Conscientious Photography Magazine Jörg Colberg's online photography magazine, featuring photographer profiles, interviews, articles, and book reviews. 2021-04-12T14:11:09Z https://cphmag.com/feed-atom/ Jörg Colberg https://cphmag.com <![CDATA[I Don’t Recognize Me in the Shadows]]> https://cphmag.com/?p=3088 2021-04-12T14:06:16Z 2021-04-12T14:06:16Z

One of the defining properties of our current era is the fact that the most pressing problems we’re facing are either being ignored by our elected leaders, or they’re merely used as political pawns in their electoral schemes: climate change, the pandemic, the vast inequalities that exist both within our societies and between them, and the fact that hundreds of thousands of people have become migrants (or refugees) looking for a modicum of safety and comfort elsewhere.

Matters are being made worse by the fact that these crises are not independent from each other. In a nutshell,  migration is caused as a direct or indirect consequence of the actions of those countries that now are their target, whether it’s people escaping from war (initiated or supported, however indirectly, by target countries) or the consequences of global warming (ditto), or whether people simply want a better life than the one available back home.

A number of photographers have picked up the larger topic of migration to make work around it. All of the examples I can think of right now are photographers from any one of the target countries. In principle, there isn’t anything wrong with this approach. These photographers typically have the resources to do the work, but they also have the necessary access to disseminate it. It’s an entirely different matter for those stuck in refugee camps, let alone on their treks across borders, to also document their plight. One example I can think of is provided by the Now You See Me Moria Instagram feed.

Thana Faroq was born and raised in Yemen, a country that has been engulfed in a civil war since 2014 (at some stage Saudi Arabia became involved, largely propped up by US support, which the Biden administration finally withdrew). As a consequence of the war, Faroq was forced into exile in the Netherlands: an incredibly gifted photographic storyteller became part of a larger story. With I Don’t Recognize Me in The Shadows, the photographer now tells that story. There’s a book that you can order here.

One of the reasons why I like photobooks so much is because of all visual media they come closest to being in the presence of another person telling a story. I will watch the occasional documentary film, and there are many good ones. However, they almost inevitably make me feel manipulated: I have no control over how things unfold (it feels weird to pause and rewind), and more often than not the music used is too blatantly emotionally manipulative.

A photobook removes those two aspects. Instead of being a passive recipient, I have to do work: I have to turn pages, I have to decide where to look and whether or not I will read whatever is being made available. And it’s quiet when I look. If I don’t want the quiet, I can pick the sounds that go along the book. In other words, it’s a contemplative experience, in which the thinking about what one is looking at comes along with the looking — instead of only afterwards.

Looking through Shadows, I thought it was one of the books that stressed the points I just made incredibly well. With all of its photographs presented full bleed, it immediately is completely immersive. Events are made to unfold in a number of very smart ways. For example, there are different sections that are visually separate in a simple manner. Both the types of images and whether they’re colour or black and white change.

At some stage, the photographer’s own voice enters directly through the reproduction of handwritten texts on small pieces of paper: journal entries. In these texts, Faroq reflects on a number of things, some mundane, others carrying immense weight. As you go through the book as a viewer/reader, there is a build up of intensity, which finally culminates in portraits of other migrants who were photographed through a glass screen that has water drops on them. Next to these portraits, there also are pieces of paper with handwritten texts. Unlike in the case of the journal entries, these pieces of paper were physically tipped in. Underneath, the name of the person is given.

As in the journal entries, the messages can be mundane or profound — or both. “I am a human being,” one of them says (see picture just below; my own translation from the Dutch original — there is Arab text above that I am unable to read). In many ways, this is the core message of the book, a message that all-too-often is forgotten or ignored when dealing with migrants (just look at the conditions in the Moria camp): we’re dealing with human beings, human beings that have the same hopes, dreams, ideas, aspirations that we all do.

One of the most incredible pieces of writing in the book is presented at the end of the book. Entitled Two Years Later, it’s a reflection by Faroq of what happened, of being stuck in the system in place that “processes” (terrible word, I know) people who are coming from other countries looking for a safe new home.

Produced in the Netherlands, I Don’t Recognize Me in The Shadows uses all the many devices available to good photobook making without going overboard. It’s elegant and engaging but not overdesigned, and it doesn’t scream “I’m an art book”. It’s just perfect.

Very highly recommended — a real landmark publication.

I Don’t Recognize Me in the Shadows; photographs and texts by Thana Faroq; short texts by a number of migrants; 168 pages; Lecturis; 2020

Rating: Photography 4.0, Book Concept 5.0, Edit 5.0, Production 5.0 – Overall 4.7

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Jörg Colberg https://cphmag.com <![CDATA[Bad Ass and Beauty]]> https://cphmag.com/?p=3087 2021-04-05T15:44:44Z 2021-04-05T15:44:44Z

Okinawa and Hawaii have a lot in common. They’re both mostly known as sunny vacation spots with gorgeous beaches, and they each played a pivotal role during World War 2. But they’re also both latecomers to the countries they now are part of: previously independent kingdoms with their own rich culture, both archipelagos were annexed in the late 19th Century. Their original culture and language were originally largely dismissed (where not outright banned), and they were forced to adapt to being a very small part of a larger culture they originally didn’t have all that much in common with.

Okinawa has been suffering from occupation ever since the late 19th Century. After Japan lost World War 2, vast military bases were constructed by the United States’ military. It is from these bases that bombing runs were conducted during the Vietnam War, and it is these bases that have been responsible for a very large number of sexual-assault cases (there’s a book about the larger topic).

Many Okinawans have long wanted an end to these bases. There have been demonstrations against them for decades. In fact, a large number of (mainland) Japanese photographers have been flocking to Okinawa to make work around this very topic, famously Shōmei Tōmatsu (at this stage, Chewing Gum and Chocolate is the only book still easily available), but also many others. Especially early on, the vast majority of these photographers were male.

Mao Ishikawa is an Okinawan photographer who is known the aficionados of Japanese photography through Red Flower, the Women of Okinawa. It’s visually compelling work that now has taken on some patina, given the time it was photographed. For the work, Ishikawa became a part of the very scene she photographed: bars frequented by US soldiers.

The reality is that there is a lot more to this series of photographs — and, by extension, to the rest of Ishikawa’s work — than you might imagine if you just were to look at the photographs (in particular if you are a Westerner who is not familiar with the larger back story). A newly published exhibition catalogue entitled Bad Ass and Beauty – One Love (T&M Projects) makes this very clear (it was produced at the occasion of a career retrospective at the Okinawa Prefectural Museum and Art Museum and has English translations for all Japanese texts).

The catalogue starts out with the photographer’s words. Ishikawa was interviewed by curators Fumiaki Kamegai, Sun Hye Cho, and Fumiko Nakamura. Her answers were then transcribed into a long-form text whose sections address biographical details, general events, and details of the various bodies of work.

Of late, there have been discussions in photoland about who should tell whose story. While there is much to be said for an outsider telling someone else’s story, there is just as much — maybe even more — to be said for a member of a community telling the community’s story. The catalogue provides a very compelling example of why that is the case.

As someone from the Okinawan community (speaking the language, which is distinct from Okinawan Japanese), Ishikawa grew up in the shadows of the US military bases. There were frequent interactions with US soldiers: “When I was in the fourth or fifth grade, my aunt got engaged to an Italian American guy.” (p.13) A little later, she says: “When I was living with a Black GI, we watched a popular TV drama series called ‘Roots’ […] The drama showed the history of the United States’ mistreatment of Black people […] I was appalled but felt that there was some similarity between Okinawan history and that of Black Americans, comparing the dehumanization of Okinawans by the mainlanders to that of Black people by white Americans.” (p.15)

By chance, the photographer was taken to a bar for Black GIs when she wanted to take photos of US soldiers. Ishikawa connected immediately. “I enjoyed myself a hell of a lot,” she says, “which is why I ended up getting great photos. It’s my life. What’s wrong with the storyteller becoming part of the story?” She would use this approach for many of her series, whether when she visited the family of a man she knew from Okinawa in Philadelphia or photographed the families of former dancers in the Philippines.

There obviously is nothing wrong with the storyteller becoming part of the story — if, as in Ishikawa’s case, it’s done from a position of equals and without the power (or privilege) differential that is present in so many other cases we know from the history of photography. In fact, it is this very idea — a storyteller from a community not only has unique insight but there is actually something at stake for her — that is the driving factor behind the discussions I mentioned earlier.

The fact that Akabanaa (Red Flower) occupies only 15 pages out of a total of almost 400 says a lot about how little this photographer and her work are known in the West (and, possibly, in Japan as well, even though I can’t speak to that). A large variety of material emerges, covering traditional Okinawan theater, a portrait of Okinawan fisherman, the aforementioned Life in Philly and Philippine Dancers, a portrait of survivors of the battle over Okinawa (which includes photographs of former so-called comfort women, for which Ishikawa traveled to South Korea), Okinawa and Japan’s Self-Defense Forces, and a lot more.

As should be clear by now, Ishikawa’s fearless gutsiness extends beyond her photography: time and again, she tackled difficult topics that for sure must have made her enemies in mainland Japan. I don’t know how Here’s What the Japanese Flag Means to Me was received in mainland Japan. I’m pretty certain that were an American artist to do something similar, conservatives and far-right proponents would be apoplectic over the imagery — imagine Piss Christ on steroids, albeit with a clear political stance.

The Great Ryukyu Photo Scroll might be the highlight of the catalogue (Okinawa is located on the Ryukyu islands). In it, Ishikawa re-narrates the history of her homeland, with regular people acting out a large number of historical events. Each photograph comes with its own extended caption (the English translations at times are a bit wonky, which, however, only adds to the sheer playfulness of it all). There’s so much material that there are three photographs per page. I wish these pictures were larger, even though this would have vastly inflated the book (which already has 408 pages). The image on the cover — a portrait of a family right after the mother gave birth — is just incredible.

As far as I am concerned, Bad Ass and Beauty – One Love is an absolute must-read for anyone seriously interested in contemporary photography. It expands the canon of photographers from Japan with a voice from its Okinawa prefecture, and it shows an artist boldly tackling a large number of important topics in a playful, yet completely serious manner.

“I really don’t care if photography is considered a fine art or not.” Mao Ishikawa says, “For me, photography is just photography.” (p.20) I feel that that’s an approach that we can learn something from: photography not as a craft, but simply as a tool to get at larger messages — without worrying too much about what the collectors or curators might think.

Very highly recommended.

Bad Ass and Beauty – One Love; photographs and texts by Mao Ishikawa; essays by Fumiaki Kamegai, Fumiko Nakamura, SunHye Cho, Isao Nakazato, Greg Dvorak; 408 pages; T&M Projects; 2021

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Jörg Colberg https://cphmag.com <![CDATA[Home Fires]]> https://cphmag.com/?p=3082 2021-03-29T15:32:02Z 2021-03-29T15:32:02Z

If someone like Laurenz Berges, who is less well known than some of his Düsseldorf Art Academy peers, came to the US and decided to photograph the San Joaquin Valley, I’m imagining that the resulting photographs would be similar in spirit to those in Bruce Haley‘s newly released Home Fires (Vol. I: The Past).

Unfortunately, analysis of what’s usually referred to as the Düsseldorf School of photography has mostly remained at the level of commenting on its preference of oversized prints, its often auction prizes, and the influence of its seminal photographers, Bernd and Hilla Becher. None of this gets at the essence of these artists, which in fact is more pronounced in those who aren’t as famous as Andreas Gursky, Thomas Ruff, or Thomas Struth, artists such as Berges.

The term “deadpan” has often been used to describe the work. While I see the attractiveness of such description, there’s a major flaw, namely the assumption that those who make deadpan work are too cooly detached to have any emotional investment in their work. I think this is a terribly simplistic way of the relating an artist’s photographic language with both her or his emotional life and moral beliefs, and with what is in front of her or his camera.

Sadly, this idea is widely spread: drama, whether internal or external, has to result in dramatic pictures — lest the viewer is unable to come to any conclusions that are appropriate, given the scale of the drama. For example, you can find it behind many of the discussions around photography during the pandemic. I don’t know where this idea is coming from. Having lived in the US for almost two decades, I suspect larger parts of it are driven by the sheer ubiquity of the country’s entertainment industry that has conditioned people into expecting neatly packaged and sufficiently dramatic morsels when dealing with anything that is out of the ordinary.

Maybe a much better way to describe many deadpan pictures would be to say that they’re analytically photographed: A scene isn’t merely seen (which when it’s done well already separates out an artist’s eye), it’s also carefully and analytically described. Such description pierces the heart in very different ways than when there’s visual drama. As a viewer, you don’t realise what’s going on until it’s too late (assuming you’re going to bring along the patience required to look, given your aforementioned conditioning).

Despite the book’s title, there are no fires in Home Fires (Vol. I: The Past). Whether in Australia or in the Western parts of the US, large, barely controllable wildfires have become a regular part of the news. But global warming is hitting us with a combination of effects, some of which make for visual drama while many others do not.

When Haley photographed the San Joaquin Valley, it was in the middle of a severe drought that lasted from 2011 until 2017. The less severe version is ongoing and accelerating. In combination with increasing temperatures, it’s going to be lethal for a region that has been — but in the long run is unlikely to continue to be — a rich agricultural region.

It’s not just the photographer’s approach that evoked Düsseldorf artists, it’s also the choice of season: Haley photographed in winter, when the Valley’s skies were grey or barely blue, resulting in the kinds of pictures that often would not feel out of place had they come from, say, Northern Germany’s flat plains. The winter light made for a great tool, resulting in muted, greyish tones that blend into each other and leave an overall feeling of dread, of something being desperately amiss. The photographs are in colour, but more often than not, they look or feel monochromatic.

Haley presents us with the view of a completely ravished land, a land that resembles the post-Soviet ruinscapes he portrayed before (however different his earlier approach towards those lands might have been). Even when they are not actual ruins, structures look as if they were. From the pictures, you wouldn’t know that there still is considerable life in this part of the world, however much it is now at threat (a threat that is likely to only get worse as all efforts to combat climate change have been rejected by roughly half of the country).

Seen that way, the pictures in the book are a description of what it already is for some of the time and a prediction of what the land will permanently become: an environment hostile to the creatures — we humans — who are responsible for the very hostility. In his introduction, Haley speaks of his family arriving in the area just before the Great Depression and the Dust Bowl. A desperate wish to find more fertile grounds drove many people further West — ultimately resulting in the destruction of those grounds.

In all kinds of ways, Home Fires (Vol. I: The Past) makes for uncomfortable viewing. Like I said before, that analytical description of the land pierces your heart before you even know what happened to you. There’s no obvious visual drama; through the accumulation of a lot of photographs there is the built-up drama of something being very terribly wrong. Unfortunately, the Düsseldorfy approach will have some people hesitant to spend time with the book, but that’s their loss.

Climate change is hitting us on a daily basis. We’re just not capable of seeing or feeling it: everything changes so slowly. We can only see the most dramatic outcomes, which make for dramatic TV (or photographs): tornadoes, wildfires, floods, hurricanes, snow and cold in unlikely places… At the same time, these outcomes are impossibly difficult to connect with our own lived reality: what do wildfires have to do with driving cars that run on burning fossil fuels?

In the ravaged land depicted by Bruce Haley, there are hints of connections, such as when oil drilling stations are visible, or when there are artificial canals diverting the water towards a destination other than its natural one. But at the end of the day, it’s upon us to make the connections (and vote out the bums who still refuse to properly deal with the disaster that is going to hit the next generations much harder than us).

Photography can only so much. If either the dramatic pictures coming from the now ubiquitous natural disasters don’t change your thinking nor the accumulation of quietly desperate photographs in  Home Fires (Vol. I: The Past) then, I’m afraid, you can’t be helped.

It’s just a crying shame that future generations will have to suffer the consequences of our collective can’t-be-helped comfort.

Home Fires (Vol. I: The Past); photographs by Bruce Haley; texts by Kirsten Rian and Bruce Haley; 144 pages; Daylight Books; 2020

Rating: Photography 4.5, Book Concept 3.0, Edit 3.0, Production 4.0 – Overall 3.8

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Jörg Colberg https://cphmag.com <![CDATA[The Photograph Isn’t the Landscape]]> https://cphmag.com/?p=3069 2021-03-25T21:28:07Z 2021-03-22T13:55:20Z

The artist, we are told, “photographs landscapes with a medium-format analog camera […] From this archived material she then constructs new landscapes”. If you’ve kept an eye on recent photobook releases, you would imagine that these words describe the work of Dafna Talmor. For sure they do. But I actually sourced the quote from Beate Gütschow‘s website, from the page that showcases her landscape photographs.

Had I shown you the photographs produced by these two artists side by side, you probably would have reacted to them very differently. Visually, their images have very little in common. Gütschow’s pictures very clearly depict landscapes, with various visual references to the tradition of landscape painting. If you have a keen eye, you can probably see that the images were produced with the help of a computer.

Talmor’s, in contrast, only very remotely look like images of landscapes. They’re fractured and disjointed, betraying the way they have been montaged: they were physically constructed. Your keen eye here will tell you that they were printed from montaged negatives (as opposed to Gütschow’s that were montaged in the computer using scans).

Despite their very different way of working, which results in very different looking pictures, these two artists have a lot in common. They both look at the idea of “the landscape” as it is — or maybe I should say: can be — expressed with photographs. After all, photography is one of those media where before the construction of an image comes the capture of the raw material it is produced from.

There’s nothing new to the idea of constructing a landscape from constituent parts. In the 1800s, artists such as Gustave Le Gray produced photographs from more than one negative. Given photographic materials were unable to render the sky and land (or sea) at the same time, he would make two exposures — one for the sky and another one for the land (sea) below — and combine them in the darkroom.

We have, after all, certain expectations when we encounter a photograph of a landscape, which is not the same as the landscape itself. To use Alfred Korzybski’s wording, neither a map nor a photograph are the territory. But there are other aspects. Landscapes come with a large number of ideas and feelings, many of which we arrive at through socialisation and cultural background.

For example, there is nothing particularly distinct about German forests other than that they’re in Germany. But culturally, they are thus loaded with all kinds of ideas and notions (not all of them entirely wholesome) that give most Germans the feeling to have entered a special place once they’re surrounded by all the trees. Thus, there’s forest and there’s “forest” (or rather, in German, Wald and “Wald”). As someone not from Germany, you simply won’t ever be able to access the latter.

Landscapes in general operate the same way, and it is exactly this idea that is picked up on by Gütschow and Talmor. Talmor expresses this in the interview that is included in Constructed Landscapes, the survey of her work, now out with FW:Books. Speaking about her various travels and her photographing, she says “I didn’t know why I was doing it; I just felt a compulsion to take pictures. When I came back to the studio, and looked at the contact sheets, I was always disappointed with the images — they weren’t really doing anything very interesting in themselves.” (p. 175; my emphasis) The photograph isn’t the landscape.

Unlike the source photographs, Talmor’s landscape images are interesting. They operate in this strange (art lingo: liminal) place where they clearly reveal the process of montage while at the same time presenting a landscape as well. Often, the constituent parts don’t fit perfectly — to the point of larger chunks of an image being a blank space (a visual terra incognita of sorts).

I usually find photography that centres on its own process tedious and boring. But Talmor’s is one of the few cases where process and idea actually overlap, so I’m always made to look beyond process. In other words, the work does not limit itself to “look what I can do” — that sad end point of so much very process-based photography.

Constructed Landscapes presents the images first, at times employing gatefolds to great effect. Afterwards, a surprisingly large number of other materials are presented, including variants of the same picture obtained through different work in the darkroom (or different papers to print on), individual (positive) source images, negatives, and images of montaged negatives.

In a nutshell, the book doubles as a studio visit — a refreshing approach to photobook making where the overall process mostly remains invisible. The sheer number of variants feels a little overwhelming; I’m not sure I needed to see all of it. And I found myself wondering why some images were chosen over others to constitute the end result. But these are merely minor aspects of the book.

I’m a little bit worried that a reader might arrive at the impression that somehow there is a deal of sorts between Hans Gremmen, the mastermind behind FW:Books, and me. There is not. It’s just that Gremmen very consistently produces the perfect book for a given body of work. In light of the following, though, I thought I needed to point this out.

The form of Constructed Landscapes incorporates the idea of constructedness: it’s basically a text block without a hard or softcover wrapped around it, exposing the rough glue-string construction of the industrial Smyth-sewn binding. Different stock is used for the different parts of the book (plates, essays, index). As always the design is elegant while avoiding the ostentatiousness that at times creeps into Dutch photobook design.

In a nutshell, you could take the book and present it as a study case of excellent contemporary photobook design and production. This elevates and serves the work — the pictures in question — without attracting too much attention to itself. Perfect.

Constructed Landscapes; photographs by Dafna Talmor; texts by Cherry Smyth, Olga Smith, Shoair Mavlian, Gemma Padley and Dafna Talmor; 210 pages (10 gatefolds); FW:Books; 2020


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Jörg Colberg https://cphmag.com <![CDATA[The Twenty Years War]]> https://cphmag.com/?p=3063 2021-03-15T14:05:17Z 2021-03-15T14:05:17Z

“At least 800,000 people have died due to direct war violence, including armed forces on all sides of the conflicts, contractors, civilians, journalists, and humanitarian workers. […] The cost of the Iraq, Afghanistan, Pakistan, and Syria wars totals about $6.4 trillion.” writes the Watson Institute for International and Public Affairs at Brown University in the summary of its Costs of War Project. “This does not include future interest costs on borrowing for the wars, which will add an estimated $8 trillion in the next 40 years.”

There is no end in sight. This year, the United States will have been in a constant state of war for 20 years, with very little to show for it. But war for sure is a mighty drug. President Biden wasted little time after he sworn in, ordering his first air strike on 26 February, 2021. Meanwhile, a large number of those displaced by the wars have created the European migrant crisis.

I remember that at some stage I tried to understand the Thirty Years War. It was a real struggle, and to some extent, it still is. How could a war last 30 years and in many areas of the affected countries result in population losses of over 60%? Now, these numbers don’t seem so abstract any longer. After all, the United States has been at war for almost as long as I have lived here. In tandem, the militarization of its society has been ever increasing.

For a while, especially at the very beginning, things were pretty scary. I remember that when an acquaintance moved to California, he decided to drive cross country. For his trip, he got his car decked out in those yellow-ribbon “Support the troops” magnets, knowing he wouldn’t easily make it through the so-called heartland without those. Now, things feel a little different. But it’s not clear to me whether it’s because things have moved back a little bit or whether we’ve just got used to the jingoism.

Peter van Agtmael has been documenting the Twenty Year War since its very beginning. I first spoke with him in 2007 and then again ten years later. He has published a number of books, all of them essential records of a country too embroiled in its own senseless militarism to recognise the folly of it all. There’s Disco Night Sept. 11, there is Buzzing at the Sill, and now there is Sorry for the War.

Rooted in traditional photojournalism, each of these books took the genre’s main conventions and tweaked them towards something that is a little bit less of the moment and more for that point in time where sudden enlightenment — to borrow a term from Zen Buddhism — might happen: what the fuck have we done?

Of course, we’re still waiting for our collective sudden enlightenment. Just look at this graph — that mountain range after the year 2000, that’s the Twenty Years War.

As its title indicates, Sorry for the War isn’t a book that sees sudden enlightenment happening any time soon. Instead, it observes how one insanity morphs into the next, as more and more lives are funnelled through the meat grinder that has been laying waste to larger parts of the Middle East and that has been mentally devastating those who volunteered or were forced to partake in it.

So the meat is ground and ground and ground, and Van Agtmael has the pictures that show some causes and effects and consequences. Just like in the Thirty Years War, it’s hard to keep up with what is cause and effect, and it’s hard to keep up with who is involved.

Slowly, yet steadily, the ripple effects of the war have been reaching further and further out, with, let’s say, Islamic terrorists spawned by a number of disastrous choices in Iraq killing Parisians, and the photographer happens to be right there, too (it was Paris Photo time).

At this stage, it would be tempting to write that the war essentially sustains itself. But such a statement would absolve those who have it in their power to stop it. There is a very telling photograph that shows mostly blue carpet and some wood-panelled long desk, with heavy leather chairs behind it — the US Senate, with its Armed Services Committee (support for the Twenty Years War might be the only bipartisan issue left).

Another photograph shows neo-fascist television personality Sean Hannity in what looks like a somewhat gaudily decorated Greek restaurant. There’s a man behind him, seemingly attempting to hold Hannity back by grabbing his right arm. But Hannity is having none of it. There is, after all, further meat to be ground, and it’s not the one in the restaurant’s kitchen.

Sorry for the War uses a number of video stills to point at the crucial role played by propaganda. These images include still from speeches by US presidents as much as from an ISIS video, Hollywood movies, anti-terrorism commercials, a Toby Keith video, or America’s Got Talent.

And there is one of Van Agtmael’s older pictures in a picture: a spread from a copy of Penthouse in 2009. The photographer is aware of his own role. He is not an outside observer (there are no outside observers: my own tax dollars fund the meat grinder, too).

The war might go on for another ten (or twenty) years — who knows? Looking at the book I came away with the feeling that the photographer knows that having chronicled things for so long now means that there will have to be something else — lest he becomes swallowed up by the meat grinder as well.

As photographers or writers we should all be so lucky: to have devoted so much time and energy on such an important topic, to have produced three incredible books that say so much, in such poignant fashions — as our country’s war rages on and on and on. Of course, it’s not luck that has been driving Peter van Agtmael. Instead, it’s his dogged devotion to the idea that the truth will win out in the end.

Highly recommended.

Sorry for the War; photographs and text by Peter van Agtmael; 200 pages; Mass Books; 2021

Rating: Photography 4.0, Book Concept 4.0, Edit 3.0, Production 4.5 – Overall 4.0

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Jörg Colberg https://cphmag.com <![CDATA[Still, Life]]> https://cphmag.com/?p=3057 2021-03-25T21:28:51Z 2021-03-08T15:17:14Z

It’s now about a year into living with the pandemic in my neck of the woods. Roughly the same time span applies in many other parts of the world, excluding China, which experienced its outbreak a lot earlier. If you would have told me before that we would collectively experience a major event, my prediction would have been that we’d see the emergence of a large sense of solidarity. I am not sure to what extent this actually played out.

Right away, it seemed clear to everybody in photoland that the pandemic would become a major topic for pictures. At some stage, there would appear the first bodies of work. Initial efforts had me a little disheartened: there are only so many pictures of deserted streets or people standing behind windows with hand-drawn signs I can look at.

Meanwhile, in the larger world of news photography there have been the (almost inevitable) complaints that somehow, there have not been any iconic photographs. Frankly, I don’t know where such complaints would be coming from, given a number of truly heartbreaking pictures have been made. Go Nakamura’s photograph of a doctor hugging an elderly patient in a Covid ICU expresses the most one can hope for, right at the edge where both photography and words can only fail.

Now the first publications with images from the pandemic are trickling in. One example is provided by Stil Leven/Still Life. In March 2020, the Dutch Droom en Daad Foundation commissioned six photographers from Rotterdam to the pandemic in their hometown. The project was overseen by Hanneke Mantel, and the contributing photographers are Loes van Duijvendijk, Marwan Magroun, Geisje van der Linden, Naomi Modde, Willem de Kam, and Khalid Amakran. What did they come up with?

Van Duijvendijk turned her lens on a locked down city, with only two living creatures in sight. One is a cat, and the other one is a vendor in a little outdoor stand that’s shaped like an orange. Without any customers present and placed seemingly lost in otherwise grey neoliberal architecture, the kitschy cuteness of the stand serves to re-enforce to what extent we rely on such devices to distract us from our otherwise drab existences.

Magroun documented essential workers some of whom at least initially received daily support in the form of public clapping. Remember those days? I suppose improved work situations and better pay would have been even nicer. But now we’re at the stage where neo-Nazis march against restrictions, and a bunch of people are publicly burning masks in Idaho. In light of all of this I’ve been trying to imagine how I felt if I were an essential worker. One can only hope pictures like Magroun’s will remind people of the fact that many others literally risked their lives to keep things running.

Van der Linden’s photographs centre around a single person, a human-rights activist from Yemen who got separated from his wife and young son (they’re both still in Yemen). The pandemic has been especially hard for the most vulnerable people. This group not only includes essential workers or poor people, it also encompasses people who had to or have to flee poverty and/or persecution: migrants. These pictures here show how much we all have in common. One can hope that they allow us to realise how much good might arise out of more solidarity.

Modde portrayed a number of families with young children in their homes all over Rotterdam. The pandemic has been very difficult for children and parents, and Modde deserves credit for picking up on this so early. There are only so many things photographs can convey. But the overall sense of being lost in one’s own home, having to deal with computers as interfaces to the outside world, comes across strongly.

De Kam produced maybe the most poignant photograph in the book (which is on its cover). It shows a hand that places a glass of orange juice and a slice of cake on a plate on the floor, reaching in through a door that’s barely open. Before the pandemic, we might not have easily come to the conclusion that we arrive at now: there is only one reason why one would not interact with a person in the same household. The text indeed informs the viewer that the photographer’s partner was infected with the virus, and they were unable to be in the same room. It shudders one to imagine this same drama playing out in countless households.

Lastly, Amakran made portraits of a number of Rotterdammers and asked them to write some texts for him. These are reproduced as handwritten notes next to the photographs (an English-language translation is shown right next to them). The notes are mostly banal, but that’s what makes them so poignant: even without a sick partner in the house, for many of us life has become a silent drama, in which worries about one’s health and livelihood (job) aren’t exactly helped by the aforementioned anti-mask protesters (not even to mention neoliberal politicians who’d rather save their precious economy than actual people).

I don’t know whether we still want to look at pictures from the pandemic when this is over. I’m sure I personally don’t want to be reminded of the virus. However, as I mentioned above, there are various things the pandemic has reminded us of, namely how living under neoliberal capitalism has eroded our sense of solidarity, our sense of being able to see other people for who they are (instead of seeing them as means to an end).

Thus, we should be looking at photographs made during the pandemic. As a broad collection of topics, made by and covering a diverse group of people living in the Netherlands, I think that Stil Leven/Still Life will be placed in the company of older books that documented a large-scale disaster (Mantel mentions the 1953 De Ramp photobook, which showed that year’s disastrous flood).

Stil Leven/Still Life; photographs by Loes van Duijvendijk, Marwan Magroun, Geisje van der Linden, Naomi Modde, Willem de Kam, Khalid Amakran; texts by Hanneke Mantel, Wilfried de Jong; 116 pages; Hannibal Books; 2021


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Jörg Colberg https://cphmag.com <![CDATA[Tomorrow’s Snow]]> https://cphmag.com/?p=3052 2021-03-01T16:03:29Z 2021-03-01T16:03:29Z

Whatever you want to say about Instagram “Stories”, one account that does them really well is called Behind the Scars, a project by Sophie Mayanne. I think right now, they’re taken over twice a week, with a different person (often, but not always, a young woman) talking about some scars on their body and the underlying medical and/or mental reason(s).

As a man, I never had to worry about scars at all: if you had one, that usually was and still is seen as a reflection of some form of manliness (this never made any sense to me). Over the years, I’ve come to learn that for women (let alone someone not identifying within this set of binary choices), the situation is very different: there is the double whammy of scars being seen as a sign of weakness and of societal beauty standards that dictate how one is to present oneself.

As far as mental health is concerned, the “rules” change a little. Given mental scars are invisible — as is mental suffering — contemporary society still stigmatizes people dealing with mental-health issues to a considerable degree.

As someone who has been suffering from depression for decades, I know the kinds of blank stares one gets when talking about it: you can almost see the other person’s mental wheels going, to prevent them from saying something really inappropriate (btw, if in such a situation you start a sentence with “can’t you just…” to offer advice, that’s already not helpful — regardless of how well meaning your intentions might be).

In the Behind the Scars Stories, the connection between physical and mental health usually becomes very clear: physical trauma often triggers mental trauma, and having to conform to societal expectations only serves to compound the problem(s).

The same mechanism plays out in Sonja Trabandt‘s Übermorgen Schnee (Tomorrow’s Snow) [nb: the German translation of übermorgen is “day after tomorrow”; I’m sticking with the publisher’s English language title here). When her best friend, a young woman whose name is only given as “A.”, was diagnosed with cancer, Trabandt helped her deal with her experiences. At some point in time, when it felt appropriate to Trabandt to take pictures, this became a part of the process of dealing with what A. was going through.

I find the initial hesitation to bring in photography good for a number of reasons. Most importantly, it speaks of the deep care the photographer felt for her friend. Life and friendship are more important than making pictures.

In the book, I don’t think as a viewer I would have picked up on anything missing from the pictures. That said, the turning of A. into someone who is completely anonymous — there are no direct portraits — removes me a few steps too far from that care and empathy.

It’s obviously easy for me to write this since I’m not talking about my own privacy. At the same time, I have been watching the Behind the Scars Stories, which dive deeply into personal matters without ever feeling intrusive: here, though, it is the persons themselves who decide what and/or how much to reveal.

At the end of Übermorgen Schnee, there is a longer text in which A. talks about some of the things that were most important for her. I found the text very deeply touching, in particular also because it talks about the severe depression the young woman plunged in after she was healed from cancer.

For the most part, text and images remain separate (there’s an index with thumbnails in the back). Text and images each have their separate ways of describing the world. In the photographs, a combination of still lifes, landscapes, and staged/arranged images, the main topic — cancer and all of its consequences — is very clearly communicated.

While A.’s scars are all internal, there was one other bodily factor which not surprisingly took on supreme importance: the loss of hair caused by the chemicals flushing through the body. I was aware of this aspect of cancer treatment, yet the way the book makes it a focal point (which is later reflected in A.’s writing) is very effective and — despite the often a little bit too formal and staged nature of some of the photographs — very touching.

A photograph that shows A. lying on a bed in a fetal position while cradling her own bald head is deeply affecting. Roughly thirty pages later, there is another picture from what looks like a similar point in time that shows one side of the bald head, a hand near the ear and one eye almost peeking into the frame. The deep sense of vulnerability and hurt couldn’t have been communicated more effectively.

Near the end of the book, there are ample photographs from a later joint trip by A. and Trabandt (the text makes this clear). I can’t help but feel that the photographs don’t convey the importance that the trip might have had for the two of them. But the addition of images full of sunshine and joy provide a good ending for the book — after a long period of physical and mental suffering, all is well.

This might sound like such a trivial conclusion in written form, but it must have been so deeply felt by the two people involved in the book, the photographer and her close friend, A.: all is well again.

The book’s penultimate picture shows A. lying on a bed, and the viewer can almost make out her full features. Apart from the two other photographs I wrote about earlier, this is the picture I respond most strongly to. Like I wrote, I understand the reasons for the anonymity. But the photographic anonymity comes at a price, with some of the artifice removing the viewer a step or two from the urgency of what’s on view.

Dealing with photography always involves some form of trade off: you can have some things at the expense of others — both photographically and in a larger sense. You’ll have to make decisions, especially if you’re trying to tell someone else’s story. Up until now, these decisions have been mostly driven by photographers, resulting in the consequences that have now become increasingly contested.

A recalibration of photographic approaches thus has been long overdue. In the end, we all can only gain from photography not always being done at the expense of those who find themselves in front of the camera. As viewers, this will inevitably force us to deal with our own expectations and preferences — it’s about time we realize that as viewers we are part of the very context photography operates in.

Übermorgen Schnee [Tomorrow’s Snow]; photographs by Sonja Trabandt; texts by Sonja Trabandt and A.; 136 pages; Hartmann Books; 2020

Rating: Photography 3.5, Book Concept 3.0, Edit 3.0, Production 4.5 – Overall 3.6

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Jörg Colberg https://cphmag.com <![CDATA[Photobook Reviews (W8/2021)]]> https://cphmag.com/?p=3044 2021-02-22T21:22:24Z 2021-02-22T21:22:24Z

In 1999, Gerry Johansson spent four weeks in Japan’s Ehime prefecture, which covers the western part of the Shikoku Island and lies directly to the south of Hiroshima. His trip had been financed by a grant that would bring European photographers to Japan, to make work there. The resulting photographs have now been published as Ehime by T&M Projects.

Johansson is mostly known for his work with the square format (over the years, I have reviewed a number of books containing such pictures — you can find them through my index of photobook reviews). But there also was an earlier book with pictures made in Japan, specifically in Tokyo. Using an 8×10 camera, he had scoured the Japanese capital’s cityscape, focusing mostly on the many brand new buildings there (as a city, Tokyo is constantly in flux as older buildings get torn down, to be replaced by newer ones).

I remember that the Tokyo pictures had left me cold. They were very good pictures, but the surfaces and shapes of the buildings had reduced them to be more or less exercises in form. This is good, if that’s your thing (I personally find it mostly tedious). But focusing on just form eliminated the bulk of what makes Johansson such an interesting photographer when working with the square: the visual wit.

When I first went to Tokyo, I noticed how off putting I ended up finding many of those shiny new areas: they’re not only not very good in front of one’s camera, they simply lack all soul. But it’s a problem even outside of Tokyo. Japan has invested an enormous amount of money into its infrastructure, which has resulted in a lot of areas being covered with all kinds of concrete structures to hold them into place. There are these structures that just beg for formal treatment everywhere.

As a body of work, Ehime is another animal that sits somewhere in between Tokyo and most of the square work. By its very nature, an 8×10 camera has a very strong pull towards formal considerations. It’s such a hassle to set up and you can spend so much time studying a picture on the ground glass that all humanity might simply evaporate. While this happens occasionally in the new book, for the most part Johansson was able to evade the problem.

There are many pictures of neatly organised built structures and neatly pruned trees of bushes. But there are also many pictures of locations that at least at the time had not been reached by concrete mixers and construction crews, yet.

In a sense, the Japan that is described in these pictures is one that resist easy categorisation or description. It is that aspect that I appreciate the most. In some ways, anything you might expect is there; but it’s there in a way that doesn’t merely confirm, while presenting itself in a visually engaging and pleasing manner. And all of this comes in a very elegant and nicely produced book.

Recommended.

Ehime; photographs by Gerry Johansson; 184 pages; T&M Projects; 2020

Rating: Photography 4.0, Book Concept 3.0, Edit 3.0, Production 5.0 – Overall 3.9

One of the defining feature of much of contemporary photography is that it holds its viewers at arm’s length. This works really well for a lot of work. But with it being so widely used, the accumulation of all of these arm’s lengths also has created an overall atmosphere that is a bit too detached. Over the years, I have become increasingly sensitive to this issue. This is not to say that I now prefer work that is in my face (which only creates a different form of tedium). Instead, I tend to look for modulation, for a push and pull. I couldn’t say how this push and pull might work; in fact there might be no universal “recipe” for it.

I had think about all of this again when looking at Daniel Reuter‘s Providencia. According to the publisher’s website, the book was edited and sequenced by Milo Montelli. Thus, there is another pair of eyes and hands at play here. In addition, the book employs a few production tricks, such as, most prominently, the use of vellum paper upon which photographs are printed. These pages allow for the images on the neighbouring pages to shine through.

Photographed in Chile (in one image, the word “Chile” can be clearly read on the license plate of a car), these pictures could have been taken anywhere where the promises of late capitalism have just reached their tipping point: the beauty of the eventual outcome has just been revealed as hollow, the rising tide is not at all lifting all boats, and the next essentially man-made and entirely prevantable disaster is just one freak meteorological event away.

There are many surfaces in the book, too many actually: rocks and the sides of buildings and semi-translucent windows and gaudy plastic coverings. There are landscapes, too, some arid, some lush yet equally uninviting. And there are a few pictures of people, none of whom look at the camera, all trapped in their own thoughts.

I don’t know what’s missing. But I feel as if something were missing: a counterpoint of sorts, that rare opening where as a viewer you can move closer in, however briefly. Ultimately, the book makes it clear that there is a promise that is being betrayed. But its own shrinking away from giving a glimpse of what that might mean has been leaving me in a position where I’d like to care a little bit more about this place. And yet I don’t.

Maybe that’s the idea. If it is, then it’s done successfully. If it is, though, then for me, that’s not quite enough (as usual, your mileage might vary). If it is not, if the book wants me to care about the lives of all those people living in a place (why else would I look at it?), then I think I need to be offered very slightly more: an opening, a crack (metaphorically, I’m not speaking of the many literal cracks displayed in the pictures), a glimpse not of the promise but instead of what that promise has done with people, done for people.

People want to believe. In a photobook, I’d like to believe with them, even if it’s just for a moment. But maybe that’s something that contemporary photography operating at arm’s length simply cannot offer. Or maybe this is just me getting old. If it is that, though, me getting old, then I actually quite like that it does this to me: pulling me away from pure judgment, from cynicism, and wanting me to go to the inside of those arms.

Providencia; photographs by Daniel Reuter; essay by Alejandro Zambra; 112 pages; Skinnerboox; 2020

Rating: Photography 3.5, Book Concept 3.5, Edit 3.0, Production 5.0 – Overall 3.8

I have the theory that basically every city is good only for certain people, and I know that Los Angeles is not for me. To begin with, I find riding in or driving a car awful. So a city organised (if that’s even the right word for it) around having to drive everywhere is farthest from the kind of place I tend to enjoy.

Obviously, you don’t actually have to drive in Los Angeles, you could just walk. Fair enough. But then walking in a place that is organised around driving also is not very enjoyable. Still, some people do it, such as, for example, Nigel Raab who walked 72.5 miles across the city in four days. Raab then approached Mark Ruwedel and asked whether he would be interested in making pictures along the route. Ruwedel was (he used a car), which eventually resulted in Seventy Two And One Half Miles Across Los Angeles.

In the world of astronomy, one would describe the outcome of the exercise as a pencil-beam survey: a narrow, yet deep look at a small, selected part of the Universe that despite its restrictions still offers possibly a lot of interesting results. Raab’s route across Los Angeles follows a similar idea, as becomes clear from Ruwedel’s photographs. As much as there is ample repetition — the same types of houses, the sheer endless expanses covered with roads — there is a progression that, I suspect, someone familiar with the place would be able to pick up on even more easily than an outsider like me.

In some ways, the book itself reminded me of especially technical books from before I was born. I don’t know enough about typefaces to know better — or maybe the connection was made on purpose. But I appreciate this aspect of the book. This also includes the placement of the photographs on the pages, with those of their edges closest to the fore-edge always touching it: the design invokes the idea of something continuing, even though unlike in some contemporary Dutch design parts of the same picture are not printed on the obverse and reverse of a page.

What I’m going to take away from the book other than confirmation that this place indeed is not for me I don’t know. But I appreciate that challenge in a book: it makes me look again and again, to see whether I’m not in fact missing something. After all, I might. There also is that connection with the tradition of art/photography made in Los Angeles (hard not to think of echoes of Ed Ruscha), a connection that reminds me of how there’s an underexplored spot in my own way of looking at photography made in the US.

Seventy Two And One Half Miles Across Los Angeles; photographs by Mark Ruwedel; texts by Nigel Raab and Mark Ruwedel; 160 pages; Mack; 2020

Rating: Photography 3.5, Book Concept 3.5, Edit 3.0, Production 4.5 – Overall 3.7

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Jörg Colberg https://cphmag.com <![CDATA[Woman Go No’Gree]]> https://cphmag.com/?p=3028 2021-02-15T18:01:07Z 2021-02-15T18:01:07Z

When speaking with Japanese friends, I noticed that cross-cultural misunderstandings are always just one statement by me away, my own good intentions notwithstanding. Given my origin and age, I have been trained to follow what we could loosely call the Western tradition of enlightenment (which for the longest time, has not really been all that enlightened after all, and it’s not even that clear to what extent it is now).

We people volunteer out thinking, because that’s the tradition. Japanese people, in contrast, operate very differently even when a large part of their education is based on the same or similar principles. In Japanese society, the role of the individual is very different, and people are extremely mindful of social differences. Almost inevitably, this will make you, as someone not familiar with how things are expressed, stumble into what is perceived as rudeness.

Beyond linguistic nuances — for example you want to avoid addressing people directly, there are societal and cultural ones. It’s easy to assume that larger abstract ideas that are based in political activism — such as, for example, feminism — translate the same way in both contexts. But as I found out they don’t necessarily do that.

It would be tempting to think that such issues arise only when one is faced with someone from another culture. But even within our own society, we run into similar problems, such as when well-off people wonder or complain about what poor people might spend their money on. If you’re well off, you might want to think twice before you dive into this topic, because what you might think of as benevolence might actually reveal something a lot less wholesome underneath.

Obviously, the ultimate goal of dealing with cross-cultural (or cross-class) misunderstandings must be to arrive at a deeper recognition of what’s going on. This goal stands in contrast to the supposed end result of moral relativism that typically is evoked by conservatives: namely that the end result of this all is “anything goes” (this conclusion reveals a lot about an authoritarian mindset in the background).

Gloria Oyarzabal‘s Woman Go No’Gree provides a prime example of a recent photobook that directly addresses the above. In a nutshell, the work resulted from the artist realising that the application of Western feminist thinking to the situation of women in Africa was running into a series of problems.

Obviously, Africa is a huge and diverse continent. Specifically, Ovarzabal talks about the Yoruba society. The Yoruba are an West African ethnic group that mainly live in Nigeria and Benin, with a population of roughly 44 million (the fact that they live across a number of countries might serve as a reminder of the arbitrariness of borders arbitrarily imposed by colonial rulers).

Through a combination of text and images, the book dives into the complexities of the topic at hand. There is text that serves as an introduction to chapters, and there is a longer appendix that casts a wide net over various aspects that are important here: imperialism, the role of women in traditional and contemporary thinking, post-colonialism, and more.

Given the various images from the book re-appear in the appendix as thumbnails and are cross-referenced in the text, it could easily serve as study material for a teaching context. With its many quotations and references it is this text that I’ve found myself coming back to time and again. I suspect, though, that the more populist minded parts of photoland might decry it as being “too academic” (which I don’t think it is, but your mileage might vary).

In terms of its pictures, the book contains a wide variety of material and approaches, including colonial-era archival photographs, straight photographs, and staged photographs, with additional post-production in the computer in some cases. This mix and the very smart edit and sequence help convey the overall idea that the text itself talks about. The viewer is made to look at women living in Africa in a variety of ways, and the overall feeling is one of self-determination: these women neither need colonial administrators to tell them what to do nor contemporary men from their own or any other culture.

In an obvious sense, photographs can only do so much — compared with the text, they cannot convey all of the details. At the same time, because of their purely visual nature, the photographs are able to arrive at a felt immediacy that the text cannot deliver. It is this back and forth between text and images that works incredibly well in this book.

As it is becoming more and more clear that large parts of photography have to face their own ugly past, a book like Woman Go No’Gree is able to provide one model for how this can be done. For sure there is the need for voices other than those from the previous colonial powers to be heard. At the same time, Westerners need to deal with the heritage of photography’s past abuses to deal with their own medium’s legacy.

With  Woman Go No’Gree Gloria Ovarzabal has provided a model for what the confrontation with photography’s past might look like. As is demonstrated in the book, this confrontation must involve a reckoning with the Western mindset, a mindset that too often takes itself as the yardstick for how to understand the world.

Highly recommended.

(not rated)

Woman Go No’Gree; photographs and text by Gloria Ovarzabal; 176 pages; RM; 2020

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Jörg Colberg https://cphmag.com <![CDATA[The Green Helicopter]]> https://cphmag.com/?p=3016 2021-03-25T21:50:18Z 2021-02-08T00:19:16Z

A little while ago, John Edwin Mason sent me a Twitter thread, in which Chris Wade had compiled what he considered photography highlights from the Trump years. I had seen most of the pictures, but I still ended up being amazed by them.

In fact, I had expressed my surprise about the Trump team being so inept at visuals many times on Twitter. Having thought about this for a few days, though, I now think I had had it all wrong. Or rather, what I had commented on was not an ineptitude to produce visuals per se. It was the ineptitude (or unwillingness) to produce the kinds of pictures we expected to see.

The difference between what was presented and what we might have expected is crucial. It doesn’t say all that much about the Trump regime, while it says a lot about the visual ecosystem surrounding politics that we take for granted.

This ecosystem cannot be separated from the underlying economy of it all: the corporations that own and run photography agencies, newspapers and news sites, etc. Given I am not an industry insider, I will ignore this aspect in the following. I don’t have solutions for the industry’s basic business problems (if I did, I obviously wouldn’t be writing articles about photography for free).

Our political visual ecosystem is fuelled by photography’s immediacy. A relatively large number of photographers, most of them very gifted individuals, follow political proceedings wherever and whenever they happen. You mostly don’t see them, but you always hear them: a political event would be incomplete without the soundtrack provided by single-lens-reflex cameras’ mirrors rattling against their cages.

Photography’s immediacy is maybe its biggest curse (please note that in the following, I’m using the term “photography” to stand for photography in the news context). We now have access to pictures of events as they happen, whether it’s a mob storming the US Capitol or, two weeks later, a new president being sworn in. This immediacy has spawned its own visual culture — just think of how the picture of Bernie Sanders sitting somewhat grumpily on a chair turned into a widely created and shared meme instantly.

In other words, photography is able to achieve something that Francis Bacon said he hoped his paintings would do: coming from his own nervous system, they would bypass a viewer’s critical facilities and directly address their nervous system. It’s debatable to what extent painting can do this. Photography, however, is able to achieve this effect simply by being a part of our widely networked information system.

Photography’s immediacy inherently stands in the way of producing understanding. It’s not that clear what kind of understanding a photograph can produce anyway — what exactly do we learn from a picture of a president signing a document? Whatever that understanding might be, it would arise out of thinking things over and discussing them in more detail. In out political visual ecosystem, there is no time for that.

It seems obvious to me that all participants in this ecosystem are aware of the problem, and they all attempt to make the best of it. For those in front of the camera, this means that they have to be aware of what an event looks like in a picture, given the system’s requirements and traditions (it is this aspect that the Trump regime so blatantly violated where it wasn’t simply abysmally bad at it). I grew up in the German political visual ecosystem, so I’m still amazed by everything that is different in the US. I suspect that someone who grew up here simply won’t notice — they will only notice when something is different.

For those behind the cameras, the goal is to get the pictures that essentially conform to implicitly agreed upon conventions. For example, when a president leaves office, the expectation is to see him get into that green helicopter, and there will have to be some picture made around that. How do you get anything out of a scene that has already been photographed hundreds of times? That’s the challenge. (Alternative answer: you don’t get anything out of it because you can’t.)

Thus, the transfer of power in the US would be incomplete without the helicopter taking off. It would also be incomplete without the new president arriving at the White House in some enormous motorcade. At some stage, the new president will get out of his enormous car and walk (so far, US presidents have all been men; I’m looking forward to the hopefully not-so-distant day when my choice of pronoun will be able to reflect a reality that many other countries already arrived at decades ago).

If you didn’t know anything about the country’s political visual ecosystem, you would have imagined Joe Biden could have made it to the White House in ten minutes, to get to work immediately. But no, just like in every inauguration year, the whole production was staged — even though this year, there were no spectators other than mostly security personnel. He got out of his car, and he waved to people who weren’t there (there were a few people — reporters and security personnel, but you know what I mean). If memory serves me right, it was called it a “virtual inauguration”. Jean Baudrillard might have called it a “simulation”. I prefer the term “theatre” — in the sense of the highly stylised and very strictly scripted form present in classical Japanese culture (Noh or Kabuki).

There would have to be a picture of a certain kind, namely the president walking down Pennsylvania Avenue, and the Biden team did very well. They made sure the whole family, in particular the very lively grandchildren, were always present. In a very obvious sense, this was a form of propaganda. But it’s a form of propaganda that is inherent in the US’ political visual ecosystem. Everybody knows their role — performers, recorders, viewers. Everybody plays along.

Something is thought to happen in the small moments where there possibly is a crack appearing. Just think about how the media became obsessed with the relationship between Donald Trump and his wife Melania: would they hold hands? Or would they not? I think the reason why there was so much focus on something that is this irrelevant for anyone other than the parties involved is not that the US inherently is a shallow country (trust me, if you look at German tabloids, you’re facing an abyss of shallowness and pettiness). The main reason for the media focus on whether the Trumps would be able to behave like a happily married couple simply was that everybody had agreed on the idea that political pictures have to conform to agreed upon conventions (“happy couple”).

There are a lot more conventions. Think about US politicians campaigning with their shirt sleeves rolled up. Think about how politicians show remorse in public: the biting of the lip, the looking down. It’s all completely fake. But the fakeness is besides the point, much like it’s besides the point that in Noh theatre, emotions are expressed with a set of very simple masks, or that in any Hollywood movie a few very well known actors appear in very different roles. It’s all fake in a very obvious sense. But we know that the actual message appears beyond the artifice (for a different in-depth exploration of this idea in a different context, have a look at my book Photography’s Neoliberal Realism).

As a consequence, possible meaning tends to be inferred from someone breaking the visual conventions, whether it’s the Trumps not holding hands, Bernie Sanders showing up to the inauguration as if he were at a Vermont farmers market, or whatever else there might be. I probably don’t have to explain how problematic such an approach is: as a US politician, you can get away with a lot of stuff — as long as you are able to let photographers produce the right pictures.

But there is another major problem here that I haven’t addressed, yet. Not surprisingly, most discussions around political imagery happen along parameters set not by those looking at the pictures but by the larger ecosystem itself. For example, nobody has questioned why we would need to see the green-helicopter picture. Instead, people have been trying to slice and dice which helicopter picture expresses best the idea of the Trump presidency ending.

My main concern is that the whole political visual ecosystem violates the rule “show, don’t tell.” Most events are essentially pre-visualized. Thus, the story is being told in the head of every participant before the pictures arrive. To make this very clear, this is not a problem of the photographers — it’s our collective problem, whether we’re politicians, photographers, editors, publishers, viewers. We know the story before we see it.

Unlike in theatre, where we tend to know the story very well before we see (experience) it, to be then taken by the larger ideas expressed (whether it’s love or loss or human folly or whatever else), in contemporary politics, there are no larger ideas any longer. Politicians have essentially become technocrats, offering solutions for problems, most of which are entirely artificial. When an actual problem — or crisis — comes along, underlying assumptions aren’t challenged. Instead, technocratic solutions (that adhere to party dogma) are applied.

As a consequence, in our political visual ecosystem, most of the time when there is a derivation from conventions, the discussion does not revolve around what the derivation tells us about these conventions (which could provide insight), but around what the derivation tells us about the person depicted that way.

In the absence of discussions around fundamental, systemic problems (for example neoliberal capitalism), instead the system deflects everything onto a single person and turns what could be a deeper discussion into something that’s just only one step away from mere entertainment (if even that: Bernie Sanders’ mittens). As a result, almost inevitably the possibility of gaining no deeper insight does not present itself, and neither does the possibility of deeper, meaningful change. Instead, at best we’ll get giddy excitement about the Trumps’ marriage or Bernie memes (Memefy your dissent!). That’s it.

In Sanders’ case, the ecosystem has adapted to him in such a way that there is an expectation that he would do what he did. Just imagine if he had showed up in a finely tailored suit to the inauguration. In that case, collectively we would have turned against one of the most vocal critics of neoliberal capitalism, and we would be talking about hypocrisy (his — not ours obviously).

It’s not clear to me how the immediate visual journalism that forms news photography would be able to provide insight into what it depicts. On its own, it simply can’t. Pictures can only show so much as can captions added maybe an hour later. In principle, we are in desperate need of another, very distinct component, a component that would entail deeper reflection and a look beyond the conventions, beyond what we all expect to see.

Whatever you want to say about the picture magazine that has now disappeared, this was one of its strengths: diving into stories more deeply. This is not to say that those were the golden days of visual journalism. There obviously were many problems. But the form itself, the longer-form connection of a number of photographs, combined with quite a bit of text to establish context — that form had more promise than anything we have seen ever since.

In a nutshell, the United States just faced one of its most desperate political crises in its existence, where a corrupt authoritarian president almost managed to destroy the country’s democracy. Do we have a visual record of that? No, we don’t. All we’re left with are the weird pictures in that Twitter thread I mentioned in the beginning, almost none of which come even close to hinting at what happened.

That’s pretty scary. After all, next time when there’s such an attempt to overturn the democratic will of the people, the country might not be so lucky.


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Jörg Colberg https://cphmag.com <![CDATA[A Conversation with Karolina Gembara (cont’ed)]]> https://cphmag.com/?p=3027 2021-01-31T22:59:15Z 2021-01-31T22:59:15Z

In the first part of my conversation with Karolina Gembara, we spoke about the massive protests in Poland that erupted when a constitutional tribunal outlawed all forms of abortion and about her part in a photographer-led collective that documents these protests. In the following, other aspects of her work are going to be talked about, including (but not limited to) the agency of photographs and migration in photography.

Jörg Colberg: You mentioned your research already. You talked about the agency of images. What have you learned by observing and being part of these protests? What have you leaned from seeing the images being distributed?

Karolina Gembara: I recently wrote a short text, where I’m trying to approach a question that I’ve been asked a lot: “do images, do pictures change the world?” I must say it’s an annoying question that requires deconstruction. When we approach this question in a very narrow sense — when we understand “photography” as a singular image, as just a picture in a newspaper or on the internet or as an object, if “the world” means literally global politics, if “change” means only improvement (because that’s how we tend to think about these things) — then it’s easy to doubt any agency.

The question should be: what is the character of agency? If you apply different culture turns like performative, pictorial, objects, or ethical turn… If you build this broad, methodological perspective, then you can really see things and especially art objects having impact or asking you to do something. It could be as nuanced as getting upset or angry, sharing, looking closer, or maybe even holding it. All of these events are agency.

When speaking about its character I mean to say that there’s a huge spectrum between oppression and emancipation. For example, oppression is when the police are taking pictures of us at a protest. They’re using the exact same tools that we do and they do it for a particular reason – to interrogate us. But when as part of the Archive of Public Protest (APP) we make a newspaper, we want people to feel equipped with the images and slogans and take to the streets and shout. We want to emancipate them. There’s so much happening in between these two positions.

For example, when the little boy Alan Kurdi died in 2015 and they found his body on the shore in Turkey a picture of him went viral. It was on every cover. The Independent said that if this image is not going to change the way we think about the refugee crisis, then nothing will. There was a lot of research about what this image has done. It has done a lot.

But in the context of the question “how does the image change the world?” it would be easiest to say it did not save the refugees. Thirteen and a half thousand people died since 2015 in the Mediterranean Sea. We didn’t stop the so-called refugee crisis. People are drowning. But there are several things that did happen.

Back then, David Cameron said in response to the event that they should take in more people. Of course, you can ask why not more than he proposed. But for some people, the world has changed because they entered the UK. Scandinavian NGOs that work with refugees got massive donations back then that also probably changed the situation for many people.

On the other hand, like I said not much has changed for the refugees who are still traveling across the Mediterranean Sea. There was another image a few years later, that was very, very similar, a picture of a Rohingya refugee. It was another three or four year old boy in a very similar situation. It did not end up on newspaper covers. Last year, in September, there was an image taken by somebody in Tunisia, exactly the same situation.

So you could say that the strong images are strong because they bring something that we are not very familiar with. Somehow, they shock us. But after some time, they become weak. All of these cases are worth discussing. I would say, maybe it sounds banal but there’s always something that does happen because of an image. And there’s a lot that does not happen — sustaining the status quo is some sort of activity too.

This discussion reflects the expectations and the needs we have towards images. In my opinion, there is no doubt that we can do things with images, and they do things to us — both when they are ephemeral through sharing on the internet and as real objects. The APP newspaper is a result of such thinking.

But one of the greatest examples for me is what happened with an image taken by Activestills, the Israeli-Palestinian photo collective. Oren Ziv took a portrait of a Palestinian activist who later got shot at a protest. That picture became a poster. And that poster became a shield. They put the the images on shields when Israeli soldiers were shooting. The image was protecting them.

So there’s this whole range of things that you can notice that images do with our help. I research visual culture. But at the end of the day I would rather ask how we, as human beings, change the world?

JC: Maybe this is a good opportunity to talk about a project you did with migrants coming to Warsaw. Can you talk about this a little? I think it’s called New Varsavians?

KG: Nowi Warszawiacy Nowe Warszawianki. It started as an idea to run a workshop. This is an old idea and not my invention. It’s a participatory project with some elements of photo voice, where you approach a certain group of people, and you want to do research with them. So I thought that I would create a group of people and I’d teach them photography. Financial support was provided by the city of Warsaw, which is still relatively liberal.

As a group, we would meet regularly. We would also go to galleries. I invited people to come and teach certain topics that I’m good at but also so they would meet other professionals and talk to them. I had a very diverse group of people, diverse also when it came to their ages. Initially I didn’t want to work with kids. But it turned out that I had four people under age 18 in my group. They were from different countries, with a different levels of Polish. Through the funding, I managed to buy them cameras.

The idea was really, really simple. I wanted them to speak about themselves and reveal as much as they wanted to. We never really talked about their traumas or their stories. Some of them had just arrived in Warsaw, some of them had been there already for a couple of years. Some were integrated, some still lived in the refugee center just outside the city. They simply built their stories.

We had an Instagram account, I posted some of the images they made. At some point, we had an open studio for portraits where they were the photographers. It came from an idea that it’s very easy for photographers like me to go and photograph refugees, to enter a refugee center or look for a protagonist and portray them. You take a picture and add some story or something. You represent that person. I wanted to reverse the situation where they are the authors, the creators.

At the end, we made a newspaper together. I edited some of the photos. I proposed the selection to them. I also had a journalist working with me. She was briefed about everybody and their photos, and then she would meet everyone and and based on the meeting write a little story.

We also had an exhibition, which funnily enough was the longest exhibition last year in our gallery because of the lockdown. We had a pretty great turnout and media coverage. I decided to use that with a very specific reason in mind. The day after the the opening, we launched an online petition because one of our participants, 17 years old at the time, and her mother faced the risk of deportation at any moment. We couldn’t let that happen. Thousands of people signed the petition. The media kept this story alive for weeks. That was a situation that we created, and of course, this is beyond the typical artistic activity here. But I thought that if this project was good for something, it was good for something like this.

Recently I completed another project where photography is only a pretext. During the Nowi warszawiacy workshop one girl mentioned her family struggles with finding a flat — landlords reject them because they are refugees. So I dedicated my time to become an agent to find housing. Alija was my partner in this project. We made a list and started calling people. The conversations were difficult for me, so I cannot imagine how difficult they were for a teenager.

In refugee families, children learn the local language much quicker than parents, so they start acting as adults — when going to a doctor, a layer etc. For her, I wanted to avoid that. The whole process was recorded on video, with images and audio. I also invited experts who explained what is housing discrimination is and why we should help migrants find homes.

The visual part is just a documentation. The most important part is that the family found a flat. The visual layer is present, but the core of this project isn’t visible in a traditional way.

JC: Besides doing all these things, you’re also taking pictures yourself. There’s this project of the recovered territories, which I actually see as related to everything else. Your family came to Poland from what is now Ukraine, and they settled in an area that used to be German and then became Polish. So there is a refugee/migrant aspect to the whole work. Can you talk about this a little bit?

KG: Yes, all these things are connected. I think the first reason for the project came up when I was still in India back then in 2015. I had a phase of missing Poland, going through my family archive and making the resolution that when I come back, I’m going to explore something in my territory. Already then I must have known that I was not going to stay in India forever.

To be honest, I have to say that I do not like those sentimental, personal stories. I really wanted to avoid that and make this project as universal as possible. I spent a long time taking photographs, but also reading about history. I realized that I’m not talking only about my family here, because the journey from the east to west after the Second World War happened to millions of people.

Contrary to what Communist propaganda was saying for decades, this was a forced migration. People arrived from areas in what is today Belarus or Ukraine, and they were brought to houses that were still inhabited by German families. Those families were waiting for their turn to go to Germany because the borders of Germany also changed. So this happened not only to Poles but also to so many other nationalities.

I found out that my young great grandma and great grandfather moved in with a German family, and they lived together for a year. Happily. At first I couldn’t believe this story. At school, I had been taught something else. Back then, at the beginning of the 1990s history was still very black and white. Germans were always enemies. They were all Nazis.

So this was a revelation: “We lived here together until they had to go, and we were very sad. Then they would come every year in the summer to visit us. And we were writing each other letters.” I started exploring these unexpected parts of the story. It was easier to understand the sentiment for what had been left behind in Ukraine. But missing the Germans? This story goes all the way across nations. Obviously, the activity of the German compatriots… how do you call them in German…

JC: Vertriebene.

KG: That is a problematic aspect. But I do understand the tragedy of people who had to leave things behind.

JC: That’s the part that I knew before I learned about yours. They were always really right wing, and they had a big political influence in West Germany. I didn’t know the story until much later. And even if you read up on it now, the stories that you read are still about people in East Prussia who had to flee the Russian army. The story that you’re telling, I had actually never heard anything about.

KG: In all of these places, in all of those houses there were dramas happening. There’s a book by Magda Grzebałkowska called 1945. War and Peace. Month by month, she describes twelves stories. She says that while working on the book she discovered that 1945 was not the year of the liberation when everybody was happily going back home or taking over new places, new territories, starting new life. It was a year of death, desperation, migration, losing family, acquiring new furniture… It was crazy.

Many of those stories are about people who were from Prussia, who were chased away by the Red Army and  had to cross the frozen sea with horse carriages. The ice would break and whole families would drown. It’s an amazing book.  There were things in it that I read, and I remembered them from home: “this is not ours really” or “going back would be nice” or “what we left behind was so great”. That’s the historical part, that’s the sentimental part.

This project is not finished, yet, so I don’t know if I’m succeeding. But I’m trying to connect it with what we think of migration today. I’m trying to base my reflections on epigenetics, on how we pass on certain traumas, and how they are reflected in later generations. I see that in myself, whatever my grandma went through, her need to pack things, to be ready because “you never know”. I saw that behaviour in me when I was a child already.

I’m trying to connect all of that with migration today in the sense that I’m asking: are we able to realise that we have that migration experience in us? Again, I’m not talking about myself or people who live in the recovered territories. But almost all of us are children or grandchildren of migrants. Remembering that, even if it’s just something that we would have to wake up in our body, in our muscles — is there a chance that we are able to empathise with people who are in that situation today? I see this as a thread that is connecting the “1945”, but it’s going through generations, and it’s still in us. We should be able to realise that people who are migrating right now, who are forced to escape, are in the same situation we were in yesterday.

Maybe it’s a pathetic call for solidarity, to remember that this has happened already… I have many chapters in this project. There are images of German furniture present in our houses — what does that mean? How did we acquire them? What do we feel about them? Why are we even attached to them?

There’s a chapter about going back to Ukraine. Actually, last year, I was supposed to go to the village that my grandparents came from. Due to the pandemic I wasn’t able to go. So I made this little film, arriving through Google Earth in this village, and I’m looking around, looking for maybe the houses we see in photographs from many years ago. But it’s impossible to find them. There’s a cemetery but I cannot enter because of the limits of the technology. I’m basically so lost, and I don’t feel anything. This goes against that sentiment that was imprinted in me that there’s this paradise that we left behind. No, I don’t feel so. I feel really great in this post-German architecture in Breslau, in Berlin. Whenever I arrive in Krakow, I feel it’s abroad.

There are all these things that I adopted culturally without even knowing because we never really approached that experience. We didn’t work on it. We never really looked back at our history. We’ve been very focused on being a victim of the war, of all the oppression, and I think that’s the reason why the right wing is so strong right now.

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Jörg Colberg https://cphmag.com <![CDATA[A Conversation with Karolina Gembara]]> https://cphmag.com/?p=3017 2021-01-31T23:00:00Z 2021-01-25T01:14:37Z

Ever since my first trip to Warsaw in 2016, I have been following events in Poland. To begin with, the year before the far-right PiS party had won the elections, in many ways foreshadowing what the US went through in 2016.

Especially Warsaw is home to a large number of young and very active artists, writers, and curators. In many ways, the city has possibly the most underrated art scene in Europe, having preserved the can-do spirit that in a place like Berlin has largely been replaced by complacency after waves and waves of gentrification.

In addition, unlike many of their especially Western European counterparts, more often than not Polish artists, writers, and curators are politically very engaged. I can only speculate about the reasons. It might have something to do with the fact that many of them — certainly the ones old enough — experienced the fall of communism in their country as children.

Over the past few years, I have stayed in touch with many of the photographers I met. I have been following what they have been up to, in part through photobooks made in Poland. Last year, after massive protests erupted all over the country as a consequence of abortion being outlawed completely, I noticed how photography became an active part of these protests.

I decided to approach activist, researcher, and photographer Karolina Gembara, to speak with her about the protests, the role of images, plus her own photography. The following conversation was conducted over Zoom in mid January 2021. It has been edited for clarity. Given its length, it’s going to be published in two parts (with the second part coming next week).

Jörg Colberg: Poland has been ruled by a right-wing government. Late last year, the Supreme Court basically prohibited all access to abortion. Can you talk about the political background a little bit and how it affects you as a person and a photographer?

Karolina Gembara: Well, when it comes to political background, things have been very different since 2015 when the right-wing party won the elections. Back then I was already terrified. Just like when Trump won the elections in America, people were thinking “this is the end.” But you still didn’t know what was going to happen. You expect a lot of shit to happen, but you don’t know the details. I remember coming back to Poland in 2016 from India, and I asked myself, if it really was a good moment to come back. I was considering going somewhere else, maybe to Germany, because after seven years of being in India, I had seen what right-wing politics look like.

I had kept the potential of going home as something that would be liberating because in Poland I would feel safer. But that was not the case. I remember thinking in 2016, especially with the war in Ukraine, that we’re at the edge of a serious military conflict. Something really drastic might have happened. I was panicking and wanted to get out. But then things started happening to me professionally. I started my Ph.D. research which is politically engaged, I was invited to join Sputnik Photos. I became very busy with work and also became involved in some activism. So I thought that there’s so much to do here work-wise.

The Women’s Strike started in 2016 with regular Black Protests. The right-wing government proposed that abortion would be banned. We already had a very strict abortion law in in Poland because of a compromise between government and church that goes back to the beginning of 1990s. With our resistance and mass protests we managed to postpone drastic changes. But what happened last year was very surprising. It just shows how extreme it all became. This was especially surprising, also for the Catholics.

The more liberal part of society and more progressive groups always thought that the abortion compromise is something that we had to change. But at least there were these few cases when we could terminate pregnancy. But now everything was suddenly gone. think people just got so angry that this was happening, and it was happening behind our backs, without any understanding of widely supported proposals for a new bill.

A few male judges, presided over by a woman judge, decided that terminating pregnancy in the case of severe and irreversible disability of the fetus or an incurable life-threatening disease is unconstitutional… That’s when people took to the streets, organising the biggest demonstrations since the collapse of communism.

All of these demonstrations that have been happening in the last couple of decades are part of new movements, new movements that are more about values than, let’s say, labor law. For example, we have protests about climate, protests defending democracy, and so on. But in the case of Women Strike, it’s something very basic. Very quickly, this protest turned from women’s fight into a fight against the government. Many people joined because of that. This is an opportunity for them to express how angry they are.

An interesting aspect of the protest is that communication — verbal and written — became very radical. There are many “bad” or nasty words and expressions. Before this happened you would be called rude if you used them, especially if you’re a woman. You would be told “don’t express yourself this way”, you would be told not say to say “fuck off!” because nobody will take you seriously. There was an understanding that when it comes to verbal expression, we have maintain some level of civility. But something broke.

The day when the constitutional tribunal announced their decision, women already brought a huge banner. I think they had been getting ready for that. It said “Fuck off!”. There are many slogans like that. The cardboard banners that people bring to the protests are direct, vulgar, or use intimate symbols. No one is surprised to see a vagina drawn on a banner.

(Odwagi — translation: have courage)

I feel that the language was the easiest to break because it is a mode of oppression. But even liberal media get hysterical over “filthy language”. I mean really? Shouldn’t they get hysterical about real discrimination, real violence? Why is there this expectation that I have to be polite? Cursing doesn’t diminish me as a person, as an artist, as a woman, as an academic. I have to shout because asking and waiting has never increased my rights.

JC: I can’t read Polish but I saw some of these slogans or curses in the newspaper that you had a role in. I think it was made by a collective of photographers. Can you talk a little bit about this? Are you photographing? How did you contribute to the protests?

KG: Are you talking about the Archive of Public Protest?

JC: Yes. Can you talk about this a little bit and about your role?

KG: It’s called APP [Archiwum Protestów Publicznych — Archive of Public Protest]. This is Rafał Milach’s idea (my friend from Sputnik Photos). He invited other photographers who have been present in the streets since 2015 or 2016 to create an online platform where people could look at images from different places, from different protests, and use them.

I never took pictures during the protests apart from snapping something with my phone. At times, I was in a dangerous situation and I would manage to do a live stream. So I do have this rather irresponsible drive, but I never worked as a reporter.

In 2017, I enrolled at the university where I started researching the visuality of protest and how images of recent events have contributed to the way we see the protests. These public gatherings are a relatively new phenomena in Poland. It also is a good opportunity to talk about the agency of those images. Are they oppressive or emancipating? I thought that as a researcher the Archive would be a great study case for me.

But I don’t intend to contribute to it with images because the competition stresses me out. Right now, we have many great photographers, many of them women, who do a great job. I feel that I have nothing better to add.

I do go to protests, but not to all of them. I like to feel that I’m part of this amazing energy. These gatherings have become very spontaneous, they are like a street game. The police warn us that being on the street is illegal, which isn’t true. According to the constitution, even during the pandemic you cannot ban these gatherings. So they chase us and we run away. Then they cut us off somewhere. Some people have to stay, the rest is going to block the street and traffic stops…

As you probably know the police have been very brutal. They use tear gas, they beat people, attack people using undercover cops. Let’s say this is like a participatory research that I’m doing. I observe how people behave, what they do and what they say, how sometimes even the presence of the photographer changes everything. This is something I can notice because I’m not a photographer at the scene.

So I’m present or try to be present, but I’m not as present as I wish. There are people who are real activists, 90% of them are women. They are there every day. They go to the solidarity demonstrations that happen in front of the police station if somebody gets arrested. They are amazing. They devote so much time and effort to show their solidarity. I don’t do that. I wish I had more time. Maybe I wish I was less egoistic because sometimes I decide that I don’t want to go because I feel tired or depressed. Sometimes I am afraid.

Coming back to the archive, at some point Rafał invited me to join the group because he said there’s this great energy, and he would like me to contribute somehow. I was afraid he would ask me to take photographs [laughs] so I offered to write. Right after the October protests we decided to publish a zine, a newspaper, with photographs. I wrote an introduction about the possible performance through the Archive.

The Archive obviously has a structure that reflects a certain way of thinking. There also is an aspect of power and maybe even violence when you go deeper into the nuances: we show certain situations and we do not show other things. It’s selective. So we thought that the newspaper should become a performative object that can be used freely.

It’s a collection of photographs but also of slogans. It’s something that you can hold in front of yourself when you go to the protests. The slogans are taken from different banners. They’re common, and people are familiar with them. There is also the symbol of the Women’s Strike, the red flash designed by Ola Jasionowska.

My job also was to distribute the newspaper during the protests. I walked around with those big plastic IKEA bags and handed it people. They opened them at the protest, they hung them in windows and cars. We pasted them on walls at night. This happened even in Berlin where Polish girls have organised many supporting events.

We’re hoping to spread the idea of an active archive. The images of protests are not only for online contemplation. Thanks to crowdfunding, we’ve just been able to publish the second issue. The text I wrote this time focuses on the state of emergency. Giorgio Agamben describes Western democracies as pseudo-democracies where things have been organised in a way that you can always find an excuse to ban something or interrogate somebody. There’s the naked body, which can be controlled in so many ways, also biologically.

I think that in this very case this idea really applies to the bodies of women who are objectified in the name of religion, twisted tradition etc. We also included quotes from people who have been detained by the police. They talk about what they went through emotionally and how they were treated. So this issue focuses on power and authorities. It focuses on the emergency situation that we already have and on the law that does not really protect us. You avoid dealing with the police. I’m sure you can identify with this issue when it comes to events in the US.

Both newspapers have been delivered to small towns. The first issue had quotes from women who were part of the protests in very small towns. Here in Warsaw, we think of ourselves as Warsaw photographers, Warsaw activists. But we want to be able to hear other voices and include them.

The newspapers travel to places where it’s extremely difficult to protest, for example when there are roughly 50 people in the streets in a small town like my hometown. Everybody knows everybody, and people think that being engaged politically is shameful. Some people will face problems at their workplaces. It’s very different when you are a part of a crowd of 100,000 people in the middle of Warsaw.

(Part 2 of the interview)

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Jörg Colberg https://cphmag.com <![CDATA[Photography’s Table Top Joes]]> https://cphmag.com/?p=3010 2021-01-18T15:39:29Z 2021-01-18T15:39:29Z

It’s easy to forget this, but the Western history of the sciences is rooted in outright quackery. The separation between quackery and “serious” science is not quite as well defined as we’d like to think — even today, your science might be someone else’s quackery (or the other way around). Just look at, for example, homeopathy, relics used by the Catholic Church, “the rising tide that lifts all boats” etc.

Roughly a quarter century ago, Lawrence Wechsler wrote a charming and very entertaining book about aspects of this. Mr. Wilson’s Cabinet of Wonder dives into the world of museums. In particular, it traces their history to a group of powerful and/or wealthy well-meaning people (from the West) who amassed collections of stuff, based on some larger idea.

As a consequence of their actions, we ended up with nice museums. But we’ve also ended up with nice museums that house large amounts of stuff literally stolen from what now are other countries and back then were colonies or proto-colonies.

At the same time, the scientific method has now separated out things that are admissible in museums and all the rest that is not. Again, this separation is not even remotely as obvious as we would like to think. We now also know about the flawed and lopsided history of art. Now museums are scrambling to address the issue that large parts of their collections were made by Western white men (to the extent that these institutions can or want to actually scramble).

At the same time, some art is art, while some other art isn’t (at best, it’s “outsider art”). Some people are photographers (with some even calling themselves “artists”), while all the other people who take pictures are merely amateurs. Looks like a contemporary form of quackery to me. But hey, what do I know?

Given it’s a technical medium, photography has always been an attractive target for quackery — or for those playing with the belief invested by so many people in photographs. A good historical example is provided by spirit photographs. A contemporary artist exploiting the same belief is Joan Fontcuberta.

Stephen Berkman‘s Predicting the Past—Zohar Studios: The Lost Years is a recent addition to this relatively small but very interesting niche of photography, blending Fontcuberta’s approach with one familiar from Shana and Robert ParkeHarrison. The books comes with afterword by, yes, Lawrence Wechsler, which served as a reminder of the book I mentioned above (I read it about 15 years ago).

Ostensibly focusing on the work of one Shimmel Zohar, the proprietor Zohar Studios, the book presents us with photographs taken with the wet-plate collodion process. Due to the process materials’ properties and due to our own expectations of what historical photographs look like, it’s straightforward to buy into the conceit at hand: these are indeed re-discovered pictures, made by an idiosyncratic Jewish man who arrived in New York City at some stage in the 19th Century.

The form of the book (the treatment of the type etc.) and the inclusion of what looks like historical materials only serves to amplify the message. It’s all very well done, even though at times, it becomes very clear that what is on display is a photographic caper.

In some ways, I’m reminded of Mandy Barker‘s Beyond Drifting (which I reviewed here). But there are some differences. To begin with, Barker’s book ends up being closer to a historical book: it replicates large parts of an actual old book. But at the end, Baker also gives away the game to drive home the larger point.

In a variety of ways, Predicting the Past is an image-text piece. It is made to look like a regular catalogue, with the inclusion of a large section containing text about each and every image. For me, the essays provided for each photograph are where the true value of the book can be found. Through the organisation of the book, I could see how they might be seen as afterthoughts; but in actuality, the pieces are actually vastly more interesting than the pictures themselves.

In each case, the connection between the text pieces and the photographs is provided by their captions/titles. In some ways, the fact that the photographs are such one-dimensional illustrations of the many incredibly fascinating and multi-faceted ideas expressed in the text hints at the very limitations of this medium: If you want to show something in a picture, if you point at something in a picture, you’ll inevitably produce an illustration.

I actually think that if the book had centred on the text, with the photographs serving as the illustrations they are, this would have worked a lot better. For that, though, the form of the whole book would have had to be changed. As an object, it’s enormous. On Amazon, it says that it’s 11.75 x 2.5 x 16 inches, weighing 8.55 pounds (I didn’t crosscheck this); and it comes with its own reenforced cardboard container.

I’d love to hold the book in my hands or in my lap, but I can’t. Or rather, I can but not for long. It’s just too heavy, too large. I feel that through its makers’ insistence on creating such a massive tome, part of its incredible playful quirkiness dissolves into sheer showboating.

I have another concern. While I appreciate the quirky quaintness of many of the ideas in the book — there clearly are many echoes of Jewish culture and of larger 19th Century sensibilities, I’m not entirely convinced that in photography, you can easily emulate something that musician Tom Waits has made a career out of: creating vastly exaggerated characters that are as absurd as they are engrossing (for the record, I’m a big fan of much of Waits’ post-Swordfishtrombones work).

Can the odd catchiness of Waits’ tunes (listen to, for example, Table Top Joe) be compared with the equally odd, yet compelling visuals of Berkman’s photographs? In some ways, I’m led to believe they can. Does music combined with lyrics transport its message in ways similar to photographs combined with text? That I’m not convinced of. Even as there are plenty of Table Top Joes in Predicting the Past (in whatever variant), the end effect isn’t quite the same.

Or maybe it’s the fact that in some ways, Predicting the Past appears to have been made in another era. I’m not referring to the photographs but to the overall idea. At some stage last year (or maybe the one before — who has an understanding of time right now?), I watched the 1972 movie Cabaret. I was struck by how dated it felt as a movie. It’s not that it felt inappropriate to me; but I also felt queasy about its rather simplistic treatment of its subject matter.

This is not to say that I think something like Babylon Berlin is better. There’s still much to be said about its kitschified simulation of a Weimar-era Berlin in its final democratic throes. Still, when you watch Babylon Berlin, you can’t help but notice its implicit and explicit inclusion (and deliberate exclusion) of all we’ve learned since 1972. Any understanding of Weimar-era culture inevitably arises through contemporary filters: that’s why Kurt Weill and Bertolt Brecht’s Alabama Song sounds so radically different when you compare a 1930 recording and, let’s say, when David Bowie sang it in 1978.

With photography now having become a central currency in the fight over what constitutes truth, I feel that there is a missed opportunity here. The book could have challenged our own sticking with often misguided beliefs in photography a lot more than it does. Making a book like Predicting the Past now feels like or speaks of a luxury: the luxury of being able to ignore the weight of how history has been playing out in photography.

It’s like Tom Waits sang: “You’re innocent when you dream” — but only when you dream.

Predicting the Past—Zohar Studios: The Lost Years; photographs and text by Stephen Berkman; afterword by Lawrence Weschler; 368 pages; Hat & Beard Press; 2020

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Jörg Colberg https://cphmag.com <![CDATA[An Educational Archive]]> https://cphmag.com/?p=3004 2021-03-25T21:50:56Z 2021-01-11T19:46:01Z

In a classroom at one of the art schools I taught at a few years ago, there was a large wooden cabinet with many relatively small drawers. If you have ever been to an art school, you’ll know that with the exception of digital labs, facilities typically betray their frequent use (I’ll leave it at that). But unlike its surroundings, the cabinet was pristine. When using the classroom, I often found myself pulling out random drawers to look inside.

I knew what was inside: physical slides the types of which had been a part of the world of analogue photography before the general move to digital media. I’m old enough to remember the use of transparencies and slides in a classroom setting. As a teacher, I never used them; but when I was in school, I remember having to give presentations that involved such materials.

Inevitably, slides were iffy. Larger parts of the presentation time were spent on re-focussing the image on the screen. In retrospect, I miss the strange charm of the materials’ physical quirks: a slide would “pop” (caused by the projector’s heat), and you’d have to refocus. You also wouldn’t have to look for an adapter to connect things — maybe the time required to refocus slides has now gone into that often large chunk of time spent on looking for the correct adapter?

As time went on, the more often I found myself in that classroom, the less interested I was in looking at the cabinet. I knew what was inside. Mind you, I enjoyed the physicality of it all, and I enjoyed (and still enjoy) looking at photographs. But frankly, I found what was on display depressing: a very US centric assortment of predominantly white male photographers. This was what generations of photography students had been exposed to.

There now exists a publication that makes available a (different) full set of slides used for teaching. Entitled An Educational Archive of 2863 Slides, the book presents the images used by Dutch art historian Frido Troost who taught at Gerrit Rietveld Academie. With a few exceptions, nine slides (images) are presented per page, resulting in a 400 page book. While being fairly large, it’s printed on a relatively thin paper stock. The book handles well without being overly hefty, and the images are large enough to allow for good viewing.

In some ways, Educational Archive resembles Gerhard Richter’s Atlas (which, as far as I can tell, is now out of print). There might be an overlap in the audiences of both books: people who derive pleasure from seeing collections of images that were assembled by someone with a high degree of visual literacy. But Richter is an artist, not a historian. Maybe the Atlas to refer to would be Aby Warburg’s (full title: Mnemosyne Atlas). While I’m at it, I might as well mention Hannah Höch’s Album (sadly also out of print), compiled roughly at the same time as Warburg’s Atlas.

Educational Archive is indeed that, educational. There is an index at the end that lists the names of the artists for every slide (where such information was obtainable). The slides are organised in some fashion, but the organisation follows more loose principles. As a consequence, the viewer will end up having to make their own connections between the images, which, of course, cuts both ways: you’re not being guided, but you’re able to discover.

The scope of the imagery on display is a lot more diverse than what I encountered in the cabinet I spoke of above. As an art historian, Troost very obviously didn’t deal with only photography. But he also did not limit himself to the larger art context. The first few pages of the book show a large number of advertising: full pages from magazines showing ads for cigarettes or perfume. In fact, Troost often included more quotidian sources for his slides (as far as I can tell, the slides were made with a camera on a copy stand).

With this breadth of source imagery, Troost must have been ahead of the curve in his time. That said, in many other ways, he was not. Having seen the cigarette ads, I expected a much wider breadth of imagery in the areas dealing with photography in general. But there is ample material that runs along the lines of the male gaze or standard colonial photography.

I have no way of knowing how Troost used these materials in class. It’s possible that he discussed the male or colonial gaze critically. But I’m thinking that for such a discussion, one would need to complement the material with other images that either subvert such gazes or offer a very different way of showing the subject matter in question. Such material seems largely absent here.

This is not to say that there is no value in Educational Archive, quite on the contrary. Let’s face it, anyone dealing with aspects of visual education and/or literacy will inevitably fall short in the eyes of her or his later peers: visual literacy evolves through an increasing awareness of problems and restrictions and through changed perceptions of either what images show, what they show given a specific context, what they show based on who made them, etc. As easy as it might be to feel smug about the shortcomings of someone who came before you, always remember there will be people coming after you.

Thus, Educational Archive is a pointer of a time and place. Part of that pointing is done not only by what is stressed but especially by what is excluded. Visual literacy always includes being able to read clearly what exists and being able to read clearly what is not represented.

The breadth of what is included in the book for sure is a good starting point for many discussions. At some stage, though, these discussions would need to address what’s missing, why it’s missing, and how what’s missing can be rectified. Visual literacy is an endeavour, a practice — and not something set in stone forever.

An Educational Archive of 2863 Slides; images collected by Frido Troost; essay by David Campany; 400 pages; Art Paper Editions; 2020


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Jörg Colberg https://cphmag.com <![CDATA[To pick up a book about stones]]> https://cphmag.com/?p=2999 2021-01-04T17:44:45Z 2021-01-04T17:44:45Z

As I leafed through Claudia den Boer‘s To pick up a stone, I found myself double checking whether I had in fact turned a page or missed one. It is a combination of two separate facts that led me to this: first, the low humidity in my home, which has been caused by having to run heating for the winter, as a consequence of which my hands’ skin has become dry; second, the variety of paper stocks used for this book, combined with the occasional trimming of half a page at the top or bottom, which leaves behind a smaller page.

As viewers or readers, we often do not think much of a book’s tactility, of its literal surface qualities that respond to our touch. But photobooks are visual media and they’re also objects. As objects they communicate through the various ways they respond when being held, when they’re being handled. Good photobook makers will be aware of this aspect of their craft: it doesn’t only matter what a book looks like, what it feels like is just as important.

From there, it’s but a small leap to Den Boer’s subject matter, stones. If I asked you to describe your experience with stones, their weight probably would be the first thing that comes to mind (in the UK, “stone” is still used as a unit of weight). Afterwards, there might be what they look like or what it feels like to touch them. Who hasn’t experienced finding a neatly polished stone in or near a body of water, to marvel over its shape and the smoothness of its surface? Who hasn’t picked up a stone in an unusual landscape, to marvel at how suddenly, there is the very landscape — or rather a small part of it — right in one’s own hands?

Paper is an organic material — however processed it is, it’s made from trees. Consequently, much like the fingers with which I am handling the book, a book’s pages will age (whether more or less gracefully than myself remains to be seen). Stones, in contrast, are inorganic, and they take a lot longer to change with age. I’d like to think that instinctively, we know about this. There is no connection with another person when we pick up a stone: it’s merely a small part of the otherwise uncaring universe in our hands. I can put it on my bookshelf, and someone else might pick it up only as the stone it is — and not like the book from my library (regardless of how many other libraries it might exist in).

Consequently, to make a book about stones is a lot harder than making a book about trees: in some form, the trees are in a viewer’s hands, whereas the stones simply aren’t (unless you make a very old-fashioned book in stone-tablet form — it shudders me to think of the person who comes up with that idea: this might be a very hard sell at a photobook fair even with the most hardcore photobook hipsters being present). But you can take the idea of tactility, present in both stones and trees, and bring them to the book. This is what was done here.

The book presents photographs of individual stones and of landscapes in which they might have been found. Photographically, the line between the two at times becomes blurry. A landscape filled with stones essentially is nothing more than a collection of stones. But to view it that way misses the aspect of scale: in our daily lives, there is a huge difference between being in a landscape and being in front of a single stone. This is because our own bodies provide an element of scale (and presence).

In a photograph, the absence of markers of scale (trees, human figures, etc.) can result in uncertainty over what one is actually looking at. As a consequence, if in real life there never is any confusion over whether one is dealing with a landscape or a stone taken from it, in a photograph that distinction can disappear. The book plays with the consequences of this, at times making it impossible to figure out what exactly one is looking at, or more accurately: the scale of what’s on view.

In addition, there exists a variety of photographic artefacts throughout the book. Some images very clearly betray a digital source. Others might be the result of a different process: some look as if they were taken with Polaroid-style materials, some look as if they had been run through a photocopier, etc. This makes the book center as much on what photography itself actually does as on the stones/landscapes themselves. In the book, this fact is driven home by the choice of different paper stocks (I mentioned this already).

Given I’m merely describing to you what’s going on in the book, it might come across as cerebral (which in part it is — not that that’s a bad thing per se) and tedious — the kind of photobook you expect to come out of the Netherlands where design and production play such big roles (to the point of them at times becoming self serving and thus gimmicky). But the book isn’t tedious at all. In fact, without any of the production choices it would be tedious. Here, though, the visual engagement provided by the photographs is supplanted by the tactile delight of moving through the book.

One final comment: in a day and age where so many photographers work on impossibly complex narrative-driven photobooks, I’m being asked more and more often whether this has become the norm. As To pick up a stone demonstrates it has not. A good photobook (or photo project) is not defined by the presence of narrative any more than through its sheer complexity. Here, there is a very simple idea behind the book (remember the difference between simple and simplistic), which is executed very well.

The key to any book is not how snazzy or clever or complicated it is — it’s simply how well it is done within the parameters set by its own materials. Seen that way, To pick up a stone might as well serve as a study case for photographers (and, hint hint, publishers — I’m so tired of all those Tupperware container books!) for how to make an engaging photobook that forcefully and elegantly communicates the idea of the work.

To pick up a stone; photographs by Claudia den Boer; 120 pages; The Eriskay Connection; 2020

Rating: Photography 3.0, Book Concept 5.0, Edit 3.0, Production 5.0 – Overall 4.0

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Jörg Colberg https://cphmag.com <![CDATA[Alice Rose George 1944-2020]]> https://cphmag.com/?p=2994 2020-12-28T16:27:51Z 2020-12-28T16:27:51Z

De mortuis, a Latin saying decrees, nihil nisi bonum (Of the dead, [say] nothing but good). As if I needed to be reminded of this, remembering Alice Rose George who just left us. She was one of photoland’s many invisible hands who brought greater good to all of us.

A proud and fierce Southerner, Alice contributed all that is highly spoken of from that region — without any of that which is unspoken but all-too present. She was courteous, independent, and lively, and she knew of and acknowledged the human condition. She loved a good drink, and I have yet to meet another person able to match her incredible, yet vulnerable wit, used to great effect when telling her often marvelous stories of the people she had met and interacted with (I will not re-tell her anecdote of André Kertész encountering the work of Diane Arbus — it still makes me laugh).

Alice could make you see the beauty in a photographs that previously might have eluded you. Taste being taste, you might not end up agreeing with her regarding the overall merit of a group of pictures or book. But you had been made to see differently, finding enjoyment in the previously unenjoyable. I fondly remember our disagreements more than the agreements, given it is the former that had me realise the extent of our shared devotion to looking at and living with photographs. I’d like to think that we learned from each other, even though I’m sure that most of the learning must have happened at my end.

Alice was generous and open to new experiences in an environment that more often than not merely pays lip service to the idea. Unlike many other people I’ve met, she was just as comfortable in the company of pictures that had been deemed to belong to the canon a long time ago as when seeing photographs made by someone much younger than her and with a very different life experience. She would devote time to someone starting out, someone in need of a trained set of eyes, to help them see the way she saw, reminding us of the subtle difference in the expressions “to have time” and “to make time.”

When a group of Saudi terrorists flew airplanes into New York City’s World Trade Center, Alice became instrumental in organising a communal processing of the then shared grief through exhibiting photographs, photographs taken by professionals who happened to be there as much as all those nameless others with their cameras. Here is New York, an exhibition and later book that stated: here is the multitude of all of us. We stand together. We will not be divided. A few short months later this idea was betrayed by the Bush administration.

Alice didn’t suffer fools lightly, whether in photoland or elsewhere. It shudders me to imagine her horror of seeing what the country has become under the crass real-estate developer who came out of the New York City she loved so much. Obviously, she knew the type, having lived in the city, having had jobs in the cut-throat publishing world, having worked at Magnum Photos, having dealt with wealthy art-world types. Her wit would have helped her through all of it.

Photographs don’t suffer fools lightly, either (even when they were made by them). Alice would select the good pictures out of a pile of bad ones in less time than it took me to write this sentence. A force of nature of supreme visual literacy, Alice was not “able to see”: she simply saw, making everyone feel that what they thought of an ability to be learned with difficulty was something she had been born with. Having picked the gems, however many or few she had found, she would then gently yet firmly probe their maker over her or his intentions.

Alice’s interests were not limited to photography. There was a piano in her living room; whenever we met she told me about a book she had just enjoyed, urging me to read it, too; and she wrote poetry, some of which she had published in books and magazines — this she never talked much about. What we summarise as culture or art meant a lot to her, and she saw photography as a part of it. The crassness of today’s world, the one she has now left, makes it difficult to see how believing and partaking in the value of art can make a difference. For Alice, it simply did — this might be her final lesson for us all.

Rest in peace, Alice.

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Jörg Colberg https://cphmag.com <![CDATA[Photography’s Neoliberal Realism]]> https://cphmag.com/?p=2992 2020-12-21T18:13:28Z 2020-12-21T18:13:28Z

Some time during this past summer, I was offered the opportunity to expand what originally had been a book review into a longer essay, to be published as part of MACK‘s DISCOURSE series. I had already planned on expanding the piece shortly after I had published it. In fact, the beginnings of what ended up as Photography’s Neoliberal Realism already existed on my computer (alongside a number of other pieces, some finished, some little more than ideas).

I have written extensively about photography, large parts of it for this site. Over the past few years, my thinking has expanded from focusing on what usually is called visual literacy to looking at photography’s superstructure: the very systems that not only maintain it, but that also shape its overall messages. In part, my interest in this has been fed and accelerated by reading writings by Walter Benjamin and Siegfried Kracauer.

I have come to admire the very wide net cast by Benjamin and Kracauer more and more. They both looked a wide range of phenomena observed during the Weimar Republic, in particular its mass culture (which included photography) and how it actively and passively was tied to larger forces: the democratic republic as much as capitalism itself.

In contrast, I feel that today we look at photography as this practice that somehow manages to record what is in front of the camera without being influenced by any of the many entities it actually is completely dependent upon: the photographer’s society and culture, her or his personal background, the person or entity that hired him to take the pictures, the gallery (or publishing) system that helps her or him to sell them… The list goes on.

To insist on a photographer’s autonomy is both a feel-good exercise and an enormous deception. This is not to say that any of the entities or ideas that have a photographer take certain pictures while not taking others are bad or evil. But they can be. If they’re bad or evil, our insistence on a photographer’s autonomy cuts off a lot of discussions that could and often should be had.

Just to give one example, look at how in the area of photojournalism, it’s always the photographers who get the flak — but never the editors or the owners of the corporations that hire them. While it’s important to talk about the pictures, it’s also important to understand why and how they were taken, and why and how this person took them and not that person. Otherwise, you will not be able to fully address issues such as, for example, representation — whether it’s how how a topic is represented or who is allowed to represent whom.

If photographers are not autonomous, then the discussion of their work ought to incorporate talking about what I called the superstructure above. How do you do that, though, in particular if you only have the pictures? As Benjamin, but especially (Weimar-era) Kracauer and later Roland Barthes (Mythologies) demonstrated, you can infer a lot from pictures about the superstructure.

In a nutshell, that is the idea behind Photography’s Neoliberal Realism. In the book, I look at the work of Annie Leibovitz, Gregory Crewdson, and Andreas Gursky, and I argue that it can be seen as an expression of neoliberal capitalism’s core beliefs, including for example the infamous (and flawed) trickle-down theory. I could have included a large number of other photographers, but focusing on some of photoland’s biggest stars seemed like a good idea.

I had originally called the idea Capitalist Realism. While working on the book, I realised that I needed a more precise term. There already is a book by Mark Fisher with that very title (in which the term means something different than what I have in mind). But there was another, more pressing problem.

I grew up in West Germany under the country’s social market economy. Much like neoliberal capitalism, that system had relied on certain images. But these images were very different than the ones we are surrounded with now. The West German imagery was very paternalistic, which betrayed the tempering of capitalism’s forces by well-meaning people in power (obviously, the idea of a well-meaning tempering forms the core of the ideology) as much as the sexual politics at the time (people in power meant: exclusively men, except for maybe the family ministry).

West Germany’s economy was capitalist, but it was a different kind than the one we live under now. Thus, I needed to be more precise with my term to account for the differences in the two imageries. Hence the term Neoliberal Realism.

It’s not clear to me whether my biographical background is the reason why what I call Photography’s Neoliberal Realism sticks out so much to me. It might be. After all, what one is very familiar with is a lot harder to look into. Many things are simply taken for granted. In fact, I only started thinking about the imagery around West Germany’s social market economy while writing the book, realising that I had simply taken its messages for granted.

In the book I attempt to show how when you read the works by these three artists, you find expressions of neoliberal capitalist thinking expressed very clearly in the pictures. It’s all right there, hidden, so to speak, in plain sight.

After the book was published, I ran into some very interesting — and telling — reactions. Some people were openly dismissive of even looking more deeply into the work by Leibovitz. This was because, I was told, it is “just” commercial stuff anyway, the implication being that commercial photography could not possibly speak about anything other than what it depicts on a very basic level.

Other people were aghast that I had added Gursky to the mix: his work, they said, is clearly so much deeper. Well, sorry: no, it isn’t.

These reactions confirmed some of my suspicions that had me write the book in the first place: in photoland, we have established hierarchies of photographers and/or categories. One consequence of these hierarchies is that a lot of interesting discussions aren’t being held. Like I mentioned, what is there to discuss in commercial or editorial photography anyway? Quite a lot actually.

My main argument is the following: photography expresses who we think we are. If someone has a photograph made for some specific purpose, whether it’s the cover of a magazine or whatever else, there are many motivations behind that decision. Some of them are more directly tied to who or what is depicted (let’s say some magazine’s Hollywood issue). But there are larger motivations that might not even be acknowledged and that hint at larger beliefs or ideologies. Much like Benjamin, Kracauer, and Barthes did, we need to talk about these as well.

 

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Jörg Colberg https://cphmag.com <![CDATA[The Biggest of All Small Miracles]]> https://cphmag.com/?p=2987 2020-12-14T18:24:09Z 2020-12-14T18:24:09Z

Looking through Rinko Kawauchi‘s as it is, I couldn’t help but think that all of her previous work was merely a preparation for this, a book about the birth and first years of her daughter. It’s not an experience I am familiar with from my own life, but I have always imagined the birth of one’s child to be the biggest of all small miracles. This book showed me that indeed it is. It’s filled to the brim with deeply touching photographs of Kawauchi discovering a plethora of beauty in her young daughter’s discovery of the world.

For me, this artist has always shone the brightest when she used her camera to capture the world’s small miracles. That said, as much as I enjoy the earlier work (such as, say, うたたね [Utatane]), those pictures now feel cluttered compared with the incredibly reduced and deeply concentrated photographs in as it is. I could speculate whether this is due to the subject matter or the increased maturity of the artist. But such speculation would feel mostly besides the point here.

I should note that this new book thankfully follows the model of the earliest books. It’s a very nicely understated softcover book, avoiding the unnecessary pomposity with which Western publishers have treated Kawauchi’s photography too often. A coproduction between France’s Chose Commune and Japan’s torch press, the book was designed and printed in Japan, and it has the form that the photographs and subject matter ask for. This is crucial.

Photographed between 2016 and 2020, the book follows a chronological approach. The baby is born, and we witness her slowly get older. Initially being in the gentle and caring hands of those closest to her, more and more she begins to be her own little person, becoming aware of the world around her. You can see her eyes beginning to focus. While it’s impossible to know what’s going on in her mind, as viewers we can imagine: this must be the easier time from childhood that often we yearn to be able to get back to.

Kawauchi has often worked with pairings of photographs. If in the past I had any misgiving about that, it’s that often, the pairings were too simplistic, too on the nose: this looks like that. Here, the pairings are much more relaxed. They feel less self conscious. Often, they’re metaphorical, which helps to bring out the added value that can be had when two pictures are being paired.

As I already noted, the photographs also feel more reduced. It’s tempting to connect this to Japan’s embrace of simplicity and minimalism. In actuality, that embrace is more complicated than the often superficial caricature it is presented as in the West. If anything, that embrace is a mind set more than anything else. I sense it behind these photographs: the more you focus your attention on one thing, the more of the world falls aways. At the same time, the world reveals itself anew.

The soft whisper of what is left becomes clearly audible. Here, a plant’s seed caught in the young girl’s hair at the back of her head suddenly means so much, and the bud of a flower is almost too much to bear. There’s a bright green, young plant against a black background, there’s a little frog clinging to a window covered with rain drops.

The book contains a few inserts with words written by the artist. In the copy of the book I bought they’re in English and French. By chance, I discovered that the voice employed in the English and French texts is rather different. This has me wonder which one is closer to the Japanese original. But that might just be an impossible question to ask, given the differences between Japanese and English/French.

In essence, the words substitute pictures that could never be taken, and they expand what is on view in the photographs. In some of her earlier books, Kawauchi had already used text, and I’m glad that she decided to do it again.

Here I am, at the end of a year that for obvious reasons will be remembered well, yet not fondly. Two of the three photobooks that deeply affected me were made by two very different Japanese women photographers (the other one is Yurie Nagashima). As a childless middle-aged Western man I don’t share their life experiences. But through their sharing of their life experiences in the form of two photobooks, I was able to gain access to something formerly inaccessible to me.

What I gained access to was not only something they experienced and put into pictures. In addition, I was also made to look at my own life more closely, using different angles than the ones I had been so familiar with.

I can’t know this for a fact, but I think that you could have a baby and unlike Rinko Kawauchi you’d still not be aware of the world’s wonders. Hers is not only a book about having a child. I see it first and foremost as a book about what happens when you open yourself up to the world and let some more of its beauty in, a beauty that is available to all, regardless of whether you capture it in pictures or not.

This is not to deny the ugly truth of the world that has been exposed to us this year — in particular in the US, where the pandemic has revealed the systemic cruelty in the country’s very heart, its very eagerness to disregard people’s suffering and death.

Without us being able to see an alternative (an alternative that’s no just slogans that might win or lose an election), we are not going to get anywhere. Part of that alternative will have to be an open embrace of beauty. It is the arts that can show us what that might mean.

This book, as it is, is what we needed this year. It is a miracle itself.

Highly recommended.

as it is; photographs and text by Rinko Kawauchi; 144 pages (plus inserts); Chose Commune/torch press; 2020

Rating: Photography 5.0, Book Concept 5.0, Edit 5.0, Production 4.0 – Overall 4.8

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Jörg Colberg https://cphmag.com <![CDATA[An Attic Full of Trains Flattened in Time and Space (in which the reviewer short circuits)]]> https://cphmag.com/?p=2974 2020-12-07T17:13:50Z 2020-12-07T17:13:50Z

Writing entails thinking and editing as much as writing itself. Mind you, writing itself isn’t thinking. You’ll learn as much when you look at your writing and realise that somehow there’s something different than what you had envisioned. Thus, you edit. You edit depending on whether you want to accept what you wrote. After all, it didn’t come out of nowhere, or you edit based on what you thought should be on the page or screen.

Usually, editing involves a mix of these two types of work. What you write about should have some resemblance with what you set out to do — especially if someone pays you to do it (which, alas, doesn’t happen quite as often as I wish it would). Then again, what you write can be just so much more interesting than what you had in your head when you started out.

When writing a photobook review, I feel boxed in. The book(s) in question should be discussed, even though sometimes, I feel that there isn’t much to say. By that I don’t mean that the book might be bad. Rather, an intelligent and attentive viewer for sure could do the work on their own, while they might benefit from a larger framing of the work. It sometimes feels outright reductive to me to delve into a topic, only to spell out why some book deals with the subject matter well.

Still, what is a book review without the book discussed at least in some detail?

Plus, I need an angle. By that I mean some idea how to approach the book, given that I am very interested in tying a book to something else: its context or anything that helps a viewer understand and/or approach the book better. That’s the goal anyway. I can’t tell whether I’m succeeding because writing, especially online, has much in common with shouting into a void.

But sometimes, it just won’t come together. Then, you have to either give up and move on, or somehow salvage what you have. This happened to me when I tried to write a review for two recent books last weekend. After a long day of work, I was stuck with maybe 500 words that just wouldn’t get anywhere. To make matters worse, I dreaded the thought of having to salvage.

A couple of days ago, it occurred to me that I could do something very different. Why should a book review be about the books and not about the process of writing? This might actually be interesting, I thought, especially for those readers who have been following along here for a while.

The task at hand… more precisely: the task I had set myself involved two books that seemed perfect to discuss as a pair. Off we go:

The lives of two Italian men, both roughly born at the same time, both dead by now, are told through and with photographs in An Attic Full of Trains (MACK; full disclosure:MACK is also the publisher of my own Photography’s Neoliberal Realism) and Flattened in Time and Space (Witty Books), two recent photobooks that are so similar in some ways (down to their physical sizes) and so radically different in others.

I had felt so good about the idea of comparing these two books, both of which had enough overlapping aspects, that I thought the review would be a breeze. Writing is at least 80% self-delusion. After the first paragraph, I already noted I had maneuvered myself deeply into that territory. It’s not that the idea is bad. It’s just that I realized that I was running into problems. Still, I kept going:

To begin with, we might note that most viewers are very likely to feel drawn a lot more to one than the other. Attic — photographed by Alberto di Lenardo and edited by his granddaughter Carlotta di Lenardo — is going to appeal to those who are drawn to what we can think of as the standard model of art photography, in which each picture is intended to be its own exquisite self. The book is filled with good pictures, which is likely to have someone wonder whether we’re here dealing with another discovery of a previously unknown master photographer.

I don’t want to say that my own bullshit meter went off after I had written this. we might note that most viewers are very likely to feel drawn a lot more to one than the other — that’s not necessarily bullshit as much as just some pretty lame writing. Then again, there is some merit to pointing out that more often than not, personal taste is a hindrance for many people when approaching art: why spend time with something you don’t like when you could just look at what you do like?

OK, I thought. Onwards. (You might have noticed that I was basically bullshitting myself in the previous paragraph.) How do you write about art? There are many ways to do it, but a mix of description plus references plus some judgment isn’t bad:

Out of the 8,000 photographs left behind by her grandfather, Carlotta di Lenardo has very deftly edited a selection that make it tempting to come to this conclusion. Whether or not there truly was an incredibly rich archive or whether di Lenardo “merely” managed to pick the few good ones is besides the point. More often than not, what is on view is incredible, with echoes of, let’s say, Saul Leiter and occasionally William Eggleston in the work.

As it turned out, I had to add the previous paragraph when I realized that if I simply continued with the following one, I’d lose my point completely — how do you compare two things without telling people what they actually are in some detail? Having given some references, I added one to the following paragraph, which became:

In contrast, Flattened does not contain all that many masterpiece photographs. But it is this very absence and the use of other photographic strategies that make it interesting. Where Attic might evoke the spirit of Vivian Maier, this book operates along the lines of the various artist books made by Ed Ruscha in the 1960s (for example: Twentysix Gasoline Stations), albeit in a vastly expanded form. What is more, there were more than one photographer involved, Angelo Vignali plus his “mother, friends and strangers”.

Everybody compares a newly discovered archive with Maier’s; I felt I had to throw that in. Honestly, though, the spirit in Attic is very Leiterian, with Leiter’s nudes being replaced by di Lenardo being very interested in women’s behinds.

Actually, the book’s cover and very first picture both show a young woman from behind. This reminded me of a comment made in an episode of Mystery Science Theater 3000 (can’t remember which one). Some movie started out with the camera following an attractive young woman climbing up a ladder, filmed from below, and Joel yells: “Hey, they’re giving away the plot!” (it’s such a Joel comment, isn’t it?).

If anything, what I just wrote doesn’t mean all that much other than me realizing that while I enjoy the photographs di Lenardo had taken (he obviously was a very gifted photographer), there is plenty of male gaze on steroids. And I wanted to write that in my review, but I couldn’t find a way to finagle it in. Anyway, I was in the middle of discussing the other book anyway, so why would I be thinking so much about this?

Visually, the photographs betray their vernacular sources through their aesthetic such as colours that while never having been that faithful having shifted even more with time or occasional streaks and patterns caused by subpar film development. Divided into five chapters, there is ample repetition, or rather pictures taken from slightly different vantage points frequently follow each other. As a result, most chapters invoke a moving through a space (much like in, for example, Yutaka Takanashi’s Towards the City, albeit using a different aesthetic).

Some description, plus another reference that, however, felt a little bit like showboating to me. Did I really need that? At this stage I had already realized how little I was getting out of my idea for the review. But I had put hours into it already — hours because as things weren’t going anywhere, I kept checking my email to see if someone had written me (nope, there isn’t much of that on the weekend), I kept checking the news to see if something had happened (ditto), I kept checking Twitter… You get the idea.

I was really fucking stuck, and the worst part was that it was all my own fault. That’s always the case with writing: you fuck up, and it’s all your own fault. It’s not even just that you don’t want your readers to see this, it’s not that you don’t want them to read a bad piece. You also don’t want to live in those moments where you realize that writing (much like any other creative endeavour) entails constant failure. And at times that failure can be crushing.

These differences notwithstanding, …

I had a bad feeling when I wrote this. Honestly, I knew that metaphorically speaking I was basically throwing good money after bad. Oh well:

These differences notwithstanding, I’m somewhat certain that the lives of the two men who are at the centres of these books would not have been that different, their possibly different socio-economic statuses notwithstanding. Seen that way, I see these books as companion pieces, where one informs the other: however much we attempt to understand another person through photographs, whether their own or other people’s, in the end, we are left to realise the futility of that endeavour. For all we learn, there is an infinity of other aspects of their lives that will forever elude us.

Here, I’m basically refusing to let go off my original idea — hey, good idea to compare these books because they’re kinda the same. Are they, though? Well, no, they’re not the same, neither in an obvious sense, nor in a larger one. Unless, dear god, I make this whole review turn on how photography works in which case I might as well give up. Which is what I did after seeing into what sorry corner I had written myself.

Where does this leave you, the reader? Well, I do think there’s enough in the above for you to get an idea of these two books. And maybe you’re smarter than I am and can tie together their comparison. I’m also thinking that if you have been reading this site for a while, you now know well what I think about these books (my apologies to all readers who aren’t regular followers).

The reality is that writing (the outcome) is only as interesting as you can make it (the process) for yourself, the writer. I have been reviewing many books over the past decade. While I mostly enjoy doing it, maybe it was the strange combination of all kinds of factors this year that finally had me face the fact that in terms of the craft, I’m somewhat bored with it.

Don’t worry, though, I will continue to write to write reviews in a conventional manner. At times, though, I will also try to find a new way (obviously, not the one I used above because you can only do that once).

An Attic Full of Trains; photographs by Alberto di Lenardo (edited by Carlotta di Lenardo); 232 pages; MACK; 2020

Flattened in Space and Time; images by Angelo Vignali; Text by Ilaria Speri; 368 pages; Witty Books; 2020


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Jörg Colberg https://cphmag.com <![CDATA[Small Town Portraits]]> https://cphmag.com/?p=2975 2020-11-30T19:30:04Z 2020-11-30T19:30:04Z

Sandwiched between a news agent and a clothes store, Dinneen’s Bar is housed in a small building on Main Street in the small Irish town of Macroom, which is roughly 15 miles west of Cork in southwestern Ireland. From the 1950s until 1985, the bar was owned and operated by Dennis Dinneen and his wife Claire, who lived upstairs with their five children. A “room at the very back of the bar [functioned] as the family kitchen”, the website dedicated to Dennis’ work informs us, the work being the result of the fact that he also was a photographer.

“Dennis provided photos for passports and driving licences, took individual and family portraits, and captured images of the bar’s patrons. […] he also photographed weddings, religious ceremonies, theatre productions, sporting events, and a variety of other local occasions”, leaving behind an archive of thousands of negatives (before his death in 1985, more than half of the archive was destroyed in a fire).

An assortment of backdrops was employed by the photographer for much of his portraiture: blank walls, curtains, some cloth pinned up, a little screen designed for slide or movie projections. For the work, Dinneen employed a square-format camera with an added flash. The passport or driving-license pictures would be cropped later (a common practice all over the world when a photographer didn’t work with a dedicated camera for the task at hand).

If this sounds like there might be an incredible wealth of photographs to look at, that’s exactly the case, as Small Town Portraits makes clear. The book presents 75 photographs, edited by David J. Moore, the archive’s director. Without exception, he always presents the uncropped photographs, which reveal a plethora of detail around the sitter, including a (recurring) Kodak poster, boxes of Lucozade (a soft drink intended to boost energy a Google search informed me), and more.

The charm of collections such as Dinneen’s is universal, regardless of whether they were compiled in Mali (Malick Sidibé), the US (Mike Disfarmer), Japan (Shoichi Kudo), or elsewhere: a usually utilitarian approach, combined with a lack of pretense, possibly some idiosyncratic choices, and sheer — often very playful — talent combine to yield photographs that give a sense of locale in ways that are usually hard to come by.

Not surprisingly, several of these archives have been raided (“reclaimed”) and exploited by people eager to cash in on the art market. In fact, I don’t even know why so often art-world acceptance (in the form of representation in galleries, shows at museums, and/or a write up in some famous newspaper’s “Arts & Entertainment” section) is seen as the ultimate validation of such archives. More often than not, the work itself takes a hit — such as when, for example, Malick Sidibé’s photography suddenly end up as very large, contrasty prints despite the fact that they would have never been seen that way in their original context.

But there always is some context switching involved when such an archive is being made public. This inevitably comes with a re-presentation of the pictures at hand: uncropped passport photographs originally were not intended to be seen as such. For me the key to all of this is whether the re-presentation serves to speak of the photographer’s overall spirit (as in this book) or the moneyed interests that might be behind the changes (as in, say, the Disfarmer case).

Small Town Portraits focuses on presenting the world depicted in its pictures. It’s doubtful that the photographer would have OK’ed this particular selection of photographs. Obviously, we have no way of knowing. But I think in the end, he would have come around to appreciating what has been done. After all, the photographs powerfully speak of Macroom and its people, with the Dinneen bar serving as one of its social hubs.

Here, through the eyes of Dennis Dinneen, the unremarkable becomes remarkable, inviting us viewers to maybe pay attention to the unrecognised beauty all around us, in whatever unremarkable location we might find ourselves in.

If I had to describe what I want from a good photobook, I’d say that it should have good pictures that are presented in a well considered package. I’ve written about this before many times, but the latter still is more of a bonus in the world of photobook making than it should be.

This particular book could serve as a good example of what happens when attention is also paid to graphic design and production. The design feels very contemporary without trying too hard to chase current fads: it’s understated, yet elegant. And I like everything about the production: the book’s size, the cloth cover, the relatively small square, …

In other words, Small Town Portraits demonstrates how a fairly conventional catalog can be produced in such a way that not only the pictures but also the object “book” are made to shine. That should always be the goal.

Recommended.

Small Town Portraits; photographs by Dennis Dinneen; essay by Doireann Ní Ghríofa; 160 pages; murmur books; 2020


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Jörg Colberg https://cphmag.com <![CDATA[New books by Sibylle Fendt and Michał Adamski]]> https://cphmag.com/?p=2968 2020-11-23T17:33:26Z 2020-11-23T17:33:26Z

“Hundreds of thousands of people have fled across the Mediterranean Sea this year to escape war and persecution,” the UN Refugee Agency UNHCR wrote at the end of 2015. Two of the key events listed in the article have now resulted in photobooks.

In early September that year, after thousands of refugees decided to walk from Hungary to Germany, things accelerated very quickly, with Germany accepting over one million of them (please note that while the use of the word “refugee” in this context is contested — see some details here, I decided to stick with it, given it’s the term used in the UNHCR article).

As you can imagine, accommodating over a million people would strain the resources of any country. In what now can be considered the long term, Germany did very well; but of course the lived reality of all those who arrived with next to nothing varied considerably. A group of young men ended up in a former guesthouse in the Black Forest, located far from the next village and shopping facility.

Black Forest — that might sound nice, unless you imagine being stuck there in the legal limbo that German authorities only slowly managed to lift. “The mills of justice,” a German saying goes, “grind slowly” — and let’s not even get into discussing what’s contained in that term, justice. How do you even deal with such justice, which might insist in all kinds of paperwork, when all you have with your are the clothes on your body and, possibly, a few possessions? How can you prove anything in a country whose culture (if that’s the word) relies on requires written proof, usually in notarised form?

What do you do with your spare time (of which you have a lot), given you’re not allowed to work and the next village is far away, when you’re confined to what actually is a pretty shitty dump?

These questions sit at the center of Holzbachtal, nothing, nothing, a book by Berlin based photographer Sibylle Fendt. Over the course of a few years, Fendt drove to the shelter to spend time with the men. “I spent hours, days and weeks there,” she writes, “without anything happening. […] Usually, I was welcome, I was often invited to dinner and was allowed to pass the time in their company. Every so often however […] they wanted to be alone.” (quoted from the book’s brief afterword)

In a sense, the book is completely devoid of a story — what would be the story of “nothing”, of waiting endlessly for something to finally happen? How can you make “nothing” the story, in particular in and with photographs?

Fendt solved the problem the way any photographer would do it: by photographing the inhabitants of the shelter while they were going about their business of spending time until the moment when something happens. Phones provided a window out into the world, and where young men gather with nothing else to do, inevitably there will be weights to be lifted.

The (mental) proximity Fendt established with the men clearly comes across in their photos, whether they’re portraits or pictures of them doing something. In between, there are photographs of parts of the house, which was little more than a grimy mess — a mess one would imagine many of their peers would have also found themselves in after their arrival in one of the richest countries of the world (to imagine that some right-wing dipshit would inevitably complain about how good these refugees had/have it makes one’s blood boil).

A view towards the Black Forest from the same vantage position at various times of the day and year serves as the book’s introduction. Time somehow passes even as that passage of time does not appear to result in any meaningful change for the better. Maybe now that we’ve all gone through living under the pandemic, we have all caught a glimpse of what it might be like to wait somewhere for something better (obviously, unlike these refugees, we have had all our creature comforts while we were or are in lockdown).

I’m always hoping that getting a real glimpse of someone else’s suffering might make us better people. But we already know from history that that’s probably not going to happen. Why then even bother photographing or making books like  Holzbachtal, nothing, nothing? Because doing nothing is an even worse option. I’m here speaking for myself and not for Sibylle Fendt. I have known her for quite some time now, and I’m thinking she might be more optimistic. Either way, here’s a book about the ongoing refugee/migrant crisis in Europe.

Meanwhile, in Hungary, the country whose opening of the borders with Austria (literally a cutting of holes into a fence) accelerated the collapse of the East German communist regime, its autocratic leader Viktor Orbán built a new border fence, ostensibly to keep refugees out, but also to drum up even more support for his utterly corrupt regime.

The European Union has now started to look into the corruption, causing Orbán to rail against the organisation that his country decided to join. It’s not even that the EU minds a violation of the rules all countries agreed to abide by, it’s also not clear why European citizens should essentially pay to line Orbán’s and his allied oligarchs’ pockets.

Two tailed dog is Polish photographer Michał Adamski‘s portrayal of Hungary. The book is named after the Hungarian Two-Tailed Dog Party, a satirical party that has achieved some actual electoral success. I’m liking what I’m reading on Wikipedia: “The party participated in the 2019 European Parliament election. Despite receiving 2.62% of the votes, it did not win a seat. Its campaign promises included building an overpass above the country for refugees, opening six Nemzeti Dohánybolt stores outside Hungary, introducing mandatory siesta and banning the Eurovision Song Contest.”

In a traditional political sense, such a party might appear being cynical. However, building an overpass above Hungary for refugees is only an absurd solution if you accept the problem as real. The moment you start asking the question why refugees shouldn’t be left into the country, such an overpass is not all that much more absurd than Orbán’s solution, the fence. In a nutshell, such parties subvert the widely shared assumption that elections should focus on determining which technocrat can provide the best solution for some technocratic problem (while autocrats and neo-fascists run circles around them).

In the book, a collection of scenes encountered in Hungary over the course of three years, quotes from either the Two-Tailed Dog Party or Viktor Orbán are presented. Outside of their context, they’re impossible to tell apart: both offer slogans that are grandiose and vague at the same time (along the lines of “Make America Great Again”) and pin the blame for any problem or crisis on outsiders (much like all autocrats, Orbán is both extremely nationalistic and more or less openly racist).

There is a clear disconnect between what is depicted in the photographs and the quotes — and it is this disconnect the drives the overall message home: some things are too complex to be understood with simplistic slogans. We better re-acquaint ourselves with that idea — instead of relying on “deeply divided” narratives that only serve as cash cows for today’s intellectually impoverished media landscape.

I can’t help but think that even as the Iron Curtain has come down, there still exists a clear divide between photographers from what used to be west of said curtain and photographers east of it. For a large number of reasons, that divide should not exist. But I bet a lot of people in the West would have a much easier time naming a British, German, or French photographer than a Polish, Czech, or Hungarian one.

In light of the fantastic work coming out of Eastern Europe and in light of how the same stories take on very slightly different meanings when told by someone from there, we ought to be doing more work to bridge the divide.

Holzbachtal, nothing, nothing; photographs and texts by Sibylle Fendt; 168 pages; Kehrer; 2020

Rating: Photography 3.0, Book Concept 3.5, Edit 3.0, Production 4.0 – Overall 3.4

Two tailed dog; photographs by Michał Adamski; appropriated text; 96 pages; Pix.House; 2019

Rating: Photography 3.0, Book Concept 3.5, Edit 3.0, Production 3.0 – Overall 3.1

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Jörg Colberg https://cphmag.com <![CDATA[The Locusts]]> https://cphmag.com/?p=2963 2020-11-16T17:51:38Z 2020-11-16T17:51:38Z

In the US, it currently feels as if the country is finally getting out of an incredibly abusive relationship. With the exception of the hardcore “MAGA” crowd, everyone seems to be taking that much needed deep breath, knowing that very soon, nobody has to listen or pay attention to the malignant-narcissist-in-chief any longer. It’s not clear what will come next — there still are ample reasons to worry; but at least the noise level appears to have gone way down.

As a consequence, I’m thinking (or maybe just hoping) that we’re going to find more time for nuance again, in particular those small moments when something reveals itself that is unexpectedly beautiful. Photography is very good at dealing with that. This is not necessarily why I personally look at photographs (and I don’t think I have much hope of finding it with my own camera). However, without such photography my experience of dealing with the medium would be vastly impoverished.

The most recent photobook to have made me think about all of this (even before the election) is Jesse Lenz‘s The Locusts. When I first received the book, I was surprised to see its photographs. The book itself is rather large and imposing — unlike the vast majority of its pictures, which depict a fragile world in a very gentle manner.

In a variety of ways (and using a variety of cameras), the photographs centre on small moments in a world seemingly inhabited only by children and animals.

In particular the square pictures are real showstoppers. In one, a little toad is shown, sitting on a leaf of much larger plant, possibly enjoying the sun. In another, a little boy with what might be a mix of a drawing and a temporary tattoo on his face looks at the camera while clinging to an apple tree bearing fruit. The pattern of the shadow cast on his body has him partly blend into his environment.

It’s precious moments like these that connect the work beyond its immediate American predecessors to other photographers all over the world who find beauty in small moments that won’t last long and that might not be seen by anyone else. I’m thinking of Rinko Kawauchi, for example. There are many small moments in most of the photographs. As Kawuchi has demonstrated, that already would have been enough for a good book.

But The Locusts adds other elements. There are many pictures of children playing. When you’re a child, the world is your playground. I don’t know at what stage one loses this approach to one’s surroundings — I suppose at a certain age, you’re just “too old” for this (which, if you think about it, really is a shame — maybe we’d collectively be a little bit happier if we regained our sense of play).

And then there is mortality. In the bucolic setting the photographs were taken in, death is a lot more visible than in a city. Here it appears in the form of a dead coyote lying in a field or, one of my favourite pictures, a black cat staring intently at a little mouse right in front of it. In one picture, a child holds a (different) cat, and two pages later, there is a photograph of what looks like the same cat being prepared for burial — a cardboard box with what looks like a towel wrapped around the body serves as the coffin.

I never had children. But I’m guessing that for all the work and worry of raising them, they also offer bringing a sense of the world’s possibilities and joys — if, that is, one is receptive to it. One doesn’t need a camera to pay attention to what the world has to offer, but sometimes, having one helps. Lenz appears to have had at least one available on many occasions, which for sure explains the plethora of work on display in the book.

While I feel that the book probably should have been a little more intimate and not quite so hefty, and the edit could have been tighter, The Locusts for sure is an impressive debut book by a photographer who I’m sure we’re going to see and hear a lot more of in the future.

The Locusts; photographs by Jesse Lenz; 144 pages; Charcoal Press; 2020

Rating: Photography 4.0, Book Concept 2.5, Edit 1.5, Production 5.0 – Overall 3.5

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Jörg Colberg https://cphmag.com <![CDATA[Vaterland]]> https://cphmag.com/?p=2957 2020-11-09T18:27:48Z 2020-11-09T18:27:48Z

Seventy five years after the end of World War 2 and 30 years after reunification, Germany is being assaulted by right-wing extremists again.

The aughts saw a series of killings that German police quickly dismissed as “döner murders” (the majority of the victims were part of the Turkish community) — only to find that they had in fact been committed by a group that called itself National Socialist Underground. In late 2019, Stephan Balliet, a 27 year-old neo-Nazi, attempted to enter a synagogue in Halle with a number of guns. It was only one sturdy door that prevented mass murder. Less than half a year later, Tobias Rathjen went on a shooting spree in Hanau, targeting two shisha bars. He killed ten people and wounded five others (all of the victims had a migratory background), before returning to his home, to kill his own mother and himself.

And on 29 August, 2020, a large mob of people consisting of neo-Nazis and other far-right extremists attempted to storm Berlin’s Reichstag, the iconic building that since reunification has served as the seat of the country’s democratically elected parliament. There, due to the government’s so-called Grand Coalition the far-right AfD party currently constitutes the largest opposition faction.

For me, living in the United States for the past 20 years has vastly increased the relevance of what is at stake in Germany’s second attempt to establish and maintain a democratic republic.

In a lot of ways, being physically removed from the country I was born in has had me engage with Germany a lot more closely than I think I would have had I stayed. Physical distance resulted in mental distance, and after a while, something in me rebelled against that mental distance. Especially in light of Germany’s Nazi past, being away felt too much like trying not to be connected to a historical burden that I cannot deny.

At the same time, the Germany that revealed itself in the 2000s was a lot different than the one I had grown up in. Suddenly, there were all the neo-Nazis and far-right politicians crawling out of their holes.

But there was also the Germany that would welcome hundreds of thousands of refugees in 2015, the Germany where the public sphere would see many citizens of migratory background play a major role — unlike the (West) Germany that I had grown up in.

I didn’t set out to create what would become my first photobook, Vaterland, when I started photographing in 2016.

Originally, I wanted to explore the region in Europe’s heart whose largest parts are made out of Germany and Poland, Central Europe. On my trips to Warsaw, Germany’s past became something that would always only be another serendipitous photographic discovery away.

At the same time, the 2017 federal elections in Germany, after which the far-right AfD ended up becoming the largest opposition party on a national level, caused enormous outrage in me — outrage combined with a deep sense of shame. That outrage only grew as parts of the conservative spectrum belittled the danger that I have been perceiving the country to be in.

I’m neither a journalist nor a documentarian. With Vaterland, I don’t attempt to be either one of these.

I intend the book to be what in German is called a Stimmungsbild — a metaphorical image expressing a mood.

I don’t have any explanations for what I see in Germany. But for sure I know how I feel. Vaterland is an expression of my unease, of my worries, of my upset, of my realization to what extent Germany and its past are an integral part of my own life.

You can find more photographs from the book here.

Vaterland is published by Kerber Verlag. If you would like to get a copy from my own pre-sale, please send me an email (jmcolberg@gmail.com).

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Jörg Colberg https://cphmag.com <![CDATA[The Social Photo and Collective Modern Life]]> https://cphmag.com/?p=2943 2020-11-02T17:37:39Z 2020-11-02T17:37:39Z

The dominant Western model for creation in the field of visual arts is one that puts the individual front and center. According to this model, art, in whatever form, is created by a single person: the painter, the photographer, the print maker, the sculptor… An extreme form of this idea is provided by the artistic genius who, we are led to believe, creates her or his work out of thin air, through a combination of incredibly talent, hard work, and an outstanding personality.

In reality, making art is not that simple, and the history of art cannot be told simply as a succession of such geniuses. To begin with, many artists relied or rely on a larger number of helpers that work in their workshops or studios. However, in a world focused on artistic genius such approaches to art making will get folded into the general narrative. For example, whole legions of art historians now work on determining whether a painting was in fact produced by some famous artist or by someone in the workshop. In the contemporary art market, an artist might have never touched a piece of art in question, but it still is attributed to them (and not to the usually underpaid and anonymous minion responsible for its creation).

This approach neatly ties in with capitalism, which has resulted in an elaborate set of rules and laws to make sure the genius artist can legally defend her or his work, regardless of whether or not it was actually made by her or him. The topic of plagiarism, for example, almost always comes down to determining whose copyright was violated, who, in other words, stole something from whom. In fact, the idea of plagiarism itself also rests on the model of one artist being the sole creator of a piece of art.

Perhaps because it is such a technical and relatively new medium, photography has internalised these ideas to a very large degree. The history of photography is told as the succession of a few eras — some more arbitrarily defined than others — each of which was triggered and/or dominated by a very small number of practitioners.

When during the era of postmodernism a number of artists began to subvert some of these ideas, there quickly was an intellectual mechanism created that cemented the status of the single artist. Appropriation was seen not as a sharing of authorship — something that intellectual property rights have no easy way of dealing with, but as one author creating something that is uniquely their own out of some other author’s visuals. This approach works well for the economic interests in the background — large galleries that profit from an appropriator making money off someone else’s work; but in a legal sense, it can lead to some very, very iffy outcomes (just look at the various famous lawsuits in the world of art, many of them involving Richard Prince).

That all said, the idea that an artist pulls something out of thin air is actually very, very unlikely. Art historians have done a good job at connecting pieces of art to earlier pieces of art. In much the same fashion, contemporary artists are usually very adept at describing their work in a way that acknowledges some influences, while making sure that these influences do not overshadow their own contribution.

As Roland Barthes noted, the traditional approach to authorship is flawed. For example, we almost never have access to an artist’s intentions, ideas, or biography. So, he argued, isn’t it us readers or viewers who create the meaning of a piece of art? There’s much to be said for this approach to art — unless, of course, you’re an artist or someone selling art, in which case you want to retain the Deutungshoheit over what’s on view (Deutungshoheit is such a beautiful German word, translated here as either “interpretational sovereignty” or “prerogative of interpretation” — so many characters in such complicated words for such a simple German word!).

I like Barthes’ idea, but I don’t think it goes far enough. In his relationship between a piece of art and its reception by an audience, the arrow points only in one direction: the piece of art exists, and its reception is then contingent on its existence. That makes a lot of sense for most pieces of art, especially those who were created a long time ago, before we — the contemporary audience — were alive.

What about today’s art, though? In particular what about today’s photographs?

If we were to approach the problem using a Gedankenexperiment (another beautiful German word that has already made it into English), we might ask what the inversion of that arrow would look like. As it turns out, our Gedankenexperiment already is a reality.

In fact, ever since photography has become the visual currency of social media, the vast majority of photographs is produced in a way that essentially subverts what we could call the classical model of authorship, in which a single author creates something based on mostly her or his ideas.

I want to call these pictures “social photographs.” In essence, we take social photographs not despite the fact that everybody else takes them, but because we all take them. None of the considerations that might guide artists apply to social photographs. Social photographs are obviously not original at all — how original is a photograph of a sunset? In fact, social photographs are not even being taken for their own sake — to have a photograph. Instead, they are being taken because to do so means participation in a larger, agreed-upon setting.

For example, when we travel we take social photographs of sites that are part of the larger social canon. A trip to Paris, for example, would be incomplete without a photo of the Eiffel Tower, much like a visit to the Louvre would be incomplete without a picture of the Mona Lisa (or actually the crowds around it — because that is the event, not the painting).

In a legal sense, when I take a picture of the Eiffel Tower, it is still my photograph. It is a unique photo, regardless of how much it might resemble thousands of other pictures. But to approach my Eiffel Tower photo this way is a pointless exercise. I am actually not the author of the photograph, much like none of the other people who take a picture of the Eiffel Tower are their authors. Instead, we share a collective authorship.

This collective authorship is completely at odds with standard ideas of what it means to be an author. My photo of the Eiffel Tower exists because I took it, knowing that by taking it I allow myself to become a part of a larger group of people. In other words, my taking of the picture is a social act. By construction, social acts do not rely on exclusivity. In fact, exclusivity or creative genius is completely at odds with social acts.

Social acts rely on people doing things based on the situations they’re in. They’re not fixed, but they’re agreed upon. For example, once the pandemic hit and people realized that shaking hands when greeting each other would run counter best medical practices, elbow touching became a thing.

I’ve never met someone who uses the handshake because that’s an activity they really enjoy (there might be such people). It’s just something you do, much like how in certain countries you hug or bow or exchange a kiss (or more) on the cheek(s) etc.

What this means is that to approach social photographs as if they were pictures created by artists is completely misguided. Such an approach can only lead to the absurd ideas and theses that are promoted in photoland when photos of sunsets or selfies are discussed. The dismissal of the selfie as a narcissistic exercise only shows how far removed from the lived experience of people’s lives large parts of photoland actually are.

People take social photographs because that’s what you do. A very obvious consequence of this fact is that social photographs are being shared. But neither the photographs nor their sharing actually matters all that much. It’s just what you do. When you photograph a sunset and put the picture on Instagram what you really do is to partake in the experience of what it means to be alive as a human being. This is not to say that you need to take such pictures. But when you can and you do it, then that’s being part of the human condition.

Who, after all, does not admire a beautiful sunset? (If you don’t, you might want to discuss this with your therapist.) Who does not enjoy the experience of being at a concert or on a trip that you’ve been looking forward to for so long?

Our social photographs have their predecessors in picture postcards. I’m old enough to remember that not so long ago, going on vacation almost inevitably included buying postcards and sending them to friends and family. Of course, you would pick the postcard(s) you liked the most — out of a selection that offered the very same motifs. Photographically, those postcards weren’t that great. Often, the colours were radioactive, and there were all kinds of goofy design elements added to them. But you wouldn’t buy a postcard for the photography; you’d buy it to send it, with a few short notes added. Even those notes often weren’t particularly memorable. The point was to send the postcard to a friend or family member because that was part of being on vacation as a member of a social group.

As I noted, there are many other social acts that we somehow have agreed upon, whether it’s shaking hands, kissing under a mistletoe, saying “Happy Birthday” on certain days, or saying “Gesundheit” when someone sneezes. Photography has simply become a part of the social activities we are engaged in.

Nobody is forced to participate. You don’t have to take a picture of a sunset, much like you don’t have to shake hands or kiss under a mistletoe. It’s up to you.

With social acts all ideas of originality or individual authorship go out of the window.

When I spoke of inverting the arrow in the relationship above, it is exactly the creation of something that we all already know what it looks like. In a Barthian sense, the meaning of social photographs is created by us viewers, but the actual meaning does not lie in the pictures. Instead, it lies in their making.

One last comment, with the above I’m not arguing that social photographs are necessarily profound. Many of the social acts we perform — someone’s sneezing: “Gesundheit!” — aren’t profound. Profundity is besides the point for social photographs. Or rather it’s not the pictures that are profound, it’s the social connections behind them.

As a consequence, the fact that we don’t look at most of the social photographs we end up with on our smartphones or computers is completely besides the point. In much the same fashion, we don’t dwell on the fact that we said “Gesundheit!” to a complete stranger when we heard her sneeze, and we don’t remember the handshakes or elbow bumps we used. The only thing that these photograph point at is the fact that we engaged with the world in a social fashion.

Consequently, social photographs do not devalue photography in any way. Instead, they show us that the act of photographing itself has become an integral part of our collective modern lives.


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Jörg Colberg https://cphmag.com <![CDATA[Goraiko]]> https://cphmag.com/?p=2951 2020-10-26T19:03:13Z 2020-10-26T19:03:13Z

Having dreamt of waterfalls, Tadanori Yokoo decided he would have to paint some. Given there were no actual waterfalls nearby, he started looking at postcards collected over the years. But he had too few of them, so he started asking people to find postcards of waterfalls for him, not realising that the request would turn into a veritable deluge that was as difficult to stop as an actual waterfall. In the end, he turned the 13,000 postcards into Waterfall Rapture (Postcards of Falling Water), which was published in 1996.

The book is mesmerizing for a number of reasons. To begin with, the postcards are organised by type, content, and/or era. For example, there are spreads that show postcards with lenticular images, spreads that show postcards of waterfall in the fall (red foliage), etc. (Someone must have taken the time to do that work.)

Furthermore, certain tropes repeat, but the number of actual tropes is surprisingly large. (Would this also hold true for sunsets?) Not surprisingly, some waterfalls feature more prominently than others. But their depictions might vary in terms of the tropes used, or the very same photograph might look very differently based on when it was hand-coloured (or possibly by whom).

In the end, the many postcards of waterfalls tell us a lot more than we might imagine. They’re only superficially postcards of waterfalls, but mostly expressions of our human engagement with them, with our wanting to share the joy (or maybe obligation) of being in the presence of a waterfall.

In Japan’s Shinto religion, kami — which you can think of as gods or spirits — play an important role. I’m simplifying this terribly, but much like people, kami need to be housed somewhere, which leads to the concept of shintai, “physical objects worshiped at or near Shinto shrines because a kami is believed to reside in them.” These could be a variety of objects, including mountains, which “were among the first, and are still among the most important, shintai, and are worshiped at several famous shrines”. Mount Fuji, Japan’s highest mountain (and an active vulcano), is the most prominent one (for a lot more details about Mount Fuji, see this article).

As a brief aside, Shintoism sees the kami of mountains as goddesses. However, in the past, this fact led to women being barred from mountains (or tunnels). Kittredge Cherry explains in Womansword — What Japanese Words Say About Women that this was because “the female mountain spirit enjoys the attentions of men so much that she would get jealous if a woman were around to distract the guys.” (p. 27) Amazing how even when believing in goddesses the sexism in Japanese society was still able to restrict women’s rights.

When I first encountered Fiona Tan‘s Goraiko, these aforementioned ideas came straight up for me. The book is a catalog published at the occasion of an exhibition at Sprengel Museum Hannover in 2019 after the artist had been awarded the SPECTRUM International Prize for Photography of the Stiftung Niedersachsen. The exhibition’s main piece was Ascent, a 77 minute long projection of images, sounds, and voices (there also exists a movie — I have seen neither).

After a series of install shots from the exhibition, the bulk of the book consists of a section entitled A selection from the archives. Essentially following Yokoo’s approch, Tan had first collected her own photographs and postcards before asking the general public (through an appeal facilitated by the Izu Photo Museum, which is located near the mountain). She then compiled the images into Ascent, with sound and spoken text added.

The archives section follows Yokoo’s approach from Waterfall Rapture. Specifically, every spread contains four images that each show Mount Fuji in a very similar fashion: the snowy peak, clouds around the mountain, cherry blossoms, trains running in the foreground, World War 2 era war planes above the mountain, crappy pictures taken from a rapidly moving vehicle, people posing against the mountain’s background… The list goes on and on.

In light of what I wrote about Waterfall Rapture, it might not surprise the reader to learn that the more of these types of tropes show up, the more interesting things get. It is akin to looking at a contemporary version of Katsushika Hokusai‘s Thirty-six Views of Mount Fuji (the inevitable art-historical reference). But where the ukiyo-e artist’s concern was purely pictorially dealing with Japan, Tan’s is photo-sociological, diving into the uses of the nation’s most famous symbol.

Another brief aside: Mount Fuji might be the only specific “object” that is represented by two emojis: directly as the mountain itself — 🗻 , and indirectly through Hokusai’s famous wave, most closely followed by the Apple version of the wave emoji — 🌊. Of course, Hokusai’s wave only exist because it crests on top of the mountain in the image’s projected view.

As becomes obvious from Goraiko, the real value, the real meaning of photography can only be found beyond its photographs. These are just stepping stones through which we communicate with one another.

This fact becomes especially clear in the case of Mount Fuji, given that its prominence in the landscape and the nature of that landscape itself allow for a variety of uses that simply do not exist for most other landmarks.

Seen that way, it is not surprising that Hokusai would produce his Views at a time when photography almost existed (remember, around the time photographs were already made, but all efforts focused on fixing them, to prevent them from fading away). There’s something proto-photographic about ukiyo-e, in the sense that it tapped into the same sensibilities that photography would most successfully exploit.

Already a Shinto icon, Mount Fuji thus became a cultural icon, whose relevance quickly became known outside of Japan as well. Flying into Tokyo twice, I did crane my neck to see it out of the airplane’s window. It really is spectacularly beautiful, given its striking symmetry that is almost perfect. But Mount Fuji also is something that I knew and felt had the larger relevance I had heard of and I was now able to connect. I didn’t take any pictures, though.

Goraiko; images by Fiona Tan; texts by Lavinia Francke, Stefan Gronert, Fiona Tan; 176 pages; Van Zoetendaal Publishers; 2019


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