Katrin Koenning’s documentary projects are fluid in process and poetic in aesthetic. She often works on several series at once, and, similar to how she found her way into photography, lets intuition and circumstance guide her practice. Raised in Bochum, Germany, Koenning moved to Australiain 2003, completing a BA in Photography in Brisbane before relocating to Melbourne, where she now lives, works, and teaches. Koenning has won multiple awards, including Australian Photobook of the Year and the Daylight Photo Award, as well as receiving numerous nominations for prestigious prizes such as MACK’s First Book Award, and more recently the Greenpeace Photography Award. Many of Koenning’s projects –Lake Mountain and The Crossing – are driven by the anger she feels towards governmental policies that prioritise short-term profits over sustainable decisions for the environment and future generations. One of her most recent bodies of work, Swell, seeks to highlight this current state of urgency, not through the expected tropes of disaster imagery, but by focusing on a number of small ecosystems in Australia. As Swell goes on …
With €10,000 up for grabs to realise a project, the Greenpeace Photo Award is a great opportunity – and this year, the public decides who wins. Run with support from Geo Magazine, an awards jury has shortlisted seven photographers to choose from, each from a different country and each working on a series with an environmental theme.
The public has until 31 October to vote on the winner; a further €10,000 will go to a second winner selected by the jury, which this year includes curator and lecturer Lars Willumeit, and Geo Magazine chief photo editor Lars Lindemann.
The shortlisted photographers are: Niels Ackermann (Switzerland); Magda Biernat (USA); Arko Datto (India); Niklas Grapatin (Germany); Katrin Koenning (Australia); Pablo Piovano (Argentina); and Ian Willms (Canada).
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.”
The Guardian’s photo critic picks out his top five of the year, including Sohrab Hura’s installation The Lost Head & The Bird at The Nines, London during Peckham 24
With so much to see condensed into one city over the course of five days during Paris Photo (09-12 November), you’d be tempted to skip round the 149 galleries lining the elegant, glass-topped halls of the Grand Palais in a couple of hours, or even miss the main event altogether, as many do. That would be a mistake. You won’t get a better snapshot of what constitutes saleable photography in 2017, from the blue-chip North American dealers such as Gagosian, Pace MacGill and Howard Greenberg, to the work of younger artists championed by the likes of Project 2.0, Trapéz and Taik Persons. And eavesdropping on the sales patter can be a real an eye-opener.
The international photography festival in Croatia celebrates its ninth edition, hoping to unite audiences in a ‘divided’ world with its eclectic programme, which includes a Pieter Hugo retrospective; Dana Lixenberg’s award-winning Imperial Courts; and Dragana Jurisic’s elegiac pilgrimage through the former Yugoslavia, YU: The Lost Country