Feeling all shopped out? Take refuge in a photo show – though many are being hosted by private galleries in Paris next week, meaning you can still buy prints if you want to. Photo Saint-Germain is a huge umbrella under which 36 exhibitions and events are taking place, for example, including the Polycopies and Shakespeare & Co book events and several cultural institutes, but also smaller, commercial galleries.
From 07 November to 04 February, the Centre Pompidou in Paris is showing a striking exhibition on a little-known aspect of the roots of 20th century social documentary photography, Photographie, arme de classe [which roughly translates as ‘Photography as a weapon in the class struggle’]. Curated by Damarice Amao, Florian Ebner and Christian Joschke, the show deals with a comparatively unknown period in French photo history, from the end of the 1920s to the arrival of the Front populaire government of 1936 – when the socialist, communist and radical parties formed a short-lived coalition to govern France, with the tacit backing of the Soviet Union.
Photographer and activist Henri Tracol (1909-1997) was the first to formulate the idea that photography could be an “arme de classe”, in the tract he wrote for the photographer’s section of the Association des Écrivains et Artistes Revolutionnaires [‘Association of Revolutionary Writers and Artists’ aka the AEAR], formed in 1932. Although this communist front, Moscow-sponsored organisation only lasted a few years, it attracted many of the leading figures of the day from art, theatre, literature, architecture, and particularly photography. Those who joined were either fellow travellers or politically attached to communism, seeing it as a bastion against the twin evils of the time – fascism and capitalism.
In our latest issue, Reframing History, we speak with Patrick Waterhouse about his project collaborating with the Warlpiri people in Australia. We talk with Andrew Moisey, who reveals the dark secrets of US all-male frat houses. And 100 years since the end of the Great War, Nicolas Thomas Moreno turns his lens on memorials to this terrible history in Topography of Remembrance. We also journey to the French capital to highlight two shows exhibiting alongside Paris Photo. The cover feature for this month’s issue is the work of Patrick Waterhouse. Over the course of eight years, he has travelled to and from Australia’s Northern territory, culminating in his latest project: Restricted Images. Made in collaboration with the Warlpiri people, he hopes to give agency to his subjects by asking them to contribute creatively to each image. Through his artistic process, he addresses the problematic break in representation, respect and consent between the first anthropological photographs of the indigenous groups of the past. A professor at a US College, Andrew Moisey has devised a comprehensive insight into …