Parallel, the pan European photography organisation, is delighted to present the exhibition Acts of Disappearance at Photo London 2019. The exhibition, winner of the Parallel Award 2018 and curated by Bruno Humberto, brings together the work of six artists: Morten Barker, Ida Nissen, Nuno Barroso, Joshua Phillips, Emanuel Cederqvist and Thomas Wynne. Each artist is concerned with the idea of the subjective landscape: an impermanent and transitory vision that exists in the mind of the beholder only at the very moment it is seen, before being then lost forever. They have in common the use of photography as a tool of action – beyond the medium in which they operate and the object on which they rely – to talk about transience and impermanence of landscape. An exhibition with a series of installation works where images are a celebration and a reflection about the “being forever on the alert”. The works are about redefining the gaze on reality, beyond the subjectivity of the human eye, underlining the impermanent, transitory and ephemeral nature of landscape in its extendable notion.
The landscape has inspired artists for centuries to work directly from nature, responding to what they perceive in front of them. But for a new generation of photographers observable and objective reality in landscape is a difficult and elusive idea, always just out of reach. Instead they approach landscape as a fictional narrative surface onto which individual sensitivities are projected.
Each of these photographers goes beyond simply documenting the world and considers our gaze as an act of interested observation.
Photo London, Somerset House, Strand, London WC2R 1LA
Thu – Fri 12pm – 9pm
Sat 12pm – 7:30pm
Sun 12pm – 6:30pm
16 May 2019 – 19 May 2019
Beyond the Reach of Rivers
Beyond the Reach of Rivers is an exhibition by Shutter Hub member Mandy Williams that brings two photographic series about the sea to the beachfront in Brighton.
Sea Level is shot in the Sussex town where she lived as a teenager and focuses on the beach shelters that line the promenade – a place to congregate and watch the sea. The photographs are taken at high tide, when the shelters are empty. Their windows are weathered and dusty and scratched by the wind. Absent of people, their presence lingers through traces of graffiti, dirt and other debris. The view of the sea through this prism produces images that are often quite abstract – the sea and the markings on the glass have equal importance in the finished photograph. Dust and neglect becomes part of the image, reinforcing the sense of melancholy which runs through many seaside towns.
In Beyond Land the photographs take place at the street, a causeway that reveals itself at low tide, stretching out towards the horizon like an umbilical cord connecting us to the sea. Started a month after the referendum result with its emphasis on Britain as an island nation, geographically and psychologically separate from Europe, the photographs show a collective march to the water’s edge. The line of people following disappearing paths out to sea not only documents our innate connection to water but can also be seen as a metaphor for the times.
Mandy Williams is a photographer and artist who works on long-form landscape series concerned with the psychology of place and how the marks of time and human presence affect the environment. Often her photographs show a place that has been compromised – either by environmental factors or by its connection to a specific narrative. Beyond the Reach of Rivers is her 3rd solo exhibition in the UK.
Opening Times 11am – 5pm
Fishing Quarter Gallery, 201 Kings Road Arches, Brighton, BN1 1NB
1 May 2019 – 6 May 2019
It’s Called Ffasiwn
Clémentine Schneidermann and Charlotte James
It’s Called Ffasiwn, a collaboration between Clémentine Schneidermann and Charlotte James, will be exhibited for the first time at the Martin Parr Foundation. Captured against a backdrop of post-Industrial south Wales Valleys, the photographs show local children in costume – often in surreal situations and incongruous with their surroundings. The images in the exhibition are a hybrid of social documentary, fashion, portraiture, performance, and landscape photography. Set against pebble-dash houses, dramatic mountains, working-men’s clubs, and community centres, the children’s colourful clothes are juxtaposed with the more muted tones of their environment.
For all the possibilities, the as-yet unfulfilled dreams, we might associate with childhood, there is an unease and disquiet about these pictures— the darkness of documentary’s realism still cuts against the glamour. Mark Durden
The ‘Valleys’ are a geographical area in south Wales, made up of small towns separated by mountains and hills. The disappearance of the coal mining industry in the 1980s has had a long-lasting impact on opportunities in the region. The photographs show the results of workshops with local children and with this creative collaboration, James and Schneidermann aim to subvert stereotypes of working-class Valleys towns and their residents.
The duo met in 2015 when Schneidermann, originally from Paris, was living in Abertillery on a residency. James, from the Valleys’ largest town, Merthyr Tydfil, had already been holding shoots locally, casting her subjects from the local community. They began to work together and for the past three years, they have run themed fashion workshops in two youth centres. The workshop participants, aged 8-14, learn fashion industry skills such as customising clothes, sewing, styling and insights into the creative process. The workshops are an introduction to the creative industries and allow the young people to explore self-expression and idea generation, which in turn develop their confidence and self-esteem. Drawing on their individual areas of experience, the workshops are designed by James and the photographs are taken by Schneidermann – but with fluid roles within the collaboration, the project only exists due to their symbiotic and intuitive creative partnership.
“The photographs show that while the Valleys wear the marks of time, they’re no match for the elixir and hope of a new generation – the project is a celebration of this. The title came about after the first workshop and shoot. The girls were outside dressed up in their costumes and the boys on the estate were calling them names. Instead of being put off, the girls shouted back “It’s called fashion, look it up!”. The word fashion is also played with and translated to Welsh to show the humour of the project and the distance we take from the “real” fashion.” – Clémentine Schneidermann and Charlotte James
This very exciting project is part of the Foundation’s commitment to show new and emerging talent, often pushing the boundaries within photography. This show is a collaborative fashion project laced with documentary and landscape images from one of the most deprived areas in the UK. Martin Parr
A zine of the project will be published by the Martin Parr Foundation to coincide with the exhibition. On 7 May 2019 at the Martin Parr Foundation, Clémentine Schneidermann and Charlotte James will be in conversation with Lucy Kumara Moore, Director of Claire de Rouen Bookshop, curator and writer on contemporary art, photography and fashion.
Opening Hours Wed – Sat 11am – 6pm
The Martin Parr Foundation, 316 Paintworks, Arnos Vale, Bristol, BS4 3AR
27 March 2019 – 25 May 2019
The exhibition … on making is a picture of contemporary British photography. On the one hand, the works shown are the expression of attitudes resulting from the artist’s personal investigations into national identity in the context of the phenomenon of multiculturalism and the immigration wave (Maryam Wahid), on the other it explores the effect of considerations about the place of man in nature (Fleur Olby) and his condition resulting from social entanglement in stereotypes and imposed religious systems (Flannery O’Kafka), as well as being deeply rooted in the Western European narrative of mythology (Cheryl Newman). The artists create catalogues of memories and build them from registered images of existing reality (Phoebe Kiely) or sensations that are carefully and precisely translated into a photographic images in the privacy of a darkroom (Dafna Talmor).
They take the latest dialogue with the medium, go beyond its frame, record a performance, movement and creation (Sian Bonnell), analyse the context of the body – the object – the place to discover the integrating characters (Eleonora Agostini). All these themes can also be found in the photographs of Lydia Goldblatt, for whom photography is both a means of poetic expression and a tool for analysing the symbolism of the life cycle.
The photographs selected for this exhibition are the representation of these nine strong voices, uttered in today’s most utilitarian medium. All artists are aware of their place in time and space and are cosmopolitan in their art.
Eleonora Agostini , Sian Bonnell (Shutter Hub Member) , Lydia Goldblatt , Phoebe Kiely , Cheryl Newman , Flannery O’Kafka , Fleur Olby (Shutter Hub Member), Dafna Talmor (Shutter Hub Member) , Maryam Wahid
The National Museum in Gdańsk, The Green Gate Department and the Gdańsk Gallery of Photography, ul. Długi Targ 24, 80-822 Gdańsk, Poland
14 March 2019 – 2 June 2019
Pause, Poise, Pose
Pause, Poise, Pose brings together photographic works produced over the last 40 years by established British artist Dick Jewell. Presented in series, as individual images and as digital anthologies Jewell’s own photographs are collaged with material trawled from art history and the internet. Informed by his interest in the power dynamics and the enduring characteristics of portraiture, Pause, Poise, Pose asks searching questions, about Admission, race, gender and the iconography of class and status.
Opening Times Thu – Sat 1 pm – 6 pm
Departure Lounge at the Storefront, 64 Bute Street, Luton, LU1 2EY
4 April 2019 – 18 May 2019
For nineteen years, spring has been the moment when Les Boutographies blossom once again in Montpellier. Nourished by the sap of European photographic creation, the festival offers an eclectic vision, open to the most recent artistic initiatives, and as such faithful to its purpose of talent-spotter and pioneer of new forms. In this deliberate heterogeneity, visitors will still be able to find approaches and themes familiar to those who regularly follow our programmes. The attention paid to adolescence and young adults can be found in Mélissa Boucher’s work on Vietnamese youth and that of Sébastien Cuvelier on young Iranians, but also in Geoffroi Baffiery’s series, Dis papa, and, to some extent, in Matthieu Gafsou’s Only God Can Judge Me. Another register, that of the questioning of representations of collective history, is to be seen in Peter Franck’s work, Somethingsneverchange, as well as with Ulrike Hannemann’s The Palace, then and now, and Patricia Morosan’s Remember Europe. More conceptual questions on the concepts of beauty and the sublime are at work with Martha Frieda Friedel, Brigitte Lustenberger and Marja Sterck. Finally, two authors take us into very specific worlds. The very young Antoine Lecharny immerses us in a photographic aesthetic, both purified and dense, while Olivier Gschwend, doctor in neuroscience, as well as photographer, gives us a delightful pictorial anthology of failed laboratory experiments.
The jury’s projection presents works that require less staging. Twenty series of very high quality are on offer here, covering most of photography’s fields: documentaries, conceptual, intimate, or familial, and also humorous. From year to year, this section has become widely appreciated by the public, for which we are very happy. Beyond the Pavillon Populaire, ten other structures,
already active in the artistic area, welcome exhibitions linked with Les Boutographies. This network will give visitors the opportunity to further explore the city, using photography as both an excuse and the starting point to new perceptions, maybe even a renewed desire for images. That much at least is what the Boutographies team wishes for.
The festival will be interspersed by various meetings between photographers and professionals, including portfolio readings and round tables, and two prize-giving ceremonies. The first one will
take place in the auditorium of the Museum Fabre, in the evening of May 4th, and the second one at the Gazette Café, in the evening of May 25th. You are invited to participate in these
moments of encounters and conviviality with the photographers, the audience, and all of the festival’s team. Christian Maccotta (Artistic Director)
Montpellier, various venues
4 May 2019 – 26 May 2019
In November 2017, Magnum photographer Paolo Pellegrin, joined NASA’s IceBridge expedition to document the impact of climate change on the Antarctic. The resulting aerial photographs is on display for the first time in the UK at the Magnum Print Room and show the deceptive beauty of a damaged environment.
From up there, it’s ecstasy in front of the magnificent. I think I understood what the romantic notion of the sublime was: It’s not only the absolute beauty of these landscapes, it’s the sensation of finding yourself in front of a presence that speaks of eternity. I knew I was looking at something exceedingly beautiful – like a Sistine Chapel of nature – a beauty that is hard to grasp but which also contains something which is not well. Paolo Pellegrin
NASA’s annual IceBridge expedition began in 2009 and is part of an 11-year campaign to create an ‘unpresented’ three-dimensional view of both the Antarctic and the Arctic. Air-borne instruments are used to gather data, allowing scientists to better understand how climate change affects polar ice. Though satellites have long been employed by NASA to monitor this – notably the ICESat – IceBridge flights allow for a closer, more detailed study. On the trip which Pellegrin went on, the first close-up images of the huge Larsen C ice shelf, which broke away from the Antarctic peninsula in 2017 and is now adrift in the Weddell Sea.
Whilst the Antarctic may be unfamiliar territory for Pellegrin, he has spent much of his career covering historical events, notably conflict in the Arab world. The Antarctic is another kind of battleground, but rather than conveying things man does to man, here he captures a different type of conflict. Man is not present but the changes to the climate are the results of human activity and ideas.
One of the main problems I found was how to engage and render the idea of scale. I made a formal decision in most cases to eliminate the horizon and instead look downwards to purposely omit the reference of scale and in a way challenge the viewer even more.
Pellegrin’s choice of perspective feeds the confusion of climate change not being a straightforward narrative, blurring the lines between micro and macro. The images are graphic and abstract on first glance, but simultaneously convey specifics such as a calved iceberg flowing through frozen seawater known as pancake ice, a crevasse measuring a few thousand feet or a 100-foot tall iceberg floating in the open sea.
This exhibition in London follows a career retrospective of Pellegrin’s work at the MAXXI Museum in Rome. The exhibition was accompanied by the book Paolo Pellegrin Un’antalogica edited by curator Germano Celant and published by Silvan Editoriale.
Opening Times Wed – Fri 11am – 16:30pm
Magnum Print Room, 63 Gee Street, London, EC1V 3RS
20 March 2019 – 31 May 2019
The Bully Pulpit
Belfast Exposed is delighted to present The Bully Pulpit by Haley Morris-Cafiero, an exhibition curated by Deirdre Robb. Morris-Cafiero’s latest photography series investigates the social phenomenon of cyber bullying in the age of Twitter, Facebook and YouTube. Apparently anonymous, hidden behind their computer screens, some people bully others, and have done so for years. The prevalence of online bullying has encouraged countless more to mete out these abusive acts, apparently preying on those weaker than themselves.
Morris-Cafiero photographed herself costumed like the people who’ve attempted to bully her. Finding photos online, she recreated their images using wigs, clothing, and simple prosthetics, while small imperfections mirror the fallacy that the internet will shield their identities. Finally, Morris-Cafiero overlays the parodies with transcript of the bullying comments, almost as if she were ‘subtweeting’ them.
Morris-Cafiero’s inspiration for The Bully Pulpit was the myriad of people who wrote mean-spirited comments about her after Wait Watchers was published in emails, tweets, Instagram posts, blogs and online comments sections. But instead of responding individually to ‘deaf ears’, Morris-Cafiero realised that a parody on social media, online articles, and blogs – the same vehicles for her own potential hurt – would be seen by millions, and would live again, again, and again.
Part performer, part artist, part provocateur, part spectator, Haley Morris-Cafiero explores the act of reflection in her photography. Morris-Cafiero’s photographs have been widely exhibited in solo and group exhibitions throughout the United States and abroad, and have been featured in numerous newspapers, magazines and online including Le Monde, New York Magazine and Salon. Born in Atlanta, she is a graduate of the University of North Florida, where she earned a BA in Photography and a BFA in Ceramics in 1999. Nominated for the Prix Pictet in 2014 and a 2016 Fulbright finalist, Morris-Cafiero holds a MFA from the University of Arizona in Art. The Magenta Foundation published her monograph, The Watchers, in 2015.
Belfast Exposed, Gallery 1, 23 Donegall Street, Belfast, BT1 2FF
5 April 2019 – 18 May 2019
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