Circulation(s) returns for three months from April 20 2019 at the CENTQUATRE with a focus on emerging European photographers
Our pick of the key stories this week includes a preview of photography festivals in Japan and France, news on the National Portrait Gallery’s refusal to accept a £1m Sackler Trust donation, and interviews with photographers Aaron Schuman and Tomas Bachot
Our pick of the key stories from the past week, including Q&As with image-makers like Mathilde Vaveau and Karol Palka, Paul Senn’s documentation of a mass migration from Spain in 1939, and the programme for the 50th Les Rencontres d’Arles.
“I believe that collective memory and individual experience, politics and personal beliefs, are interrelated,” says Yorgos Yatromanolakis, and it’s easy to see why. Born in Crete in 1986, he got into photography in December 2008 because he wanted to document the riots that broke out in Greece after a 15 year-old, Alexandros Grigoropoulos, was shot dead by the police. Shot in grainy black-and-white and printed by Yatromanolakis, the resulting images were later self-published as a book, Roadblock to Normality.
“Roadblock to Normality is a small, personal, but at the same time collective notebook emanating from my participation in political and social movements in my country,” says Yatromanolakis. “It certainly captures, in a subjective way, some critical political events.”
“To me photography is a means, perhaps the best means of our age – of widening knowledge of our world. Photography is a method of education, for acquainting people of all ages and conditions with the truth about life today,” wrote photographer Berenice Abbott, in an unpublished text from 1946, Statement in Regard to Photography Today. Berenice Abbott: Portraits of Modernity will run at the Fundación MAPFRE in Barcelona till 19 May 2019. Following its showing in Barcelona, the exhibition will go on display at the Fundación MAPFRE’s Sala Recoletos in Madrid from 01 June till 23 August.
Our pick of the key stories from the past week, including a new book on London’s Thamesmead estate, an exhibition of Diane Arbus’ early work, and World Press Photo Foundation’s pick of the emerging photographers from Asia
Born in 1981, French photographer Benjamin Deroche studied literature before becoming a photographer – and its mark can perhaps still be seen in his images’ ability to “dereal reality” as critic Françoise Paviot puts it. In his recent series Surnature and Baltica, for example, he creates installations within the landscape, contrasting the natural world with his constructed interventions.
Evoking the land art of Andy Goldsworthy or Nils Udo but resulting in appealing, richly-colour images, this work aims to help viewers question their vision of the world. “There are often very beautiful things in the exteriors of my image but I decide not to return them,” he says, “to leave them out of the field as if there existed a kind of magic to guess them.”
Our pick of the key stories from the past week, including Paris’ Circulation(s) festival of emerging European photography, the first-ever Kyiv Photo Book festival, and Todd Hido’s Bright Black World
The Circulation(s) festival returns to Paris from 20 April – 30 June, featuring work by photographers based in or originally from Europe. This year the festival has been directed by Francois Cheval and Audrey Hoareau, who used to work together at France’s respected Musée Nicéphore-Niépce but left to set up The Red Eye project. As they’re at pains to explain, though the festival is pitched as a festival of “young photography”, it actually promotes emerging work, whatever the photographer’s age.
“There isn’t really an age limit, the only “true” condition is to come from Europe or to reside in a European country,” they say. “Another criterion is to not have been shown very much in France and Europe. We know that the term ‘young photography’ is ambiguous… Circulation(s)’ desire is simply to offer emerging photographers, regardless of their age, a springboard.”
They add that the festival was one of the first to question the overrepresentation of male photographers, and also to pay its exhibitors; in addition, this year’s edition includes photographers from “countries whose state of contemporary photography is insufficiently known”, such has Georgia or Estonia. It also includes Romania, which this year has a special focus as part of the French Institute’s France-Romania Season.
“These documentary practices coalesced into a visual culture which, with its aptitude for capturing and transmitting collective emotions, became a tool for political propaganda,” write Hannah Darabi and Chowra Makaremi. They’re talking about the work produced in Iran in the years 1979-83, the period after the fall of the Shah and at the start of the Islamic government and a time in which freedom of speech briefly flourished, they argue, before descending into something darker.
“These few years stand out on their own in terms of the country’s publishing history,” adds Makaremi. “The creation and distribution of books would never be as unfettered as it was during this period. Nevertheless, at the same moment, books were also progressively becoming instruments of political propaganda and publishing became the laboratory in which to experiment with every form of dissemination of emotions, ideologies, and opinions. This propaganda operated through the production of texts, but also, and especially as of 1979, through visual and pictorial production.”
Darabi is a visual artist and collector who was born in 1981 in Tehran but is now based in Paris; her collection of Iranian photobooks make up the backbone of Le Bal’s latest exhibition, along with her own photographic “reconstructions”, creating using contemporary photographs of Tehran and archive images such as family snaps, press images, and postcards. Makaremi, a tenured researcher and a member of the National Center for Scientific Research (CNRS) in Paris, has “decrypted” the exhibition; in addition, Le Bal and Spector Books have worked with Darabi to create an accompanying photobook, with an introduction by Makaremi.