PHOTO 2022 Festival Guide

PHOTO 2022 Being Human

Festival Guide 29 April – 22 May

Contents EXPLORE PHOTO 2022 5 Welcome 6 Plan your visit 7 Being Human

PHOTO 2022

MAPS & EXHIBITIONS 10 Town Hall Precinct 22 Parliament Precinct 36 River Precinct 42 State Library Precinct 52 Fitzroy / Collingwood 72 Metropolitan 89 Regional Victoria EVENTS 96 Launch Weekend 98 PHOTO Live 100 Tours 101 Photobook Weekend 102 Talks 103 Learn PHOTO EDITIONS 104 Atong Atem: Surat ABOUT 107 Credits 109 Patrons 109 Support PHOTO 2024 110 Partners

Photo Australia respectfully acknowledges the traditional custodians of the lands upon which we work and live, and the rich and diverse Indigenous cultures across what is now called Australia. For over 60,000 years, Indigenous arts and culture have thrived on this sacred land, and we honour Elders and cultural leaders past and present.

This was and always will be Aboriginal land.

Welcome to PHOTO 2022, a celebration of exceptional new photography, art and ideas from Australia and around the world, featuring 123 artists and photographers and an abundance of new commissions, premieres and Australian exclusives.

It all revolves around one epic theme: ‘Being Human’. Join us as we unpack what it means to be human today: what shapes are identity, what unites us, and what makes us unique as individuals. Let the artists take you on a journey through life (and the afterlife) and discover different lived experiences, First Nations cultures, queer stories, and digital identities along the way.

This year, we invite you to explore a trail of 90 free exhibitions at galleries across Victoria as well as iconic outdoor locations in Melbourne—from Southbank Promenade and the courtyard of the Old Melbourne Gaol to Prahran Market and the steps of Old Treasury Building. As well as the most exciting emerging and established Australian artists, you’ll find exclusive presentations by outstanding international artists such as Gillian Wearing, Paul Mpagi Sepuya,

Mohamed Bourouissa, Luo Yang, Poulomi Basu, Martine Gutierrez, Aziz Hazara and Vasantha Yogananthan.

We celebrate two icons of photography: Cindy Sherman is honoured with our largest single artwork to date, and fashion photography legend Helmut Newton is revisited in a ticketed exhibition surveying his life and work. (We are also taking Australian photography overseas, with exhibitions by Atong Atem in Toronto and Christian Thompson in London to celebrate their PHOTO 2022 commissions).

Finally, join our events and be inspired by our free PHOTO Live talks and Photobook Weekend, as well as a series of curated tours, education programs and much more. Head to photo.org.au for full event listings, learning resources and exclusive content designed to enrich your PHOTO 2022 experience.

Dive into the program, plan your visit, and explore a world of photography!

ELIAS REDSTONE Artistic Director, PHOTO 2022

Image: Luo Yang, San (detail), 2019. Courtesy the artist and Migrant Bird Space. See p86.

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Welcome The Hon. Danny Pearson MP

The Hon. Linda Dessau AC

Through a photographer’s lens we can connect to perspectives, places and people, and ultimately come to understand the world better. With an ambitious program of free exhibitions, outdoor displays, artist commissions, events and education programs, PHOTO 2022 offers plenty of ways for people of all ages and walks of life to be inspired and get involved.

I encourage you to get out there and explore PHOTO 2022.

The creative industries have always been an important part of Victoria’s rich cultural identity. PHOTO 2022 is a welcome contributor to that, with its impressive range of photography, art and ideas from local and international artists.

On behalf of all Victorians, I congratulate all those who have contributed to and supported PHOTO 2022.

Minister For Creative Industries

The Hon. Paul Fletcher MP Minister for Communications, Urban Infrastructure, Cities and the Arts

Photography is a universal language that captures history, ignites emotion and supports the discovery of ourselves and the world around us. With support through the Australian Government’s $200 million Restart Investment to Sustain and Expand (RISE) Fund and the Australia Council, PHOTO 2022 will enable artists to collaborate and connect with audiences, transforming central Melbourne and regional Victoria with unique art experiences that will reinvigorate the sector.

Mark Henry

Chair, Photo Australia PHOTO 2022 is the result of the shared vision of our partners, patrons and supporters. Despite the challenges of the last year, the Photo Australia team has supported artists to make new work and curated an outstanding program that will delight and inspire.

I encourage you to curate your own journey and explore Melbourne’s landmarks, laneways and galleries, as well as exhibitions across the state, to discover the very best in Australian and international photography.

Image: Luvuyo Equiano Nyawose, Untitled 1 (December 16th, 2019), 2021. Courtesy the artist. See p38.

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Governor of Victoria

Sally Capp

Lord Mayor, City of Melbourne The City of Melbourne is proud to support PHOTO 2022 and the key role it plays in reactivating the city through outstanding photography. The Festival explores compelling contemporary issues under its theme ‘Being Human’ and new artworks commissioned at iconic Melbourne locations.

May I congratulate the organisers, together with all the cultural institutions collaborating on PHOTO 2022.

Uncle Bill Nicholson

Chair, First Nations Advisory Committee I am delighted to have chaired Photo Australia’s First Nations Advisory Committee throughout the development of PHOTO 2022. It is wonderful to see First Nations voices from across Australia and abroad celebrated in the Festival and prominently displayed on the streets of Melbourne. I encourage audiences to immerse themselves in the inspiring stories, culture and artworks on display. On behalf of the Committee, I welcome artists and audiences to PHOTO 2022—Wominjeka!

Plan your visit

Whether you have a few hours or a few days to explore PHOTO 2022, we want to make sure your visit is as rewarding as possible. Explore a Festival Precinct, discover outdoor artworks and visit galleries to immerse yourself in outstanding new photography, art and ideas.

EXPLORING THE FESTIVAL Start by exploring one of the Festival Precincts—Town Hall, Parliament, River, State Library, Fitzroy/ Collingwood—or select an exhibition to visit in metropolitan Melbourne or regional Victoria. Please be aware that opening days and hours for galleries vary.

OPENING HOURS & BOOKING All PHOTO 2022 exhibitions are free except for HELMUT NEWTON: In Focus. We recommend you check online for any updates to opening hours or booking requirements.

ACCESS Venues that are wheelchair accessible are marked with [ ].

Please contact the venue directly about specific access requirements.

While care has been taken to place outdoor exhibitions in locations which are as accessible as possible, some access may be restricted.

Event listings indicate when Auslan interpretation is available to book.

GETTING AROUND Many of the venues in the CBD and Fitzroy/Collingwood are within walking distance of each other or via a short trip on public transport, with many Festival sites located in the Free Tram Zone. Regional venues can be accessed by Vline services.

Visit ptv.vic.gov.au/journey or call 1800 800 007 to plan your trip.

If you are deaf, or have a hearing or speech impairment, you can use the National Relay Service to contact Public Transport Victoria. TTY users can call 03 9619 2727.

EATING AND DRINKING Melbourne has a wealth of great food and drink options. The Photo Australia team has put together a list of their favourite venues to recharge while exploring the Festival on photo.org.au/plan-your-visit

ONLINE RESOURCES Visit photo.org.au for exclusive content including essays, artist interviews, education resources and curated guides to the artists in PHOTO 2022.

SOCIAL MEDIA Follow us on Instagram, Facebook and Twitter @photofestivalau to get the latest Festival news.

SUBSCRIBE Receive updates from Photo Australia to your inbox including Daily Diaries with PHOTO 2022 events and highlights at photo.org.au/subscribe BEING COVIDSAFE Please follow the latest government guidance. Stay at home if you feel unwell, and organise to get tested if you have symptoms.

Being Human

Explore the PHOTO 2022 theme across 5 narrative strands—Society, Mortality, Self, Nature and History—to discover what informs the contemporary human condition from the perspective of artists and photographers around the world.

Society What happens when humans come together? In what sense do we depend on one another, and what happens when social structures fracture?

Mohamed Bourouissa’s work (p49) explores the aesthetics of class in two bodies of work: In Shoplifting, the artist repurposes checkout shoplifting polaroids as a glimpse at struggles defined by race and class. And in Périphérique, he appropriates the codes of historical paintings in contemporary Parisian urban settings. Canadian First Nations artist Dana Claxton presents portraits of womxn displaying their collections of traditional beads (p61), and Ross McDonnell works with young Afghan men seeking asylum on European shores (p65).

Shifting paradigms recur throughout the Festival. Philip Montgomery chronicles

America (p65) at a time of profound change, from police violence and the opioid addiction crisis to the impact of COVID-19.

Jemima Wyman’s collages are collated from plumes of smoke from various global protests (p62). Meanwhile, the collective Oculi explores different life stages as we re-convene as a society post-pandemic (p93). Are we individuals or are we part of a collective? Do the old rules and assumptions apply?

Elsewhere, cultures bend and break.

Anu Kumar shows us cultural hybridity in the Indian/Australian diaspora (p44) and Poulomi Basu spends time with women exiled from society in Nepal and India (p45). Aziz Hazara documents the waste left behind by departing American troops in Afghanistan, presented alongside traditional carpets from the region (p41).

PHOTO 2021 International Festival of Photography. Left: Photos by Zan Wimberley. Right: Photos by J Forsyth.

Bottom left: Image courtesy Monash Gallery of Art.

Image: Philip Montgomery, from the series American Mirror, 2021. Courtesy the artist and Le Space.

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Mortality

Self

Nature

History

Follow the journey from birth to death (and beyond) as PHOTO 2022 traverses the full breadth and depth of human life.

Start with Jenny Lewis’ epic documentation of a community from ages 0 to 100 (p50). Then, our formative years are celebrated in Naomi Hobson’s Adolescent Wonderland (p38) and Luo Yang’s portraits of Chinese youth exploring fragility, love and self-expression (p86).

Matthieu Gafsou (p17) tracks the transhumanist movement across Europe, following human bodies as they merge with technology, augmenting the flesh and reaching towards immortality; and Otis Burian Hodge reflects on the places, objects and repetitive habits that make up a life (p94).

The story continues to unfold with Ponch Hawkes’ studies of Victorian women’s bodies over the age of 50, capturing the rarelydocumented splendour of age in all its diversity (p90).

Lives draw to a close in Ioanna Sakellaraki’s explorations of Greek mourning traditions (p30). And Vasantha Yogananthan travels to the afterlife (p29), via the Dussehra festival in India, to document a millennia-old tale told through contemporary bodies.

The body is our container for experiencing the world. But how does our identity define us? And how do we define it?

Technology helps us ask these questions.

Gillian Wearing uses digital tools to imagine multiple versions of herself (p12). Meanwhile, Ying Ang & Ling Ang create 3D scans, considering our ever-evolving digital selves and the impact of social media on our bodies and minds (p15).

In The Portrait (p21), ten artists explore the possibilities of the form, with wildly disparate results. Elsewhere, Mark Smith delves into the space between beauty and ugliness in his images of bodies, challenging notions of disability (p63), and queer artists are front and centre in a series of exhibitions including at the Centre for Contemporary Photography (p54–57), Prahran Square (p79) and Parliament Gardens (p24).

Cultural identities are addressed on several fronts: Scotty So (p23) challenges the notion of aesthetic appropriation of Asian cultures, Thandiwe Muriu (p19) uses colourful portraiture to immerse her subjects in Kenyan tradition, and Bidjara man Christian Thompson evokes his culture’s supposedly extinct language—bringing it to vivid life (p43).

As inhabitants of Earth, our natural surroundings are a perpetual wellspring of inspiration.

The elements recur throughout this year’s line-up: Hoda Afshar explores the power and myth of the wind in the Strait of Hormuz, off the coast of Iran (p74) and, in a series of surreal images, Honey Long & Prue Stent place the human body within earth and water (p35). Elsewhere, a series of larger-than-life lightboxes on Southbank Promenade (p38) present work by artists including Dean Cross and The Huxleys looking at our relationship with water, and Massimo Vitali shows us leisure, nature and artificiality on the shores of Italian beaches (p37).

The space between us and nature is ever-shifting. Danie Mellor (p33) brings Indigenous thinking to landscape photography of environmental destruction, whilst Hannah Brontë presents a powerful suite of new photographs amongst a planting of native flora (p18). Across in Ecuador, Misha Vallejo Prut documents a First Nations community fighting to save the Amazon rainforest for the sake of humankind (p78).

How do actions of the past influence who we are today?

James Henry’s photographs and interviews with Kulin Nation Elders (p30) situate the current day within a human history stretching back 60,000 years.

Atong Atem looks to the past with Banksia (p92), exploring the forgotten history of Australia’s first African migrants.

Elsewhere, Atem also curates the exhibition Be Here Now (p77), in which she invites artists working in photography, film and new media to look to the past to consider the kind of future they hope for.

James J. Robinson (p76) deconstructs nostalgia and our yearning for ‘golden days’, filtering it through his own queer, Filipino identity, and the legacy of the Australian frontier narrative is transplanted into the present day in Warwick Thornton’s Meth Kelly (p16).

Empire is a recurring theme: Phuong Ngo deals with the colonial legacy of French occupied Vietnam (p87), and in A Bell Rings Across the Valley (p88), five South Asian artists consider the shadow of empire.

Image left: Annie Wang, No.1 The day before I was due to give birth, 2001, from the series The Mother as a Creator, 2001-ongoing. Courtesy the artist. Image right: Samuel Hodge, from the series The Wit of the Staircase (detail), 2022. Courtesy the artist.

Image left: Hoda Afshar, from the series Speak the wind (detail), 2015–20. Courtesy the artist and Milani Gallery, Brisbane. Image right: Phuong Ngo, I am the state, 2022, from the series Lost and Found, 2019-ongoing. Courtesy the artist.

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Town Hall Precinct CINDY SHERMAN Untitled Film Still Atrium, Fed Square (outdoor) 24 hrs

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GILLIAN WEARING Editing Life ACMI Mon – Fri, 12pm – 5pm Sat – Sun, 10am – 6pm

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ASHLEY GILBERTSON Requiem for New York The Ian Potter Centre, NGV Australia Daily, 10am – 5pm

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YING ANG & LING ANG 3 Degrees of Freedom Supernormal (outdoor) Alpha 60 (outdoor) 24 hrs

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WARWICK THORNTON Meth Kelly Anna Schwartz Gallery Tue – Fri, 12pm – 5pm Sat, 1pm – 5pm

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MATTHIEU GAFSOU H+ St Paul’s Cathedral (outdoor) 24 hrs

10 ARINI BYNG Some voices carry CAVES Wed – Sat, 12pm – 5pm

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HANNAH BRONTË Divinely Protected Melbourne Town Hall (outdoor) 24 hrs

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THANDIWE MURIU Camo 34 Scott Alley (outdoor) 24 hrs

THE PORTRAIT Blindside Tue – Sun, 12pm – 6pm

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BENJAMIN PRABOWO SEXTON Long time no see Cathedral Cabinet 24 hrs

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“I’m trying to make other people recognise something of themselves rather than me.”

One of the most influential artists of the modern era, Cindy Sherman experiments with identity and performance, playing with visual references and codes drawn from popular culture.

Untitled Film Stills—her most celebrated series—is a suite of black-and-white photographs made between 1977 and 1980 in which the artist poses as various generic female film characters, from ingénue to seductress, secretary to lonely housewife. By photographing herself in these roles, Sherman inserts herself into a dialogue about stereotypical portrayals of women.

Untitled Film Still is the largest single work at PHOTO 2022, installed across the entire Flinders Street facade of the Atrium at Fed Square, overlooking Hosier Lane.

This iconic image is integrated into the urban landscape, introducing Sherman’s work to a new generation.

Image: Cindy Sherman, Untitled Film Still, 1980. Courtesy the artist and Hauser & Wirth. © Cindy Sherman.

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Gillian Wearing (UK)

(Self)

Editing Life

[Australian Exclusive] ACMI Fed Square Flinders St, Melbourne Map: Town Hall Precinct (p10) 29 April – 22 May Mon – Fri, 12pm – 5pm Sat – Sun, 10am – 5pm Curated by Bethan Johnson

FILM SCREENING Self Made Dir. Gillian Wearing, UK, 2010, 88 mins Unclassified 15+ Self Made is a documentary, artwork and social experiment that invites seven members of the public to meet themselves via ‘The Method’, a revelatory acting workshop.

ACMI Cinemas Saturday 7 May, 4.30pm Sunday 15 May, 3pm Ticket $18, Concession $15, ACMI Member $12

Inspired by documentaries, reality television and the performative nature of identity, British artist Gillian Wearing describes her approach to photography and video art as ‘editing life’.

This exhibition focuses on how Wearing turns the lens on herself to contemplate self-representation and the nature of ageing in the contemporary world. After asking collaborators to imagine how she might look at 70, Wearing used artificial intelligence and age-processing tools to depict her possible future selves. Printed on wallpaper wrapping the gallery, these huge self-portraits highlight the unpredictability of time, revealing the limitations of what we believe to be pioneering technology and further emphasising the uncertainty of what lies ahead.

On-screen we meet a series of strangers who appear to look like the artist.

Collaborating with Wieden+Kennedy, Wearing created a deepfake by mapping an AI digital mask of her face onto others. Using this technology, Wearing asks us to question contemporary media culture and how reality can be distorted.

Image: Gillian Wearing, Self Portrait of Me Now in Mask, 2011. Courtesy Maureen Paley, London. © Gillian Wearing.

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ASHLEY GILBERTSON (AU) Requiem for New York

[Australian Exclusive] The Ian Potter Centre, NGV Australia Fed Square, Melbourne Map: Town Hall Precinct (p10) 1 April – 31 July Daily, 10am – 5pm

(Society)

Looking back over the photographs that he made of New York in 2020, Australian photographer Ashley Gilbertson wrote, “The resulting photo essay is my requiem to the New York that we knew before the pandemic, but also a love letter to the resilient people who never gave up.”

One consequence of the COVID-19 pandemic was the shutting down of much of New York and the suspension of national and international travel. For Gilbertson, this enforced a shift in his focus had a profound impact on his life and work. Already a regular runner, his practice during 2020 involved daily distance running and using the camera in his phone to photograph the events unfolding around him as he ran through the streets of the city. Over the course of the year, he documented the trajectory of the pandemic, the Black Lives Matter protests, and the US presidential election, creating a visual diary of the unfolding events across the city.

YING ANG & LING ANG (AU) 3 Degrees of Freedom

[Premiere] Supernormal (outdoor) 180 Flinders Lane, Melbourne Alpha 60 (outdoor) 201 Flinders Lane, Melbourne Map: Town Hall Precinct (p10) 29 April – 22 May 24 hrs Commissioned by Photo Australia Curated by Photo Australia with Gareth Phillips Supported by the Restart Investment to Sustain and Expand (RISE) Fund, an Australian Government initiative

(Self)

In the archive of self-representation that is the internet, time and history are accelerated. What was created and recorded last month quickly becomes the distant past as more images are created to replace the old. With more than two billion images uploaded to the internet every day, we are perpetually making and remaking our own image and history. What can we distil from the flood of our communication channels? What are we trying to say about who we are? And more importantly, who we are trying to be?

By experimenting with quick-moving digital phenomena like deep-fakes and extended reality, Ying Ang & Ling Ang interrogate the contemporary aspirational values to reveal the digital human icon within. 3 Degrees of Freedom is a comment on idolatry, values, our place in the metaverse, art imitating life, and life imitating art in a cycle as vicious and cannibalistic as a snake eating its own tail.

Image: Ashley Gilbertson, Untitled, 2020. Purchased, NGV Foundation, 2021. Collection National Gallery of Victoria.

Image: Ying Ang & Ling Ang, from the series 3 Degrees of Freedom, 2022. Commissioned by Photo Australia for PHOTO 2022 International Festival of Photography. Courtesy the artists.

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WARWICK THORNTON (AU) Meth Kelly

Anna Schwartz Gallery 185 Flinders Ln, Melbourne Map: Town Hall Precinct (p10) 29 April – 14 May Tue – Fri, 12pm – 5pm Sat, 1pm – 5pm

(History)

Warwick Thornton’s bold video Meth Kelly explores how Australia’s colonial frontier narrative has been shaped by the imaginary heroic actions of the cult figure Ned Kelly.

Continuing Thornton’s confrontation with Australia’s colonial history by questioning the legitimacy of Kelly’s hero status, this work presents a modern reinterpretation of his moral persona. Subverting the national narrative, Thornton transforms Kelly into a “meth-head robbing a 7Eleven.” In placing his protagonist in a banal (sub)urban delinquent realm, Thornton undermines Australia’s tendency to define its history by valorising colonial conquests.

“The problem with our frontier, and the history of Australia—it was written by the people who were actually doing the shooting. So the copper is the one to actually write down what happened at a massacre. But he was the one with his finger on the trigger. No one believes the Aboriginal people about what happened.

Sometimes, thankfully, some priest or some missionary wrote the truth. That’s our history.”

MATTHIEU GAFSOU (CH) H+

[Australian Exclusive] St Paul’s Cathedral (outdoor) Swanston St, Melbourne Map: Town Hall Precinct (p10) 29 April – 22 May 24 hrs Curated by Photo Australia Supported by the Swiss Arts Council Pro Helvetia

(Mortality)

To what extent will humans modify their bodies with technology? And at what point do we stop being human?

The transhumanist movement aims to augment the human body through use of science and technology. It manifests everywhere, from everyday objects like pacemakers and smartphones to tech fantasies advocating immortality and the abandonment of the flesh in favour of the machine.

In H+, Swiss artist Matthieu Gafsou tracks the transhumanist movement across Europe. Far from being science fiction, H+ is about the present—from biohackers working in garages to scientists working in major labs—Gafsou explores the transformations that are already under way.

Following its critically acclaimed debut at Les Rencontres d’Arles in 2018, this Australian Exclusive takes the transhumanist movement to the streets of Melbourne, with nine images from the series towering over Swanston Street on the lawns of St Paul’s Cathedral.

Image: Warwick Thornton, Meth Kelly (video still), 2020. High definition 4K digital video, colour, stereo sound 4 minutes 4 seconds. Commissioned for the Biennale of Sydney 2020: NIRIN. © Warwick Thornton. Courtesy the artist and Anna Schwartz Gallery.

Image: Matthieu Gafsou, from the series H+, 2015-18. Courtesy the artist and Galerie C/MAPS.

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HANNAH BRONTË (AU) Divinely Protected

[Premiere] Melbourne Town Hall (outdoor) 90 – 130 Swanston St, Melbourne Map: Town Hall Precinct (p10) 29 April – 22 May 24 hrs Commissioned by Photo Australia Supported by the Restart Investment to Sustain and Expand (RISE) Fund, an Australian Government initiative

(Nature)

“We are visitors on this earth. There is no controlling nature. All you may do is surrender.”

Artist Hannah Brontë’s new work features a series of portraits exhibited amongst native Australian flora outside Melbourne Town Hall.

The subject, Eilla Marie “a mother of two and powerful being moving into her womanhood”, is clothed in a suit covered in medicinal plants, seeds and shells collected on the country of the Yugambeh peoples.

Divinely Protected is a wish for protection from the earth as it moves into a new chapter: where capitalism begins to fall and Mother Nature takes over.

“As the cooler winds sweep the sea surface temperatures of the central and eastern Pacific Ocean, we see the female counterpart to El Niño (the boy) emerge, the earth purging and shifting its tectonic plates in synchronicity with the human shifts of power. As we watch the uprising of social justice come to the forefront we see the sea levels rising, the temperatures soaring and the birth of wet seasons across the Southern Hemisphere.”

THANDIWE MURIU (KE) Camo 34

[Premiere] Scott Alley (outdoor) Melbourne Map: Town Hall Precinct (p10) 29 April – 22 May 24 hrs Curated by Photo Australia Commissioned by Photo Australia in partnership with Metro Tunnel Creative Program

(Self)

In her series Camo, photographer Thandiwe Muriu draws on the slick aesthetics of fashion photography, to reinterpret contemporary African portraiture. These bright, playful images immerse her models in colourful textures (sourced from Nairobi’s street markets) until they simultaneously disappear into the background and burst from the frame.

Exploring how individuals lose their identities to culture, Muriu’s work interrogates contemporary self-image and brings aspects of Kenyan tradition to the fore, from reappropriation of everyday objects to traditional architectural hairstyles. Muriu reclaims the self-love of the African woman, who is often excluded from beauty standards in her own country.

This new work in the Camo series, commissioned for PHOTO 2022, will be displayed on one of the Metro Tunnel construction hoardings and provide a backdrop to the cafes and shops of Scott Alley.

Image: Hannah Brontë, from the series Divinely Protected, 2022. Photo by Stephanie Teixeira. Commissioned by Photo Australia for PHOTO 2022 International Festival of Photography. Courtesy the artist.

Image: Thandiwe Muriu, Camo 34 (detail), 2022. Commissioned by Photo Australia and Metro Tunnel Creative Program for PHOTO 2022 International Festival of Photography. Courtesy the artist and 193 Gallery.

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BENJAMIN PRABOWO SEXTON (AU) Long time no see

(Society)

THE PORTRAIT

(Self)

[Premiere] Cathedral Cabinet Ground floor of the Nicholas Building 9/37 Swanston St, Melbourne Map: Town Hall Precinct (p10) 29 April – 25 May 24 hrs Curated by Lucy Foster

In Long time no see, Benjamin Prabowo Sexton exhibits a family portrait displayed in a glass vitrine facing the Nicholas Building arcade. The site-specific work considers how private photographs are experienced in a public context. Sexton’s photograph exists in its own realm of gestation, latent until activated by viewers passing by. Its experience depends on a

certain set of circumstances to align so as to precipitate change. For Sexton, this gestational period mimics the familial— how its unit has the capacity to give birth to many different forms and co-exist harmoniously.

Image: Benjamin Prabowo Sexton, from the series Long time no see (detail), 2021.

Courtesy the artist and Daine Singer.

ARINI BYNG (AU/US) Some voices carry

(Society)

[Premiere] CAVES Room 5, Level 8/37 Swanston St, Melbourne Map: Town Hall Precinct (p10) 29 April – 21 May Wed – Sat, 12pm – 5pm

The conversations we share with family the understandings, miscommunications, and friends are complex and ongoing, heavy and slips of the tongue that hinder or help with history and punctuated by legacy, us in relating to our loved ones. memory, and experience. In the in-between moments, the moments of silence, sit the expectations we hold of ourselves and those we love.

Using sculpture and photography, Arini Byng examines these exchanges, revealing

[Premiere] Blindside Level 7/37 Swanston St, Melbourne Map: Town Hall Precinct (p10) 25 April – 4 June Tue – Sun, 12pm – 6pm Nayuka Gorrie (Gunai/Kurnai, Gunditjmara, Wiradjuri, Yorta Yorta), Arini Byng (AU/US), Anne Moffat (AU), Sara Tautuku Orme (NZ), Sam Lieblich (AU), Phebe Schmidt (AU), Danny Cohen (AU), Lisa Sorgini (AU), Abigail Varney (AU), Lucy Foster (AU) Curated by Josephine Mead and Karl Halliday

As a genre of photography that conflates image with identity, 'the portrait' carries a complex and problematic past. How portraiture is made and used is everevolving, its history a record of social change, documenting shifts in cultural values and technology. The role that portraiture performs in our lives has transformed, along with the attitudes and approaches of artists in responding to the task of art-making amidst the rapidly changing conditions of contemporary visual culture.

The Portrait is an investigation into the emerging and fluid possibilities of portrait photography and its impact upon imagemaking today. Ten artists have been invited to produce ‘a portrait’ for the exhibition.

The artists selected work in both traditional modes of portrait photography and alternative multidisciplinary practices.

By considering the medium in an expanded sense, the artists are able to contemplate, critique, and challenge the limits of what a portrait can be.

Image: Arini Byng, (indistinct chatter) (video still), 2018. Courtesy the artist.

Image: Arini Byng, Remember what you heard when you weren’t even listening (video still), 2019–21.

Courtesy the artist.

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Parliament Precinct SCOTTY SO Shungay Tianjin Gardens (outdoor) 24 hrs

13 FLORIAN HETZ 14 ALEXANDRA LETHBRIDGE 15 HENRY WOLFF Parliament Gardens (outdoor) 24 hrs JAMES BUGG ALANA HOLMBERG RACHEL MOUNSEY ABIGAIL VARNEY Parliament of Victoria (outdoor) 24 hrs

20 RICHMOND KOBLA DIDO Men Do Not Cry 99 Spring St (outdoor) 24 hrs

LUIS ALBERTO RODRIGUEZ People of the Mud Collins Place 24 hrs

28 DANIE MELLOR redux Tolarno Galleries Tue – Fri, 10am – 5pm Sat, 1pm – 4pm

22 VASANTHA YOGANANTHAN Afterlife Sofitel Melbourne on Collins 8am – 6pm 23 24 25 26

29 ANNIE WANG The Mother as a Creator AC/DC Ln (outdoor) 24 hrs

ATONG ATEM MADELINE BISHOP JAMES HENRY IOANNA SAKELLARAKI Treasury Precinct (outdoor) Gordon Reserve (outdoor) 24 hrs

30 LISA SORGINI Mother Duckboard Pl (outdoor) 24 hrs 31

27 SANJA PAHOKI A Detail Which Catches the Eye Sarah Scout Presents Thu – Sat, 12pm – 5pm

HONEY LONG & PRUE STENT Land of Milk and Honey ARC ONE Gallery Wed – Sat, 11am – 5pm Tue, by appointment

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SCOTTY SO (HK/AU) Shungay

Commissioned by Photo Australia for PHOTO 2022 Supported by the Restart Investment to Sustain and Expand (RISE) Fund, an Australian Government initiative

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In this series of portraits inspired by Asian erotic paintings, European Chinoiserie art, Instagram makeup trends, and contemporary gay culture, Melbourne artist Scotty So challenges the notion of cultural aesthetic appropriation of Asian cultures.

Dispersed amongst the Tianjin Garden above Parliament Station on Spring Street, each image in Shungay incorporates clothing styles of the Song and Ming dynasties in images recalling historical events, queer folk tales like the Rabbit God and the split peach, and Asian queer films such as M. Butterfly.

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Florian Hetz (DE) Alexandra Lethbridge (UK) Henry Wolff (AU)

Parliament Gardens (outdoor) Spring St, East Melbourne Map: Parliament Precinct (p22) 29 April – 22 May 24 hrs Florian Hetz: Haut [Australian Exclusive] Alexandra Lethbridge: The Archive of Gesture [Australian Exclusive] Henry Wolff: Together [Premiere] Curated by Photo Australia Together has been commissioned by Photo Australia, supported by the South Australian Government through Arts South Australia and the Restart Investment to Sustain and Expand (RISE) Fund, an Australian Government initiative Haut has been supported by Goethe Institut

(Self)

Three artists consider connection and human bodies—their possibilities, permeabilities, and limitations—in a series of installations in Parliament Gardens.

When encephalitis, an inflammation of the brain, put an abrupt end to his career producing opera and dance, German artist Florian Hetz turned to photography to stave off the ensuing memory loss. In his series Haut (German for skin), Hetz explores the intimacy and sensuality of the body.

In The Archive of Gesture, British artist Alexandra Lethbridge recontextualises found images, still-life photography, and digital interventions to look at the role of hands and unspoken gestures in communication. Using Greek statues as a reference, the work draws from the absence of body language, the balance between absence and presence, truth and lies, transparency and obstruction.

And Tarntanya/Adelaide-based artist Henry Wolff presents Together, a new work continuing Wolff’s exploration of human connection. These images discuss what it means to generate acts of care—how do we create belonging, and the capacity for compassion and love?

Image: Alexandra Lethbridge, from the series The Archive of Gesture, 2020-ongoing. Courtesy the artist.

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James Bugg (AU) Alana Holmberg (AU) Rachel Mounsey (AU) Abigail Varney (AU)

(Self)

[Premiere] Parliament of Victoria (outdoor) Spring St, East Melbourne Map: Parliament Precinct (p22) 29 April – 22 May 24 hrs Commissioned by Photo Australia Supported by Parliament of Victoria and the Restart Investment to Sustain and Expand (RISE) Fund, an Australian Government initiative

In a time in which Victorian communities have had a restricted ability to gather, the act of coming together has never felt more vital.

Commissioned by Photo Australia, Victorian photographers James Bugg, Alana Holmberg, Rachel Mounsey and Abigail Varney present an installation in four parts reflecting meeting places and communities from across regional Victoria.

Displayed outside the Parliament of Victoria, each photographer presents a narrative of the Victorian communities that they have worked in, collectively forming a coherent series of images. From the Murray River to the Victorian High Country, Gippsland, and across coastal regions, these photographers explore the act of gathering, and celebrate the voices of these communities.

The four photographers are all members of Oculi Collective, who is presenting an exhibition at Benalla Art Gallery for PHOTO 2022 (see p95).

Image: James Bugg, from the series Bush Dance, 2022. Commissioned by Photo Australia for PHOTO 2022 International Festival of Photography. Courtesy the artist.

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RICHMOND KOBLA DIDO (GH) Men Do Not Cry

(Self)

[Premiere]

VASANTHA YOGANANTHAN (FR) Afterlife

(Mortality)

99 Spring St (outdoor) Cnr Ulster Ln & Spring St, Melbourne Map: Parliament Precinct (p22) 29 April – 22 May 24 hrs Commissioned by Photo Australia Supported by the Restart Investment to Sustain and Expand (RISE) Fund, an Australian Government initiative

“I come from a hood where ‘men’ don’t cry. We are praised for holding in the pain and misery.

The hood where it is all good and men do not show their emotions. I come from Man-hood.

For as long as I remember, I was told to suck it all in and keep on moving because this is ManHood and Men do not cry!”

Ibrahim Intwari

Towering five stories high over Spring Street, Richmond Kobola Dido’s Men Do Not Cry comes from a series of portraits inspired by Ibrahim Intwari’s essay of the same name, highlighting the stereotypes surrounding men—specifically black men—and emotion.

Image: Richmond Kobla Dido, from the series Men Don’t Cry (detail), 2021. Courtesy the artist.

LUIS ALBERTO RODRIGUEZ (US) People of the Mud

(History)

Sofitel Melbourne on Collins 25 Collins St, Melbourne

[Australian Exclusive] Collins Place (outdoor) 45 Collins St, Melbourne

Map: Parliament Precinct (p22) 29 April – 30 June Daily, 8am – 6pm

Map: Parliament Precinct (p22) 29 April – 22 May 24 hrs

Curated by Photo Australia Presented in partnership with Sofitel Melbourne on Collins

Curated by Photo Australia

Supported by Fini Frames

Supported by Collins Place

People of the Mud is made collaboratively amongst the communities of County Wexford in Ireland, where ancient tradition and modern life rub shoulders daily.

With a background in professional dance, Luis Alberto Rodriguez' work creates sculptures out of bodies, directing and layering Irish hurling players upon one another. Elsewhere, we see the

[Australian Exclusive]

exaggerated glamour of modern female Irish dancers taken out of the glitzy ballrooms and into the fields, creating a rupture across time and space.

At the outset of his project, Rodriguez wanted to create a large family photograph, a collective community portrait of all the different elements that construct modern, rural Irish identities.

Afterlife is the sixth chapter of Vasantha Yogananthan’s long-term project, A Myth of Two Souls, inspired by, and offering a modern retelling of the epic tale the Ramayana. Drawing inspiration from the imagery associated with this myth and its pervasiveness in everyday Indian life, Yogananthan has retraced the legendary route from north to south India.

For this chapter—presented exclusively in Australia for PHOTO 2022—Yogananthan travelled to Rajasthan and Tamil Nadu to photograph people attending Dussehra, a Hindu festival celebrating the victory of good over evil.

Afterlife explores death and reincarnation through the epic battle between Prince Rama (an incarnation of Vishnu) and the 10-headed demon king Ravana, with the characters depicted by festival goers Yogananthan encountered in costumes and painted faces.

People attending Dussehra seek to reach a trance-like state and Yogananthan has created collages that mix several pictures together to put the viewer in a similar state of disorientation.

Image: Luis Alberto Rodriguez, The Defenders - Megan and Leanne (detail), 2020, from the series People of the Mud. Commissioned by Photo Ireland. Courtesy the artist.

Image: Vasantha Yogananthan, Rama Praying for Victory (detail), 2019, from the series Afterlife. Courtesy the artist and Jhaveri Contemporary.

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Atong Atem (AU/SS) Madeline Bishop (AU) James Henry (AU) Ioanna Sakellaraki (GR)

(Society)

Treasury Precinct and Gordon Reserve (outdoor) Spring Street, Melbourne Map: Parliament Precinct (p22) 29 April – 22 May 24 hrs Atong Atem: Surat [Premiere] Madeline Bishop: So I sew stiches [Premiere] James Henry: Kulin Generations [Premiere] Ioanna Sakellaraki: The Truth is in the Soil [Australian Exclusive] Commissioned by Photo Australia Supported by the Victorian Government.

The Old Treasury Building and its surroundings are transformed into a site of social and family connection, with a series of installations commissioned to consider how we create, and connect with, our community.

Indigenous photographer James Henry’s commission presents portraits of five Elders from the Kulin Nations with one of their descendants. The portraits are accompanied by recorded interviews considering what it is to be Aboriginal and the ways in which the Elders connect with younger generations.

Atong Atem’s large-scale installation expands on her new commission Surat (p106) that recreates photos from the artist’s family albums and continues her exploration of African diasporic stories.

For Madeline Bishop’s commission, the artist enters the homes of friends of friends, capturing this first encounter and reminding us of how friends were once strangers.

In Gordon Reserve, Greek photographer Ioanna Sakellaraki captures the slowly fading tradition of professional female mourners on the Mani Peninsula to consider the role of collective mourning and ancestral rituals.

Image: Madeline Bishop, Bi and Stu via Marissa, 2022, from the series So I sew stitches. Commissioned by Photo Australia for PHOTO 2022 International Festival of Photography. Courtesy the artist.

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SANJA PAHOKI (AU) A Detail Which Catches the Eye

[Premiere] Sarah Scout Presents Level 1/12 Collins St, Melbourne Map: Parliament Precinct (p22) 29 April – 4 June Thu – Sat, 12pm – 5pm By appointment

(Self)

The work of Croatian-born, Melbournebased Sanja Pahoki continually hovers between melancholy and angst. Pahoki utilises photography, neon, video and text to manifest her nuanced observations of everyday life. Existential issues such as the nature of self and the role of anxiety are recurring themes, while individual works constitute elements of a larger self-portrait, documenting and archiving Pahoki’s relationship to those important to her—most particularly her family.

In Roland Barthes’ book on photography, Camera Lucida, he describes the punctum as a detail which catches the eye, some small aspect that provokes an intensely subjective response. He places this feeling in the order of loving. Barthes also describes the punctum as a wound that embodies both desire and death.

Pahoki’s exhibition of new photographic work explores what it is to find oneself wounded by the gaze of another.

DANIE MELLOR Mamu/Ngadjon (AU) redux

[Premiere] Tolarno Galleries Level 4/104 Exhibition St, Melbourne Map: Parliament Precinct (p22) 29 April – 21 May Tue – Fri, 10am – 5pm Sat, 1pm – 4pm

(Nature)

Images have a powerful way of revealing connections between disparate histories and experiences. redux is an exhibition that assembles, re-assembles and sequences parallel and divergent narratives, curating archival and recent photographs in a way that evokes a pictorial and studied chronology. History repeats itself and redux shows how we are implicated in those cycles.

The ecological destruction portrayed in many of the images is an uncanny reminder of our current global and environmental impacts and contrasts acutely with intact rainforest ecologies shown alongside them.

It is a reminder as well of the often-violent displacement of Aboriginal people and knowledge systems, with civilising enterprise failing to acknowledge the value of cultural systems embedded in story, Dreaming and Country. redux aligns the splintered narratives of past and present experience into a compelling arrangement of large and intimately scaled photographic works, the audience witness to changes that unfolded in and on our landscapes.

Image: Sanja Pahoki, The Fall, 2021-22. Courtesy the artist and Sarah Scout Presents.

Image: Danie Mellor, redux, 2021. Courtesy the artist and Tolarno Galleries.

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ANNIE WANG (TW) The Mother as a Creator

(Mortality)

[Australian Exclusive]

HONEY LONG & PRUE STENT (AU) Land of Milk and Honey

(Nature)

AC/DC Ln (outdoor), Melbourne Map: Parliament Precinct (p22) 29 April – 22 May 24 hrs Curated by Photo Australia

“Like an artist, the Mother is wise in her creation. The Mother not only creates a life, but also a continuous matrix of experiences between Mother and Child.”

Motherhood is a long-term process full of a myriad of complex feelings, a complexity captured by Taiwanese artist Annie Wang.

In 2001, she took pictures of her pregnant belly signed and dated, the way an

artist signs a canvas. One of these images became the start of a project still ongoing.

Since that first image, Wang has created a full series of layered photographs of mother and son, her photography upholding motherhood as a creative enterprise.

This presentation includes the premiere of the newest image in the series.

Image: Annie Wang, No.2 Pressing the camera shutter together (detail), 2002, from the series The Mother as a Creator, 2001-ongoing. Courtesy the artist.

LISA SORGINI (AU) Thick Like Water

(Mortality)

[Premiere] ARC ONE Gallery 45 Flinders Ln, Melbourne

[Premiere] Duckboard Pl (outdoor), Melbourne

Map: Parliament Precinct (p22) 27 April – 22 May Wed – Sat, 11am – 5pm Tue, by appointment

Map Parliament Precinct (p22) 29 April – 22 May 24 hrs Curated by Photo Australia Supported by the Restart Investment to Sustain and Expand (RISE) Fund, an Australian Government initiative

Exploring the dynamics in a number of families residing beyond the commonly represented lived experience of parenthood and using contemporary and classic photographic techniques, Australian artist Lisa Sorgini’s PHOTO 2022 commission will reflect on parents as they are today.

A celebration of life and humanity, of parents and their children and

contemporary family systems. It offers meaningful discourse around motherhood and parenthood as both identity constructs and action – offering an emotional and cultural family dynamic narrative steeped in themes of love, identity, resilience, and kinship. Thick Like Water is presented on advertising billboards along a prominent Melbourne laneway.

Land of Milk and Honey depicts an imagined space below the surface of contemporary fantasy, where material ecologies, consumption, destruction, desire, and human and non-human bodies entangle.

Honey Long & Prue Stent construct surreal scenes, where the body is employed as both raw material and apparition, becoming a conduit for subconscious feelings and interpretation. Fetishistic materials—netting, glow-mesh, and latex—as well as more commonplace objects merge with the organic creating a rich network of symbolic association.

Working at sites that have been drastically altered in some way by human activity—from salt lakes and pink clay cliffs to the vibrant soils around copper mines and opal shafts– there is a sensuous materialism in these landscapes that is both deeply unsettling and breathtaking.

Alongside their images, blown glass forms slump and ooze against frames, plinths, corners and walls, translating ideas into tangible 3D elements that can be felt within the gallery space.

Image: Lisa Sorgini, Joan and her son, Redfern (detail), 2019. Courtesy the artist.

Image: Honey Long & Prue Stent, Vellum, 2021. Courtesy the artist and ARC ONE Gallery.

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River Precinct

32 MASSIMO VITALI Leporello 2020 Southgate Tue – Fri, 10am – 5pm Sat – Sun, 10am – 4pm 33 34 35 36 37 38

MASSIMO VITALI (IT) Leporello 2020

40 AZIZ HAZARA I am looking for you like a drone, my love Fiona and Sidney Myer Gallery Tue – Sat, 12pm – 5pm

(Nature)

DEAN CROSS NAOMI HOBSON THE HUXLEYS LUVUYO EQUIANO NYAWOSE MARTON PERLAKI PATRICK POUND Birrarung Lightboxes Southbank Promenade (outdoor) 24 hrs

39 ANGELA TIATIA Holding On Buxton Contemporary (outdoor) 24 hrs Town Hall Precinct

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The Italian Cultural Institute, together with Monash Gallery of Art, presents the first solo exhibition in Australia of the famous Italian artist, Massimo Vitali.

He is best known for his large-scale colour images of beaches and mass leisure events. Vitali has never been drawn to emptiness, and deserted cities hold little interest for him. Following the spring lockdown, as soon as it was possible to leave the house in Italy and travel outside one’s own town, people began to return to the beaches. And Vitali was there, ready to capture the Italians during their moments of relaxation and leisure, as if to ask himself if they had really changed.

Image: Massimo Vitali, Manarola Paranco, August 15th, 2020, from the series Leporello 2020. Courtesy the artist.

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Birrarung Lightboxes

(Nature)

Dean Cross Worimi (AU) Naomi Hobson Kaantju/Umpila (AU) The Huxleys (AU) Luvuyo Equiano Nyawose (ZA) Marton Perlaki (HU) Patrick Pound (NZ/AU)

[Premiere] Southbank Promenade (outdoor) Southbank Map: River Precinct (p36) 29 April – 29 July 24 hrs Commissioned by Photo Australia and the City of Melbourne

Positioned along Southbank Promenade, on the banks of the Birrarung, six artists present work on lightboxes that tell stories of our relationship with water, ranging from Australian adolescence to the politics of water.

Naomi Hobson’s series Adolescent Wonderland tells the stories of young Aboriginal people living on the Coen River in Cape York Peninsula. Highlighting her subjects in vivid colour against greyscale backgrounds, Hobson plays on the dreamlike inner lives of teenagers everywhere. Worimi man Dean Cross takes us to his family farm on Ngunnawal/Ngambri Country for his series of Polaroids, simultaneously intimate, nostalgic and inescapably political.

London-based, Hungarian-born Marton Perlaki’s idiosyncratic and playful portraits and still-lives invite audiences to interpret their visual clues; Patrick Pound repurposes found images, here focusing on human interaction with water; Luvuyo Equiano Nyawose explores post-apartheid South Africa through beach culture; and Melbourne-based duo The Huxleys explore the gender fluid nature of sea creatures in a playful reflection on identity constructions.

Image: Naomi Hobson, Fish Boys (detail), 2022, from the series Adolescent Wonderland. Commissioned by Photo Australia for PHOTO 2022 International Festival of Photography. Courtesy the artist.

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ANGELA TIATIA (NZ/AU) Holding On

Buxton Contemporary (outdoor) Cnr Southbank Blvd & Dodds St, Southbank Map: River Precinct (p36) 29 April – 22 May 24 hrs

(Nature)

Holding On features the artist Angela Tiatia, struggling to not be washed off a cement slab by the relentless waves of an incoming tide on the Pacific nation of Tuvalu.

Tuvalu is one of the world’s lowest laying countries, and as such is already suffering the impacts of climate change. The ravaging of South Pacific nations by the effects of climate change is a strong line of cultural indictment throughout the artist’s practice.

This work can be viewed day and night on the Buxton Contemporary screen.

AZIZ HAZARA (AF) I am looking for you like a drone, my love (History)

[Premiere] Fiona and Sidney Myer Gallery Victorian College of the Arts 40 Dodd St, Southbank Map: River Precinct (p36) 14 April – 21 May Tue – Sat, 12pm – 5pm

I am looking for you like a drone, my love presents new large-scale photographs by artist Aziz Hazara along with carpets by unknown makers from Afghanistan.

Deeply impacted by the withdrawal of international troops from Afghanistan in 2021, Hazara has created new works that document the packaging, electronic waste, furniture and random junk left behind after two decades of foreign occupation.

Combining these images with handmade carpets from the region, this exhibition alludes to the complexities of being human in a landscape of change and continuity.

Hazara is the winner of the Future Generation Art Prize 2021, the prestigious global art prize for artists under 35.

Image: Angela Tiatia, Holding On (video still), 2015. Courtesy the artist and Buxton Contemporary.

Image: Aziz Hazara, I am looking for you like a drone, my love (detail), 2021. Courtesy the artist.

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State Library Precinct CHRISTIAN THOMPSON Being Human Human Being RMIT Alumni Courtyard (outdoor) Mon – Fri, 7am – 8pm Sat – Sun, 10am – 5pm

44 EAMONN DOYLE 45 SARAH PANNELL 46 DENISSE ARIANA PÉREZ Franklin St East (outdoor) 24 hrs

42 ANU KUMAR Remnants of Ritual State Library Victoria Forecourt (outdoor) 24 hrs

47 DARK ROOM ENCOUNTERS 48 CONSTRUCTION AND DESTRUCTION 49 FEMALE MONOLOGUES First Site Gallery Tue – Fri, 11am – 5pm

43 POULOMI BASU Blood Speaks: A Ritual of Exile Rodda Ln (outdoor) 24 hrs

50 MOHAMED BOUROUISSA Periphérique/Shoplifters Peter O’Callaghan QC Gallery Mon – Fri, 8.30am – 5.30pm

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As part of PHOTO 2022’s international program, Christian Thompson is exhibiting at the Soho Photography Quarter, London from 23 September.

Presented by The Photographers’ Gallery and Photo Australia, and supported by the Australian Government as part of the UK/Australia Season 2021–22.

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JENNY LEWIS One Hundred Years Barry St (outdoor) 24 hrs

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CHRISTIAN THOMPSON Bidjara (AU) Being Human Human Being

In an immersive presentation exclusive to PHOTO 2022, Christian Thompson AO transforms the RMIT Alumni courtyard (formerly the courtyard of the Old Melbourne Gaol) with large-scale photographic works amidst a new soundscape.

For this exhibition, Thompson exhibits his Flower Wall series together for the first time, including a new commission for PHOTO 2022: Being Human Human Being.

In these works, Thompson disappears into constellations of flowers as an exploration of identity, sexuality, gender, race and memory.

Echoing throughout the courtyard is the soundscape, also commissioned for PHOTO 2022, featuring a layering of Thompson’s voice singing in Bidjara, his mother tongue.

Considered an extinct or lost language, each word of Bidjara spoken—or sung—works to maintain it as a living language.

Formally trained as a sculptor and recently awarded the 2020 Bowness Photography Prize, Thompson has an interdisciplinary practice, and in 2010 made history, becoming the first Aboriginal Australian to attend the University of Oxford in its 900-year history.

Image: Christian Thompson, Being Human Human Being, 2022. Commissioned by Photo Australia for PHOTO 2022 International Festival of Photography. Courtesy the artist, Sarah Scout Presents and Yavuz Gallery.

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ANU KUMAR (IN/AU) Remnants of Ritual

[Premiere] State Library Victoria Forecourt (outdoor) 328 Swanston St, Melbourne Map: State Library Precinct (p42) 29 April – 22 May 24hrs Commissioned by Photo Australia Supported by the Restart Investment to Sustain and Expand (RISE) Fund, an Australian Government initiative

(Society)

The Indian/Australian diaspora faces pressure from both worlds to bend in their direction—what remains is a tension between the two, and a seamless ability to code-switch. Decisions are made everyday as to what is preserved, adapted, and left behind—from this process, a new hybrid culture is birthed.

Remnants of Ritual by artist Anu Kumar captures moments of this hybridity. In a series encompassing portraits, details of possessions, and landscapes, Kumar documents an evolving relationship to the motherland, and the land currently occupied.

Working primarily with medium format photography, Kumar explores themes of belonging, using her practice as a gateway to understanding her identity as a woman born in India and raised in Australia.

Presented on the forecourt of State Library Victoria, Remnants of Ritual aims to celebrate the strength of community, tradition and the evolution of Indian people in the Australian context.

POULOMI BASU (IN) Blood Speaks: A Ritual of Exile

[Australian Exclusive] Rodda Ln (outdoor), Melbourne Map: State Library Precinct (p42) 29 April – 22 May 24hrs Curated by Photo Australia Presented in partnership with RMIT University

(Society)

Blood Speaks: A Ritual of Exile is a transmedia activism project that reveals the social, emotional, and physical consequences of normalised violence against women perpetrated under the guise of tradition in Nepal and India.

This violence is grounded in the impurity of a woman’s menstrual blood. Menstruating women undergo Chaupadi, a ritualised exile, which keeps menstruation shrouded in mystery and taboo—a weapon to shame women into subservience. Women are seen as “impure” during this time, and forced to stay for several days in small outdoor sheds, often a far and difficult walk away from their homes. Isolated and unprotected women are left in incredibly dangerous circumstances, crimes against them hidden, under reported, and unresolved.

Poulomi Basu is an Indian artist, photographer, and activist who has become widely known for advocating for the rights of women. These gripping photographs of the women have traveled the world educating new audiences about the harsh realities of this practice.

Image: Anu Kumar, from the series Remnants of Ritual (detail), 2022. Commissioned by Photo Australia for PHOTO 2022 International Festival of Photography. Courtesy the artist.

Image: Poulomi Basu, from the series Blood Speaks: A Ritual of Exile, 2013–16. Courtesy the artist and TJ Boulting.

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Eamonn Doyle (IE) Sarah Pannell (AU) Denisse Ariana Pérez (DO)

[Australian Exclusive] Franklin St East (outdoor), Melbourne Map: State Library Precinct (p42) 29 April – 22 May Eamonn Doyle: i [Australian Exclusive] Denisse Ariana Pérez: Street Still Life [Australian Exclusive] Sarah Pannell: The People are the Times [Premiere] Curated by Photo Australia Presented in partnership with Metro Tunnel Creative Program

(Society)

Displayed on Metro Tunnel construction hoardings alongside the Melbourne City Baths, three artists present different approaches to street photography.

Irish photographer Eamonn Doyle is drawn towards solitary, often elderly, figures he sees on the streets of Dublin, people he seems to pass daily. Often not revealing faces, Doyle evokes the very unknowability of these people. The result makes us consider those passers-by we meet in fleeting, urban encounters. This series has been championed by Martin Parr as “the best street photobook in a decade”.

Dominican photographer Denisse Ariana Pérez connects with her subjects before the photograph. Meaningful encounters become this photographic series, shot on location in African cities. The results are rich, human, and warm.

And following bodies of work created in Iran, Turkey and the Northern Territory, Sarah Pannell returns to her native Melbourne, capturing its residents emerging into the world in a new commission for PHOTO 2022.

Image: Eamonn Doyle, Untitled 36, from the series i, 2013. Courtesy The Michael Hoppen Gallery.

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DARK ROOM ENCOUNTERS CONSTRUCTION AND DESTRUCTION FEMALE MONOLOGUES

MOHAMED BOUROUISSA (DZ/FR) Periphérique/Shoplifters

[Premiere]

[Australian Exclusive]

(Nature)

First Site Gallery Basement, 344 Swanston St, Melbourne Map: State Library Precinct (p42) 26 April – 20 May Tue – Fri, 11am – 5pm Ciaran Begley (NZ), Alice Duncan (NZ/AU), Maud Freeman (AU), Zachariah Micallef (AU), Adrian J. Song (AU), Karen Song (CN), Sophie Spence (AU), Lesley Turnbull (UK/AU)

First Site Gallery presents three new exhibitions for PHOTO 2022 exploring the impact of human inhabitation.

Dark Room Encounters features the work of Alice Duncan, Lesley Turnbull, and Ciaran Begley. Spanning photography, moving image and sculpture, this exhibition draws upon land and time to explore the intersections between ecology, identity politics and place.

Karen Song’s solo exhibition, Female Monologues creates a dialogue between humans and land, her photography examining the ways in which the female body can be informed and echoed by its surroundings— taking the socio-political context of women’s lives and allowing nature to be a salve.

Using multiple photographic techniques, the collective COLLIDER presents Construction and Destruction, an examination of the ways in which invisible markers on the land form patterns of continual colonial violence. The project is based on research into the 1879 diversion of the Yarra River, and returns water to where it previously flowed in the river’s pre-colonial state.

Peter O’Callaghan QC Gallery Owen Dixon Chambers, 205 William St, Melbourne Map: State Library Precinct (p42) 29 April – 22 May Mon – Fri, 8.30am – 5.30pm Curated by Photo Australia Supported by JCP Studios and Fini Frames

(Society)

In this exhibition, two series from Deutsche Börse Prize winner Mohamed Bourouissa, each exploring society’s overlooked fringes, sit within the Victorian Bar’s collection of portraits of legal dignitaries.

For Périphérique, Bourouissa’s breakthrough series of photographs, the artist appropriates codes of art historical painting, staging scenes with friends and acquaintances in the banlieue, the working-class suburbs encircling Paris (and site of riots in 2005). Confrontations, gatherings, looks, and frozen gestures all suggest a dramatic tension. Invoking French Romantic painter Delacroix and contemporary artists such as Jeff Wall, Bourouissa gives a place in French history to marginalised communities.

Shoplifters is a series of photographs of photographs. In a supermarket in Brooklyn, Bourouissa was drawn to a Polaroid display behind the counter of shoplifters. Each was photographed holding the item they had been stealing—everyday items like fruit, eggs, cleaning products. Bourouissa has rephotographed and recontextualised these images, revealing them as documents of people caught in poverty.

Image: Karen Song, Touch, 2021. Courtesy the artist.

Image: Mohamed Bourouissa, La Fenêtre, 2007, from the series Périphérique. Courtesy the artist.

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Jenny Lewis (UK) One Hundred Years

(Mortality)

[Australian Exclusive] Barry St (outdoor) Parkville Map: State Library Precinct (p42) From 29 April Curated by Photo Australia Presented in partnership with Metro Tunnel Creative Program Also presented in partnership with Metro Tunnel Creative Program, 101 Victorians is a complementary community participation project in the style of Jenny Lewis’ One Hundred Years. View at 101victorians.com.au

101 people, 100 years, one community.

Presented across 100+ metres of Metro Tunnel hoardings, this collection of 101 intimate portraits tells the stories of 101 residents of Hackney, London, at every age from birth to 100. These lifesize portraits reveal a neighbourhood up close—the deep sorrows, fierce joys and many contradictions that all our lives contain.

One Hundred Years is an insight into one community in East London, through which the viewer finds connections with their own community—wherever in the world it may be.

This will be the first time that these works will be presented at this scale, providing an opportunity for audiences to explore each portrait in intimate detail.

Jenny Lewis is an award-winning portrait photographer. She has lived in Hackney for 25 years and her work focuses on visual storytelling within her community.

Image: Jenny Lewis, Renee 100, from the series One Hundred Years, 2021. Courtesy the artist.

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Fitzroy / Collingwood

57 ZOË CROGGON Mother Tongue Daine Singer Wed – Fri, 12pm – 5pm Sat, 12pm – 4pm 58 AMRITA HEPI, HONEY LONG & PRUE STENT Omphallus Peel Street Park (outdoor) Night-time projections 59 ALAN STEWART Escape West Space (outdoor) Mon – Wed, 7.30am – 6pm Thu – Sun, 7.30am – 11pm 60 DANA CLAXTON Headdress Collingwood Yards (outdoor) Mon – Wed, 7.30am – 6pm Thu – Sun, 7.30am – 11pm

66 MARTIN SMITH circle and settle Res Artis Thu – Sat, 12pm – 5pm

Kerr St

77 BEING, HUMAN BEING: UFO Photography Gertrude Glasshouse Thu – Sat, 12pm – 5pm 68 NEW PHOTOGRAPHERS James Makin Gallery Thu – Sun, 12pm – 5pm or by appointment

63 SAM LIEBLICH PHRASER FUTURES Thu – Sat, 12pm – 5pm

52,53,54 Easey S t

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69 Sac

kville St

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69 Johnst on

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69 PORTRAIT OF HUMANITY Various billboard sites around Fitzroy and Collingwood

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Perry St

Napier S t

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Moor St

61 JEMIMA WYMAN Billow Agency Projects Tue – Fri, 11am – 3pm 62 MARK SMITH Ugly/Beautiful Arts Project Australia Tue – Fri, 11am – 6pm Sat – Sun, 12pm – 4pm

Mater S t

65 PHILIP MONTGOMERY American Mirror Le Space Wed – Fri, 12pm – 2pm Sat, 12pm – 5pm

St

56 LANE CORMICK George Daine Singer Wed – Fri, 12pm – 5pm Sat, 12pm – 4pm

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Wellingto n

55 EZZ MONEM THIS IS NO FANTASY Tue – Fri, 10am – 5pm Sat, 12pm – 5pm

64 ROSS MCDONNELL LOST BOYS Le Space Wed – Fri, 12pm – 2pm Sat, 12pm – 5pm

Smith S t

54 MARTINE GUTIERREZ Internet Immigrant Centre for Contemporary Photography Wed – Sun, 11am – 5pm

ra Pde

George St

53 PAUL MPAGI SEPUYA Centre for Contemporary Photography Wed – Sun, 11am – 5pm

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Outdoor Exhibition Indoor Exhibition

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Brunsw ick St

52 QUEERING THE FRAME Centre for Contemporary Photography Wed – Sun, 11am – 5pm

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Gertrud

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Peel St

use Rd

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Langrid

ge St

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67 66 Glassho

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Queering the Frame: Community, Time, Photography

(Self)

Brook Andrew Wiradjuri/Celtic (AU) J Davies (AU/Māori) Helen Grace (AU) Samuel Hodge (AU) The Huxleys (AU) Shannon May Powell (AU)

[Australian Exclusive] Centre for Contemporary Photography 404 George St, Fitzroy Map: Fitzroy/Collingwood (p52–53) 29 April – 12 June Wed – Sun, 11am – 5pm Curated by Photo Australia Supported by Mark Henry

Please note this exhibition contains images of deceased people

Presenting Australian LGBTQ+ artists across generations, this exhibition considers how the community narrate their histories—how voices are celebrated, how the queer community shift otherwise heteronormative readings of history and information.

Moving across generations, from the late 70s through to now, these artists come together in a celebration of queer community, and consider the ways in which stories are passed down, how lives are remembered.

From Amazon Acres, a femaleonly commune of the 70s and 80s, to capturing moments of queer Indigenous joy in the 90s and portraits of contemporary queer bodies, the exhibition reflects on the impact and ongoing importance of queer ancestors and connections across generations.

Image: J Davies, from the series Love Story, 2022. Courtesy the artist.

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PAUL MPAGI SEPUYA (US)

[Australian Exclusive] Centre for Contemporary Photography 404 George St, Fitzroy Map: Fitzroy/Collingwood (p52–53) 29 April – 12 June Wed – Sun, 11am – 5pm Curated by Photo Australia Supported by Mark Henry and Fini Frames

(Self)

One of the most distinctive voices in 21st century visual culture, Paul Mpagi Sepuya reveals the dynamics and mechanics of portraiture and photography, positioning queerness and Blackness at the core of the medium. Following critically-acclaimed presentations at MoMA and the Whitney Biennial, PHOTO 2022 brings together recent works that foreground the elemental conditions of Sepuya’s practice, including the photographer’s tools and studio, mirrors and velvet backdrops, and the interrelationship of photographer and subject.

The use of mirrors has long been a staple of Sepuya’s practice. In his recent work, the camera almost always records a reflection in the mirror, sometimes including fragments of test prints affixed to its surface, and smudges on the glass, a memory of touch that establishes a boundary between viewer and image. The images in this show demonstrate a range of Sepuya’s interconnected interests, zooming out on stages and drop scenes and focusing in on intimate spaces, evoking dark rooms both of photography and queer culture.

MARTINE GUTIERREZ (US) Internet Immigrant

[Australian Exclusive] Centre for Contemporary Photography 404 George St, Fitzroy Map: Fitzroy/Collingwood (p52–53) 29 April – 12 June Wed – Sun, 11am – 5pm Curated by Photo Australia Supported by Mark Henry and Fini Frames

(Self)

The work of American photographer and performance artist Martine Gutierrez subverts conventional ideals of beauty to reveal how deeply sexism, racism, transphobia and other biases are embedded in our culture. The exhibition moves from the chaotic and bombastic to the anthropological, including a large-scale wallpaper designed specifically for the exhibition, and Neo-Indian studio portraits incorporating indigenous textiles of Gutierrez’s Mayan heritage.

Playfully, Gutierrez reworks the very conduits of advertising that sell the identities she disassembles. Hybridizing the industry’s objectification of sex with the individual’s pursuit of self, Gutierrez satirically undermines the aesthetics of what we know.

Gutierrez entered the world stage with Indigenous Woman, a 124-page magazine and photographic series with the artist starring as editor, model, stylist, photographer. A full suite of works, as Gutierrez describes, dedicated to “the celebration of Mayan Indian heritage, the navigation of contemporary indigeneity and the ever-evolving self-image.”

Image: Paul Mpagi Sepuya, Studio (0X5A5038), 2020. Image courtesy of the artist, DOCUMENT, Chicago, and Vielmetter Los Angeles.

Image: Martine Gutierrez, Queer Rage, Swimming Lessons?... As If, p63 from Indigenous Woman, 2018. Courtesy the artist and RYAN LEE Gallery, New York. © Martine Gutierrez.

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EZZ MONEM (EG/AU)

(History)

LANE CORMICK (AU) George

(Society)

[Premiere] Daine Singer Rear, 90 Moor St, Fitzroy Map: Fitzroy/Collingwood (p52–53) 27 April – 28 May Wed – Fri, 12pm – 5pm Sat, 12pm – 4pm

Lane Cormick’s exhibition comprises a series of diptych black and white prints on acetate, which are overlaid with a pattern of collaged enamel paint dots from hole punch chads.

The diptychs use mirrored photographs, found images and revisit abstract drawings from his archive. The exhibition continues Cormick’s aesthetic investigation of their brand, repetition, reproduction, and fandom.

Cormick’s work draws from a wide array of influences including the aesthetics of the industrial and functional, investigation of skill and technique, performance, music, conceptual art and minimalism, and contemporary culture. These influences feed into an art practice that is open-ended and without predictable outcome.

Image: Lane Cormick, Peach G9, 2021. Courtesy the artist and Daine Singer.

[Premiere] THIS IS NO FANTASY 108 - 110 Gertrude St, Fitzroy Map: Fitzroy/Collingwood (p52–53) 29 April – 21 May Tue – Fri, 10am – 5pm Sat, 12pm – 5pm

Ezz Monem is a photo-based artist from Egypt who lives and works in Melbourne.

He uses photography to explore the pluralism of reality, playing with sensations of ambivalence and conflict, and giving visual form to the multiplicity of identity in places, people, and objects.

Monem sources images from found photos, fiction films, videos and Google Street View, utilising the mechanical reproduction capabilities of the camera along with various darkroom techniques to transform them into photographic works and imaginary archives. Through the repurposing of images, Monem makes autoethnographic works drawing on his background growing up in Egypt and his experience migrating to Australia.

ZOË CROGGON (AU) Mother Tongue

(Society)

[Premiere] Daine Singer Rear, 90 Moor St, Fitzroy Map: Fitzroy/Collingwood (p52–53) 27 April – 28 May Wed – Fri, 12pm – 5pm Sat, 12pm – 4pm

In Mother Tongue, Zoë Croggon considers the human compulsion to divide and partition land. Croggon writes: “I am interested in the concept of the border, the map, the territory. My collage work is largely characterised by a ‘split’, where two contrasting images intersect and amalgamate. In the context of this body of work I consider the ‘split’ as a division, or

border, introducing geographical, political, and historical meaning into the formal arrangement.”

Mother Tongue examines the interior and exterior borders that shape our lives, and interrogates their meanings—what they include and also what they exclude.

Image: Ezz Monem, The Pyramids Postcards: Following the Policeman #2 (detail), 2018/2019. Courtesy the artist and THIS IS NO FANTASY.

Image Zoë Croggon, Knot (detail), 2018. Courtesy the artist and Daine Singer.

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AMRITA HEPI (AU/NZ), HONEY LONG (AU) & PRUE STENT (AU) Omphalus

(Self)

Peel St Park (outdoor) Peel St, Collingwood

DANA CLAXTON Hunkpapa Lakota (CA) Headdress

(Society)

Map: Fitzroy/Collingwood (p52–53) 29 April – 26 June Night-time projections Presented by Yarra City Arts Commissioned by NETS Victoria and supported by the Victorian Government through Creative Victoria

Taking cues from Barbara Creed and Julia Kristeva’s writing on the MonstrousFeminine, artists Honey Long, Prue Stent & Amrita Hepi have collaboratively come together again to create a new body of work Omphalus.

Omphalus referring to the navel or yonic, brings about images of chalices, cauldrons, caves and concavities—it employs the use

of a single phallic inflatble and symmetry to distort the body in ways that is at times erotic, uncanny and consistently mutating.

In this video we see a collapsing of boundaries or ambiguities in relation to the depiction of the body. The monster or monstrously feminine in this case is what crosses or threatens to cross the ‘border’.

The border between human and non-human.

Image: Amrita Hepi, Honey Long & Prue Stent, Omphalus (video still), 2021. Courtesy of the artists, Anna Schwartz Gallery and Arc One Gallery Melbourne.

ALAN STEWART Taungurung (AU/PH) Escape

(Nature)

[Australian Exclusive] Collingwood Yards Courtyard (outdoor) 35 Johnston St, Collingwood

[Premiere] West Space Collingwood Yards, 102/30 Perry St, Collingwood

Map: Fitzroy/Collingwood (p52–53) 29 April – 22 May Mon – Wed, 7.30am – 6.00pm Thu – Sun, 7.30am – 11pm

Map: Fitzroy/Collingwood (p52–53)

Curated by Photo Australia

9 April – 22 May Mon – Wed, 7.30am – 6.00pm Thu – Sun, 7.30am – 11pm

Presented in partnership with Scotiabank CONTACT Photography Festival, Toronto Supported by the Consulate General of Canada, Sydney

Presented in the window gallery at West Space, Escape is a new body of work

by Taungurung/Filipino artist Alan Stewart made during Melbourne’s long lockdown to reflect his longing to connect to country.

“Country has always been my escape and connection to my culture. Without it, I lost a sense of self and a way to revitalise my spirit. Those early mornings and long drives

helped me to see what’s special about being on country, land that holds such a deep meaning to my ancestors. I look back now and realise how lucky I was.”

Canadian First Nations artist Dana Claxton’s practice investigates indigenous beauty, the body, the socio-political and the spiritual. Presented exclusively for PHOTO 2022, her series Headdress extolls indigenous cultural abundance.

In these images, presented as threemetre-high prints in the courtyard of Collingwood Yards, four First Nations womxn display their very different collections of traditional beadwork, spanning generations, tribes and fashions.

From traditional designs specific to the Vuntut Gwich’in First Nation, to a duo wearing the same inter-tribal collection made by beaders from the four directions, to hip-hop inspired pieces, these beadworks cover and espouse the womxn’s silhouettes, becoming more than just objects: they are cultural belongings, and the womxn are cultural carriers.

Claxton is a member of the Wood Mountain Lakota First Nations, located in south-west Saskatchewan.

Image: Alan Stewart. Courtesy the artist.

Image: Dana Claxton, Jeneen (detail), from the series Headdress, 2019. Courtesy the artist.

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JEMIMA WYMAN (AU/US) Billow

[Premiere] Agency Projects Collingwood Yards, 102/35 Johnston St, Collingwood Map: Fitzroy/Collingwood (p52–53) 29 April – 22 May Tue – Fri, 11am – 3pm

(Society)

Jemima Wyman’s practice explores camouflage as a visual and psychological device related to power. Billow consists of collages of photographs depicting smoke used in recent protests and demonstrations, all of which are related back to ‘camouflage’—a word derived from the French term camouflet, which literally means ‘a whiff of smoke in the face’.

Wyman finds images online depicting plumes of smoke generated from flares, fires, and deterrents, cuts them up and collages them together to make various formations.

MARK SMITH (AU) Ugly/Beautiful

[Premiere] Arts Project Australia Collingwood Yards Level 1, Perry St Building, 35 Johnston St, Collingwood Map: Fitzroy/Collingwood (p52–53) 29 April – 26 June Tue – Fri, 11am – 6pm Sat – Sun, 12pm – 4pm Curated by Sim Luttin

(Self)

“After my accident, I was told I’d never walk again. I proved them wrong.”

Ugly/Beautiful is a solo exhibition of photographic work by Melbournebased mixed-media artist Mark Smith. It presents a space for beauty and ugliness to coalesce. Exploring identity, difference and faith, the artwork aims to express feelings of joy. Says Smith: “This is me! Take it or leave it!” Yet, the viewer’s experience is more confronting, with imagery depicting digital collages of body parts lurching outwards from a black background, prompting feelings of disconnectedness, discomfort, and unease.

“I consider limitations and barriers imposed on me as an invitation/motivation to fuel my determination to create and succeed. My works are ambiguous to the viewing public. However, my greater intention is to break down preconceived understandings of disability. My life’s experiences are definitely an inspiration for my artworks.”

Image: Jemima Wyman, Haze 2..., 2021. Courtesy the artist and Agency Projects.

Image: Mark Smith, Ugly/Beautiful, 2015. Represented by Arts Project Australia, Melbourne. © Mark Smith.

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SAM LIEBLICH (AU) PHRASER

(Society)

ROSS MCDONNELL (IE) LOST BOYS

(Society)

[Premiere] Le Space 1 Mater St, Collingwood Map: Fitzroy/Collingwood (p52–53) 29 April – 29 May Wed – Fri, 12pm – 2pm Sat, 12pm – 5pm Curated by Ying Ang

Following news reports of the increasing numbers of young men from Afghanistan arriving on European shores as asylum seekers, Ross McDonnell initiated a new project to collaborate with these so-called ‘Lost Boys of Afghanistan’.

The resulting series—premiering at PHOTO 2022—was produced in collaboration with Assad Ullah, a photographer McDonnell

befriended and worked with in Kabul. Using techniques passed down from his father, Assad hand-tinted silver gelatin fiber prints with his fingers and oil paints, creating this set of unique, colourised portraits.

The project challenges our preconceptions about Afghanistan and Migration through an examination of the photographic process and its cultural norms.

Image: Ross McDonnell, from the series LOST BOYS (detail), 2012. Courtesy the artist.

[Premiere] FUTURES 21 Easey St, Collingwood Map: Fitzroy/Collingwood (p52–53) 29 April – 21 May Thu – Sat, 12pm – 5pm

As we spend more time fused with our digital devices, technology accelerates and bundles us up within itself.

Where will this lead? By psychoanalysing the algorithm, we found ourselves within, extracted our own essence like the internet’s wisdom tooth and made PHRASER, an AI entity birthed of its own reflection.

Residing in a darkened room, PHRASER consists of a meta-algorithm, a fusion of rules and connections trained by texts produced in workshops run by the artist.

The work reshapes current events on the internet, spitting out a monologue of strange words and a fluttering of discordant images.

Back to the question of ‘where this might take us?’ Some proponents of the ‘technological singularity’—where technology might supersede us—say ‘utopia!’ But while techno-capitalists believe AI will free human beings from their uncomfortable desires, PHRASER posits that AI will simply embody them as a ruthless and repetitive automatism.

PHILIP MONTGOMERY (MX/US) American Mirror

(Society)

[Australian Exclusive] Le Space 1 Mater St, Collingwood Map: Fitzroy/Collingwood (p52–53) 29 April – 29 May Wed – Fri, 12pm – 2pm Sat, 12pm – 5pm Curated by Ying Ang

American Mirror is award-winning photographer Philip Montgomery’s dramatic chronicle of the United States at a time of profound change.

Through his intimate and powerful reporting and signature black-and-white style, Montgomery reveals the fault lines in American society, from police violence and the opioid addiction crisis to the COVID-19

pandemic and the demonstrations in support of Black lives. Yet in his unflinching images we also see moments of grace and sacrifice, glimmers of solidarity, and tireless advocates for democracy.

Like Dorothea Lange and Walker Evans before him, Montgomery has made an unforgettable testament of a nation at a crossroads.

Image: Sam Lieblich, PHRASER: Intrusive Thoughts (digital output), 2021. Courtesy the artist and FUTURES.

Image: Philip Montgomery, from the series American Mirror, 2021. Courtesy the artist and Le Space.

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MARTIN SMITH (AU) circle and settle

[Premiere] Res Artis Level 1, 44 Glasshouse Rd, Collingwood Map: Fitzroy/Collingwood (p52–53) 29 April – 22 May Thu – Sat, 12pm – 5pm

(Self)

Martin Smith’s practice explores how we experience our world, connect to others, and feel through language. This theme stems from the artist’s own difficult experiences with speech and language, having suffered a profound stutter in his youth. This exhibition circle and settle explores the unique way that stuttering effects the construction and application of language. Through the medium of photography, speech and dialogue are represented as a physical forces like air, water and earth.

BEING, HUMAN BEING: UFO Photography

[Australian Exclusive] Gertrude Glasshouse 44 Glasshouse Rd, Collingwood Map: Fitzroy/Collingwood (p52–53) 22 April – 21 May Thu – Sat, 12pm – 5pm Curated by Mark Feary

(Mortality)

The capture of encounters with UFOs has long relied upon the medium of photography to offer evidence of phenomena suggesting the potential of life beyond our planet.

With anchor points in a number of works by artists as well as scientists, amateur astronomers and existential enthusiasts, this exhibition draws on the public fascination with conspiracy theories around encounters with unidentified aerial phenomena to consider the implausibility of Earth as the sole context for intelligent life.

Through an expanded open call process, Being, Human Being provides a forum drawing on and consolidating unique encounters from across the globe that consider the potential of life beyond our understanding.

Presented in a manner more akin to a laboratory than an art exhibition, the project is a space of discovery, but also a platform for supportive discussion and the sharing of experiences that expand our sense of human existentialism.

Image: Martin Smith, Absence Glacier, 2021. Courtesy the artist and Res Artis.

Image: Ronnie van Hout, Found UFO image, 2015. Courtesy the artist and Bus Projects, Melbourne. Ronnie van Hout is represented by Station, Melbourne; Darren Knight Gallery, Sydney; Ivan Anthony, Auckland; and Hamish McKay, Wellington.

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New Photographers

(Society)

Isabella Darcy (AU) J Davies (AU/Māori) João Marco Deloie (AU/BR) Rachel Main (AU) Olivia Mròz (AU/PL) Jake Nemirovsky (AU/RU) Jahkarli Romanis Pitta Pitta (AU)

[Premiere] James Makin Gallery 89 Islington St, Collingwood Map: Fitzroy/Collingwood (p52–53) 29 April – 22 May Thu – Sun, 12pm – 5pm or by appointment Curated by Photo Australia Supported by the Victorian Government through Creative Victoria Supported by The PrintShop @ PSC As part of the New Photographers program each photographer is provided with professional development support including mentorship by an international artist or curator.

Mentors: Sam Contis (US), George Georgiou (UK), Felicity Hammond (UK), Florian Hetz (DE), Alona Pardo (UK), Sara, Peter & Tobias (DK), Ann Shelton (NZ)

Photo Australia’s showcase of Victoria’s most exciting emerging photographers returns with seven artists who bring new perspectives to the human experience, photography and visual culture.

Pitta Pitta woman Jahkarli Romanis unpacks the continuing negative impacts of colonisation, uncovering biases in contemporary mapping technologies. Jake Nemirovsky’s practice blurs the distinction between the real and the fictional, reassessing documentary image-making conventions for a post-truth world.

Inspired by his Indigenous Brazilian heritage, João Marco Deloie works to decolonise the camera, synthesising cultural practice into his artistic practice, while Olivia Mròz examines themes surrounding identity, sex and queerness.

Rachel Main offers an insider’s view of Australia and Aotearoa’s female Krump dance communities, J Davies reveals queer intimacy and bodies, and Isabella Darcy investigates the value we place on objects to explore material culture and human consumption.

Image: Rachel Main, Jannie at the 1010 Session, Melbourne, 2021. Courtesy the artist.

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Portrait of Humanity

Various billboard sites in Fitzroy and Collingwood (outdoor) (please refer to map) Map: Fitzroy/Collingwood (p52–53) 29 April – 22 May 24hrs Curated by Photo Australia Presented in partnership with 1854 Supported by the UK/Australia Season Patrons Board, the British Council and the Australian Government as part of the UK/Australia Season

(Society)

In partnership with 1854—publishers of the British Journal of Photography— Portrait of Humanity is showing exclusively in Australia at PHOTO 2022 as the first stage of a world tour.

Celebrating both individuality and unity, Portrait of Humanity invites photographers of all levels of experience to show how people can use photography to overcome our differences and unite as a global community. For this edition, Portrait of Humanity has asked entrants to shine a light on the spirit, strength and togetherness that has sustained our species through this dark time in history.

PHOTO 2022’s presentation of the thirty winning images and three winning bodies of work will be displayed as an outdoor exhibition throughout Fitzroy and Collingwood.

Image: Scott Rossi, Portrait of Humanity 2022 Winner. Courtesy the artist. © Scott Rossi.

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Metropolitan

OLD WAYS, NEW WAYS

70 OLD WAYS, NEW WAYS Monash Gallery of Art Tue – Fri, 10am – 5pm Sat – Sun, 10am – 4pm

75 JESS T. DUGAN Look at me like you love me Prahran Square 24 hrs

80 SELINA OU Neighbourhood Tales Sophie Gannon Gallery Tue – Sat, 11am – 5pm

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76 HELMUT NEWTON: In Focus Helmut Newton Jewish Museum of Australia: Gandel Centre of Judaica Tue – Fri, 10am – 5pm Sun, 10am – 5pm

81 LUO YANG Youth Substation Billboards 24 hrs

HODA AFSHAR Speak the wind Monash Gallery of Art Tue – Fri, 10am – 5pm Sat – Sun, 10am – 4pm

72 JAMES J. ROBINSON On Golden Days Hillvale Gallery Mon – Fri, 11am – 4pm Sat – Sun, 11am – 3pm 73 BE HERE NOW MARS Gallery Tue – Sat, 10am – 5pm 74 MISHA VALLEJO PRUT Secret Sarayaku Prahran Market Tue – Sat, 7am – 5pm Sun, 10am – 3pm

77 CYRUS TANG Time Fell Asleep in the Evening Rain Linden New Art Tue – Sun, 11am – 4pm 78 ERIC BRIDGEMAN (YURIYAL) Linden New Art Tue – Sun, 11am – 4pm 79 JEREMY EATON Beach Boys LON Gallery Wed – Sat, 12pm – 5pm

(History)

82 PHUONG NGO Nostalgia for a Time That Never Was The Substation Wed – Sat, 12pm – 6pm Fri, 12pm – 8pm 83 A BELL RINGS ACROSS THE VALLEY Footscray Community Arts Tue - Fri, 9.30am – 5pm Sat – Sun, 10am – 4pm

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[Australian Exclusive] Monash Gallery of Art 860 Ferntree Gully Rd, Wheelers Hill

83

Map: Metropolitan (p72) 2 April – 26 June Tue – Fri, 10am – 5pm Sat – Sun, 10am – 4pm

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Gail Harradine (Wotjobaluk/Djubagalk/ Jadawadjali, AU), Lisa Bellear (Minjungbul/ Geoernpil/Noonuccal/Kanak, AU), Tony Albert (Kuku Yalanji, AU), Peta Clancy (Bangarang, AU), Dianne Jones (AU), Michael Riley (Wiradjuri/Kamilaroi, AU), Viva Gibb (AU), Damien Shen (Ngarrindjeri, AU), Leah King-Smith (Bigambul, AU)

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Photography can be a container, a mouthpiece, a medium of record and a tool for considering and enlivening the ways of the past through the eyes of the present. In Old ways, new ways, works from three collections sit together to consider the ways that First Nations photography makes links between times gone by and the present, placing traditions within contemporary practice, speaking (sometimes singing, sometimes performing, at times shouting) across generations and through passages of time.

Human experience is shaped by what comes before it. Through various approaches—from documentation of protests and ceremonies, to conceptual and performative photography—each photographer exhibiting in Old ways, new ways has co-opted the camera to test what this means to them.

Works are drawn from the collections of the Monash Gallery of Art, the City of Monash, the Koorie Heritage Trust and the Horsham Regional Art Gallery.

Image: Damien Shen, Dorsal aspect of a male from the series On the fabric of the Ngarrindjeri body – volume II, 2014. Monash Gallery of Art, City of Monash Collection. Courtesy the artist and MARS Gallery, Melbourne.

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Hoda Afshar (IR/AU)

(Nature)

Speak the Wind

[Premiere] Monash Gallery of Art 860 Ferntree Gully Rd, Wheelers Hill Map: Metropolitan (p72) 2 April – 26 June Tue – Fri, 10am – 5pm Sat – Sun, 10am – 4pm Curated by Pippa Milne

Winds have shaped the islands off the southern coast of Iran, in the Strait of Hormuz, and over many centuries, tides have brought to these islands an ancient and complex group of people. There is a commonly held belief that the wind can possess a person, and can equally be exorcised from them through an intense ceremony of dance and music.

In Speak the Wind, Iranian/Australian artist Hoda Afshar proffers an enigmatic view of the rituals and lives that play out within the astounding landscape of these islands. As she uses photography and moving image to ensnare and parse the winds of the Strait of Hormuz, Afshar also grapples with the history of documentary photography—its beauty and its limits.

Image: Hoda Afshar, from the series Speak the Wind, 2015–20. Courtesy the artist and Milani Gallery, Brisbane.

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JAMES J. ROBINSON (AU/PH) On Golden Days

[Premiere] Hillvale Gallery 43 – 45 Edward St, Brunswick Map: Metropolitan (p72) 29 April – 22 May Mon – Fri, 11am – 4pm Sat – Sun, 11am – 3pm Supported by the Australian Government through the Australia Council for the Arts with additional assistance by SUNSTUDIOS

(History)

On Golden Days is artist James J. Robinson’s first solo-exhibition, deconstructing the architecture of nostalgia.

The past is portrayed systemically in our culture as a bygone era of innocence and purity. Through films, literature, and music, we tend to reflect idealistically on collective history as a way of anaesthetising contemporary anxiety.

However, this yearning for ‘golden days’ means we fetishise an era when prejudice against minorities was rampant, erasing the lived experiences of marginalised peoples.

Without the just retelling of history, who benefits?

Raising funds for Pay the Rent, On Golden Days takes the absurdity of glorifying the past and flips it on its head; calling on Robinson’s queer, Filipino identity to rewrite history with a series of photographs and video works starring an extensive Asian cast.

BE HERE NOW

[Australian Exclusive] MARS Gallery 7 James St, Windsor Map: Metropolitan (p72) 30 April – 22 May Tue – Sat, 10am – 5pm Arben Dzika (AU), Mohamed Chamas (LB/AU), Yétúndé Olagbaju (US), Tig Terera (AU), Ali Choudhry (AU), Nayndng Mayen (AU) Curated by Atong Atem

Image: James J. Robinson, from the series On Golden Days, 2021. Courtesy the artist.

Image: Nayndng Mayen, Bigoa, 2020. Courtesy the artist.

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(History)

This exhibition brings together a group of contemporary artists working with photography, film and new media to examine the past and its effect on the futures we build and create.

Through references to history, culture and group identities, each artist comments on the world as they see it, allowing us to imagine alternative futures.

What does it mean to talk about history from an intimate and personal perspective?

From confronting depictions of African American women referenced in Yétúndé Olagbaju’s self-portraits to Tig Terera’s intimate travel portraits, the artists in this exhibition speak to their inescapable link to history, exploring religious identity through virtual reality, familial nostalgia in film photos, and the varied ways we exist here and now as products of what came before.

MISHA VALLEJO PRUT(EC) Secret Sarayaku

[Australian Exclusive] Prahran Market, Prahran (outdoor) Map: Metropolitan (p72) 29 April – 22 May Tue – Sat, 7am – 5pm Sun, 10am – 3pm Curated by Photo Australia Supported by the City of Stonnington

(Nature)

Secret Sarayaku is the story of an indigenous people becoming cyberactivists in the fight to protect their jungle home.

The Kichwa people of Sarayaku in the Ecuadorian Amazon Rainforest believe in the spiritual interconnectedness of their ecosystem—and that protecting their home is fundamental not only to their own survival, but to that of humanity.

Responding to the threats of climate change, the Sarayaku use social media to communicate with the world about the threat to their way of life. By sharing their life in the jungle, they hope to inspire people around the globe to implement different strategies in the fight against climate change—but this method also invites an ever-greater Western presence in their everyday lives.

Misha Vallejo Prut spent six years documenting the people and communities of the Sarayaku for this project, inviting you to experience the merging of Western contemporary thought with the ancestral knowledge of this indigenous community.

JESS T. DUGAN (US) Look at me like you love me

[Australian Exclusive] Prahran Square (outdoor) Prahran Map: Metropolitan (p72) 29 April – 22 May 24 hrs Curated by Photo Australia Supported by the City of Stonnington

(Self)

In Look at me like you love me, Jess T. Dugan reflects on desire, intimacy, companionship, and the ways our identities are shaped by these experiences. In this highly personal collection of work, Dugan brings together self-portraits, portraits of individuals and couples, and still lifes, interwoven with diaristic writings reflecting on relationships, solitude, family, loss, healing, and the transformations that define a life.

Dugan has long used photography to understand their own identity and to connect with others on a deeper level.

Their process of working slowly and collaboratively discloses moments of heightened psychological intensity in images that transcend the specifics of a particular person or place, engaging with what it means to know oneself alongside and through others.

Look at me like you love me transforms Prahran Square into a public moment of connection, sharing intimacy and love on a community scale.

Image: Misha Vellejo Prut, Secret Sarayaku, 2015–2020. Courtesy the artist.

Image: Jess T. Dugan, Oskar and Zach (embrace) (detail), 2020. Courtesy the artist.

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Helmut Newton (DE/AU)

(Icon)

HELMUT NEWTON: In Focus

[Australian Exclusive] Jewish Museum of Australia: Gandel Centre of Judaica 26 Alma Rd, St Kilda Map: Metropolitan (p72) 29 April 2022 – 29 January 2023 Tue – Fri, 10am – 5pm Sun, 10am – 5pm Adult: $20 Concession: $15 Family: $40 By appointment

Jewish Museum of Australia: Gandel Centre of Judaica, in partnership with the Helmut Newton Foundation, presents HELMUT NEWTON: In Focus, a survey of the life and work of legendary fashion photographer Helmut Newton.

HELMUT NEWTON: In Focus delves into Newton’s early life, shining a light on his Jewish roots and youth in Berlin, his flight from Germany at the outbreak of WWII, and his internment at Tatura in regional Victoria as an enemy alien. It explores his post-war life and work in Melbourne and shares details of his relationship with his Australian-born wife, the acclaimed actress, artist and photographer June Newton, who worked under the pseudonym Alice Springs.

Showcasing an expansive collection of Newton’s most recognisable works, HELMUT NEWTON: In Focus presents an electrifying look at the daring and often controversial images that established his reputation as one of the most sought-after photographers of the twentieth century.

Image: Helmut Newton, Elsa Peretti, 1975. Courtesy Helmut Newton Foundation. © Helmut Newton Foundation.

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CYRUS TANG (HK/AU) Time Fell Asleep in the Evening Rain

[Premiere] Linden New Art 26 Acland St, St Kilda Map: Metropolitan (p72) 12 March – 5 June Tue – Sun, 11am – 4pm Curated by Juliette Hanson

(Self)

Cyrus Tang will present a series of photographic works and light boxes that explore presence and absence.

Drawing on her personal experiences of 2020, she has created hauntingly beautiful composite digital images that seek to depict the slowing down of time, the repetition in our daily lives and the increased space afforded to us during lockdown to observe, think and feel. The layers of imagery are like ghostly veils, or fogs, that converge on a condensed, vibrating detail.

The exhibition also includes an installation work that separates the many layers that make up her photographic images, allowing visitors to walk between and around each layer. Time Fell Asleep in the Evening Rain reflects Tang’s continued examination of the paradox of reconstructing ephemeral mental images and sensations in permanent materials.

ERIC BRIDGEMAN (YURIYAL) (PG/AU)

[Premiere] Linden New Art 26 Acland St, St Kilda Map: Metropolitan (p72) 12 March – 5 June Tue – Sun, 11am – 4pm Curated by Juliette Hanson

(Society)

Eric Bridgeman (Yuriyal) presents a selection of photographic work created between his home in the Highlands of Papua New Guinea and Australia.

Yuriyal (meaning: Man of Yuri) belongs to the Yuri tribe of South Simbu, Papua New Guinea. He produces portraits collaboratively with his fellow tribesmen and those closest to him, in traditional and domestic settings, to form personal tributes through intimate and meaningful exchanges within men’s spaces—the artist’s studio, the rugby field and the ‘hausman’, a traditional Papua New Guinean men’s house.

This exhibition includes new work presented alongside photographs taken over the last decade, but never shown before. The photographs are accompanied by written language, which provides further insight into the personal experiences and relationships depicted.

Image: Cyrus Tang, Almost Home, 2021. Courtesy the artist.

Image: Eric Bridgeman (Yuriyal) and Haus Yuriyal, Moskitos, 2010. Courtesy the artist and Milani Gallery, Brisbane.

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JEREMY EATON (AU) Beach Boys

[Premiere] LON Gallery 136a Bridge Rd, Richmond Map: Metropolitan (p72) 27 April – 21 May Wed – Sat, 12pm – 5pm

(Self)

LON Gallery presents Beach Boys, an exhibition of new work by Jeremy Eaton.

In Beach Boys, Eaton presents a series of prints, drawings and sculptural elements that loosely retell Edmund White’s first novel Forgetting Elena through imagery gleaned from a series of queer 8mm films from the same period of the novel (1960s and 1970s). The exhibition engages with experimental artistic films, erotic films and home videos to collage vignettes influenced by Edmund White’s mannerist and surreal narrative.

Recalling a time when queer visibility was becoming more prominent, the exhibition looks at love, poetics, eroticism, and the newly awakened consciousness that precipitated a period of experimentation. This creates a narrative flow to immerse the viewer in a textural series of washed out coastal imagery.

SELINA OU (AU) Neighbourhood Tales

[Premiere] Sophie Gannon Gallery 2 Albert St, Richmond Map: Metropolitan (p72) 26 April – 21 May Tue – Sat, 11am – 5pm

(Society)

Selina Ou is known for her large-scale colour photographs of people at work, at home, and in their local environment.

Neighbourhood Tales is a series of suburban narrative photographs exploring themes of the human condition, identity, and the legacy of the Great Australian Dream.

The landscapes feature two young children exploring their local environment and the social norms that surround them.

Through multiple perspectives of the child, the parent and the viewer, Ou tells stories of everyday suburban existence—people trying to build a better life, and children navigating their way through daydreams, social aspirations and popular culture.

Ultimately, Neighbourhood Tales seeks to capture small, familiar moments of nostalgia, loneliness, anxiety, curiosity, imagination, fear, intimacy, boredom and frustration that make every day challenging and interesting.

Image: Jeremy Eaton, Untitled (Test), 2021. Courtesy the artist and LON Gallery.

Image: Selina Ou, The Kite, 2021. Courtesy the artist and Sophie Gannon Gallery. © Selina Ou.

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LUO YANG (CN) Youth

[Australian Exclusive] The Substation (outdoor) 1 Market St, Newport Map: Metropolitan (p72) 29 April – 22 May 24 hrs Curated by Photo Australia in partnership with The Substation

(Mortality)

Luo Yang’s photographs document contemporary Chinese youth culture in flux. Following on from her acclaimed series Girls, which explored women born in the 1980s, Yang refocuses on the emerging Generation Y as they search for individual expression.

Yang captures teenagers and young adults far from the slick, sanitised youth image typically associated with Chinese popular culture. In turns bold and naïve, Yang’s subjects defy social codes, display fragility and love, and explore gender fluidity.

Displayed on six outdoor billboards at The Substation, Youth introduces us to the generation growing up in a shifting, globalised Chinese society.

PHUONG NGO (AU) Nostalgia for a Time That Never Was

[Premiere] The Substation 1 Market St, Newport Map: Metropolitan (p72) 29 April – 18 June (exhibition) 11 May – 20 May (video installation) Wed – Sat, 12pm – 6pm Fri, 12pm – 8pm Billboards at Laneway Gallery Wood Street Arts Space, 44 Woods St, Laverton 1 April – 27 June 24 hrs

(History)

Nostalgia for a Time That Never Was is a multi-venue exhibition by visual artist Phuong Ngo. The exhibition deals directly with the colonial legacy of French occupied Vietnam, reflecting on the ways in which this history has spanned the globe following The Fall of Saigon.

In unpacking the complexities of colonisation, the exhibition seeks to understand how the formation of French Indochina continues to inform the Vietnamese diaspora, including the ways in which the Vietnamese-Australian community engages with Australia’s (and the West’s) imperial, colonial, and racist past and present.

Presented in partnership with The Substation, Hobsons Bay City Council’s Laneway Gallery and PHOTO 2022.

Image: Luo Yang, Yaya (detail), 2019. Courtesy the artist and Migrant Bird Space.

Image: Phuong Ngo, Perhaps flying water tankers could be used to put it out (video still), from the series Lost and Found, 2019–ongoing. Courtesy the artist.

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A BELL RINGS ACROSS THE VALLEY

(History)

Regional Victoria 84 PONCH HAWKES 500 Strong Geelong Gallery Mon – Sun, 10am – 5pm

85 GAIL HARRADINE AND BELINDA ECKERMANN Mali marrng Mallee sky Horsham Regional Art Gallery Daily, 10am – 4pm 86 ATONG ATEM Banksia Benalla Art Gallery Daily, 10am – 4.30pm Closed Tuesdays 87 OCULI Acts I–VII Benalla Art Gallery Daily, 10am – 4.30pm Closed Tuesdays

88 OTIS BURIAN HODGE The Last Jar of Rosehip Jam Murray Art Museum Albury Mon – Fri, 10am – 5pm Sat – Sun, 10am – 4pm 89 TALIA SMITH Don’t be bashful, wear the flower behind your ear Murray Art Museum Albury Mon – Fri, 10am – 5pm Sat – Sun, 10am – 4pm

90 NATIONAL PHOTOGRAPHY PRIZE 2022 Murray Art Museum Albury Mon – Fri, 10am – 5pm Sat – Sun, 10am – 4pm

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[Australian Exclusive] Footscray Community Arts 45 Moreland St, Footscray Map: Metropolitan (p72) 11 April – 26 June Tue – Fri, 9.30am – 5pm Sat – Sun, 10am – 4pm Afshika Rahman (BD), Indu Anthony (IN), Sheelasha Rajbhandari (NP) / Nepal Picture Library, Devika Bilimoria (AU), Shwe Wutt Hmon (MM) Curated by Shivanjani Lal

Image: Devika Bilimoria. Courtesy the artist.

A bell rings out across the valley. A deep resonance that begins in the Himalayas and echoes out across the Bay of Bengal, growing in vibration and meaning as it sings out. Complex and tender, a manyheaded figure forms, both of alarm and joy.

Photography’s roots here can be traced to empire, anthropology and journalism.

The region takes these roots and shapeshifts these understandings and new stories form. What does Contemporary Photography look like in South Asia? What stories are being told?

Five artists have been invited from across South Asia and its diaspora to speak of complex experiences of identity, heritage and change.

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KEY X

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Outdoor Exhibition Indoor Exhibition

NORTH: ↑

PONCH HAWKES (AU) 500 Strong

Geelong Gallery 55 Little Malop St, Geelong Map: Regional (p89) 19 March – 3 July Mon – Sun, 10am – 5pm Curated by Jane Scott

(Mortality)

The world is awash with images of naked youthfulness, mainly young women. A naked older woman is an extremely rare subject and hardly ever portrayed with any sense of desirability. In 2018 photographer Ponch Hawkes embarked on a project to photograph 500 Victorian women over the age of 50 from all backgrounds. 432 women volunteered to be photographed in the nude to celebrate the diversity and reality of older women’s bodies.

500 Strong presents older women acting as though they have every right to be seen, ripping their clothes off, stepping out of public invisibility. Participants were encouraged to consider their anonymity and, while some women chose to show their faces, many came prepared with a personalised face covering.

This epic work, photographed in Melbourne, Geelong and Shepparton is both irreverent and playful.

GAIL HARRADINE Wotjobaluk/Djubagalk/Jadawadjali (AU) & BELINDA ECKERMANN (AU) Mali marrng Mallee sky

[Premiere] Horsham Regional Art Gallery 80 Wilson St, Horsham Map: Regional (p89) 29 April – 10 July Daily, 10am – 4pm Curated by Alison Eggleton The development of this artwork is supported by the Australian Government’s Regional Arts Fund, which is provided through Regional Arts Australia, administered

by Regional Arts Victoria.

Horsham Regional Art Gallery is also presenting a new commission by artist Amrita Hepi on a public billboard at 66 McPherson Street from 9 May in partnership with NETS Victoria.

(Nature)

For some of us, the connection to nature is almost tangible. It influences who we are, how we connect to others and how we connect to ourselves.

The new series Mali marrng Mallee sky

by Gail Harradine and Belinda Eckermann gives form to the invisible and unseen personal, familial, community narrative of connection to landscape. Central to this work is a possum skin cloak which carries the stories of the past and present, placed on the shoulders of a young woman as she journeys through the Country of the Wergaia and Wotjobaluk, across the sand hills, grasses and dry lakes beds. Adorned on this cloak are tunnel linings from the earth, created by the Bardi grub, which tell a narrative of time and connection to landscape.

This work merges digital photography, entomological research, electron microscopic imaging, and First Nations cultural practices to explore a shared knowledge and connection to the landscape around Lake Albacutya– Ngalukgutya in Victoria’s Mallee region.

Image: Ponch Hawkes, 500 Strong (ii) (detail), 2019–20. Courtesy the artist.

Image: Gail Harradine & Belinda Eckermann, 1. from the series, Mali marrng Mallee Sky, 2021. Courtesy the artists.

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ATONG ATEM (SS/AU) Banksia

Benalla Art Gallery Benalla Botanical Gardens, Bridge St, Benalla Map: Regional (p89) 15 April – 26 June Daily, 10am – 4.30pm Closed Tuesdays Supported by MARS Gallery

(History)

Exploring the history of African migration to So-Called Australia, Banksia presents an intimate and visually rich telling of the Migration Story.

A photographic series and video— accompanied by an arresting score by Melbourne composer Jerry Agbinya—work in conjunction to reveal otherwise obscured layers of history on a cinematic scale.

The works highlight the experience of African men and women who arrived on the First Fleet in 1788, a colonial history that started long before Atem’s own family arrived from South Sudan in 1997.

In fostering a deeper understanding of the experiences of African migrants, Atem interrogates the shaping of national policy throughout the centuries—policy that has directly influenced national identity.

The presentation of Banksia at Benalla Art Gallery encompasses a gallery exhibition of photographic stills alongside nightly outdoor screenings of the video work throughout PHOTO 2022.

OCULI (AU) Acts I–VII

[Premiere] Benalla Art Gallery Benalla Botanical Gardens, Bridge St, Benalla Map: Regional (p89) 29 Apr – 17 July Daily, 10am – 4.30pm Closed Tuesdays Curated by Oculi Collective and Natasha Christia

(Society)

Oculi presents Acts I–VII, a visual meditation on seven modes of being.

Conceived by members of the Oculi Collective in conversation with curator Natasha Christia, the exhibition reformulates the ‘Seven Year Life Stages’, a theory of human development by philosopher Rudolph Steiner, into seven universal states of being (and their binaries) that lie at the heart of contemporary existence.

Through new, unseen and revisited works, Acts I–VII explores what it means to be human, and to be image-makers, as we regather after the pandemic. Are we individuals or are we part of a collective?

Do the old rules and assumptions apply?

Acts I–VII is designed as an expansive installation that spills from the main gallery to outdoor installations in Benalla.

Interconnection, participatory elements, and an intermedia approach to the photographic medium run as threads through the seven acts, inviting a novel engagement with ourselves, images, and the world.

Image: Atong Atem, Photography 8, 2021. Courtesy the artist and MARS Gallery.

Image: Abigail Varney, Ocean Purge, 2020. Courtesy the artist.

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OTIS BURIAN HODGE (AU) The Last Jar of Rosehip Jam

(Mortality)

[Premiere]

NATIONAL PHOTOGRAPHY PRIZE 2022

(Mortality)

Murray Art Museum Albury 546 Dean St, Albury Map: Regional (p89) 9 April – 22 May Mon – Fri, 10am – 5pm Sat – Sun, 10am – 4pm

The Last Jar of Rosehip Jam is a new exhibition of photographs by Otis Burian Hodge. The exhibition comprises 35mm and medium format images that explore family relationships and memories, represented through the documentation of places, objects and repetitive habits.

These habits can change over time as relationships change and develop, and

the places and sites that are documented change and evolve.

This project has developed out of Hodge’s childhood journeys on the Hume Highway, between Sydney and his grandmother’s home in Albury.

Image: Otis Burian Hodge, Jackson, 2017. Courtesy the artist.

TALIA SMITH (NZ) Don’t be bashful, wear the flower behind your ear

(Society)

Murray Art Museum Albury 546 Dean St, Albury Map: Regional (p89)

[Premiere]

26 February – 5 June Mon – Fri, 10am – 5pm Sat – Sun, 10am – 4pm

Murray Art Museum Albury 546 Dean St, Albury Map: Regional (p89) 30 April – 17 July Mon – Fri, 10am – 5pm Sat – Sun, 10am – 4pm

Don’t be bashful, wear the flower behind your ear is the first institutional solo exhibition by photo and moving image artist Talia Smith.

Smith explores the ebb and flow of how one connects to their culture, and the ties that bind, by situating her lived experience of the Pacific or Moana diaspora within the Samoan concept of the Vā—the space

between, a space in which separate times, relationships, thing and entities are held outside of Western constructs.

Within this exhibition there is no final answer but rather many possibilities, future imaginings, and an acknowledgement that culture is never a singly defined entity.

The National Photography Prize 2022 brings together twelve artists from across Australia who are challenging and extending photographic language and techniques.

The Prize is open to artists working across all areas of the photographic field, offering an opportunity to consider the vital role of photography in contemporary art in Australia.

Providing a forum for artists working with photography, the Prize presents cohesive selections of works or works in series, offering a depth of critical reflection that recognises the complexities and nuances of the history of photography and its contemporary manifestations.

The 2022 Prize features Amos Gebhardt, Caitlin E. Littlewood, Dean Cross, Dennis Golding, Guy Grabowsky, Janet Laurence, Kate Mitchell, Kiron Robinson, Luke Parker, Robert Fielding, Sara Oscar and Tiyan Baker.

Image: Talia Smith, Islands, 2019. Courtesy the artist.

Image: Dean Cross, thinkingbeinglaughingcryinglivingdying, 2021. Courtesy the artist and Yavuz Gallery.

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Launch Weekend

Help us celebrate the launch of PHOTO 2022 with a weekend of activities, including exhibition openings, artist talks, parties, and performances.

For more information visit photo.org.au/launch-weekend

Friday 29 April 4pm – 5pm OLD TREASURY BUILDING Welcome to Country ceremony with a performance by the Djirri Djirri dancers on the steps of the Old Treasury Building 5pm – 8pm GALLERY NIGHT Gallery hop, meet artists, and have a drink with friends at late openings at galleries in the CBD

Saturday 30 April 1pm – 3pm JAMES MAKIN GALLERY Launch of New Photographers with artist talks, a Krump performance and onsite food truck 3pm – 5pm DAINE SINGER Opening reception of Zoë Croggon: Mother Tongue and Lane Cormick: George 3pm – 4.30pm GERTRUDE GLASSHOUSE Artistic Director Mark Feary will discuss the development of Being, Human Being: UFO Photography, and from 3.30pm Dr Martin Plowman will discuss his research on ufologists 4.30pm – 5.30pm RES ARTIS Opening reception of Martin Smith: circle and settle with a few words from the artist at 5pm

ACMI Late viewing of Gillian Wearing: Editing Life

CAVES Opening reception of Arini Byng: Some voices carry

ANNA SCHWARTZ GALLERY Late viewing of Warwick Thornton: Meth Kelly

SARAH SCOUT PRESENTS Late viewing of Sanja Pahoki: A Detail Which Catches The Eye

ARC ONE Opening reception of Honey Long & Prue Stent: Land of Milk and Honey

TOLARNO GALLERIES Opening reception of Danie Mellor: redux, with the artist in conversation at 6pm

4pm – 6pm ARTS PROJECT AUSTRALIA Opening reception of Mark Smith: Ugly/ Beautiful

Please refer to Town Hall Precinct map (p10) and Parliament Precinct map (p22) for locations

Sunday 1 May

BLINDSIDE Opening reception of The Portrait CATHEDRAL CABINET Opening reception of Benjamin Prabowo Sexton: Long time no see

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4pm – 6pm FUTURES Opening reception of Sam Lieblich: PHRASER 5pm – 7pm LE SPACE Opening reception of Philip Montgomery: American Mirror and Ross McDonnell: Joyrider 6pm – 9pm CENTRE FOR CONTEMPORARY PHOTOGRAPHY Opening reception of Queering the Frame: Community, Time, Photography and exhibitions by Paul Mpagi Sepuya and Martine Gutierrez 6pm – 9pm HILLVALE GALLERY Opening reception of James J Robinson: On Golden Days

4pm – 6pm AGENCY PROJECTS Opening reception of Jemima Wyman: Billow

2pm – 4pm Monash Gallery of Art Opening reception of Hoda Afshar: Speak the wind and group exhibition Old ways, new ways

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Please refer to Fitzroy/Collingwood map (p53) for locations

PHOTO Live

Taking place in person and streaming live, PHOTO 2022’s headline talks program addresses the social and cultural role photography plays in our lives and how art can activate cities and public spaces. Featuring exhibiting artists in conversation with curators and academics, these exchanges will explore a range of issues in response to the theme Being Human.

Gandel Digital Future Lab ACMI, Fed Square

In partnership with Metro Tunnel Creative Program and Monash Gallery of Art

FREE To register for tickets online or in person visit photo.org.au/photo-live

5.30pm – 6.30pm BELONGING: HUMAN CONNECTION AND CARE How do artists centre community, chosen family and collaboration in their practice, and the importance of connection and care in our relationships? With exhibiting artists Eric Bridgeman (Yuriyal), Naomi Hobson, Alana Holmberg and Anu Kumar. Chaired by Kelly Hussey-Smith, Lecturer, Photography, RMIT School of Art.

Tuesday 10 May 7pm – 8pm NATURE AND PHOTOGRAPHY: ANIMISM AND ECOLOGY Through ecology, intergenerational spiritual knowledge, myth, and technology, how can we envision a more sustainable and inclusive future? With exhibiting artists Hoda Afshar, Hannah Brontë and Misha Vallejo. Chaired by author, and podcaster of Rune Soup, Gordon White.

5.30pm – 6.30pm DIGITAL SELVES In the age of the internet, AI, and digital avatars, how can photography help us understand our sense of self? With exhibiting artists Ling Ang, Ying Ang, Matthieu Gafsou and Sam Lieblich.

Chaired by Alison Bennett, Associate Dean (Photography), RMIT School of Art.

Thursday 12 May 5.30pm – 6.30pm HUMAN RIGHTS How are artists using photography to bring injustices to light, encourage positive change and as a tool for advocacy and activism? With exhibiting artists Poulomi Basu, Phuong Ngo and photographer, writer and activist, Shahidul Alam.

Chaired by Melissa Miles, Associate Dean, Research, Monash University.

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7pm – 8pm THE BODY: PERSONAL, POLITICAL AND PERFORMATIVE How do artists use the body, our container for experiencing the world, as a site of expression and power? With exhibiting artists Florian Hetz, Thandiwe Muriu, Honey Long and Prue Stent. Chaired by Naomi Cass, Director, Castlemaine Art Museum.

Thursday 19 May

Auslan interpretation available at booking

5.30pm – 6.30pm FIRST NATIONS: PHOTOGRAPHY AND CULTURE How are First Nations artists re-educating and reclaiming cultural ways of thinking through photography and artistic practice?

With exhibiting artists Dana Claxton and Dean Cross, and artist and curator Nici Cumpston. Chaired by Brian Martin, Associate Dean Indigenous, MADA and Director, Wominjeka Djeembana, Monash University.

Tuesday 17 May

7pm – 8pm AGEING: THE ULTIMATE TABOO In a society that glorifies youth, how can we normalise ageing and visualise the changing body with pride and positivity?

With exhibiting artists Ponch Hawkes, James Henry and Jenny Lewis. Chaired

by Ryan Jefferies, Creative Director, Science Gallery Melbourne.

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7pm – 8pm PHOTOGRAPHY FESTIVAL AS URBAN ACTIVATION How are festivals around the world temporarily transforming the city in inspiring and meaningful ways?

With Varun Gupta, Chennai Photo Biennale; Yasmin Meinicke, Biennale für aktuelle Fotografie; Jon Uriarte, Getxophoto; and Elias Redstone, PHOTO 2022. Chaired by Mary Parker, Director, Communications and Creative, Cross Yarra Partnership.

Tours

Let experts and industry insiders guide you through PHOTO 2022 and be inspired by the artworks and ideas on display.

For more information and to book: photo.org.au/tours

Precinct Tours

In partnership with Metro Tunnel Creative Program

Explore PHOTO 2022’s outdoor program and get insights into the artworks through the perspectives of some of Melbourne’s top curators.

Auslan interpretation available at the time of booking $10 ($5 concession) Sunday 1 May 11.30am – 12.30pm, Town Hall Precinct 1pm – 2pm, Parliament Precinct

Sunday 8 May 3pm – 4pm, Town Hall Precinct 4.30pm – 5.30pm, River Precinct

Thursday 5 May 12pm – 1pm, Prahran Market Precinct

Saturday 14 May 10am – 11am, State Library Precinct 11.30am – 12.30pm, Parliament Precinct

Friday 6 May 1pm - 2pm, Town Hall Precinct 2.30pm – 3.30pm, State Library Precinct Saturday 7 May 11am – 12pm, Prahran Market Precinct

Sunday 22 May 2pm – 3pm, State Library Precinct 3.30pm – 4.30pm, River Precinct

Collector Tours Explore new photography, art and ideas at Melbourne’s leading commercial galleries, meeting gallerists and artists along the way, with Art Atlas. $65 Wednesday 4 May 10am – 12pm: Fitzroy/Collingwood Visit exhibitions at Daine Singer, THIS IS NO FANTASY and James Makin Gallery Wednesday 11 May 10am – 12pm: Richmond to Windsor LON Gallery, Sophie Gannon Gallery and MARS Gallery

Cycle Tours Cycle across the city and explore PHOTO 2022’s outdoor exhibitions with Associate Curator Brendan McCleary.

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Saturday 14 May 10am – 12pm: CBD Visit exhibitions at ARC ONE, Sarah Scout Presents, Tolarno Galleries, Caves and Blindside

In partnership with Metro Tunnel Creative Program

$10 ($5 concession) Sunday 8 May, 2pm – 3pm Sunday 22 May, 3pm – 4pm

Photobook Weekend Celebrate the role of photobooks in contemporary photographic practice over two days with a packed program for anyone passionate about photobooks or wanting to know how to make their own.

View the full program and register for events on photo.org.au/photobook-weekend Photography Studies College 37-47 Thistlethwaite Street South Melbourne

Saturday 21 May, 12pm – 7pm Sunday 22 May, 12pm – 4pm FREE

Photobook Market Browse and purchase books by local and international photographers, publishers and bookstores including acb press, Bad News Books, Le Space, M.33, Metropolis

Bookshop, Tall Poppy Press, Uneven Press and Perimeter, featuring MACK, Spector Books, Roma Publications. Plus many more!

Exhibitions PARIS PHOTO–APERTURE FOUNDATION PHOTOBOOK AWARDS An exclusive presentation of 35 books shortlisted in three categories: First Photobook, Photobook of the Year, and Photography Catalogue of the Year KASSEL DUMMY AWARD The international roundup of dummy books returns to PHOTO 2022 in partnership with the Goethe-Institut

AUSTRALIAN PHOTOBOOK AWARDS View Australia’s best new Photobooks and Pre-Press publications. Presented

by Photo Collective in partnership with Photo Australia AOTEAROA PHOTOBOOK AWARDS Presented in partnership with Photobook NZ ASIA PACIFIC PHOTOBOOK ARCHIVE Browse a curated selection of recent submissions from over Asia

Events BOOK LAUNCHES Book launches and signings of new photobooks including Atong Atem’s first publication Surat, published by PHOTO Editions MEET THE MAKER Get insights into the making of photobooks with artists and publishers including Rohan Hutchison, Grace Wood, Tom Goldner, Dan Rule (Perimeter) and Helen Frajman (M.33)

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TALKS Discussions with Australian and international artists, designers and publishers including Melbourne Photobook Collective, Ying Ang, Ross McDonnell and Philip Montgomery PORTFOLIO REVIEWS Gain valuable feedback and constructive advice on your photobook dummy or photographic series with leading practitioners, curators, and publishers

Talks

Delve deeper into the ideas being presented across PHOTO 2022 with artist talks and panel conversations at our gallery partners. For full listings visit photo.org.au/program/events

Friday 29 April, 5.30pm GEELONG GALLERY Artist talk: Ponch Hawkes in conversation with Jason Smith, Director & CEO, Geelong Gallery about her 500 Strong project

Thursday 12 May, 6pm BLINDSIDE The Portrait: A night of readings

by Elijah Wood and Hasib Hourani

Sunday 1 May, 2pm ONLINE Artist talk: Eric Bridgeman (Yuriyal) in conversation about his solo exhibition at Linden New Art

Friday 13 May, 6pm BENALLA ART GALLERY The Power of Collective: A panel talk with members of Oculi exploring the experience of being in a collective

Monday 2 May, 6pm INSTAGRAM LIVE Boris Eldagsen and Alexander Hagmann from Deutsche Fotografische Akademie, Yasmin Meinicke, Biennale für aktuelle Fotografie and Elias Redstone, PHOTO 2022 discuss how festivals support artists

Saturday 14 May, 10am BENALLA ART GALLERY Documenting Trauma: Oculi photographers explore their experiences bearing witness to important events in Australia Saturday 14 May, 2pm BENALLA ART GALLERY Artist talk: Atong Atem on her exhibition Banksia

Tuesday 3 May, 6.30pm MONASH GALLERY OF ART Artist talk: Hoda Afshar in conversation with Nikos Papastergiadis, Professor of Media Saturday 14 May, 2pm and Communication, University of Melbourne LON GALLERY about Afshar’s exhibition Speak the wind Artist talk: Jeremy Eaton on his exhibition Beach Boys Wednesday 4 May, 7pm ONLINE Sunday 15 May, 12pm Artist talk: Gail Harradine and Belinda DAINE SINGER Eckermann in conversation with Alison Artist talk: Zoë Croggon in conversation with Eggleton, Curator, Horsham Regional Art Daniel Boetker-Smith Gallery and Pippa Milne, Senior Curator, Monash Gallery of Art Thursday 19 May, 4pm MADA GALLERY Friday 6 May, 6pm Monash University, Caulfield Campus JAMES MAKIN GALLERY A panel discussion as part of the opening of Collecting Photography: A discussion on One Vast Library, a new exhibition curated by starting a collection, with an emphasis on Tim Riley Walsh emerging artists Saturday 21 May, 2pm Saturday 7 May, 11.30am BLINDSIDE CENTRE FOR CONTEMPORARY Artist, writer and curator Henna Rain PHOTOGRAPHY Warwick responds to The Portrait Artist Talks: Queering the frame Saturday 21 May, 2pm Saturday 7 May, 6pm LINDEN NEW ART MARS GALLERY Artist talk: Cyrus Tang in conversation about Atong Atem in conversation with Be Here her exhibition Time Fell Asleep in the Now artists Evening Rain

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Learn

Whatever your age or interests, PHOTO 2022 is an opportunity to expand your knowledge of photography and learn from the ideas being presented by artists and curators. These resources and programs are designed to help you make the most of the Festival.

For more information and to book visit www.photo.org.au/learn

YOUNG PERSON’S GUIDE Download

PHOTO LAB Professional development

Free guide to artworks and exhibitions for Secondary School teachers and students, or families, to navigate the Festival and consider photography’s relationship to the major social, political and technological issues of our time.

PHOTO Lab is an online and in person professional development opportunity for emerging photographers and recent graduates programmed and delivered in partnership with Magnum Photos.

STREET PHOTOGRAPHY Workshop Learn techniques and tips for achieving unique and striking street photography with exhibiting artist Sarah Pannell.

Amateur and professional photographers will be guided through different conceptual and technical approaches. Bring along your camera.

Saturday 7 May, 2pm $65 ($45 concession) ON INDUSTRY, PHILOSOPHY AND TECHNIQUES Masterclass Aimed at photography and visual arts students, exhibiting artist James J. Robinson will be leading an in-depth masterclass, covering topics such as the international photography industry, responsibilities of image making, and developing a personal style.

Sunday 8 May, 12pm – 3pm Hillvale gallery $10 donation to Pay The Rent Auslan interpretation available at the time of booking

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9 May – 26 May FREE (Applications due Friday 1 April) PHOTOGRAPHY AND BOOKMAKING Young person’s workshop Over two weekends, Kindred Cameras will teach the art of street photography and how to turn your images into a photobook that you will be able to take home with you. Age: 14 – 18 years. Materials and equipment supplied.

Sunday 15 May, 1pm & Sunday 22 May, 12pm $199 CURATING PHOTOGRAPHS Online talk PHOTO 2022 curators will discuss their experience and methodology of working on diverse exhibition outcomes, and answer questions on how to start working as a curator. For Secondary School and Tertiary Students.

Monday 16 May, 11am - 12pm FREE

PHOTO Editions Atong Atem (AU/SS) Surat

$49 Release date: 21 May Presales from 24 February photo.org.au/photo-editions Commissioned by Photo Australia Supported by the Victorian Government through Creative Victoria PHOTO Editions is co-published by Photo Australia and Perimeter Editions Design by Ziga Testen The first book in the PHOTO Editions series Emma Phillips: Send me a lullaby is also available As part of PHOTO 2022’s international program, Atong Atem is exhibiting Surat at Scotiabank CONTACT Photography Festival, Toronto from 1 – 31 May in partnership with Photo Australia.

Supported by Pattison Outdoor Advertising.

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Surat is the first photobook by South Sudanese / Australian artist Atong Atem and the second in the PHOTO Editions series co-published by Photo Australia and Perimeter Editions.

The book is an homage to family photos and the characters that make up a family.

Atem revisited her family photo albums that span decades and continents, and restaged and reimagined scenes and characters.

The resulting book is a documentation of a series of performances as self portraits and the act of photographing and being photographed, framing and being framed.

It’s a performative depiction of photography and the repetition of dressing, sitting, posing, changing, testing, adjusting and capturing.

For Atem, Surat (which translates from Sudanese Arabic as ‘snapshots’) is also about movement, both geographic and historic. “It’s about South Sudan, so-called Australia and everywhere else in between that I’ve rested my head to dream about my people—or rather the depictions of people I don’t know but am connected to through photographs.”

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Credits

PHOTO 2022 is presented by Photo Australia in collaboration with cultural, government, philanthropic and industry partners.

Photo Australia is a non-profit organisation that brings the Australian and global photographic sector together to create a world-class biennial of new photography, art and ideas. We invite photographers, artists, curators, BOARD Mark Henry (Chair) Bill Bowness AO Naomi Milgrom AC Elias Redstone TEAM Artistic Director: Elias Redstone Executive Director: Sarah Morris Associate Curator: Brendan McCleary Events Producer: Linsey Gosper Marketing & Communications: Jane Noonan Marketing & Communications: Dean Worthington (until Nov 2021) Program Coordinator: Jennifer Ma Copywriter: Will Cox Bookkeeping: Renee Hoy Design: U-P Publicists: AMPR Information is correct at the time of printing. We recommend you check photo.org.au for any updates to opening hours or booking requirements.

Image: Henry Wolff, from the series Together, 2022. Commissioned by Photo Australia for PHOTO 2022. Courtesy the artist. See p24.

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academics and audiences to explore the major issues of our time, and to experience photography in new and inspiring ways.

Photo Australia is committed to supporting artists and photographers through commissioning new work, professional development, reaching new audiences in Australia and abroad.

FIRST NATIONS ADVISORY COMMITTEE Uncle Bill Nicholson Jnr (Chair) Tiffany Garvie Jarra Karalinar Steele Alan Stewart ADVISORS Arts Access Victoria (Caroline Bowditch & Phil Noack) Mariama Attah Daniel Boetker-Smith Léuli Eshrāghi Varun Gupta Shaune Lakin Pippa Milne Alona Pardo Isobel Parker Philip PHOTO EDITIONS Thank you to Justine Ellis, Dan Rule and Ziga Testen.

INTERNATIONAL CURATORS PROGRAM Thank you to Mikala Tai and the team at Australia Council for the Arts.

We wish to extend a huge thank you to everyone who has supported PHOTO 2022 including Her Excellency the Honourable Linda Dessau AC, Governor of Victoria; Paul Fletcher MP; Danny Pearson MP; Jacinta Allan MP; Lord Mayor Sally Capp, Councillors Jamal Hakim and Rohan Leppert, John Cunningham and Jo Mair at City of Melbourne; Sam Burke, Alex Au and Simon Murray at Department of Treasury & Finance; Andrew Abbott, Jane Crawley and team at Creative Victoria; Mary Parker and Sarah Robins at the Metro Tunnel Creative Program and Luke Diggins at Rail Projects Victoria; Sonia Jeunet at Magnum Photos; Sam Redston and Jen Zielinska at MPavilion; Louise Nicholson, Susie Raven and Robyn Batson at 11 Palmer Parade; Debbie Prouse, Rebecca Norris and Lyndall Willis; and Sebastian Coles.

Thank you to our incredible exhibition and program partners, donors, sponsors, advisors, and all our volunteers.

Above all, a massive thank you to all the participating artists and their respective galleries.

Patrons

We would like to warmly thank our current patrons for their generous donations to support PHOTO 2022

Founding Patrons

Visionary $20,000+

Bill Bowness AO Mark Henry Naomi Milgrom AC

Jo Horgan and Peter Wetenhall Michael and Emily Tong

Champion $10,000+

Benefactor $5,000+

Tony Osmond and Fiona Griffiths Linda Herd Peter Jopling AM QC Bruce Parncutt AO

Morena Buffon and Santo Cilauro Milton and Penny Harris Ricci Swart

Support PHOTO 2024 We hope you love what you see at PHOTO 2022. We are proud to have built a biennial of national and international significance that brings extraordinary art and cultural experiences to broad audiences. It is an incredibly ambitious program that has been made possible through our partnerships, sponsors and, importantly, the generous support of our patrons.

We are now planning our next edition— PHOTO 2024—and we need your support to commission even more Australian artists, to produce impressive artworks that activate sites across the city, and to grow Melbourne’s reputation as a global capital of photography.

We believe that photography is instrumental in the way we see, perceive and make sense of the world around us and, as a visual language, should be

Image: James Henry, Aunty Marlene, from the series Kulin Generations, 2022. Commissioned by Photo Australia for PHOTO 2022 International Festival of Photography. Courtesy the artist. See p30.

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accessible to everyone. The vast majority of our biennial is free for audiences, and we value your support to ensure we are able to keep it that way.

If you would like to support PHOTO 2024, please contact Elias Redstone, Artistic Director at elias@photo.org.au or visit photo.org.au/support Your generosity and commitment to support the arts is more crucial than ever.

Donations and support from individuals are absolutely vital to allow the Festival to continue to grow and invigorate the photography sector in Australia.

Photo Australia is an endorsed Deductible Gift Recipient (DGR) and all donations over $2 are tax deductible.

Partners

Program Partners

Founding Partners

Major Government Partners

FIONA AND SIDNEY MYER GALLERY

Government Partners

Major Partners

Education Partners

Cultural Partners

Industry Partners

Hotel Partner

Media Partners

International Program Partners

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Abigail Varney Adrian J. Song Afshika Rahman Alan Stewart Alana Holmberg Alexandra Lethbridge Ali Choudhry Alice Duncan Amrita Hepi Angela Tiatia Anne Moffat Annie Wang Anu Kumar Arben Dzika Arini Byng Ashley Gilbertson Atong Atem Aziz Hazara Benjamin Prabowo Sexton Brook Andrew Christian Thompson Ciaran Begley Cindy Sherman Cyrus Tang Damien Shen Dana Claxton Danie Mellor Danny Cohen Dean Cross Denisse Ariana Pérez Devika Bilimoria Dianne Jones Eamonn Doyle Eric Bridgeman (Yuriyal) Ezz Monem Florian Hetz Gail Harradine & Belinda Eckermann Gillian Wearing Hannah Brontë Helen Grace Helmut Newton

Henry Wolff Hoda Afshar Honey Long & Prue Stent Indu Anthony Ioanna Sakellaraki Isabella Darcy J Davies Jahkarli Romanis Jake Nemirovsky James Bugg James Henry James J. Robinson Jemima Wyman Jenny Lewis Jeremy Eaton Jess T. Dugan João Marco Deloie Karen Song Lane Cormick Leah King-Smith Lesley Turnbull Lisa Bellear Lisa Sorgini Lucy Foster Luis Alberto Rodriguez Luo Yang Luvuyo Equiano Nyawose Madeline Bishop Mark Smith Martin Smith Martine Gutierrez Marton Perlaki Massimo Vitali Matthieu Gafsou Maud Freeman Michael Riley Misha Vallejo Prut Mohamed Bourouissa Mohamed Chamas Naomi Hobson Nayndng Mayen

Nayuka Gorrie Oculi Olivia Mròz Otis Burian Hodge Patrick Pound Paul Mpagi Sepuya Peta Clancy Phebe Schmidt Philip Montgomery Phuong Ngo Ponch Hawkes Poulomi Basu Rachael Mounsey Rachel Main Richmond Kobla Dido Ross McDonnell Sam Lieblich Samuel Hodge Sanja Pahoki Sara Tautuku Orme Sarah Pannell Scotty So Selina Ou Shannon May Powell Sheelasha Rajbhandari/Nepal Picture Library Shwe Wutt Hmon Sophie Spence Talia Smith Thandiwe Muriu The Huxleys Tig Terera Tony Albert Vasantha Yogananthan Viva Gibb Warwick Thornton Yétúndé Olagbaju Ying Ang & Ling Ang Zachariah Micallef Zoë Croggon

+ Portrait of Humanity Being, Human Being: UFO Photography National Photography Prize Paris Photo–Aperture Foundation Photobook Awards Kassel Dummy Award Australian Photobook Awards Aotearoa Photobook Awards