Collaborations form a big part of some of the year’s most notable works. We have…
Fine Art
Born in 1982, Alexander Bondar grew up on the outskirts of Moscow and studied photography in the Faculty of Press Photographers at the St Petersburg House of Journalists. From 2010-2013 he took part in several workshops organised by FotoDepartment and ROSFOTO in St Petersburg, and in 2013 he started studying Photography and Time-Based Media at Jan Evangelista Purkyne University, Usti and Labem, in the Czech Republic. Bondar has shot four major photographic series, Unfit (St Petersburg, 2010-13), Pavlov’s Dog (St Petersburg, 2008-2015), No Dream To Dream (Czech Republic, 2013-2017), and Cat’s Eye (Warsaw, 2015-2016), plus another project called So Cliché (2009-2013), which uses deliberately heavy-handed retouching. He recently published Cat’s Eye and So Cliché with Zoopark Publishing Collective, a project which he set up with Tatyana Palyga in 2016. Bondar and Palyga have also published two editions of a magazine called Zoopark together, and have presented their work in Paris at Polycopies in 2016 and 2017. Bondar is represented by the FotoDepartment Gallery.
Launched in 2015 by the artist Anouk Kruithof with the collector John A. Phelan, The…
“I hate myself because I am a murderer… You can’t save me… We are a faceless, forgotten part of society…” These are just some of the intimate, often devastating thoughts of the inmates at HMP Grendon, a category B men’s facility in Buckinghamshire and Europe’s only “wholly therapeutic” prison. Their words accompany My Shadow’s Reflection, a series informed by Edmund Clark’s artist-in-residence at Grendon, which forms part of his larger body of work, In Place of Hate, on show at Ikon Gallery in Birmingham from 06 December.
It’s the 21st year of the prize, and this year the shortlisted projects by Mathieu Asselin, Rafal Milach, Batia Suter, and Luke Willis Thompson all “reflect a shared concern with the production and manipulation of knowledge and systems of representation through visual formats”, say the organisers of the Deutsche Börse Photography Foundation Prize 2018. Mathieu Asselin (b. 1973, France) has been nominated for Monsanto: A Photographic Investigation, which was published this year by Actes Sud and exhibited at Les Rencontres d’Arles, and which has already won the First Book of the Year in the Paris Photo-Aperture Foundation Photobook Awards 2017.
Back for its eighth edition, the theme of this year’s LagosPhoto is Regimes of Truth. It’s exploring divisive events such as the Nigerian Civil War and its representation, and the influential Second World Black and African Festival of Arts and Culture held in 1977; it’s also including Kadir van Lohuizen’s Where Will We Go? – Rising Seas, an exploration of climate change that shows how the world’s less wealthy will disproportionately suffer its effects.
Marking the 800th anniversary of the Charter of the Forest signed by King Henry III, and corresponding with the launch of the 2017 Charter for Trees, Woods and People, the V&A’s new display Into The Woods: Trees in Photography, celebrates the significance of trees in the work of photographers across the world and throughout history.
The exhibition is comprised of works from the V&A’s permanent collection as well as photographs recently transferred from the Royal Photographic Society ahead of their rehousing in the museum’s new Photography Centre in 2018. Curated by Martin Barnes, senior curator of photographs at the V&A, Into The Woods began as an impulse – “I just like trees!” – but gradually revealed itself to be the germ of a great idea.
Luce Lebart has hopped across the Atlantic Ocean to take the helm of the newly-minted Canadian Photography Institute (CPI), which fills the large gap left by the abrupt and permanent closure of the Canadian Museum of Contemporary Photography in 2009, thanks to the support of Scotiabank, the Archive of Modern Conflict and the National Gallery of Canada Foundation
“The main issues in fashion currently are gender and identity, and a more inclusive image…
Dan Wilton wants to slow down. That’s all. The London-based photographer is best known for his intimate portraits, having shot world-famous musicians and recording artists from Stormzy to James Blake over the years. In 2015, he travelled to Los Angeles’ Runyon Canyon with writer Josh Jones to photograph and interview the characters they found there, turning the result into a book. But for his new publication Crane, he wanted to rein it back, taking a step away from the lives of others and creating something more distant, quiet and reflective.