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Post-Soviet visions from a new generation of image-makers

What does Eastern Europe look like 25 years after the fall of Communism? And how do young image-makers there see it? Calvert 22 is investigating, with an exhibition titled Post-Soviet Visions: image and identity in the new Eastern Europe. Curated by Ekow Eshun, creative director of Calvert 22 Foundation, and freelance writer and curator Anastasiia Fedorova, the exhibition includes work by 14 emerging photographers born in Eastern Europe and Russia – Armen Parsadanov, David Meskhi, Dima Komarov, Genia Volkov, Grigor Devejiev, Hassan Kurbanbaev, Ieva Raudsepa, Jędrzej Franek, Masha Demianova, Michal Korta, Patrick Bienert & Max von Gumppenberg, Paulina Korobkiewicz, and Pavel Milyakov.

20 February 2018

New talent stars at Paris’ Circulation(s) festival

“It is a very progressive, very independent festival. It’s not part of the city’s art establishment. It’s dynamic, because the organisers are working way out on a limb,” says Susan Bright, ‘godmother’ of the Circulation(s) festival of young European photography, which takes place in Paris from 17 March-06 May

20 February 2018

Ivor Prickett, World Press Photo of the Year double nominee

“It’s crazy, I can’t believe it,” says Ivor Prickett, of his two nominations for the World Press Photo of the Year award. “Out of a line up of six, to have two images seems insane considering the amount of great work being produced last year. I can’t quite believe it.” He’s on the phone from Iraq where he’s headed back back to Mosul, the city he’s been photographing for well over a year. Iraq’s second biggest city, Mosul was taken by ISIS militants in June 2014; in October 2016 Iraqi troops began a major offensive to regain the city, the largest military operation since the 2003 invasion of Iraq, and Prickett joined them right away. Originally from Ireland, he’s been based in the Middle East since 2009 and says that “as a reporter in the region, I couldn’t help but cover it”.

14 February 2018

World Press Photo MD Lars Boering on the 2018 contest

This year, he says, all the images have been thoroughly checked before the shortlists have been announced, let alone the winners. “All the checking is already done – all raw files, where the images were shot, everything,” he tells BJP. “We know how important it is that everything can be trusted, and we keep asking questions until we are satisfied. We wouldn’t announce the shortlists unless we were.”

14 February 2018

Six images shortlisted for World Press Photo of the Year

“If you are asked to think what is the photo of the year, you have to try to have something about the events of that year, and that sends you to a news or documentary photography,” says Magdalena Herrera, director of photography for Geo France and chair of the jury for the 2018 World Press Photo Contest. “But we were looking for a point of view, the photographer’s point of view. We weren’t looking for an opinion, but for images in which someone had been able to take the photographic tool to envisage their part. Even if you are a documentary photographer, you choose the moment when you take the shot. YOU are the one reporting.

14 February 2018

Africa Is No Island

Marrakech is a hub of arts-related activity this February. On the 24th, 1-54 Contemporary African Art Fair launches its first edition on the continent, and on the same day the Museum of African Contemporary Art Al Maaden opens a special exhibition and programme, Africa Is No Island. Curated by Afrique in visu, the latter exhibition is a physical embodiment of everything the photography platform has been working towards since it was started a decade ago online with the mission to develop a professional network for photographers across the continent and the wider diaspora.

12 February 2018

Çağdaş Erdoğan stands trial on 13 February

On 13 February, Çağdaş Erdoğan will stand trial in Istanbul accused of membership and support of the Kurdistan Workers’ Party (PKK), a separatist group classified as a terrorist organisation by the Turkish government. Erdoğan is of Kurdish descent, grew up in the region and, as an adult, embedded with affiliates of the PKK during the complex, multifactional conflict that has crossed the borders of Syria, Iraq and Turkey. But he did so, he claims, purely as a photojournalist intent on documenting an unseen conflict for the world’s media and without any alliance with or allegiance to any organisation. His only allegiance was to photography.

8 February 2018

Antoine Bruy and Petros Efstathiadis win the 2018 Prix HSBC

“The works selected here have all run up against a more or less bitter-sweet reality, and their authors have liberally arranged, glued, assembled, masked and cut out the components of that reality in order to present it to us as something different, eminently subjective, and decidedly moving,” writes Raphaëlle Stopin, artistic advisor for the 2018 Prix HSBC. She’s writing of the 12 photographers shortlisted for two top prizes, which this year have gone Antoine Bruy (France, 1986) and Petros Efstathiadis (Greece, 1980). The other shortlisted photographers are: Olivia Gay (France, 1973), with the series Envisagées; Karin Crona (Sweden 1968), De la possibilité d’une image; Elsa Leydier (France, 1988), Platanos con platino; Sandra Mehl (France, 1980), Ilona et Maddelena; Shinji Nagabe (Brazil, 1975), Espinha; Michele Palazzi (Italy 1984), Finisterrae; Walker Pickering (USA, 1980), Esprit de corps; Marie Quéau (France, 1985), Odds and ends; Brea Souders (USA, 1978), Film electric; and Vladimir Vasilev (Bulgaria, 1977), T(h)races.

8 February 2018

Southall, West London through local resident Manny Melotra’s lens

At first glance, the suburban district of Southall, West London seems the epitome of harmony. Home to 70,000 people, nearly half of whom were born outside the UK, it boasts Sikh Gurdwaras, Christian churches, Islamic Mosques, and Hindu temples. The dominant population is Asian, earning the area the nickname Little India and bilingual English/Punjabi signage. But for Manny Melotra, who was born in the area and still lives there, that apparent harmony is an illusion. “If you’re a resident, you know a completely different Southall,” he says. 

1 February 2018