In our collective unconscious the atom bomb is synonymous with Hiroshima and Nagasaki. But since 1945 it has been documented that more than 2079 nuclear bombs have been detonated on Earth. Since the end of the Second World War, nuclear power countries have methodically bombed their own lands. Self mutilation in the name of self defense.

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David Farhi, Anecdotal radiations

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Copa Room showgirl Lee Merlin poses in a cotton mushroom cloud swimsuit as she is crowned "Miss Atomic Bomb 1957." Photo Credit: Don English/ Las Vegas News Bureau/Las Vegas Sun

Anecdotal Radiations is a series that uncovers the unknown, forgotten and often very strange stories surrounding nuclear armament and testing programs. A couple of the anecdotes are well-known such as the Miss Atomic Bomb pageant or the story of the bikini. Others are downright baffling: the chicken vaporized when a nuclear bomb is dropped by mistake, the taste of a beer after a nuclear explosion, the ultra secret activation code on all American nuclear weapons set to "00000000", etc.

David Fathi has collected archive photos, satellite imagery, packshots and road-trip photos. By adding his own images to the archive documents, the photographer orchestrates a series of baffling, yet true, stories that illustrate the discrepancies that exist between the world we have created and the world we believe we live in.

I discovered the series last month at the festival Photo Ireland and the more i read about these anecdotes on Fathi's website, the more i thought i should get in touch with him and interview him:

Hi David! What inspired you to have a look at some of the 'unfamiliar stories and anecdotes' about nuclear bombing and experiments?

I believe my fascination started a couple of years back with one image.

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Nuclear explosion photographed less than one millisecond after detonation. From the Tumbler-Snapper test series in Nevada, 1952, showing fireball and "rope trick" effects. The fireball is about 20 meters in diameter in this shot

This is the photo of a nuclear explosion, just a couple of milliseconds after its detonation. At the time, nothing could capture such images, and scientists had to design an entirely new high-speed camera. I was mesmerized by this photo, as it is a scientific document of something terrifying but seems so abstract and beautiful.

We normally have this very clear image of the atomic bomb as a mushroom cloud, and here we have a photo that completely changes our perception of it, by showing its origin.
I wanted to find a way to talk about this image in a project some day, but hadn't found the right approach yet.

Last year I finally started researching nuclear testing, and it was like going down the rabbit hole. I knew, just like everybody else, that nuclear testing happened during the cold war. But I had never really stopped to think about what that meant. When I thought about the bomb, Hiroshima and Nagasaki is what came to mind, even though since then, more than two thousand bombs have detonated on earth.

The more I researched, the weirder it got. When trying to deal with the gap between weapons of unfathomable power and the human stories of the men who try to master them it becomes absurd, terrifying and darkly funny.

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David Farhi, Anecdotal radiations

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David Farhi, Anecdotal radiations

The series mixes archival photos, satellite imagery, packshots and road-trip photos. How do you combine them? do you start with archive material and then add your own images to fill some gaps, for example?

I start with an anecdote. After enough research, I find this small story that is totally true, but seems unreal. It becomes one of the building blocks around which I start gathering photos.

Then I list the typologies of photos I want to use (satellite imagery, archives, packshots, roadtrip) and try to find how I can illustrate in a literal fashion the story. Once I have gathered enough material, it seems very factual and straightforward. That's when I try to break it up, and find images that are more metaphorical and only tangentially related to the story.

The aim is to create a documentary based on facts, but the result seems like fiction. So it's all about finding a balance between precise documentation and playful deconstruction.

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David Farhi, Anecdotal radiations

Some of the experiments you selected for the series seem to have been conceived by brazen, unconscious minds. There are also accidental releases of nuclear bombs too. Do you you think the military is more cautious nowadays or are there still some dangerous experiments taking place? How much do you think is still hidden from us?

I'm close to finishing my project, and I'm trying to find a couple of stories that are more recent, so that people remember that nuclear weapons are not just a thing of the past and more probably something we will have to continue dealing with for centuries to come.
So here are a couple of things that we learned recently about the United States nuclear program:

- In August 2007, six nuclear warheads were loaded by mistake on a military plane. When it landed, nobody knew the devices were on board. The plane was left unguarded on the tarmac for 36 hours before people realized what was happening.

- In September 2013, the n°2 officer in charge of Nuclear Command was fired for gambling with counterfeit poker chips.

- In December 2013, one of the top generals in command of nuclear armament was fired for an incident in Moscow where he was seen with Russian escort girls drunkenly boasting about what he was in charge of.

- In March 2014, 82 nuclear launch officers were implicated in a cheating scandal on their security exams.

These are just stories uncovered by the press in the USA, as Russian, Chinese, French, British, Israeli, etc. Nuclear programs are very tightly kept under wraps. It's nearly impossible to get relevant data about those.

With all of this in mind, I find it hard to understand how nuclear armament is not more prominent in the news.

Could you pick up some of the images you selected from archives or made yourself and comment what they are about? Explaining why you chose them from archives or why and how you made them? (i started selecting the photos that intrigued me the most but i ended up with so many of them i decided i'd let you chose instead)

This photo is an actual press archive of Spanish minister for information and tourism Manuel Fraga Iribarne and US ambassador Angier Biddle Duke swimming near Palomares, Spain, after the crash of a B-52 bomber and the loss of four nuclear warheads. All to assure the local population that everything is safe and under control.
The manipulation on top of Fraga is a superposition of the satellite image of a nuclear crater.

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David Farhi, Anecdotal radiations

Speaking of satellite imagery, I printed out photos of nuclear impacts. I then created these sculptures for two reasons. Firstly they seem like rocks & minerals, alluding to the melted rocks you can actually find on sites where nuclear bombs were tested. And secondly to give these images a 3D existence. All these "scars" are visible just by going on Google Earth, but we still don't really know they exist, so maybe by giving them this three-dimensional quality they can appear as more "real".

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David Farhi, Anecdotal radiations

This photo was taken on the road between Nevada and California. There have been some lawsuits around these regions by communities who claim having been exposed "downwind" from the Nevada Test Site. I took quite a few photos along this path, looking for semi-fictional traces of these stories.

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David Farhi, Anecdotal radiations

This is a screenshot from the documentary Atomic Café, a great source of information that everybody should watch. The movie has an incredible wealth of obscure archival films of the cold war era. This particular clip is still amazing to me, as I have found no clue to where it came from. It's part of a long list of absurdities you stumble upon when doing research on the subject (like Nuclear War card games, Miss Atom Bomb beauty pageants, etc)

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David Farhi, Anecdotal radiations

What were your objectives in publishing this series of photos. Was it purely informative and anecdotical or is there a more socially engaged or political motivation behind the series?

My interest in this subject is mainly psychological. The politics of nuclear armament seem pretty easy. Even people in charge of such programs do not see nuclear bombs as a good thing. So how do we deal intellectually with their continuing existence?

There is a huge dissonance between the world we imagine we live in and the one we actually live in. The over-the-top consequences of nuclear bombs are so immense that we naturally shut it out of our minds. My objective is not to say nuclear bombs are bad (that is quite a boring statement and everybody agrees), but more to force people to question everything, entities of power as much as their own selves.

Governments and media have of course their role in keeping out of reach the implications of nuclear weapons, but we as individuals have as much a responsibility in comprehending history, science and human knowledge. In telling these small anecdotes, I try and use humor, terror, and a general playfulness to try to suck in the viewer, and get him or her to question what they think they know.

I hope this series is more about confronting our own way of perceiving the world, and how to think critically of the consequences of our decisions.

In fact the best thing for me would be if people would even call into question my own photos and stories. I'm telling you all this is true, but you'd be better off by doubting and starting your own investigation.

Thanks David!

Sponsored by:





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Trujillo/Paumier, Untitled (Muxes 10), 2009

I'm one day late (how lame!) for my wrap-up of the exhibitions i enjoyed in London in July.

Starting obviously with the favourite one. Men y Men by TrujilloPaumier at New Art Projects. Joaquin Trujillo and Brian Paumier went to Oxaca to portray two communities who communicate radically different ideas of masculinity. Paumier's Moros are cowboys standing next to their horses, while Trujillo's Muxes shows a community of mixed gender people living in the indigenous Zapotec culture of Oaxaca.

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Trujillo/Paumier, Untitled (Muxes 4), 2009

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Trujillo/Paumier, Untitled (Muxes 11), 2009

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Trujillo/Paumier, Untitled (Moro 2), 2012

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Trujillo/Paumier, Untitled (Moro 27), 2012

Trujillo Paumier: Men y Men closed on 20 July.

British Folk Art at Tate Britain is bizarre, quirky but thankfully never condescending. Instead of wasting time speculating on is it art/is it not art?, the exhibition celebrates people's creativity and resourcefulness. Expect gigantic boots that served as tradesmen's signs, a cockerel made by prisoners from the Napoleonic Wars out of mutton bones, imposing ship figureheads, embroidered remakes of classic paintings, etc. I'd be more enthusiastic if folks didn't have to pay £13.10 to enter.

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As assortment of oversized objects, including a boot used to advertise a cobbler's. Photograph: Anna Partington/Rex Features

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British Folk Art © Ana Escobar for Tate

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Image by HFA

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Jesse Maycock, King Alfred 1961, Museum of English Rural Life. Photo: Tate

The show is up until 31 August 2014. Happy Famous Artists has a great flickr set.

Still at Tate Britain, there's a couple of rooms hosting Chris Killip's photos. Love the work, not so much the sponsor of the exhibition.

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Chris Killip, Whippet Fancier. Serie Huddersfield, 1973. © Chris Killip

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Chris Killip, Crabs and People, Skinningrove, North Yorkshire © Chris Killip, 1981

One of the most interesting galleries in London, Calvert22, is showing the work of photographers and video artists who explore identity and place in early 21st century Russia alongside the pre-revolutionary works of Sergei Prokudin-Gorsky.

I liked the work of Alexander Gronsky a lot. Especially the series Pastoral, which looks at the desolate spaces where the urban and the rural meet.

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Alexander Gronsky, Yuzhnoe Tushino II, 2010. From the series "Pastoral: Moscow Suburbs"

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Alexander Gronsky, Dzerzhinskiy VI, 2011. From the series "Pastoral: Moscow Suburbs"

Close and Far: Russian Photography Now is at Calvert22 until 17 August.

I also went to the Horniman Museum in Forest Hill, London. The building and botanical gardens opened in 1901 to host the collection of a business man who traveled the world to gather objects related to world culture, natural history and music. Among the 350,000 objects, there are lots of stuffed animals, a Spanish Inquisition torture chair and a charming little Merman (the husband of the mermaid?)

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Specimen of Ningyo mermaid, Feejee mermaid or merman, Japan, with paper-mache body, and fish-tail originally from the Wellcome Collection

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Flying Fox (Pteropus sp.) Skeletal - taxidermy double preparation of Flying Fox

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European Hedgehog specimen from the Natural History Gallery

I never found the merman, alas! But i discovered doublepreps: half the animal is shown as taxidermy, the other half is stripped to its skeleton.

One of the Horniman galleries has a fascinating photo exhibition that documents the lives of indigenous peoples in the Russian Arctic. The photos were taken by British photographer Bryan Alexander who has been travelling to the Arctic since 1971.

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Grisha Rahtyn, a Chukchi reindeer herder, iced up at -30 C after working with his reindeer during the winter

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Khanty women in traditional dress at a spring festival in the village of Pitlyar

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When thrown into air at -51C, boiling water transforms into vapour and ice. This is because boiling water is close to a gas and breaks into tiny droplets that can freeze at once

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Reindeer graze in the Yamal peninsula

Whisper of the Stars: Traditional Life in Arctic Siberia is at the Horniman Museum until 07 September 2014. Interview with the photographer. More photos in The Guardian.

I'll end with An Idiosyncratic A to Z of the Human Condition at the Wellcome Collection. The exhibition offers a selection of some of Henry Wellcome's objects, medical artefacts, paintings, photographs and sculptures, along with a couple of contemporary artworks.

I wasn't as impressed as every single journalist who published glowing reviews of the show in their newspapers but i did enjoy some of the artefacts. Such as this photo of rubber beauty masks that removed wrinkles and blemishes.

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Rubber beauty masks, 1921. Image Wellcome Library

Or this fetching corrective ear-cap, patented by Adelaide Claxton in 1945 to wear at night in order to 'correct and prevent the disfigurement of outstanding ears'.

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The Claxton improved patent ear-cap, 1925-1945.

The exhibition is up until 12 October 2014.

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Facade of the Open Eye Gallery. Paul Morrison, Urformen © Photo Paul Karalius

Last month, i visited the Liverpool Biennial. It was boring (BO-RING) but it was still worth the trip. One: because I love Liverpool and i'm happy as long as people around me have that cute accent. Two: because of the show at the Open Eye Gallery. It is part of the official programme of the biennial but it was one of the few shows in town that made me think and reflect upon the art world and the way it is represented/represent itself.

Not All Documents Are Records: Photographing Exhibitions as an Art Form looks at photographic works that bring a critical and artistic gaze on some of the most important art events in the world and asks the question: "Can photography be the site where the history of an exhibition is produced and still retain its independent artistic autonomy, thus overcoming pure documentation?"

Four bodies of works are brought together to make us reflect on this question. Two are contemporary, they are by Cristina De Middel of the Afronauts fame and by Ira Lombardia. The other two, by Ugo Mulas and Hans Haacke respectively, are historical.

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Venice, 1968. Workers protests, XXXIV Esposizione Biennale Internazionale d'Arte Photo Ugo Mulas © Ugo Mulas Heirs

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Venice, 1968. Student protests, XXXIV Esposizione Biennale Internazionale d'Arte Photo Ugo Mulas © Ugo Mulas Heirs

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Photo © Paul Karalius

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Photo © Paul Karalius

Venezia, 1968. Sala di Rodolfo Aricò, XXXIV Esposizione Biennale Internazionale d'Arte
Venice, 1968. Room of Rodolfo Aricò, XXXIV Esposizione Biennale Internazionale d'Arte. Photo Ugo Mulas © Ugo Mulas Heirs

I'm going to start with Ugo Mulas' take on the Venice biennale of 1968. I knew the photographer's work for his portraits of the superstars of the art world in the 1960s. But the photos exhibited at the Open Eye Gallery are miles away from the glamour you might expect from the Venice event.

Mulas had been covering each edition of the Venice biennial since 1954. The images in the gallery date from 1968, a year marked by social uprisings around the world (Mai 68 in France, anti-Vietnam war demos, etc.) The art biennial, which naturally echoes changes in society, experienced similar turmoils. Students and intellectuals took to the street to protest against the establishment represented by the Venice Biennale, brandishing banners that denounced the "policed biennial of the bourgeoisie" (policemen were indeed guarding the entrance of the Giardini) and claiming that 'La Biennale è fascista.'

They also questioned the institution itself on matters such as freedom of speech and vilified it for its sales department, accusing the biennial of being a capitalist playground for the rich. The biennale's board subsequently dismantled the sales office.

In solidarity, some of the participating artists covered up their works, withdrew their work, turned them over or wrote over "in these conditions i'm not working."

Mulas photographed the most salient moments of the opening: the protests, the curators carelessly drinking spritz on Piazza San Marco, the police crackdown against demonstrators, etc.

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Photographic Notes, documenta 2, Gonzales Nun, 1959 © Hans Haacke © DACS, London

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Photographic Notes, documenta 2, Kandinsky, Micky Mouse, 1959 © Hans

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Photographic Notes, documenta 2, Léger Family, 1959 © Hans Haacke © DACS, London

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Photographic Notes, documenta 2, Cleaning Women, 1959 © Hans Haacke © DACS, London

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Photographic Notes, documenta 2, Magritte 2 Profiles, 1959 © Hans Haacke © DACS, London

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Photographic Notes, documenta 2, Pollocks, Large Group, 1959 © Hans Haacke © DACS, London

The context of Hans Haacke's photos of the second edition of Documenta in Kassel is very different from the one of the 1968 biennial. Founded in 1895, the Venice biennial is the oldest exhibition of its kind. Documenta was created 60 years later as a means for bringing Germany up to speed with the most modern and contemporary art forms that had been banned under Nazi's politics of artistic obscurantism and censorship.

Haacke, still a student at the Art Academy in Kassel in 1959, worked as an exhibition guard for the second edition of Documenta. In his free time, he independently took on the task of visually 'documenting Documenta'. The 26 black and white images hanging on the walls of the Open Eye Gallery are witty and full of humour. Instead of being strictly about the art exhibited, the images display Haacke's interest into the rituals and peculiarities of an art event. They show how absurd the dialogue between artworks and viewers can be. A family attempts to find some relationship between a description in the catalogue and the work hanging on the wall. A young boy is far more interested in mickey magazine than in the Kandinski hanging behind his back. Other photos gives us a glimpse of what happens behind the curtains of the art world: cleaning ladies doing their job, a Moore sculpture waiting next to a pile of bricks to be carried to the exhibition room.

Nowadays, most of us have seen images of the kind. The museum photos of Thomas Struth or Martin Parr's sneaky portraits of collectors at Dubai Art Fair, for example. In 1959, photographers' sociological explorations of the art world were pretty unusual.

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Cristina De Middel. Photo © Paul Karalius

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Cristina De Middel

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Cristina De Middel

Cristina De Middel was invited by the gallery to imagine what the future edition of the Liverpool Biennial would be like. The commission came as the preparations for the event were underway.

Instead of going into wild speculations, the photographers looked for evidence in the archives of photography and press cuttings that documented past editions of the event. She then used and remixed the images and headlines in prints that cover the walls of the first room of the gallery.

To create her collage, she contacted both the photographers who had made the original images and the artists whose work appear in the photo. The photographers gave her the permission to use and rework their images. Many of the artists, to my great surprise, refused. So while artists have been constantly borrowing and re-appropriating other artists works to create new ones, they negate photographers the possibility to do so. Does that mean that a photographer is not an artist? That they can only produce images that document? To meet their censorship, De Middel painted over the artworks appearing in the photos, blurring and often even distorting their contour. Her new body of work interrogates thus the authenticity of photography (something she had done previously with the Afronauts, a series that charted the 1964 Zambian space programme which never actually came to its full realization) and highlights the tension between creativity and documentation that the photographic medium encompasses.

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Ira Lombardia, And I Think to my selffffffffff what a wonderful worlllllllllld, 2012. Photo by Paul Karalius

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And I Think to my selffffffffff what a wonderful worlllllllllld © Ira Lombardia, 2012

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And I Think to my selffffffffff what a wonderful worlllllllllld © Ira Lombardia, 2012

Upstairs, i almost missed the work of Ira Lombardía. During her visit of the last edition of Documenta, the artist saw a light phenomenon on the floor of one of the exhibition gallery. She mistook it for an authentic work of art (such confusions happen to the best of us when dealing with contemporary art.) Lombardía took a photo of it and went on to create a whole narrative around it. She invented an artist and a description for the artwork that never was. She then copied faithfully the catalogue of the Documenta exhibition and substituted one of the artworks by her photo of the light phenomenon and added the bio of her fictitious artist. She later wrote a letter of apology to the artist whose name and work she had removed from the catalogue.

Not All Documents Are Records: Photographing Exhibitions as an Art Form, curated by Lorenzo Fusi, remains open until 19 October 2014 at the Open Eye Gallery in Liverpool.

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Photo: Paolo Pellegrin, commissioned by Fiona Banner in collaboration with the Archive of Modern Conflict

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Mistah Kurtz - He Not Dead, 2014, Mixed media pinstripe wall drawing and framed Silver Gelatin photographs. Image Fiona Banner

I entered the PEER gallery a bit by chance and quickly realized that the exhibition involves one artist whose work i admire, an interesting-sounding organization called Archive of Modern Conflict and a photographer who has won numerous awards for his work on AIDS in Uganda, the conflict in Kosovo, the war in Lebanon, anti-terrorism in Algeria, etc.

The artist is Fionna Banner and the photographer is Paolo Pellegrin. Banner asked the photo reporter to explore the City of London and to reflect its activities, behaviours, customs and costume through the lens of conflict photography.

The photos are every bit as good as you would expect from Pellegrin and the way Banner has orchestrated them in the exhibition only adds depth, humour and an extra layer of information. Hundreds of the images are sequenced in a short and gripping film, accompanied by a mixed soundtrack of open cry trading at the London Metal Exchange, melded with a persuasive and hypnotic drumbeat. The other photos are either displayed in museum-type vitrines or inside frames hanging on the walls of a second gallery. Floor to ceiling graphite drawings magnify traditional City pinstripe suits to the point that they become overbearing (or maybe it's just me who's uncomfortable with having a drawing of a banker's crotch at eye level.) The iconic pattern of the financial district even finds itself, absurdly, turned into nail art design. An amusing juxtaposition if you think that the financial sector in London has been relentlessly accused of being sexist.

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Pinstripe nails, 2014. Image Fiona Banner

Speaking of sexy sex, i had to smile in front of the map that shows how strip bars are surrounding the Square Mile. The City of London Corporation has its own electoral system and its own laws. One of them forbids the presence of strip bars in the City. :

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Image Fiona Banner

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Mistah Kurtz - He Not Dead, 2014, Vitrine detail, 2014. Image Fiona Banner

The title of the show is Mistah Kurtz--he not dead. Mistah Kurtz is a character from Joseph Conrad's book Heart of Darkness. Kurz is a shrewd and corrupt ivory trader in Africa who has managed to turn himself into a demigod of all the tribes surrounding his station. Towards the end of the book, the death of Kurts is announced by a 'manager boy' with the words 'Mistah Kurtz - he dead.' The City culture of excess, greed and aloofness from society offers indeed parallels to Conrad's narrative.

After the show, the photos will be filed at the Archive of Modern Conflict under the heading Heart of Darkness, 2014.

It is not the first time that Banner references Heart of Darkness. Two years ago, she organised a performance of Orson Welles' screenplay Heart of Darkness, based on Conrad's story. It would have been Welles' first film but it was rejected. He made Citizen Kane instead.

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Photo: Paolo Pellegrin, commissioned by Fiona Banner in collaboration with the Archive of Modern Conflict

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Mistah Kurtz - He Not Dead, 2014, Pinstripe drawings, vitrines, objects, high definition digital film projection and framed silver gelatin photographs, 2014. Image Fiona Banner

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Mistah Kurtz - He Not Dead, 2014, Pinstripe drawings, vitrines, objects, high definition digital film projection and framed silver gelatin photographs, 2014. Image Fiona Banner

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Mistah Kurtz - He Not Dead, 2014, Vitrine detail, 2014. Image Fiona Banner

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Mistah Kurtz - He Not Dead, 2014, City of London bollard (detail), 2014. Image Fiona Banner

Mistah Kurtz - He Not Dead, 2014, High definition digital film projection and mixed media wall drawing, 6.19 minutes, 2014. Image Fiona Banner

Mistah Kurtz--he not dead is at PEER in London until 26 July 2014:

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Previously: Fiona Banner at Tate Britain.

It took me ages to go through all the photos and bits of info scribbled all over flyers and scraps of papers but here's finally a few notes about the Fotofestiwal which closed in Łódź a couple of weeks ago

When it was first launched in 2001, the Fotofestiwal was the first independent photography event of its kind in Poland. I had never visited the festival before but the program looked good: young talents, Eastern European artists whose work was new to me and a few blockbusters which, this year, included Roger Ballen's portraits of marginalized people in absurd settings and Volker Hinz's quirky portraits of fashion stars and celebrities of the 20th century. Predictable blogger that i am, i only had eyes for the new names and the socially-engaged exhibitions. So that's what this report from the festival is going to focus on. That and the city.

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Agnieszka Rayss, No Man's Land, Grand Prix Fotofestiwal 2014

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I really really enjoyed Łódź. I discovered the city by following the parcours of exhibitions and by getting lost on my way from one abandoned courtyard to a world famous National School of Film, from a street art mural to all kind of ex-industrial buildings spectacularly converted into art centers or shopping malls.

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Os Gemeos + Aryz (better images at Unurth)

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At the Museum of Cinematography

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Fabryka Sztuki

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Inside Fabryka Sztuki

But let's get back to the exhibitions.
First stop: the big warehouses of Fabryka Sztuki where i saw the work of the winners of the Leica Oskar Barnack Award 2013: Evgenia Arbugaeva who traveled back to the Siberia of her childhood, and Ciril Jazbec who documented the life of the 'first climate refugees.'

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Evgenia Arbugaeva, Tiksi, the Far North (Astronaut on Neptune, or Tanya wears snow mask), January 2011

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Evgenia Arbugaeva, Tiksi, the Far North, 2011

Evgenia Arbugaeva grew up in Tiksi, the most northerly settlement with a population of (barely) over 5,000. She came back to her home town 20 years after having left to live abroad. She photographed the Tiksi of her childhood memories. Her other objective was to capture a town "in the middle of nowhere," before it disappears.

She explained in an interview with Leica camera blog: Under the USSR, Tiksi was to be an important seaport on the Northern Sea Route. In those times the government put a lot of energy into development of the Arctic regions building military bases, meteorological stations, towns, etc. After the fall of the USSR all these projects went into decline, people left and ships stayed, rusting in seawater. It's scary to see those monuments to what was once a big dream of the great North.

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Ciril Jazbec, Waiting to Move (Harvey "Morshik" Tocktoo throwing an Inuit harpoon at the traditional wellness picnic held by the town council to help against suicides among the youth)

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Ciril Jazbec, Waiting to Move (Living room of Deniss Sinnok, widely considered the best hunter in the locale. He shot the polar bear a few years ago, on a walrus hunt. Sleeping on the couch in front of the TV is his daughter Hillary.)

Ciril Jazbec, Waiting to move documents life on an island no wider than 400 meters and 5 kilometers in length, in Alaska. The island is threatened by the effects of climate change: erosion, storms and inclement weather, as well as by the thawing of permafrost. Al Gore referred to its inhabitants, a modern Inupiaq Eskimo community called Shishmaref, as the first climate refugees.

The most exciting exhibition for me however was the Grand Prix Fotofestiwal, a competition for young artists with 'cohesive ideas' and 'brave visions.' I already blogged my two favourite: A guide to life forms altered by the human species and Norilsk, daily life inside an environmental disaster.

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Adam Lach, Stigma, Grand Prix Fotofestiwal 2014

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Adam Lach, Stigma, Grand Prix Fotofestiwal 2014

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Adam Lach, Stigma, Grand Prix Fotofestiwal 2014

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Adam Lach, Stigma, Grand Prix Fotofestiwal 2014

The Stigma Project shows the private life of a family of Roma, living in an encampment on the outskirts of Wroclaw in Poland.

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David Favrod, Gaijin, Mishiko, Grand Prix Fotofestiwal 2014

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David Favrod, Gaijin, Vent divin, Grand Prix Fotofestiwal 2014

David Takashi Favrod is the son of a Japanese mother and a Swiss father. When he was 6 months old, he moved from Japan to Switzerland where he was mainly brought up by his mother who taught him her culture. When he was 18, he asked for double nationality at the Japanese embassy, but they refused.

It is from this feeling of rejection and also from a desire to prove that I am as Japanese as I am Swiss that this work was created. "Gaijin" is a fictional recital, a tool for my quest for identity, where auto-portraits imply an intimate and solitary relationship that I have with myself.

The aim of this work is to create "my own Japan", in Switzerland, from memories of my journeys when I was small, my mother's stories, popular and traditional culture and my grandparents war recitals.

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Antoine Bruy, Scrublands, Grand Prix Fotofestiwal 2014

From 2010 to 2013, Antoine Bruy hitchhiked throughout Europe to meet men and women who chose to abandon their urban lifestyle and adopt self-sufficient life styles.

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Kirill Golovchenko, Bitter Honeydew, Grand Prix Fotofestiwal 2014

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Kirill Golovchenko, Bitter Honeydew, Grand Prix Fotofestiwal 2014

Kirill Golovchenko in photographed the people who spend their summers selling fruit and vegetables on the roadsides in Ukraine. When night comes, many of them retire in tents, trailers, or makeshift shacks erected 10 meters away from the road. Many come from Azerbaijan, Georgia, Armenia and mix with the locals in a microcosm made of people who want to make money to simply get along or save up and improve their living conditions in their respective homelands where most return for the winter months.

And now for an awful amount of photos:

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Michel le Belhomme, The Blind Beast, Grand Prix Fotofestiwal 2014

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Michel le Belhomme, The Blind Beast, Grand Prix Fotofestiwal 2014

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Agnieszka Rayss, No Man's Land, Grand Prix Fotofestiwal 2014

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Marie Hudelot, The Legacy, camouflage aux banderilles, Grand Prix Fotofestiwal 2014

Screened at the festival:


Roger Ballen's Asylum of the Birds

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Volker Hinz, Poet and writer William S. Burroughs, 1987

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Inside Fabryka Sztuki

Lots and lots of big spaces that look abandoned:

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Manufaktura, the textile factory turned shopping wonderland

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Atlas Sztuki (Art Atlas) gallery

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Also at the Fotofestiwal: A guide to life forms altered by the human species, Norilsk, daily life inside an environmental disaster.

I see far more exhibitions than i can blog (i could but i'm fairly lazy, you see.) So this morning, i went through all the photos i took in London galleries and museum in June and threw them hastily in this almost laconic post in case you're in town and bored. Being bored in London seems to be my latest obsession but that's another story.

Here we go...

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Home-made apparatus to test if a detector would work on Mars, c. 1960s. Object no. 2012-125 © Science Museum, James Lovelock

The ever fabulous Science Museum has a small show about the work of scientist and inventor James Lovelock. I spotted this apparatus to test if a detector would work on Mars. Lovelock built it in his home lab in the 1960s while working on NASA's Viking Mission to Mars. It is made with an ordinary kitchen jar and lid. The detector was sealed inside the jar and air was removed via the valve on the left to replicate Martian atmospheric pressure.

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Check out the Exponential Horn while you're in the building.

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Paul Granjon, Biting Machine

Speaking of wild inventions. I caught the very last day of the Paul Granjon exhibition at Watermans. It was called Is Technology Eating My Brain? and it was very very funny. It's not every day that i laugh my face off all alone in an art gallery. The show was the result of the artist's residency in the art center. He had a couple of works in the gallery (including a magnificently visitor-unfriendly Biting Machine), the rest were works made by participants of Granjon's Wrekshop. They included a slicing photo booth and a geranium survival kit.

I spent far too long watching the videos of Granjon's fancy inventions and performances:


The antigravitational vehicle for cats

I watched this one three times:


Kicked by Furman

And I now need this book: Hand-Made Machines [Includes DVD]

The show's already closed alas! but here's a few images. And a video.

The Victoria and Albert museum was showing the short listed artists and the winner of the Prix Pictet. The theme was Consumption in all its disastrous relationship to environmental sustainability.

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Abraham Oghobase, Untitled

Abraham Oghobase photographed hand scribbled texts advertising the various informal services offered by people living in Lagos, a city of over ten million inhabitants and the commercial capital of Nigeria.

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Michael Schmidt, Lebensmittel

In Lebensmittel, Michael Schmidt portrayed the mechanized, industrialized food system of contemporary Western culture. From pigs standing skin to skin in a factory farm to piles of discarded food. Seeing the images one next to the other up on the wall was both shaming and mesmerizing. No wonder the series won the prize.

The exhibition closed a couple of weeks ago.

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Suzanne Treister, Post-Surveillance Art (POST-SURVEILLANCE ART POSTER/WORLD OPEN DAY), 2014

Suzanne Treister was investigating the rise of mass intelligence and data collection long before it became fashionable to do so.

Talking in the context of her Post-Surveillance Art series, she said that: "What has altered for me post Snowden, is not an awareness and negotiation of a changed condition, but the knowledge that now almost everybody else knows something which was clear as day if you did a bit of research, and it's great to no longer be called a conspiracy theorist."
 
The show closed a few days ago at Maggs Gallery. It was both dramatic and surprisingly humourous.

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I have no time for design products, except when they come with a Soviet aura. The GRAD: Gallery for Russian Arts and Design is showing all kinds of plastic toys, a dial-less Telephone, red velvet flags, retro futuristic vacuum cleaners, etc.

Work and Play Behind the Iron Curtain is at the GRAD: Gallery for Russian Arts and Design until 24 August.

I also visited The Human Factor: The Figure in Contemporary Sculpture during the press view. I can't say that was the show of my life. AT ALL! But there were a couple of works i was glad to see again....

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Maurizio Cattelan, Him, 2001

and discover:

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Katharina Fritsch St Katharina and 2nd Photo, 2007

The Human Factor: The Figure in Contemporary Sculpture is at the Hayward until 7 September.

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GUN Architects, Rainforest

Gun Architects's rainforest-inspired pavilion at Bedford Square for the 2014 London Festival of Architecture.

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Ri Hyang Yon, 21, dancer in the Arirang Games, during a practice session in the car park, May Day Stadium, Pyongyang (Copyright: Nick Danziger)

Photojournalist Nick Danziger visited North Korea in 2013. He recorded the everyday life in the DPRK and was given rare access to cities outside Pyongyang. The story behind each photo is probably more interesting than the photos themselves. The subjects are doing very ordinary things (getting their hair done at the hairdresser, sunbathing by the sea with their kids, etc.) only it does look like the photos were taken in the past.

According to the British Council the exhibition is "the first cultural engagement of its kind" between the UK and the Democratic People's Republic of Korea. The Guardian adds that it opened in London with no advance publicity, for fear that the dire relations between North Korea and the west might sink the first cultural project of its kind.

Above the Line: People and Places in the DPRK (North Korea) is open at the British Council HQ in London until 25 July.

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I spotted this one in the street.

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