I spent a day at the Brighton Photo Biennial looking at the various exhibitions that were scattered around the town. There was quite of variety of exhibits and picking ones that would help me move forward in my studies was challenging. My favourite art quote is included in Austin Kloen’s wonderful little book, Steal Like an Artist *(1) and is from André Gide, a French writer:
“Everything that needs to be said has already been said. But, since no one was listening, everything must be said again.” *(1)
But, the problem with this truism is that sometimes trying to say the same thing in a different way results in uninspiring work. Perhaps I’m a little too old and too conservative to understand where some contemporary photography is trying to get to. As a consequence the highlights of my day, apart from a walk on the pier, were generally rather old school.
Real Britain 1974 looks at the work of the Co-Optic group who were pushing out the boundaries of documentary photography in the 70s. Many of this group went on to become highly recognised practitioners but at the time were mostly still classified as “emerging”. The group included Gerry Badger, Martin Parr, Fay Godwin and Paul Hill and some of the photos on show are instantly recognisable. The idea was to create a set of 25 postcards from around Britain that represented the real Britain of the day. Not exactly contemporary to most of the population but within my lifetime so it is to me. Great little and rather nostalgic exhibition. As a aside I find it interesting that Parr continues to be interested in postcards.
The Photo Book Show in the Jubilee Library was excellent. Two tables were laid out with hand-crafted and unique photo books. I especially liked Degeneration which lead me to the Human Endeavour *(2) website once I got home. Human Endeavour is a collaborative project or, what they call, a photographic collective, that is documenting the degeneration of urban buildings. I found their dummy photo book inspiring as this is a subject I have explored on a regular basis. It is a shame that the book appears to be limited to the single copy on display here.
My overall impression of the books on show was to be astounded by the quality and creativity on display. Some are artworks in their own right, although some are not particularly functional as books and a small number were reminiscent of an art student’s final degree work rather than a publication.
Amore E Piombo (Love and Lead) was of particular interest as we used to live in Italy and have watched a number of Italian television dramas and read a few histories about the 60s and 70s when Italy was nearly torn apart by violent criminal and political factions. This exhibition includes a selection of the work of the Rome based agency Team Editorial Services and it showcases a very specific genre of photo journalism. It presents violent death in an unrestrained way, hard hitting photographs that must have shocked the Italian public when they were first published. This is war photography undertaken on the streets of Italy’s largest cities and is reminiscent of photographers such as McCullin or Griffiths but is also photo journalism at its best, determined photographers getting close to the terrible events that were unfolding and bringing back beautifully composed photographs to the news desk. The exhibition documents a dark period in Italian history and reminds us that many parts of Europe have tottered on the brink of anarchy in comparatively recent times.
A Return to Elsewhere *(3) shows the work of two photographers (Kalpesh Lathigra and Thabiso Sekgala), one based in the UK and one in South Africa, who have photographed the influence of Indian communities on the towns in which they now live. Given my recent pondering on whether contemporary photographs need to desaturated and flat it was something of a relief to see an exhibition of high contrast and saturated pictures. There is great variety in the work of these two photographers, street photography, urban landscape in the style of Camilo José Vergara, contextulised portraits, appropriation of old photographs and text and intimate landscape.
This is an exciting study of belonging and not quite belonging, of heritage and new horizons, transported and modified culture, identity and shared histories. The juxtaposition of two very different landscapes housing people originating from the same place is very powerful and effective. The photos also confront and question stereotypes and challenge us to consider the subjects quite carefully.
A highlight of the day. Their website is also well worth visiting and quite unusual http://elsewhere.thespace.org
Looking Into The Family Album is an important exhibit showcasing the work of year 10 and year 11 students from two local Academies. Three artists collaborated with the students to create giant backdrops, costumes and staged photographs and the results are quite remarkable. I feel strongly that more photographers, especially professional practitioners should be investing time in helping young photographers. This most accessible art form is already a dominant feature of young people’s lives and the more young people that take this subject up at GCSE and A’ Level the more exciting the future of British photography becomes. We need to help students go beyond repeating the same old boring projects and to start pushing their creative boundaries but to do this within an academic framework so they start to see their work in the context of a wider photographic world and to make sure that they acquire the basic technical skills that will need if they are to get the best from the discipline. This work is a great example of this being done so I congratulate James Casey, Alex Buckley and Marysa Dowling who mentored these students.
Brighton is a great place and the perfect location for a festival of this kind. I was disappointed with the guide / catalogue which needed a better map that named the exhibitions so I didn’t have to pick a gallery off the map and keep turning the pages back and forth till I found what was on there. It would also have been nice to have better information available at some of the exhibits to learn more about the artists. Some of the signage once you found a location was very poor and I spent ages wandering around the Brighton Museum looking for Amore E Piombo.
Lunch and a walk on the pier was excellent. I have started to find my DSLR camera bag far too cumbersome and heavy and best used when I am in a “studio” environment or working near to the car. I recently treated myself to a Fuji XT 1 mirror-less camera and am carrying it everywhere I go. It is perfect for street photography because it is as discreet as Leica (just much cheaper!) , brilliant at handling poor light (such as inside the Amore E Piombo exhibition), and ridiculously portable. All the photos here were captured with this little gem.
(1) Kleon, Austin. (2012) Steal Like an Artist: 10 Things Nobody Told You About Being Creative.New York: Workman Publishing.
(2) Human Endeavour – http://www.humanendeavour.co.uk
(3) A Return to Elsewhere – http://elsewhere.thespace.org