BJP-online Loves Maria Sturm’s You don’t look Native to me, Jean-Vincent Simonet’s psychedelic images of Tokyo, Roger Melis’ photographs of East Germany, Dawoud Bey’s exhibition Places in History, and the fact that MACK’s First Book Award is now open-entry
“I love how the city is in perpetual metamorphosis. It’s always moving and glowing,” says Jean-Vincent Simonet, who visited Tokyo, Japan for the first time in 2016, and quickly decided he would shoot at night. “Giving a liquid feeling to the photographs made sense to me. It reinforced the psychedelic experience of being in the city”.
People in Japan describe Tokyo as a “living entity” – not just because of the earthquakes and typhoons that regularly stir the capital, but because it is a city in constant flux. At all hours of the day and night, streams of people and cars rush down its huge neon streets, which sprawl out like tributaries into pedestrianised roads, stacked 10 stories high with shops, restaurants and karaoke bars. Vibrant city centres seem to emerge right off the back of darker inner-city suburban streets, which are all connected by colossal highways, and an elaborate train network that dwarfs most other capital cities’.
“There’s not enough journalism about female friendships, they’re not given the same credit as romantic relationships, but I actually think they can be so much stronger,” says London-based photographer Francesca Allen, who spent a month in Tokyo last spring photographing the subject of her new book, Aya, a Japanese musician and now Allen’s good friend.
The pair first met in 2016, during Allen’s two week vacation to Japan. Allen, whose work often centres on womanhood and sexual freedom and is regularly featured in publications such as Ripose and The Fader, used part of her time on holiday to photograph Japanese girls. Looking across her selection of images, she felt so drawn to the photographs of Aya that the following year, she arranged to go back and make a book with her.
“Plankton are intriguing and beautiful creatures,” says Japanese photographer Ryo Minemizu. “They symbolise how precious life is by their tiny existence.”
He’s been shooting plankton for 20 years, spending between two and eight hours underwater everyday recording the tiny creatures, which can be plants, animals, or other types of organism. Drifting in the ocean, unable to swim against the current, plankton are the most abundant life form on earth after bacteria, but measuring 2mm-40mm in size, are invisible to the naked eye. Minemizu has registered his own technique to photograph them, which he’s called Black Water Dive, and which involves setting a stage underwater using flashes and other forms of lighting.
No matter how hard you try, sometimes Arles can be just like Glastonbury (sans mud) – lots of things going on and you get sidetracked, and don’t get to see the one thing you wanted to. However I did manage to get round a diverse group of exhibits this year, one of my favourites actually being the Alice Neel painting show at the Fondation Van Gogh. Here is my round-up of what I saw of note this edition. The House of the Ballenesque, Roger Ballen This was very talked about in Arles – an old ramshackle house that Ballen has taken over, to express somewhat of what goes on in his mind and informs his photography. Like a giant walk-in sketchbook, it’s part fun-house and part mental asylum, with lots of creepy figures and dolls heads stuck on mismatching bodies. It’s worth seeing because it’s a bit different, though it doesn’t quite feel like the main event – it’s more of a fun sideshow to his practice, but interesting nonetheless. Try to go on a …
The Homeric idea of the lotus has endured and today it still represents something that is sweet and addictive, capable of inducing a dreamy forgetfulness and a gentle sense of complacency. Lotus, the new photography book by Max Pinckers in collaboration with Quinten De Bruyn, sets out to question just these tempting qualities.
Shot in Japan over two years, Tokyo is Yours is inspired by manga, surrealism and film noir, and uses a gritty monochrome that Meg Hewitt first experimented with back in Sydney
“When I started researching the pornographic visuals, it hit me that there’s a clear formula in the way women are portrayed in them,” says Ina Jang. “I printed out some of the images, cut out the body figures and photographed them. From there, I kept making images with similar positions.”
Earlier this year, Magnum Photos collaborated with The Nippon Photography Institute to hold international workshops for promising young photographers, in partnership with the BJP. The workshop were led by three leading Magnum photographers, each of whom have produced a book in Tokyo at points of their career: Bruce Gilden (Go), Jacob Aue Sobol (I, Tokyo), and Gueorgui Pinkhassov (Sightwalk). Russian amateur photographer Svetlana Shutkina was selected from the attendees for the Fuji Camera Award, winning a Fujifilm X100T camera . Pinkhassov, whose 1996 series collected stolen moments of everyday Tokyo life, said that selecting a winner was a tough task, but Shutkina’s work and unique story was too good to ignore. “Svetlana’s case is a special one,” he says, “[as] a native of Chabarovsk she resides in Tokyo. Initially Svetlana hesitated to join because she could not speak English and was a complete novice in photography… [but] the more professional a photographer, the less flexible she/he is.” For Pinkhassov, a Magnum member since 1991, the secret lies in “letting go and letting an image come …
A series that includes portrait ‘re-enactments’ of archival images of Aboriginal people has won this year’s Tokyo International Photography Competition (TIPC). The Wake: Re-enacting the Spencer & Gillen photographic archive by Danish photographer Christian Vium was selected from eight shortlisted entries to be awarded the Grand Prix. Vium, who is a photographer, filmmaker and anthropologist, made his winning work in Central Australia between May and June 2014. His aim, he explains, was to creatively respond to the photographic archives of anthropologists and photographers Frank Gillen and Baldwin Spencer, who produced a comprehensive record of aboriginal life between 1875 and 1912. At the time, Vium had been researching the Spencer & Gillen archives at the Victoria Museum in Melbourne via the online digitised collection, www.spencerandgillen.net. “I wanted to revisit their cardinal work and use it as a point of departure for a contemporary dialogue about how we see and represent ‘the Other’,” says Vium in a statement about his work. “I went into the field with a selection of photographs divided into three categories: the portrait, the …