Archive for category Exhibitions
The show is at 44 Gallery, and runs until December 4th, in case you happen to be visiting the country then.
More information about this work, and some images from it, can be found here.
Wolfgang Zurborn – Drift
November 12th – Dezember 4th 2011
Opening: Friday November 11th, 7 p.m.
Introduction: Sofie Crabbé, Art Historian, Critic
Dezember 2nd – 6th 44 GALLERY at LINEART ART FAIR GENT
Genthof 44 – 8000 Brügge, Belgium
opening hours: Sat, Sun 2 – 6 p.m.
contact: Luc Rabaey
+32 489 552663
To call Bill Jackson the L’Enfant Terrible of photography and in doing so to compare him to Jean-Arthur R, would be to make the slightest of exaggerations regarding age. However, it would arguably be entirely apposite in terms of content. For both display a sharply acute ability to slip inside of well established archetypes and forms only to almost by necessity rip those very archetypes and forms apart by doing so.
The glorious achievement of Rimbaud lay in his ability to construct poems that proffered formalistic perfection and seriousness with a very tongue in cheek attitude to content at the same time. The content poked fun at the structure, with serious implications. To thumb his front teeth at the mundanity of orthodox structures from inside its own structures; this was the foundation of the simultaneous intellectual brilliance and absurdity of the Voyelles.
And Jackson does likewise and as wittingly, in his current exhibition, Cabinet of Curiosities at Troika Editions on Farringdon Road. The series, Head, could at first glance be seen as photo-realist painting, with its careful attention to minute detail against a background of looser brushstrokes. But the nod toward De Chirico and other surrealists in the form of the actual mannequin heads and other odd elements is inspired in making the history of painting over the last 60 years eat itself in one image. For all his claims to be questioning photography (see his artist statement) I wonder if he isn’t also questioning painting, too? And, if so, all the better and all the more deeply probing for it.
All of the three series, Head, Relics, and Imaginary People, are hung in a unique way. From the clothes hanger and overlarge bulldog clip of the Lecterish Imaginary People (that would, no doubt, have delighted both Merleau Ponty and Sartre), to the intriguing forensic display of Relics, the exhibition becomes an experience in itself, an event in itself, quietly and sophisticatedly questioning both photography as a recorder of events, and the history and structure of visual communication as a medium more widely. In placing photography as a documenting medium in this wider context, Jackson engages more deeply with the conceptual questions that other photographers have tried to play with divorced from the more traditionally historical development of visual communications and its limitations. To that extent, as a viewer I feel he is asking serious questions, rather than merely constructing straw dogs just for the sake of photographing them ‘beautifully’.
But he achieves all of this without strongly proselytising. He does so without bludgeoning the point itself to the point of solipsism. He does so while keeping his sense of humour and irreverence importantly intact. It is only the true artist who can both laugh at art while engaging with it meaningfully, and Bill Jackson manages to balance his walk down that narrow path.
The exhibition is on until 30th November, 2011. And ST84Photo Blog can say, without a hint of hyperbole (but also, possibly, without the tired eyes of a cynic), that this is one of those rare and fleeting exhibitions where you either were there, or you weren’t.
If you live in or near to London, how much do you really have to lose on checking this out and spending an afternoon drifting through the layers of Bill Jackson’s crazy mind?
Standard Non-Affiliation Disclaimer Applies – To be bluntly honest, I’m not even that keen on the wine they serve. Good job the photograph are of much greater vintage…
Cabinet of Curiosities: October 5th –30th November 2011
The Front Room
96 Farringdon Road
London EC1R 3EA
020 7833 2330
Nearest Tube Stations: Kings Cross, Farringdon Road & Chancery Lane
For more information please contact Bridget or Michael on 020 7833 2330 or via email firstname.lastname@example.org
Just got in from hanging the prints by Austrian/German Street Photography Collective, Seconds2Real.
This exhibition of Seconds2Real Street Photography Collective prints is at Bold Street Coffee until mid-July, check it out over a coffee while you can!
Seconds2Real are an Austrian/German collective.
Bold Street Coffee Opening Times:
And now, for the photos…
(That’s me, doing some hanging. Those are my “techy clothes” and baggy for grooving to the photo goodness while being all techy and stuff:
Panos Pictures have shared this video discussing the agency’s history and the changes in documentary photographer and photojournalism over the last few decades.
Harry Hardie who co-curated Collateral Damage with Paul Lowe (LCC) is a key contributor the discussion in the Panos video, as is Mishka Henner who exhibited in the Collateral Damage show.
This is a brief side-note to the conclusion of my review of Collateral Damage, which will be posted later today (and that’s a promise!), but the video is worth 25 minutes of your time and is an excellent way to augment the material ST84Photo has been discussing in this review.
You can read Part I here.
After a quick coffee and lunch, we reconvened at Novas CUC for the afternoon of the LCC seminar: talks by Paul Lowe (LCC), Mishka Henner, and Dr. Jennifer PollardDr. jennifer Pollard (LCC), and a roundtable discussion that also included John Davies.
This “talks and discussion” session was scheduled to be broadcast as a live webinar, with input from a global audience. But this wasn’t to be. I believe the politically astute term for this scenario may well be “technical glitch”. I also believe the politically not very astute gesture for this may well be a faux-shock gaping mouth and a finger pointing directly at the LCC MA Course Director. Hi Paul. Got my MA application, yet? Just checking.
To be fair, it was more that the venue had a very weak wifi signal, a fact known to ex-musical heathens like myself, from days spent practicing in the adjoining rehearsal rooms of Elevator Studios. But I was surprised that neither the venue nor the Look11 team seemed to have sought a workaround for this event, or to inform the LCC of this issue. I’m not sure who really dropped the ball here, but it was a fairly rookie mistake from someone or, more likely, several.
Lowe’s talk could be described as a Rough Guide to Conflict Photography History. I mean no insult there; as a relative newcomer to looking at conflict photography beyond the pages and webpages of the broadsheets, it was a very useful introduction to the debate, and I culled much in the way of notes for future reference.
Lowe’s argument was essentially that rather than there being a supposedly fairly recent trend of making a different form of conflict photography in response to photojournalistic efforts, photographers had been doing this all along. It wasn’t something that started with Paul Seawright and contemporaries (see here for more), but rather has it’s roots as early as the days of Stanley Green, who was experimenting at the start of the 20th Century with this notion of alternative story-telling, using metaphor and allegory to photograph the unphotographable (to quote that threadbare phrase).
He elaborates that while an increasing number of photojournalists are taking cues from the fine art world in how they make and present their work, we ought not to pass over the icons of classic photojournalims, like Green and Robert Capa, who frequently did find alternative ways to document what they witnessed.
That said, he noted that photojournalism trails behind fine art practice in adopting new techniques and methods of portrayal, leading me to question both why this is, and whether it will continue as the distribution media for classic photojournalism continues to weaken and new channels of distribution are created and experimented with. It seems to me that experimentation and reiterative processes are key to fostering creativity, and with a distribution media either in collapse or in flux (depending on the strength of view you take regarding the rise of the mount olympus of social media), the time is ripe for some truly innovative work to be produced. I think we may have yet to see that work be made, but I do wonder if, how, and when it might happen.
He also shared a few variations on The Capa Quote™ (note: quote must be uttered with defiant tone) “If your pictures aren’t good enough, you’re not close enough.”
Joel Sternfeld: If your pictures aren’t good enough, then you’re too close.
Todd Pappageorge: If your pictures aren’t good enough, then you’re not reading enough.
This sums up a move away from the literal into the metaphoric, a move perhaps most strongly demonstrated in the work of Paul Seawright, Simon Norfolk, and in Broomberg and Chanarin’s The Day Nobody Died (links in Part I of this review).
To conclude his talk, Lowe argued that instead of judging this style of work based on individual pieces or even individual photographers, we would be better off viewing it as a collective narrative that provides a sustained and complex response to the too-frequently seen classic photojournalistic images of conflict that blinds us emotionally by saturation of imagery to the reality of the situation they set out so earnestly to depict. As Lowe said later, “the problem isn’t in the presence of certain kinds of images [classic photojournalism] but in the absence of certain other kinds of images [the more allegorical and metaphorical style discussed in his talk].” Conflicts, and their effects, run too deep for a solely surface appearance of them to suffice in documenting their true nature.
Edit – struggling to find the relevant links for the rest of this post and must dash for work. Shall finish up later tonight.
Seconds2Real European Street Photography Collective are exhibiting work at Bold Street Coffee, Liverpool, from 15th June until 13th July, 2011.
To celebrate the exhibition, ST84Photo blog will be bringing you exclusive interviews and images with the photographers running throughout the exhibition. ST84Photo will also be documenting the installation and opening of the exhibition, to give those of you who can’t make it in person a taste of the brilliant atmosphere and images on display.
To get the ball rolling, this post would like to introduce the cast of exhibiting photographers:
Kay von Aspern – Vienna
Elisabeth Schuh – Vienna
Guido Steenkamp – Berlin
Thorsten Strasas – Berlin
Natalie Opocensky – Vienna
Alexander Magedler – Vienna
Heiko Menze – Vienna
Mario Cuic – Munich
Christian Reister – Berlin
Andreas Stelter – Minden
Locations were the images were made are:
The time frame the images were made during is:
Interviews will be coming to ST84Photo blog soon, so watch this space!
Update: Interviews with the Seconds2Real photographers will start appearing on ST84Photo from Thursday 16th June, 2011, so watch this space!
A couple of weeks ago, I was fortunate to be invited by Paul Lowe to attend a one-day seminar for LCC students at Liverpool’s CUC.
Why Liverpool for a London University event? Well, Paul Lowe and Harry Hardie have curated the group show, Collateral Damage for Look11. The show features conflict photography and seeks to offer a refreshingly different perspective to the repetition of ‘stock’ compositions that are heavily featured in photojournalism new pieces.
The show runs Tues-Sun, until 26th June 2011. Check it out while you can – my personal opinion is that it is one of the strongest exhibitions in the Look11 festival, and the curatorial aspects of the show really enhance the selection of images by contrasting the approaches of different photographers and positioning them so the different perspectives play off each other very strongly.
The day began with a tour of the show, and some time spent visiting some of the other Look11 exhibitions; some of the Lightbox work and the John Davies/Donovan Wylie Signs of War exhibition at Milk and Sugar. This was followed after lunch by talks from Paul Lowe (LCC), photographer Mishka Henner, and Dr. Jennifer Pollard (LCC), and a roundtable discussion that also included John Davies.
Collateral Damage features work by Simon Norfolk, Tim Hetherington, Zijah Gafic, Paul Lowe, Edmund Clark, Lisa Barnard, Ashley Gilbertson, Adam Broomberg and Olivier Chanarin, Brett Van Ort, Mishka Henner.
The exhibition is largely laid out across three ‘corridors’ where images from two photographers face each other. Brett Van Ort and Edmund Clark are paired together, both works dealing with “what exists but can’t be seen” – Brett’s work shows beautiful looking landscapes in frames which open to reveal coldly photographed product photography of the mines hidden in the landscape, while Edmund Clark’s work comprises photographs of letters sent to inmates at Guantanamo Bay. The photographs are of scanned copies of the letters, with text blacked out, as prisoners never received the actual letters themselves but the scanned copies. The photographs are the more poignant for this fact – the sense of distance the viewer feels is akin in kind to the detachment the inmate has from the actual letter sent, and often sent by a family member. Both works allude to dislocation between beauty hinted at (or proclaimed, in Brett’s work) and the dangers that aren’t at first apparent to the viewer, but ever present for those living in these spaces.
The next ‘corridor’ features work by Tim Hetherington (whose tragic death this blog wrote about here ) and by Lisa Barnard. A perhaps unintended consequence of this pairing is that, in light of Tim’s recent death in Libya, and the attendant discussion in the media and photojournalism forums of the psychological effects of warfare on both those who participate in it and those who document it, Lisa’s images depicting the psychological training and treatment of American troops takes on a further potency than it otherwise might have had. Tim’s work featured in this exhibition is early work, examining the graffiti in post-conflict zones, pointing to the territorial nature of disputes. These ghostly echoes of the causes and basis of war are powerful, both for their similarity in appearance to the markings left in all urban spaces, and for the link with Lisa’s work, namely that marks of war live on after the war has ended, both physically and psychologically. It makes the viewer question where the end of a war actually is.
The final corridor pairs Paul Lowe’s images of the wall separating Israel and Palestine, and Mishka Henner’s aerial google views of American military bases around the world (his 51 states). Each offering unique perspectives on the divisions of architecture, symbolic of the divisions between nation-states, these images carry a hypnotic weight through repetition of content and framing. There is a pervading sense here, as in other work featured in Collateral Damage, that this could be anywhere, and the absence of stereotypical or easy markers for locating the spaces depicted adds to the force of interrogation the viewer faces – by refusing to show whose backyard this is, it becomes everyone’s backyard. Interesting, then, that Lowe and Hardie feature Ashley Gilbertson’s Bedrooms of the Fallen along the side wall, printed in large-scale panoramic format (a powerful counter-point to the comparatively tiny panoramics of Lowe’s Wall), depicting bedrooms of American soldiers. Instigated after Ashley was working on assignment and witnessed the death of a soldier who had taken him to the top of a mosque for picture opportunities, the work is laden with emotional cues and is reminiscent of the Rimbaud poem, The Sideboard and Maurice Merleau-Ponty’s phenomenology (see also Gibson, Affordances, 1971) – objects are never merely objects but always exist in relation to us. In this case, the artefacts of youth where life has ended, there is an unsettling feeling created by looking at a bedroom that will never be slept in again. The relationships of attachment, entertainment, and utility that these objects once had in relation to their owners are now broken, and instead the whole room becomes a shrine for the family remembering their loss.
Next to Ashley’s work, and on the opposite wall, creating a pair crossing the walls of Van Ort and Clark, are two images by Simon Norfolk, from Full Spectrum Dominance: Missiles, Rockets, Satellites in America. Like Van Ort and Clark, there is a notion here of what can’t be seen – the missiles are created and transported in top secrecy, and the satellites are fired into space, where they can’t be seen, only their effects are tangible. Here, Norfolk photographs the single brief moment when they are visible, and spectacularly so, during their launch. That these two images are the only clear signs of the “shock and awe” of warfare in the exhibition reminds us of the link between the quieter images presented by the other photographers and the newspaper images we are all saturated with, but Norfolk does it in a conceptually intriguing manner; the viewer is reminded of the childhood (or childish? maybe) interest in war games for their spectacle, for the fireworks we celebrate with every November, for the sheer sense of display.
In all, Lowe and Hardie ought to be commended for producing an exhibition that explores a wide range of different dimensions to the effects of war, on the military involved, the people stuck in war zones, and the families of those lost in the name of supposedly noble causes. Henner’s work also shows how the military machine is everywhere, and inescapable in terms of distancing oneself geographically (and, by extension emotionally), the from the debate. The work presented is quiet but insistent in it’s interrogation of the viewer, and manages to ask questions without polemicising strongly one way or another. A fantastic exhibition, and extremely well delivered.