The collages of Kensuke Koike have been one of the purest forms of visual pleasure over the last two years. Videos of his working process on his Instagram account show him making miraculous reinventions of images with a single rip (his smoking woman), with a pasta machine (his dog), and with three-dimensional transformations (his sinking boat). It’s work that attracts because it seems so simple.
Take an old portrait of a loving couple, cut their eyes out, switch them around and the relationship takes a new direction. Cut a circle around the middle of a face, offset it a couple of inches, and you’re left with a pathway to that person’s interior. These are pictures that seem simple, but link up to ideas of image compression, ways of seeing, facial recognition and visual agnosias. It’s The Man who Mistook his Wife for a Hat in photographic form.
Koike’s work has attracted a loyal following, inspired countless copycat activities at photography workshops around the world, and invited collaborations from parties ranging from Gucci to Thomas Sauvin of Beijing Silvermine. It’s the Sauvin collaboration that resulted in Koike’s latest work, a book launched in November. Titled No More No Less, the publication came about after Koike was invited to work with Sauvin’s archive of old images that he recovered from Beijing silver-recycling centres.
Arnis Balcus, photographer, editor in chief of FK Magazine and director of Riga Photomonth, picks out the projects that caught his eye, including Georgs Avetisjans’ Homeland The Longest Village
Photography critic for The Guardian, Sean O’Hagan picks out the projects that intrigued him most this year – including the series No More No Less © Kensuke Koike & Thomas Sauvin
Publications we loved, and the big news stories from the last month in photobooks – featuring work by Peng Ke, Tom Wood, Paul Reas, Vivian Maier and the post-war PROVOKE group
Out of nearly 1000 submissions, the winners for this years Paris Photo/Aperture Foundation Photobook Awards, established in 2012 to celebrate the photobook’s contribution to the narrative of photography, have been announced at Paris Photo.
The Photobook of the Year award went to Laia Abril, for part one of her long-term project, A History of Misogyny, Chapter One: On Abortion (Dewi Lewis). The project is not about the experience of abortion itself, but about the repercussions for women who do not have access to legal, safe or free abortions, forcing them to consider dangerous alternatives that cause physical and mental harm.
Born in Berkeley but raised in the East Bay suburb of Walnut Creek, Mimi Plumb has been a lynchpin in the network of photographers and educators who keep the region grounded in socially engaged documentary traditions. In her own photography, she has remained close to her roots, shooting long-term projects all over northern California. Many of those projects are only now beginning to see the light of day.
One of the reasons why her archive has lain dormant for so long is that she has been teaching photography most of her adult life at local institutions such as San Jose State University and San Francisco Art Institute, where she herself gained an MA, and which has played a key role in educating many photography students in the region. In 2014, her first body of work, Pictures from the Valley, was exhibited at City Hall in San Francisco. These pictures, taken in her early 20s when she was still a student, were a campaign for trade union rights among the Hispanic field workers of California’s farmlands.
Paris Photo is epic, but beyond the Grand Palais there’s a plethora of other photo-related events in the French capital. For those interested in photobooks there are two essential book fairs – Offprint and Polycopies, both showcasing some of the most interesting new work in photography and beyond; there is also a week-long photo focus at the world-famous Left Bank bookshop Shakespeare & Co.
Laia Abril, Nina Berman, Sohrab Hura, and Carmen Winant are all in the running for the prestigious Paris Photo/Aperture Foundation Photobook of the Year Award, which will be announced on 09 November at Paris Photo.
In total ten books have been shortlisted for the award; in addition, 20 books have been shortlisted for the First Photobook, and five for the Photography Catalogue of the Year. All the shortlisted books will go on show at Paris Photo and at the Aperture Foundation in New York, then tour to various venues across Europe, as well as being featured in the Autumn 2018 issue of The Photobook Review. In addition the Photobook of the Year winner will receive $10,000.
The biggest photo fair in Europe, Paris Photo returns from 08-11 November, with a new section on erotic images, and a walk-through focusing on female photographers.
Curated by Martha Kirszenbaum, curator of the French Pavilion at the 2019 Venice Biennale, the Curiosa sector will bring together intimate images by 13 artists such as Nobuyoshi Araki, JoAnn Callis, and Antoine d’Agata. Kirszenbaum hope to challenge the viewer’s gaze on the fetishised body, and tackle “relations of power, domination, and gender issues”. “There are images not everyone would like to see, which I think is good,” Kirszenbaum told BJP in an article published in our November issue.
In our latest issue, Reframing History, we speak with Patrick Waterhouse about his project collaborating with the Warlpiri people in Australia. We talk with Andrew Moisey, who reveals the dark secrets of US all-male frat houses. And 100 years since the end of the Great War, Nicolas Thomas Moreno turns his lens on memorials to this terrible history in Topography of Remembrance. We also journey to the French capital to highlight two shows exhibiting alongside Paris Photo. The cover feature for this month’s issue is the work of Patrick Waterhouse. Over the course of eight years, he has travelled to and from Australia’s Northern territory, culminating in his latest project: Restricted Images. Made in collaboration with the Warlpiri people, he hopes to give agency to his subjects by asking them to contribute creatively to each image. Through his artistic process, he addresses the problematic break in representation, respect and consent between the first anthropological photographs of the indigenous groups of the past. A professor at a US College, Andrew Moisey has devised a comprehensive insight into …