers whose work will feature in the exhibition Foreseen: New Narratives from the African Photojournalism Database.
It’s just one of the shows in the forthcoming Nuku Photo Festival Ghana, the first event of its kind in the country. Featuring exhibitions, a conference, a portfolio review, and networking events, Nuku Photo Festival Ghana aims to “create a space for artistic explorations and exchanges”, according to the festival founder Nii Obodai. “For this first edition, we have curated a diverse programme in cooperation with local and international partners that showcases the works of 50 both established and up-and-coming photographers and visual artists.”