The curator, writer, and creative consultant picks out her top five of 2017 – including Jason Fulford’s Fake Newsroom, a contemporary spin on Larry Sultan and Mike Mandel’s 1983 performance
“Asselin’s Monsanto® is a courageous, investigative project that connects evidence-driven photography and visual research to the democratisation of knowledge; it’s important that this book exists in physical form, as a document, and not just in the virtual world,” says Cristiano Raimondi of Mathieu Asselin’s photobook Monsanto®. A Photographic Investigation. Raimondi is head of development and international projects at the New National Museum of Monaco and an invited curator for Platform 2017 at this year’s Paris Photo, but he’s speaking as a jury member for the 2017 Paris Photo-Aperture Foundation PhotoBook Awards because Asselin’s book has just won the prestigious First PhotoBook prize.
Established in 2012, the Paris Photo-Aperture Foundation PhotoBook Awards are divided into three categories – PhotoBook of the Year, First PhotoBook, and Photography Catalogue of the Year. The winners will be announced on 10 November at Paris Photo, and all the shortlisted and winning titles will be profiled in The PhotoBook review and exhibited at Paris Photo, the Aperture Gallery in New York, and at other international venues. The year Albert Elm’s What Sort of Life is This, Mathieu Asselin’s Monsanto: A Photographic Investigation and the group book project Amplitude No.1, which is edited by Nadya Sheremetova and includes photographers such as Irina Yulieva, Igor Samolet and Irina Ivannikova, were among those to make the First PhotoBook shortlist this year
“The Hobbyist is the first major exhibition to explore the relationship between photography and hobby culture, focussing both on the photography of hobbies and photography as a hobby,” write curators Pierre Hourquet, Anna Planas and Thomas Seelig of the forthcoming show at the Fotomuseum Winterthur, The Hobbyist – Hobbies, Photography and the Hobby of Photography, which opens on 08 September. It’s a fair but also deceptively simple summary of this intriguing show, which is backed up by a busy events programme and a magazine (in place of a catalogue). “A phenomenon as diverse and participatory as the hobby can hardly be tackled through a classical exhibition alone,” write the curators, and the magazine reflects some of this diversity, including images by photographers such as Alberto Garcia-Alix, Bruce Davidson, Alec Soth, Mike Mandel, Ricardo Cases, and Kirill Golovchenko, vintage adverts for TVs, cameras and videotape recorders, an extract from Theodore W Adorno’s test The Culture Industry, a Q&A with Jeremy Deller and Alan Kane on their Folk Archive, and essays by contemporary cultural theorists such as Olivia Baeriswyl, Therese Steffen, and Doris Gassert.
Format Festival, the Derby-based photography festival, returns this week with a special theme of ‘Evidence’, taking its cue from the legendary series of the same name by Larry Sultan and Mike Mandel. The main exhibition, which takes place at Derby’s Quad arts centre and is co-curated by Format Festival’s artistic director Louise Clements and independent curator and photo editor Lars Willumeit, is a contemporary take on the series and its associated book, Beyond Evidence – An Incomplete Narrative of Photographic Truths. Sultan and Mandel began the projects as young men fresh out of graduate school; gaining access to the picture archives at a California NASA office, they selected and recontextualised archive images from public and private American institutions, agencies and companies, creating a work that seemed to express American frontier mentality in the space race era. [bjp_ad_slot] Format’s exhibition includes work from the 1977 project and adds images by Natasha Caruana, Edmund Clark and Cristina de Middel, to “explore the relationship between image and knowledge, reminding us that not only does the camera test our ability to trust but also provokes us to ask …