All posts tagged: Exhibitions

Photography by the sea

A trip to the seaside is fun at the best of times, but it’s even more enjoyable when there is a photography festival taking place at the same time. Currently on show in venues across Brighton and Hove is the region’s sixth Brighton Photo Biennial (BPB14), a month-long celebration of photography. Produced by arts organisation Photoworks, the Biennial features a core programme of more than twenty photography exhibitions on the theme of ‘communities, collectives and collaboration’, plus an extensive supporting programme of events (talks, screenings and workshops). Among the standout exhibitions is the excellent Amore e Piombo, curated by Federica Chiocchetti and Roger Hargreaves of Archive of Modern Conflict. Featuring archival press photographs from the Rome-based agency Team Editorial Services, television news footage, and Italian photobooks of the period from the Martin Parr collection, the exhibition delves deep into the political turbulence, terrorism, conspiracy, kidnap and murder that took place in 1970s Italy. Artfully and intelligently curated to compliment the grand interior of the historic Brighton Museum & Art Gallery, (television screens and photographs are nestled into bookshelves, and presented on raised platforms in the space), Amore e Piombo looks afresh at a tangled and murky chapter …


Photography – what’s on

Opening on Saturday 18 October in Birmingham is photographer Jon Tonks’s first solo UK exhibition, Empire [pictured]. Tonks journeyed across the South Atlantic for several weeks, exploring life on four remote islands – the British Overseas Territories of Ascension Island, Tristan da Cunha, the Falkland Islands and St Helena. The series was awarded The Royal Photographic Society’s Vic Odden Award this year, and a book of the work was published by Dewi Lewis in June 2014. Empire, the exhibition, co-produced by the Library of Birmingham, Midlands Art Centre (Mac), Ffotogallery in Cardiff, and Impressions Gallery in Bradford, will be on show at Mac in Birmingham until 04 January 2015. Tonks will be giving a talk on 04 November. For more details, click here. [bjp_ad_slot] The second edition of multimedia and photography festival Night Contact takes place on Saturday 18 October. Running as part of Brighton Photo Biennial 2014, Night Contact will showcase a range of photography and mixed-media projections in indoor and outdoor spaces across central Brighton. Artists include: Jason Fulford, Melanie Manchot, Taiyo Onorato & Nico Krebs, Joanna Piotrowska, Rick Morris Pushinsky, …


Davide Monteleone’s Spasibo

“Whenever you take a picture, of course you get involved,” Davide Monteleone tells an expectant audience during a tour of his new exhibition, Spasibo, at London’s Saatchi Gallery. “I always joke that I spend more time drinking tea and talking with people than taking pictures, but then all of this [talking and building relationships] will come out at one point or other in a picture.” The Italian photographer, and member of VII photography agency, is in London for the opening weekend of his Carmignac-winning exhibition. Monteleone won the fourth Carmignac Gestion Photojournalism Award for his work in Chechnya, and spent four months, based in Grozny, producing work off the back of his winning proposal. More than thirty of his images are on show at the London gallery until 03 November. [bjp_ad_slot] The Award, now in its fifth year, is the brainchild of Edouard Carmignac – director of the French foundation of the same name. The Award’s aim is to provide one photojournalist each year with the financial means (€50,000), and support to produce an in-depth photographic report. Carmignac sets the theme …


Photography competition calls for entries

Brighton-based gallery One Eyed Jacks is offering photographers the chance to compete to have their work shown in a month-long group show in January 2015. The Open Call, with a top prize of £500, is open to both professional and amateur photographers working across all genres of photography. There is no theme, and all portfolios will be considered. “Discovering new work and reaching out to new talent is the greatest buzz for a gallerist,” says gallery director Matt Henry. “We’ve decided to launch our first Open Call to unearth new gems and to create a fantastic and eclectic group show.” Instead of inviting a jury to oversee the submission process, Henry has decided upon a single individual to curate the exhibition. “This Open Call will mark the first of many submission-based shows that allow one person to execute his or her unique vision,” says Henry. “British Journal of Photography’s Gemma Padley will curate our first show.” The deadline for entries is 01 November 2014. For more information, and to enter, click here. Stay up to date with stories such as this, delivered to your inbox every Friday.


A view on Chechnya

“Some deaths we know. Others we forget”, writes Edouard Carmignac in the prologue to Davide Monteleone’s photobook, Spasibo. Carmignac alludes to the code of silence that ravages the Russian region of Chechnya, a former enclave of brutal oppression, violent conflict and rampant corruption, and the subject of documentary photographer and 4th winner of the Carmignac Gestion Photojournalism Award Davide Monteleone’s series, Spasibo. Loosely translated as ‘thank you’, the photographer uses the word ironically for his poignant study of Chechan life under the tyrannical rule of Kremlin-backed leader Ramzan Kadyrov. [bjp_ad_slot] Published by Kehrer and priced at £40, the book contains striking black and white images that convey not the war-torn, blood-stained visions of the Republic’s past, but of a modern Chechnya. Monteleone takes the reader on an incisive journey through Chechnya’s myriad landscape, traversing snow-scattered mountains, neo-classical Stalinist constructions, gilded mosques, and run-down towns, to explore the complex identities and cultures of those who call the region home. Monteleone’s monograph possesses a sensitivity that captures the beautiful banality of his subjects. As Spasibo’s narrative gradually unfolds, an apparent undercurrent of ambiguity and emotion is …


A small festival with big ambitions

It may be a small island in the Channel, but Guernsey has once again shown its enduring dedication to photography. Now in its fourth year, Guernsey Photography Festival, which is run by a small team of photography professionals, has proved that geographical location is no bar to attracting some of the world’s top photography talent. The festival, which runs until 18 October, is headed up by Jean-Christophe Godet, who has been at the helm since its inception in 2010. The 2014 edition of the festival, which takes ‘Faith, Family, and Community’ as its theme, features work by more than 20 international photographers, who include Abbas, Elinor Carucci, David Moore, Iñaki Domingo, Jason Larkin, and Liz Hingley. [bjp_ad_slot] Work from many of the featured photographers is displayed on specially-designed panels that are positioned in various locations across the island’s centre (in the Market Square and Terrace, and at Liberation Monument, among other places), a deliberate move to bring photography directly into the public realm, say the organisers. Other work is installed in more conventional gallery spaces, such as The Greenhouse Gallery (Domingo), and …


The Dodo Effect

In June 2008, Adam Broomberg and Oliver Chanarin swapped their east London studio for Helmand Province in Afghanistan. Embedded with the British Army, they arrived during the deadliest month of the entire war – the day after they arrived, a fixer for the BBC was dragged from his car and executed, then nine Afghan soldiers were killed in a suicide attack. The following day, three British soldiers were killed on patrol.The celebrated conceptual photographers left their cameras at home, however, instead ‘documenting’ each event by rolling out 50m-long pieces of photographic paper at 7m intervals and exposing them to the intense Afghan sun. “The results deny the viewer the cathartic effect offered up by the conventional language of photographic responses to conflict and suffering,” the pair claimed, exhibiting the end result with the title The Day Nobody Died. Broomberg and Chanarin, both 43 and from South Africa, have become increasingly interested in the depiction of war – last year they won the Deutsche Börse Photography Prize for War Primer 2, a repurposing of Bertolt Brecht’s …


Abstraction of the real

Oliver Hartung’s images present a view of the Middle East that sometimes gets lost amid images of war and conflict. His are images that privilege found objects on urban streets, and subtly call to attention colourful street paraphernalia – posters, graffiti, statues, and murals – to show a quieter, more ordinary side of life in these troubled regions. Hartung’s recent book Iran, ein Kinderbuch, (images from which are shown in the above slideshow), was shortlisted for the 2014 Unseen Dummy Award in Amsterdam, and also for the Dummy Award Kassel 2014. [bjp_ad_slot] The book, whose titles translates as ‘Iran – A Children’s Book’, is a work-in-progress, he explains, which “examines the visual culture of Iran, and the result of (so far) three journeys to Iran between 2011 and 2012. It comprises images that have profane political or religious content, taken from propaganda, murals, war cemeteries and advertising, [and] is part of an ongoing personal long-term project on the Middle East, which I started in 2007.” When Hartung, a former freelance photographer for the New York Times, and current lecturer in photography at the Academy of …


Great Heights

Are these photographs for real? Yes, they certainly are – Korean photographer Ahn Jun may sometimes use a harness if she’s leaning over the side of a building to photograph her feet, but she really is leaning over the side of a building, or leaping up onto its edge. Her project is titled Self-Portrait and, she says, it’s a kind of performance without an audience. “There was a day when I recalled my adolescent years,” she explains. “I was sitting on the edge of my apartment in New York and looking over the cityscape. I had a thought that suddenly my youth was coming to an end and I could not figure out the future. I sat on the edge and looked down. Then I saw the empty space, the void, and there was a sudden change in my perspective on life and death, present and future. The vision of the cityscape I was witnessing was not real for that moment – I felt the illusion of beautiful buildings was just like the future, or …


Building Sight

One of the first subjects photographers turned to when photography was invented was architecture. Given the limitations of early cameras, it was crucial that buildings, unlike people, did not move. Or talk back, for that matter. And, importantly, if you argue that a primary mission of early photographers was to symbolise the imperialist enterprise by making an inventory of the material things of the world – which the colonialist powers largely owned – then architecture was one of the camera’s most vital subjects. [bjp_ad_slot] For example, PH Delamotte’s 1855 album about the removal of the Crystal Palace to its final site in Sydenham is not only one of the great examples of early architectural photography, it is first and foremost a company report. It provides the first example of the qualities the writer David Campany invests in the photography of architecture – that it is document, publicity and commentary. Actually, Campany also adds art, but we’ll come to that later. His thoughts on photography and architecture appear in the catalogue Constructing Worlds: Photography and Architecture …


BJP Staff