Seeking to Belong, Stranger in Familiar Land series, Kibera, 2016. Courtesy of the artist.
This week I’m in France for the annual Recontres Les Arles photography festival. Like last year I’ll be posting a series of rapid fire posts over the next few days summing up some of my festival highlights. First I looked at Stephanie Solinas’s Methods of Loci and Maud Sulter’s Syrcas, two exhibitions which look at ideas of European history, race and empire in different but complementary ways. Next I discussed on two conflict exhibitions, Don McCullin’s Looking Beyond the Edge and 9/11 focused the group show Nothing but Blue Skies. The day before yesterday I focused on two more humorous exhibitions, Fabulous Failures and Camarguais Western. For my penultimate post I want to look at some of the ten photographers nominated by five international selectors for the the annual Discovery Award shortlist, a €25,000 prize for photographers who ‘have recently been discovered, or deserve to be’.
First up, Florian Ebner head of the Photographic Collection at the Museum Folkwang, Essen, has selected Stephanie Kiwitt and Frank Berger as his nominees. The latter’s series Weissenfels responds to the oft repeated observation by Bertolt Brecht that a photograph of an armaments factory reveals little about the relations that take place inside it. Berger’s answer to this problem is instead to rephotograph the same locations outside a German slaughterhouse repeatedly over an extended period of time, which are then shown as a multi-screen projection. While these images certainly tell us a little more than a single image (if only in that we can see the passage of livestock in one direction and lorries of schnitzel heading in the other) they don’t really offer a solution to the problem Brecht identified, nor do they at all critically examine what his idea actually means when applied the best part of a century later to a world already awash with repetitive images.
Independent curator Mouna Mekouar has selected Basma Alsharif and Daisuke Yokota as her nominated artists. As someone often on the lips of curators and critics at the moment my money would be on Yokota to win the prize. His use of space is certainly the most ambitious and engaging in this year’s awards, with long rolls of half developed photographic paper coiling down from a ceiling gantry (still reeking of developer), and walls padded with spiky acoustic foam. Unfortunately, the descriptive text on the wall which describes photographing at night and relying on senses other than sight to identify subject matter seems to bear little relation to what is presented in the space and I felt rather disengaged with the work despite it’s scale. I sometimes wonder if it is Yokota’s adherence to comfortingly old fashioned analogue processes in an age of digital uncertainty and dematerialisation which appeal to his adherents as much, or perhaps more, than the actual ideas his work claims to explore.
Critic, curator and director Stéphanie Moisdon has choosen Marie Angeletti and Christodoulos Panayiotou for her selection. Panayiotou’s work which explores ideas about power, capitalism and globalisation manages to be engaging and subtle without being overly oblique, thanks in part to some short but useful wall texts for each piece (notably absent in some of the other displays which are desperately needed them). Three improvised water sculptures create a calming aural backdrop but also have a serious point to make about the value added by clever arrangements of objects or proccessing of natural materials. The perception of power is also another central idea in Panayiotou’s photographs of underwater piping systems constructed to feed the fountains of the French palace of Versaille, a potent image of the monarch’s power and one which reputedly consumed as much water each day as the city of Paris. The last of the three pieces in his display is a photograph of artificial flowers in Hong Kong, taken as part of what the photographer describes as a sort of reverse pilgrimage to the sites of globalised power.
Aida Muluneh founder of Ethiopia’s Addis Foto Fest has shortlisted Nader Adem and Sarah Waiswa as her two nominees. Adem’s series Life as a Disabled Person is a surprise amongst a shortlist of photography which, as last year, is very much more on the conceptual rather than descriptive side of things. By contrast Adem’s work is traditional documentary, black and white photographs of Ethiopians living with an array of physical disabilities. In the context of a prize like this one it might be seen as rather brave to nominate a work which many in the contemporary photography world might see as quaintly naive. Probably my favourite of the Discovery award was Muluneh’s other nomination, Sarah Waiswa, and her series Strange in a Familiar Land, a series of portraits of an Albino woman in Nairobi’s Kiberia slum. Alongside a print each frame contains a pertinent object, in the most touching case a tear stained letter in which the author speaks desperately of wanting to belong and to be considered beautiful. In many of the photographs the jeers and goads of passersby are palpable in the background, although it is unclear if they are aimed at the subject or the photographer.
Finally Stefano Stoll, the director of the Swiss Festival Images, has selected Beni Bischof and Sara Cwynar as his two artists. Bischof’s display is an anarchic assemblage of defaced and reworked images from mass culture. His appropriated images are burnt, daubed with chewing gum, and Photoshopped into monstrous pastiches of their original purpose. Garish signs scattered around the space invoke audience members ‘Detox your thoughts’ and ‘Disturb reality’. Despite the complexity of the display and Stoll and Bischof’s attempts to talk up the work it is remarkably underwhelming, like a weak update of the First International Dada Fair held in 1920 in Berlin, but with little new added in the interim and no real challenge posed to the audience, an assessment which might stand for quite a few of the other works in this year’s shortlist.
My attendance at this event was supported by London College of Communication, University of the Arts London’s Continuing Professional Development fund.