As Futures 2020 Digital Festival continues its online programme, we explore more of the talent and topics presented by the 12 member institutions in response to the theme RESET
In her Deutsche Börse-nominated project, Strand explores how photography might literally be transmitted into a painting, employing a method proposed by George H. Eckhardt’s 1936 publication — Electronic Television
An international jury, comprised of Rein Desle, curator and editor at FoMu Photo Museum Antwerp;…
It’s little more than a decade since Ricardo Cases took his first tentative steps into the world with his personal work, exhibiting as part of New Spanish Photography at Lodz Fotofestiwal in 2007, a group show that travelled on to China and Slovakia. More than a dozen solo shows followed across Spain over the next three years before his international breakthrough with the book Paloma al aire [Pigeons in flight], published by Dewi Lewis in 2011. Ostensibly, the book follows pigeon-fanciers in Valencia and Murcia going about a local racing ritual, painting male birds for a competition in which the winner is the cock that attracts the hen. But with its distinctive spiral-bound, notebook appearance, and Cases’ tight framing, emphasising the surreality of the chase, it acquired a cult following, marking the arrival of a singular talent. The unconventional traits to this and his subsequent works are clearly evident in his first major survey exhibition, on show in Madrid from 13 June to 22 July at the spectacular Sala Canal Isabel II, as part of this year’s Photo España.
“I don’t have a journalistic bone in my body,” says Chris Dorley-Brown. “I’ve never been to Kosovo. Loads of people do that really well, but I don’t have the urge or the instinct, and that’s partly why I don’t really think of myself as a professional. I do the odd advertising job to earn money, and I think I do it okay, but the phone isn’t ringing off the hook with jobs because I don’t put the energy into promoting myself, since I’m wandering around here all the time. I keep my overheads low and can just about get away with it.” It’s a modest way to sum up an extraordinary body of work – more than 30 years of images, nearly all shot in London’s East End, and most photographed on the street. Some show luxury new developments, others rundown social housing. Some capture crowds of people, some empty streets. Many are one-offs, others – such as the images in The Corners – are manipulated using Photoshop to put various passersby together on one intersection
“The truth can be hard to look at,” says an introductory essay to the exhibition…
Arunà Canevascini was nominated by Erik Kessels for the richness of her projects, which merge femininity, domesticity and migration. In Villa Argentina, Canevascini examines these themes through elaborately-designed images in which the domestic settings she photographs are disrupted by intrusions from both the history of art and her own family past.
The Madrid-based photography correspondent reports on the Spanish top five of 2017 – including Álvaro Laiz’s The Hunt
“The British Landscape…is a long-term ongoing project about the enormous changes that have taken place in the UK – the world’s first industrial society and the first to de-industrialise,” says John Davies. “Much of Britain’s infrastructure and the rapid expansion of industrial cities were created through the unprecedented growth of the Industrial Revolution. By the early 1980s, when I started this project, many of these large-scale industries and industrial communities were in terminal decline.”
“Breaking onto a dance floor with a large format camera and a portable photography studio, as in my case, paralyses everything that happens,” says Jesús Madriñán, a Spanish photographer whose nightlife photos document the 21st century youth in different communities across the world. He is looking for an unique authenticity from his participants: “For me that’s really interesting: it gives them the opportunity to express themselves in front of the camera and in front of the eyes of the others.”