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How to be a Thorn in Photography’s Side

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Some of the notebooks I’ve filled over four years of writing.

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Ok, this is a bit little weird. I am for the first time publishing a retroactive post, one coming hot on the heels of a piece where I declare an end to writing this blog. I hope the reasons for doing this will soon become clear if they have not already from the title, and allow me to reassure you that this will indeed be the last. In the wake of my decision to stop writing Disphotic last week quite a few people commented on the blog’s demise by remarking how urgently the photography world needs critical voices. I fully agree, but those voices need to belong to someone, and I feel I have more than said my bit. While I didn’t mention it in my piece last week another reason for abandoning Disphotic was the fear that in time that it too would become part of the detestable canon of voices on photography. Other writers, younger and older, with different ideas and experiences, need to take up the baton which I’ve dropped. Disphotic’s end can be seen, in a way, as a making room for them.

To that end, what I’ve assembled here is a very brief guide on how to be a photography writer. By that I do not mean someone who writes technical reviews about the latest camera, or rehashes the official line on the latest book or exhibition, these are technicians and hacks. What I mean by a writer is someone who through the medium of words sets out to be a thorn in the side of everything and everyone that is wrong with contemporary photography, and in doing so to illuminate and explore it with and for other people. On the off chance that someone reading this might desire to do this, here are a few suggestions for going about it:

Just start – Right now. Seriously, what better things are you going to do today? Put pen to paper, fingers to keys, and say something about something, whether for yourself or for others.

Write, write, write – Some wordsmiths might disagree, but for me writing is unnatural and the only way to do it and do it well was to do it as constantly as I could manage. Carry a notebook or equivalent everywhere with you and write anytime you have time to kill or an idea emerges into your brain. This writing needn’t be about photography, just practise articulating something. Write about the look of a room, the feeling of something experienced, or an unexpected thought. I can only speak for myself when I say that writing is like a deep course of water, where the great majority of the effort and energy remains down deep, unseen and unreachable but still completely necessary for the pleasant shallows we bask in.

Have an opinion – This is easy, and it is also hard. When you go to a show, look at a book, or hear someone talk, you’ll have an instinctive reaction to it. Tune in to that, listen to what your heart says about something. Criticism, for me, is taking that instinctive response to something and spending some time with it, trying to articulate and figure out where it comes from, then deciding whether you also agree with it intellectually. The hardest things to write are where the head and the heart disagree, but those are sometimes also the best. (Also it’s fine to feel the same way as everyone else about something and critics needn’t always be contrary, but those feelings always need to be double or triple questioned.)

Read everything – Some writers claim literary influence kills innate style. For those of us who had no style to start with it also helps us to manufacture something which passes for it. Read everything you can get your hands on, from fact and theory to fiction and poetry. An idea, a reference, an archaic term or a turn of phrase; all are fodder for your future attempts to figure out what a photographer or artist is trying to do (whether they know it themselves or not) and then articulate that to other people.

Critics can’t have friends – Many critics, even the big shots, write about their friends, or people they want to influence or catch the eye of. It’s nice to be wanted, to get invited to stuff and all the rest, but if you are lonely just get a dog, it will be simpler in the long run and probably more thought provoking as well. Blogging is influence and influence is power, take that seriously and use it right. People will ask you to write about them, only do it when you actually like the work, and if there are conflicts of interest declare them to your readers. It’s that simple. Call out writers who don’t do this, they drag the rest of us and what we do down with them. From time to time stop and check you are not becoming one of them.

Give yourself parameters – Take it from me, you can’t take them all on however much you want to. Give yourself a focus and a target for how much to publish and when. Write about a particular branch of photography, or a particular practice, do it in a particular way. Look at what other people are writing about, emulate those you admire or better still pick a niche all of your own.

Tear up the press release – If all you plan to do is rephrase the press releases that get sent to you, please don’t bother blogging. There are enough people already doing this, including people who are actually getting paid for it. On a practical note, set up a fake e-mail account and politely request all galleries and artists that they use this for their mailings rather than your actual account. It will extend the life of your delete key.

Think about for whom you write – At the start that may just be yourself, as it was for me. As an audience grows you should take the time observe it. It will have demands on you, often these will be confusing, contradictory ones. Consider how far you adjust what you to do those, or just continue in your own rut. Both approaches have things to commend and condemn them.

Go looking for trouble – Comfort the afflicted and afflict the comfortable. Do your research and then do it again, brush up on libel law, and speak truth to power.

Good luck.

The Shadows of Doubt: Art, Distance and Truth

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Spectrum analysis of Cuban intelligence radio broadcast
From Shadows of the State

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Journalism has traditionally rested on certain core truths which are often taken to be self-evident and beyond question. The Hungarian photojournalist Robert Capa’s often quoted dictum that ‘if your photographs are not good enough, you aren’t close enough’[1] would seem to encapsulate a particularly important one, the axiom of proximity. This idea that a journalist should seek a certain closeness to the story, that is to say a spatial rather than emotional closeness, has long been regarded as one of the most important routes to insight and revelation, as well as being central to the journalist’s role as witness to vitally important events. The implication of Capa’s aphorism might have been true when he first spoke it in the early part of the last century, but his world was a strikingly different one from the one we occupy today. Profound and ongoing changes in every arena call his words, and journalism’s emphasis on proximity, into ever greater question.

In a present marked by unchecked environmental collapse, by undeclared wars fought with increasingly autonomous aircraft, by aggressive multinational corporations, and massive data surveillance, spatial proximity to the story in the traditional sense implied by Capa is often simply no longer an option for many journalists. The news of today occupies spaces which are often too remote, too dangerous, too abstract, or where the machinery of public relations are too effective to permit any sort of useful access. Even where such physical proximity to the issue remains possible is it any longer a guarantee of journalistic insight, because even where such topics can be ‘seen’ such sight often offers little comprehension of the systems and processes which make them possible. The playwright and poet Bertolt Brecht, a contemporary of Capa, had already observed this truth in the 1930s when he perceptively argued that ‘… less  than  ever  does  the  mere  reflection  of  reality  reveal  anything  about  reality.  A photograph of the Krupp [armament] works or the AEG [general electricity company] tells us next to nothing about these institutions. Actual reality has slipped into the functional. The reification  of  human  relations—the  factory,  say—means  that  they  are  no  longer  explicit.  So something must in fact be built up, something artificial, posed’[2]

The equivalent today of Brecht’s armaments factory might be one of the high tech facilities where the subsystems of military drones are manufactured prior to integration, packaging and delivery to the battlespace. It might, still more abstractly, be a server farm humming with exabytes of data, a resource now as important to our world as Krupp’s steel was to Brecht and Capa’s. Whichever the more appropriate modern analogue, witnessing or photographing these places in any traditional sense of these words tells us as little and perhaps even less than Brecht’s factory photographs, so abstracted have the relations that underlie them become. The work of the artists Beate Geissler and Oliver Sann, who have extensively photographed the infrastructure of high frequency stock market trades, reveal this difficulty[3]. Their photographs, which are the product of lengthy and difficult negotiations for access, depict the workstations where the algorithms that execute these transactions are monitored by their human retainers. Geissler and Sann have managed to reach the center of the labyrinthine financial empires being made possible by these new technologies, but at the heart of the labyrinth they have found no Minotaur, and nor even its human thralls, instead only a series of uncompromisingly blank screens. What their photographs are unable to directly reveal are the relations, and specifically the networks which make such deals possible, nor can they fully reveal the relations that they create.

Ours is a world defined less and less by the power and significance of specific, discrete geographical sites, but increasingly instead by the collective power of these sites, as nodes in networks made possible by the communications superhighways of the 21st century. The use of drones as part of ever more network dependent wars[4] is an apt example of this, an activity conducted in a highly-distributed manner with hundreds of sites across dozens of countries joined together in real time via undersea fiber optic cables and communications satellites in order to ‘find, fix and finish’[5] those who are its targets. In finding ways to report, document or respond to such a war, witnessing the existence and even the activities of individual nodes is less revealing than the documentation of the relationships between them, and the relationships which make these activities possible. The military contracting, the political lobbying, the legal wrangling, and the international alliances and agreements without which one human being in a cabin in Nevada would not be able to release a missile on another human being on a mountain side half a world away. This is a networked war in an informatics sense, but it is networked also in the sense that in a globalized world everything is inescapably linked to everything else. Conflict, social inequality, unbridled capitalism, environmental degradation, man-made disasters are, if I may be momentarily unemotional, nodes in a network which sync, reverberate, and feed back into one another. But as has often been observed the network only recognizes what it is taught to recognize, and we, as nodes ourselves, have been taught to ignore what is right in front of us.

In the context of the changing form of global problems new hybrid practices have emerged to offer us ways to report and understand these things. One, which we could call network centric journalism lies closer to traditional journalistic practices. Another, perhaps the binary of this new journalism, is the practice often called documentary art. This is also a hybrid or Chimera, combining the real world concerns and methodologies of documentary and journalism with the visual, conceptual and disseminative strategies of art. Such an approach is not entirely new, and Brecht himself was an innovator in this field. His most remarkable effort, the 1955 book Kriegsfibel, combined appropriated press photography with poetry in an attempt to reveal the truths which he believed lay hidden within these photographs, and in doing this the truth of the Second World War. This book includes the very same image of a Krupp armaments factory which he had before decried for its muteness. Brecht’s compatriot Hans Haacke is a more contemporary example, an artist who has often used journalistic research blended with conceptual display strategies to ask uncomfortable questions, not least of the art world in which his work circulates. His 1971 installation Shapolsky et al. Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971, sought to reveal the activities of a notorious New York slum landlord and was withdrawn from exhibition amid speculation that it suggested connections between Shapolsky and members of the Guggenheim Museum’s board of trustees.[6]

This blend of art and journalism then has an impressive lineage, and it continues to gain in traction and acceptance, both within the context of galleries which might have regarded such unambiguously worldly and political concerns as vulgar and uncouth, but also in magazines and newspapers which once might have been suspicious of using experimental strategies to talk about contemporary matters. The latest manifestations of documentary art frequently raise and discuss issues which elude traditional strategies of investigation, and often indeed also reflecting on the muteness, and indeed sometimes complicity, of traditional media in the face of these problems. This is the case for example in Edmund Clark’s investigations of the consequences of the global War on Terror and in particular in Body Politic, a video piece produced in collaboration with Max Houghton, which juxtaposes the realities of state secrecy and redaction with the false narratives of the press conference. Likewise in the work of Peter Kennard and Cat Phillips, or KennardPhillips, juxtaposition plays an even more direct role, placing vastly different realities side by side in the same frame in order to reveal the falsity and opportunism of populist press reporting of the recent refugee crisis. It is precisely this type of layering and building up that Brecht had argued was required to penetrate the reified reality of the armaments factory.

The work of KennardPhillips also reveals part of the great attraction of this borderland between art and journalism, that it is not bound by the same codified rules as journalism, the same ethical constraints, and the same burdens of truth. Documentary art labours under none of the diktats about staging images or later manipulating them, there no thresholds for the proof of a claim, and the risk of libel action while certainly not absent is generally regarded as far less present in this field than in traditional journalism. This is of course to say nothing of the reality that many traditional journalistic organs are owned by private owners who may exercise an editorial control in line with their own political priorities.[7] Liberation from these restrictions can be advantageous in reporting certain subjects, and indeed it is telling that a significant number of people who previously trained and operated as traditional journalists have made the migration to this border land, including Laura el-Tantawy whose installation In The Shadow of the Pyramids offers a deeply personal and impressionistic look at the Egyptian revolution of 2011. From one shadow to another, in my own project Shadows of the State I reveal the communication networks established by the world’s intelligence agencies during the Cold War, and which in some cases continue to broadcast to this day. Locating these sites has relied on comparisons of large quantities of public information, some of it highly questionable, and throughout I have been aware that much of this information would likely not pass the conventional journalistic thresholds for reliability. That in a sense is what the work is about, about traversing a landscape of ambiguities, where nothing can be taken at face value.

This in turn poses as yet unanswered and perhaps unanswerable questions. In particular when artists make work about important contemporary issues one must ask what burden of truth lies upon them, and whether it is ever acceptable for an artist to ‘not let the truth get in the way of a good story?’ [8] While most journalists adhere to the notion of an objective truth, the possibility and indeed desirability of such a truth remains far less clear in art, where it is often tacitly recognized that the artist is, in Plato’s words an imitator or ‘manufacturer of images and is very far removed from the truth.[9] Imitation can of course reveal truth, as for example in Jeremy Deller’s The Battle Of Orgreave which recreates the events of a notorious 1984 confrontation between striking miners and the police in a form which hovers somewhere between theatre, living history and crime scence re-enactment. Further important questions which demand discussion are how this hybrid of art and journalism fits with the art world’s proclivity for self-aggrandizement, and the old fashioned expectation that artists position themselves as visionaries, in the process often eschewing and downplay collaborations and the many others who play a part in the creation of their works. It is perhaps not a coincidence that Ruth Berlau, Brecht’s collaborator on his Kriegsfibel, has been often written out of the subsequent history of that work.[10] Journalism is perhaps more than ever a collective enterprise. All the more so in the era of investigations involving vast data leaks which sometimes require networks comprising hundreds of journalists across the globe to work cooperatively to marshal the facts and break stories. The journalism that surrounded Edward Snowden’s revelations into the activities of the American National Security Agency would have been inconceivable as a solitary effort involving as it did the review of as many as 1.7 million documents.[11]

It is intentionally provocative of me to suggest that journalism’s emphasis on proximity is now completely irrelevant. Many of the works discussed in this essay clearly reveal that spatial closeness still has an important part to play even in the reporting of even the most abstract of modern issues. Equally alongside these new terrors of drone and algorithm our world is still afflicted by many of the same problems that troubled Capa and Brecht, and in the reporting of these things proximity to the story, and in particular to the human subjects of the story, remains an essential part of journalism’s function. Alongside this though perhaps what is also required is a different form of distance, a view which takes in and which can critically make visible and understandable the macro as well as the micro. Without this wide view, the sense of how a humanitarian crisis, environmental collapse and corporate malpractice might all be connected, journalism will always be chasing the effects and affects of it’s subjects rather than the causes and the culprits. The two practices of art and journalism are still in a state of fusing, and they still have much they can learn from each other. It is less a case of an either-or scenario, or a replacement of journalism’s functions by these new approaches, than it is a case of two different practices which share fundamentally the same concerns and have an enormous capacity to support each other in important ways. In a world racked by a problems which seem to grow more abstract by the day it is not enough however to continue as it has always been done. The reified power relations which make our world what is must be drawn out of the shadows, and exposed to public scrutiny even if to do so requires, in Brecht’s own words, that something must be built up, and something artificial posed.

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This essay is an adapted version of one originally written to accomplish Very Now, an exhibition exploring the intersections of art and journalism, held at London College of Communication in August 2016.

[1] Robert Capa, Slightly Out of Focus, xi.
[2] Walter Benjamin, A Short History of Photography, p.24
[3] Beate Geissler and Oliver Sann, Volatile Smile, 2011
[4] Arthur K. Cebrowski and John J. Garska, Network Centric Warfare: It’s Origins and Future, 1998
[5] The Intercept, The Drone Papers: A Visual Glossary (Oct 15, 2015 )https://theintercept.com/drone-papers/a-visual-glossary/ (accessed 19th June 2016)
[6] Hans Haacke, Shapolsky et al. Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971 http://collection.whitney.org/object/29487 (accessed 19th June 2016)
[7] The Elephant In The Room: New report on UK media ownership http://www.mediareform.org.uk/media-ownership/the-elephant-in-the-room (accessed 22nd June 2016)
[8] Usually attributed to Mark Twain, it seems apt that there is much doubt whether he indeed ever said this.
[9] Plato, The Republic X, 27
[10] Berlau edited Kriegsfibel, wrote the preface to the original publication , and may have contributed some of the core ideas behind the work. Yet reference to her is notably absent from much subsequent writing about the book.
[11] NSA: Snowden Stole 1.7 Millionn Classified Documents And Still Has Access To Most Of Them http://www.businessinsider.com/how-many-docs-did-snowden-take-2013-12?IR=T (accessed 22nd June 2016)

Highlights and Trends: Paris Photo 2016

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Archive Pierre Molinier, Maison Européenne de la Photographie

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Like all contemporary art fairs, Paris Photo is a photography business and be in no doubt about the proper order of those two words. It was notable that even outside the event one had to run a gauntlet of ticket touts offering illict entrance to the fair. It wasn’t vastly different inside, where there are certainly some touts active only wearing suits and displaying more discrimination about their clientele. It was interesting to arrive in Paris just a few days after a session with my MA students discussing the transition of documentary to the gallery. One of the questions we discussed was that old sticking point of what makes something art, something we failed to reach a conclusion to but which led to some interesting observations, including that something (perhaps anything) can be art if someone says it is, but whether it’s good or bad art is another matter entirely.

Paris Photo evidences the truth of this, with an enormous amount of photography desperate to assert its artistic value in the most obvious of ways, through process, size and other ostentatious displays. As I noted last week art is often encouraged to exist in the artificial vacuum of the white cube gallery, but the reality is that it’s meaning is often defined in the most interesting ways by what surrounds it. Amongst the ocular and aural noise of the huge Grand Palais, the photographs that were content to sit on the wall quietly, sometimes neglected in the dingiest corner of a gallery’s booth (I saw a print by surrealist Maurice Tabard hung on a cupboard door) were often the most pleasurable discoveries when you stumbled across them. The typology, the calling card of art photography, appears alive and well, with a staggering variety from Ursula Schultz-Dornburg’s Becher-esque photographs of bus stops to Luis Molina-Pantin’s series of Mexican door intercoms. Often it’s the ones that feel more casual, the latter in this case, that work. Ditto photographic abstraction which is abundant and almost to a man dull. For the most part contemporary journalism and documentary are absent which perhaps says much about it’s percieved worth. One encounters weird anomalies of course, for example James Hill’s photographs of Afghanistan circa 2001. In one image an elderly man prays against the backdrop of a sky filled with the white loops of contrails left by American bombers. Then there was Daniel Blau selling the purest documentary in the form of vintage NASA prints of stars and military shots of atom bomb detonations, showing that anything can be repurposed as art if the price is right.

Prints exhibiting texture and sculpture were less in evidence than at Unseen Photo Fair earlier in the summer but still represented especially amongst younger artists. Some of these managed to make something unique without appearing to try too hard. Tom Lovelace’s cinema pinboard (transformed by the sun into a natural photogram suggestive of a Mark Rothko) is a neat example, although displayed without explanation I expect the idea is lost on most. Another nice twist on this came in Timm Rautert’s framed boxes of darkroom paper, each box containing an unseeable photographic print. The boxes are themselves rather beautiful objects carrying a timely commentary on analog fetishism, and almost don’t need the added conceptual twist of containing the photographic equivalent of Schrodinger’s cat. A few artists even riff on what you might call the textural turn, for example Ben Cauchi’s photographs, which from a distance appear to be crumpled prints representing exactly this type of sculptural photography, until you get close and realize they are just normal photographs cleverly lit. As I said in my write up of Unseen, the sculptural trend isn’t inherently interesting but it definitely serves a purpose in the context of the photographic art market’s inherently contradictory need to limit a medium which in reproductive terms is entirely unlimited. And how glaring that contradiction is in the Grand Palais. You might feel that a vintage Edward Weston for €230,000 is sort of understandable, it’s all about the history I guess and for institutions and perhaps some collectors owning an object with lineage is worth that sort of price. But I feel that prices even a small fraction of this hard to rationalize when you come to contemporary works, irrespective of who the photographer is. It makes you realize how much art can be like trading currency or junk bonds, a game which perhaps will get most interesting when the wheels finally start to fall off and someone with some influence abandons the ridiculous game of treating photographs like paintings.

Perhaps hedging their bets because of the pressure to recoup their costs (I heard speak of around €20,000 for a booth) many of galleries opted to show a little of everything, with clusters of old and new, photojournalism and art, but this approach usually felt dysfunctional and rather as if they were showing nothing very much at all. In contrast to this tendency the ones that made something of a stand by offering a coherent display really stood out. East Wing Dubai got a tip of the hat for this at Unseen, and they did the same again although perhaps not quite as compellingly. In a similar way the Paris-Beijing booth was turned over to a display of Thomas Sauvin’s Beijing Silvermine, a wonderful collection of Chinese vernacular photography rescued from the city’s municipal dumps. These degraded and distorted the images are a fitting metaphor for historical adjustment and technological change. A nice touch was a light box table in the middle of the booth piled high with the original negatives which visitors were encouraged to inspect with a loup, in contrast to the hands-in-pockets-and-don’t-get-too-close-to-the-merchandise vibe in some of the other parts of the fair. For me the highlight of the more ‘curated’ displays was the whole of James Danzinger’s booth turned over to Paul Fusco’s RFK Funeral Train. A series shot from the locomotive that carried the younger Kennedy’s coffin to burial in 1968, Fuso captures Americans coming out to pay their final respects, holding signs, smiling, saluting and shedding tears. In each image the subject is isolated in a bubble of sharpness, their surroundings blurred out by the movement of the speeding train. Both as an important moment in time and for its resonance with the current divisions in the United States the series is beyond moving. I’ve got to admit I was almost tempted to ask for the price, but the old truism that ‘if you need to ask then you can’t afford it’ came to mind.

Predictably many of the memorable bits were away from the main event. Le Bal’s Provoke exhibition was one, and while part of me would have preferred something I’d not seen so many times before the curation of the show was so excellent that it made this familiar material feel fresh and exciting anew. A particularly nice touch were deconstructed facsimiles of the original issues of the radical photography magazine pinned to the walls, allowing visitors to study them in detail. ‘Unlike today we thought of the camera as a weapon’ Nobuyoshi Araki says in one of the wall texts, and it is the political agenda of the work that is partly what excites along with the iconoclastic attitude towards photography. The abandonment of the idea of the camera as a weapon (however flawed an idea it is) explains much about why so much in the Grand Palais is dull beyond belief. Provoke and it’s contributors had an ethos, and that made them dangerous, but were it around today it would also probably make it deeply unfashionable. At the Maison Européenne de la Photographie the Andres Serrano show was worth a look, particularly for America his series of vast portraits made in the wake of the 9/11 attacks which echo August Sander’s similar documentation of Weimar Germans. A photograph of president elect Donald Trump is one of the first you see, aptly flanked by a child beauty queen on one side and a crack cocaine addict and model on the other. Serrano’s massive prints are partly engaging for the way they reveal the small imperfections in even the most superficially perfect people, but doing so without suggesting these imperfections are shortcomings, more part of what makes us who we are. The really uncanny thing about Trump is noticing the way he lacks even the smallest blemish or scar, even the child beauty queen showing more sign of this very human imperfection.

My highlight of the entire trip however was the exhibition upstairs Archive Pierre Molinier. A house painter turned artist, cross dresser, and hedonist loosely aligned with surrealism, Molinier produced a series of erotic self-portraits blending photography, drawing, and collage to bizarrely brilliant effect. It’s hard to know what to compare his images to, the thought that came to my mind was that had Otto Dix employed photography and had a penchant for transvestitism, sodomy and mixing colour pigments with his sperm (as Molinier did) he might have produced a series of images a little like these. Mollinier’s photographs and photomontages vary between the funny, the smutty and the downright creepy, but the overall effect of the exhibition is powerfully moving. Despite André Bréton championing his art, Mollinier lived a marginalized life and killed himself in 1976, which in the context of Paris Photo would seem to make it worth quoting the critic Frédéric Beigbeder. Writing an essay to accompany an auction sale of Molinier’s work last year, a text which might normally be a congratulatory piece aimed at the soon to be owners of the artist’s work, Beigbeder instead offers this apt truth: ‘true artists die in suffering, poverty and anonymity, while decades later the high classes pay tribute to them as they eat their truffle risottos’.

My visit to Paris was brief and so I didn’t look at as many books as I might have normally, skipping Offprint entirely to save on time (and also because such large book fairs also often have a strangely depressive effect one me). The Aperture Photo Book prize had a few interesting titles in the long list but there was also quite a bit that was bland and the knowledge that is a paying prize is hard to escape when noticing this. As I wrote recently of the prize, when you charge entrants for a competition you can’t expect it to reflect the best, only the best of what can afford to pay. The winner, Gregory Halpern’s ZZYZX is a competent book, beautifully photographed and printed. I appreciate what Halpern is doing but at the same time in its intellectual abstractness it’s a league away from the photographic terrain that I like to spend my time traversing. I found the offerings at the boat-borne book fair at Polycopies more rewarding. Some highlights included Marco Tiberio and Maria Ghetti‘s Immo Refugee Camp, a typology of the Calais jungle’s informal structures which in it’s published form masquerades as an estate agent’s brochure and Dear Clark, Sara-Lena Maierhofer’s compelling investigation into identity via a non-receptive con man (the book also appears in Aperture’s shortlist). For the photo history buffs Javier Viver’s Révélations. Iconographie de La Salpêtrière is a wonderful catalogue of the hospital’s pioneering medical photography including the profound and troublesome work of Freud’s mentor Jean-Martin Charcot and his collaboration with pioneering chrono-photographer Albert Londe. At all these places there was such lavish overdesign on show (inserts, French folds, etc), which rather like the gallery penchant for cleverly manipulated and distorted prints really needs to be taken to be analysed, and taken to task.

So there were of course some wonderful gems to be found at Paris Photo, but rather like Sauvin’s trawling of rubbish dumps it took time and a strong stomach to find them. I calculated that I found one image actually worth spending time over for every thirty minutes I spent exploring the main fair, whether that is a good ratio and how it compares to previous years of Paris Photo, I dare not determine.

The Space is the Thing (and White Cubes are Nothing)

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camera-obscura-hallway

Viewing through a home made camera obsucra.
From the Camera Obscured (2012)

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One of the very few opinions I share in common with the Guardian’s Jonathan Jones is a dislike of white cube galleries, spaces which he rightly describes as having ‘have all the joy of a cenotaph’. Like Jones I can see the purpose of them in the context of art’s evolution, it’s rejection of past orthodoxies, but like him I also distrust the way one convention seems to has been replaced by another which has come in time to be treated just as unquestioningly, and is now just as in need of breaking down. Jones describes the white space of a gallery as a sanctifying force, the equivalent of a frame on an oil painting designed to convey authority and value. I’d go further back in to the history of art, to it’s use as an object of religious veneration. If Kazimir Malevich’s ultra-abstract suprematist compositions like his 1915 painting Black Square are sometimes compared to Russian orthodox icons, the minimalist space of the modern art gallery maybe makes a fitting place of worship in which to commune with them. That’s precisely what these spaces often become, sick shrines, although it’s a matter of debate what exactly is being worshipped and I’m not unsympathetic with Jones for suggesting it’s often actually money, not art which is on the high altar. There have been some other fine critiques and contestations over the white cube, including the experimental website Whitecu.be, which was ultimately shut down by lawyers acting on behalf of Jay Jopling, founder of the London gallery of the same name. This case also says much about the interactions and unease that exist between the art world and the internet.

One might say the pristine emptiness of a high end white cube gallery demonstrates a necessary level of respect for art, that it allows it be regarded in it’s wholeness, uninfluenced by external distractions. I would suggest it often demonstrates the opposite, it suggests work which needs to be imbued with an aura by the space because it lacks it in it’s own right, and has an effect which is so weak and pallid that it requires all other distractions to be closed off in order for it to effective. Indeed I often sense that some works actually suffer by being housed in such bland surrounds, precisely because the sort of cross pollination that white cubes seem designed specifically to avoid is often what activates art and makes it interesting in surprising ways unanticipated by the artist. That becomes particularly true when it comes to photography, because while fine art is a rarefied exception, photography is a mass medium. And when does photography really behave like this in the real world? Whether you view them in a book amongst the jostle of a train journey or the birdsong and breeze of a summer afternoon, or view on them on a website where they compete with text and adverts, the idea of the photograph displayed entirely on its own is an increasingly odd one. This all before one even considers the question of audience, and the reality that the space where work is shown necessarily prescribes who is able to see it.

In my practice I’ve found it far more interesting, challenging, and ultimately productive, to display work in spaces which bears a close relation to the subject matter. That’s included exhibiting my series on history and the European recession at the European Union’s permanent representation in London, which led to a series of fascinating conversations with workers at the representation including its head about the direction the European Union was heading in. Another example was showing my series on gentrification and redevelopment at an art school due to be demolished to make way for luxury flats. We printed the images in the architecture department on the large format plotters normally used to produce architectural plans, and this led to a series of really interesting conversations with architecture students about the new buildings of London and how they saw their profession. It was a relief to find many shared my feelings, and saw their practice as one which desperately needed to be more socially engaged.

I’m currently showing my 2012 series The Camera Obscured in one of the cells of a former police station in Deptford as part of the Urban Photo Fest exhibition [Taking] Control. The series examines the prohibitions on photography in certain areas of the City of London, by employing a series of rather ridiculous home-made camera obscuras. Using these I produced detailed drawings of sensitive locations, the intention being to entice police officers and security guards intent on stopping me into a discussion about the technical and philosophical dividing lines that separate a photograph taken with a modern digital camera from a painting by an artist like Canaletto, himself an avid employer of camerae obscurae. The space of the cell is apt (not least because I spent much of the project fearing I might end up in one) because it’s form is in effect the same as a simple camera obscura, it’s not for nothing that Jeremy Bentham’s conception of the panopticon and Michel Focault’s subsequent reimaginging of it have both been influential on photography studies. The space is also an interesting one to work in because it is so deeply uncompromising, with none of the usual methods used for hanging a show possible in an environment of concrete and tile walls and austere lighting. [Taking] Control is open each day from 10 am to 6pm and continues until November 8th at The Old Police Station. 114 Amersham Vale, London, SE14 6LG.

An Exhibition and Book Making Resource

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Machine shop in the Government Printing Office, Washington, D.C.
c. 1909 – 1932

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It might seem to rather fly in the face of what image making is now, but more often than not photography still ends up finally as a physical thing, whether as a book, an exhibition or something else. When this happens the extent to which the idea in a photographers head is realised in physical form is heavily dependent on the quality and variety of the firms that provide the paper, print the pages, bind the books, make the prints, mount them, and so forth. Both because I want to help support the companies that make it possible for us to do these things, and because I want to make life easier for photographers searching for the right firm to make their ideas into reality, I’ve been compiling a list of companies that might be useful for photographers. These range from paper merchants, to binderies, to fine art and business card printers, to film processors and camera repair firms. Alongside these I’ve also been updating my existing list of fee free grants, competitions and residencies and reproducing both as a rather more convenient embedded spreadsheet.

Originally I envisaged this new list as a resource for my BA and MA students, who often experience a mad flurry in the last stages of their studies to find firms able to produce the projects they’ve been labouring on over the previous months or years. Each year the teaching staff suggest this or that place as and when students come to us with requests or ideas, but I’ve long felt there ought to be a better way of doing this. Although the original idea was as an educational resource ass I’ve gradually worked on this list and shared it with incrementally larger groups of people, it’s also become clear to me that it would be a useful thing to many more established photographers. The list itself also benefits from this wider sharing since it very much depends on public contributions, you can see how for now, it has a very British bias and also tends towards the conventionally photographic (I would like add more firms offering esoteric services). So consider it a form of karmic contract. If you use this list, if you benefit from it, suggest a few additions in return.

On a more general note, as I’ve shown this to more people the response I’ve increasingly had is ‘how generous of you to compile this’. While it’s obviously nice to hear this I don’t see this project as particularly generous as all, this resource benefits me in my own work as much as it does anyone else. What I think that exclamation is more indicative of it how generally ungenerous and stingy the photography community can be, the way we often hold our knowledge close to our chests and can be really mean about sharing it with one another. The old idea that where one person benefits another most suffer some sort of deficit seems to remain a dearly held one in the photography world. So as much as being a useful resource I also hope this list is an example to resist this sort of meanness, and to embrace that idea that in helping others in the industry you more often than not end up benefiting yourself.

View the exhibition and book resource here.

View the competition and grant list here.

 

The Corrupting Image: Pornography and Propaganda

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Glitched Islamic State propaganda (Lewis Bush)

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Can a photograph change the world? It seems like such a simple question, composed of only five words, and yet the tracts and discussions produced in the search for answer would fill shelf upon shelf. Such reams of paper and hours of debate over these few words stem from the knowledge that any conclusive answer would have radical implications for many of the ways we understand and use photography. To speak only of the two loose fields I am primarily concerned with, for photojournalists, documentarians and anyone who views their photography as a form of activism or advocacy, a conclusion to the negative would effectively pull out the foundations on which these practices are based. The intentions and understandings of photographers going back to Jacob Riis and earlier still would be rendered essentially flawed, their efforts and assumed achievements null. For artists and others who might position themselves as being above such lofty positivist aspirations as social change, the conclusion that photography really has no influence on the world it exists within would pose difficult questions as to why we employ it for anything at all. This is to say nothing for the implications for those who employ photography for a host of other practices, from commercial advertising to medical imaging.

I see the lines of battle over this question drawn more or less between three camps. For what might be called the positivist, or dare I say, traditionalist camp, the right photograph appearing at the right time can be decisive in changing the course of lives, ending wars, driving a humanitarian response to a crisis and much more. The second camp consists of those like myself who find themselves in no-man’s land of this question, believing that while photographs don’t themselves affect change in any profound or direct sense, they do have a capacity to work subtly on those who view them, causing slippages and disconnections in what we think we know. This in turn leads sometimes (but not always) to reassessments, reconsiderations and ultimately to us changing our stances. This occurs in ways which might be so subtle as to be almost imperceptible, or which might be more drastic, even conscious. For the third and final camp, who might be described as the post-positivist camp, photographs have no such power to create change. They act at best as momentary distractions, brief detours in the paths of thought that we follow which in the end do not change our final destination.

Yet as I have suggested before here, many of those who criticise the inability of photography make a real impact in the world would also readily accept that certain images should be banned or proscribed because they are perceived to have some power to pervert or damage those who view them. This is I think an interesting contradiction, rarely broken down and analysed, between the claim that photographs hold no power to do good, and the recognition that images can be a force for damage, a corrupting influence on those who view them. The influence of such images is a matter of significant public discussion, far more so than the question of whether journalistic photographs are able to influence for the good, a question mostly only concerns specialists and practioners of the medium. The press often erupt in discussion over the role of images of violence, in particular terrorist propaganda and extreme pornography, debating the extent to which it is their responsibility to show the former, and the extent to which access to the latter should be curtailed by state or corporate monitoring and intervention. These are not new conversations but urgency has certainly been added to them by the advent of the internet and the ready availability of both types of images, which can be called up in a moment by anyone, almost anywhere. Both of these ‘genres’ also clearly encompass a multitude of other media beyond photography, but in both cases photography is a significant and central means of their transmission.

Judging by the literature there seems to be little question that these types of extreme imagery do have an influence on those who view them. Studies of the effects of pornography have been particularly intensive, perhaps indicating the contemporary moral panic which often sees feature films with brief and mild sexual content given far more stringent ratings than those containing graphic violence throughout. The findings of these studies however are by no means consistent or uncontested, and research of the papers themselves suggests many come loaded with a definite prior agenda to prove or disprove the thesis the pornographic imagery is harmful. To pick out a few experiments. In 1986 Neil Malamuth conducted a study to determine the relationship between pornography and male violence towards women. His conclusion was that pornography had the capacity to exacerbate existing tendencies towards violence, but that it was not directly a cause. Ethical issues with exposing people to potentially harmful images make such experiments harder to conduct today, and as the piece above outlines much contemporary research into the effects of pornography rely on correlating a person’s self-reported use of such material with their view of relationships and the opposite sex, an approach which makes it difficult to draw definitive conclusions or to identify other factors in a person’s makeup which could contribute both to a predisposition for viewing pornography and to difficulties relating to others. And yet there is also the question of whether the two issues we are discussing remain for some people largely separate worlds. Michel Foucault, who was active in San Francisco’s gay sado-maschism community, always resisted suggestions that these activities bore any relation to his philosophical writings on sexuality, power, and control. Whether this was a rare moment of naievity on his part, or whether sex can be ring fenced from a person’s intellectual life in the way seemed to suggest to his interviewers, is another question in itself.

Studies of violent propaganda imagery are harder to come by, with most instead focusing on the impact of direct exposure to violence at key stages in person’s life, rather than violence mediated through photographs. In 1961 Albert Bandura experimented with the effects of witnessing violence by exposing children to the sight of an adult punching a doll. When left alone with the doll many of the children repeated the same behaviour. His contested conclusion was that when confronted by violent behaviour we are more likely to copy it than to find it cathartic. Many of the attempts to engage specifically with the effects of violent photographic imagery have been philosophical rather than scientific, the topic a cornerstone of contemporary photographic theory from Susan Sontag’s much discussed 1977 book On Photography to more contemporary examples like Susie Linfield’s measured 2010 study The Cruel Radiance. There are exceptions to this trend though. A controversial study published in 2015 suggested that social media users could develop symptoms of post-traumatic stress disorder from the images of suffering, much of it violent propaganda, which regular circulates on these channels. This ‘vicarious trauma’ might not be as severe as trauma acquired from direct experience, but it suggests a powerful capacity for images to impact on those who view them, effects which might last long after exposure. Other studies have suggested it might not always be the default to identify with the victim of violence captured in a photograph, and that some people naturally identify far more readily with the aggressor.

Conclusions remain far easy to draw, but while the research often suggests different interpretations there is a common thread of acknowledgment that photographs do have an altering effect on those who look at them. This effect which in turn would often seem to alter their course and conduct through the world, whether in shaping a person’s relationships with others, or in the way they respond to subsequent violent imagery. It is interesting to note that far more intellectual energy has been dedicated to testing the destructive consequences of viewing imagery than considering the possibly galvanising effects, but it would seem to follow logically that this is a binary in which one consequence must exist alongside the other. It might also be worth noting that the two categories are not necessarily so exclusive as they at first seem, a fact hinted at by the conclusions of researchers who suggested that some people will identify with victims, and others with perpetrators. With this in mind these two categories start to collapse, and imagery which when viewed by some viewers in certain contexts is traumatic, violent and unpleasant, might in a different place, to a different viewer, be animating, even inspiring. The disparate responses to ISIS execution videos would seem to be an example of this, and it goes without saying that in terms of pornography what one person finds arousing another will find bizzare or even repulsive. With this in mind how can one begin to proscribe imagery on the basis of protecting a viewer, when the effect on the viewer is unpredictable until the moment of exposure? The banning of certain types of imagery in the belief that doing so protects the public, might be a modern day iconoclasm, a practice ISIS might teach us a thing or two, if our own history didn’t suggest we are already well versed in it.

The Transparent Jury and the Opaque Prize

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A Session of the Painting Jury
Henri Gerve, 1885 (source)

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Over the weekend I tweeted about finding the same name in both the jury and shortlist for the recently announced Aperture Paris Photobook awards shortlist. The artist, writer and curator David Campany was both a selector for the initial shortlist, and the author one of the five books shortlisted for the Photography Catalogue of the Year award. What was most glaring about this for me was the lack of acknowledgment or explanation of this alongside the announcement, and Aperture’s lacklustre response to my Tweets requesting clarification about what safeguards they had in place. Dissatisfied by their response I thought I’d use the opportunity to discuss some of the problematic issues I see as inherent in most photography prizes, both in their structure as organisations, and more abstractly in their role as supposed arbiters of photographic quality. For a photographer to win or be shortlisted for a prize is regarded as a sign of their ability and credibility, and yet the processes and criteria by which these things are determined are seldom on view to those who submit to this judgement, much less the wider audiences who consume the results as exhibitions and books. Nor do we often ask exactly whose interests prizes best serve.

First of all I should say that I really admire Campany’s practice for its diverse approaches and critical nature, which I see as a much more developed version of what I am trying to do in my own work (and while his role on the jury might be the genesis for this conversation it is not really about him or Aperture). A practice structured in this way can be enormously stimulating, but working across several areas which are traditionally seen as self-contained, standalone careers is also an effective way of complicating your life if you are also mindful of your critical and creative independence and of conflicts of interest. I doubt I need to point out the reasons that working as a critic is challenging if you are also a photographer, often reliant on those you are tasked to critique in one role for your advancement in another. For obvious reasons it also never looks particularly good to sit in judgement over your own work, or even to sit in proximity to such judgment. When I first sat down to write about this my mind was set to how an industry aware of these issues could develop mechanisms which would make it possible for someone to judge and at the same time have their book considered for the same prize. The more I thought about it though the more I found this question highlighting the basic problems with prizes and the methods of their judgement. That a jury system is problematic for appraising the worth of art, that the judging processes themselves often byzantine and secretive, and prizes by their nature self-selective.

The simplest method of avoiding such a conflict of interest in a pre-existing jury is an individual withdrawal from the process of judging by the person for whom a conflict of interest has been identified. This, according to Aperture’s eventual response, was their solution. It would be wrong however to think that a temporary withdrawal of a member of the jury resolves the problem in these situations. A pre-existing jury from which one member briefly exempts themselves briefly might feel a lingering sense of loyalty to one of their own, or just as possible depending on the individual dynamics, a sense of antagonism. How can a jury knowingly judge something closely connected to one of their own and treat it in the same way as the work of a normal contributor? The only workable solution at this stage would seem to be full discharge from the process of judging or the complete withdrawal of the work to be judged, but really it shouldn’t come to this stage at all, these problems ought to be screened in the process of recruiting a jury. When I was a child breakfast cereal packets often had competitions on the back, always prefaced with the warning that anyone connected with the competition or related to someone connected with it would be excluded from entry. Simple enough that I understood these rules as an eight year old, and this was for competitions where the stakes were far lower than the average photography prize, so why do we often seem to lack such basic safeguards in photography competitions, where people often sit in judgement over the work of their friends, protégés, and favourites?

These observations in turn raise the issue of how basically inappropriate a jury system can be for the judging of something as subjective and dependent on individual feeling as art. Anyone who has been on a jury or involved in a similar small group decision making process will know the capacity of some individuals to wield disproportionate influence over others. Juries are rarely composed of true equals, and there is always the danger that opinions might be swayed by the more eloquent, vocal or domineering of a group. This not to mention the extent to which a small jury system in an industry like photography often favours the judged who come with developed networks and influence, while working to the disadvantage of new arrivals in the field and those without such cultural capital (is it a coincidence that as I come to know more people in the field I find myself more frequently nominated for things? I think not).

Part of the problem is that a jury system is too attractive to entirely dispose of because it brings certain privileges and associations with it from its judicial origins which we find hard to shed even when this model is put to use in the context of art judging. One is that for the jurors this system offers a certain collective safety and responsibility, that no one person can be held individually responsible for a decision, however blatantly crass, lazy or self-serving. Another, more significant for the purpose of this conversation, is the sense that juries are above reproach or questioning, and that the machinations which lead to their decisions are sacrosanct and above public scrutiny. A third is the perception of the jury as an important check on the power of the state, or the context of art perhaps a check on the interests of the powerful organisations who often fund prizes and competitions. The reality of all three of these is troublesome, particularly the third. Rather than acting as a check or balance juries can as easily be a fig leaf for the organisations behind such competitions. It is telling I think that all the major sponsored competitions (The Taylor Wessing prize, the Deutsche Börse prize, The Syngenta Photography Award, Prix Pictet, etc) invariably include a representative or close associate of the sponsoring company on the jury. Not quite an artistic trial by one’s peers.

To me these problems suggest the need for a different model of jurying, of individual judges of whatever number judging in isolation from each other (whether in the same building or on different continents). They might perhaps have some capacity for communication and discourse about the work but would be basically unaware of who their co-jurors are, and a decision would ultimately be made based on an aggregate of opinions of the work put before them. Such a system would also allow for far larger juries than are usually employed. In Ancient Greece the citizen juries of the Dikasteria could be vast, ranging over a thousand people, a safeguard intended to protect against bribery. In the context of photography a large distributed jury also safeguards against jurors with a penchant for promoting their own interests by at least watering down the effects and avoids the tendency that the same predictable names appear on juries again and again (in some respects Prix Pictet’s initial nomination process with it’s representation of every global region seems like a good model for this). Except of course such a mass jury system, while perhaps fairer, would also deglorify the role of the juror as elite industry expert, and prospect of judging a prize remotely would remove the reason that many jurors take part at all, the prospect of a paid trip somewhere nice.

Like an inverted Russian doll each problem in this conversation seems to open up to reveal a bigger one, and in the final instance the biggest of them all is the simple problem of prizes themselves. Photographers seldom stop to question either the byzantine, opaque nature of most photography prizes and competitions, nor do we often ask whether the effect they have on our industry is positive, and if it is, for whom? To tackle the first issue, while photographers submit their works to judging (and often pay for the pleasure) they often have little idea what process of appraisal their works will be submitted to, nor the extent to which judges will have to actually justify their decisions to the artists, audiences or organisers. Despite presenting themselves as arbiters of good photography, prizes are almost never transparent about the processes by which they reach such decisions or the ways that jurors and nominators are selected, processes which ultimately have everything to do with which works are finally selected. Fee charging prizes, of which the Aperture Photobook Prize is one, are also rarely transparent about the purpose of the money they raise, a tendency which is doubly problematic where a prize also raises income beyond entry fees, for example from ticket sales and corporate sponsorship (here again the Taylor Wessing Portrait Prize is a prime example). No prize that charges a fee can really claim to represent the best in the field of photography on which it focuses, only the best work that could afford to pay.

Finally what is most rarely asked is what purpose prizes actually serve, and whether their influence on our industry is broadly positive or negative? This is a huge question which really deserves an entire post of it’s own, but to offer a brief answer I think that that prizes are primarily about generating a useful illusion of success in a field where actual success is inherently difficult or even impossible to measure. This sense of success is useful for all involved. For the artist since it offers an easy shortcut to evidencing their achievement without being side-tracked into obscure conversations about creative or social worth. For the organisations which frequently are behind competitions it benefits their own activities to be seen to be aligned with ‘successful’ artists, even if that success is very much of their own making. And of course for the sponsors, who benefit from the public good will that derives from their patronage of the arts, and who are into the bargain able to subtly steer the sense of what art is successful away from art which challenges their activities (and if you don’t believe that happens I recommend reading this).

Over the years I’ve spent enough time blogging into the void to know that just writing about this will make no difference. There are too many vested interests for the industry to adopt alternative models or even enter into a debate about the role and purposes of prizes without major pressure. As with any number of other problems any real response needs to come from below, but the difficulty with competitions is that many photographers still seem them as something essentially to their benefit, and struggle to recognise the ways they work against them. Like playing the lottery, the hope is always there that next week it might be you, so why bite the hand that might one day feed? What I am really asking is that photographers and artists simply approach competitions and prizes with more questions and scepticism. By entering without question you validate the organisation that runs it, and make it easier for them to ignore the problems I’ve outlined above. So in future look carefully, think twice and if in doubt ask these difficult questions of organisers, and of your peers and colleagues who play a vital role in these competitions as judges, juries, and occasional executioners.

(Update: Aperture have since tweeted me that the conflict was mentioned during the announcement of the shortlist, which is 14 minutes into the video here. This is good, but it dosen’t explain why the same issue wasn’t highlighted on their site where one presumes many more people would learn about the shortlist, or deal with any of the points above about the inefficacy of a judge leaving the room for five minutes while their work is debated).

The Market: An Interview with Mark Curran

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Financial Surrrealism (World Trade Center II)
Zuidas Financial District, Amsterdam, Netherlands, 2015, from THE MARKET

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It’s a paradox that one of the great strengths of photojournalism and documentary photography can also be one of its great handicaps. That is the tendency to employ a laser like focus, conducting photographic micro-studies which encompass a very small field in great detail. It’s the approach many of us learn from the start, being advised (with good reason) as students not to overextend ourselves and to restrict our focus. But it’s also an approach many of us continue to use even as we mature as photographers and become capable of so much more. This micro approach certainly has advantages, and in certain contexts, particularly in exploring very human topics, it can work very well. But in exploring some of the bigger themes and forces that shape all of our lives it often falls short, unable to expose the importance of abstract relationships, networks, and flows that take place between the disparate elements which often make up the greater whole of an issue.

How for example can one speak about environmental decay without also discussing capitalism, and how can one discuss capitalism without discussing the cultures and societies that participate in and tolerate it? A few, very few, photographers and photographic artists are ambitious enough to set aside the micro for the macro in this way. One of them I think is Mark Curran, an artist researcher and educator who lives and works in Berlin and Dublin. His long term research projects combine photography, multimedia and installation to highlight the flows of global capital and predatory acts and contexts that result from them. They have been shown at galleries, festivals and universities globally and future exhibitions are planned for the UK in France in 2017 alongside a full publication of THE MARKET. Mark holds a practice-led PhD, lectures on the BA (Hons) Photography programme, Institute of Art, Design & Technology (IADT), Dublin and is Visiting Professor on the MA in Visual & Media Anthropology, Freie Universität Berlin. (Full biography on Mark’s website). Recently we discussed his work and some of the wider questions that it raises.

Mark, perhaps you could start by telling me a little about how you first became interested in making work about the financial system?

Although now living and working between Berlin and Dublin, with hindsight, centrally all began with my experience first as a migrant from, and then as a returning migrant to, Ireland in 1992 (from western Canada, where my family emigrated in 1984 when I was 19). Having studied in Calgary, I was then working as a Social Worker and while away, one holds romantic notions of where one is from and ideas of ‘Home’. On my return, I was faced with the contradictions and hypocrisies of both the country of my birth and my own position. This was exemplified how on the second day of my return, a very close friend brought me to see Ireland’s first shopping mall and having seemingly left the landscape of suburbia and such spaces in Calgary, this was, a significant defining and revelatory moment. Then in 1995, I decided to take a career break (became a career change), bought a camera and went on an extended trip to SE Asia. This transformed everything. On my return, I lived in an area of Dublin that, as we would now understand, was experiencing the initial stages of gentrification, and what was the beginning and evolution of the so called ‘Celtic Tiger’ economy where the Republic of Ireland basically underwent it’s Industrial Revolution.

I had a conversation with my elderly neighbour, Kathleen, and she described how, her daughter, the first in five generations could not afford to live in the area. So, I began then to photograph in this area, named Stoneybatter. It is one of the oldest parts (and Irish speaking parts) of Dublin. When the Vikings arrived and came up the river Liffey, to make way, the locals moved from one side of the river to the other and this site was Stoneybatter. In 1998, having applied and been accepted to art college to study photography (IADT where I now lecture), over the month of August, I began photographing young children at dusk and always with cranes in the background. A somewhat naïve, impulsive way of using photographs, in light of that conversation with Kathleen, to ask questions of economic futures and for whom. Of course, I didn’t realise then that this was really the beginning of a cycle of projects, thematically, that continues to the present.

Since that time, I have undertaken four long-term research projects, completed over the last 18 years, addressing the predatory impact resulting from the flows and migrations of global capital. Two have been completed in Ireland, one in the former East Germany and my current ongoing transnational project titled, THE MARKET*, which focuses on the functioning and condition of the global markets with increasing focus on the rogue, Financial Capital.

The first of these SOUTHERN CROSS (1999-2001) (recipient of the first Artist Award from the Gallery of Photography in Dublin) critically surveyed the so-called, ‘Celtic Tiger’ economy of the Irish republic, through portraits and landscape, mapping the spaces of Development and Global Finance. The title alludes to being sited in the south of Ireland and the new religion of capital. At the time of the first exhibition, we also published a catalogue (Gallery of Photography/Cornerhouse, 2002). This included and essay by Dr. Justin Carville and the poet and writer, Philip Casey. More recently, the writer, Colin Graham observed:

‘evidence of the rasping, clawing deformation of the landscape, the visceral human individual in the midst of burgeoning idea of progress-as- building, propped up by finance-as-economics…it stands as an extraordinary warning of the future that was then yet to come (2012: 15)’

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Stephen from Dublin
(IFSC, Phase I, Dublin, 2001) from the series prospect (SOUTHERN CROSS)

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This was followed by, The Breathing Factory (Belfast Exposed/Edition Braus 2006), completed between 2003-2005 and was the central research of my practice-led PhD, one of the first of its kind in the Republic of Ireland. Sited at the Hewlett-Packard Industrial & Research Complex outside Dublin, which followed over 9 months of negotiation regarding access, the project critically addressed the role and representation of globalised labour and industrial space and global labour practices. Completed over a sustained two year period, central is an understanding of the condition of precarity and vulnerability as core to the functioning of those practices and seeing the factory complex as an allegory for the nation-state itself, in terms of responding to the needs and demands of the global market (the title references such an economic model, as defined by former Volkswagen CEO, Peter Hartz, who, on invitation of Francois Hollande, is presently reforming the state social welfare system in France). This was exhibited at FORMAT Festival in 2013 and a video of this installation can be seen here.

Extracts from EDEN/Ausschnitte aus EDEN (Arts Council 2011) was undertaken between 2003-2008 in a declining industrial and mining region of the former East Germany. A central premise of the project was seeking a future of capital, at time in Ireland were citizens were being told the ‘Celtic Tiger’ would last forever, The prophetic experiences of this region, and East Germany as whole, contradicted this narrative and evidenced the devastating unevenness inherent in globalisation. The intention, similar to the HP complex, was to also see the Opencast mine (‘Tagebau’) at the heart of the Lausitz as an allegory again for globalisation, being both unsustainable and finite. The project also alludes to how capital has no national identity. The installation is all projection-based underlining the precarity of this community and limitations of audio-visual practice to describe.

The intention was always to enter the site/sphere that has framed and defined all these other projects. Hence, in 2010, I began working with the curator and very much collaborator, Helen Carey (now Director of Fire Station Artists’ Studios, Dublin) on THE MARKET. Helen has been instrumental in securing project funding and in the evolution of the project, which now incorporates five sites, Dublin, London, Frankfurt, Addis Abeba and Amsterdam. All were selected for specific reasons – Dublin, where the project started, London as the global centre for financial capital, Frankfurt, at the heart of Europe, the Euro, however, for the project became about the mediatised version of this structure and inaccessibility, Addis Abeba as site of the youngest exchange in the world (opening in 2008) and Amsterdam, although site of the oldest exchange in the world, the focus for me was the Netherlands central role in the global Shadow-Banking system and High-Frequency Trading (HFT). Ultimately, each site offers description regarding this globalised sphere.

Your work on this topic has been long term to say the least. Is that the way you naturally work or do you think that sort of long term involvement is simply demanded by a subject of this complexity?

Having started working directly with this theme in 1998 through what would be defined as documentary photography, my practice evolved to an expanded multi-media practice, in response to and informed by ethnography and the then burgeoning field of Visual & Media Anthropology. This is for a number of reasons. First, in the context of ethics and representation and photography’s historical role in the construction of identity. As someone who centrally incorporates the portrait and representing people, this was and remains a central consideration. Ethnography puts the human subject at the centre and in a way that demands time, is immersive and thereby brings understanding and insight – a critically reflexive approach. This evolved into formulating an expanded practice and ‘montage/multivocality’ as critical representational strategy in the context of the politics of representation. Therefore, in addition to photography, the projects incorporate, audio-digital video, artefactual and archival material and sound and centrally, text/verbal testimony – the person/citizen as witness.

In addition, time is significant in the role of securing access, as I understand these projects as a study of power. THE MARKET, in particular, has been informed by the anthropologist, Laura Nader and her advocacy in 1973 for Studying Up – to study the structures of power and the culture that substantiates them:

What if, in reinventing anthropology, anthropologists were to study the colonizers rather than the colonized, the culture of power rather than the culture of the powerless, the culture of affluence rather than the culture of poverty? Principally studying the most powerful strata of urban society…and instead of asking why some people are poor, we would ask why other peope are so affluent

(Nader, L. (1972: 289) from ‘Up the Anthropologist – Perspectives Gained from Studying Up’ in Hynes, D. (ed.) Reinventing Anthropology, Pantheon, New York, 284–311).

This requires time explicitly as she states, ‘how the powerful do not want to be studied’. So perseverance becomes critical to provide cultural description to theses spheres, these structures that centrally define us. So for example, with this project, it has taken on average, 1.5 – 2 years to access sites and/or individuals. So perseverance becomes critical to enable cultural description of theses spheres and structures that centrally define us, and how we are expected to live as citizens. In addition, where access was not given as with the Deutsche Börse in Frankfurt, the project documents that process in terms of what that lack of access describes, the paper trail and indeed the mediatised version of the market as evidenced by the ‘TV studio’ as the Börse itself describes the actual exchange in Frankfurt. So the projects are inherently political in terms of a study of power, and therefore this frames a positioning of artist researcher and activism. This has also been informed by Nicholas Mirzoeff’s idea of #VisualActivism, which he describes as the ‘interaction of pixels and action to make change’.

I would just like to acknowledge that there is much discussion of ‘post-representation’. However, in the context of contemporary financial capital whose key function is abstraction (this is witnessed in the impact of algorithmic technology/machinery, which financial capital has been, and is, the central innovator), and evolving how Marx stated, Capitalism seeks everything to be recreated in its image, I would observe that Financial Capital seeks everything to be recreated in its image – therefore, to embrace such a position opens the possibility of practices which, intentionally or not, align themselves, ideologically with the functioning of financial capital.

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Bethlehem, Trader (negotiation 1.5 years) Ethiopian Commodity Exchange (ECX)
Addis Abeba, Ethiopia, September 2012, from THE MARKET

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I’m glad you raise the spectre of technology, it’s relationship to capitalism and the question of its abstraction. I’ve often written here about the issue of representation in a time when more and more of the key machinery of our world is becoming impossible to directly visualise in the ways that journalists, artists and particularly photographers would traditionally have done, the increasing use of algorithms being a very clear example of that. I think the work of Beate Geissler and Oliver Sann makes an interesting example of this in that they apply these traditional approaches rooted in the axiom of proximity to a topic which cannot really be revealed by such closeness. By contrast, I think you find very interesting ways around this problem and I wonder if you could talk a little about how you think about visualising topics, which are essentially avisual?

A central function of capital is abstraction. This is so critically important to understand as through my research and speaking with those working in this sphere, I became aware of the central role of technology, specifically what we may define as algorithmic machinery, which has been innovated and pioneered by financial capital. At present almost 85% of trading is undertaken through such technology. Indeed, a 2012 UK government Office of Science (Foresight) report forecasts that within a decade there will be no human traders having been largely replaced by these systems. It is again important to understand and stress that the application of algorithmic technology was innovated by the markets beginning in the 1980s. Too often this relationship is overlooked and indeed under-represented in discussion around such themes as ‘Big Data’. And this is where it can become rather dystopian.

Focusing on the thesis of how the markets, and more specifically, financial capital, seeks everything to be recreated in its image. In such a scenerio, where, in addition to the role of tax avoidance systems/Havens and Shadow Banking systems with as much as half the money circulating the planet flowing through these networks daily remaining largely unregulated, creates a large degree of Stateless-ness, there is an argument of a future about significant peopleless-ness. So, as an artist researcher, how to represent such structures, to give these processes cultural description.

Therefore, a critical element of the project and the installation of THE MARKET is the soundscape, which is immersive in scale. Algorithms emit pulses as they travel through fibre-optic cables (although presently shifting to light) and function 24 hours a day so they are ever present beyond the visual and aural realm of human beings so how to represent something we, as citizens, cannot see or hear. My brother, Ken (Curran), is a programmer and composer. So, through the application of an algorithm, which Ken coded, to identify the words “market” and/or “markets” in public speeches given by relevant national Ministers of Finance, the data was then transformed to create the installation soundscape. To date, ‘localised’ algorithmic translations of speeches by Michael Noonan (Ireland), George Osborne (United Kingdom), Pierre Moscovici (France) and Jeroen Dijsselbloem (Netherlands & Eurozone Group President) have been included in exhibitions in those countries. The intention conceptually is to represent the functioning of contemporary financial capital through the conduit of the financialised nation-state. In turn, to create a tension between the material objects of the installation – photographs, artefacts, transcripts – and the possibility of their abstraction through the processes that the soundscape represents.

Another strategy I have employed is drawing on research by Eric Scott Hunsader (Owner of Nanex, online platform which documents daily global trading), who looked at one stock for one second in 2012. He noted that in one second, 14,000 positions were taken globally on that one stock. He stated how if you were to print out that amount of data, it would equate to a 6 feet high stack of A4 paper. So, I have recreated this (titled Normalising Deviance II) as part of several installations further in the context of the soundscape. It is figurative in scale and in addition on each page is a quote from a telephone conversation I had with a senior trader working in London, who stated:

…what people don’t understand… is that what happens in the market is pivotal to their lives… not on the periphery…but slap, bang, in the middle…

More recently, a further elaboration on the soundscape and critique of the popular graphic representation of the markets, I worked with a friend and colleague, Damien Byrne, who designed a 3D visualization/virtualisation of the algorithmically-generated soundscape. So again as a key contemporary operating strategy is the virtualisation of structures including the nation-state (as outlined by Franco ‘Bifo’ Berardi), I would argue through this appropriation, it further represents contemporary financial capital functioning through the conduit of the financialised nation state. It is important to note that in the installation is that a one point the 3D graph disappears, evaporates so alluding to how we, as an audience, as citizens can reject the narrative that supporting/saving such structures is the only possibility available. Remembering that presently, it is the actions of global central and state banks that is maintaining the appearance of globalised economic well-being through quantitative-easing resulting in austerity and a scale of inequality, which according to the World Economic Forum, the world has ever experienced. And again, this has occurred since, the crash in 2007/2008.

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Empty Workstation (Steilmann Textile Factory (one week before closure) – last textile factory in East Germany relocating to Romania and 6 months later Moldova)
Cottbus, Lausitz, Eastern Germany, April 2006
(Glass slides, multiple, looped projection) from Auschnitte aus EDEN/Extracts from EDEN

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You neatly pre-empt my final question. The economic turmoil of the last decade seems to have revealed even to people not that interested in economics how shaky and impermanent these systems can be. This is naturally frightening in some respects but also exciting, a hint that edifices which have come to be regarded as normal, permanent and indispensable could disappear and be replaced by something different. The turmoil of the recession offers glimpses of alternatives to the current financial system, and has helped perhaps more than anything to dispel the once prevalent sense that there is no alternative. At the risk of asking for an impossible forecast where do you see The Market and the wider market which it explores going next in the coming years?

In terms of the project, the intention is to make a complete publication, critically, as a document, but also as an artefact of a sphere that may ultimately abstract itself through the means of its own innovation. The aspiration would be, in parallel, to create an e-book and/or App version, which, ideally, will be freely available. The intention is to distribute the cultural understanding regarding this sphere, as widely as possible. So at present, I am seeking a publisher and Nicholas Mirzoeff has already kindly agreed to contribute an essay to the publication. Beyond this, there are forthcoming conferences/symposia in the US and UK. Some of the work will form part of a major group exhibition organised in the Autumn, by the Blackwood Gallery in Toronto titled ‘I Stood Before The Source’, which sounds really dynamic. The complete projects will encompass several locations extending to off-site and/or public spaces and there is a full programme of events planned under a theme with a large focus on representing contemporary financial capital. In November, I will also give a public talk in Newcastle, organised by NEPN (the research centre at the University of Sunderland, who in cooperation with Noorderlicht Festival (Netherlands) commissioned project work undertaken in Amsterdam last summer), who are also planning an installation for next year. In addition in 2017, there will be an exhibition at Galerie Bleu du Ciel in Lyon working with Gilles Verneret ho also previously showed both Southern Cross and The Breathing Factory. The intention then would be to begin the next project of the cycle, which would be to engage with, and map those central to the technology & innovation of globalised finance and more closely, the shadow structures.

In answer to the second part of your question, it is understood how structurally and regarding the culture of that structure, nothing has fundamentally changed since 2007/2008 and that the system is being artificially maintained by debt undertaken by the world’s central and state banks through Quantitative Easing (QE). For example, since 2015, the European Central Bank has been buying debt to the total of 80 Billion Euros per month (both bank and corporate) and this is set to continue (and watch what the Bank of England is planning later in August and this year). To subvent and subsidise this system, policies of austerity are imposed, resulting in the harrowing conditions of inequality, that we witness, globally. I am reminded of the words of one senior trader:

‘You have no money in your education system, that’s us (‘the markets’), you have no money in your health system, that’s us…you have no money for culture, that’s us…it’s everything’

(recorded notes with Senior Trader, Cafe, The City, London, March 2013)

Combine this with the technological evolution of algorithmic machinery innovated by financial capital and the process of abstraction, while always remembering that this sphere creates crisis and simultaneously, the means for its survival. Therefore, it truly seems unsustainable.

There is consensus and awareness that the previously understood cyclical nature has evolved into something structural. In addition, the apparent disconnect between this sphere and the real economy – hence in the project, titles directly reference ‘the Economy of Appearances’, ‘Systemic Risk’ and ‘Financial Surrealism’. Many observers, including bankers, traders, analysts, economists and CEOs I have encountered, are alert to how a massive globalised bubble has been constructed through the intervention of QE and the functioning of this system that could make the aforementioned financial crash seem minor in comparison unless, a radical overhaul occurs… But critically, this all points to the end of a system of capital as we understand and simultaneously opportunities as it is clear that resources are there to re-enable inclusive citizenship, the social contract and to invoke Martin Luther King, Socialist Democracy. Unless this is addressed and I would further argue that from Trump to Brexit, not to mention climate change, terrorism and war, all symptomatic of this dreadful malaise, that such conditions will only become more volatile and unstable. This is why it is urgent we understand the central role of this sphere, the culture it presently embodies of normalising deviance and its relationship to technology, as part of a process, which it is important to acknowledge, is happening, to avoid such calamity and towards the re-imagining and reclaiming of other futures.

* Supported by the Arts Council of Ireland, Department of Foreign Affairs, Government of Ireland and partnered by Belfast Exposed Photography, Gallery of Photography, Dublin, CCA Derry-Londonderry, NEPN, Noorderlicht and curated by Helen Carey, Director, Firestation Artists’ Studios (Dublin), the transnational multi-sited project, THE MARKET, was also part of a series of visual art events marking the centenary of the 1913 Dublin Lockout, a pivotal moment in Irish labour history.

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Installation (Limerick City Gallery of Art, 2015) includes The Economy of Appearances 2015
3D Data Visualisation of the algorithmically-generated soundscape identifying the application of the words market and/or markets in the public speeches by Irish Minister of Finance, Micheal Noonan.(Single channel projection, sound) Algorithm Design & Sound Composition by Ken Curran, Data Visualisation by Damien Byrne

‘We Clean History’: Thoughts on Another Crimea

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Russian officers run to the Nakhimov square to take part in a rehearsal for the May 9th Victory Day parade in Sevastopol. May 6th 2014. Yuri Kozyrev/Another Crimea

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I recently reread Phillip Knightley’s The First Casualty, a commanding account of the role of war correspondents from the 1854 Crimean War through until the 2003 Invasion of Iraq. The book brilliantly charts the successes of correspondents in revealing some of the worst excesses of war, but also is acute in arguing that at least as often correspondents have willingly or unwittingly been co-opted into sustaining, legitimising or smoke screening indefensible events. Finishing the book, it occurred to me how well it could do with updating to include some of the conflicts since 2003, including the secretive drone wars in Pakistan and Afghanistan, and perhaps coming full circle back to Crimea with it’s annexation by Russian forces in 2013. This thought drew me back to something I’ve been meaning to write about for some time, Another Crimea, an ‘unprecedented documentary art project’ which expansively offers to show viewers ‘the dawn of the peninsula and its people’s new old chapter beyond all political and ideological barriers’. Jorg Colberg first flagged Another Crimea back in June in the context of a discussion about manipulation and verification, and I want to pick up where he left off and discuss it in more depth.

Another Crimea brings together six photographers from the prominent photographic agencies Noor, VII and Magnum. The photographers (Christopher Morris, Francesco Zizola, Gueorgui Pinkhassov, Olivia Arthur, Pep Bonet and Yuri Kozyrev) each produced a documentary photo series, or in one case a film, in the region over ten days in summer 2014, and these are featured on Another Crimea’s website alongside a behind-the-scenes video for each photographer with a narration and explanation of their project. For a sampling of the projects, Francesco Zizola’s contribution consists of rephotographs of Crimean war photographs, ranging from Fenton’s The Valley of the Shadow of Death to less well known historic images by Russian photographers. Olivia Arthur’s project follows three families, one Russian, one Ukrainian and one Tatar, reflecting on the diverse makeup of the peninsula. Pep Bonet’s film reflects on the region’s history, in particular the legacy of the Second World War Siege of Sebastopol. ‘We are cleaners, we clean the history, we make it shining’ says Alexander, a historian who identifies war graves, and one of the people interviewed by Bonet. The individual photography projects are competently executed, but in the way they are framed by the broader project and it’s copious avoidance of key questions about Crimea’s annexation by Russian in 2013 it is hard not to feel even after a superficial look that what one is viewing is problematic.

The deeper one gets into the Another Crimea website the more the sense grows that this is not just a pro-Russian take on Crimea but might be even more problematic, indeed that it might be directly aligned to support Kremlin policy. Certainly that seems to be the view of many of the photographers interviewed for one piece about the project, one calling the photographers involved in the project ‘useful idiots’ and suggesting they have been dragged into participating in the continuing propaganda war over the future of Crimea. Some basic research dosen’t do much to counter this. Russian Reporter the magazine behind the project routinely selects Putin and his favourites for it’s annual ‘person of the year’ award and has been accused of misrepresenting the Wikileaks cables in a way designed to support Russian foreign policy objectives, while not reporting cables which paint Russian leaders or their allies in a negative light. The magazine is owned by the Ekspert Publishing House, which is in turn owned by oligarch Oleg Deripaska, who despite having had something of a rocky ride with the Kremlin in the past is today often described as a close ally of Putin’s. It took me perhaps ten minutes to research this information, which makes me wonder whether the agencies and photographers did the same when first presented with this project, and if they found what I found, then why they decided to participate in it anyway. While it’s hardly damning evidence, it does suggest that the publishers behind the project might not be exactly neutral, which given the sensitivities of the peninsula casts a shadow over Another Crimea as a documentary project.

The Russian state’s use of the media has been much discussed in our own press, and it is often described as a core part of the Kremlin’s overall strategy for projecting power and influence around the globe in the post-Cold War era. Thinking back to the annexation of Crimea itself, Russia appeared to employ a range of media strategies as part of the campaign including an online disinformation campaign, the employment of soldiers without identifying insignia, and to some extent also capitalised on spontaneous events like the selfies taken by some Crimean residents with the soldiers. The ensuing conflict in the east of Ukraine has equally been marked by a furious information war, particularly around key events like the downing of flight MH17 in July 2014. There is also much to be written about the use of government funded broadcasters like Russia Today to sow disinformation, counter-narratives and outright conspiracy theories. So close indeed is the connection between the Kremlin’s employment of hard and soft power that the approach has increasingly been dubbed ‘hybrid warfare’ for the way it blends traditional military force with black operations, cyber attacks, and propaganda. Whether you adopt this catchy buzz phrase (after all hasn’t war always involved these things to some degree?) or not, events of the last few years suggest it has been an effective strategy both for smoke screening overt military actions, and for generating a sense of inertia and confusion in the countries that might otherwise try to counteract Russian actions.

As Knightley repeatedly demonstrates in his book, there is always the possibility of a journalist subverting a managed opportunity in order to create a result which is quite different from what those in charge want to produce. We’ve seen this done with varying degrees of success in Iraq and Afghanistan in response to the military practice of embedding. Tim Hetherington’s series Infidel remains for me one of the most effective examples of this, even if it also at the same time demonstrates very clearly the inherent limitations on even the most conscientious photographer working within these confines. It’s also worth of course stating that documentary photography has often been co-opted as a medium of propaganda in the past, and depending on how far you stretch that term some of the most celebrated documentary projects of the last century would meet the definition. In the case of Another Crimea I sensed the six projects were well intentioned but suffered from similar issues, an uncritical one sidedness masquerading as documentary distance and objectivity. Arthur’s work is maybe the one that comes closest to offering a counter-narrative to Another Crimea‘s own counter-narrative, and I feel it’s also worth noting that she appears to be the only one of the six photographers who actually features the work the resulted from the project on her own photography site. She also does so with an introduction which unambiguously frames the work in terms of the Russian annexation of the Crimea (in a way which the series isn’t framed on the main Another Crimea site).

So to end, what does this potential co-option mean for documentary photography? I would flag three things. Firstly, it suggests that a hitherto unexpected consequence of shrinking economy for this type of documentary photography is that when offers of work do come along perhaps photographers are less inclined to look closely at who is paying for them. The lesson here is clear, we need to be as or even more questioning of who is commissioning us in financially meager times as we might be in more bountiful seasons. Secondly I think it is worth noting that in the context of documentary as propaganda what is attractive to commissioners might no longer be the photography at all. Perhaps conscious of the negative light that broadcasters like Russia Today are seen in the west, commissioning unrelated external organisations with a reputation for independence established over many uears could be a very effective way for governments to launder propaganda into what appears to be documentary or news, and at the same time offers a ready-made audience into the bargain. Again the lesson is that these organisations run the risk of losing this credibility very quickly if they fail to vet who they take commissions from. Thirdly and finally, that if like Knightley you see journalism and by association documentary photography as ‘the first draft of history’ then it’s co-option and manipulation as a tool of governmental persuasion and policy promotion is something we all need to be very worried about. If documentary photography is to retain its currency and purpose in what (to use a Putinesque turn of phrase) is often described as a ‘post-truth’ world then it to remain above all else highly critical, and fiercely independent.

Monsanto: An Interview with Mathieu Asselin

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It’s really, really rare that a photobook speaks to you in a way which feels important beyond the narrow realm of photography, and even does so in a way which feels desperately urgent. This was the precise experience I had the first time I came across Mathieu Asselin’s Monsanto: A Photographic Investigation when it was on display as part of the dummy book table at Bristol Photobook Festival, and again when I saw it at the Rencontres d’Arles Festival this summer. The title of Asselin’s book needs little elaboration, the work scrutinizes the activities of this multinational agrochemical company, considering the lasting impact of it’s activities overseas and in it’s home country of the United States.

Through a series of chapters Asselin photographically interrogates these different areas, ranging from Monsanto’s role during the Vietnam war as one of the two major producers of the highly toxic defoliant Agent Orange, through to it’s contemporary diversification into genetically modified crops, plants which are designed as much to support a corporate business model as to be plentiful producers of food. This investigation is remarkably wide ranging and reflects the complexities of modern corporate activity. As Asselin writes ‘Monsanto® maintains strong ties with the US- government, and especially with the FDA (United States Food and Drugs Administration). It is a bed-fellow with many other economical and political power houses around the world. The company engages in campaigns of misinformation, the persecution of institutions and individuals, including scientists, farmers and activists that dare to disclose their crimes.’

Mathieu, perhaps first you could say a little about why the first wanted to produce a project about a company like Monsanto, was there a particular encounter or discovery which set you off down this route?

Years ago, talking to my father, a French activist by heart, spirit and actions, and a true world citizen, the subject of Monsanto came up. This got my attention and inspired me to start an in depth research on Monsanto, little by little I realized that it has a much deeper and darker history. I was facing over 100 years of “successful failures”. This means that Monsanto success is built on a long series of social, ecological, economical and health disasters all around the world. This is no news for a large number of people fighting Monsanto but for the majority of people, including myself at that time, this was a shocking discovery. At that time the persecution of farmers wrongly accused of patent infringements (The use of Monsanto GMO seed without signing a contract) was featuring in many news outlets. I don’t remember exactly when, what I do remember is that I was very shocked by the 2008 Vanity Fair story Monsanto Harvest of Fear as well by Marie-Monique Robin’s The World According to Monsanto documentary.  At that point the story was already on my mind, the problem was how to photograph it.

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Many photographers attempting to document corporate activity might have just looked at one location or issue, for example the current consequences of herbicides like Roundup, or the lingering effects of Agent Orange use in Vietnam. What makes your work stand apart for me is the way you connect the disparate activities of Monsanto, from chemicals to seeds. What brought you to employ this multi-faceted way of investigation?

It is that multifaceted story that makes it a universal one. Monsanto’s dark story is a complex one and it cannot be understood if we just talk about genetically modified seeds, Agent Orange or PCBs separately. Monsanto is a 115 years old corporation (established in 1901) and its activities are as diverse as its social and ecological crimes. Everything is connected, one thing takes you to another is like a chain reaction, and the deeper you dig the more you find, in that sense is like an endless pit. The main challenge of this project wasn’t what to photograph but what not to. This was for me the hardest part. I focus on Monsanto’s milestones, places and events that have mark and shape their history as a corporation. It is a timeline to understand where Monsanto comes from, on what foundations it was built. This approach can help us understand its present and have a better idea of what the future maybe.

But is important to say that I didn’t discovered anything new, all this well documented information is public, before me many people have paved the road to make it easier for the rest of us, you just need to dig a bit. The interesting part was that as far as I know, nobody had put together photographically speaking that many pieces of the Monsanto story together I think that this was an important point to invest myself on the project. But I need to say that Olga Yatskevich was a great help in putting this together, she was like a translator for a language that was in my mind and that at that time only I understood. You know photography is never completely self-made. We are the products of our parents, our experiences our friend and people close to us, the important thing is to know how to combine all these experiences in a coherent voice that is your own.

Another facet to the book is the extensive use of Monsanto’s own advertising and marketing material, in particular The Monsanto House of the Future, an attraction created in the fifties for Disneyland but which in your book becomes a sort of metaphor for corporate indifference to the future and the people who have to live in it. Could you explain why you felt it was important to include examples of the ways Monsanto has represented itself alongside your photographic representations?

It is fascinating, isn’t it? That is why. I’ve never contacted Monsanto to have their point of view, I think that no statement from them can justify the crimes against humanity and the planet. With time you realize that this is not about Monsanto, this is about the people and environment affected by them. In the past five years I’ve bought a large collection of Monsanto paraphernalia. It was amazing to see how the propaganda machine works, but at that time didn’t know how I can incorporate it in the project. With time all this objects, the advertising and marketing got a wider meaning and became my way of letting Monsanto introduce itself. I was interested in the irony of the perfect world that they portrait.

Ricardo Baez, the designer of the book was very fond of the idea and suggested to place the ads at the beginning of the book. These materials help me to open a new window story wise, not limiting myself to what I can or can’t photograph to tell the story. All these “external” items, in one way or another, give an extra dimension to my project making it more interesting for the viewer and especially for me to build it. I think that with time I realize that the story needs to be told, this is the goal, and the more resources you have to play with, the better you can build it.

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Looking at your book I felt a very strong resonance with Phillip Jones Griffith’s seminal work Vietnam Inc. There is an obvious thematic connection in terms of Monsanto’s role in the production of Agent Orange for use in this conflict, but actually I think the similarity stems from a sort of quiet anger which underpins both books, and which I see in much great investigative journalism. Do you feel that’s accurate?

Ah! Mr. Griffiths what a great photographer, I wish I can compare my work with his. I don’t have that book, but I do have Agent Orange: Collateral Damage in Viet Nam which I got before traveling to Vietnam, to see if I can finally learn something about photography. Mr. Griffith’s books is a very extensive investigation on the Vietnam war but the most important part of his work is that it really helped to change the view of the public on the war.  My work still young and I hope it can have some repercussion on the issue am pointing at.

I think it is more outrage than anger, you can’t detach yourself from the subject and you can’t detach the subject from your feelings either, at least that is the way I work.  At the same time it is important not to fall on to an easy narrative. Anger can lead to that, contrary to outrage. It is important to find a certain poeticism in the work, a flow that makes a longer lasting mark than anger alone would be able to. Fighting this type craziness with anger is not a good tactic. More important than anger is to be outraged because it is related to empathy, as the French philosopher Stephane Hessel said it “is time for outrage” and it is this time for outrage that gives you the strength and the empathy to say “Fuck it, I won’t take it anymore and I won’t let others to take it either”. I am sure Mr. Griffiths dealt a lot with this in his own work.

The book looks very complete and I believe is due to be published soon, but given the scale of this topic and the nature of this type of rather investigative work there is often the sense that there is more to be done. Will your work on this topic continue or do you feel it has reached its limit?

At the moment I am in contact with a few publishers that are interested in printing the book, and whose work I like and respect. I think the transition from dummy to the final book will happen soon, fingers crossed! It is rewarding to finally have a dummy it is the physical proof of many years of work but the most important thing is to reach the people, without that the rest doesn’t matter much. No doubt the project can keep growing. I didn’t include many other communities affected by Monsanto: Argentina, India, Mexico, etc. I didn’t include these stories not because they are less important, but because it was a big challenge to figure out how such an important and complex subject can be put together in a book, so I decided to focus on the United States and Vietnam (because it has direct ties with the USA) knowing that this can be a well contained example of what is and can happen anywhere else. When you see the disasters Monsanto left in their own country and the horrors of Vietnam, it gives you a very good idea of what is going on or what can happen in the rest of the world. Monsanto is expanding it’s business to countries with weak regulations and law and this allows them to basically do “whatever they want”, with very few barriers or responsibilities.  Argentina is a good example of that.

Right now I would like to focus on others projects. I’ve spent five years on this story (I am a slow photographer) and after a while is important for me as a photographer to find new subjects and advance in my learning curve. I just hope that the work I did can help people who are fighting Monsanto everyday by establishing a dialogue about the subject with a larger population. My biggest hope is that it can help to change people’s vision about Monsanto so they can make better choices. For now my work photographically speaking is done and a different part of the project needs to be put in gear, the one of putting it out there for the public, so no matter what, I think I will be crossing paths with Monsanto: A Photographic Investigation for some time.

Thank you for giving me the chance to speak about my project.

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