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.
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. :
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.
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.
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:
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.
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.
But let's get back to the exhibitions.
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.
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.
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.
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.
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:
Screened at the festival:
Lots and lots of big spaces that look abandoned:
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...
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.
Check out the Exponential Horn while you're in the building.
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:
I watched this one three times:
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.
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.
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.
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."
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....
The Human Factor: The Figure in Contemporary Sculpture is at the Hayward until 7 September.
Gun Architects's rainforest-inspired pavilion at Bedford Square for the 2014 London Festival of Architecture.
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.
I spotted this one in the street.
Now that i've finally got some quiet and lazy time home, i can not only catch up on crime tv series but also post a few stories that have been languishing in draft limbo for far too long. Let's start with Elena Chernyshova's Days of Night - Nights of Day, a photo series i discovered at the Fotofestiwal in Lodz. The series was among the finalists of the Grand Prix Fotofestiwal. It might not have won the award but it was the work that impressed me the most. Of course, part of my fascination is due to that typical look at the post-Soviet world but the images also made me realize the banality and almost romanticism of living right at the heart of an ecological disaster.
The young photographer traveled to Norilsk, one of the biggest cities above the Arctic Circle. In Norilsk, inhabitants live in darkness 45 days a year, temperatures can drop to minus 53 °C in the Winter and the air is one of the most polluted in the world. There is no green space in Norilsk and even leaving the city is a challenge. The easiest way to get away is by air (Moscow is a four hour flight away) and for most residents, plane tickets are barely affordable.
The reason why people would want to live there is that most of them work for the biggest metallurgical and mines complex in the world. Workers in Norilsk extract and process nickel and other metals making up approximately 2% of Russia's GDP.
Every year the metallurgical combine emits almost 2 millions of tons of gas into the atmosphere, leading to alarming rates of cancer, depression, respiratory, cardiovascular and digestive disorders, allergies, and other health dysfunctions are widespread. The amount of sulfur dioxide in the air is so high that almost 100,000 ha of the tundra around the city is dead or in danger. Residents are forbidden from gathering berries or mushrooms due to high toxicity.
Even the story of the city is dark, the city, mines and factories Norilsk were constructed by the prisoners of Gulag in the 1930s and 40s.
Days of Night - Nights of Day is as much about the city itself as it is about how people manage to cope with harsh climate conditions, environmental disaster and isolation:
I hope these photos awake some questions, Elena Chernyshova told National Geographic. Where are the limits of human ambition in the race for natural resources? How much are we willing to damage nature and the health of hundreds of thousands of people in the drive for riches? What are the limits of human adaptation to extreme living conditions?
More images and info in Lens Culture.
Also part of the Fotofestiwal in Lodz: A guide to life forms altered by the human species.
I'm spending a couple of days in Lodz for the Photo Festival. Or rather, the Fotofestiwal. I haven't seen all the exhibitions yet but so far, so good. I've been particularly fascinated by Zhao Renhui's A Guide to the Flora and Fauna of the World which has been selected for the Grand Prix Fotofestiwal.
The photo series attempts to document the ways in which the human species has altered the planet, and in particular other life forms.
The result of his research is a visually stripped back catalogue of curious creatures and life-forms. Some had to evolve in order to cope with the pressures of a fast changing world. Others appeared as the results of direct human intervention, mutations engineered to serve purposes ranging from scientific research to the desire for ornamentation:
Remote-controlled coakroach, peanuts injected with the DNA of a lobster so that they will never go bad, medicinal eggs with extractable antibodies against cancer, caterpillar-killing cabbage carrying the gene responsible for producing the poison in scorpions, tomatoes that do not go bad, sugar cane engineered with human gene, the first tiger mosquito found in Norway, etc.
Zhao's work addresses man's relationship with nature, and related issues of morality and ethics, paying close attention to how our attitudes assumptions about the natural world are often shaped by institutions of authority and the media.
Quick selection, with comments copied/pasted from the project website:
Every year, scientists report findings of bees being attracted to discarded soda cans, leftover drinks and various sweet things. This is due to the combined effect of a declining natural supply of nectar in the wild and the insect's possible craving for caffeine. In Singapore, a community of bees has been raiding a factory producing sodas of various colours. The red dye from a certain brand of soda remains in the bees' bodies even after they have processed their food into honey. Over time, it is found that the stomachs of these bees have turned red, changing from their usual orange amber hue. The honeycombs in the hives are also found to have turned into a shade of blood red.
A company in Japan has developed a technique to create eggs that are so strong that they cannot be broken. The only way to access its contents is to puncture a hole in its shell with a pointed tool. The egg was created by adding the plant protein of a banyan tree to a chicken, thus creating an egg with a bark-like texture.
Corn is the number one crop grown in the United States and about 88% of it is genetically modified. Although there is little evidence that these crops pose a threat to humans, scientists are still understanding the effects of genetic engineering on corn. Scientists recently discovered non-genetically modified corn emit chemicals when they are being attacked by pests. These chemicals, which signal wasps to attack pests, are not present in genetically modified corn. Through Kirlian photography, the aura of a non-genetically modified corn can still be seen.
A small population of white rhinoceroses in Africa has evolved to have horns so small that they are barely visible. Experts believe this could be due to years of hunting individuals with large horns. The remaining rhinoceroses with smaller horns left to breed will eventually created a whole new hornless generation.
It has recently been found in China that pork has been made to aesthetically look like beef. 'Beef colouring' and 'beef extracts' were added to pork to make it look and taste like beef.
China organised the first International Goldfish Championships in Fuzhou in 2012. Over 3,000 goldfish from 14 countries competed for different titles including the World Goldfish Queen crown. Goldfish are judged by five criteria: breed, body shape, swimming gesture, colour and overall impression. The show stealer was a giant goldfish weighing around 4kg. The judges noted that not all goldfish can grow this big as factors such as breeding may affect size. Goldfish are bred out of generations of genetic mutations since the Jin Dynasty and their exact origins are unknown.
Flowerhorn cichlids are ornamental aquarium fish noted for their vivid colours and bulbous humped heads. A man-made hybrid, the flowerhorn was popular in Singapore in the late 1990s. When their popularity waned, owners released the fish into the local waters. Today, the fish thrive in large numbers in local reservoirs and waterways. Scientists have reported that the flowerhorn has taken on a different adaptation in recent years. The bulbous and round head it once had has given way to a sharp, flat and rounded disc. It is posited that the more streamlined form allows them to swim quickly away from predators.
Less than 4% of Singapore exists in total darkness after 10pm. Insects are attracted to artificial light sources, though no one knows exactly why. The insects are usually killed by exhaustion or through contact with the heat from lamps. After being incinerated, their bodies become a heap of ash, collected in the covers of street lamps. The ash, also referred to as 'moon dust', is used by scientists to study the ecological impact of light pollution on insects.
Sold in a department store in South Korea, these square apples were created as gifts for students taking the College Scholastic Ability Test, with some inscribed with the words 'pass' or 'success'. A similar square watermelon was developed in Japan in the 1980s. The cubic fruits are created by stunting their growth in glass cubes.
Falcons are diurnal birds but have recently adapted to become nocturnal, like owls. Urban falcons have begun to use artificial illumination from street lamps and lit buildings to hunt for bats throughout the night.
Photo on the homepage: Remote-controlled cockroach., from the series, A guide to the flora and fauna of the world. More at The Institute of Critical Zoologists.
The Grand Prix Fotofestiwal is on view at ART_INKUBATOR in Lodz until 15 June, 2014.
The Michael Hoppen Gallery has just opened an exhibition featuring a selection of vintage prints by Dr. Harold Edgerton, a photographer whose works are found hanging in art museums and galleries across the world. He even won an Oscar with his short film Quicker 'n a Wink. Yet, Edgerton was adamant that he was a scientist, not an artist.
The professor of electrical engineering at MIT invented the ultra-high-speed and stop-action photography when he synchronized strobe flashes with the motion being examined, then took a series of photos through an open shutter that could flash up to 120 times a second. The invention enabled him to photograph motion that was too fast to be captured by the naked eye: balloons at various stages of bursting, bullets tearing through fruits, divers rotating through the air, devil sticks in action, an egg hitting a fan, drops of milk coming into contact with liquid, etc.
If that were not enough, Edgerton was also involved in the development of sonar and deep-sea photography, and his equipment was used by marine biologist Jacques-Yves Cousteau to scan the sea floor for shipwrecks. Or for the Loch Ness monster.
During the Second World War, he pioneered superpowered flash for aerial photography used to create night time reconnaissance images, revealing the absence of German forces at key strategic points just prior to the Allied attack on June 6, 1944.
To trigger the flash at the right moment, a microphone, placed a little before the apple, pickes up the sound from the rifle shot, relays it through an electronic delay circuit, and then fires the microflash (via.)
Moments after the apple was pierced by the bullet, it disintegrated completely.
A .30 caliber bullet, traveling 2,800 feet per second, requires an exposure of less than 1/1,000,000 of a second. Edgerton turned the card sideways and the rifling of the barrel caused the rotation of the projectile, which, in turn, carved out the S-shaped slice of card between the two halves (via.)
After World War II, the Atomic Energy Commission contracted Edgerton and two of his former students to photograph atomic bombs as they exploded. The trio developed the rapatronic (for Rapid Action Electronic) shutter, a shutter with no moving parts that could be opened and closed by turning a magnetic field on and off.
Revealing the anatomy of the first microseconds of an atomic explosion, the fireball was documented in a 1/100,000,000-of-a-second exposure, taken from seven miles away with a lens ten feet long. The intense heat vaporized the steel tower and turned the desert sand to glass (via.)
The exhibition Dr. Harold Edgerton: Abstractions is at the Michael Hoppen Gallery in London until 2 August 2014.