THE RELUCTANT FATHER
Phillip Toledano is an Englishman living in New York. With an established international reputation, he has been a photographer and artist for the last 12 years. In that time, he has published 4 books, ranging in subject from plastic surgery, phone sex, and failing businesses, through to the last years he spent with his father. His work combines great poignancy with a rich vein of humour.
Phillip became a father in July 2009. He fell in love with his daughter about a year and a half later, when he realised she was the most bewitching human being he’d ever seen. Initially though things were different. The Reluctant Father follows Phillip’s journey at the beginning of fatherhood. From dismay and confusion, to the blinding light of unalloyed love. It’s a surprisingly frank, funny and moving account, and he hopes his daughter won’t hold it against him when she’s grown up.
In many ways, The Reluctant Father is a sequel to the best selling Days With My Father, which documented the three years Phillip spent taking care of his father, who suffered from dementia. More than 1.4 million people visited the site that he set up for the project, over 200,000 comments were posted, and Toledano received several thousand emails. The book has since been translated into several langauages and the photographs have been widely exhibited worldwide.
with essays by Edward Burtynsky & Cameron Sinclair.
The images in this book ask that we follow the quiet journey of Robert Leslie and his camera through a land where the notion of the unstoppable economy, a land of plenty, the ‘American dream’, is brought into question. Is this moment in history a major setback or is this the beginning of the inevitable decline of an empire….
Robert Leslie first visited the United States as a child in the late 1960s. There seemed to be an endless horizon of energy, enthusiasm & growth. Economically, at that time, the US was more productive per capita than any other country in the world and one of the major drivers of that economic certainty was the SunBelt, stretching across the south of the country from Florida to California.
For this project, undertaken over a three year period, Leslie travelled more than 10,000 miles on the road from Florida to California a journey that dramatically reshaped his perspective of the country. He chose a route through the Sunbelt at the height of the economic recession. Repossessed homes and men with “will do anything for money” signs told the tale. As his journey progressed, the impact of hurricanes, forest fires and drought became increasingly apparent. This entwining of the financial crash & natural disaster had shifted the once promised Sunbelt into the Stormbelt.
The recipient of numerous awards, Robert Leslie’s work is in private collections and institutions in Europe and the USA. 2013 has seen his work selected in the Judges Choice section of the Syngenta Award and nomination for the prestigious Prix Pictet. From 2005-12 he was chief photographer for the www.ted.com organization and the World Science Festival. He has been featured by Apple, Leica and Elinchrom lighting in case studies pushing the boundaries of their products, and is actively involved in educational projects with the Bezos Foundation, Positive View Foundation, and the National Foundation for Advancement in the Arts.
THE LANDSCAPE OF MURDER
ANTONIO ZAZUETA OLMOS
The Landscape of Murder documents all the sites where murders occurred in London between January 1st, 2011 and December 31st, 2012. In total 210 murders were committed over this two year period.
Most murders make the news for only a fleeting moment and the landscape in which they occur reverts back to normality very quickly after the forensic teams leave. Yet the scars remain, sometimes subtle, sometimes very open, whether a single solitary flower or the gathering of grieving family and friends. Sometimes nothing remains to show that a life has ended violently in a particular location.
Antonio Zazueta Olmos seeks to give memory to what are mostly forgotten events, in unseen places where great violence has occurred. A violence that is mostly silent, private and unseen by the wider public. The project has taken him to parts of London he knew little or nothing about and in the process he has created an alternative portrait of London, one shaped by violence and inequality.
Born in Mexico, Antonio Zazueta Olmos is a photojournalist who has worked on issues concerning human rights, the environment and conflict throughout his career. He has worked extensively in the Americas, Africa and the Middle East for editorial publications and NGOs all over the world. A recipient of a first place award in the World Press Photo Awards, his work has also featured in all the UK broadsheet weekend magazines. Olmos has been based in London since the mid 1990s and The Landscape of Murder is his first book.
PICTURE POST PHOTOGRAPHER
introduced by MATTHEW BUTSON
Picture Post, the UK’s best known illustrated magazine was launched 75 years ago in October 1938 and ran for almost twenty years until 1957. It was massively popular and at its peak had a circulation of just under two million copies.
At the age of 22, John Chillingworth was the youngest member of the ‘star’ team of photographic journalists on the magazine. He worked alongside many other great photographers including Bert Hardy, Kurt Hutton, Felix Man, Bill Brandt, Thurston Hopkins, Grace Robertson, and Leonard McCombe. Editorially the magazine was liberal, anti-Fascist and populist. It covered everything from politics, through to sport, fashion, music, theatre and film, as well as picture stories of everyday life both in the UK and abroad.
Chillingworth stayed with Picture Post for seven years producing a vast range of photo stories of a very high quality. Encouraged by the legendary picture magazine editor Tom Hopkinson, he learned to combine ‘story-telling’ images with the written word and worked with some of the finest magazine journalists of the age. Hopkinson, described Chillingworth as one of his great successes.
Although John Chillingworth’s images are still reproduced in publications around the world, this is his first monograph and features a wide range of photographs, primarily taken during his Picture Post years. The book is introduced by Matthew Butson, Vice President of Hulton Archive, whose vast experience of the Picture Post archive stretches back almost 30 years.
ANDERS PETERSEN & JACOB AUE SOBOL
INTRODUCED BY GERRY BADGER
Born in Stockholm in 1944, Anders Petersen is undoutedly one of the world’s most important photographers of the last 40 years. In 1978 he published Café Lehmitz, which established his international reputation and is now recognised as one of the classic photobooks of the 20th century. In 2003 he was appointed Professor of Photography at the University of Göteborg. He regularly runs workshops and holds exhibitions throughout Europe, Asia and the USA and has received numerous grants and awards since the 1970s. These include the ‘Photographer of the Year’ award in France and the ‘Erich Salomon Award’ in Germany. He has also been shortlisted for the ‘Deutsche Börse’ award run by The Photographers Gallery, London.
"These pictures are from every time and from every place. When I look at my contact sheets I often lose myself in memories that I share with the people I photographed. Throughout the years these pictures have become my private diary, with a taste and a language of its own. A small world inhabited by my very own, very real people. For me it is interesting to find that condensed and tender moment. It's an entry into what I'm doing today; discovering desires and memories from the past and mixing them with what I encounter in the present. It's all about identifying and presence."
Jacob Aue Sobol is a member of Magnum Photos. He is represented by Yossi Milo Gallery, New York; the Rita Castelotte Gallery, Madrid; and RTR Gallery, Paris. A winner of the ‘European Publishers Award For Photography’ and of a ‘World Press Photo Award’, he gained international recognition after the publication of his book Sabine which was the result of a three year period spent in a small settlement on the East Coast of Greenland. He lived there with his Greenlandic girlfriend, Sabine, and her family, living the life of a fisherman and hunter but also taking photographs. In Spring 2006 he moved to Tokyo, staying there 18 months before returning to Copenhagen, where he now lives and works. He is currently working on the project Arrivals and Departures a journey from Moscow to Beijing in co-operation with Leica Camera.
Published in association with The Nordic Council of Ministers' Office in Latvia & The Danish Cultural Institute
THE HOME FRONT
introduced by Hilary Roberts
essay by Pippa Oldfield
The Home Front examines the relationship between leisure and the military in the UK, in particular the air shows that take place at Royal Air Force bases and in the skies above our seaside resorts.
Air shows are a fun day out for the family. On the ground, tank rides are on offer and armed forces’ recruitment drives afford children an opportunity to indulge in their fascination with guns. There are elements of fantasy and the carnivalesque here and a clear disconnect between this ‘play’ and the actual effect of weapons. In Friend’s photographs the beach and the landscape become uneasy, surreal spaces, temporarily militarized by the fleeting presence and roar of fighter jets. Civilian aircraft displays are interwoven with military ones, whilst nostalgia for World War II is evoked by the presence of ‘war birds’ such as the Lancaster bomber, only to be followed by the ‘shock and awe’ displays of contemporary fighter jets such as the Tornado, recently deployed in Libya and Afghanistan. By contrast, the trade days of the larger air shows such as Farnborough promote military hardware in a more direct way, while deals are negotiated behind the closed doors of the hospitality chalets.
In her early career Melanie Friend worked as a photojournalist, and radio reporter. From the mid 1990s she shifted her focus to longer-term photographic projects, producing work for exhibition as well as for her books which include Homes and Gardens: Documenting the Invisible (1996), No Place Like Home: Echoes from Kosovo (2001) and Border Country (2007). Friend is currently a part-time Senior Lecturer in the School of Media, Film and Music at the University of Sussex.
The Home Front is introduced by Hilary Roberts, Head Curator of Photography at the Imperial War Museum and includes an essay by Pippa Oldfield, Head of Programme at Impressions Gallery, Bradford.
Published in association with IMPRESSIONS GALLERY, Bradford which will exhibit the work from 14th Sep - 23rd Nov 2013
INTRODUCED BY FRANCIS HODGSON
Simon Roberts has travelled the coastline of Britain to create a comprehensive and fascinating photographic record of the country’s remaining pleasure piers, in homage to these monuments of Victorian engineering and eccentricity.
The pleasure pier follows the story of Britain’s relationship to the seaside, from the early links with the Romantics, to the engineering feats and technical advancement of the Industrial Revolution. They bear witness to the growth of the coast as a pleasure destination for a monied elite, as well as the working class enthusiasm for the seaside brought on by the development of the railways and the introduction of bank holidays. Britain’s piers trace our changing economic fortunes too, from post-war boom to economic downturn, and now a slow re-awakening of our appreciation of these cultural and historic landmarks.
At the turn of the last century, almost a hundred piers existed; now only half remain and several face an uncertain future. Whilst some are modest structures, others are elegant and exotic, thrusting out into the sea with characteristic Victorian aplomb. Loosely following in the footsteps of Francis Frith, whose company made the last major photographic survey of these peculiarly British structures, Roberts documented the remaining piers using his signature landscape style, echoing the aesthetic and tone of his acclaimed book We English.
In 2010 Simon Roberts was selected by the UK Parliament as the official Election Artist to record the General Election. He has exhibited widely with solo shows at: National Media Museum, Bradford; Museum of Contemporary Photography, Chicago; Museum of Contemporary Art, Shanghai. His work is in several major collections including George Eastman House, Deutsche Börse Collection and Wilson Centre for Photography. His previous books include Motherland (2007) and We English (2009).
Pierdom is introduced by Francis Hodgson, photography critic for the Financial Times, and the former Head of Photographs at Sotheby’s, London.
SOME THINGS YOU SHOULD HAVE TOLD ME
William Eggleston once asked Harvey Benge What are you doing these days?
Photographing the urban social landscape, said Benge.
Don’t talk bullshit; what are you doing? Eggleston insisted.
Making strange pictures in cities, replied Benge.
However you look at them, Harvey Benge’s photographs are mostly urban and generally strange. His work is mysterious; nothing is solid. The pictures capture contrasts and conflicts which leave you wondering what has just happened and what might happen next. He gives voice to the mundane and overlooked. His open-ended photographic sequences record small moments of everyday life that flash past with tension and ambiguity: an urban dream on the edge of reality where figures retreat, seats are empty, phones don’t work. Any and every interpretation is a valid interpretation. What is going on? You decide.
With photographs made in Paris, London, New York and Rome, this new intensely personal, some might say autobiographical book, is enigmatically entitled Some Things You Should Have Told Me. It is a remorseless meditation on loss and misadventure, pain and impermanence, the inevitability of change. Questions are asked; there are no answers.
New Zealander, Harvey Benge is well known for his many photobooks which have been published in Britain, Germany, France and Japan. Some Things You Should Have Told Me is his fifth book published by Dewi Lewis. Conceptual in substance, Benge’s books deal with the complexity of urban life, and the nature of seeing and understanding. The work has been exhibited at Kunsthalle, Düsseldorf; Antwerp Foto Museum, Belgium; Foam, Amsterdam; The Photographers’ Gallery, London, and Palais de Tokyo, Paris. His books have twice been finalists in the Prix du Livre at the Rencontres d’Arles, France. Benge’s photographs have been shown extensively in both public and private galleries in Britain, throughout Europe, and in New Zealand.
In 2014 South Africa will celebrate 20 years of Democracy since the ending of Apartheid.
In Spring 1994 Per-Anders Pettersson arrived in South Africa to cover the country’s first democratic elections. Nelson Mandela was to become its first black president; he had been free for four years and had toured the world like a rock star. The election itself was of immense significance: from the ashes of a repressive, segregated and racist state a multi-racial nation miraculously emerged, one of the greatest success stories of the African continent. And so began his love affair with South Africa. Over two decades he explored the country, the ‘Rainbow Nation’, questioning the complex realities of daily life.
For South Africa, Democracy was a hard won freedom that brought both rewards and new struggles: a soaring violent crime rate, disease, poverty and massive unemployment. Yet, South Africa’s policies reaped astonishing wealth for a new black elite, and saw the rapid emergence of a black middle class. The energy with which these so-called ‘black diamonds’ embraced capitalism was one of the most striking features of the transition. Their success also fostered a frenzied aspirational spirit amongst the poorer urban classes. However, during the second decade greed and disillusion began to smother this hope and aspiration. This is now the predominant theme in South African life.
Swedish born, Per-Anders Pettersson is an award winning photographer World Press Photo, PDN, POY, NPPA, CARE, CHIPP, Unicef Photo of the Year, American Photography, Commarts. He has exhibited several times at Visa Pour L’mage,Perpignan and at other festivals and galleries around the world. His last major exhibition was ‘Amazon’, a two person show with Sebastião Salgado, held at Somerset House, London, in November/December 2011 and later in Dublin.
Foreword by Barry Dumka
Michael Levin’s award-winning and extraordinarily beautiful photographs have a very painterly quality. In a recent feature profile, the American fine art magazine Focus declared “Michael Levin’s captivating images are soulful and evocative; he is truly one of the rising stars in photography.”
Using long exposures Levin reduces the landscape to elemental shapes. Each image has a simplicity and purity capturing the essence of the landscape. Many of his photographs feature water and clouds, and show what has been described as ‘the smooth skin of light’, yet it is the architectural intrusions into these clean spaces that most engage him. Wooden posts, concrete barriers, weathered rocks, dilapidated jetties, even the elegant shape of French topiaries introduce elements which seem to haunt the landscape and introduce a human presence.
Michael Levin has won a number of awards including the prestigious ‘Photographer of the Year’ award at the International Photography Awards in New York. Previous honorees include Henri Cartier-Bresson, William Klein and Larry Clark. Levin also won a further ‘Photographer of the Year’ Award at the Prix de la Photographie in Paris.
Born in Winnipeg and presently living in Vancouver, Canada, Levin travels extensively to capture his sharply-observed black and white photographs.
LOVE AND WAR
INTRODUCED BY LISA J. SUTCLIFFE
Love and War chronicles Guillaume Simoneau’s on-off relationship with Caroline Annandale. They first met at the Maine Photographic Workshop in 2000. Both in their early twenties, they began a feverish relationship and travelled the world together just prior to September 11, 2001. After the terrorist attacks on the United States, Annandale enlisted in the US army and was sent to Iraq. The two grew apart, Annandale eventually marrying someone else, but they reunited several years later upon her return from war to begin a tumultuous second chapter in their relationship.
Using a variety of images, including pictures he took when they first met, photographs Caroline emailed home from Iraq, text messages, and handwritten notes, Simoneau charts the couple’s love affair and its attendant ups and downs, but not in chronological order. Sequenced to mimic the disjointed nature of memory and identity, the project reveals how our perceptions of ourselves and our loved ones are always a blend of past and present. As the photographs progress, they expose Caroline’s loss of innocence and her transformation into a toughened war veteran. Ultimately, Simoneau reveals the lasting impact- the invisible, indelible, and often irreversible effects that both love and war have on people’s lives.
Canadian born, Guillaume Simoneau has exhibited across Canada and internationally. His work can be found in a number of permanent collections including the V&A Museum, London; the SFMoMA, San Francisco and the Museum of Contemporary Photography, Chicago. His work will be exhibited at the Museum of Contemporary Photography, Chicago from July 19th until October 6th, 2013 and at Centre VU, Quebec, Canada from September 6th to October 6th.
Published in association with Les Territoires
ESSAY BY CHRISTIAN CAUJOLLE
Youngsters meet up on the village outskirts, racing their tractorcars, burning tyremarks into the warm summer asphalt. The smell of rubber, oil and souped-up engines fills the air when the engines speed. The cars form into a circle as the boys take turns in the middle. It is a game showing their skills showing off to the girls. Strength is measured and proved as if in a strange ritual mating dance.
The car of choice is known as an EPA tractor, a Swedish term for an older car converted for use as an agricultural machine. These became common in the 1930s and were previously called ‘car-tractors’. During the 1950s EPAs had almost died out as new tractors had come down in price and become more available. The EPAs were almost forgotten until youths discovered that the EPA law offered them a way to drive, even as 15 year-olds and so during the 1960s and 1970s they became increasingly popular in rural areas. Tough rules are in force to restrict the gearing on the cars and their speed is supposed to be limited to 30 km per hour. There is also no suspension on the rear wheels, making them extremely uncomfortable to drive at high speed. However, the boys are skilled with cars and very creative when it comes to finding ways to bypass these legal and physical restrictions that limit the power and speed of the engines. The solutions they come up are numerous and are closely guarded secrets.
Swedish born Martin Bogren first came to attention in 1996 with his book on the Swedish band, The Cardigans, who he photographed over several years while touring with the band. He has since published two photobooks, Ocean and, most recently, Lowlands. A winner of the prestigious Scanpix Photography Award in Sweden he has been exhibited throughout Scandinavia as well as in France, Ireland, Portugal, India and USA.
Christian Caujolle is one of the France’s leading curators and critics. A founder of Agence VU he has curated major festivals such as PhotoEspaña, Rencontres d’Arles and Foto Biennale Rotterdam, and his extensive writings on photography have been published worldwide.
FRAGMENTS OF DARFUR
The war in Darfur, which has been controversially termed as ‘genocide’, is still ongoing, alongside a tardy peace negotiation process which began back in 2010. Around 300,000 people are estimated to have died from the combined effects of war, hunger and disease.
Darfur is inhabited by tribes of both African and Arab lineage. Both groups had co-existed for centuries, however, as a result of the increasing desertification of the region in the 1970s and 1980s, the nomadic Arab tribes began to head south in search of water and grazing land. They soon arrived at the settle-ments of the Africans. Skirmishes followed, though the fighting was small in scale and ended in 1994.
The conflict resumed in 2003 when African rebel groups, believing their communities to be neglected and marginalised, came together under the banner of the Darfur Liberation Front and initiated attacks on government locations. The Sudan government responded with major land and air assaults. By the summer of 2003 the infamous Janjaweed had become involved and by Spring 2004 they had killed several thousand non-Arabs and an estimated million more had been driven from their homes. Yet it was not until more than 100,000 refugees, pursued by Janjaweed militia, escaped to neighbouring Chad that the conflict captured the attention of an international audience.
Born in Greece, Nerris (Nektarios) Markogiannis began working as a photographer for the UN in 2008 in the Department of Peacekeeping Operations. His photographs have been featured internationally in a wide range of magazines and journals.
THE GREY LINE
JO METSON SCOTT
The Grey Line is a reflection on war told from the perspective of US and UK soldiers who have spoken out against the Iraq War. Publication marks 10 years since the invasion of Iraq.
Photographer Jo Metson Scott began the project after meeting a young American soldier who had been denied Conscientious Objective status and had gone AWOL in order to avoid redeployment to Iraq. There began a journey that took Metson Scott across the US in search of other veterans who had also been morally opposed to the war, and who had spoken out against it, at varying costs to themselves. Metson Scott’s work looks at the growing number of young men and women who, having chosen to fight for their country, found themselves questioning what they were being ordered to do at a time when the legality of the war itself was being disputed internationally.
Through photographs and interviews, The Grey Line explores the lives of these soldiers to more fully understand what it was that changed their minds and drove them to take an anti-war position no matter what consequence.
Jo Metson Scott is a portrait and documentary photographer whose work highlights the relationship between people and their communities. She has been commissioned by organisations including The New York Times, The Telegraph and The Photographer’s Gallery and her work has been exhibited in both the UK and Europe, including Arles Photography Festival, Nottingham Castle Art Gallery, Hereford Photography Festival and the Venice Biennale Fringe. She lives and works in London.
PICTURES FROM THE REAL WORLD
WITH AN ESSAY BY DAVID CHANDLER
David Moore’s Pictures from the Real World was the forerunner of much that followed in British photographic history, yet the first and only showing of the photographs was in 1988 when they were selected by Martin Parr for a special edition of the magazine, Creative Camera.
The series is a powerful collection of colour documentary photographs of families on a council estate in Moore’s home city of Derby, UK, made between 1987 and 1988. At the time, few serious documentary photographers were working in colour and Moore’s choice was in many ways a rebellion against the prevalent aesthetic. It was also a crtical response to the new political and social realities imposed by Margaret Thatcher’s Conservative government from 1979. As David Chandler comments in a new essay commissioned for the book; 'Pictures from the Real World’ presents working class life as a strange blend of physical mayhem and inertia, the abrasive square frames of Moore’s camera cut into bodies and objects, much as the rooms themselves seem to struggle to contain them’.
Published as a limited edition of 500 copies the book is a unique collaboration between Dewi Lewis Publishing and London based, Here Press. The work retains a visceral energy 25 years after the event and documents a very particular time in British social and photographic history. One might also argue that the subsistence level living encountered connects the content of the work to current times.
David Moore has published several books and exhibited widely. His first solo exhibition, The Velvet Arena, was shown at The Photographers’ Gallery, London in 1994 and was also published as a book. His last book The Last Things (Dewi Lewis Publishing, 2008) documented a never before photographed, government bunker in central London. David Moore is currently senior academic on the MA Photography at Central Saint Martins, London.
THE BLACK KINGDOM
Recognised as one of the UK’s most important photographers of the last forty years, Brian Griffin grew up near Birmingham amongst the factories of the Black Country. His parents were factory workers and from birth Griffin seemed set to follow in their footsteps. And so, on leaving school at the age 16, he began working in a factory, just like everyone else around him. A year later he moved to British Steel working as a trainee pipework engineering estimator in a job that involved costing systems for the nuclear power stations that were then being built. He remained there four years before escaping the tedium of the office by enrolling to study photography at Manchester College of Art.
The Black Kingdom is a visual autobiography of Brian Griffin’s life during the 1950s and 60s where everything surrounding him seemed to emanate from the factory. The book is a dissection of life in industrial England after the Second World War and shows the influences that would inspire the creative output of a highly successful photographer. For Griffin, those first 21 years living in a warren of terraced streets set amongst factories and continually polluted by their smells and noise, remain indelibly printed on him and have shaped the person he is.
Brian Griffin has exhibited and published widely. In 1989 he had a one-man show at the National Portrait Gallery, London. The same year The Guardian newspaper selected him as ‘The Photographer of the Decade’ and LIFE magazine used his photograph ‘A Broken Frame’ as the covershot for their feature ‘Greatest Photographs of the Eighties’. During the 1990s Brian Griffin retired from photography and focused on directing advertising, pop videos and short films. He returned to photography in 2001, reestablishing himself once again at the pinacle of British Photography.
HAVANA: INTIMATIONS OF DEPARTURE
HAVANA: Intimations of Departure is John Comino-James’ third book of photographs relating to his experience of that city, first visited in 2002 and many times since. Yet the city still surprises; he writes: Just when I think I know parts of the city well, I catch myself walking in streets made unfamiliar by my photographs.
Arranged in six sequences, the book contemplates the visual experiences and emotional connections the photographer might lose were he unable to walk through its streets again. We imagine moments in the history of buildings, find ourselves led towards and almost overwhelmed by the energy of the street, and observe moments of individual preoccupation and solitude. In the final section, through text and colour, he responds to the blandishments of a tourist industry which all too often proposes that ‘Cuba is on the verge of change… now is the perfect time to visit before its distinctive character is altered forever’, countering the proposition that the Havana landscape simply presents an opportunity ‘for great dramatic photos for competitions and portfolios’, pointing to a wider culture of art and politics beyond the Che Guevara T-shirts and other souvenirs.
Born in Somerset, John Comino-James lives near Thame in Oxfordshire. He has published five previous photography books: Nearly Every Tuesday, which documented Thame’s weekly street market; Fairground Attraction, which explored the way of life of travelling showmen; A Few Streets, a Few People, an intimate portrait of the people and surroundings of the Cayo Hueso barrio in Havana, Cuba; In a Very English Town, which acknowledges qualities that typify Thame as an English market town; and Fortunate Steps, photographs made in Havana’s historic Calzada del Diez de Octubre.
2012 Winner of the
European Publishers Award For Photography
Text by Bill Kouwenhoven
Over the last five years Alessandro Imbriaco has been photographing issues around housing problems in Rome. This has led him to explore the peripheral and hidden spaces of the city.
'The Garden' is one of these places. It is a small swamp next to the Aniene River, under a flyover on the ring road circling the eastern outskirts of Rome. Attempts have been made to protect its flora and fauna by designating the area as a nature reserve, though these efforts have failed and it remains abandoned and with no environmental protection. Yet it has ended up protecting other living creatures: Angela, a six-year-old child, was born here and grew up here with her parents Piero, from Sicily, and Luba, from Russia, in a shack under the flyover. They have found sanctuary in the swamp a safe shelter, hidden from the rest of the city a different and invisible existence, unimaginable to all those who drive over the flyover every day.
Born in Salerno, Italy, Alessandro Imbriaco currently lives in Rome. He has already won several awards the 2008 Canon Award for Young Photographers, World Press Photo 2010 Contemporary Issues 2nd prize stories, Premio Biennale Giovani Monza and Premio Pesaresi 2011. His work was shortlisted in Talent: Foam 2011, PHE Ojo de Pez, Premi Ponchielli, Lumix Award, and Atlante Italiano MAXXI and in 2011 he was selected for the World Press Photo Joop Swart Masterclass.
EAST END PHOTOGRAPHS
Born in Stepney, director, actor and playwright Steven Berkoff was given his first camera at the age of eleven. It became his way to record the people and places of the East End in which he lived. In this, his first photobook, Berkoff offers a unique and historic portrait of the people, shops and streets of London’s East End in the 1960s and 1970s.
“The East End was changing rapidly and I felt I had to record it before it vanished forever
at the time however I did not realise quite how fast it would disappear. The area was largely Jewish and this made it fascinating, since the early immigrants came with an amazing pot-pourri of cultures from a score of different peoples.
For a while I lived in Anthony Street, off Commercial Road and just around the corner from the extraordinary Hessel Street, a bustling thoroughfare that could have been torn out of the Warsaw ghetto. It was a dense artery of Jewish life with chicken slaughterers, bagel sellers and delis selling that wonderful variety of Jewish food so adored by its passionate noshers.
I’d go shopping with ma and be astounded by the clamour and the noise, the shouts of introduction from bagel sellers, every few yards sitting with their huge sacks of Moorish circles of dough. I was fortunate enough to capture some images of that life before it faded away along with the people who made it so memorable.”
HERE FAR AWAY
Introduced by Finn Thrane
Here Far Away is the first major retrospective book of the leading international photographer Pentti Sammallahti. It covers more than forty years of work and unfolds in almost as many countries.
Born in 1950 in Helsinki, Finland, from 1971 Sammallahti began to exhibit extensively in Finland and throughout the world. He is recognised as a master craftsman both in terms of the photographic print and also in mechanical printing methods. His own innovative printing techniques and his reintroduction of the portfolio form have been a major influence on published photographic art.
Sammallahti taught at the University of Art and Design in Helsinki for 17 Years, until he received a 15-year artist’s grant in 1991 from the Finnish government, an unusually long endowment. He had a solo exhibition at Paris for Mois de la Photographie in 1996 and another in 1998 at Houston Fotofest. In 2004, Henri Cartier-Bresson ranked Sammallahti amongst his favourite photographers in his Foundation’s inaugural exhibitionin Paris. In 2005 he was added to Robert Delpire’s Photo Poche book series and also exhibited at the Arles International Photography Festival. As a teacher, Sammallahti has had an enormous influence on a whole generation of documentary photographers in Scandinavia and since 1979, he has published thirteen books and portfolios and has received innumerable awards.
His work is in many major international collections including the V&A, London; Museum of Fine Arts, Houston; Bibliothèque Nationale, Paris; Stedelijk Museum, Amsterdam; Museum fur Kunst und Gewerbe, Hamburg; Moderna Museet / Fotografiska Museet, Stockholm; and The Finnish State Collections and the Photographic Museum of Finland.
Writer, photographer and teacher, Finn Thrane was founding director of the Museum of Photographic Art, Odense and creator and co-editor of CATALOG magazine from 1988-2007. In 2000 he founded the Odense Photo Triennial, now known as FotoTriennale.dk.
The transformation of man into beast is a central aspect of traditional pagan rituals that are centuries old and which celebrate the seasonal cycle, fertility, life and death.
Each year, throughout Europe, from Scotland to Bulgaria, from Finland to Italy, from Portugal to Greece via France, Switzerland and Germany, people literally put themselves into the skin of the ‘savage’, in masquerades that stretch back centuries. By becoming a bear, a goat, a stag or a wild boar, a man of straw, a devil or a monster with jaws of steel, these people celebrate the cycle of life and of the seasons. Their costumes, made of animal skins or of plants, and decorated with bones, encircled with bells, and capped with horns or antlers, amaze us with their extraordinary diversity and prodigious beauty.
Work on this project took photographer Charles Fréger to eighteen European countries in search of the mythological figure of the Wild Man: Austria, Italy, Hungary, Slovenia, Slovakia, Spain, Poland, Portugal, Germany, Greece, Macedonia, Bulgaria, Czech Republic, Switzerland, Croatia, Finland, Romania and the United Kingdom.
Charles Fréger is recognised as one of Europe’s leading young photographers. Based in Rouen, France, his work has been devoted almost exclusively to portraiture. He has published many previous books including Légionnaires Portraits photographiques et uniformes and Empire.
Foreword by DAVID GOLDBLATT
Billy Monk worked as a bouncer in the notorious Catacombs club in the dock area of Cape Town, South Africa, during the 1960s. He originally began taking pictures in the club with the intention of selling the photographs to the customers the people he was photographing. His aim was not to make a social statement, but his money-making scheme quickly turned into something else as he increasingly captured the raw energy of the club, its decadence and tragedy, its humanity and joy.
As someone who shared the experiences of those club-goers he was trusted by them and was able to convey their world and their experience with great energy and honesty. As David Goldblatt has written: “These are photographs by an insider of insiders for insiders. If inhibitions were lowered by the seemingly vast quantities of brandy and Coke that were imbibed, trust, nevertheless, is powerfully evident. Not simply in the raucous tweaking of bared breasts, or the more guarded but evident ‘togetherness’ of two bearded men, as well as the open flouting of peculiarly South African sanctions such as prohibitions on interracial sex. It is also present in the quiet composure of many of the portraits. People seemed to welcome and even bask in Monk’s attentions.”
Monk stopped photographing at the club in 1969. Ten years later his contact sheets and negatives were discovered and in 1982 the work was exhibited at the Market Gallery in Johannesburg. Monk could not make the opening and two weeks later, en route to seeing the show, he became involved in an argument. A fight broke out, Monk was fatally shot in the chest and never saw his work exhibited.
HEAVY HAND, SUNKEN SPIRIT
Mexico at War
Over the past six years Mexico has been consumed by a brutal conflict more than 35,000 people have been killed and kidnappings have skyrocketed.
After barely winning Mexico’s 2006 presidential election, Felipe Calderon escalated the battle against the country’s drug cartels in an attempt to marginalise the deadly gangs and the corrupt politicians and police officers who enable them. The cartels are ruthless, meting out an awesome brutality where heads are rolled into crowded discos and dismembered bodies are abandoned on busy streets. The gruesome nature of the crimes is at once unbearable and on display for the entire country to see.
The narrative of Mexico’s conflict is often reduced to the bodycount on the border, but the offensive against the cartels has caused an eruption of violence that is not isolated to one region. The wounds of this war bleed into every corner of the country, staining the very fabric of Mexican life with violence, death and fear.
In Heavy Hand, Sunken Spirit, David Rochkind moves beyond simple depictions of carnage to explore the stress and tension left in the wake of such violence and to illustrate how this conflict will impact on and handicap Mexico’s future.
An award-winning American photographer, David Rochkind has been based in Latin America for the last ten years, first in Venezuela and most recently in Mexico. His work is both beautiful and uncomfortable and his goal is to create images that present difficult issues to the audience in a way that is accessible.
Life and Death Along the US Border
Foreword by Gregory L. Hess MD
Every year since 2001 no less than 150 sets of the decomposed or skeletal remains of people crossing into the US from Mexico have been discovered in remote areas of Arizona’s Sonoran Desert. Pima County Forensic Science Center in Tucson deals with most of them, analyzing and storing their remains, archiving their possessions and hopefully determining their identities.
In Left Behind, documentary photographer Jonathan Hollingsworth delivers a sobering look at those who do not survive the Arizona border crossing and the personal effects that they leave behind. The work takes the viewer on a journey through the day-to-day operations of the forensic science center, as well as into its archive of personal effects of the border crossers. Hollingsworth also travelled to Nogales (site of one of the largest border patrol stations in the United States), and to Green Valley, Arizona where he discovered belongings left on the desert floor by migrants awaiting road-side pick-up in the dead of night.
“The work is a way of humanizing the immigration issue we face in the United States. It points to how desperate these individuals are to escape and start a new life. Essentially this book stands as a memorial to people who died alone, without ceremony and who are often still unknown.”
New York based, Jonathan Hollingworth’s previous photographic series, What We Think Now, documented young Americans’ response to the Iraq War, and was published as a catalogue and exhibited at the California Museum of Photography, Santa Fe Art Institute, Center for Photography at Woodstock, and Houston Center for Photography. His work has been published widely including The Sunday Times Magazine and Photo District News.
Red Thistle, the 2011 winner of The European Publishers Award for Photography, is a powerful and fascinating exploration of the important but relatively unknown region of the Northern Caucasus and its people. It lies between the Black and Caspian Seas and is within European Russia. Wars have been fought here for centuries the most recent in Chechnya. Monteleone examines the stubborn, rebellious culture of this region, which although part of Russia, differs in the ethnicity, religion and social customs of its inhabitants.
‘If you shoot in the Caucasus, the echo will be heard for centuries,’ says an old proverb from the region.
Born in Italy 1974, Davide Monteleone studied engineering before moving first to the U.S. and then to England. It was here that he discovered his interest in photography and journalism. Returning to Italy in 2000, he completed his studies in photography and began to work with Italian magazines. From 2001 2003 he worked as correspondent for the photo agency Contrasto in Moscow. He began working with major international newspapers such as D, Io Donna, L’espresso, New York Times, Time, Stern, New Yorker, to name a few. Since 2003 he has lived part of each year in Italy and part in Russia, where he is pursuing long-term personal projects and continues his editorial work. He published his first book Dusha, Russian Soul in 2007, and La line inesistente in 2009. His features have won numerous awards including World Press Photo in 2007 and 2009, International Photo Award in 2008, Emerging Photographer Grant, Freelens Award, and the 2010 Aftermath Project Grant.
Previous winners of the European Publishers Award For Photography have included photographers such as Simon Norfolk, Bruce Gilden, Paulo Pelegrin, Klavdij Sluban, Jeff Mermelstein. Open to photographers world-wide, the competition is a unique collaboration between six European Publishers Actes Sud (France), Apeiron (Greece), Dewi Lewis Publishing (UK), Kehrer Verlag (Germany), Peliti Associati (Italy), and Blume (Spain).
PAUL FLOYD BLAKE
Over a period of five years, award-winning photographer Paul Floyd Blake regularly photographed sixteen young athletes in the build up to the London 2012 Olympic and Paralympic Games. His work documents a unique time in British history, and captures the development of a generation of sportspeople as they grow from childhood to adulthood within the intense world of elite sport.
Blake’s restrained and subtle portraits offer an alternative to conventional sports photography, with its emphasis on dramatic moments of action. Instead, his images pay tribute to the long slog towards glory that is not usually seen or celebrated, whilst excerpts from the athletes’ own writings offer insights into their personal hopes and fears. Blake’s approach emphasises the individual’s own story and motivations beyond the values and structures of competitive sport, as the title Personal Best suggests.
These complex portraits bear repeated viewing and will continue to reward the onlooker long after London 2012 is over. With specially commissioned texts by curator Pippa Oldfield, Impressions Gallery, Bradford and Professor Jonathan Long, Leeds Metropolitan University, this book will interest sports fans, cultural historians and those interested in new approaches to contemporary photography.
Published in association with IMPRESSIONS GALLERY
Photo Album brings together seven distinct bodies of work by Chino Otsuka, covering the period 1998 to 2012.
Born in Tokyo, Chino Otsuka came to Britain at the age of 10. The core of her photographic work is based on the personal experience arising from this move and her sense of a dual inheritance from both East and West. In many of her projects she uses self-portraiture to explore themes of belonging, identity and memory. For her, memory is a form of storytelling and the narrative element is important throughout her work. She is preoccupied with the idea of home, displacement, memory and loss. What makes a place a home and where does a sense of belonging come from? For Chino, tracing back and recreating the past is a way to deal with such issues. The imagined and the real, reflection and projection, past and present are all recurring themes.
Trained at the Royal College of Art, London and at the University of Westminster, Otsuka has exhibited throughout Europe, as well as in the United States, China and Japan, and her work is held in several public and private collections. Her first book Imagine Finding Me was published in the UK by TRACE Editions. Otsuka lives and works in London.
The work is introduced by Greg Hobson, Curator of Photographs, National Media Museum and there is a foreword by Els Barent, Director of Huis Marseille, Amsterdam.
Egypt’s Forgotten Architecture
Egypt is one of the most densely populated countries in the world and has a colonial history that stretches back centuries. From 1882 until 1952 it was under British rule although nominal independence was granted in 1922, with the exception of four “reserved” areas: foreign relations, communications, the military and the Anglo-Egyptian Sudan.
Between 1860 and 1940, Cairo and other large Egyptian cities witnessed a major construction boom that gave birth to extraordinary palaces and lavish buildings. These incorporated various architectural styles, such as Beaux-arts or Moorish Revival, with local design heritage influences and materials. Today many lie empty and neglected, with no legislation protecting historic buildings less than a hundred years old from demolition.
In 2006, Russian born photographer Xenia Nikolskaya began the process of documenting these extraordinary structures. She has gained exceptional access and has photographed at some thirty locations including Cairo, Alexandria, Luxor, Minya, Esna, and Port Said. Sadly, the state of Egypt’s colonial architecture is now rapidly succumbing to time, real estate frenzy, and an ongoing overpopulation crisis. Since she began the project a number of these spaces have been demolished, whilst others have gone through a process of regeneration and modernisation.
Dust is not just a documentation of these fascinating architectural spaces, it also traces the idea of a typology of absence. The project was completed in January 2011 just before the Egyptian revolution of January 17.
Xenia Nikolskaya lives between St. Petersburg, Stockholm and Cairo. She currently teaches photography at the American University in Cairo, and works as a curator/project leader at the Swedish Institute and the Centre for Contemporary Art and Architecture, Stockholm.
THE STORY OF SWIMMING
In recent years, ‘wild swimming’ a movement that has inspired people to plunge into river, lake and sea in search of natural or challenging swimming experiences has become extremely popular in Britain. But this phenomenon is only the latest episode in a long, fascinating and hitherto untold story.
Passionate outdoor swimmer Susie Parr sets out to trace the social history of British swimming, from the earliest references in Roman and Anglo Saxon literature to the decline of British seaside resorts and traditional bathing clubs in the late 20th century. The Story of Swimming reveals discoveries in medieval and Elizabethan literature and tells how medicinal sea-bathing flourished in the 18th century, leading to the rise of elegant watering places such as Scarborough. The book examines the role of bathing in the Romantic Movement and in the works of a line of literary swimmers from Wordsworth to Iris Murdoch. It explores the political aspects of swimming too: when the masses descended on Victorian seaside resorts, class-based conflicts centred on bathing were played out on the beaches of Britain. Over the centuries, swimming has even reflected changing perceptions of the role of women.
Each phase of this extraordinary story is captured in different swimming experiences across the British Isles, from Orkney to Tenby. Comprehensive and lavishly illustrated with woodcuts, engravings, cartoons, paintings and photographs (some by acclaimed photographer, Martin Parr), The Story of Swimming is a must for everyone who enjoys bathing out of doors.
The Automaton is based on a story told to Paolo Ventura as a child. It centres on an elderly, Jewish watchmaker living in the Venice ghetto in 1943, one of the darkest periods of the Nazi occupation and the rule of the fascist regime in Italy. The city where the watchmaker has lived his entire life, now desolate and fearful, is the stage on which the story unfolds. The old man decides to build an automaton (a robot), to keep him company while he awaits the arrival of the fascist police who will deport the last of the remaining Jews from the ghetto.
Paolo Ventura is internationally known for the complex creative process he adopts. Having created the narrative script for the book, he then builds elaborate models and miniature figurines in his studio and incorporates them in what appear as almost film sets. These are then photographed and his final artworks are the photographs of these constructed tableaux. The Automaton is a photographic narrative from beginning to end.
Paolo Ventura's work has been exhibited widely throughout Europe and the States. Currently he has three exhibitions of his work on show; in the Italian national pavilion at the Arsenale at the Venice Biennale; in the exhibition 'Otherworldly: Optical Delusions and Small Realities' at the Museum of Art and Design, New York and at the Hasted Kraeutler Gallery, New York. His works have been acquired by prominent public collections including the Museum of Fine Arts in Boston, the Library of Congress in Washington D.C., Maison Europeen de la Photographie, Paris and the Martin Margulies Collection in Miami, Florida. Two monographs of Paolo Ventura's work have been published: War Souvenir (Contrasto, 2006) and Winter Stories (Aperture and Contrasto, 2009). He is also included in the new publication Photographic Memory: The Album in the Age of Photography (Aperture / Library of Congress, 2011). Born in Milan, Paolo Ventura currently lives and works in New York.
A NEW KIND OF BEAUTY
Photographs PHILLIP TOLEDANO
Afterword by W.M. HUNT
Phillip Toledano believes that we are at the vanguard of a period of human-induced evolution. A turning point in history where we are beginning to define not only our own concept of beauty, but of physicality itself. Beauty has always been a currency, and now that we finally have the technological means to mint our own, what choices do we make?
Is beauty informed by contemporary culture? By history? Or is it defined by the surgeon's hand?
When we re-make ourselves, are we revealing our true character, or are we stripping away our very identity?
Phillip Toledano was born in 1968, in London to a French Moroccan mother, and an American father. His work is primarily socio-political, and varies in medium, from photography to installation. His installation project, 'America, the gift shop', was shown at the Center for Photography at Woodstock. The premise: If George Bush's foreign policy had a souvenir shop, what would it sell? Toledano has published three previous books: Bankrupt (Photographs of recently vacated offices) published by Twin Palms in 2005, Phonesex (Twin Palms, 2008), and Days With My Father (Chronicle, 2010). His work has appeared in Vanity Fair, The New York Times Magazine, The New Yorker, Harpers, Esquire, GQ, Wallpaper, The London Times, The Independent Magazine, Le Monde, and Interview magazine, amongst others.
W.M.Hunt is a photography collector, curator and consultant who lives and works in New York. Founding partner of the prominent photography gallery Hasted Hunt (now Hasted Kraeutler) in Chelsea, Manhattan, and former director of photography at Ricco/Maresca gallery, Hunt has been collecting photography for over 35 years. His recent book The Unseen Eye (Aperture, Thames & Hudson, Actes Sud) focuses on Collection Dancing Bear, currently his largest collection of photographs.
SAVOY | THE RESTORATION
Photographs SIOBHAN DORAN
Siobhan Doran has photographed the ambitious restoration of The Savoy, the world-renowned hotel on London’s Embankment. Built by impresario Richard D’Oyly Carte with profits from his Gilbert and Sullivan operas, the hotel opened on 6 August 1889. It enjoyed a resurgence of fame during the 1920s with both major art deco redecoration, and guests as varied as Noel Coward, Igor Stravinsky, Josephine Baker and George Gershwin.
The book traces the work through four periods of the restoration project. It opens with the process of stripping out, which in many instances exposed original detail. The two following sections follow the painstaking structural restoration and its progression into the new designs. The final section covers the finishing touches of decoration and furnishing. As the project developed Siobhan Doran became captivated by the hotel’s fifth-floor River Suites with their varied views across the Thames. Revisiting these rooms many times in the course of more than 100 visits to the hotel, she developed the concept of returning and remaking images, which she then expanded to embrace to other areas in the building. This approach also unconsciously reflects the many views and insights that the now-reopened hotel’s customers observe daily depending on the season in which they visit, the length of their stay, the areas that they frequent and whether it is their first visit or one of many.
Born in Ireland, Siobhan Doran initially trained in architectural technology, and worked in building design for over ten years combining this with her photographic work. In 2003 she began a degree in photography at the University of Westminster where she graduated in 2006. Since 2007, she has focused exclusively on photographic projects working primarily with the design community, photographing interiors and exteriors of recently completed buildings as well as creating commissioned artwork.
with an essay by Jane Fletcher
Photographs 1955-2010 is the major retrospective book of the renowned British photographer John Blakemore. The book explores the extensive range of work that Blakemore has undertaken over a period of almost 60 years of visual exploration.
£45 clothbound hardback
272 pages, 245mm x 300mm
over 280 duotone & colour photographs
A special collector’s edition slipcased hardback is also available. Limited to 100 signed and numbered copies it includes a 10 x 8 silver print handprinted by John Blakemore.
The launch price is £150.00 including UK shipping.
AS FROM 12/3/2012 THE PRICE WILL INCREASE TO £200.00
BURKE + NORFOLK
Photographs from the War in Afghanistan
by JOHN BURKE and SIMON NORFOLK
Simon Norfolk’s 2002 book Afghanistan: chronotopia is now recognised as a classic of photography. It established Norfolk’s reputation as one of the leading photographers in the world and has been exhibited at more than thirty venues worldwide.
£40.00 / $65.00
365mm x 290mm, 168 pages
Photographs by ELIN HØYLAND
introduced by GERRY BADGER
When Elin Høyland heard about two elderly brothers, Harald and Mathias Ramen, living together in Tessanden, a small hamlet in rural Norway, she approached them to see if they would collaborate with her on a photographic project about their lives. The result is a fascinating and warmly human study of a way of life that has now almost entirely disappeared.
Harald (75) and Mathias (80) had always lived on the small farm in which they were born. Neither had married. Mathias once worked in Oslo for two months, but hadn’t like it, whilst Harald spent one night, ‘the worst of his life,’ he would say, in a hotel in Lillehammer, some three hours away. They’d worked for an electricity company, as loggers and also as carpenters, but now much of their time was taken up just managing firewood for their home. As Harald said, they chopped wood, carried wood and burned wood. At least twice a day, they also fed wild birds in the twenty bird boxes that they monitored. Their days followed a predictable and comforting routine. In their free time they each listened to a radio or read the local paper. In the 1960s they rented a TV for a one month trial but returned it after deciding that it took up too much time. Little changed from year to year, though Mathias once said that changes were happening the whole time and it would probably end up with them getting an inside toilet with running water. Harald died from an asthma attack while shovelling snow in conditions of 20C. Mathias continued to live alone in the house until he moved into an old people’s home. He died in 2007.
Norwegian photographer, Elin Høyland has freelanced for several major newspapers including The Guardian. She is currently photographer with the Norwegian Business Daily and her work has been widely exhibited in France, USA, China, Scandinavia and the UK.
Gerry Badger is recognised world-wide as one of the leading writers on photography. Amongst his many projects he wrote the TV series The Genius of Photography and was co-author with Martin Parr of the two volume The Photobook: A History.
LES AMIES DE PLACE BLANCHE
Foreword by Christian Caujolle.
Texts by Christer Strömholm, Helene Hazera & Johan Ehrenberg
Originally published in 1983, Les Amies de Place Blanche focuses on the transsexual community living around the Place Blanche district of Paris in the late 1950s and early 1960s. The book established Christer Strömholm’s reputation as one of the leading photographers of the twentieth century.
‘This is a book about insecurity. A portrayal of those living a different life in that big city of Paris, of people who endured the roughness of the streets. This is a book about humiliation, about the smell of whores and night life in the cafés. This is a book about the quest for self-identity, about the right to live, about the right to own and control one’s own body. This is also a book about friendship, an account of the life we lived in the place Blanche and place Pigalle neighbourhood. Its market, its boulevard and the small hotels we resided in. These are pictures from another time. A time when De Gaulle was President and France was at war against Algeria. These are pictures of people whose lives I shared and whom I think I understood. These are pictures of women biologically born as men that we call ‘transsexuals’. As for me, I call them ‘my friends of place Blanche’. This friendship started here, in the early 60s and it has been going on for 22 years.’
Christer Strömholm, 1983
The book includes the original essays by Strömholm and publisher Johan Ehrenberg as well as newly commissioned texts by Jackie and Nana, two of the women who feature in many photographs in the book. The introduction is by Hélène Hazera, a leading French journalist, actress, director, and television producer who is also a transsexual.
Born in Stockholm in 1918, Strömholm lived in Paris periodically during the 1950s and 1960s and it was here that he developed his particular style of street photography and made his famous portraits at Place Blanche. Seen as the ‘father’ of Swedish photography, he was the first post-war Scandinavian photographer to achieve international recognition. Also active in Photographic Education, he co-founded the Fotoskolan academy in Stockholm in 1962, where his students included, amongst others, Anders Petersen and the film-maker Bille August.
PALOMA AL AIRE
Ricardo Cases’ third photobook deals with an unusual subject: a unique form of pigeon racing which is practised in the Spanish regions of Valencia and Murcia. The sport consists of releasing one female pigeon and dozens of males. Painted in combinations of primary colours, reminiscent of flags or football kits, these pigeons chase the female to get her attention. None ever manage to get too intimate, and consequently the winner is the one that spends the most time close to her. The winner is not necessarily the most athletic, the toughest or the purest in breed but the most courteous, the one that shows most constancy and has the strongest reproductive instinct. This is the one that is seen as the true embodiment of ‘macho’.
The pigeon handler invests time, money and hope in his young pigeons. He raises them, gives them names, trains them and has faith in them. When competition day arrives he is full of childlike illusion and uncertainty. Known as colombiculture, it is a sport with rules and referees. The price for young pigeons can reach thousands of euros and betting involves large amounts of money. The male pigeon becomes almost a projection of the pigeon-keeper himself, who embodies its sporting, economic and sexual success or failure in the community. Raising a male champion can bring both prestige and profit. Far from the harsh reality of his daily life, the colombaire has a second life where all is possible he can reach the top. He just needs a champion pigeon.
In Paloma al Aire, Ricardo Cases explores the sport as a symbolic act, a projection and a way of relating to the world. It is an ethnographic documentation as groups of men run through the countryside behind their male pigeons, observing their mating performances, discussing the rules and the decisions. It could almost be a study of the rituals of a remote tribe or of a group of children who, in the process of discovering the world, invent a new game.
Ricardo Cases was born in Orihuela, Spain, in 1971. He originally studied journalism at the University of The Basque Country. He has exhibited widely throughout Spain as well as in China, Poland and Peru, and has won several awards. He now lives and works in Madrid and is represented by La Fresh Gallery, Madrid.
Not available in the USA
texts by Shai Kremer, Meron Benvenisti,
Anne Wilkes Tucker, Talya Sasson, Amiram Oren, Ariella Azoulay
Israel’s history can be understood through its vast archaeological heritage. Its past exists not only in the written word but also in its land, in the architecture and ruins, in the stones themselves. Each civilization overwrites another, layer upon layer a sophisticated palimpsest. A single frame can expose the sediment of thousands of years.
The recycling of spaces, from one empire to the next, shows how each sought to conquer and rule the land, all with a similar outcome: eventual failure. Kremer shows the vestiges of this complex multicultural saga, testimonies unearthed from the past that show a different perspective. It is landscape as a place of amnesia and erasure, for Israel is a strategic site where the past has been buried and history veiled by natural beauty.
Kremer’s Israel exists beyond the media headlines and tourist hotspots: it is landscape as cultural force, an instrument in the construction of national and social identity. For Kremer, it is a provocation to critical debate about a country where different perspectives existed, and continue to exist, and where new possibilities can be reflected upon.
Born in 1974 and raised in Israel, Shai Kremer currently lives in Tel Aviv and New York. He has exhibited widely internationally: Tate Modern, London; Metropolitan Museum of Art, New York; SF MoMA, San Francisco; Chicago Museum of Contemporary Photography; Tel Aviv Museum of Art; The Israel Museum, Jerusalem; the Red Cross Red Crescent Museum, Geneva; Guangzhou Photo Biennale, China; Omotesando Gallery, Tokyo; Vittoriano Art Museum, Rome; PHotoEspaña, Madrid. His work is held by several major museum collections including The Metropolitan Museum of Art, New York; SF MoMA, San Francisco; the Museum of Fine Arts, Houston; the Israel Museum, Jerusalem and the Tel Aviv Museum of Art.
Photographs by MARIA GRUZDEVA
Introduced by MATTHEW SHAUL
Fifty years ago, on April 12th 1961, Yuri Gagarin became the first man in space. His orbit of the Earth made him a celebrity worldwide. His name is still synonymous with the Space Race and with Russian space exploration.
Half a century after the legendary flight, DirectionSpace! looks at two of the sites that were key to the Soviet Space programme: Star City and Baikonur.
Cosmonauts have lived and trained in Star City since the 1960s. In the Soviet era, it was a top secret location. Now also known as ‘The Yuri Gagarin Russian State Science Research Cosmonauts Training Centre’ it is still a military research centre and consists of a training facility and a residential area for the cosmonauts and their families as well as the military and civilian personnel serving the facility.
Baikonur, situated in Kazakhstan, was the world’s first space launch facility and it is still the largest. Nowadays, the site is rented and administered by Russia.
DirectionSpace! is a fascinating study of Star City and Baikonur. Incorporating unique archive materials, it explores the reality of the space community at first hand, investigating the physical and psychological space as well the routine and lives of its residents. It offers a new insight into a subject central to the Cold War history of the Soviet Union, and raises questions over attitudes and perceptions that have been formed over past decades.
Maria Gruzdeva is a young Russian photographer. Based in London for the past three years, she is able to offer a unique perspective on her country of origin, its post-Soviet history and aesthetics. She held her first major solo exhibition in Moscow in 2010 and has shown her work in several group exhibitions as well as at art fairs such as VOLTA6 in Basel and Art Moscow.
THIS IS NOT A HOUSE
Photographs EDGAR MARTIONS
Essays by SACHA CRADDOCK, PETER D.OSBORNE
The US subprime mortgage crisis, which had its roots in the closing years of the twentieth century, exposed pervasive weaknesses in the regulation of the financial industry and the global financial system. At the end of 2008, as the fall-out from the crisis became increasingly widely felt, Edgar Martins was commissioned by the New York Times Magazine to photograph across the US in eight separate states and across sixteen different locations. These carefully researched sites exposed the extent and impact of the crisis on the US construction industry.
Martins approached the project as a photographic intervention into a crisis and the resulting images go beyond pure formal investigation or documentation. His interest lay in summoning a disquieting conjunction of realism and fiction by ‘cutting into the real’. As the writer Jacques Ranciére states, the real can only be unravelled and understood if it is first fictionalised. And so the real must be transformed to be understood. The houses depicted in this series do not refer to just the particular. They are images of spatial assemblages, of kinds of stages on which a number of quite different (and perhaps incompatible) narratives might be enacted. These images, these houses, these ruins, reflect back at us the human constructs that we project and impose on them.
This Is Not A House emerges precisely at that juncture where clear words falter, where language is disturbed. The meaning of the world is no longer carried on its surface, if indeed it ever was.
Internationally recognised, Edgar Martins has won several awards for his work including Portugal’s BES Photography Award, The UK’s National Media Museum Terry O’Neil Award, and a Jerwood Photography Prize. He has exhibited throughout Europe and the United States and has published several books, the two most recent being Topologies, (Aperture), and When Light Casts No Shadow, (Dewi Lewis Publishing).
IN THE FACE OF SILENCE
Photographs by CHRISTOPHE AGOU
Story by JOHN BERGER
In The Face Of Silence is a powerful and moving portrait of the hard lives of French family farmers living and working in the Forez region, on the eastern side of the Massif Central.
Born and brought up in the area, photographer Christophe Agou travelled to the less-known parts of the region, where he felt inspired by the silence and moved by the authenticity and charisma of the people he encountered. Over time, and through the gradual process of building trust and friendship, the farmers and their families accepted him and allowed him to both photograph and film their daily existence. The challenge was to go beyond just documenting their labour-intensive lives and present a deeper, more intimate portrait. The resultant work is a meditation on life and death as well as the silence and solitude that are ever-present in our lives.
Winner of the 2010 European Publishers Award for Photography, Christophe Agou, is noted for his personal documentary-style in both black-and-white and colour photography. His intimate images both haunt and intrigue and create an intensely rich, layered, visual language that triggers thoughts and emotions.
Christophe Agou moved to New York in 1992 and came to prominence with his compelling body of work made in the New York subway published as ‘Life Below’ in 2004. He was a finalist for the prestigious Eugene Smith Award (2006), for Le Prix de la Photographie de l’Académie des Beaux-Arts de Paris (2008) and received a ‘Mention Spéciale’ for le Prix Kodak de la Critique Photographique (2009). His photographs have been widely published and exhibited including shows at MOMA, New York; Jeu de Paume, Paris; Museum of Fine Arts in Houston; Les Rencontres D'Arles, France and Noorderlicht Fotofestival, The Netherlands.
John Berger, art critic, novelist, painter and author, was the 1972 winner of the Booker Prize with his novel G. His book on art criticism Ways of Seeing is recognised as one of the seminal texts on the subject.
LONDON STREET PHOTOGRAPHY 1860-2010
From the MUSEUM OF LONDON'S PHOTOGRAPHIC COLLECTION
Selected by Mike Seaborne, Senior Curator of Photographs
and Anna Sparham, Curator of Images at the Museum of London.
London Street Photography is published in association with The Museum of London to coincide with the major exhibition on show at the Museum until September 2011.
Street photography thrives in London today. It documents the movement, diversity and seeming incoherence of the most multicultural city in the world. Its defining characteristic is the keen eye of the photographer catching the moment of a chance encounter, a fleeting expression or a momentary juxtaposition in a decisive click.
However, photographing life on London’s streets is nothing new. The first ‘instantaneous’ London street scenes were taken in the early 1860s, and by the 1890s candid street photographers were snapping Londoners unawares. The 20th century saw many photographers, famous and lesser-known, continue to capture the daily life of London.
London Street Photography showcases the Museum of London’s unique historic collection of photographs. It contains the work of more than seventy photographers and is a fascinating view of London street life of the last 150 years. It includes the work of well-known photographers such as Paul Martin, John Thomson, Humphrey Spender, Bert Hardy, László Moholy-Nagy, Roger Mayne and Tony Ray-Jones as well as the work of many anonymous photographers whose contribution has been just as important in recording the story
of the city.
The book includes an introduction by Mike Seaborne, in which he outlines the history of street photography in the Capital, exploring the shifts in approach as well as the impact of new cameras that allowed photographers to capture the wealth of detail to be found in London’s teeeming streets.
Photographs MICHAEL ACKERMAN
Essay by DENIS KAMBOUCHNER
According to Denis Kambouchner’s introduction, Michael Ackerman’s latest book Half Life is a haunted book. It is certainly disturbing; in Michael Ackerman’s world, something is disintegrating. A feeling of isolation pervades; a space weighed down by history takes over everything.
The landscapes are harsh and unwelcoming, combining frozen expanses, blackened houses, vestiges of the mining industry and abandoned cemeteries. But it is the anguish of individuals that stirs us most deeply their expressions of distress and confusion, their unfinished gestures, the sense of damage. These are people who appear to live in the ruins of a drama. It is as if their whole bodies were given over to a scream. What all these people, these bodies and these images, have in common is the pure situation, that something is wrong out of joint.
Everything in the book is in the form of a response. Ackerman carefully constructs a whole system of recalls and echoes, reinforcing a primordial desolation, set against the backdrop of an entirely fragmented and disordered world. It is an extraordinary and unsettling vision.
Born in Tel Aviv, Michael Ackerman moved to New York in 1984. After studying he began to photograph in the city’s streets, nightclubs and on its waterfronts. Between 1993 and 1997 he made several trips to Benares, India. The photographs from that project were published as End Time City by Robert Delpire, the legendary Paris based publisher. A member of Agence/Gallerie Vu, his work has been exhibited internationally and he has won several international awards including the Prix Nadar, the SCAM Roger Pic Prize and the International Centre of Photography Infinity Award. His work is in many major collections and in 2010 it was included in Traverse, the book and exhibition of the collection of Marin Karmitz which was shown at Rencontres d’Arles. Michael Ackerman now lives in Berlin.
Photographs by LIZ HINGLEY
Texts by ELIZABETH EDWARDS, CHRISTOPHER PINNEY
Liz Hingley, the daughter of two Anglican priests, grew up in Birmingham, one of the UK’s most culturally diverse cities, where over 90 different nationalities now live. It is hardly surprising therefore that she developed an interest in multi-faith communities and began to explore the complex issues involved, ranging from immigration, through to secularism and religious revival.
Between 2007-2009, Hingley focused on the three-mile stretch of Soho Road in Birmingham, one of the most varied and fascinating corners of the country. It is a junction of diverse faith, where Muslim, Hindu, Buddhist and Jain, Rastafarian, Christian and Sikh meet. “Faith is exhibited in all the shops, shown off as symbols on hats and t-shirts, branded in tattoos,” says Hingley. “It is religion rather than race that now defines the local communities.”
With more than twenty different religions represented in a single road various buildings are used for religious purposes from churches in a school gym hall, to makeshift baptism tents in the local park. And with so many communities co-existing in such close proximity, the boundaries between faiths can, as Hingley has observed, become exaggerated. “It was as if these religions were challenging each other,” Hingley said “challenging each other to show themselves off the most.”
Under Gods is a powerful celebration of the rich diversity of these religions and of the reality and intensity of their different lifestyles.
London based, Liz Hingley has won numerous awards for her photography including the Canon AFJ and Figaro Magazine Award 2010, and the Taylor Wessing National Portrait Award, 2009. Her work was highly commended in the 2010 and 2007 Ian Parry Award and she was a finalist for the Eugene Smith Grant 2010. She has exhibited in solo and group shows in the UK, France, Budapest and New York.
Under Gods is a project developed during Liz Hingley’s residency at Fabrica, Benetton research centre on communication
LAOS: LEGACY OF A SECRET
Photographs by SEAN SUTTON
introduced by TIM PAGE
texts by Dr Thongloun Sisoulith, Deputy Prime Minister LPDR and Lou McGrath OBE, Chief Executive of MAG,
Between 1964 and 1973, during the war with the United States, the North Vietnamese used a network of supply lines, known as the Ho Chi Minh Trail, running from North Vietnam through the jungles and mountains of neighbouring Laos and Cambodia. In an effort to staunch the flow of troops and weapons the U.S. dropped more than 2 million tons of bombs on Laos, including more than 270 million cluster bomb submunitions. Kept secret from Congress and the American people, full details of the scale of the bombing sorties only becoming declassified in the 1990s.
By the time the aerial campaign ended in 1973 more bombs had been dropped on Laos, since renamed Lao People’s Democratic Republic (LPDR), than the Allies dropped on Germany and Japan combined during World War II. Many failed to explode when they hit the ground, leaving the landscape littered with hundreds of thousands, perhaps even millions, of unexploded bombs, as lethal today as when they fell from the sky three decades ago. Dubbed ‘bombies’ by Laotian villagers, these often brightly coloured cluster bomb submunitions are still found in the clefts of bamboo branches, by children playing in shallow dirt, or in the fields where farmers till the soil by striking the earth with a hoe.
Since 1974 more than 20,000 people, many of them children, have been killed or injured by bombs or other unexploded ordnance in Lao PDR. Today, the lives of about 300 Laotian people are still devastated each year by the deadly remnants of this war.
For the past nine years photographer Sean Sutton has travelled with MAG’s projects (Mines Advisory Group), from Kosovo to Sri Lanka and Iraq, Lebanon and Sudan, documenting the humanitarian impact of armed violence, landmines, unexploded ordnance and other deadly remnants of conflict as well as the solutions that MAG provides.
The book includes texts by the Deputy Prime Minister of LPDR, Dr Thongloun Sisoulith; the Chief Executive of MAG, Lou McGrath OBE; and world renowned war photographer, Tim Page.
LOVE ON THE LEFT BANK
Photographs ED VAN DER ELSKEN
This is a facsimile edition of one of the ‘classic’ photography books of the 20th century. Originally published in 1956, the book focuses on the Left Bank of Paris at the time when the area was a centre of creative ferment and the home of the artists, writers and aesthetes who would determine the cultural agenda of a generation. With its unconventional, gritty, snapshot-like technique the work was widely acclaimed as expanding the boundaries of documentary photography.
Born 1925, in Amsterdam, Ed van der Elsken is recognised as one of the great photographers of the 20th century. During his lifetime he published over 20 books. In recent years his work has been exhibited widely throughout the world. Ed van der Elsken died in 1990.
Vali Myers, who features as ‘Ann’, was born 1930 in Sydney, Australia. A dancer and artist, she arrived in Paris in 1949. During the post-war years, living in the streets and cafés of St. Germain des Prés, she continued to dance and to draw her drawings feature in the book. She later travelled extensively, becoming internationally known as an artist. Vali Myers died in 2003.
GUANTANAMO: IF THE LIGHT GOES OUT
Photographs EDMUND CLARK
Texts by JULIAN STALLABRASS & OMAR DEGHAYES
'When you are suspended by a rope you can recover, but every time I see a rope I remember. If the light goes out unexpectedly in a room, I am back in my cell.'
- Binyam Mohamed, Prisoner #1458
For eight years the American naval base at Guantanamo Bay on Cuba has been home to hundreds of men, all Muslim, all detained in the aftermath of the 9/11 attacks on suspicion of varying degrees of complicity or intent to carry out acts of terror against American interests. Labelled ‘the worst of the worst’, most of these men were guilty of nothing more than being in the wrong place at the wrong time. Many fell prey to a US military policy of paying bounty money for anyone the Pakistani secret service, border guards or village leaders on both sides of the blurred Afghan-Pakistan border considered a possible or potential ‘suspect’, thereby becoming currency in the newly defined ‘War on Terror’. Held in legal limbo for years and repeatedly interrogated, almost all have been released without charge and only a very few have been tried in the special military commissions set up for the purpose.
From the collection of JAMES BIRCH
With an introduction by GEORGE MELLY
These weird and wonderful postcards show babies as never seen before. Babies hatch from eggs, bubble from cauldrons, are fished from rivers, emerge in the cabbage patch, sit atop clouds, and ride in zeppelins. They play instruments, drive automobiles, fly in balloons, harvest the fields; an anarchistic world of baby heaven.
James Birch first came across the postcards when he was a student in Aix-en-Provence. “A froth of smiling babies boiling away in a cauldron” caught his eye and he bought a small number of cards. He didn’t really pay much attention to the cards again until years later in the 1980s when he visited the Pompidou Centre for an exhibition on Surrealism. There in one of the display cases was a collection of fantasy baby postcards shown for their inspirational importance to both the Dadaists and the Surrealists. He became hooked and started collecting.
Despite the immensely varied subject matter of the postcards little is known of their history. They were produced from around 1900-1920 and were found from Russia, to Spain to Great Britain and most countries in between, however the majority appear to be from Germany.
The postcards were a source of inspiration to many artists in the 1920s and 30s, in particular to both the Dadaists and the Surrealists. They were collected by Paul Éluard, André Breton, Salvador Dali, Hannah Höch, Herbert Bayer, and Man Ray. The popular images excited inspiration in these artists because of their boundless inventiveness.
A foreword is written by George Melly whon was an acknowledged expert in the field of surrealism. Best known as a jazz and blues singer, writer and broadcaster, he was also an art critic and a devotee of the Surrealists. This is one of the last pieces he wrote before his death in 2007 at the age of 80.
BINGO & SOCIAL CLUB
photographs MICHAEL HESS
texts by MAXINE GALLAGHER & MICHAEL HESS
Around 1pm, every day of the week, nearly 600 bingo halls across the UK open their doors to thousands of loyal customers. But, although they can be found on almost every British high street, surprisingly few people ever see what goes on inside.
In Bingo & Social Club, photographer Michael Hess opens up this world to a new audience. Behind the often-crumbling exteriors, he finds vibrant places full of strong characters, quirky details and more than a hint of nostalgia. In his own words: “I want people to feel that they’ve spent a night at the bingo to sense what it feels like to be there.”
Michael explains how the project started. “I played bingo one night in 2005, just out of curiosity about what went on inside the big old converted cinema near my house. I was instantly fascinated by the characters. And so the next time I visited, I took my camera. 4 years and more than 60 bingo halls later I was ready to make Bingo & Social Club.”
Michael Hess and Maxine Gallagher spent many nights in the clubs, playing bingo, chatting with the managers and customers, and collecting stories from the people they met. They wanted to find out who these people really were.
“Bingo halls are not just about gambling; they’re about human beings. They really do act as social hubs for many communities.” Jack, the manager of a bingo club in Newcastle, forms the backbone of the book.“He’s quite a character tough and yet extremely dignified and I knew straight away he could add the extra dimension I was looking for. I’ve always been inspired by classic movies, and he suited the enigmatic lead role perfectly.”
Michael Hess was born in 1977 in Eisenach, Germany, and now lives in London. His work has been exhibited in Host Gallery, London; The Millennium Centre, Cardiff; and Picturehouse Cinema, Southampton. As well as his own projects, he has freelanced for corporate publications and music magazines. Bingo & Social Club is his first book.
AN ENGLISHMAN IN NEW YORK
photographs JASON BELL
interviews by GUY HARRINGTON
Introduced by ZOË HELLER
In 2008 Jason Bell undertook an assignment for American Vogue at ‘Tea & Sympathy’, an English tea room in the heart of Manhattan. In conversation with the owner, Nicky Perry, he was astonished to discover that over 120,000 British men and women lived in New York City. As an Englishman, himself living in New York, Jason was inspired by this and decided to investigate further. His latest book An Englishman in New York is the result.
The book documents a wide cross-section of English people living in the City. It features taxi drivers, cops, construction workers, divers, helicopter pilots, chefs, burlesque dancers, drug dealers, UN ambassadors and even dog walkers. Jason was also struck by the significant influence that many Brits exercise on New York’s cultural agenda, which led to him to include amongst his subjects: writer, Zoë Heller; director, Stephen Daldry; artists, Cecily Brown and Bill Jacklin; Director of the Metropolitan Museum of Art, Thomas P Campbell; historian, Simon Schama; actor, Kate Winslet; and the musician, Sting.
The book offers an extraordinary insight into the British sub-culture which forms an intrinsic part of everyday life in New York City. As Bell says, ’I went for a walk in Central Park with Sting, for a cup of tea on Kate Winslet’s roof terrace, sat on Zoë Heller’s stoop and watched Stephen Daldry cycle down 8th Avenue. I was given a private tour of both the Metropolitan Museum and Barneys’ shop windows. And amidst all the questions about why people had come here and what they had left behind, I learnt a little bit more about what it means to be English, what it means to be a New Yorker, and where the two intersect.’
Born in London, Jason Bell’s work regularly appears in the world's leading publications including Vanity Fair and Vogue (US & UK) and he has shot the film posters for Billy Elliot, About a Boy, Bridget Jones, Love Actually and Golden Compass amongst others. Critically acclaimed, he has been the recipient of several awards including a New York Photo Award, The Royal Photographic Society Terence Donovan Award and a US National Press Photographers Award. Many of his photographs have been acquired by the National Portrait Gallery for their permanent collection. Jason now lives in both London and New York. This is his fourth book.
photographs DAN DUBOWITZ
The nature of any society and its future can be read in its entrails in what is left behind, what is discarded. Each creates, uses and casts aside its wastelands in very different ways and it seems that a proportion of every city is always wasteland. These neglected or abandoned places are fragile and ephemeral, a transient aspect of a changing, living city, yet development appears unable to clear them away for good, only to move them on to a different site. This book explores some of these wastelands that collectively form a sustained and permanent feature of the modern city.
An artist and photographer, Dan Dubowitz originally trained as an architect. He is also a well-respected specialist public arts consultant and has worked on projects both in the UK and Europe. His photography has been exhibited in the UK, Italy and the United States. His last book Fascismo Abbandonato was published by Dewi Lewis and looks at the ‘colonia’ holiday centres for children which were established on the northern Italian coast during the period of Mussolini’s Fascist regime (192343).
photographs NICK DANZIGER
text RORY MACLEAN
design MARK THOMSON
Missing Lives brings together fifteen, heartbreaking stories from the Balkans stories that tell of the immense tragedy that took place between 1991 and 2001 during the Yugoslav Wars when tens of thousands of Europeans vanished. Desperate for news, families of the missing prayed for a message, begged for the truth and often fell prey to blackmail. In almost every case, those missing had been murdered. But without any word, witness or body, the bereaved could not accept their loss. Their torment was to last years for many it still continues. Children waited for parents to return from the grave. Mothers made up their dead son’s beds. Old men couldn’t bury their descendants. The living also ‘lost’ their lives.
For the first time in war DNA has been used to match blood and bone, reuniting families divided by death, enabling survivors to find closure and to begin to live again. Since 1991 the International Committee of the Red Cross in the Balkans has been asked by families to trace 34,384 missing men and women. The remains of half of them most of whom were murdered over a decade ago have now been found. Missing Lives gives a voice to the unacknowledged suffering of these families, to all who went missing ‘by force’, and reminds us that in war there is no greater loss than the disappearance of those we love.
Nick Danziger’s photographic essays appear regularly in magazines and books worldwide. He has published several books including Danziger’s Britain (1996), a social and political commentary on the state of Britain, described by The Independent as ‘so important that every one of us should read it and weep’. An Honorary Fellow of the Royal Photographic Society, he has also been nominated by the Royal Television Society for the Journalist of The Year Award.
Rory MacLean's seven books, including UK best-sellers 'Stalin's Nose' and 'Under the Dragon', have challenged and invigorated travel writing, and according to the late John Fowles are among works that 'marvellously explain why literature still lives'. During his research journeys, MacLean walked through the newly-opened Berlin Wall, met Aung San Suu Kyi in Rangoon and interviewed Pashtun elders at the Kacha Garhi refugee camp after the destruction of the World Trade Center. His books have won awards from the Canada Council and the Arts Council of England, were shortlisted for the Thomas Cook Travel Book Prize and nominated for the International IMPAC Dublin Literary award. He has also written and presented over 50 radio programmes for the BBC and worked on movies with Marlene Dietrich and David Bowie. He is a Fellow of the Royal Society of Literature and an active member of International PEN.
A LANDSCAPE OF WALES
introduced by JIM PERRIN
A Landscape of Wales takes an expansive look at the contemporary Welsh landscape.
James Morris challenges the tourist clichés and looks at the impact of human presence and the layers of history in the landscape. He reflects upon issues of identity, exploitation and regeneration; it is a land of beauty and of hardship where in this post industrial, post rural economy Tesco and tourism are now the great employers.
These are the contrasting realities of the Welsh landscape that seen by the many visitors and that experienced by most inhabitants. Morris moves between tourist hot spots and the terraces and back streets where the majority of people live. The latter are often hard bitten unpretty places, often built for reasons that are no longer relevant. No longer the world’s largest producer of iron, coal, copper or slate, these are places that have lost their historic and heroic status, sometimes even their raison d’etre. Regeneration is taking place, but it is taking its time. By contrast the tourist landscape is one of pleasure seeking and escape this is the Wales that visitors are sold and want to see. But in a small country, this selling of culture for the tourist pound has complex consequences that add to the other complexities that have shaped so much of the landscape.
James Morris is an award-winning photographer of landscape and the built environment. Based in the Wales, his work is in many private and public collections including The British Council; Museum of African Art, New York; Princeton University; Victoria and Albert Museum, London; the National Library of Wales.
Brought up in Manchester, Jim Perrin is an award-winning writer of Welsh descent. His books include River Map (Gomer, 2001), The Villain: the life of Don Whillans (Hutchinson, 2005) and Travels with the Flea (In Pinn, 2003). The Climbing Essays won the mountaineering Literature Award at the 2006 Banff Mountain Festival. He now lives in the Pyrenees.
A touring exhibition of the work opened at Aberystwyth Arts Centre in late Spring 2010.
designed by James Corazzo
Home Work looks at Vietnam’s ‘craft’ villages. These specialise in a single product or activity, anything from palm leaf hats to incense sticks, or from noodle making to snake-catching. Some of these ‘craft’ villages date back hundreds of years, whilst others are a more recent response to enable rural farmers to earn much needed extra income.
75% of Vietnam’s population currently live in rural areas but as the country moves towards urbanisation, its agricultural labour force faces losing its land to urban projects and its way of life. The country’s growing population is reducing the availability of farming land and rural families, no longer able to sustain themselves from the land, are turning to the creation of various products. These ‘craft’ villages have become the meeting place between rural and urban, agriculture and industry. During the last decade, along with rapid national economic development many craft villages have increased production up to five fold through small-scale industrial development. However, the consequence of this shift is increased waste and environmental pollution with the resources of the landscape becoming overused.
Tessa Bunney spent two six month periods in Vietnam and visited many of these villages. The traditional village house is typically single storey and consists of three rooms. The large central room is a multi-purpose living, sleeping and working area and it is in this room where many of Tessa’s images are taken, the mix of work and everyday objects fascinating her visually. Interspersed with images from daily life in the rice fields and in the villages, these photographs depict ‘working from home’ in an unromanticised sense, where their subjects, mostly women, balance childcare with the routine work necessary for survival.
Recently shown at The Mercer Gallery, Harrogate, Home Work begins a UK tour in London in summer 2010. Bunney has undertaken artists residences in Finland and Iceland and is currently working on a new project about the ethnic minority women of south west China.
with essays by DAVID CAMPANY & JENNIFER HIGGIE
China Between is a photographic exploration of the modern city culture of contemporary China.
When the Peoples’ Republic set up its Special Economic Zones in the 1980s communist China entered into global trade and international capital. The goal was financial but new money also brought new values and new ways of life. Polly Braden’s photography is an intimate response to the material and psychological effects of the changes experienced by the country’s new urban class. Shot over three years in Shanghai, Xiamen, Shenzhen and Kunming, China Between is a revelatory portrait. No longer will images of epic scenes dominate our view
of this country. Braden shows how a casual glance, a moment of doubt or a quick trip to the shopping mall can tell us as much about modern China as any image of a dam, a protest or a teeming workforce.
… anthropological documents and a personal travelogue; a series of intimate portraits and,
more generally, studies of a country undergoing a massive transition from a predominantly agrarian to an urban culture. Jennifer Higgie, editor of Frieze magazine
A winner of the Jerwood Photography Prize (2003) and The Guardian Newspaper Young Photographer of the Year (2002), Polly Braden has exhibited at venues internationally including the Institute of Contemporary Arts (London) and the Museum of Contemporary Photography, Chicago (USA). In recent years she has produced extended photo-essays in the UK, the Middle East, Morocco, Kenya and China and her photography has appeared in The Guardian, The Saturday Telegraph magazine, Ei8ht magazine, Portfolio, ICON, Photoworks, Frieze, The Sydney Morning Herald and D Magazine (Italy). Now based in London, Polly has lived in China and photographed the country over the last decade.
The book is accompanied by texts by David Campany, Reader in Photography at the University of Westminster, London and by Jennifer Higgie, editor of Frieze magazine.
with essays by PATRICK DUERDEN & PENNY LEWIS
During the period of Mussolini’s Fascist regime (192343) ‘colonie’ holiday centres for children were established on the northern Italian coasts. Run by paramilitary youth organisations, they brought together modernist architecture, fresh air and discipline with the intention of converting the body and soul of Italian youth to fascist principles.
The colonie were far removed from both the towns of Italy’s past and from the traditional structures of family and community. They offered a dramatic daily programme of activity with marching, synchronised exercise and gymnastics, flag raising, saluting and swearing of allegiance to the regime. It was a programme that in turn inspired architectural features in the buildings including towers, ramps and elevated platforms all designed to dramatise the parades and presentations by the young people. Even in the context of massive public works programmes, the building of the colonie offered unprecedented opportunities for progressive architects. They became a distinctive type of fascist building that evolved under the directives of the youth organisations.
Despite the spectacle of the buildings, official policy declared luxuries as anti-educational and anti-social. Accordingly only the most basic of accommodation was provided. Dormitories were intimidating, open plan and stark; each might accommodate several hundred children. Italian parents would routinely admonish recalcitrant children with the threat ‘ti mando in colonia!’ (Behave, or I'll send you to the colonia!). For a generation of Italians the experience of fascism was a formative one, from which some never recovered.
An architect by training, artist and photographer Dan Dubowitz is also a cultural master-planner who has worked on major public arts projects both in the UK and abroad. Patrick Duerden is a well-respected architect and writer. Penny Lewis was editor of Prospect, the Scottish architecture magazine, from 2003-2008 and now lectures at the Robert Gordon University in Aberdeen.