The 18-year-old Hamburg Triennial will be directed for the second time by Polish curator Krzysztof Candrowicz, who moved to Hamburg four years ago and set about transforming the it, bringing people and institutions together, and determined to make it more relevant to the viewing public. The 2015 edition was, he says, “The first holistic attempt to create the collaborative framework of the festival. Before, the museums were basically highlighting their own exhibitions, but there was no actual curatorial collective structure.” The determinedly political and environmentally-conscious theme this year was inspired by an amalgamation of many factors, he says, including spending a year “away from structured, mechanised and commercial reality”, travelling around Latin America, Nepal and India. “Breaking Point became, for me, a metaphor for rapid and sometimes unexpected transformation on a personal and global level.”
BJP has joined forces with 10 cultural institutions across Europe to promote emerging photography talent under the umbrella of a new photography network, named Futures. Initiated by Unseen Amsterdam and the fair’s owner, Vandejong Creative Agency, the platform launched in spring and continues with a series of shows, events and residencies across the continent, culminating in a large-scale exhibition at Unseen in September. The partners include museums and galleries in Hungary, Belgium and Italy, alongside photofestivals in France, Germany, Poland, Ireland and Romania. Each will present shows and events of their own talent programmes in their own countries, and then elements of these events will come together for the collaborative exhibition in Amsterdam, showcasing 10 emerging photographers from across the continent – a pick from each country. “We realised that we could do more to create opportunities for artists, and that is where we came up with Futures,” explains Menno Liauw, strategy director at Vandejong, which is coordinating activities, having created the platform in the mould of Unseen, the first art fair of its kind, …
Alighting at Peckham Rye train station in south London, a short walk across a busy market street takes you to the Bussey Building complex, a former cricket-bat factory that is now home to an assortment of bars, music venues, yoga studios and art spaces, including the Copeland Gallery. This bright exhibition space is once again the main site of Peckham 24 festival of contemporary photography, celebrating its third edition this year and running over the weekend of 18 to 20 May to coincide with Photo London – more than the 24 hours with which it launched and gave it its name. “Last year we were literally pushing people out of the door at midnight,” laugh the co-founders, Vivienne Gamble, whose Seen Fifteen gallery is in a nearby space, and artist Jo Dennis.
“This isn’t something new or something connected to a particular part of the country,” says Sarker Protick, speaking about his recent work, Of River and Lost Lands, which deals with the contemporary relationship between people and nature in Bangladesh, in the context of the devastating damage and loss of land caused each year during monsoon season. “The seasonal rising and falling of the many rivers in our country is part of our culture. It’s the first thing we learn at school; we are a country of rivers. Music, poetry, philosophy, folklore, religion – all have key elements connected to the river.” Protick’s photographs, on show at Hamburg Triennial of Photography as part of Enter, curated by Emma Bowkett and Krzysztof Candrowicz, were all made along the powerful Padma River. “When the famous Ganges flows over the border from India into Bangladesh, it becomes the Padma; a river that many along its banks depend on for their livelihood, but paradoxically the river is also the main cause of destruction.”
How do you capture a neighbourhood in the throes of transformation? How do you negotiate the complex tensions between old and new that lie at the heart of regeneration? These are some of the quandaries that prompted Gretje Treiber to begin Hamburg Barmbek Nord: Attempts at an Encounter, an intimate requiem for the disappearing features of her local community. Originally a small collection of farms, Barmbek-Nord was transformed into a working-class district shaped by industry in the early 1900s. The area became an expanding residential hub with many new blocks of flats designed with a striking red brick and equipped with green spaces and sports facilities, built during the 1920s, only to be destroyed during the Second World War and rebuilt 15 years later. Since 1980, few urban changes have taken place, leaving the neighbourhood “almost forgotten” by the rest of the city, according to Treiber.
“Many photographs remain forgotten in my archive, while others are destined to come back with a new life,” says Carlo Lombardi. It’s a sentiment that could apply to the subjects of his latest series, Dead Sea, which focuses on the diminishing number of loggerhead sea turtles in the Mediterranean, and which appears in the 2018 Hamburg Triennial Off section from 07 June as a result of an open call. The Italian’s ongoing work began in spring 2016, following a visit to the Museum of the Sea in Pescara, where he was fascinated by a skeleton pinned to the wall. The bones belonged to a loggerhead sea turtle, a species whose population is decreasing at an alarming rate due to climate change. Increasing sand temperatures, storms and rising sea levels vastly impact the turtles’ habitats and ability to breed, while fishing and pollution also contribute to the death toll.