The only photography venue in the UK exclusively devoted to documentary, Side Gallery, is about to re-open with […]
Show Us The Money takes you on a journey to the world’s off-shore tax havens and corporate financial nerve centres. FOMU provides a glimpse of the structures that impact on all of us but which are themselves practically invisible. Three projects use very different artistic strategies to expose this global issue
I’ve always liked the work of Serrano. A lot. It’s outrageous, in your face and enjoyably iconoclastic. Portraits of the Ku Klux Klan leaders, close-up of Trump trying his best to look ‘deep’, cheap crucifix immersed into urine, bondage scenes, decaying corpses at the morgue… Shit
Bruce Gilden, Factory in the Midlands, from the series The Black Country, 2014 Evelyn Hofer, Crossing Guard, London, […]
Martin Roemers’ photographs take us to abandoned army bases and bunker complexes, military training areas, technical installations, monitoring facilities and military cemeteries
In 1980, the Sunday Times Magazine asked war photographer Raymond Depardon to go and photograph Glasgow. His images was deemed too upsetting and Sunday Times Magazine never published them
A Photo series ‘exploring the real world of scientific research. Not the stainless steel surfaces bathed in purple light, but real people in their basements working on selfbuilt contraptions. All shot in state of the art research institutions across Europe and the US, showing experiments with human subjects’
British photographer Edmund Clark and counterterrorism investigator Crofton Black have assembled photographs and documents that confront the nature of contemporary warfare and the invisible mechanisms of state control
Every single day and every single night, rain or shine, the movements of people living in Kabul and Kandahar in Afghanistan, are watched over by huge surveillance balloons. The U.S. army calls them aerostat or Persistent Threat Detection System
The People’s History Museum in Manchester has recently opened a photo exhibition that explores how industrial workers went from objects in photos, to heroic representations of industry and finally to photographers themselves
Alec Soth spent five years crisscrossing the country in search for the hippies, hermits, monks, survivalists and other loners who are ill at ease with society and decide to live off the grid
Nicolas Grospierre has a rare talent for producing images that deliver a sharp and unexpected commentary on utopias that have lost their spark and on architectures that fascinate less for their intrinsic elegance than for the collective memories that still inhabit them
The exhibition presents eleven case studies spanning the period from the invention of ‘metric’ photography of crime scenes in the 19th century to the reconstruction of a drone attack in Pakistan in 2012 using digital and satellite technologies. These offer an analysis of the historical and geopolitical contexts in which the images appeared, as well as their purpose, production process and dissemination
Zofia Rydet was 67 years old when she set herself the herculean task of photographing the inside of every single house in Poland. From 1978 until her death in 1997, she would frantically travel by bus or foot over the country, have people sit in their interior, straight in front of her, and shoot them using a wide-angle lens and flash
A few days ago i popped by the The World Press Photo exhibition at the Royal Festival Hall in London. It’s a show i always look forward to visiting. The quality of the prints is often ridiculously low but the photos that win the photojournalism competition give me some time to reflect on the stories that made the news over these past few months but also to discovered under-discussed cultural or political issues
I was going to post this story next month but i just realized that the show closes this weekend already. If you are in Barcelona at the moment, DON’T MISS IT!
Over the past 45 years, the members of the collective have been documenting the industrial communities living along the river Tyne, the fishermen, the shipbuilders, the people working in the coal and steel industry, but also their families, the unemployed and the marginalized communities. The result is a vast archive of photos and films that present both both artistic and historical value
Struth’s most recent photographs of scientific research suggests a one-sided belief of progress. The increasing degree of fascination for the tools we construct to investigate into scientific and material progress distracts us from the equal need for progress on social and political levels
Photography Visionaries is an inspiring guide to 75 of the most influential photographers from around 1900 to the present. Entertainingly written by an expert on photography, it provides fascinating insight into the lives and careers of men and women working in a medium which perhaps more than any other in the visual arts has been deeply affected by technological change
This is the eight edition of the competition and, as usual, the Italians made a killing and take a large portion of the awards, there is a fair deal of suffering, at least one of the awards goes to an image featuring Palestinians living under occupation and facing discrimination (this year however, the photos are joyful), and it is always strange to look at the photos and realize that the main events of the year before have almost already been erased from consciences
In February 2011, Julian Röder traveled to Abu Dhabi for the International Defense Exhibition and Conference. 50,000 military officers and arms dealers attended the fair. Some represent dictators. Others are mortal enemies: India, meet Pakistan. But here they meet and mingle, shopping for missile systems, assault rifles, and attack helicopters
I’m drowning in really good books this year. Half of them are photography books. And because i’m short on time and these publications deserve a review, i’m going to take the lazy road: a sweeping and speedy overview of 5 of my favourite photo books of the moment. In one post.
Military simulations of rooms, houses, planes, streets and whole fake towns in different parts of the globe provoke a series of questions concerning the nature of truth as it manifests itself in current photographic practice
Photographs taken seven months after the fire bombing of Dresden are shown alongside those taken seven months after the end of the First Gulf War. Images made in Vietnam 25 years after the fall of Saigon are shown alongside those made in Nakasaki 25 years after the atomic bomb. The result is the chance to make never-before-made connections while viewing the legacy of war as artists and photographers have captured it in retrospect
Over the past 5 years, Nick Hannes has visited twenty countries located around the Mediterranean. He witnessed an unprecedented period of turmoil for the region: southern Europe buckling under the weight of the global economic crisis, Arab countries entangled in the aftermath of the Arab Spring and tourists and migrants encountering each other on the beaches of the Mediterranean Sea
The conference (ridiculously interesting and accompanied by an exhibition i wish i could see all over again but more about all that next week) looked at how practitioners redefine the documentary genre in the digital age. In his presentation, artist James George presented artistic projects that demonstrate how fast computational photography is evolving and how innovations are changing our relation to the image
Pothier is in the region to shoot videos and make sound recordings but because he a PhD researcher in Arts, Anthropology and Architecture, the artist is also investigating nomadic architecture, drawing lessons from the way nomadic cultures live in symbiosis with the environment and more generally exploring issues of global warming which are felt so acutely in circumpolar regions
The real world is full of cameras; the virtual world is full of images. Where does all this photographic activity leave the artist-photographer? Post-Photography tries to answer that question by investigating the exciting new language of photographic image-making that is emerging in the digital age of anything-is-possible and everything-has-been-done-before
Zsolt Asztalos’ country, Hungary, was bombed heavily during the final months of the war by US, British and Soviet forces, with Budapest carpet-bombed on 37 occasions.
Hungary’s Unexploded Bomb Disposal Department gave the artist access to some of the explosives that were dropped over towns and cities but didn’t explode
Simon Faithfull’s new commission, REEF, began in August 2014 off the Dorset coast, where a boat made a last voyage out to sea and was sunk to become an artificial reef – serving as an underwater sculpture and a lasting legacy for marine conservation and biodiversity
Enter a tumultuous era with this unparalleled collection of photographs made by a group of photographers working for the Rome-based agency Team Editorial Services.
The press photographers constantly shifted between battling film stars at play and the reality of near civil war unfolding on the streets. Politics and celebrity are brought together through the paparazzi style of alto contrasto, collusion and intrusion. Alluded to, although less visible, are the murkier dealings of clandestine groups linked to the Italian Secret Services, The P2 Masonic Lodge the CIA and NATO, operating against the backdrop of the extremes of the Red and Black Brigades
Concentrating on the work of 18 leading photographers from the last 80 years, the exhibition begins in 1935 with Berenice Abbott, who captured New York’s transformation into modern metropolis. From there, it journeys through affluent California in the 1940s, India’s independence in the 50s, the decline of industrial Europe in the 60s and 70s and culminates in an exploration of the contemporary urban experience
Pr. Peter Ameisenhaufen gained fame in the first half of the 20th century for his controversial research on rare animals. Many of his colleagues refused to believe these creatures were real but Ameisenhaufen spent decades collecting evidences of their existence. The archives uncovered in the late 1980s by Fontcuberta were surprisingly rich and well detailed: photos, field notes, dissections drawing, audio clips documenting the calls and other sounds of these truly exceptional animals. Several specimens were even remarkably preserved by taxidermy
Vincent Debanne sets the scene of contemporary naumachia in well-known playgrounds for luxury yachts: the bays of Antibes and of St-Tropez in France. Using image manipulation, the Battleship photo series provides a surprisingly realistic commentary on some of our world’s current economic, social and political issues
All that is documented here is true, but seems to be from a work of bad fiction. We find stories of contaminated ministers, bombs lost and never found, the invention of the bikini, the power struggles between colonial powers and local populations, vaporized chickens, etc.
I’m one day late (how lame!) for my wrap-up of the exhibitions i enjoyed in London in July. British folk art, Mexican cowboys, Russian suburbs, half stuffed animals and rubber beauty masks
The main theoretical question underpinning the project is: “Can photography be the site where the history of an exhibition is produced and still retain its independent artistic autonomy, thus overcoming pure documentation?”
Collaborating with the Archive of Modern Conflict, Fiona Banner asked photoreporter Paolo Pellegrin to explore the City of London and to reflect its activities, behaviours, customs and costume through the lens of conflict photography
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
The month that was in London: Biting machine, largest horn in the UK, post-surveillance art, dial-less telephone, etc.