Volume 2 Number 4

ei8ht

photojournalism

MARTIN PARR IN BLACK AND WHITE THE SECRET WAR VETERANS OF LAOS RWANDA GENOCIDE: INDIVIDUAL TRUTHS A GLIMPSE BEHIND N. KOREA’S (FLORAL) CURTAIN ELVIS & PRESLEY, THE COMEBACK TOUR

Vol.2 No.4

CONTRIBUTORS

EDITORIAL ei8ht is the magic number! Well it has worked for us. This issue of ei8ht, Vol.2 No.4, marks our eighth issue and two years of existence. With each edition we have striven to achieve our goal of publishing compelling photo stories that inform, challenge and inspire us. On these terms I am confident that this issue will not disappoint, full, as it is, of vibrant and innovative photo essays.

During the past two years of publishing ei8ht I have been fortunate to receive guidance from dedicated individuals who have helped bring the magazine from its initial concept stage to the printed version you hold today.

Their names appear below on the masthead and their continued involvement is a testament to the passion they share with me for photojournalism.

Similarly, ei8ht has been aided by you, our subscribers, readers, advertisers, editors, photographers, wives, husbands, families and friends, and the back cover page of names is designed to thank you all for your contribution and support.

In our desire to continually break new ground and expand the resourcefulness of ei8ht, this issue contains a new section, Index, where those interested in a particular subject or photographer featured in the magazine can find useful information.

Subscribers to this issue will also receive a short film on cd-rom. Produced

by MAG, the landmines action charity, it shows the work of two photographers who have applied their skills and chosen to make a documentary film in order to highlight the danger of landmines in Angola.

In a similar vein the stories in the magazine pick up on this idea – of choosing the appropriate media to convey the message.

In Secret War and We are Happy!, the photographers have chosen to tell stories they believe are important using a format that feels appropriate to them, be it digital film, black and white prints, pen and ink on rice paper or a combination of these and many other elements.

In Rwanda, with the war crimes tribunal ongoing, the camera sifts for clues and exposes individual truths. In Laos, Uganda and Viet Nam it reminds us not to forget, turn away or betray our allies and those particularly vulnerable.

Whilst in Understanding Stanley photography leads us to question the meanings we attach to images as the photographer seeks to communicate a state of mind.

I hope this issue captivates and carries you along with us to explore the diversity of photographic expression we present now and in the future. When Vol.1, No.1 went to press in 2002, little Louis, whose image faithfully appears on this page, was just a wee babe small enough to hold in one hand. Now he is an energetic and eager two-and-a-half-year-old child mastering his universe. I look forward to watching him grow up on this page as ei8ht too develops and claims its place in the world.

JON

ROSIE BARNES has exhibited at the National Museum of Photography in Bradford and the National Portrait Gallery.

Understanding Stanley has been exhibited in London and Paris. Rosie divides her time between commercial commissions and personal projects – which have a common recurring theme of the crossover between humans and the natural world – and the very particular demands of bringing up a child with autism. She lives in London.

PHILIP BLENKINSOP'S work on the plight of the secret war veterans in Laos was awarded the 2003 Visa d'Or in Perpignan. He is the author of two books, The Cars That Ate Bangkok and Extreme Asie. More of his work can be seen at Vu Gallery, Paris, and at Beyond Gallery, opening in March 2004 in Siem Reap, the gateway to the famed Angkorian temple complex of Cambodia.

ROBERT HUBER and STEPHAN VANFLETEREN’S journey across America as Elvis was a major departure from their usual millieu of social documentary. New York-based Huber focuses on leisure culture and group behaviour. Vanfleteren covers life in his homeland Belgium plus conflict zones like Kosovo and Afghanistan.

ADAM NADEL graduated from the University of Chicago with a degree in anthropology, before moving to New York where he currently lives. A former staff photographer for the Associated Press, Nadel is currently working on a number of longer-term projects. These Rwanda images published here are part of one such project.

PHILIY PAGE has exhibited in New York, Sydney, Zurich and London. In 1998 she won the Cavendish travel grant to complete a project on absence of home in Nevada and San Francisco. Her work was highly commended in the Vision2020 Right to Sight Award, and has featured in several books and magazines. She spent much of 2002/3 in Namibia working on a project on albinos, and is now based in London.

NICOLAS RIGHETTI was born in Geneva. He has travelled, photographed and filmed extensively throughout Asia, working as a stills photographer on the set of various feature films in Hong Kong, Beijing and Paris. He chose to photograph his story on North Korea using a video camera to create images with a heightened sense of surrealism.

ANDY SEWELL combined his passions for snowboarding and photography by selling pictures to boarding magazines. From this beginning, he decided to make a commitment to photojournalism. He spent much of 2003 on projects in Africa, where he worked with WorldVision on the story of child soldiers in Uganda.

EDITOR-IN-CHIEF: Jon Levy ASSISTANT EDITOR: Phil Lee FEATURES EDITOR: Max Houghton CONTRIBUTING EDITOR Colin Jacobson CONTRIBUTING PHOTO EDITORS: Sophie Batterbury, Flora Bathurst ART DIRECTION: Grant Scott REVIEWS: Sophie Wright SPECIAL THANKS: Maurice Geller, Andrew Ferguson PUBLISHER: Gordon Miller EUROPEAN ASSOCIATE: Arnaud Blanchard REPROGRAPHICS: Graphic Facilities, MPD Digital Laboratories PRINTER: Pensord Press DISTRIBUTION: Specialist Bookshps & Galleries – Central Books 020 8986 4854, Newstrade – Comag Specialist 01895 433800

ISSN: 1476-6817. ei8ht is published by foto8 ltd, 18 great portland street, london w1w 8qp. t: +44 (0)20 7636 0399 f: +44 (0)20 7636 8888 e: info@foto8.com The views expressed in this magazine are not necessarily the views of ei8ht or foto8 ltd. Copyright © 2004 foto8 ltd. All rights reserved.

No part of this magazine may be copied or reproduced without the prior written consent of the publisher.

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VOL.2 NO.4 MARCH 2004

MOMENTS 4

WHERE I FOUND MY ROOTS

Black and white photography in Hebden Bridge, 1975 by Martin Parr

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ELVIS & PRESLEY

On the road as the King in the US by Robert Huber and Stephan Vanfleteren

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CHILDREN’S PRAYER

The dangers of nightfall in Uganda by Andy Sewell

FEATURES 8

THE SECRET WAR

The personal account of Laos’ persecuted Hmong by Philip Blenkinsop

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RWANDA: JUSTICE AND RESPONSIBILITY

Adam Nadel exposes individual truths in Rwanda’s search for justice

24 A SUNDAY AT THE POOL IN KIGALI An excerpt from the book by Gil Courtemanche

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UNDERSTANDING STANLEY

A photographic exploration of her son’s autism by Rosie Barnes

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WE ARE HAPPY!

Through the looking glass in North Korea by Nicolas Righetti

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TILL THE COWS COME HOME

Philiy Page visits an English farm post-foot and mouth

ESSAY 32

RIGHT TO REPLY

Paul Wombell of the Photographers’ Gallery defends the art world

REVIEWS 46 Agent Orange 48 Carnival Strippers and Encounters with The Dani 51 Living under South Street and others INDEX 50 Leads and Contacts for all the stories featured in this issue DIARY 52 Listings for photojournalism exhibitions worldwide RESOURCES 54 Picture Agencies & Libraries, Photographers, Pro Services FOCUS 62 The University of Westminster MA in photographic journalism

COVER ‘We are Happy!’ © 2004 Nicolas Righetti ei8ht

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MOMENTS

WHERE I FOUND MY ROOTS

BY MARTIN PARR

I WAS CELEBRATING the world then. I’d just left college.

I loved living in Hebden Bridge. It was very exciting: it’s a very dramatic place visually and very interesting socially.

It was a traditional working class town and I came from middle class Surrey, entranced by the north of England and I found my roots there. There was a touching sense of working class community; it was very friendly. All this intrigued me and that’s why I wanted to live there.

I still have friends in the area and I go back once a year or so, but I never photograph it. I don’t want to move backwards. In the same way, I’d never go back to black and white. We see the world in full colour; that’s why I changed to colour in the first place.

There’s no intellectual reason behind it, it’s just necessary to show the modern world as it is.

The first rule of photography is the pursuit of beauty, so it’s essential to upturn that rule. Otherwise I’d be photographing sunsets and churches like most people do. I’m not interested in photographing beauty. I find beauty in poignancy and vulnerability and that’s what I’m interested in photographing.

That’s what all good photography aims to do – to reveal the poignant and the vulnerable – including the best photojournalism.

My photography evolves and I hope it will always continue to evolve. It’s important to never be complacent and to constantly move forward.

I’m curating at the moment for the Arles festival, and working on a history of photographic books for Phaidon. I’m also working on a book based on three trips to Mexico to explore the relationship between Mexican culture and American culture and the clash they’re in.

I don’t like talking about the past.

Some of the Hebden Bridge pictures have merit and charm, but I’m not going to go around saying what a great photographer I am. I’m just working hard and constantly trying to come up with new ideas, be it through radio, fashion, adverts, curating exhibitions or from behind the lens.

As a photographer, I’m very promiscuous ❽ 4

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MOMENTS

TWO PHOTOGRAPHERS, two rhinestone jumpsuits, one journey.

For Robert Huber and Stephan Vanfleteren, this journey began on 42nd Street, New York City, and ended one month and 11 states later in the desert of Death Valley, California. The project, which began as an idea hatched by two photographers attending the World Press Masterclass, resulted in a book, Elvis & Presley. They hit upon a plan to travel across America, each dressed in the swivel-hipped crooner’s inimitable sartorial style. In pursuit of their dream, Rob and Stephan took the Greyhound bus, rode the subway, and walked through malls – dressed all the time as the King of Rock ’n’ Roll. People reacted in different ways to the 6

ELVIS & ROBERT HUBER AND STEPHAN VANFLETEREN ei8ht

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reappearance of the most celebrated of American icons. Some launched into renditions of “Love Me Tender”, while others asked for the boys’ autographs.

Some were even insulting. Attention, of one kind or another, was guaranteed. In taking photographs of each other, suddenly the pair had become the subject of their own reportage. The black and white pictures from the book are by Stephan Vanfleteren; all the colour ones by Robert Huber. Like the King’s best songs, theirs is a story that hooks us completely, leaving us happy to experience it again and again ❽ 7

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THE SECRET WAR PHILIP BLENKINSOP’S HMONG DIARIES ‘THE WHOLE PLACE WAS PERMEATED WITH A SENSE OF FEAR AND COMPLETELY NO FUTURE. IT WAS ALMOST LIKE BEING WITH GHOSTS.’ PHILIP BLENKINSOP WAS THE FIRST WESTERNER TO ENCOUNTER THE FORGOTTEN HMONG PEOPLE OF NORTHERN LAOS, 30 YEARS AFTER THEIR CIA PAYMASTERS HAD DISPENSED WITH THEIR SERVICES

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RWANDA:

BY ADAM NADEL

Anonymous Infected by AIDS as a result of rape

The sleepless nights when I can’t stop thinking about what happened.

What they did to me.

Sometimes it can be a week without sleep.

I just can’t forget.

When I am alone I can drive myself mad – the feelings of isolation and abandonment.

So maybe I meet people, talk, even laugh.

It’s gone for a few hours.

Then the flashbacks come – It is like watching a film.

It all happens again.

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IN THE APRIL OF 1994, the programme began with the drawing up of names – to wipe the Tutsis off the face of the earth. Rwanda epitomised non-intervention: the United Nations and other governments with a presence in the country withdrew their forces as the killing began. The International Criminal Tribunal for Rwanda was set up by the UN later that year after the slaughter of more than 800,000 Tutsis and moderate Hutus.

It delivered the first-ever judgement on the crime of genocide by an international court. As ei8ht goes to press, Jean de Dieu Kamuhanda, the former education minister, is the latest official to be convicted of genocide and sentenced to life imprisonment. Some ringleaders have evaded capture and the families of the dead await justice.

JUSTICE AND RESPONSIBILITY I left Rwanda when I was very young.

I do not remember the land where I was born.

In Congo my children ate when I worked.

If I did not work they did not eat.

I have returned to work my own land.

My kids will have a better life, they will not go hungry.

Elisabeth Mucagu Returned refugee, first day in Rwanda

Hon. Fred Murindwa Judge

Without justice there can be no reconciliation.

If an innocent man is wrongly condemned the cycle of violence will not end.

The judicial system has kept our society together has kept it from boiling over.

To judge these cases during the month of April is very hard.

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Karoli Kayirango Genocidaire

I am guilty What I did was evil I have been a bad man.

Those who I have killed have relatives.

The moment I meet them I will ask for forgiveness.

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Perpeture Mujawamariya Former army officer

After the start of the war I realised that the slogan that we had been given was a lie.

If these slogans had any weight these things would not be happening.

I started to realise the government was deceiving us.

I lost confidence in my government.

I lost confidence in my senior officers.

These people made my army lose its dignity.

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Aimable Sibomana Newsman, Radio Rwanda

I regret the things I had to say.

It was just because of the system and where I was in the system.

I would have been killed if I had refused.

Gaspad Rwamulinda Genocidaire

The radio was telling us to do it.

So were the leaders.

Our mayor was very clear.

He directed us.

I killed eight people.

I killed people I knew did not deserve to die.

It was that simple.

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Godance Mukanauski Widow

In 1994 they killed my husband and my children.

They destroyed my house.

I hid in the mountains to survive.

It was very hard.

But I am happy now.

A new house was built.

There are a group of orphans who live nearby.

I look after them.

A SUNDAY AT THE POOL IN KIGALI

BY GIL COURTEMANCHE

THE SWIMMING POOL AT THE MILLES-COLLINES HOTEL IS A MAGNET FOR A DIVERSE GROUP OF KIGALI RESIDENTS: AID WORKERS, RWANDAN BUSINESSMEN, EXPATRIATES, SOLDIERS AND PROSTITUTES. AMONG THEM IS GENTILLE, A HOTEL WAITRESS AND BEAUTIFUL HUTU OFTEN MISTAKEN FOR A TUTSI, WHO HAS LONG BEEN ADMIRED BY BERNARD VALCOURT, A CANADIAN FILM-MAKER. AS THEIR TENDER LOVE GROWS IN INTENSITY, THE COUNTRY BEGINS TO SLIDE INTO THE BRUTAL CHAOS OF CIVIL WAR.

“Tell me it’s not possible, Gentille.”

“No, now you know anything’s possible here.”

They were lying under the great fig tree. A gentle, warm wind rustled the tree, bringing the barking of stray dogs and raucous music from the discotheque on Republic Square. Some reckless drivers were defying the curfew with squealing tires and blaring horns. Gentille stoically rocked the child and hummed a ballad from her hill. Valcourt was feeling very low and deriving more pain than pleasure from Gentille’s hand lightly caressing his arm. She was right. He had known it for a long time but had been refusing to admit it. And now he must live with the certainty and Théoneste’s revelations. Even Gentille’s presence under this too-perfect tree, her existence, her futile beauty in the face of the horror to come were sinking a hole in his chest. There was nothing he could do, except kiss his wife the better to cling to life’s straw.

But old reflexes rarely vanish. Bright and early the next morning, Valcourt showed up at the UN head office with his notes and lists of names and places where the extremists were hiding arms – with the plan of a genocide. The major-general refused to see him and sent word that if he had important information, he could entrust it to his liaison officer, a notorious extremist. Valcourt rushed out onto the road leading to Kazenze, where Émérita lived. He wanted to warn her, but also ask her advice.

A hundred metres beyond the crossroads, policemen had set up a roadblock and were stopping all passage.

Valcourt went through on foot, waving his press card. There were several dozen people around the taxi-woman’s house.

A real rumpus. People were shouting and crying. Others were brandishing machetes and clubs. Émérita’s brothel-keeper mother lay prostrate on the red earth, her body enormous and flabby. Josephine, Émérita’s sister, took Valcourt’s hand.

“Come and see what they’ve done to my little sister.”

Valcourt shook his head.

“You have to,” said Josephine. “She really loved you.”

A trickle of water was still running in the shower, tracing red, winding paths like patient snakes. On the walls and floor, mementos, evocations of what had once been arms, a face, a breasts. In this small space, the grenade slipped through the window had pulverized the body into a hundred little pieces of flesh. Valcourt began to vomit. He wanted to cry but in his despair could only hiccup to the epileptic rhythm of the emptying of his stomach.

Just below the house, at the crossing of the Kazenze road and the boulevard that leads downtown, some interahamwes were partying. They could be heard bellowing the song about eliminating the cockroaches. They were cavorting around outside a small bar that served as their headquarters, from which they habitually harassed all the Tutsis passing by.

After leaving Valcourt at Caritas to see Father Louis, this was where Émérita had gone, along with several friends and a police sergeant who was posted at the crossroads. Josephine had tried to dissuade her.

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“The more we tuck our heads down between our shoulders, the faster we walk by pretending we don’t see them, the surer they’ll be they can exterminate us. Our silence and docility give them courage and strength, “Émérita had replied.

To the police sergeant she had described the threats, the incidents of young girls being dragged behind the shanty at nightfall, the bodies that were found along the road every morning, and the burning of houses. It was known who was doing these things. Many witnesses had seen them at it. They must be arrested.

The policeman, embarrassed, said he could not request an official investigation on such insubstantial proof, and the complainant and her witnesses would have to appear before the prosecutor and lay a formal complaint. To show diligence, he asked the militiamen to disperse and put away their arms. They withdrew to a distance of about a hundred metres, laughing lewdly and shouting insults. Émérita was savouring her small victory. She gave them the finger.

They would be back, of course, but she and her friends would do it all over again. Walking to the little house, she had told her sisters and the several friends with her how some villagers in Bugesera, with bows and arrows, clubs and stones, had defended themselves against the soldiers and escaped the massacres of the year before.

“Of course, they think they’re all-powerful. We never lift a finger, we walk like lambs and let ourselves die bleating.”

The friends nodded, more to be polite than enthusiastically, some already convinced that she had just signed their death warrant. She left them to take a shower. She would rather not have washed away the sweet, sharp scent of love from her body, it had been affording her such voluptuous pleasure since leaving the hotel, but business is business, and a business-woman, as she was described on her card, must be irreproachably clean. She was singing, or rather bellowing, “Parlez-moi d’amour” when through the tiny window someone had let drop a French grenade that had travelled via Cairo through Zaïre before landing in Émérita’s shower. Josephine, who was peeling potatoes when the explosion happened, told the whole story to Valcourt. She also told him never to come and visit her and not to show up at the funeral. No, it wasn’t that she felt any bitterness toward him. She was only thinking of his safety.

“Go back to Canada, it’ll be better for you.”

And she held him tight in her arms, not the distant embrace that Rwandans give, with the hands, keeping a space between the bodies, but the embrace one gives a very dear friend.

When he went back to the taxi waiting for him near the roadblock, a policeman called to him.

“You know that terrorist Émérita? Did she have friends you can identify?”

“Yes, me.” ❽

From: A Sunday at the Pool in Kigali , first published in Great Britain by Canongate Books Ltd, 14 High Street, Edinburgh, EH1 1TE www.canongate.co.uk

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UNDERSTANDING STANLEY 26

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BY ROSIE BARNES ei8ht

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When her son was diagnosed with autism, a set of early photographs took on a new poignancy and meaning for Rosie Barnes. She had unwittingly captured a sense of the rigidity and loneliness which define Stanley’s world. In an attempt to increase awareness of what is ultimately an invisible disorder, she continued the series.

WE WERE SITTING in a pub in Devon the other week. There were lots of people there, talking and laughing, and I could see Stanley getting increasingly uncomfortable. The sun was shining though the window right into his eyes, and the whole deal was just too much for him: complete sensory overload. I asked him if he’d like to sit at a table on his own, with his back to the sun. He was immediately relieved. “Yes, mummy, thank you,” he said. To other people in the pub, it must have looked like a punishment.

Sometimes I want to hold up a sign saying “He has autism” so that people will understand what’s behind his behaviour, and not be so quick to judge him as a naughty child. When he was three and a half, Stanley was diagnosed with highfunctioning autism (he’s seven now), which is a social communication disorder that affects one in 90 people.

I’d started this series of photos when Stanley was about 18 months old. He was noticeably bright; he could count to 25 and sing “Moon River”. I decided to do a set of pictures to try to interpret his world. There’s an assumption that small children just figure it all out – and they do – but it’s not that easy, working out reality or emotions. I had no idea then that Stanley was autistic, but ironically, it’s exactly those areas that are affected in cases of autism.

Looking back at my pictures, what struck me most is that you really can’t tell, looking at Stanley, that there’s anything wrong. Other people will look at him and judge him to be utterly “normal”, and that’s not the case at all.

Sometimes he will lie on the floor in the middle of a shop – bearing in mind he’s seven now – and the cute toddler factor has gone. Even I used to think he was being naughty, but I’ve found out that he’s craving the pressure along his back –

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which he gets from the hard floor. He was a very contented baby, never cried to be picked up or to feed. He just used to sit there in his cot, smiling, even when all his teeth were coming through. Now I know that people with autism often have a very high pain threshold.

He’s a very affectionate child – on his terms. He stokes us a lot. He has a word – “sweeting” – he’ll say: “I want to sweet you, mummy.” He has a heightened sense of smell, so he’ll be smelling me as he rubs his lips over my forehead. That’s sweeting. He’s a very gentle boy, but he does have bouts of being very angry and upset.

Stanley’s major interest in life, his sole motivation, is stories, fairytales. He can recite just about every version ever written of the Three Little Pigs. Often when he speaks, he uses phrases he’s heard in other stories. I don’t know if he’ll be able to develop this into a skill for his adult life. At the moment, the statistics aren’t great for adults with high-functioning autism. Less than 10 per cent are able to live independently, or form close relationships. But that’s adults now; awareness of the condition has increased hugely.

Some days I feel very hopeful that people’s attitudes will change; that people won’t think that the way Stanley thinks is wrong, but rather that he thinks and perceives things in a different way.

I hope my photographs take people’s brains outside of the box. I wanted to show through metaphor and symbolism what it’s like to be a person with autism, not how to cope with it from a non-autistic point of view. Stanley really does live in a very confusing world. Much more complex, illogical and at times frightening than I can possibly understand ❽ Rosie Barnes was talking to Max Houghton

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‘There is a truth in the tale of the Ugly Duckling. If you are a swan and unrecognised as such, living with a duck family that thinks you are a duck, expects you to behave like a duck, and at times might coerce you to be more like a duck – you have a problem ... You will have poor self-esteem and the need to isolate yourself at the same time that you try not to be isolated. Indeed, if things get bad enough, you will eventually decide that further attempts at communication will only bring on more trouble, so you stop trying to communicate’ BOB MORRIS, WRITER AND ADULT WITH AUTISM

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MOMENTS

Now I lay me down to sleep I pray the Lord my soul to keep Guard and keep me through the night And wake me with the morning light AMEN

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BEFORE BEDTIME every evening, thousands of children leave their villages and walk many kilometres into the northern Uganda town of Gulu, where they will sleep communally in shelters set up by church organisations.

Some 2,000 boys and girls sleep at this shelter every night. Without blankets to protect them, many children sleep exposed to the elements, crammed into every avail-

able metre of floor space. Yet, for now, they are the lucky ones. Had they stayed at home, they would be in constant danger at the hands of the Lord’s Resistance Army, a notorious anti-government rebel group who conduct raiding parties in which they regularly abduct children.

The boys are used as porters or soldiers, and the girls are used as sex slaves for the boys as rewards for obedience and performance on ei8ht

CHILDREN’S PRAYER PHOTOGRAPH BY ANDY SEWELL

the battle field. A few manage to escape and it is through them we know of the atrocities that show no signs of abating. Simon was just 11 when he was captured and he spent eight years in the LRA. He was forced to kill other children who tried to escape by beating them or hacking them to death. 13-year-old Emma had been a prisoner for six weeks when she became ill and too weak to walk. She was then gang-raped, beaten and left to die. ei8ht

The LRA identifies itself with a Christian religious tradition, its leader, soi-disant prophet Joseph Kony claiming communication with the Holy Spirit. It is funded in part, and militarily assisted by, the Islamist Sudanese government, which has a historically troubled relationship with the Ugandan authorities.

Since the 1980s, the ongoing civil unrest has displaced tens of thousands of people,

mainly the Acholi people of northern Uganda, who have moved to protective camps. The camps are still regularly attacked by the LRA. Late last year, UN Under-Secretary General for Humanitarian Affairs and Humanitarian Relief Coordinator Jan Egeland stated that he considered the humanitarian crisis in northern Uganda to be among the worst on the planet â?˝ 31

ESSAY

‘On reading

IN OUR LAST ISSUE, RENOWNED PICTURE EDITOR COLIN JACOBSON RAILED AGAINST CURRENT TRENDS IN THE ART WORLD TO MAKE USE OF PHOTOJOURNALISM FOR ITS OWN ENDS. NONSENSE, SAYS PAUL WOMBELL OF THE PHOTOGRAPHERS’ GALLERY. THERE ARE MANY WAYS PHOTOGRAPHERS LOOK AT THE WORLD TODAY – MODERN PHOTOJOURNALISM IS NO LONGER JUST FOR PHOTOJOURNALISTS 32

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Year Zero...’

DEAR COLIN

h

Yes, I remember the meeting well. Why was I invited? Maybe I was seen as a young kid on the block just having been appointed as Director of Impressions Gallery in York. The date, not so sure of the exact date, but the year was 1987. The meeting was in London at one of those grand buildings located on Piccadilly. It was organised by the main public funding body to support the arts in the UK. This was the first time that I had the opportunity to meet photographers I previously had only heard of. Other gallery directors from around the country were also there, as well as some cultural theorists.

Maybe 30 people filled the room. Barry Street started the proceedings by stating that this was the time to promote the new art colour photography being produced by young British photographers that was been ignored by the media. (The media in these days meant newspapers and magazines.) No one was reviewing photographic exhibitions, or commissioning these photographers and it was the job of the publicly funded photography galleries to support this new breed of photographers. And yes, no minutes would be taken of the meeting. Everyone had a story to tell how picture editors were not interested in this type of work and were only interested in commissioning photojournalists and that the mantra was that black and white was the truth and colour was not real. Maybe my memory is not as good as it was, but I am sure that we all left that meeting feeling positively charged with a mission to change photography. This meeting could be construed as a conspiracy, but when you feel that the world is against you action is needed.

Every time I meet Colin there always seems to be a conspiracy against his vision of what photography should be. This conspiracy could include the art world, galleries like The Photographers’ Gallery, lifestyle magazines and those colour photographers like Martin Parr and Paul Graham. They are all conjured up in his article in the Volume 2 No 3 of ei8ht magazine. Believing in conspiracies is one way of understanding how the world works. I find it much more difficult to explain how the photography world works, and would require more time and space to give a more considered response, but here are my limited thoughts.

So what is photojournalism? In Colin’s article photojournalism, reportage, and documentary are used throughout sometimes in contradictory ways. I am not sure of one clear argument, but I am sure

feels passionate about something which I take to be the loss of a photo practice that engages with current social issues like war, famine, poverty and homelessness. These issues are not being covered as they were in the past, and today young photojournalists cannot see a future tackling these issues because there is no avenue to show this work [ed: Paul, you’re writing in one], and there is no fat pay cheque for this type of work. Underpinning Colin’s argument is that there is such a thing as a full-time career that allows photojournalists to travel the world to record stories to be reproduced in newspapers and magazines.

When I was working on my book Sportscape, The Evolution of Sports Photography I came to the conclusion that the specialised photographer who concerns himself with one subject like sports only came into existence in the 1950s and ’60s. This was a response to the growing market of newspapers and magazines that created the specialised picture agency, but also created the photographer who could make a living by only tackling a limited range of subjects. This can be seen within photojournalism and the development of the concerned photographer who could travel the world photographing famine and war.

Someone like Don McCullin could not have existed before the 1960s.

Previously, before this era of specialisation, a photographer could well be covering football on Saturday, working on a photo-story during the week and by Friday taking celebrity portraits, all for the same magazine – this reminds me of how Bert Hardy worked at Picture Post. The point I am making is that the photojournalist using the 35mm camera with black/white film who travelled the world seeking stories that concentrated on subjects like famine and war is a modern invention, and that there is no historical reason why this form of practice should continue to exist in the future.

This does not mean that important social issues are being ignored by photographers, just that the way they deal with these issues might well be different to the way we have become accustomed to. Let me describe the work of three photographers who for me are working in the best tradition of photojournalism.

If you have a look at an early book of Nan Goldin please try my test. Make black/white photocopies of her colour images. This will bring to the forefront the intimate style that is so similar to the work

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ESSAY

of many photojournalists using the 35mm camera. Working over many years on one subject would be something that Colin would surely support. Her subject matter is war – not in a foreign land, but in her home country. Her work portrays the war of Aids in the USA and the physical and emotional damage of personal relationships.

Today her work is shown in museums, prints are sold at auction for large amounts of money, expensive books are available on her work.

Goldin has made a major contribution to photography and yes to photojournalism.

The Dutch photographer Bertien van Manen is also someone who works within the tradition of photojournalism and who has produced two important bodies of work on Russia and China. Dealing with the large upheaval of people moving from the country to the city due to economic changes brought on by globalisation, she has been able to portray major social events through the lives of people she has met during her extensive travels in both countries. Bertien has found the gallery world much more appreciative of her work than newspapers or magazines.

More recently Simon Norfolk, using a large format camera, has made an impressive body of work on war zones. He might not include dead bodies in his photographs, but they do convey the horrors of contemporary war in a more powerful way than most photojournalists working today. Simon is dealing with the complexities of war by using the still camera to make landscape images that make the viewer reconsider and question how they see war represented on television. He is using the possibilities of photography to work across magazines, galleries and book publishing, and to engage a wide audience to question how governments conduct themselves on our behalf.

No Colin, we are not witnessing the death of photojournalism.

Unfortunately you cannot recognise the great work produced today dealing with major social issues. Another meeting now comes to mind. I am in New York in 1985. One afternoon visiting galleries in Soho I bump into Sebastião. We are both visiting the same gallery to see the work of the rising star in the art world, Andreas Gursky. We are impressed with the work, but I am surprised that Sebastião likes Gursky’s large colour prints. Why should I think like that? Because Sebastião was not blinded so he could only see the context of the work in a fine art gallery where prints are sold at high prices. He saw the connection between his own work with Gursky’s view on the contemporary world. In many respects they are dealing with the same issues and Sebastião had no difficulty in recognising this. It was me who was blinded thinking only the art world would understand Gursky’s work.

Memory is a funny business – now which meeting took place?

All photographs by Simon Norfolk from his project Conflicting Landscapes.

Previous page: Bahgdad Street scene; Ascension Island, radio relay stations These pages: Ascension Island, landscapes; Refugee camp Moro, Southern Chad

Sincerely, Paul Paul Wombell Director of The Photographers’ Gallery 34

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WE ARE ‘AN IRON DISCIPLINE MUST PREVAIL IN OUR News from Pyongyang

STILLS AND TEXT BY NICOLAS RIGHETTI “WE ARE HAPPY!” This is the first sentence translated for me when I arrive on the tarmac in Pyongyang, the capital, an enormous slogan written in Korean.

Leaving the airport, the world turns upside down. No advertisements, no traffic, no salesmen, no noise, no bicycles, no Asia as we know it. The country exists in a vacuum; the atmosphere feels like that of a besieged citadel.

Silent streams of pedestrians in uniform walk in their hundreds down the avenues. Soldiers stand guard in full Robocop gear, ready to intervene immediately against the imperialist peril. My guide, Han, is convinced of my unconditional love for the regime. On each of my 36

four visits, he hands me the same programme and the same schedule for my stay. I amount to a foreign delegation of one.

On my second excursion, I realise that what is interesting to me is not to uncover the nasty underside of this totalitarian production, but to portray the country as it wishes to appear.

Like Alice in Wonderland, I finally find myself on the other side of the mirror. I make fiction into reality – unless the opposite is true and it is reality that has turned into fiction ❽ Righetti’s images are stills taken from video to heighten his sense of a surreal experience ei8ht

HAPPY!

EARTHLY PARADISE.’

‘COMRADE KIM IL SUNG IS IMMORTAL’ News from Pyongyang ei8ht

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‘LET US MAKE MIRACLES ON A WORLDWIDE SCALE, WITH THE SAME ENTHUSIASM AS WHEN WE LAUNCH OUR SATELLITE: KWANG-MYANGSONG’ Slogan on the streets of Pyongyang

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‘ART IS THE PARTY’ Kim Il Sung

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‘KIM JONG IL IS THE PERFECT BRAIN!’ Slogan on the streets of Pyongyang

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TILL THE COWS COME HOME The spring of 2001 saw the idyllic Devon countryside become a smoking, stinking funeral pyre almost overnight as foot and mouth disease paralysed the farming community. Whole families were quarantined, entire herds were sent to their death, and reports of farmers committing suicide hit the papers.

AS AN UNEASY EQUILIBRIUM returned to the area, I remained transfixed by the devastating images of mass slaughter. While the story slipped inexorably down the news agenda, I went to the village of Black Dog in Devon to stay with two farming families, the Gillbards and the Pettyfers, as they prepared their first new stock 42

since the outbreak for market. I was suddenly part of a very British tradition. All meals were taken at the kitchen table, table cloth on, and there would be a fantastic home-made fruit cake every day.

It’s an incredibly close-knit community; everyone knows each other. I really stuck out as a stranger, but at the same time everyone was immensely welcoming. They didn’t know me at all, but by the time I left they’d say: “That’s Philiy’s room.”

One of their neighbours had been breeding cattle since he was 11, and his entire stock were descendants of the original animals, so he lost everything after foot and mouth. He couldn’t start again, ei8ht

BY PHILIY PAGE everything he’d ever worked for was gone. He can’t work any more; he just sits in a chair. His sons run the farm, and all the neighbours pop in from time to time. He won’t be forgotten. His story was related a lot in the aftermath of the outbreak. Everyone was being reassured that they’d be compensated for their losses, but you can’t compensate for what happened to him.

There are three generations of farmers in both the families I stayed with, part of a tradition that goes back hundreds of years.

I was curious to find out if the youngest still wanted to carry on with farming after the foot and mouth and BSE crises. I spoke to ei8ht

ten-year-olds who had been quarantined during the crisis, and during that time had learnt so much about their parents’ livelihoods that they wanted to do it too.

Paul Gillbard, who is 24, is sure of his future: “I want to continue in farming. You need half a lifetime’s experience to learn and pass on to the next generation. I’ve learnt a lot about different systems in my work and this I want to pass on” ❽

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PHILIP JONES GRIFFITHS HAS SPENT 22 YEARS CHRONICLING THE IMPACT OF AMERICA’S USE OF hen I was covering the war in Viet Nam there were reports from Hanoi in 1967 claiming that millions of people had been victims of chemical warfare. Officials in Saigon dismissed these as crude propaganda and for us journalists in the South there was little opportunity to verify claims made by the North.

In the summer of 1969 four Saigon newspapers ran stories with pictures of deformed babies born to women who had been sprayed with Agent Orange. The South Vietnamese government argued that the deformities were caused by venereal diseases and President Thieu closed down the papers for “interfering with the war effort”. After such moves, tracking down any victims proved difficult.

In 1970 I heard stories that babies were being born without eyes. Remembering my time working in hospitals, as a pharmacist in

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London, rumour had it then that the staff induced acidosis in a baby born seriously deformed (killing the child) to protect the mother from the trauma of seeing her baby. I assumed something similar could happen in the hospitals and orphanages of Viet Nam, except I reckoned, in those run by Catholics.

Over the next few months I visited as many such places as I could find. In almost all cases I was denied access, usually by polite and smiling nuns. At the risk of sounding paranoid I became convinced they had been told to keep the press away.

By 1971, the word was out that the US spraying had been officially stopped because of its harmful side effects. There was a flurry of news stories, but no pictures. I left Viet Nam in the summer of 1971 without ever seeing a victim.

After the war was over I got back to Viet Nam and saw my first affected child. The

AGENT ORANGE

initial situation was a mother with two blind daughters, born with no retinas. Later I saw children with empty eye sockets and still others with no trace of eyes at all.

Agent Orange contains Dioxin. Dioxin acts like a hormone. It gets to the receptors in the cells of a developing foetus before the normal hormones and directs the cells to do crazy things. The end result has been tens of thousands of deformed children and an even greater number of miscarriages and stillbirths.

Spending time with the affected children is never easy – 20-year-olds living in 10year-old bodies. Some howling like animals, some giggling hysterically while others search with catatonic stares for meaning in the heavens. For the parents, their lives are never the same again. Giving birth becomes a game of roulette. I remember one day, with Bill Dowell of Time Magazine, meeting a

‘COLLATERAL DAMAGE’ IN VIET NAM

Baby with no name (left) brought from Vinh Long Province to Tu Du hospital by her mother, Dnag Thi Hong Khuyen. She was born in November 1998, with hydro-encephalitis, and died a month after this photograph was taken.

Penh (right), 14 years old, born in Tramko district, Takeo Province. He begs with his parents who have also moved to the city. With his handsome good looks he specialises in targeting open-air restaurants.

Le Thi Dat, 13 (facing page, left), suffers from spina bifida and mental retardation.

Carried outside by her mother on most sunny days she is inseparable from her doll.

Her father was a soldier in the Saigon army during the war, stationed near Cam Nghia.

Attending the weekly check-up (top right) at the village health clinic in Cam Nghia ‘Village of the Damned’ in central Viet Nam where one out of ten children is born deformed. The village was sprayed intensively between 1965 and 1967.

For more information please visit these online sites: www.agentorangevietnam.net www.digitaljournalist.org 46

Professor Ton That Tung (bottom right) was one of the first to warn of the dangers inherent in the use of Agent Orange.

Acknowledged as the world’s eminent pioneer of liver surgery, he was once a soldier at the battle of Dien Bien Phu, who eventually became Viet Nam’s Deputy Minister of Health. After operating on a patient he once asked: “When in the abominable history of war, with the sole exception of nuclear weapons, has such an inhuman fate ever before been reserved for the survivors?”

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BOOKS DIOXIN ON THE VIETNAMESE. HERE HE TELLS US WHY Vietnamese mother who told us, “I was so terrified by what I had seen happening around me, that the moment my child was born the first thing I asked was whether she had both arms and legs.”

Many of the earlier pictures were taken while on assignment for Geo Magazine in the early ’80s when Kodachrome 64 ruled the day. This meant lugging heavy 200w/s flash units around dimly lit locations to bounce light off less-than-white ceilings. Later, Kodachrome 200 and fast Zeiss lenses made working easier and in the last few years, as the project became self-assigned, I stuck with black and white film. For the book I converted the earlier colour to monochrome on the Imacon scanner.

My initial motivation for spending 22 years engrossed in this subject has to do with witnessing a staggering human tragedy unfold. In many ways the sad and terrible

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Viet Nam war has become a war without end.

The parents of the afflicted are an inspirational group, showering love and care on their children. Most are desperately poor and any compensation offered by America would make a huge difference to their lives. The US did not drop Agent Orange to produce deformed babies – it was simply meant to kill vegetation. The Dioxin was an accidental byproduct. This gives America a perfect excuse to be magnanimous towards the victims.

The other reason for my obsession is that we need to get to know more facts about Dioxin. Each and every person on the planet now has this deadly chemical in their bodies, mostly from industrial pollution and the embrace of plastics by society. Even the US Environmental Protection Agency declares that a quarter of all cancers in America are caused by Dioxin. Researchers on the subject cannot continue to ignore Viet Nam. It pres-

ents the perfect setting to determine the facts – one people, half in the South that were sprayed and those in the North who were not, thus providing a genuine control group.

Getting a book like this in print was not easy and I was indeed lucky to find a brave publisher. It will not be an easy “sell” but in a perfect world it would be in every school library in the country. Readers who flock to the latest Tarantino offering undeterred are, unfortunately, suddenly squeamish when confronted with reality. But as Gloria Emerson put it, “to turn away and not see the photographs is to compound the crime”.

This article first appeared in the January 2004 Edition of the Digital Journalist – www.digitaljournalist.org Agent Orange: ‘Collateral damage’ in Viet Nam by Philip Jones Griffiths, 160pp, Trolley, £24.95, ISBN 1-904563-05-8 www.trolleynet.com

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REVIEWS

CARNIVAL STRIPPERS, AND ENCOUNTERS WITH THE DANI Two very different books by Susan Meiselas, separated by over 20 years, but both detailed, fascinating and incredibly involved

efore becoming a professional photographer, Susan Meiselas studied anthropology – the influence of which is still evident in the subject matter and methodology of her work today. Her immersion in the events she portrays is balanced with an almost scientific emphasis on objective documentation. Steidl’s reissued Carnival Strippers and the new Encounters with the Dani represent respectively Meiselas’ first and most recent bodies of work. Although on the face of it very different projects, they still follow the same thorough approach: using multiple perspectives to construct the narrative and placing equal emphasis on images and text as a means for deepening our understanding. Meiselas gives those she photographs a voice, neutralising, as much as possible, her own.

The revised edition of Carnival Strippers offers a new selection of Meiselas’ black and white photographs from the summers of ’72 to ’74, alongside commentary from her subjects, essays by Sylvia Wolf and Deirdre English exploring the wider significance of the work, and a CD containing interviews with some of the strippers and Meiselas herself. It is a fascinating, depressing and incredibly involved body of work that has lost none of its ability to engage. In the summer of 1972, Meiselas travelled around the Midwest photographing the “carnies” working on Carnival rides and fairs. She literally stumbled across a girlie show at one of these events “a façade of glitter and lights”, a bally stage upon which scantily clad girls gyrated their bodies to the banter of a man with a microphone, beckoning the men to the tent behind. Out of bounds to women and children, Meiselas gained access to the tent and its strip shows and her grainy images reflect this tough, unglamorous world and the interactions of those inhabiting it.

Arranged in three parts, the book moves from the front of house bally stage and the tent performances, through to the strippers backstage and after the shows, and a final series of portraits. Meiselas used a Leica to be as unobtrusive as possible, and these images, particularly those taken in the tent, are

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shocking in their frankness. Although aware of the camera the male audience appear fully focused on the women on stage, their eyes wide, their bodies craning upwards to get closer to the objects of their desire. Despite the protection provided by management, commercial competitionmeant the inevitable happened and Meiselas also recorded the instances when the boundaries between client and stripper are crossed.

Backstage she recorded the women at rest, their uninhibited nakedness resulting from bodies no longer being on display, images of the female nude with precedents in the work of Brassai or Matisse and their pictures of Parisian prostitutes.

Returning for three summers to photograph, Meiselas built up a relationship of mutual trust and in some case friendship with the strippers. She worked with them to edit the images and the portraiture was done for their benefit, providing them an opportunity to present themselves as they wished.

Most heartbreaking is Lena’s story – one of the girls to whom Meiselas became closest.

Her taped interviews record an articulate young woman who quickly becomes only too

aware of her role “we aren’t professional show girls, we’re prostitutes pretending to be show girls”. This is reflected in her double portraits, the first of a fresh faced beauty of 18 on her first day on the job, and the second just three years later of a woman whose work has taken its toll on her body. This work is all the more remarkable when contextualised within the seismic shift in women’s rights and social politics at this time. For most of ei8ht

REVIEWS

the girls, working class runaways to whom the alternatives of marriage or waitressing offered little, stripping, despite the obvious perils, was an opportunity. There is a tension ei8ht

between how they feel and how society saw them. These are not straightforward victims and it is left up to the viewer to decide if they are resigned or in control.

Encounters with the Dani is an accumulation of found documents, written and visual, describing the history of interaction between the outside world and a remote tribe in Papua New Guinea. The project began when Meiselas travelled to the Baliem Valley with cinematographer Robert Fulton, who had previously shot the tribesmen for an anthropological film in 1964, and grew into a wider exploration with the involvement with the Nederlands Foto Institute to (as Meiselas wrote in 1999) “explore the ways in which the Dani have been seen by travellers, anthropologists, missionaries, colonialists, and perhaps themselves, throughout this century”.

This is less a photography book than a chronological scrap book that includes images by Meiselas among a plethora of other sources – newspaper clippings, old photographs, cartoons, maps, letters and extracts from interviews with the Dani and those who have come into contact with them over the years. A people barely touched by

the modern world at the beginning of the 20th century, the Dani were viewed as a curiosity by the press and the public, as savages waiting to be converted by Christian missionaries, or as political pawns in a wider struggle for control of the region.

This illuminating book records the Dani’s rapid change of circumstances, resulting in the almost complete erosion of their traditional way of life brought about primarily by the effects of the colonial handover of Papua New Guinea from Dutch to Malaysian rule.

With the Dani, Meiselas herself remains, through the very nature of her subject, more of an outsider looking in – still engaged, but one suspects, less personally involved than with Carnival Strippers. Aside from studying their clientele, Meiselas rarely touches on the perceptions of the society at large towards the strippers. In contrast, it is predominantly the outside world’s interactions with the Dani that are used by Meiselas to construct a record of their changing way of life.

Both Carnival Strippers and Encounters with the Dani record the lives of marginalised people fighting to maintain a sense of identity and self worth, one within the context of sexual interaction and gender politics in Western society, the other a story of postcolonial fallout and its effects in a remote part of the world. Visually they are very different, Carnival Strippers’ edgy black and white action shots and portraiture versus Encounters with the Dani’s colourful collection of mixed media – the aesthetics resulting from the circumstance of gathering the information. However, in both cases Meiselas has sought the best way to record and convey these stories. Detailed studies, these are source books from which we are left to draw our own conclusions.

SOPHIE WRIGHT Carnival Strippers by Susan Meiselas, 164pp, hardback with Audio CD, £28.00, Steidl ISBN 3-88243-954-8 Encounters with the Dani, by Susan Meiselas, 176pp, hardback, £25.00, Steidl/ICP, ISBN 3-88243-930-0 www.steidl.de 49

INDEX HOME WWW.FOTO8.COM/EI8HT the home of ei8ht magazine on the web.

Previews of the issues, subscriptions, media info and special project: Israel – Palestine WWW.FOTO8.COM/FOTO8JOURNAL/ the original website of photojournalism.

Quarterly updates of digital presentations and galleries.

STORIES Hebden Bridge by Martin Parr / Magnum Contact Sara Rumens, Magnum Photos, London, Tel +44 20 7490 1771 – www.magnumphotos.com/ Elvis & Presley by Robert Huber and Stephan Vanfleteren / Lookat Contact Nicole Aeby, Lookat Photos, Zurich, Tel +41 1 291 04 70 – www.lookat.ch/ Elvis & Presley, USA published by Kruse Verlag, ISBN 3-934923-06-02 The Secret War by Philip Blenkinsop / l’Agence Vu Contact l’Agence Vu, Paris Tel +33 1 531 85 85 – www.agencevu.com/ Amnesty International is campaigning to facilitate humanitarian aid for the Hmong people in Laos – www.amnesty.org/ Rwanda: Justice and Responsibility, by Adam Nadel / Polaris Contact JP Pappis, Polaris, New York Tel +1 212 967 5656 – www.polarisimages.com/ More information on the ongoing Rwanda war crimes tribunal – www.ictr.org/ We are Happy, stills by Nicolas Righetti / Panos Contact Michael Regnier, Panos Pictures, London Tel: +44 20 7234 0010 – www.panos.co.uk/ The Last Paradise: North Korea published by Umbrage, ISBN 1-884167-32-2 Children’s Prayer, by Andy Sewell WorldVision, Gulu, Uganda, assisted with this story www.worldvision.org/ www.andysewell.com/ – Till the Cows Come Home, by Philiy Page Issues concerning British farmers today – www.nfu.org.uk/ www.philiypage.com/ Understanding Stanley, by Rosie Barnes / IPG Contact John Easterby, IPG, London Tel: +44 20 7749 6060 – www.ipgphotographers.com/ For information on autism, contact the National Autism Society www.nas.org.uk/ Angola, Surviving the Peace Photojournalist Sean Sutton has been working with landmine charity MAG since 1997. He made this short film with fellow photojournalist JB Russell in Angola in 2001-2002, as the war was coming to an end. www.magclearsmines.org.uk PARTNERS documentography.com, Photodocument.pl, Photographer.ru, Red-Top.com, Reportage.com, Revue.com, Tangophoto.ch

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For subscriptions and back issue orders, please telephone +44 (20) 7636 0399 or go online and click to: www.foto8.com/

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REVIEWS Random Family, love, drugs, trouble and coming of age in the Bronx by Adrian Nicole LeBlanc, 408pp, hardback, £17.99, Flamingo, ISBN 0 00 716344 4 www.harpercollins.co.uk

As titles go, this one pretty much spells out what’s in store for the reader following the turbulent, engaging and, at times, overwhelming experiences of four Latino “kids”, their extended families, friends and acquaintances in New York City’s tough South Bronx neighbourhood.

Such a prosaic title is fitting too because this extraordinary work that reads like fiction is, in fact, non-fiction. Commencing in 1984, the author, LeBlanc spent 11 years documenting the book’s “leads”, brother and sister, Cesar and Jessica, her friend and his girlfriend, Coco, and Jessica’s “husband” and drug lord, “Boy” George.

The author records their lives objectively.

She’s omniscient but never intrusive in the drama. Her prose is muscular and unrelenting, and, in contradiction, what is at first the book’s strength begins to become what makes it less interesting.

There’s no pause or change of rhythm. The effect is the action is rendered soap operatic.

We are told what happened and who said what but we never learn why. Reported speech is invariably sound bite and motives are rarely, if ever, discussed. Sadly, one begins to care less about the characters’ fate, and ultimately, this reader is left feeling let down, and none the wiser as to the whys and wherefores.

Maybe this is what LeBlanc intended.

Perhaps there are no answers, so why ask GM questions?

Living Under South Street by Jonathan Elderfield, 120pp hardback, 30EUR, Kehrer Verlag, ISBN 393663605-2, www.kehrerverlag.com

“… there are two kinds of people in the world: the kind that grew up in South Philly, and the kind that wished they did,” says writer Murray Dubin. Photographer Jonathan Elderfield is of the second kind.

British born and living in New York he set out, in any spare time he had over a two year period, to find the people of South Philly, to wander their streets and photograph their unique slice of Philadelphia living. “It seems as if the whole block is out on the street,” ei8ht

Elderfield remarks. The world he finds is “combustible, full of emotion and noise and colour”. For not only is South Philly America’s original neighbourhood it is also historically its most racially and ethnically mixed. In his photographs we meet Italian-Americans, African-Americans, newly arrived Mexicans and AsianAmericans.

I first became aware of Jonathan’s images when he showed me the project, beautifully conceived, scanned and presented as a dummy book. The subsequent publication

by Kehrer in Germany is simple yet exquisitely printed. It is not a large book as photography books go, yet it speaks volumes: of the South Philly way of life; of Jonathan’s skill and dedication; and of the publisher’s vision and regard JL for photography.

The Vanishing: Altered Landscapes and Displaced Lives by Ian Teh, an exhibition. PhotoFusion, 17a Electric Ave, London SW9 8LA. Until 27 March 2004

The romantic notion of documenting “underwater cities” first turned Ian Teh’s attention to China’s Three Gorges Dam Project. Thirteen cities, 400 towns and 1,352 villages along the Yangtze River were to be lost beneath 39 billion cubic metres of water.

Between 1999 and 2003, just before the flooding began, Teh travelled 700km east between Chongqing and Sandouping to record the crushing impact of the scheme on two million people. The exhibition of his work, The Vanishing: Altered Landscapes and Displaced Lives is the realisation of the project.

The collection of around 40 images reflects the stages in the scheme’s advance.

Rather than unleash the flood waters on the polluting shells of cities, the government required every building to be dismantled and the remnants razed.

Early images depict groups of people, their possessions packed into bags and boxes, cramming onto ferries to start new lives in eastern seaboard cities or freshly built “replacement towns”. In one photograph, wardrobes and sofas stand open to

the elements amid a grey wasteland of mud and piles of bricks. In another, a couple with nowhere to go huddle, terrified of the future, in the crumbling tower block that had once been their home.

Viewing this exhibition is rather like looking at a photo album from a bygone age. You know that the scenes depicted no longer exist but, oddly, it’s the landscape that has died while the faces live on. Only time will reveal the true impact of severing entire communities from their roots and Carolyn Fry memories.

Another Day in Paradise, compiled and edited by Carol Bergman, foreword by John Le Carré, 256 pp, hardback, £17.99 Earthscan, ISBN 1-84407-034-4 www.earthscan.co.uk

The aid industry (or humanitarian industry as this book has it) is an emotive subject.

An industry that creates a culture of dependence and stifles development is one of the lesser charges levelled against it; more serious is the accusation that it can prop up dictatorships by providing what the state won’t.

What has been missing from the debate is a book written by humanitarian workers on the ground who tell it as it is. Another Day in Paradise is that book.

Its editor, Carol Bergman, states the reason we haven’t seen such a book before is because of the major commitment undertaken to compile it. A story from Sudan was abandoned for fear of jeopardising a clinic. Some agencies simply wouldn’t take part. Others, aware that the text would reach potential donors, wanted to impose rigid controls on the edit.

Containing 15 entries spread over three different themes – Natural Disasters, War and Fragile Peace – Another Day in Paradise not only offers a fascinating insight into the work of nongovernmental organisations (NGOs) but also into the minds of the humanitarian workers; their motives and the unease they often feel about their presence. PL Full length versions of these reviews can be found online at: www.foto8.com/reviews/ 51

DIARY

Individual Shows

wildlife and people.

Richard Billingham, New Forest

Venue: The Mercer Art Gallery, Swan Road, Harrogate HG1 2SA Until 21 March

New work by ArtSway’s current artist in residence, Billingham, based on the New Forest landscape.

Venue: ArtSway, Station Road, Sway SO41 6BA Until 18 April

Julia Calfee, Spirits and Ghosts – Journeys through Mongolia

Addressing the issues of a country seeped in the murkiness of the post-Communist era, awkwardly adapting to a new

Venue: Brunei Gallery, SOAS, Thornhaugh St, Russell Square, London, WC1 Until 19 March Annie Leibovitz, American Music

Intimate and revealing portraits inspired by the roots of American popular music.

Venue: The Hospital,

a mix of staged and reality.

the Himalayas.

and South Africa.

Venue: Centre National de la Photographic, Hotel Salomon de Rothschild, 11 rue Berryer, 75008, Paris, France Until 15 March

Venue: Dimbola Lodge Museum, Freshwater Bay, Isle of Wight, PO40 9QE Until 21 March

Venue: Frith Street Gallery, 59-60 Frith Street, London W1D 3JJ Until 20 March

David Lurie, Cape Town – Manenberg Street

Lurie reports from the mean streets of Manenberg on a community uprooted from their former home.

Venue: The Side Gallery, 5&9 Side, Newcastle upon Tyne, NE1 3JE 27 March – 9 April

JD Perkins, The Call Centre David Moore, The Commons

Documenting life in a UK call centre.

Three years in the making, Moore has managed to document every aspect of a deserted House of Commons.

Southend Central Library, Victoria Avenue, Southend-on-Sea, Essex SS2 6EX 26 Feb – 18 March

Venue: Percy Miller Gallery, 39 Snowfields, London SW9 3SU Until 5 March Daido Moriyama, Transit

Kirsty Mackay, i-capture

A digital diary of 365 images taken on the digital camera of a mobile phone.

Venue: The Deluxe Gallery, 2-4 Hoxton Square London N1 6NU 30 March – 12 April Susan Meiselas, Carnival Strippers

Photographs and interviews with New England strippers 1972 – 1975.

©Annie Liebowitz/ The Hospital

Cecil Beaton (1904-1980)

democratic system.

Major retrospective exhibition bringing together over 100 portraits from one of Britain’s most celebrated portrait photographers.

Venue: Galleria Grazia Neri, via Maroncelli 14, Milano, Italy 5 March – 9 April

Venue: National Portrait Gallery, St Martin’s Place, London WC2H OHE Until 31 May Robert Berlin

Images taken in public spaces dealing with people’s private moments.

Venue: Kowasa Gallery, Mallorca 235, 08008 Barcelona Until 28 March Rut Blees Luxemburg, Ffolly

Large-scale images of the city at night including new works from Swansea.

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Luc Delahaye, History and Winterreise

UK premiere of a series of monumental panoramic photographs offering radically unfamiliar perspectives on contemporary world events.

Venue: National Museum of Photography, Film & Television, Bradford BD1 1NQ Until 3 May Miklos Gaàl, Imitation of Life

Panoramas and city scenes shots taken with a specialist camera that portrays all the world in miniature.

Venue: Ffotogallery, Turner House, Plymouth Road, Penarth CF64 3DM 12 March – 25 April

Venue: Kunstverein Gôttingen, Gotmarstr. 1, Postfach 25 18 37015 Gôttingen Germany Until 29 February

Tessa Bunney, Moor and Dale

Leah Gordon, Kanaval

Landscape and documentary photographs exploring the relationship between landscape,

Photographs from the pre-Lenten Mardi Gras in Jacmel, Haiti.

Complemented by oral histories.

24 Endell Street, London WC2H 9HQ Until 9 May Philip-Lorca diCorcia

Experimenting with lighting and composition, diCorcia’s images are

Photographs of Moriyama’s exhibition touring the United States.

Venue: Fifty One Fine Art Photography, Zirkstraat 20, 2000 Antwerpen, Belgium Until 17 April Daido Moriyama, Rare Vintage Work

Rare work from one of Japan’s most celebrated photographers.

Venue: Scout Gallery, Mundy Street, London N1 6QT 2 April – 15 May

Venue: Shine Gallery, 3 Jubilee Place, London SW3 3TD Until 10 April

John Millar, A lyrical view of the Himalayas

Dennis Morris, Sid

Prints of Millar’s travels through

©Kirsty Mackay/i-capture at the Deluxe Gallery

25 moments from the short life of Sid Vicious.

Venue: Blink Gallery, 11 Poland Street, London W1F 8QA Until 5 March James Natchway

Images from conflict zones spanning 20 years. Including: Somalia, Bosnia, Rwanda and Northern Ireland.

Venue: c/o Berlin Presse, Linienstrasse 144, 10115, Berlin, Germany Until 29 Feb

Cindy Sherman

Solo exhibition from the widely acclaimed photographer.

Venue: Scottish National Gallery of Modern Art, 75 Belford Road, Edinburgh EH4 3DR Until 7 March Ian Teh, The Vanishing: Altered Landscapes and Displaced Lives on the Yangtze River

Documenting the recent transformation to China’s Yangtze River made by the construction of the giant Three Gorges Dam. Venue: Photofusion, 17a Electric Lane, London SW9 8LA Until 27 March George Tice, Urban Landscapes

Work devoted to the American rural and suburban landscape.

Venue: Zelda Cheatle Gallery, 99 Mount Street, London W1Y 5HF Until 5 March Mark Wilkinson, Underground – Twelve Stations

A series of portraits taken on the London Underground over the past two years.

Venue: The Notting Hill Arts Club, 21 Notting Hill Gate, London W11 3JQ 11 March – 23 April

Group Shows Denis O’Regan, Bowie: 78-90

Featuring over 30 pictures, many that have never been published.

Venue: Proud Camden Moss, 10 Greenlands Street, London NW1 Until 5 March John Riddy, Skies

Cloudscapes made over the past six months in London, Bogotà, France

Blindfold, 30 Years of Erotica

Illustrating how over the past 30 years attitudes towards erotic photography and its place in the public arena have changed significantly.

Venue: Proud Central, 5 Buckingham Street, London WC2 Until 4 March

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London WC 2H 7HY Until 28 March FotoFest 2004 – Water

The United States’ oldest and longest running international biennial of photography and photo-related Arts.

Venue: Rice University, Houston, Texas, USA March 12 – April 12 Masterworks

Photographic masterpieces from Edward Weston, Henri CartierBresson, Erwin Blumenfeld, Sally Mann and Alfred Stieglitz, amongst others. © Milda Drazdauskaite / Giedre Bartelt Gallerie

Citigroup Photography Prize 2004

Goldblatt and Joel Sternfeld.

Winner announced 4 March 2004.

This year’s shortlist for the international award comprises Robert Adams, Peter Fraser, David

Venue: The Photographers Gallery, 5 & 8 Great Newport Street,

Venue: The Michael Hoppen Gallery, 1st Floor, 3 Jubilee Place, London SW3 3T Until 24 April Royal Photographic Society

102 prints short-listed from over

1,800 entries Venue: Dimbola Lodge Museum, Freshwater Bay, Isle Of Wight PO40 9QE 5 March – 2 May

© Ian Teh / Photofusion

Photography and Soviet Censorship

Attempting to comprehend the censored photography of the Soviet Union from Brezhnev until Perestroyka.

Venue: Giedre Bartelt Galerie, Linienstr. 161, Kleine Hamburger Str. 10115 Berlin, Germany Until 27 March

War envoys, VII Photographers

Perceptions of Pain

Venue: Centro Internazionale di Fotografia, Scavi Scaligeri, Cortile del Tribunale Piazza Bra, 1 Verona, Italy 19 February – 18 April

Exploring science and art in relation to the body.

Venue: Thackray Museum, Beckett Street, Leeds LS9 7LN Until 4 May

Eight photographers from VII, the photo agency present their work from the world’s conflict zones.

ei8ht welcomes exhibition listings.

Please send news releases via email to: listings@foto8.com or post to: Listings, foto8, 18 Great Portland Street, London W1W 8QP. Every effort has been made to ensure that all information is correct at time of going to press. ei8ht and foto8 Ltd accept no responsibility for any changes to dates of exhibitions.

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PRO SERVICES

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Mob: 07956 971 520 Tel: +44 (0) 20 8450 4148 Email: richard@richardbaileyphotography.co.uk Web: www.richardbaileyphotography.co.uk

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PHOTOGRAPHERS

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FOCUS

UNIVERSITY OF WESTMINSTER MA PHOTOGRAPHIC JOURNALISM The MA in Photographic Journalism at the University of Westminster is a one year course (two years part time) and takes place at the Harrow campus – the UK’s leading centre for photography.

This page, a showcase for photography colleges and for young and emerging photographers. It has been made possible thanks to the generous support of

It is currently a combination of professional practice training and theoretical background.

However, in response to student wishes we are refocusing the emphasis of the course towards photojournalism. In accordance with this, the plan is to rename the course as the MA Photojournalism and Visual Communication. We are committed to an education which encourages photographers to be aware of, and responsible to, the social and political contexts in which they work.

Tom Ang Senior Lecturer, MA Photographic Journalism

Course Entrants 2002/03 James Darling (Graduated ’03) Taka Mochizuki (Graduated ’03) Guy Bell Celeste Krol Jane Mingay Lara O'Shea Gary Parkinson 62

(Clockwise from bottom left) In Sangatte, near Calais, Jane Mingay and Guy Bell documented asylum seekers and refugees before and after the infamous holding camp closed. Image: Jane Mingay James Darling was embedded in Iraq with the Commando surgical group operating on Royal Marines and Iraqi civilians Sangatte, Guy Bell Celeste Krol photographed anti-globalisation protesters at the G8 summit in Cancun The ‘World Poker Championship’ was held in downtown Las Vegas. Gary Parkinson covered the event Iraq, James Darling Further Information: www.wmin.ac.uk/mad/

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SHERIDAN, THOMAS WESTRAN, THORSTEN J WINTERER, TIFFANY FAIREY, TIM CAPLAN, TIM CLARKE, TIM HODGSON, TIM JACKSON, TIM RUDDOCK, TIM SMITH, TIM WATSON, TIMOTHY D SOFRANKO, TIMOTHY HETHERINGTON, TIMOTHY P DUCK, TIMOTHY PERSHING, TIMOUR BOUDKEEV, TINA CLAY, TINA NORRIS, TINA STALLARD, TINO SORIANO, TOBIAS RIDDELL, TOBY ADAMSON, TOBY COHEN, TOBYB BROADHURT, TODD ALAN PLITT, TOM KELLY, TOM MARLOW, TOM MILLARD, TOM PILSTON, TOM STODDART, TOMER MARSHALL, TONY NANDI, TONY REDDROP, TORIL BRANCHER, TRACEY L MUGGLETON, TRISH ANDERSON, TRISHA MALLEY, TRISTAN LEVERETT, TROLLEY, TROY T HEINZEROTH, TSE TING MUI, TSUYOSHI ITO, ULLA KIMMIG, ULLA NUUTINEN, ULRICH EIGNER, ULRIK JANTZEN, UWE NOLKE, VANESSA LOCKETT, VANHAUTE THOMAS, VENETIA A DEARDEN, VICKI COUCHMAN, VICKY GOOD, VICTORIA COUCH, VII, VINCENT MUNDY, VINCENT N. BEVAN, VIOLA SAMPSON, VIOREL FLORESCU, VIRGINIA LEE HUNTER, VIRGINIA WOODS-JACK, VIVIENNE AUSTIN, W FORD, W J PETRUSEWICZ, W&T SOLMAN, W. PIETERSEN, WAKANA HASHIMOTO, WALLY DIALLO, WAYNE KENT, WENDIE OTTEWILL,