Virginie Rebetez is a photographer preoccupied by absence. Her work explores themes around disappearance, loss and death, her subjects often physically absent or removed from the projects that depict them. Such is the case with Out of the Blue, which centres around the unresolved disappearance of Suzanne Gloria Lyall, who went missing in 1998 at the age of 19, in Albany, upstate New York. Out of the Blue was published last year by Meta/Books, and is showing in Mutable/Multiple at Quad during Format.
Lyall has never been found but traces of her remain even now, more than 20 years later. “Photography has this relationship with traces but also with proof and reality,” explains Rebetez, whose work attempts to make concrete something unthinkable, this vacuum, by becoming acquainted with Suzanne and her life in her absence. “It’s really interesting to work on something invisible with photography because somehow it gives something material to that which is not present,” she says.
“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.”
“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.