“I think that today, we need to be able to tell stories in differently, to be able to connect to as many viewers as we can,” says World Press Story of the Year-nominated Pieter Ten Hoopen. “We’re heading towards a new phase. Before, a single image could become iconic for a whole war, or a situation of despair. Now it’s different, and I think we need to be able to tell stories in a more sensitive way.”
Hoopen’s nominated photographs for World Press Story of the Year follow the movement of thousands of Central American migrants who joined a caravan heading to the United States border between October and November 2018. It is estimated that over 7,000 people – at least 2,300 of them children – joined the trek, making it the largest caravan of migrants in recent history, according to UN agencies.
“Throughout my decade of coverage, the goal has always been to humanise this complex issue of immigration,” says John Moore, who’s nominated image from June 2018, Crying Girl on the Border, became a symbol of the families pulled apart by Trump’s “zero tolerance” immigration policy.
A shortlist of six images have been announced for this year’s World Press Photo of the Year, and three photographers shortlisted for a new award that celebrates visual storytelling – the World Press Story of the Year.
The six images shortlisted for World Press Photo of the Year are: Victims of an Alleged Gas Attack Receive Treatment in Eastern Ghouta by Mohammed Badra (Syria); Almajiri Boy by Marco Gualazzini (Italy); Being Pregnant After FARC Child-Bearing Ban by Catalina Martin-Chico (France/Spain); Covering the Disappearance of Jamal Khashoggi by Chris McGrath (Australia); Crying Girl on the Border by John Moore (United States); and Akashinga – the Brave Ones by Brent Stirton (South Africa).
The three nominees for the World Press Story of the Year are Marco Gualazzini (Italy), Pieter Ten Hoopen (Netherlands/Sweden), and Lorenzo Tugnoli (Italy) – making Gualazzini the first photographer to have been nominated for both the World Press Photo of the Year and the World Press Story of the Year.
Photo London is back at Somerset House this May for its fifth instalment, with a special exhibition of new and unseen work by this year’s Master of Photography, Stephen Shore, plus Vivian Maier, Roger Fenton, Eamonn Doyle, almost 100 galleries from 21 different countries, and a giant egg sculpture.
Known for his pioneering use of colour photography, Shore’s newest body of work will be shown for the first time in the UK at the fair, as well as a series of 60 small photographs titled Los Angeles, taken through a single day in the city in 1969. “We are honoured to present Stephen Shore as our 2019 Master of Photography,” said Photo London’s founding directors Michael Benson and Fariba Farshad. “As his recent retrospective at MOMA (New York) admirably demonstrated, Stephen is a truly pioneering photographer who has consistently pushed the boundaries of image making throughout a long and successful career.”
Our pick of the key stories from the past week, including: World Press Photo Foundation’s 6×6 talents from North and Central America; Kensuke Koike and Thomas Sauvin’s No More No Less; Graciela Iturbide’s Mexico; JA Mortram’s Small Town Inertia; and the Jimei x Arles festival in China
Behind a shop vitrine, a human skull, wearing a helmet adorned with a swastika, grins. Next to it, an animal – apparently taxidermic – stands rigid on the floor. The silhouette of a pair of legs belonging to a passer-by on the street reflects in the glass. Above this desultory display, a banner stuck to the top of the window reads, “Mexico… ¡quiero conocerte!”. In this single photograph, taken in 1975 in Chiapas, Graciela Iturbide projects her vision of Mexico: a country of political, religious, social, cultural and economic pluralities and tensions. A place where contrasts present themselves at every turn – sometimes harmonious, sometimes tense.
It is this multilayered image of Mexico that Iturbide has slowly peeled back and revealed through her photography over the last five decades. She has travelled extensively across her own country, between urban and rural landscapes, living with different communities, and moving from the physical to the transcendental, the ancient to the contemporary, witnessing and experiencing the juxtapositions intertwined in Mexican culture.
The World Press Photo Foundation has announced the six talents from North and Central America in its ongoing 6×6 Global Talent Program. Aimed at picking out under-recognised visual story-tellers from around the world, the 6×6 programme is now on its fifth region, out of the six identified around the world. This time, the talents picked out were: Dylan Hausthor, USA; Ian Willms, Canada; Mariceu Erthal García, Mexico; Nydia Blas, USA; Tomas Ayuso, Honduras; and Yael Esteban Martínez Velázquez, Mexico.
Each talent has been picked out for two stories: Hausthor, for example, submitting a project called Past The Pond, Setting Fires, about arson in small-town America; and Wood Grain Lick, a documentary and fictional look at life on the edges. Willms’ projects are As long as the sun shines, a story about oil sands extraction in northern Alberta, Canada, and its effect on the local community; and We shall see, about the death of his biker father. Mariceu Erthal García’s projects are Iriana, shot on a holiday in Cuba; and Letters to Gemma, about a young Mexican woman who disappeared seven years ago.
Nelson Morales was seven years old when he saw a Muxe for the first time. Seeing an individual he didn’t identify as a woman proudly wearing a tiny swimsuit, fluffy feather boa and glistening sequins at a local festival, he was “shocked”, he says.
But Morales was growing up in the city of Oaxaca, central Mexico, where the Muxes are regarded as a third gender – assigned male at birth but interested in codes of dress and behaviour associated with femininity, often from a young age. Asked to photograph the Muxes community, Morales soon found himself liberated by them.
He continued to photograph the Muxes – and himself – for eight years, hoping to capture the complexity of their lives and to confront his own identity as he joined their community. His book, Musas Muxes, is published by Mexican collective Inframundo.
In the city of Oaxaca, the Muxes are regarded as a third gender. They are assigned male at birth, but from a young age they dress and behave in ways associated with the female gender.
One day, Morales was asked by a friend to photograph this gender-fluid community, and soon he found himself liberated by them. Over eight years he photographed them, and himself, hoping to capture the complexity of the Muxes lives, while confronting his own identity in the sensual and challenging space of the Muxes.
On 7 September 2017, just before midnight, a magnitude 8.1 earthquake hit Mexico’s southern coast, the second strongest earthquake in the country’s history. It was felt by 50 million people across Mexico and, in the heavily affected states of Oaxaca and Chiapas, killed dozens of people and left over 100,000 homes damaged.
When the earthquake hit, Andres Millan was living in his hometown in Bogota, Colombia, preparing for a four-month residency that would start in November at Casa El Ocote, a gallery and cultural centre in Oaxaca. At quarter to midnight, alerts started to pop up on Millan’s mobile phone. When he switched on the news, the first image he saw was of the Mexican flag at the Municipal Palace in Oaxaca, lit up by lights coming from police cars.
My home is my castle references these first images that Millan saw from Colombia when the earthquake hit. “I wanted to recreate the light from the police car, so the photos are made with two flashes, one with a red filter and another with a blue one. The mixture of colours made the images acquire that pink colour,” he explains.
Between 1993 and 2010, Harvey Stein visited Mexico 14 times, which makes every year bar three. Fascinated by what he found, he photographed communities in small towns and villages, mostly during festivals such as Day of the Dead, Easter, and Independence Day.
In his new book, Mexico – Between Life and Death, Stein explores the disparities of a culture he became fascinated by, showing Mexico as a country of contrast – where life meets death, deep-rooted tradition meets creeping progress, and religious belief meets worldly corruption.