From the star-studded hills of Hollywood, to Ukraine’s military camps, Russia’s Caucasus region, and the gloomy streets of Thatcher-era England, the programme for this year’s Portrait(s) festival covers a wide breadth of both geography and context. The French photofestival dedicated to portraiture returns to Vichy for its seventh edition this summer, with exhibitions by Philippe Halsman, Tish Murtha, Michal Chelbin, Bastiaan Woudt, Turkina Faso, Benni Valsson, Ambroise Tézenas, and an intriguing show about selfies, curated by Olivier Culmann.
Selfies, Equal/Egos presents a mixture of amateur photography and artists who explore the phenomenon in their practice. Both serious and offbeat, the exhibition examines the mechanisms of virality, and the repetitive nature of the image economy in a digital age.
Established in 1986 as a festival for young fashion designers, and adding a prize for emerging photographers in 1997, the International Festival of Fashion, Photography and Fashion accessories, Hyères has established itself as a small but beautiful festival with a cutting-edge handle on photography in fashion and beyond.
The artistic director for photography is Raphaëlle Stopin, and this year she’s presenting exhibitions such as a solo show by Craig McDean plus a 25-year retrospective of Self-Service magazine. As usual, the festival also features work by 10 up-and-coming photographers, plus exhibitions by the two prize winners from 2018 – Eva O’Leary (who won the Grand Prix for photography last year) and Sarah Mei Herman (who won the American Vintage-sponsored prize).
The finalists for the 2019 competition are: Federico Berardi (Switzerland – Italy); Hubert Crabieres (France); Kerry J Dean (United Kingdom); Tommy Kha (China – USA); Hilla Kurki (Finland); Vincent Levrat (Switzerland); Alice Mann (South Africa); Andrew Nuding (Ireland); Jean-Vincent Simonet (France); and Elsa & Johanna (France). Their work will be on show until 28 May, and as well as competing for main prize, they will be commissioned to shoot new images for a Still Life Prize, and for the American Vintage Photography Prize.
50 years ago, photographer Lucien Clergue, writer Michel Tournier and historian Jean-Maurice Rouquette put together the first edition of Les Rencontres d’Arles in the city’s town hall. They had three exhibitions – a group show tracing the history of photography, and solo shows by Gjon Mili and Edward Weston. Now it’s the largest and most prestigious photography festival in the world, and this summer, they celebrate 50 years with 50 exhibitions, looking back on their history and heritage, as well as championing cutting-edge photography and emerging talent.
Running from 01 July till 22 September, the festival is lead by director Sam Stourdzé for the sixth year. Last year, Stourdzé was criticised by a group of eminent photography specialists in an open letter urging him to include more women in the main programme. A year on, it seems they’ve taken the criticism on board. Marina Gadonneix, Germaine Krull, Helen Levitt, Evangelia Kranioti, Libuse Jarcovjakova, Camille Fallet, and Pixy Liao, among many more, appear on the main programme with solo shows; the festival also includes a section titled Replay, which is dedicated to female-led narratives.
Replay includes a group show titled The Unretouched Woman, which combines the work of Eve Arnold, Abigail Heyman and Susan Meiselas, whose photobooks from the 1970s challenged gender bias and celebrated women from across the globe. In the same section is a group exhibition of around 200 vintage prints by Berenice Abbott, Florence Henry, Germaine Krull and more, as well as Tom Wood’s Mothers, Girls, Sisters, which was shot in the suburbs of Liverpool between the early 1970s and late 1990s.
“A festival is about taking risks,” says Louise Clements, founder and director of Format International Photography Festival, which returns this year to celebrate its ninth edition. “Festivals can come and go, but to sustain something for so many years, you have to work out how to make it valuable for its participants and its audience, by giving people something to work towards.”
The city of Derby, in the UK’s post-industrial Midlands, is not large, but over the last 15 years the biennial event has helped place it on the cultural map. Over the course of each festival some 100,000 visitors will gather there – the city’s compact size lending it some advantages. “Derby is small, like Arles [whose 50-year-old Rencontres photography festival remains the blueprint], so there is this critical mass-like feeling,” says Clements. “People are likely to bump into each other, see our bags and totes – the guides see and integrate them, for example, when we work with the local microbreweries.”
“I was quite scared to begin with,” says Ingvar Kenne, who has now been to ten Bachelor and Spinster (B&S) Balls, all in different regions of the Australian outback. “It’s by far one of the most intense things I’ve ever experienced. It’s full on, and non-stop.”
B&S Balls are notoriously drunken and raucous. They were originally set up to give young people in rural Australia the rare opportunity to meet a potential life partner. Nowadays they are mostly an excuse to party and let loose, but many of the old traditions have stuck, and hundreds of people still drive from all over the country to take part.
The life expectancy of transgender women in Brazil is just 35 years old. They are subject to extensive daily abuse, and around 90% of them work as prostitutes, having been ostracised by family and friends. The country also has the world’s highest murder rates of transgender women; there have been 113 this year alone. With no social visibility, there is very little being done to counteract the epidemic of abuse. Times are changing, thanks to the women leading the fight for their rights, but there is a long way to go. To understand this fractured, but resilient, community, Camila Falcão spent the last eighteen months photographing them in São Paulo. Falcão’s work seeks to elevate and celebrate her subjects, by presenting them as individuals, and not statistics. Through two projects, Abaixa Que É Tiro and Onika, she has constructed an intimate and timely portrait of the community. Given the environment in which these women exist, the response to the work has defied expectation; Falcão has been invited to give interviews for publications such as Brazilian …
The November issue of BJP takes you on a round the world trip with Journeys. From the markets of Lagos to the search for Jesus across the world, these are more than just trips; these journeys will alter your way of looking at the world.
For three days this week, from 22 to 24 September, the Dutch capital will host the sixth edition of Unseen Amsterdam. With an extensive and exclusive programme, the event prides itself on incubating and exhibiting photography from both established and emerging artists. This year is no different: the old gasworks factory, the Westergasfabriek will host more than 53 international galleries with new additions from Mexico and Lebanon, showing over 160 artists and about 80 ‘premieres’ – brand-new work that will make its debut at the fair, featuring projects by Todd Hido, Gregory Halpern, Peggy Franck and Ricardo Cases. Founded in 2012, the event has always been keen to embrace elements and experiments beyond its primary identity as a fair. This year the Unseen Photo Fair & Festival has become Unseen Amsterdam, drawing together the fair, book market, speakers programme, onsite projects and exhibitions, talent awards, city programme, magazine and website under one umbrella. This change is a move to becoming a multi-faceted photography platform that will function throughout the year with smaller events abroad. A …
“As an audience, you’re hanging from her chandelier. She’s saying things will change and get better but at the same time you’re able to decide what you look at. You do listen to her words of sadness and regret but from being in her room, you can decide what to make of it,” says Natasha Caruana ahead of her interactive exhibition being featured in the House Biennial in Brighton at the end of the month. Inspired by the theme of excess, the project follows Caruana’s mother, Penny, who lives her life in extremes: designer fashion brands are a must, hours are spent scrolling through dating apps, 50 pills a day keep her alive. But on the edges of this, are we happier and what are the social implications on are communities and are health services?
Returning for its eight edition from 13 September, Tbilisi Photo is an international festival in the heart of the Caucasus which hopes to bridge the image-making communities from across Asia, the Middle East, and Europe. This year themed Fashion, the diverse programme includes a look at Guy Bourdin’s iconic oeuvre, the Dutch artist Viviane Sassen’s approach to fashion photography, and an exclusive display of Iranian fashion magazines published before the Islamic revolution in 1978.