Masters in Photojournalism and Documentary Photography 2013 London College of Communication London Show Participants
BACKGROUND TO GROUP SHOW
After graduating from the London College of Communication at the end of 2012, fourteen emerging photographers from the Masters in Photojournalism and Documentary Photography programme are putting a group show together in London. Featuring internationally recognised and Getty award winning photographers from across the world, this show will bring together an arresting and eclectic range of work from fourteen vibrant and provocative practitioners working within documentary photography today. Intent on capturing the interest of key people in Londonâ€™s fine art and editorial photography industry, we are looking for an experienced curator with a strong background in producing photography shows in London, who we can work with to help bring a show that truly brings something distinctive and different during the traditional grad exhibition season, sometime between the weeks commencing Monday 22nd April to 24th June. If you are interested in helping us achieve this exciting goal then do please get in touch.
CONTENTS OF GROUP SHOW
Linka A Odom
Overnight Generation is a post-clash reportage over the complex shades that being young adults can assume in the contemporary Sarajevo. Looking into a fascinating, complex, and often unknown European capital, plagued by what has been acknowledged as the longest siege in modern history, Overnight Generation is a portrait of Sarajevo and a tribute to its young citizens: a generation that had to grow up overnight, while we were asleep. Italo Morales is a Venezuelan born photographer currently based in Brussels, Belgium. After receiving a degree in Business Administration from Florida International University (Miami, USA) and spending several years working for multinational companies, Italo followed several years of photography studies in the College of Arts of Florida International University and at Ecole de Photographie de la Ville de Bruxelles. He recently completed an MA in Photojournalism and Documentary Photography at the London College of Communication, his final project being Overnight Generation. His work has been shown in spaces such as the Finnish Museum of Photography (Helsinki), Le Bal (Paris), CCCB (Barcelona), Leipziger Baumwollspinnerei (Leipzig). Italoâ€™s work has been shortlisted to the Sony World Photography Award 2010, and to the Dummy Book Award 2012.
“NJUT LAGOM!”: THE SECRET ART OF BEING SWEDISH
Njut Lagom! presents a broad view of the Swedish during their leisure time. Examining the eccentricities and cultural cliché’s of Sweden, the project shows ordinary people doing ordinary things ‘typical’ of the Swedish culture. “Lagom” (just enough, adequate) is a cultural phenomenon widely known to all Swedes, almost a kind of secret code which represents an ideal rule for living: to them it means the ideal place, where everything is as it should be. Gunta Podina is documentary photographer based in Sweden, specializing in social and cultural anthropology issues. In 2012, Gunta completed her MA in Photojournalism and Documentary Photography University of Arts London.
Somnambulism investigates Yugoslav collective memory throughout the last three decades, from the death of Tito to the war and its aftermath. Through a metaphorical - photographic - sleepwalk through Bosnia-Herzegovina, the project explores the circumstances that build, destroy and rebuild a Nation. The concept unfolds over four ideal chronological stages: Somnambulism representing the suspension of time after the death of Tito; Amnesia during the war; Consciousness…and then And Somnambulism Again as different aspects of the aftermath. The landscape of Bosnia-Herzegovina, with its emblematic and evocative nature, is the subject of the essay, which sets out the web of intertwining layers that are the complex facets of its collective memory.
Above: Amnesia; Below: Somnambulism Again
BEHIND THE SCENES OF THE GREEK CRISIS: SEPTEMBER 2009 - NOVEMBER 2012 This album is a record of my family’s life from September 2009 until November 2012, and at the same time, a fleeting reference to the Greek political and financial circumstances. When my husband expressed his wish to enter the political scene, I was completely against this venture. I believed he should rather devote his time to his family. But on the other hand, as a citizen, I thought that it was very important to have someone like him to represent Greek people in Parliament. To cope with the situation I began to take pictures of our family’s life, the political scene, the Greek reality. Furthermore, I started taking a photograph of myself every day as I was turning on my laptop. I didn’t try to smile or pretend to be agreeable. I wanted to show the real mood I was in. The project is not only a photographic story; at the same time it faces broader social, economical, financial and political concerns of Greece. It is a behind the scenes glimpse of the country. In addition, I have written down my feelings, my concerns and my point of view.
The most terrifying fact about the universe is not that it is hostile but that it is indifferent. But if we can come to terms with this indifference, then our existence as a species can have genuine meaning. However vast the darkness, we must supply our own light. Stanley Kubrick In an interview with Playboy Magazine in 1968, the year the film 2001: A Space Odyssey was released, Stanley Kubrick – the famously reclusive director – spoke about his film. The narrative revolves around the discovery of an object suggesting the existence of life beyond our planet. But in the final scene, the astronaut David Bowman comes face to face with the fact he is alone. Bowman’s loneliness is the logical conclusion of a purely human-centric search for meaning. The 1960s also witnessed the beginnings of another project focused on working out who we might be. The Standard Model of particle physics is a theory that gives us an insight into the fundamental structure of matter. Because we long to define our cosmic connection, we hope that such fundamental building blocks really exist. Using machines our species may yet find genuine meaning. Veronika Lukasova is a Czech photographer living and working in London, UK. In 2010 she visited the Baikonur Cosmodrome, the Soviet spaceport now belonging to Kazakhstan, in memory of her childhood hero cosmonaut Yuri Gagarin. In 2011, she also met the first European cosmonaut, the Czech Vladimir Remek. Machinate Mammal explores how we face the universe now.
V@VeronikaLukasova.com www.VeronikaLukasova.com www.Kamurai.com
GMT is a project that scrutinizes the subject of â€œtimeâ€? within contemporary photographic practice. Time is intrinsically and inescapably bound within the photographic tradition and, as a significant element of all photography, warrants closer investigation. The appeal of time for me centres on its intangibility, its multiple functions in society, philosophy, landscape and relationships with photography. The methodology of the project takes the rigour of walking along the geographic parameter of the Greenwich Meridian line, aiming to draw attention to unexpected markers of time and landscape.
Death is no easy matter to understand; it remains the most puzzling conundrum of them all. Recollect focuses on the relationship with our deceased â€“ the search for understanding, for succor, for acknowledgment of our grief and the means to develop continuing bonds with our dead. The images capture the impermanence of the deadâ€™s physicality, highlighting their presence through their absence. Recollect lingers on the roles played by temporality, animism and spirituality. Richard English is a recent graduate of the London College of Communication MA in Photojournalism and Documentary Photography. He has a degree in English and American Studies, has a background in counseling, creative and journalistic writing, tv production and marketing communications in the third sector.
Uta Beyer’s photo essay Heimlich is a conceptual work based on a set of psychological, archaeological, and aesthetic approaches as a basis to explore and represent a group of 20 homes of impoverished old people living in Tbilisi, Georgia, in 2012. In the centre of the project are the homes’ interiors and their objects of everyday life. Heimlich is a proposition to read photographed objects in a new, imaginative, utopian way of seeing, as an access to another kind of experience, where the viewer may gain knowledge of the reality through intuition. Contrary to a rather traditional understanding of history-as-narrative (“this has been”) this photo essay suggests to read photographs as different possibilities or options, asking “could this be possible”? It suggests to abandon the attempt to find one single correct interpretation of the past and what we see in the photo, but rather asks: What does this thing, this fragment from the past mean for what I am, we are, now? Being freed from the burden of obtaining the one and only objective, factual knowledge of reality, we are open to search for insight into new ways of knowledge, for a reality beyond reason. Uta Beyer is a documentary photographer currently based in Tbilisi, Georgia. She specializes in documentary features and social issues in the region and throughout the world. Before coming to Georgia, she has lived in Turkey, Tanzania, South Africa and Germany. Uta is a master degree graduate in Sociology and Economics of the University of Cologne, Germany. In 2012, Uta finished her MA in Photojournalism and Documentary Photography at the University of the Arts London, College of Communication, with distinction. Uta has completed a long-term documentary project on a Tbilisi suburb that will culminate in a book to be published in 2013, and has started working on her second long-term project in Georgia.
I THOUGHT THEY WERE MONSTERS
As a collection of records - I Thought They Were Monsters is aiming to present a straightforward piece of oral history, speaking of what it feels to be a mother and an artist in Germany in 2012. While most working mothers are struggling to find a balance between work and family, the average job is seen as part of the social contract. For the female artist, however, the struggle differs; art and motherhood have long sat in a troubled relationship. Traditionally, art has been considered a substitute for children, and vice versa. To make art is to grapple with the self; art demands what a motherâ€˜s routine does not allow: a concentration on the self, and the liberty to make use of the artistic impulse whenever it arrives.
Linka A Odom
Over the last thirteen years, Linka has travelled to more than twenty-seven countries, inspiring her current project: Spinning Compass is a social anthropological photography project about travelers, based on portrait photographs and verbatim interviews. After being photographed, the participants are given a questionnaire with twelve questions asking why they have chosen this specific place, giving insight into what they have experienced during their travels. Linka A Odom is a photographer and installation artist currently based in Berlin, Germany. Ms. Odom graduated from New York Universities Tisch School of the Arts with a BFA in Photography in 1997. In 2012 she completed a MA in Photojournalism and Documentary Photography from the University of the Arts, London College of Communication. Ms. Odom won a Getty Images Creative Grant in July 2012 for the unique photo based installations she creates and exhibits at events and festivals all over the world.
Graham Millerâ€™s work is focussed on challenging stigma through photography. His first major project, Honesty: the Most Important People in the World, featured workers recovering from mental illness in a therapeutic garden. It was the subject of two solo exhibitions. The photographs shown here are from his latest project Six Percent which examines Downâ€™s Syndrome and relationships. The work has been published as a book of the same name and is currently on solo exhibition at Summerhall Gallery in Edinburgh. It will then tour. Graham is currently establishing a community interest company, Photohonesty.
RAMPAGE: THE PERFORMANCE OF VIOLENCE & THE THEATRE OF PROTEST Rampage is an experimental exploration of dance and news photography with sound to create a conceptual art installation (a series of projected images and slideshow). Inspired by William Marottiâ€™s text Japan 1968: The Performance of Violence and the Theatre of Protest (about the student riots in Japan during that year), I focus on the present day social landscape, particularly the riots in the UK in 2011. This work is also influenced by Japanese avant-garde culture of the late 1960s and early 1970s â€“ in particular, the Provoke group of photographers working in Japan at that time. Published in 1968, Provoke magazine is most often associated with a generation of photographers searching for a radical visual language to abolish the perception of photography as document; their images were often grainy and blurred (are-buke-buke), exemplifying their willingness to discard information. For more information, visit the project blog www.riotofspring.wordpress.com or www. traceyfahy.com.
RAMPAGE: The Performance of Violence and the Theatre of Protest projection images #1 and #3 (2012).
As the industrial prominence of Dalston in the London borough of Hackney diminished the area underwent recognisable patterns of disinvestment and degradation. Today, property speculation and rapid development is advancing bringing to the surface the paradoxes of modern urban regeneration. These photographs attempt to capture a transition moment, a phase in the social and physical transformation of a part of London which shares many of the characteristics of cities experiencing similar change across Europe. Sahide Sanin is a filmmaker and photographer and is currently based in London. Her work is concerned with representations of hybrid identities and modern living.
Left: Dalston Superstore Cafe, Kingsland Road; Above: Minicab Office, Kingsland Road II; Below: New Premises
HIDE AND SEEK: THE DUBIOUS NATURE OF PLANT LIFE IN HIGH SECURITY SPACES Hide and Seek is a documentary photography project which presents the research of the artist’s alter ego - the aspiring, but occasionally incredibly paranoid, photojournalist Adam Walker-Smith. Intent on exposing his discovery of ‘suspect’ plant life in high security spaces (so-termed because whilst it poses as ‘innocent’ decoration it is actually a hidden part of the security apparatus), Walker-Smith’s challenging photographs force the viewer to question the nature of the urban environment and the more sinister aspects of security design that are being hidden from them. Underpinned by an illuminating investigation into Crime Prevention Through Environmental Design (CPTED - the landscape design strategy upon which high security spaces are based), Hide and Seek is the first chapter in a larger work by the photojournalist that investigates the development of high security and surveillance and charts their psychological effects on the individual.
Left: Figure 1. CPTED - the Key Principles; Above: Figure 2. Flower Bed; Below: Figure 3. Natural Surveillance Opening