Twenty five years have passed since apartheid ended and Nelson Mandela became president. Ilvy Njiokiktjien’s decade-long project documents the opportunities and challenges faced by the children of the “rainbow nation”
On the 25th anniversary of the Rwandan genocide, Jonathan Torgovnik revisits the mothers, sons and daughters he’d photographed more than a decade earlier – the women victims of rape used as a weapon of war, and the children born as a consequence
Shot along the banks of India’s largest river, cast in the pink glow of a low sun, Giulio Di Sturco’s images are calming and hazy. In one of them, a worker from Delhi hoses down piles of white foam, so much of it that at first glance the image is rather surreal. But as with all of his photographs, hidden under this dream-like filter is a devastating story, about the effects of climate change and pollution on the country’s holiest river. The foam is in fact toxic chemical waste, dumped by factories along the river’s tributaries. The Ganges provides water to around 40 percent of India’s population, and bathing in it is said to purify the soul – an important part of Hindu pilgrimage. But now, rising pollution levels from industrial waste and sewage are threatening not only this holy tradition, but the lives of 500 million people who rely on the river as a life source. Di Sturco, a trained photojournalist, started photographing the Ganges 10 years ago, when he was on assignment in north …
More than 250 photographs by one of Il Mondo magazine’s most esteemed contributors in the 50s and 60s go on show in Rome this month
In 2013, a proposal to initiate Europe’s largest gold and silver mining project in Roșia Montană, Romania, sparked a series of anti-government protests in dozens of cities across the country. The proposal is still awaiting a parliamentary decision, but among its many contentions are the long-term health effects ofcyanide poisoning – a potentially deadly chemical used to extract gold – and the suspicion of fake documentation, prompted by vested interests within the government. Belgian photographer Tomas Bachot travelled to Romania in 2015, intending to create a documentary project about the state of the mining conflict. After months of travelling through several cities, one of his couchsurfing hosts reacted negatively to his photographs, and said she was unable to support his vision of her country. “I was shocked, because as an image-maker you’re always open to hear feedback, but you’re also scared,” says Bachot. “I realised what I really needed to do, rather than just observing the place and the situation. I realised that what I was doing was a very limited way of meeting people …
This month, we present a small selection of work that will be shown at Format festival, which returns to the Quad Arts Centre in Derby, England for its ninth edition this March. Under the theme Forever/Now, our edit of notable projects emphasises the festival’s slant towards ‘crooked’ documentary practices, where a lack of subject or search for the unknown is filled by fiction and interpretation.
“Kalidou is 23-years-old and is going blind. I could really see his pain and frustration. Some days, if the sun was too bright, he would not even be able to go outside”
2019 marks a quarter of a century since Val Williams’ curated her seminal exhibition, Who’s looking at the family? at the Barbican in London. In photography, a lot has changed over 25 years, including the introduction of new technologies that have reshaped the way in which we make and consume images, and the changing definitions of what constitutes a photographer.
“On the one hand I thought it might be interesting to speculatively chart that development, but also to rethink notions of the family at the same time,” says Tim Clark, editor of 1000 words magazine and curator of this year’s Photo50 exhibition at London Art Fair. “The idea seemed to chime with a lot of people. I think that’s the key point about family, it’s a great unifying subject. Everyone can relate to it.”
“I felt like I was always playing the same cards. With this project, I wanted to collect the cards and reshuffle them,” says José Pedro Cortes, whose latest book, A Necessary Realism, proposes new ways of seeing old images, gathered from almost 15 years of work and presented in his favourite medium, the photobook.
“The book is always an important moment for me,” says the Portuguese photographer, who is co-founder of the publishing Pierre von Kleist. “They are a mirror into the time I am living in, where I looked for a while in the same area.
“I wanted to fill in the gaps,” he adds. “By trying to break from this idea that images have a connection to a specific geography, and also a specific time, I wanted to take a different look at my archive, as if it were something new.”
Photography as a tool for seeing science: How the camera became, and continues to be, a powerful medium for shedding light on health-related subject matter that might otherwise remain unseen