Consumerism and imperialism have long been explored and visualised in photography. Indeed, images themselves are a commodity that perpetuate the cycle. But with the dawn of the internet and new technologies, the heightened awareness of the climate crisis, intersectional thought and need for decolonisation, photography’s relationship to capitalism is being reexamined.
Tag: Audrey Hoareau
Circulation(s) returns for three months from April 20 2019 at the CENTQUATRE with a focus on emerging European photographers
Our pick of the key stories from the past week, including Paris’ Circulation(s) festival of emerging European photography, the first-ever Kyiv Photo Book festival, and Todd Hido’s Bright Black World
The Circulation(s) festival returns to Paris from 20 April – 30 June, featuring work by photographers based in or originally from Europe. This year the festival has been directed by Francois Cheval and Audrey Hoareau, who used to work together at France’s respected Musée Nicéphore-Niépce but left to set up The Red Eye project. As they’re at pains to explain, though the festival is pitched as a festival of “young photography”, it actually promotes emerging work, whatever the photographer’s age.
“There isn’t really an age limit, the only “true” condition is to come from Europe or to reside in a European country,” they say. “Another criterion is to not have been shown very much in France and Europe. We know that the term ‘young photography’ is ambiguous… Circulation(s)’ desire is simply to offer emerging photographers, regardless of their age, a springboard.”
They add that the festival was one of the first to question the overrepresentation of male photographers, and also to pay its exhibitors; in addition, this year’s edition includes photographers from “countries whose state of contemporary photography is insufficiently known”, such has Georgia or Estonia. It also includes Romania, which this year has a special focus as part of the French Institute’s France-Romania Season.