Over the last decade, Hiro Tanaka has published two photobooks – Dew Dew Its and Chicharron, which won the 2018 Cosmos Arles PDF Award. He has exhibited globally in group shows and photo festivals, and toured the world with punk and hardcore rock bands, where he is often spotted deep in a mosh-pit, camera pumping in the air. But before all that, he was working nine-to-five as a computer technician in Tokyo, Japan, with no interest in photography. Tanaka’s whole career sprouted from a string of unexpected coincidences, beginning with a free flight to America.
Our pick of the key stories from the past week, including the World Press Photo and MACK First Book Award nominees, and interviews with Iain McKell, Tommaso Rada, and Mona Kuhn
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.
BJP-online saw out 2018 by asking 13 photo-people from around the world to pick out the projects that most interested them over the past year – including The Guardian’s photo critic Sean O’Hagan, the FT Weekend Magazine’s director of photography Emma Bowkett, and BJP editorial director Simon Bainbridge
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.