“To date, hardly any research has been conducted into Belgian photobooks,” opens the exhibition Photobook Belge, now on show at FOMU and published as a book by FOMU in partnership with Hannibal. “Photobook Belge provides an overview of the evolution of the Belgian photobook from the mid-19th century to today.”
Including nearly 250 publications, Photobook Belge is divided into eight chapters, looking at areas such as Artists’ Books, Belgian national identity, and the relationship between text and images. Belgium’s brutal colonisation of the Congo, its subsequent relationship with the country, and its often problematic representation of it in images, is given a whole chapter. “Many of the photobooks published since the 50th anniversary of [Congo’s] independence in 2010 oscillate between a more or less overt nostalgia, Afro-pessimism and an aesthetic of ruins,” states the curator Tamara Berghmans. “Most are still the result of a white, male gaze.”
“We do see that our industry is male-dominated, world-wide – though not within NOOR,” say the photographers of the NOOR agency, via their current president Andrea Bruce. “We are encouraged by the current discussions happening throughout the photo world around abuse of power. These are sometimes painful, but necessary.” Photojournalism is still male-dominated, that much is undeniable. But does it have a macho culture, as World Press Photo’s MD Lars Boering has said? Do male photojournalists and picture editors abuse their power? And if so, what’s being done about it? In the wake of the #metoo movement, and in particular after the recent allegations against Patrick Witty, one-time deputy director of photography at National Geographic, and Antonin Kratochvil, one of the founding members of VII, these have become key questions in photography, and the big agencies are getting on board. For David Kogan, as for Bruce, it’s a work in progress. He’s executive director of Magnum Photos, which introduced a Code of Conduct for both its photographers and staff at its last AGM in June. …
“In Centralia, Poulomi Basu continues to focus her gaze on the interrelation between violence, state power, and gender,” says Monica Allende, member of the jury for the PHM grant. “By intertwining multilayered fictional narratives she aims to challenge the viewer’s perception of reality, as well as established neocolonialist histories. “In an era of post-truth and fake news, where we battle for control of “official” narratives, Basu’s work forces us to reflect on our own prejudices and educated preconceptions. Despite addressing such complex issues, the work is both illuminating and engaging – a testament to her innate ability as a documentarian. The result is a beautifully executed story which is thoroughly deserving of the winning grant.”
Running since 2013, the PHM Grant has a reputation for finding interesting new photographers such as Max Pinckers, Tomas van Houtryve, and Salvatore Vitale. Now the 35-strong shortlist for the 2018 has been announced, with the winners due to be announced on 08 May and four prizes up for grabs – a first, second and third in the main award, plus a New Generation Prize. Each winner gets a cash prize plus a publication on World Press Photo’s Witness, a projection at Cortona On The Move and at Just Another Photo Festival, and promotion via PHmuseum. The jury handing out the awards is made up of photography specialists – Genevieve Fussell, senior photo editor at The New Yorker; Roger Ballen, photographer and artist; Emilia Van Lynden, artistic director of Unseen; and Monica Allende, independent photo editor and cultural producer. The jury is able to give Honourable Mentions, up to six in the main prize, and up to three in the New Generation Prize.
Now in its 10th year, the Prix Levallois is one of the leading prizes for young photographers, and its latest list of 15 nominees includes Antoine Bruy, Bieke Depoorter, Michal Luczak, Leslie Moquin, Alexey Shlyk, and Maria Sturm & Cemre Yesil