1 Sadie Wechsler

Part 1:Redo (2015) Introduction

Louise Clements more real thanart. social, more collaborative, and doingsomethingthat’sof more All artists are alike. They dream such apowerful influenceontheenvironment, climate and a newgeologicalepochin which humanactivityisconsidered cultural geologicalera knownasthe Anthropocene. This marks rates that theimpactonEarth haspushedusinto anew migration andclimate are occurringat suchunprecedented changes intheenvironment, industry, technology, warfare, conflicts, migrations, plants, oceans andwildlife. Human-made thesechangesare recordedof intheworld’s geography, politics, theplanet.meteorology andgeologyof The tangible impacts Human action, smart aswellstupid, nowaffects thebiology, short andlongtermimpactontheworldlocallyworldwide. in, onmicro andmacro levels, including workthat considersour the state thatexpose humanityis the solutionsandconditionsof landscapes anddigitallives. For thisyear’s festivalwe wantedto comprise ourcomplex existences, includingflora, fauna, experiences andstories thatwill openupthediverserange of photography that documentstheworldaround us. This theme HABITAT,the themeof outstanding through aselectionof For FORMAT17, wehavecurated aprogramme that explores the international cultural calendar. beyond, asamust-seeeventin ithasquicklyestablisheditself ambitious editiontodate. Situated invenuesacross Derbyand photography isandcanbe. FORMAT17 isthebiggestandmost Founded in2004, FORMAT what isfocusedonthebestof photography,of foraudiencestosee, debate andengagewith. the bestemerging international talent, alongsidethemasters Photography Festival. FORMAT presents acurated selectionof Welcome FORMAT tothe2017editionof International

Dan Graham

3 Discipula supported bytheEU, First Art andProcur.arte; DASH Narratives commissionswith Tom Hunter, LizHingleyand with WYNG MastersHongKong; theFlâneur—NewUrban commissions andresidencies from; Kalen Lee incollaboration FORMAT.of At thisyear’s festival weare proud topresent new Supporting newworkisanongoing focus theproduction of market programme. collaborate withSebastian Arthur Hauonournewphotobook welcome Kassel Photobook Dummies exhibition andalsoto also animportant feature thefestival, of weare happy to narratives youwillencounterat FORMAT17. Photobooks are London; therich theseare theEastEndof just someof of concerns overthebreak-up Yugoslavia of toavisualarchaeology Muslim, through toradiation traces inobjectsFukushima; from theEuropeanof Space Agency; projects onbeingqueerand formations alongtheSpanishcoastlinetointeriorlandscapes the world’s northernmost artificial town;from aseriesof rock theBrexitfrom astudyof heartland BasildontolifeinSvalbard countries worldwide. The successfulentriesare wide-ranging; jury from outstandingsubmissionsfrom hundreds over68 of than 50photographers andprojects, chosenbyourinternational The FORMAT17 opencallpresents more acurated selectionof spirit andthehabitats that weencounterorcreate. theartists lookat theinterconnectedAll of nature thehuman of acountrysomarkedprocess bywarandtragedy. memoriesof can individual Afghanistan toaskhowthe to herhomelandof video installation glaciers inhernative Switzerland, toLida Abdul’s monumental Ester Vonplon’s intricately composed requiem forthemelting diverse approaches totelltheirstories. The artworks range from reimagine thewaysthat weinhabitthephysicalworld, using a globalscale. The showfocusesonhowtheselectedartists encourage theviewer tospeculate aboutfutures imaginedon Barnard, Sohrab Hura, Sadie Wechsler andHannahDarabi, who Cobayashi, UrsulaBiemann, Zhang Jungang, Wanuri Kahiu, Lisa — presents artists suchasEster Vonplon, Lida Abdul, Kenta Ahead stillliesourfuture —curated by HesterKeijser andmyself happening around us. thefestival’s Oneof leading exhibitions, theagethat weareunderstand thecomplexity of in, asitisstill as inventivelypossible. After all, there isnoonewayto At FORMAT17, wewantaudiencestointerpret thistheme legacy willbevisibleformillenniatocome. strata record. We havebecometitanicgeologicalagentsandour theplanetthat itwillleave along-termsignatureecology of inthe Whatwhich shereturns wehaveoverlooked ,in

4 Artistic Director Louise Clements important festival. valuable contributorsforworkingwithustoproduce another the photographers, curators, participants andmanymore Photography,British Journal of theFORMAT volunteersandall teams at QUAD andFORMAT, Monica Allende, HesterKeijser, Brian Griffin, Royal Photographic Society, Clifton Cameras, staff Derby Cathedral, Riverlights, Affinity Photo, Procur.arte, Patrons established partners; DerbyMuseums, Déda, DerbyCityCouncil, Derbyand ArtsUniversity of Council England, alongsidenewand We wouldlike tothank everyoneinvolvedincludingQUAD, the ourteams,enthusiasm of committed artists andpartners. thiswouldbepossiblewithout thecommitmentand None of friendly andunexpected ways. multiple voicestobeheard from around theworldinfun, working artists andengageaudiences—openingchannelsfor responsibility toraise important awareness issues, of support themedium.future of Alongside thecelebration, wehavea to celebrate photography, make friendsandcontributetothe designed asaglobalmeetingplacewhere peoplecancome exhibitions andinternational collaborations. The festivalis carefully curate aprogramme great of events, livelyevenings, mass participation. Duringthebiennialandoff-year seasons we We havealsopioneered experiments withdigitalmediaglobal exhibitions, residencies, portfolio review eventsandawards. talents through ouropencall, commissions, workshops, FORMAT,Since thebeginningof wehavesupported emerging Lottery andDerbyMuseums. world’s longestrunningphotostudio, ledbyQUAD, Heritage W.W.the historyof Winter, whichdraws from the thearchives of thefestivalthisyear isaspecially curatedof exhibition exploring Project with Anusha Yadav, Tanvi Mishra. Another majorfeature Gupta, Aradhana Seth, BandishProjekt andtheIndianMemory Council andmultipleIndiapartners featuring artists Shivani programme withNAE, Delfina Foundation, Primary, MAC, British collaboration theHere, aspart of There andEverywhere collaboration withDelhiPhotoFestival; ReImagine India Antonia Attwood; BlindBoysandMiniclickmassparticipation residency andINSIDEcommissionwithDanielRegan and

5 “The earth is the very quintessence of thehumancondition,“The earth istheveryquintessenceof The theworldseparates humanartifice human of existence

first order andtherefore canhardly beleft tothedecision of professional scientists orprofessionalof politicians. the decided byscientificmeans; itisapoliticalquestionof other livingorganisms. For sometimenow, agreat many also ‘artificial,’ toward cutting thelasttiethrough whicheven artificial world, andthrough life man remains related toall and earthly nature, forallweknow, maybeuniqueinthe universe inproviding humanbeingswithahabitat inwhich scientific endeavors havebeendirected toward makinglife knowledge inthisdirection, andthisquestioncannotbe is onlywhetherwewishtouseournewscientificand technical man belongs among the children of nature.man belongsamongthechildren of [...] The question from allmere animalenvironment, isoutsidethis butlifeitself Prologue they canmoveandbreathe without effort andwithoutartifice.

Ahead still lies our future 6

Hannah Arendt 1 ” , 25.01.17 The Independent , website, Andrew Griffin, information from its all climate change Agency todelete Environmental Protection 4. Donald Trump orders Review The Anthropocene Gaffney and Will Steffen, equation’, byOwen 3.‘The Anthropocene 12.02.17 The Independent, forces’,Sharman, Jon times fasterthannatural climate tochange‘170 2. Humansare causing Press, 2nded. 1958 Chicago University of Human Condition, p.3, 1.Hannah Arendt, , 10.02.17

Hester Keijser This the muchisclear —wehavenowarrivedinthemiddleof To writeaboutphotography, towritesomethingsofleeting All that isduetomarket-driven developmentsin thebusiness,

Condition; “Humansare causingclimate tochange‘170times ourage,of wrote thesewords inthePrologue to article existence and that of ourchildrenexistence andthat isendangered, of seemsalmost as thebodypolitic, toengageandtake action. And perhapsit a scientificmagazinecalledthe as acuratorial statement intimeslike these, whenourmere artifice’. Geo-engineeringhasmovedfrom the realm of diversifying theirskillsinorder toreach awider audience. and evensculptural elements. Notbecausethere isaneedto speculative sciencefictionintooureverydayworld, where FORMAT HABITAT istheoverarching thisyear’s themeof editionof beings, istobegivenavoiceinfuture that —despiteallstill hardly beleft toeitherparty, butinstead requires us, each oneof inaccessible tothegeneral public. it toprivate hard drivesbefore itistaken downandmade become more multi-disciplinary or inclusive of contemporarybecome more multi-disciplinaryorinclusiveof includes video, film, interactive installations, research diaries it isdebated asaseriousoptiontorepair thedamagedone provides uswiththespacewegrow andlivein, no isat riskof politicians onwhogetstodecidewhichdirection ourfuture shall practices andnewtechnologies, whichseesphotographers thefuture.visions of That iswhythisyear’s thefestival editionof previously reserved forotherpaidprofessionals, andwhich requires that lifeitself, asembodied byallnon-humanliving response, scientistsare busysavingtheir workbydownloading faster thannatural forces.’“ arandom newspaper Itisthetitleof foretold strifebetweenprofessional scientistsand professional frivolous. Photography initself, asatechnical medium, isinno weeks prior, anotherheadline inthesamenewspaperstated we share ourconcernsabout thepresent, orembody our way better orworseequippedthananyothermediumbywhich which requires photographers tobecomeproficient at tasks longer beingabletoprovide allthis‘withouteffort andwithout lies ahead. take. Yet, wemaybelieve Arendt, if thisorder can adecisionof to deleteallclimate changeinformation from itswebsite. that “Donald Trump orders Environmental Protection Agency to theplanet. Almost 60years after Hannah Arendt, that prescient thinker 2 onclimate change, reporting onastudypublishedin Festival. This habitat, asthe‘earthly nature’ that

7 Anthropocene Review The Human . 3 Afew 4 ” In Zhang Jungang Bridge andNearby Scenery (20

8 13 — 1 6) Huffington Post, 06.02.17 Maddie Crum, Climate Change’,Of WritersFutureAbout The 5. In: ‘We Asked Sci-Fi The

“Human mammalsneedtoradically re-envision theirrelationships — well, notever—butmore thanithasbeeninalongtime. The Earth andhereco-systemstheplanetary relationship

de-hierarchise ourloveandcompassionredirect that force one weclaimhaveforlife-partners orchildren. We needto are nottheonlythingtolove. And itwilltake fight.” as arenewable andsustainableenergy. Yes, I’mserious. Humans away from colonisation impulsesandtoward aradical intimacy murder.a conqueringandexploiting actof We needtomove entertaining distractions from ourdailydrudgeries. Inthefirst all haveastake inthefuture, andwhoallare possessedbyan each participant isvoicingthrough thework? themedium.digital-algorithmic future of Yet howcanthat matter aesthetics, shouldwenotcomeabitcloserandlistentowhat screaming herhead off. [...] The Earth hasbeenwaitingforus something tobeexcited about, nowmaybeevenmore than FORMAT Festival neverhadtheintentiontoonlybeagathering In thesmallandsheltered specialistsincontemporary circle of innate needtoshare ourviews, exchanging oldmeanings for increase inlow-wageworkthe sector. Instead, theguiding indirectly employmentandan contributestoafurther lossof political ornot, thesimplehumanbeingsthat weare, of who place, minds, itisagathering of like-minded ornot, bodies, of principle in the selection of participants for principle intheselectionof it issituated in, ordeparts from, photographic history, andin photography, each work, wecoulddebate themeritsof how new perspectives. Becausethefuture, believeitornot, isstill with theplanetandeverythingonit. A lovethat isasdeepthe for academicsandprofessionals, norisitafunfairfullof futures livingit, aboutlifeonEarth andwaysof together. future theartist wassomethingelse:ademonstrated abilityof focus? Instead of looking at the exhibited work in terms of its lookingat theexhibited workintermsof focus? Instead of when lifeitself, artifice, outsideourworldof iswhat needsour what the senseitshowsanintelligent-intuitiveawareness of living environments around them. We needtolearn Earthspeak. Epilogue to developandfullyrealise anactualrelationship rather than to thecosmosallhavealexicon, syntax, diction. The Earth is to theplanetaswelltheirabilitylistenandlearn tothe to be, aboveall, speculative (butnotspectacular) anauthorof

9

Lidia Yuknavitch Ahead stillliesour 5

feat. Psychic VR Lab NORIKONAKAZATO + Kenta Cobayashi

ISLAND ISISLANDS (2015) 10 Sadie Wechsler

11 Part 1:Redo (2015) Ester Vonplon

Gletscherfahrt (2015) 12 Sohrab Hura in a Hundred Days of Summer(2013) in aHundred Daysof The Song of SparrowsThe Songof 13 Hannah Darabi Waiting Grounds (2011—

14 1 3) Lida Abdul What we have overlooked (20

15 1 1 ) Wanuri Kahiu

16 Pumzi (2009) Ursula Biemann

17 Forest Law(2014) Lisa Barnard The Canary andtheHammer(2015—17)

18

19 — thoughwemayrarely actuallyseeorhandleit. Goldisconcealed in ‘petition foranotherworld’embodiedinherart remains asurgent asever. The Canary andtheHammerconsidershowweare surrounded bygold The oil-and-miningfrontier themost intheEcuadorian Amazon —oneof of the mythologies of itsdiscovery, themythologiesof miningandthe of thebrutalworldof economy, and, mostfundamentally, ultimate value, isasymbolof beauty, close-up anddistantviews, themantowhom wefollowtheactionsof distance — itisabouttodisappear intothelakehis flagseemsasif altogether. thelake,overwhelmed bytheexpanse of thesky, andmountainsinthe globalism canberefracted initsdiverging histories, each unfoldingalong a range of globalhealth andenvironmentala range of challenges. another strand, faithinitsultimate value. underpinnedbyapeculiaractof almost dialecticalrelationship created betweenamanandhiscountry— Seen upclose, pride, themanexudes amixof trepidation andvulnerability. What wehaveoverlooked, filmedbyalake near Kabul, showsaman purity, greed andpoliticalpower. progressively slippingunderwater whileholdingaflag. Inaseriesof much of thetechnologyweuseandisabarometer the forthestatemuch of of monitor ourenvironment —thehammeristoolthat smashesthe theindustry.sexual politicsof Barnard investigates howgoldhas structures towhichitisembedded. Goldprovides aprismthrough which nationalist sentiment can incur: the annulment of theindividual.nationalist sentimentcanincur:theannulmentof The He ismuchfurther awayintheotherprojection, dominated and industries, and howitsapplication asanano-material offers solutionsto an indispensablecomponent intheengineeringandelectronic become biodiverse andmineral-rich regions onEarth —iscurrently underpressure individual andnation, represented bytheflag, itsabstract symbol. The from large-scale theexpansion extraction of activities. Situated at the which notonlyover-determines hispresence butcanevendemand the home of indigenous nations and a land of great indigenousnations andalandof ethno-culturalthe homeof diversity. this border zonefulfillsvitalfunctionsinglobalclimate regulation. Itisalso transition betweenthe Amazon floodplainsandthe Andean mountains, the subtitlesgiveavoice, untilhefinallyvanishesbelowthesurface. the sacrifice of hislife—leads theartist tomakethe sacrificeof clear thehigh-pricethat The golddepositorycreated byBarnard charts thecomplex cluster Like the‘canary’ taken intothemine, goldisthegaugebywhichwe In thisvideo, Lida Abdul examines the relationship between Lisa Barnard Lida Abdul Ursula Biemann The Canary andtheHammer(20 What wehaveoverlooked (2011)

20 Forest Law(2014) 1 5 — 1 7) ‘whatever itis, itmustbeworth waitingfor’. Darabi usesBallard’s texts to Tokyo —encounteringitcouldtriggerashift intheviewer’s thinking. character, who starts workingon aminingplanetwithhot, desert climate, dimension itself. We donotarriveat theislands, instead theislandscome only stablerecurrence inaneternal, unmovingpresent. dimensions of the forest — is a series of landmarklegalcasesthat theforest bring —isaseriesof dimensions of cumulate intoislets. The islandworldasprojected bythe VR headset a passageintospacewhere ISLAND couldbeexperienced invirtual compliant with the ruling of theInter-Americancompliant withtherulingof Court HumanRights, of theLivingForest.cosmology of Uptothisday, Ecuadorremains non- interests thatassemblage of animate thephysical, mythicalandlegal and evenfashionare re-created andre-appear, like magic, in3D. and re-creation this floating of debris. On this tropical resort, photography VR Lab. ISLAND, theinstallation istheidea of The of central motif ascreated Waiting Grounds, inspired bya JG Ballard story, conjoinsphotography with pairing photographs withfragments copieddirectly from theprintedpage, reality. The islandisnotcontainedinsidethisvirtual world—itisthisextra mirror waitingfor asuspendedfuture thestate in a countrywhere of history represents theISLANDSonwhichwelive, re-mix, andisaplaceof re-cycle Darabi’s by workenactsspecific psychologicalandsocialfactsbroughtforth Meanwhile, theblisteringsunthat threatens toblindtheview, seemsthe in code ongoldcolumns. in So, hedecidestowaitforthe future, a future that its owngloriouspast, inturn becominganexample forapotentialfuture. has beenrewritten overandagain, andwhere each revised history has by Nakazato andCobayashi. theislandasavehicleidlingaroundThink of highlighting the continued relevance of Biemann’shighlighting thecontinuedrelevance of work. fashion designerNORIKONAKAZATO featuring GodScorpionfrom Psychic the promise of afuturethe promise heldforever of inwaiting. InBallard’s story, themain to usbutitisimpossibleknowwhen, where ortowhomitwillcome. the forest Nature. tocourt toplead fortheRightsof In2012, theKichwa ISLAND ISISLANDSwasacollaboration betweenKenta Cobayashi and learns that lifeonEarth isterminated. All that isleft isitshistory, engraved Indigenous People Sarayuku of wonaparadigmatic trialbasedontheir literature inaworkfeaturing atownunderconstruction near Tehran. By The contemporary imageislike debrisfloating at sea, where itmay The installation, anarchitectural intervention, ledvisitorsthrough At the heart of ForestAt theheart of Law —inwhichBiemannunravels thecomplex NORIKONAKAZATO +Kenta Cobayashi feat. Psychic VR Lab in the Amazonian rainforest in2013. a fieldtripundertaken withBrazilian architect, Paulo Tavares, Forest Lawissynchronised videoshotwithtwocameras on Hannah Darabi

ISLAND ISISLANDS(2015)

21 Waiting Grounds (20 1 1 — 1 3) communities setupbythe Maitu Council, inwhichallmaterials are tobe country’s hottest regions. Since2013, Sohrab Hura hasphotographed outcry overtheproblems causedbyairpollution, wefindin Junganga due tomassiveindustrialisation drivenbyrisingglobal demandsfor lightoveracityaffected bysmoglikeof manyotherplacesinChina, theworld’.of hisstudiesonline, Hepublished theresults of adding different each moment, ashedescribesit‘inaresponse totherichness and basedon totalsurveillance. When Asha receives abox inthemail endurance, of its body and of itsrelationshipsendurance, itsbodyandof toothers. of across theSonghuaRiver. Herecorded theshifts incolourandvisibility, and patronisingly exoticised —Hurab hasshifted hisinterest to photographer, interspersedwithquotesonlandscapeandart history, personal reflections onhisfindings, primarily from hispositionasa photographed theviewfrom hisbalcony, lookingoutoverthebridge photographing thealmostunbearable thesummerdays, heat of and progress onrural India. While initiallydrawn tothesocialelementof recycled inaclosedloopno-wastesystem, butwhich isalsooppressive reserved thebeauty bututterly that fascinated accompanies observer of raw materials andconsumergoods. raising anactivistic Instead of moments of theheat. moments of region’s barren landscape. With little rainfall andextreme temperatures, Barwani in the central state of MadhyaPradeshBarwani inthecentral state of that inIndiaisoneof consists of researchBridge andNearby Sceneryconsistsof notesbyZhang Jungang, is dead. Asha livesandworks theindoor asamuseumcurator inoneof based inHarbin, amegacityinnorthern Chinawithcharacteristically these developments. the summerinSavariyapani, asmallvillagecouncilhidden amongthe taken from hisresearch materials. to embrace its such heat pushesthehumanexperience tothelimitof thevillagers.the slownessitbringstohislifeandthat of Being forced the space—athat iseitherpoliticallyloadedorunrealistically In Pumzi, anafro-futurist, eco-criticalfilm, nature is extinct. The outside long wintersandshort summers. Between2013and2016, Jungang life here cansometimestake onanunexpected reality inthetwilight The Song of SparrowsThe Summerisaworkin inaHundred Songof Daysof is a factual observation of thefracturingBridge andNearby Sceneryisafactualobservation of Zhang Jungang a Hundred Days of Summer(2013— a Hundred Days of Sohrab Hura Wanuri Kahiu Bridge andNearby Scenery(20

22 The Song of SparrowsThe in Songof Pumzi (2009) ongoing) 1 3 — 1 6) The glaciermilkthat soaks the clothleaves smalldarkstreaks onthe As a witness to the slow and steady melting of theice,As awitnesstotheslowandsteady meltingof thecovered part Asha breaks theindoorcommunitytogointodead andbarren outof climate change. SheconsidersGletscherfahrt asarequiem fortheglaciers. ahumanbeinginitslast thebodyof theglacierreminded herof of disruptions and shifts of herexperiences intheworld.disruptions andshifts photography of as If of material,of negligentlysewntogetherwithlongandcrooked stitches. of constructingandmanipulating oursurroundings.of The imagesdiscover consolidation andexaggeration. These toolsreflect different techniques constantly redistributed, soistheflat photographic plane, shifting, a medium is capable of change,a mediumiscapableof acclimation andphysicality, itwillspeak desert toplanttheseedlingandpossiblyfindlifeonoutside. containing soil, sheplantsanoldseedinitwhichstarts togerminate a placewhere documentation becomesappropriation, transformation storiesandpossibilities.allow fortheemergence of Just asa place is possibility of lifeontheoutside,possibility of buttheCouncil deniesherexit visa. use of theclothasadesperate attemptuse of tocounteract theeffects of natively toalifeinflux. mutable, aliveandunrestrained. side byside. place timeandthedisorientationThe of incongruityof breath, already cloaked initsburialshroud. The photographs reveal the For twoyears, Ester Vonplon photographed theSwissglaciersduring instantly. Asha appeals totheCouncil forpermissiontoinvestigate the fabric, whichservestokeep direct radiation from theiceonsunnydays. form one on top of thenext,form oneontopof arivercutsthrough thelayers, freezes, the artist controls, where space ismutable. Shevisuallyapproximates the the summer, whichtheyspendcovered bywhitecloths:hugestretches thaws andsplitsthelayersapart. years nowsit Millionsandbillionsof In Part 1:Redo leads to reconfiguration andall expectations disappear before theyarrive. landscape asitexplodes andreforms around itslastsurvivors. Rocks Wechsler’s imagesencapsulate, advertise andiconiciseareality that Urgency andtactilitytransform bodiesand landthrough collage, *Gletschermilch translates as‘glacial milk’, fine- whichconsistsof grained rock particles, bedrock generated bymechanicalgrindingof of thespectrum,of makingthelakes lightupinarichturquoise. Audio: Gletschermilch* byStephan Eicher+Ester Vonplon water appear cloudy. They reflect predominantly thebluish-green part by glacialerosion. Suspendedinmeltwater theparticles make the , Sadie Wechsler creates andreflects uponanatural Ester Vonplon Sadie Wechsler

23 Gletscherfahrt (2015) Part 1:Redo (2015) Open Call Artists 24 Dominika Gescika

25 This isnotreal life 94 26 Sheng WenLo

27 White Bear 98 Lee Deigaard

28 Night Vision 91 Quentin Lacombe

29 Event Horizon97 Alexey Shlyk TheNecklace 105 Appleseed

30

31 32 John MacLean

33 Hometowns 99 34 Alexandra Polina Masks, Myths andSubjects104

35 36 Ying Ang

Gold Coast 85 37 Curated byRodrigo Orrantia Yohei Kichiraku from thebook Birds (2015) 38 Modern Ornithologies 102 Stephen Gill Modern Ornithologies

39 Pigeons Anaïs López Modern Ornithologies

No Bird Sang (2013) 40 Martin Parr Ricardo Cases Modern Ornithologies Mark Goesto Mongolia

41 Paloma alaire Mark Mattock Leon Reindl Where Rude BoysNever Think toLook Modern Ornithologies Heartbeats intheNight

42 Maria Strum andCemre Yesil Modern Ornithologies

43 For Birds’ Sake (2016) Magda Biernat

44 ADRIFT 88 Monica Alcazar-Duarte

45 The NewColonists 85 Carlos Alba The Observation of Trifles 84

46 Rachel Glass TheDomestic Aviary 94

47 48 Miren Pastor

Twin Cousins 103 49 Andrew Bruce

50 Cold Air Rising 89 Cold Air

51 Tim Simmons

52 Clearing 106 Masamichi Kagaya

53 Autoradiograph 95 Liz Orton The Longest Recollections andDarkest 103 of

54 Dara McGrath Project Cleansweep 100 55 Dragana Jurisic YU: The Lost Country 95 56 Mark Wright The Fireside andtheSanctuary110

57 Christopher Bethell

58 The Earl 88 Duke of Martin Errichiello&Filippo Menichetti

59 In Fourth Person 92 Jon Tonks Cargo Prophecy Coconut King108

60 Stephanie Rushton

61 The Archaea 104 62 Poulomi Basu A Ritual of Exile:BloodSpeaksA 87 Ritualof

63 64 Rebecca Najdowski

Give Them Distance 101 Give Them 65 66 Julia Fullerton-Batten

67 Feral Children 93 Claudius Schulze

68 State of NatureState of 105 Barbara Karant

69 820 Ebony/Jet 96 70 Edgar Martins to Managethe Infinite(2014)99 The Poetic Impossibility 71 Simon Aeppli Eden (selectedfilms 2004

72 — 1 6) 84 Jan McCullough Home Instruction Manual(20

73 1 4 — 1 5) 100 74 C J Clarke and ChristopherSmith (dreaming a New of Town Utopia)90

75 Magic Party Place 76 Drew Nikonowicz This World andOthers Like It101

77 Farhad Berahman

Memories of Home87 Memories of 78 Lia Darjes Being Queer. Feeling Muslim 91

79 Borko Vukosav

80 Used tobe109

Open Call Texts 81 82 work byStephen GillandMartin Parr, amongothers. unusualbird-relateddepicts storiesof activities andfeatures Orrantia’s curated group showModernOrnithologies, which Grade IlistedPickford’s Rodrigo HouseMuseumisthesiteof heartland BasildonbyCJClarke andChristopherSmith. And the music communityhubDubrek willhouseaportrait Brexit of theEuropeanthe interiorlandscapesof Space Agency. Derby’s listed Pearson buildingcanexplore EdgarMartins’ depictionof exiled during menstruation inNepal. Visitors totheGrade II photography andvirtual reality women totellthestoriesof paintings. Poulomi Basu’s tangled,of botanicalphantasmagoria, inspired byMaxErnst the viewer. Stephanie Rushton hascreated asculptural tableaux venues inDerby, theseexhibits allhavetheabilitytotransport narratives andimmersiveinstallations. Spread across multiple buildings, fillingtheseurbanspaceswithmulti-disciplinary, visual in theopencallwillbeexhibited across thecity’s landmark During FORMAT, theartists andcurators theworkof featured thiscurrent condition. conditions of During FORMAT17 wewillexplore theeffect, solutionsand us intoanewcultural geologicalera knownasthe Anthropocene. impact onEarth is accelerating at anunprecedented rate, pushing conflict, migration andclimate. They worktoshowhowthehuman including landscape, environment, mobility, digital worlds, HABITAT,to thethemeof thesediverseprojects touchontopics were selectedtoexhibit inDerbyduringthefestival. Responding across 68countriesworldwidewere submitted, from which52 For theFORMAT17 opencall, more than980entriesfrom

83 A Ritual of Exileblendsprojections,A Ritualof Introduction 46 72 upon arrivalinanewcity. discoveryanddetachment,sense of experienced byimmigrants document, visualandsocialanalysis. Alba viscerally evokes the the collection. Itissimultaneouslyanhistoricalandarchitectural The Observation of Trifles isaworkthat isat thecrossroads of theyare solvingamystery.to feelasif the worktoaudienceinamore physicalwayandallowsthem them. The objectswithphotographs introduces combination of Hamlets andHackney. Helivesontheborder inbetweenboth of its occupants. Alba focusesontheneighbourhoodsof Tower visualarchaeology,a kindof heconnectswithEast London and Taking objectsthat hefindsonthestreets andusingthem as Alba istheimmigrant —arrivedinLondon from hisnative Spain. his bearings inanewcountryandaround anewneighbourhood. eccentricity, obsession, humourandbeauty. Eden,in theneighbourhoodsof whichreveal aplacefilledwith an exploration intoboththedomesticandcurioushappenings as astarting pointforinvestigation anddiscovery. The result is Aeppli’s filmsusethelandscape, Eden peopleandthestories of by thepowerplant’s 700ft chimney. The Eden’isasmallcul-de-sac, ‘Garden of whichisovershadowed alargearound coalandoilpowerplant. theperimeterfenceof beauty butarundownandhalf-forgotten village, whichexists Northern Ireland. This peace Edenisnotanearthlyand utopiaof Eden,His filmsfocusonplaceandinparticular hishometownof literary andpoetictexts, anecdotesandchanceencounters. includes photography, notebooks, observational material, documentaryandessayfilm.forms of Hisfilmmaking process

The Observation of Trifles documentshowaforeigner finds Aeppli isafilmmaker whocreates personalandsubjective Simon Aeppli Carlos Alba (UK) (UK) Eden (selectedfilms2004 The Observation of Trifles

84 — 1 6)

Mars here onEarth. images reflects onourneedto reach Mars, despitehaving place inEarth’s lower-orbit. The maininterplaybetweenthese called Mars, USA, theactivitythat maytake andfilmclipsof to Marsin2027, witheverydayimagesfrom alittle town candidates foraone-waytrip 100-person worldwideshortlist of Colonists juxtaposesportraits fourUK scientists, of a part of possible readings.and giveusafullspectrumof Alcazar combinesseveral parallel narratives toframe herwork, examine theirpositionwithinourcontemporary techno-society. condition inapost-humanera. The workinvitestheviewerto is reframed byscientificadvancement, highlightingthehuman It alsohintsat aworldbeyondthematerial, where themundane and environmental issuessurrounding thenewspacerace. for illreputeAustralians tocomeandreinvent of themselves. scams inthe‘90s, cementedtheGoldCoast astheperfectplace and unethicalbusinesspractices through the‘80s, andproperty sleaze andmurder.and talesof State governmentcorruption the localnews, that fluctuates betweenmilliondollarlistings theperfecthomeandpervadingdangerisevidentin idea of that lurkintheshallowdepths. This tension betweensellingthe complete withanunexpectedly large bullsharks population of canals wasconstructedtoprovide forwaterfront homes, homeowners throughout the‘60sand‘70s, avastnetwork of retirees andholidaymakers. Inahugepushtoattract potential by real estate developersinan effort toseduceinvestors, coastlinethatdangerous wasrenamed stripof theGoldCoast Australia,tourist capitalof theSouthCoast wasastraggly and

The NewColonists investigates themetaphysical, ethical Simultaneously toutedasthecrimecapitalwell Monica Alcazar-Duarte Ying Ang (Australia) (UK)

85 Gold Coast The NewColonists The New 36 45 126 120

Imperfectly Known Animals. bring intofocus theseImperfectly plankton, action,of andof weare ‘BeyondDrifting’, and must in miniature thelarger animperfectworld. problem of Interms plastic,serves asametaphortothe ubiquityof encapsulating Presenting new‘specimens’created from recovered debris, when thesemarineorganisms were free from plastic. particles, creating pastscientificdiscoveries aperception of scientific research that hasfoundplanktontoingest microplastic early plankton discoveries. The project represents current debris, recovered from thesamelocation, mimic Thompson’s Presented asmicroscopic samples, marineplastic objectsof Ireland duringthe1800’s. marine biologist John Vaughn Thompson inCork Harbour, ‘specimens’ relate to pioneeringdiscoveriesmadebythe the current; theyexist inadrifting, floating, state. Unique organisms livinginthewater column, notabletoswimagainst question is, whetherhomeisjustamentalimageforusall? made themworldcitizens. Intheendmostimportant but havefoundnewhomesinEurope. Their experiences have thesepeople.histories of They losttheiroriginalhomelands recent humanrightssituation isreflected inthepersonal Rwanda andthe At thesametimecomplicated historyof a subjectthat everyonehasapersonalrelationship with. memories,and identitywhilerecognising thesubjectivityof that considerstherelationship betweenhomeland, landscape The portraits, landscapes, andinterviewsformacohesiveentity theirmemoriesinRwanda.countries andthelandscapesof displacement. Itportrays Rwandans inseveral European project approachespolitical thesethemesinthecontext of theirorigins.escaped toEurope andtheirmemoriesof This

Plankton form a diverse group of microscopicPlankton formadiversegroup marine of Autio tells the story of Rwandan refugeesAutio tellsthestoryof whohave Mandy Barker (UK) Miia Autio (Finland) I heard themdrumming Known Animals Beyond Drifting: Imperfectly I calledoutformountains, 86

an intimate yetnostalgic portrait Iran from of afar. capture thoseplacesasimages oncamera. The workprovides today, Iranian-based photographers heisusinganetworkof to theycouldreturnAsking themwhere home they would gotoif Iranians nowlivinginexile intheUK.house thememoriesof atraditionalconstructed areplica Shahre of Farang, whichwill would havebeenunlikely toevervisit. Berahman has to seeexotic citiessuchasLondon, Paris andRome whichthey ‘European City’ and the images shown allowed everyday Iranians the 19thand20thCenturies. The word inPersian means entertainment provideda formof bywanderingstorytellersin

by thesewomenduringtheirexile. understand theisolation, hardship andclaustrophobia suffered The vieweristaken onajourneysothat theymaycometo keeps menstruation further shrouded inmysteryandtaboo. endlessly repeating abusefacedbythesewomen, cycleof which projections, Basu’s installation placestheaudienceinside Combining photography, virtual reality andimmersive ‘exiles’.form of untouchable andimpure and, asaresult, thisviolencetakes the under-reported andunresolved, thesewomen are considered apart from theircommunityinhutsbarely fitforanimals. Hidden, Chhaupadi, inwhichmenstruating girlsandwomenmustlive awoman’sof menstrualblood. Itiscentred around theritualof Hindu tradition, thisviolenceistheimpurity theroute causeof women inwesternNepal. Perpetrated a undertheguiseof normalisedviolenceagainst the causesandconsequencesof Poulomi Basu(India) A Shahre Farang apeepshowbox, isanIranian versionof A Ritual of ExileisanimmersiveinstallationA that investigates Ritualof The MagnumFoundation Emergency Fund 2016. This workwasmadepossible withtheadditionalsupport of Farhad Berahman (UK) A Ritual of Exile:BloodSpeaksA Ritualof

87 Memories of Home Memories of 78 62 44 58 125

place of birth towhereplace of heislaidtorest. America —aroadtrip from Eastto West, from hisgrandfather’s The Earlwasmadeinreaction Duke of toBethell’s firsttripto 2012 thatJoey’s Bethelllearned thetruthof life. Four years later, developing afantasylifeforhislate grandfather. Itwasonlyin obsessing about Joey’s life, andthecountryhelivedin, even away whenhewasababy. Hegrew upromanticising and Joseph ‘Joey’ O’Donnell. Bethell nevermet Joey ashepassed Ireland inhertwenties. There, shefellinlovewithhisgrandfather, British citizenship. HisGrandmother movedtoBostonfrom fabrication asheisadual-national, withboth American and told them‘Stockport, Cheshire’. That said, itwasn’tacomplete The truthwasfarlessexciting —noonewasinterested whenhe about where hewasborn. ‘Boston, Massachusetts,’ hewouldsay. climate change at opposite ends of the Earth.climate change at oppositeendsof offers apersonalcommentaryontheparallel global effects of hunting huts, whose shapesandvolumesechooneanother, it photographsAntarctic of icebergs andemptyIñupiat Eskimo polarcomparison.visual languageasameans of Bypairing native people.the cultural identityof Adrift isaseriesthat uses in the Arctic, once-permanenticeisthreatening themeltingof getting thinner, meltingandrupturing. Near theoppositepole twice asfasttheyare elsewhere intheworld. Polar iceis other. Photographers Jan DirkvanderBurg &GijsvandenBerg report from thesetensionsbetweenmanandnature. thefrontline of not nearly enoughtoshare among 17 millionpeople. Let alone with nature. Functional infrastructure andgreen beautification strive to coexist neatly side-by-side, butoften liveinconflictwith each Gijs vandenBerg / Jan DirkvanderBurg (Netherlands) As achild, ChristopherBethellwouldoften lietopeople Average temperatures inthe Arctic and Antarctic are rising landthatThe make 33,883sqkmof uptheNetherlandsare

Christopher Bethell(UK) Cutting DutchProsperity Edges:Excesses of Magda Biernat (USA)

88 The Earl Duke of ADRIFT

preconceived what constitutespoverty. ideas of culture andhistory, andaimstotellastorythat subverts any in subjectsasdiverseimmigration, cinema, politics, pop Wenders, Federico Fellini and William Klein, Chéhère weaves Inspired byHayaoMiyazaki, Albert Robida, Moebius, Wim look carefree. Closely, detailsreveal amore complex story. photographed andassembled asapuzzle. From afar, houses Technically, it’s aphotomontage, elementsare hundreds of telling thestories, dreamstheirinhabitants. andhopesof urban context andreleases themfrom thestreet tothesky, impoverished class. The their authorisolates thesebuildingsof acontemporary realityof byrevealingan theconcerns of neighbourhood where Chéhère lives. They subtlytellthestory intimate way. allows theviewertoexperience thesubjectinastrikingly camera detailthat andlife-size handprintsprovide alevelof the difficultiesrepresenting of it. a10×8"large-format The useof that questionourchallengingrelationship withnature and to capture andhuntdownhisimages, hecreates photographs where the animal becomes mystical. techniques Using a range of captured inseeminglyquietmoments—transcendental scenes images where animalsare illuminated byunnatural light looking toanimalsfindmeaning, hecreates melancholy photographs. Reinterpreting humans thelongtradition of searches connectionwiththeanimalsthat he forsomekindof lives andreduced tomere spectacleorcommodity, Bruce

The FlyingHousesare inspired bythepoorandchicParis As animalsare increasingly detachedfrom oureveryday Laurent Chéhère (France) Andrew Bruce(UK)

89 Cold Air Rising Cold Air The FlyingHouses 132 50 74 124

all the‘developments’ inHongKong at themoment. titled DanceOld, andexpress theartist’s feelingtoward poses are combinedtoformasimple stop-motionanimation, posture around each MTRstation. differentThe photosof dance as background, onedance hethentakes asinglephotoof old-fashioned orcompletelyabandoned. Usinghis‘discovery’ architecture oremptyspacesthat are notuser-friendly, too visited oneMTRsubwaystation todiscovernearby sculptures, Every weekfrom September2013to August 2015, Cheng is theabsolutedehumanisedlow-endprinciple. Construction. Construction. LanddevelopmentinHongKong Development seemstobethewaygo. Construction. stations are alsoimportant locations forreal estate development. the citylike an octopus. As wellasrail construction, the87MTR themselves tohavebeenpushed tothemargins. which occupiesthemainstream society yetperceive of still andmovingimagestoreveal acommunity thetrueheart of process, CJ Clarke and Christopher Smith’s installation combines responses totheirhabitat. Brexit Mappingtheroots of inthe itsresidents andtheir theseintentionson thebehaviourof of thenewtownsandimpact intentions behindthedesignof Basildon inEssex —thisinstallation exploresnew townof the and civicpride.’ Specificallyfocusingonthestatistically average self-respecting, beauty, dignifiedpersonwithasenseof culture Thomas More’s vision —tocreate ‘a citizen, newtypeof a healthy, New Towns were designed associal‘Utopias’inthemodelof constructions knownas‘newtowns’. Builtpostworldwar two, the sometimemodernist, often brutalistarchitectural andsocial explores thecontemporary Englishnation through themoodof

CJ Clarke andChristopherSmith(UK) Magic Party Place(dreamingaNew of Town Utopia) The HongKong MTR(subway)systemreaches outinto Yee ManCheng(HongKong) (dreaming aNew of Town Utopia)

90 Dance Old Magic Party Place

Islamophobia andracism. They battle againsthomophobia, asmuchtheybattle against theirreligion.world whodon’tacceptthisviewasafundamentof there remains Muslimsaround animportant the numberof world hasembraced ahomophobicinterpretation theQuran, of theMuslim While thisfactimpliesthat adominantportion of homosexual intercourse. have introduced capitalpunishment for the‘crime’ of At thistime, sevencountrieswithaMuslimmajorityfaith inclusive communities. theindividualswhoare buildingtheirownprogressiveof and Canada, England, theUnitedStates. Herworkshares thestories them indifferent the partsWestern of world—France, Germany, genderrolesand religious —LiaDarjesmet understandingof feminists; transgender peoplewhoare shakingthetraditional asking thequestion:amIasinnerornot?Imamsidentifyingas and suspends, apart from instinctortrigger. Authorship isshared. What isrevealed in an instanceseparates mechanism,accidental confluencesof timingandintention. acting toitsownpurposes. Portraits are collaborations, nearly with introspection. Itrecognises the animalasaprotagonist description anddelineation andoften arrivesthrough hindsight, understand individualto—isapart from aspecies autonomous response. The empathetic leap —theattempt to darkness that underscores theanimals’singularityandtheir inviting acollaboration woodsbetweenthe at theedgeof hunting. Herworkrepurposesthehunter’s thestealth of camera, active on formerfarmlandboundedbyhighwaysandzonesof informed consent. Deigaard’s subjects are thewildanimals ‘capture’, draws parallels withahunter’s jargon. There isno or‘take’photographic aphoto, terminology:to ‘shoot’ to gains resonance whenphotographing animals, andusing

Lia Darjes(Germany) Queer Muslimsthat are seekingasafespacetopray, The thehuntergatherer classicdualisminphotography of Lee Deigaard (USA) from Unbidden(2008 Being Queer. Feeling Muslim

Night Vision selections 91 — 1 6) 79 28 123 118 59 made nature. Decadesago, theserocks were sculpted bythe closer lookthat theselandscape scenesdisclosetheirman- BATERÍA GibraltarStrait dominate thephotographs of inthework Pulitzer Center onCrisisReporting. to finalconsumptioninEurope. This storywassupported bythe and theUSA, togarmentfactoriesinBangladesh andRomania, This photographic essayfollowscotton from fieldsinBurkina Faso extras —$89. least 10hourslong. Inamonth, sheearns —togetherwithallthe Bangladesh, Anowara’s workdayinthegarmentsfactoryisat in ayear, itwillbeabitmore thanonedollarperday. InDhaka, income hegetsfrom cultivating cotton, days bythenumberof After Paul Timbi Kobassare, afarmerinBurkinaFaso, dividesthe we useeverydaysostrikinglycheap? The answerissimple.

many unanswered questions. or forgotten. InFourth Person becameavisualrecord fortheir region what wasbeing lost documentingandcollectingtraces of Errichiello andMenichetti spenttwoyears travelling through the aesthetics, slowlyoppressing itshumanandnatural landscape. modernityhasimposed languageand where thechallengeof region, thisvisual exploration, thecase-studyof isamythicland industries anddefinitelyanewidentity. The southern Calabria progressIn thenameof Italywastobefedwithnewroads, new radical territoriesandtraditions. transformation process of of Italy’s cultural andpoliticalpowersestablishedanextensive, Since the60s, theso-calledeconomicmiracle, inthemidstof Moss-covered bouldersinaremote forest area near the Why are theshirts, jeans, andcountlessothercotton items Jost Franko (UK) byGermanartist DanielaFriebel. Itisonlyupon a Martin Errichiello&Filippo Menichetti (Italy) Daniela Friebel (Germany)

In Fourth Person Cotton Black, Cotton Blue

92 BATERÍA

accompanying thephotographs touchupontheseaspects. South-West Spain. coastof Text fragments andillustrations crisis, theentire toashift intheecologicaldunesystemof before andduring World War Two andtoday’s Perejil island geographically andhistorically, from expansive strategic control This tinyterritorialinterventionhadafar-reaching impactboth alarge coastalbatteryof gun. Spanish militaryinorder toconceal theunderground structures tenacious survival instincts of thesehumanbeings. tenacious survivalinstincts of how canwenotlookat theseimagesandwonder at the children, who are fullyhuman, at least theirlives, at thestart of from theglobetoother. onepart of Inconsideringferal anormal humanexistence.boundaries of Itscomplexity varies Life iscomplex, forsomemore than others, evenwithinthe child livingtheirexperience. interpret each feral andduplicate thefeelingsandactionsof 15 casestoportray, nottoreplicate theexact scenes, butto intrigued whenshefirstlearned aboutferal children. Shechose twoboys,As amotherof Fullerton-Batten wasappalled and climbing trees andeating raw flesh. time before theyunlearn behavioursuchaswalkingonallfours, theywere takenespecially if whenveryyoung. Itcantake along Feral children often don’trecover theabilitytoliveanormallife, after experiencing abuse, orwere taken bywildbeasts. physical impairment. Otherseitherlosttheirparents, ran away own parents, theirintellectualor rejected perhapsbecauseof language. Somewere cruellyconfinedorabandonedbytheir humancare,up withlittle ornoexperience of behaviouror contact, often from averyyoungage. As aresult thechildgrows A feral childisonethat haslivedisolated from human Julia Fullerton-Batten (UK)

93 Feral Children 66 47 25 “If youwere bornwithout wings,“If donothingtoprevent them

retreat. This isnotareal life. here are tryingtoescapefrom something;that thisisjusta permanently. Sometimesyougettheimpression that people years ormore, thoughfewdecidetosettle downhere sight. Somepeoplevisitfortwoweeks andendupstayingfive as thebestplacetolive, manypeoplefallinlovewithitat first the world’s northernmost city. Although itisdifficult to regard it largest settlement and administrative Svalbard. centre of It is also the sunneversets. This placeiscalledLongyearbyen, itisthe troupe. Inthewintertimeitiscompletelydark, butinsummer no traffic lights. There isnoamusementpark, butthere isacircus return tothemainlandgivebirth. There are nocats, notrees, You cannotbebornhere becausepregnant womenhaveto because bodiesfailtodecomposeinthesub-zero temperatures. course,Of youcandieanywhere butyoucannotbeburiedhere

of our own conscious understanding of freedom; itslimitsand ourownconscious understandingof of obvious thebirds are kept free from theircages, toflywithinthe eccentricity of theownersthrough thedecorand thesubtle eccentricity of a representation twodistinctthings. of Firstly, theydocument and cared for. Secondly, freedom. thesephotographs questiontheidea of Itis should havebeenleft inthewildtolivelifetheywere surrounding theserestrictions, thebirds leaving ustowonderif in thewild. thefamily,They havebecomemembersof nurtured intended. Yet thesebirds were borntame, theycannotsurvive hints to the importance of thebirdshints totheimportance intheirlives. of in thehome, showcasingthepersonalityandsometimes possibilities. freedom Despitethisoffering questionsarise of looser confines of the home,looser confinesof whichactsasavisualmetaphor the tradition of owningapetbirdthe tradition andtheirintegration of intolife from growing.” In Rachel Glass’s There isaplacewhere nooneisbornanddies. Dominika Gesicka (Poland) Rachel Glass(UK) TheDomestic Aviary thephotographs are

TheDomestic Aviary 94 This isnotreal life

Coco Chanel

to flora andfaunainthepast five years. visible, specimensfrom coveringawidearray dailynecessities of called autoradiography tomake radioactive contamination theUniversityof Tokyo,emeritus of Kagaya hasuseda technique as possible. Working incooperation with Satoshi Mori, Professor records thecontamination from of thenuclear disasterin2011 Masamichi Kagaya decidedto leave behindasmany visual to thefallout. people toseetheradiation emitted byobjects directly subject theharmfulradiation forthepublic tosee,of suchasenabling yet, capturing avisualimage veryfewhavetaken onthetaskof throughout Japan andisarecurring topicinthemedia. And The radioactive contamination continues tobehotlydebated in thedecontamination workisamajorissue. thecontaminated soilcollected howtodisposeof problem of safety andhealth spread across thenation. And evennow, the towns andcommunities. Intheaftermath, concernsabout food than 70,000peoplehadtobeevacuated from neighbouring released intotheairfrom anuclear powerplantin Japan. More back ‘home’thanintheforeign land where shehadchosenlive. exile wasstronger displacementandher senseof was oneof Instead, rejection. itturnedouttobeajourneyof Herexperience assertion that photography ismore akintomagicthanart. country andindoingso, resurrect it, followingRoland Barthes’s journey wouldsomehowdraw amagicalcircle around the recreation herlosthomeland. of Shehopedherphotographic YU: The Lost Country wasoriginallyconceivedby Jurisic asa Yugoslav identity. Yugoslavia’s disintegration, the there isatotaldenialof and people. Today, inthecountriesthat cameintobeingafter likeAtlantis, thecitizensof intotherealm imaginaryplaces of the country, million at least one-and-a-half Yugoslavs vanished, In 2011, radioactive particles hugeamountsof were Yugoslavia fellapart in1991. With thedisappearance of Dragana Jurisic Masamichi Kagaya (Japan) (Ireland)

95 YU: The Lost Country Autoradiograph 53 56 116 69 “Every floorisdifferent, andeveryfloorhassurprises.” Johnson Building, itsfurnishings, strippedof presents aunique (Australian) landscape. artist ecologicalchangesandimpacts inthe return tositesof fractured relationship tothenatural world. This work seesthe The Crossing isKoenning’s continuedengagement withman’s In atimethat expanded urges natural forapoliticof visibility, investing inpositiveecologicaltransformations. economic growth, enablingfurther devastation rather than green activism. Today, policycontinuestofavourshort-term environmental philanthropy andplacingrestrictive lawson interests, the Australian governmentconsidered limiting From 2015, inaconservative politicalclimate drivenbyvested the Anthropocene. disappearance,states of adaptation andtransition asitfaces into everythingwe’vetouched. The imagesreflect onnature in impact onanecologyinwhichourlegacyiscarvedsharply

capsule of African capsule of American enterprise—aspecificandstylistic essentially unaltered from 1972to2012. Itremains acultural time thiscompany,embodies thespiritof whichoccupiedthisspace original workspace vanished. These livelyinteriorsfostered itsday.owned corporation of Itdepictsthecompany’s historic occupant —interiorsthat simultaneouslyrepresent thespiritof opportunity itslong-time todocument theresonant interiorsof Publishing Company, themostinfluential African American– building inasemi-skeletal state, the before thelastvestigesof vocabulary that has survived the passage of thedecades.vocabulary that hassurvivedthepassageof The moment in African America. American historyandtheof the iconicEbonyand media,the creativity workinginavarietyof astaff including of this landmark company and the sense of itsloss, a seminal this landmarkcompanyandthesenseof of The Crossing isalong-formworkconcernedwithhuman This the projectJohnson documentstheessenceof Katrin Koenning (Australia) Barbara Karant (USA)

John H. Johnson, CEO Johnson Publishing Co. Jet magazines. The Johnson Buildingstill

96 820 Ebony/Jet The Crossing documentation andfiction, andavisual experience withfloating Halfway betweendreamt-up images, suspended between exploration, thisvisibleproduction. analysisandexperimentation of inastructuralist approachplaces himself tothe spectrumsof the landscape, space. asavisionandproduct of Hehumbly In thisseries, with theartist firmlychoosestostand‘inconflict’ and space, flowsandcrossings, of borders andintermixing. of But itshouldbeseenfirstlyasasystem, time a perfecttheorem of limited space. traits,a landscapeislayoutof characters, a andshapesof thecontemplative orthebreathtaking.the angleof Etymologically, the ultimate romantic subject, mostoften expresses from itself blatant legend:landscapeanditsrepresentation. Landscape, they themselveshadactuallysetinmotion. bunker-like housestohidefrom entropy’s radiation, anemission human entitiesare absent, theyhadretreated asif insidethe sorts.equivalent agencyinaflat ontologyof Strangely though, discriminating gaze, theyinhabitedtheuniversewith asif artifacts andarchitectural objects, allseenalike byanon- an endlesstimeline:animals, organic matter, technological this rather idiosyncratic curvedsky, different entitiesroam along to constructacosmologythrough photographic means. Under noreturn’.the ‘pointof Lacombe’s project isapersonalattempt as beyond whichelementscannotpropagate,known commonly used inastronomy todescribetheboundaryaround ablack hole Prize at Paris PhotolastNovember. Event Horizonistheterm produced in2016andshortlisted forthe Aperture Photobook

remains andultimately, what isat stake. urgency,collective states of drawing onwhat islost, what Tracing humanpresence andabsence, theworks suggest is a book of photographs EventThe Horizonisabookof originalformof The TwoLabyrinths explores classicphotography’s most Michel Le Belhomme(France) Quentin Lacombe(Switzerland)

97 The TwoLabyrinths Event Horizon 113 29 26 122 These habitats are designedtosatisfy boththespectators They relocated fourmore timesforthesamereasons —their As exotic tourist-magnets, white bears are often thesingularity

minimalistic, ghost-like, abreathtaking void, fiction. aworkof absurdity andmetaphoricalirony. The visiblethusbecomes

concerning captiveanimals. The project covers26sitesacross challenged by the interest of entertainment.challenged by theinterest of combine ‘nature’, ‘home’and‘stage’. Zoo keeping isanintricate effort tomimicthe Arctic environment, theuncannystructures does the instability of homeaffect individualandsocietal does theinstabilityof continuously rebuilt tofitmodernneedsanddemands, butas architectural narratives withvarioustechniquessimulating the a result, itdamageshomes, memories, placeand thesenseof studies thevisiblesymptomsamonganimalsandtheir artificial scanning andinterveningphysicallyasanever-ending survive perpetualdestructionandreconstruction? Howmuch Europe andChina. Politicians assure societiesthat theurbanlandscapemustbe Korean familiesand hasbecomeabigissueinKorean society. habitats globally. Itattempts toshedlightondilemmas habitats byfocusingononespecificspecies. historical context. What ishome? And howdoesthenotion home wasneverreally stable. This isnotauniqueexperience for psychology? The project mixes personal, politicaland points which defy justifications of contemporary zoos—the points whichdefyjustifications of missions of conservation,missions of research andeducation seem resource allocation taskoften disrupted byunsuitablespecies. rebuilding process. forced tomoveoutbygovernmenturbanplanningin1997. layers-upon-layers of theKoreanlayers-upon-layers of urbanlandscape. Reprinting, (audience) andthedwellers(animals). Inother words, withtheir Truth Leem Korea) (Republic of White Bear depictspolarbears ondisplayandinartificial Leem’s familyfirstbegantobreak apart whentheywere Sheng WenLo White Bear isnotjustaboutpolarbears —it (Taiwan)

98 City of Lost Homes City of White Bear “Photograph the hometowns of yourheroes”“Photograph —MacLean thehometownsof has As someonewhohasalways worked inhard-to-access

own creative inspiration. everyday placesthat servedasthebasicvisualfoundations of City, Englandtothe fromAmerican Midwest, thesouth-westof comprehensive surveyeverproduced aboutaleading scientific artistic ‘heroes’ spenttheirchildhood. From MoscowtoMexico and neighbourhoodsaround theworld, his where anumberof environments, Martins isinterested inthedialoguethesespaces Germany, Russia, Kazakhstan andFrench Guiana. These artist exclusive itsfacilities, andunparalleled accesstoallof and spaceexploration organisation. For thefirsttimeinits astronaut training centres. application hasonoursocialconsciousness. and itspartners’ programmes, whilstalsoreflecting onthenew spectacular monumentsorexotic landscapes, butforthe since explored andphotographed more than20cities, towns staff, programmes, technology, and private-aerospace industry MacLean hastraversed theglobesearching notforitsmost Hometowns, John MacLean payshomagetothesubtleyet Martins travelled anddocumented15separate facilities history, The European Space Agency (ESA)granted avisual important influence of thehometown,important influenceof particularly in relation to provoke. There are multi-layered challengesforartists working propulsion laboratories, spacesimulators, launchsitesand spaceexplorationpolitics of andtheimpactthistechnological partners. The project looks tocriticallyengagewith the ESA worldwide inplacessuchastheUK, The Netherlands, France, locations includedtestcenters, robotics departments, jet the artists that inspire him. The endresult his isacatalogue of that hejotted downinanotebookseveral years ago— artists.the visualdevelopmentof Beginningwithasimpleidea The Poetic ImpossibilitytoManagetheInfiniteismost In his poignantly observant body of photographic work,In hispoignantlyobservantbodyof Edgar Martins (UK) John MacLean (UK) to ManagetheInfinite

The Poetic Impossibility 99 Hometowns 70 32 55 73 chemical weapons were housed onthe500-acre siteand the weapons storage depotintheUK. Upto 46,000individual in Derbyshire. In1940, HarpurHillwas thebiggestchemical chemical weapons storage anddisposalsiteat HarpurHill In theextract presented here, McGrath explores theformer appropriated formilitary useinthe20thcentury. into theBritishcountryside, whichwas over4,000sq kmof inextricably linked tobiologicalweapons. The imagestake us chemicalweapons that contamination are of this landscapeof chemical weapons overthepast100years, McGrath explores British sitesusedinthemanufacture, storage, anddisposalof begun in2011, contamination at that assessedtheriskof identity from scratch. creatingworking inthehouseandprocess of aperformed photographs histimelivingand documentedtheendresult of twomonths.strangers’ advice overaperiodof The resulting his studiointoarented suburbanhouse hecarriedoutthe instructions abouthowtocreate theperfecthome. Transporting a home’, inwhich self-proclaimed experts exchange detailed an onlinechat forumfollowingaGooglesearch for‘howtomake from scratch. InHomeInstructionManual, Mcculloughaccesses a written authority onhowtorepair faultsandcarryouttasks source for practical solutions. Experts in specific subjects provide

documenting butalsodeconstructingthespacesandobjects complexity. Martins’ mainchallengewastodevelopan approach that wassimultaneouslydescriptiveandspeculative, he visited and inviting abroader, and visited he more emotionalandmore intricate experience of its hidden meanings. hidden its intricate experience of privatisation spaceaddedfurther andmilitarisation of within anyestablishedstructure. Inthiscasetheincreasing Jan McCullough(UK) Beyond thePost-Military theUnitedKingdom Landscapeof Taking Defenceinvestigation itsnamefrom aMinistryof Traditionally, instructionmanualshavebeentheperfect Dara McGrath (Ireland) Home InstructionManual(20

100 Project Cleansweep — 1 4 — 1 5)

the boundaries of technology.the boundariesof that nowthesublimelandscape isonlyaccessiblethrough completely dislocated from humanexperience. This suggests replaced photographers asmediators producing images software. Within thecontemporary wilderness, robots have probe-based imagery, virtual role-playing, andvideogame explorableThousands realities of exist through rover and their relationship record-making. withcurrent methodsof 19thcenturysurveyimages,language of Nikonowicz questions with analoguephotographic processes. Drawing uponthe the 21stcenturyexplorer bycombiningcomputer modeling paradoxical entropy coexistence andtheinfinite. of wearing downwithcosmicexpanse, attempts topointthe patina. The video, anunavoidable through itscouplingof representations Earth andspacereveal of acultural andmaterial fiction films. Inthispiece, outmodedvisualandaudio collectively imaginedcosmosthrough photomediaandscience project considerstheidea that wehavecometoknowthe film, droning audiocaptured from Walt Disney’s 1979super-8 sci-fi fallen meteorites. Juxtaposed withthecyclingslideimages, through thesolarsystemandspace, returning toourplanetvia department, theloopedvideoanimates ajourneyfrom Earth slides discarded byauniversityEarth andPlanetaryScience cosmos andourplacewithinit. Created from hundreds of

war, whichstillremains. thelegacyof chemical weapons tookplacethere immediately after the surrounding countryside. Massivewholesaleburningof Drew Nikonowicz (USA) The BlackHole, provides ahypnoticrhythm. Najdowski’s Rebecca Najdowski(Australia) This World andOthersLike Itinvestigates therole of Distance exploresGive Them howwecomprehend the

The World andOthersLike It 101 Give Them Distance Give Them 76 64 38 New Zealand parrot, theKakapo. Reindl’s Heartbeats intheNight explores arare thehistoryof Istanbul. thebirdmenSake of tellsthestoryof While, Leon their natural habitat. MariaSturm andCemre Yesil’s For Birds’ out illustrations from abird atlas andphotographs themin journey tolookfornightingales. Yohei Kichiraku’s Birds cuts Where Rude BoysNever Think toLook documentsafather-son recognises almostallthebirds bytheirsong. MarkMattock’s for herproject NoBird Sang. Shefollowedablindmanwho Anaïs LópezIJburg spent18monthsexploring theislandof our world, hetakes usintotheirs. complements thesestories, rather thanshowingthepigeonin breeder around ChinaandMongolia. Stephen Gill’s Pigeons in Spain. Martin Parr’s, MarkGoestoMongolia, followsapigeon Ricardo Cases’s Paloma pigeonraces AlAire tellsthestoryof with photography, movingimageandsound. and theirworld, theypresent working innovative waysof humans andbirds. birdsAs wellasexperimental studiesof

Curated byRodrigo Orrantia (UK) Mark Mattock These projects explore theprimalbond between Maria Sturm andCemre Yesil Leon Reindl Martin Parr Ricardo Cases Anaïs López Yohei Kichiraku Stephen Gill Where rudeboysneverthinktolook Mark GoestoMongolia Heartbeats intheNight

102 No bird sang Paloma alaire Pigeons Birds Modern Ornithologies For Birds’ Sake elements of creationelements of — water. scenery travels backtoitsorigins, thefundamental oneof analyses theprojection in nature thishabitat andhowits of an identicalpastandacontradictory present. Pastor’s project decadence.of They are considered twincousins, astheyshare their inhabitantswithwater duringagoldenage the baths of their innerdepthsare born thethermalspringswhichsupplied These three locations draw aspiritualtriangleinreality —from upwards andforwards, symbolisesspirituallifethroughout time. angled triangledividedintothree unevenparts, slowlyrotating the Russian painter andart theorist Wassily Kandinsky, anacute Spain, that formanenigmatic triangularhabitat. According to health resorts andthermalspasinsouthernFrance andnorthern surrounding Panticosa, Cauterets andGavarnie, three ancient crisis. Usingphotographic means, shefocusesonthe landscapes concealed motivesconnectedtothecurrent Spanishfinancial timeisproduced.spaces through whichourunderstandingof bodies. scaleandsubjectivity, Itplayswithideas of reconfiguring work re-imagines geologicencounters betweensurfacesand measurement ingeology. Usingphotographic spaces, the visual research intothepractices touchand andgestures of Fellowship atArts theUniversityof London. Itisinformedby Orton’s project theMEAD hasbeendevelopedaspart of earth’s history. To facearock istoencounterdeeptime. the rocks years of offering eventsoverbillionsof anindex of reading,the literary metaphorof theformations andlayersof we occupygeologicspaces. Geologyandphotography share

Liz Orton (UK) Pastor’s work, ongoingbodyof The Longest Recollections andDarkest considershow of Miren Pastor (Spain) The Longest Recollections andDarkest of

103 Twin Cousins , searches for Twin Cousins 48 54 61 34

the still-liveswhere everydaylifeobjectsare exoticised. livingasaperceived foreignerof inGermany, combinedwith individual experiences, basedonthecommonsocialcondition and commonstereotypes toquestionit. The result isacollageof social gapcreated byprejudice anduseclichédfolkloricsettings raised andeducated inGermany. These imagesdeal witha visibleminoritieswhowereSubjects are born, membersof being bothmenacingandhumorous. the resulting imageryemitsadream-like qualitythat succeedsin Ernst, nature’s andalludingtoBallardian themesof retribution, by the‘Jungle the20thcenturyGermanartist, paintings’of Max figuration.refer tothelandscapewithasuggestionof Inspired tangled,sculptural tableaux of botanicalphantasmagoria, which Archaea features constructedphotographic and a series of principle behindtheworkandimpetusforitscreation. The continuing disregard forthat relationship istheunderlying on Earth. Ourevolutionaryconnectiontoalllifeandthe alllife thought tobetheclosestlivingancestororiginof microorganisms withthesimplestknownmolecular structure,

Alexandra Polina (Germany) The protagonistsAlexandra of Polina’s Mask, Mythsand The Archaea single-celled refers tothekingdomof The installation isco-created byMally MallinsonandStephanie Rushton. Stephanie Rushton (UK)

104 Mask, MythsandSubjects The Archaea

common amongapopulation livingwithconstantshortages. the creativity, craftsmanship andresourcefulness that were participated in, inthepast. work, Inthisbody of Shlykexplores memory andnostalgiaforthe thingsthat hehasseen, heard and childhood. These stagedphotographs refer totheartist’s DIY culture originduringhis that developedinhiscountryof TheNecklace isbasedontheoncepredominant Appleseed shelving inthelocalshops. with anembossedhammerandsicklelooked, andtheempty childhood. Hestillremembers howhisoldpassport complete his theSovietUnionforearly part of and wasacitizenof with tolerance —from theSovietperiod. Shlykwasbornin1986 people are. These qualitieswere probably inherited—together howwonderfullyresourcefulhe isreminded of andcreative its climate change. of world are left totheirowndevicesagainstthedespoticnature care. Butthereality looks farbleaker the —peopleintherest of are maintainingtheworldasitshouldbe—anidylliclifewithout climate change,turns feral intimes of civilprotection agencies much thetwospheres penetrate each other. As theweather nature. Onthecontrary, thephotographs demonstrate how are notaboutdefiningtheboundarybetweenculture and protective structures riseintothelandscape. Butthesepictures coast isfurrowed bybreakwaters. thephotographs, Ineach of Alpine panoramas are crossed bysnowsheds, theNorth Sea thoseidyllicsceneriescontainsimperfections: But each of what seemtobepicturesque landscapes. a large format camera, photographing from anaerialview landscape. Schulzetravelled 50,000kmacross Europe, using protection, theEuropean andhowithasbecomepart of Every time hisnativeAlexey countryBelarus, Shlykthinks of NatureState natural of showstheextent disaster of Alexey Shlyk(Belgium) Claudius Schulze(Germany)

105 TheNecklace Appleseed State of NatureState of 30 68 52 117

himself wastoo. himself found intheirsearch fortranscendence, asperhapsShukla informed byencounterswithpeoplewhoseemmore lostthan Seeking Moksha evolvedthrough suchpersonaljourneys. Itis in spirit, totheplaceswhere thesethingscamefrom. water. Offering themtothoseclosehim, and carrying them, During thosevisitshecollectedwildflowers, stones, earth and his timeasahermit, andconsidered findingacavetolivein. In subsequentjourneys, Shuklaoften fantasisedaboutspending his grandson. grandfather had losthismemory, andcouldnolongerrecognise of, buthadbeenunabletovisit. BythetimeShuklareturned, his grandfather some connectiontoaplacethat hehadspoken priest, whowasonhisdeathbed. Shuklahopeditcouldgivehis in theHimalayastocollectwater forhisgrandfather, aHindu immersed intheimagesastheymovearound thedarkened room. the printsare crucialfactors inencouraging viewerstobecome to re-engage withit. The photographic detailandscaleof themes that linkourliveswiththenatural world, prompting us connection wehavewithoursurroundings, exploring the in thehistoricalSt Werburgh’s Chapel. Simmonsexamines the to create a360°audienceexperience. This istobeinstalled clearing, each taken at 90° from theadjoiningimage, inorder aforestinstallation. fourimages of Clearing willconsistof HABITAT. He has created a large, four-sided back-lit photographic specifically fortheFORMAT17 festival, basedaround thetheme landscape, Simmonshasmadenewwork, titledClearing,

In 2011, NishantShuklawalked theGanges tothesource of As part of an ongoing body of lens-basedworkrelating anongoingbodyof to As part of Nishant Shukla(India) Tim Simmons(UK)

106 Seeking Moksha Clearing refugees theformer from thecountriesof Yugoslavia. This growing upinSlovenia, theybecamefriends withnumerous therecent Balkan theconsequencesof war.them of As children this humanitariancrisis, especially asitevoked memories for Povše, Pucelj and Zorman shared a collective desire to document As visualrecording artists anddocumentary makers, Jazbec, were tryingtofindasafe havenandmake anewhomeinEurope. route, which crosses several countriesincludingSlovenia. They onadangeroustook off journey through theso-calledBalkan mainly Syrian, refugees fleeingcivilwar. the refugees Manyof Boštjan Pucelj andMatic Zorman documentedtheplightof, a facilitylike theELA couldeverberecreated anywhere else. experiments practical andaffordable. closed, If itishighlyunlikely thelakes thestudies;at makes thesametimesmallsizeof of for thepast44years. This approach increases thesensitivities ELA lakes intheirnatural conditionthat havebeenmonitored human activities. Lakes that are manipulated are compared to specific environmental other problems withouttheconfusion of because itallowsresearchers tounderstandtheimpactof lasts from years todecades. The pristinesetting isimportant a strategy notpossibleanywhere elseintheworld. Eachstudy 58lakeson agroup andtheirterrestrial of drainage basins, Ontarioallowsecosystem-scaleexperiments tobeperformed of The ELA ispossiblebecauseanagreement withtheProvince cutting exercise byformerPrime MinisterHarper’s government. Development after beingbrieflyshutdownin2013acost- now operated bytheInternational InstituteforSustainable northwestern Ontario, Canada. Itwasopenedin1968andis freshwater research facilitylocated inapristinearea of infused withitsspiritandbeauty. The ELA isaworld-renowned imagesproduced onlocationcompendium of at theELA and series abouttheExperimentalLakes Area (ELA)butasa and necessaryevil. The resulting workispresented notasa

In 2015, Slovenianphotographers Ciril Jazbec, Matej Povše, Experimental Lakecommon good focusesontheidea of Guillaume Simoneau (Canada) Pucelj-Zorman (Slovenia) Slovenian photographers;Slovenian Jazbec-Povše-

107 Experimental Lake Balkan trails 128 127 60 photographer’s individualreaction tocurrent events. The workwascreated asagroup project whilemaintainingeach experience helpedthemcomprehend howtoday’s refugees feel. Vanuatu’s tropical idyll. being godsandkingsagainstabackdrop of out fantasiesof They leave behindhumdrumlivesinEurope andtheUSto play be drawnVanuatu totheislandsof bythesemiraculous tales. As astrange realisation thecargo cult, of people continueto dissolute French adventurer asitsking. banners; anindependencemovementthat venerates a parade thestreets withbamboogunsandstar-spangled Messiah isasan American GIcalled Jon, withfollowersthat Prince amountain;anotherbelievesthe Philipwasbornof These beliefsare stillpracticed today—thevillagethat says the cargo. lifeandgivethemtheirrightfulwealth: their traditional wayof man from adistantlandwhowouldonedayreturn toreinstate haddevelopedamongislanders in Vanuatua belief abouta converted toChristianity. theFirst Bythetimeof World War, thePacific the19thcenturywhenmuch of end of wasbeing Cargo Cultswere first documentedbymissionaries at the Pacific Ocean and an outside world that cannot leave them alone. depicting encountersbetweenaremote communityinthe and writerChristopherLord. Itisatastertofourshort stories workbetweenthephotographer ongoing bodyof Jon Tonks

Cargo Prophecy Coconut Kingisanintroduction tothe Jon Tonks (UK) Cargo Prophecy Coconut King

108 paradigm of contemporaryparadigm Balkan countries. of continues toshapethecultural, historicalandsocio-political theSFRY,Although societytriestosuppress memoriesof itstill this onceglorifiedconcept—visible symbolsof Yugoslavia. photographs,In thisseriesof Vukosav documentstheremaining was theenemy. socio-political organisation society. of Socialbackwardness progressive,of rational andhumanisticvaluestoimpactthe presented astheenlightenmentideal, thepower asymbolof propaganda, theSocialistFederal Republic of Yugoslavia was republics —acountrythat nolongerexists. Through government three languages, fourreligions, fivenationalities andsix ways inaconstanttransient state. exists onlyafter sovereign powersdecidetocreate it, isinmany role. The border itself, the inanimate often invisiblelinethat evidence, particularly photographic evidenceplaysanimportant To make workaboutborders istoworkinacontext where makes theborder apparent andreal. smartphone technology,of mobileinternetandGPSmaps the peninsulaandrightnext to, andinsidetheborder. The use between theUK and Akrotiri. Dailycivilianlifetakes placealong state.head of There are noborder barriersnorcustomposts in 1960. Itissemi-autonomousandtheBritishmonarch isthe in Cyprus. twoBritishSovereign Itisoneof Territories created landscape inandaround theSovereign Base Area Akrotiri of

Vukosav wasborninacountrythat hadtwoalphabets, workthat focuses onthe Defining Linesisabodyof Nikolas Ventourakis Borko Vukosav (Croatia) (UK) 109 Defining Lines Used tobe 114 80 57

stillness present inoureverchangingworld. history andat itscore, aphotographic documentation, the of affected. The newproject captures asignificantmomentinour interviewing, photographing and living amongst the communities communities affected byfracking decisions. Hehasspenttime Wright looks at theexperiences, the lifestylesandhabitats of on fracking waslifted intheUK in2012. recoverable from underneath theUK. parts of The moratorium shalegasis cubicfeetof companies suggesttrillionsof to force openexisting fissures and extract oilorgas. Drilling drillingdownintotheearth,of injectingliquidat highpressure England.interventions inthenorth of Fracking istheprocess communities andlandscapesaffected byearly fracking Photographer Mark Wright hasphotographed the Mark Wright and alsofeatures commissionedwriting. The project isacollaboration withGRAINProjects (UK) The Fireside andtheSanctuary

110 Drew Nikonowicz Rebecca Najdowski Dara McGrath Jan McCullough Edgar Martins John MacLean Sheng WenLo Truth Leem Michel Le Belhomme Quentin Lacombe Katrin Koenning Barbara Karant Masamichi Kagaya Dragana Jurisic Rachel Glass Dominika Gesicka Julia Fullerton-Batten Daniela Friebel Jost Franko Menichetti Martin Errichello &Filippo Lee Deigaard Lia Darjes CJ Clarke andChristopher Smith Yee ManCheng Laurent Chéhère Andrew Bruce Magda Biernat Christopher Bethell Gijs vandenBerg/ Farhad Berahman Poulomi Basu Mandy Barker Miia Autio Ying Ang Monica Alcazar-Duarte Carlos Alba Simon Aeppli CallOpen Artists Jan DirkvanderBurg

111 Mark Wright Borko Vukosav Nikolas Ventourakis Jon Tonks Slovenian photographers; Guillaume Simoneau Tim Simmons Nishant Shukla Alexey Shlyk Claudius Schulze Stephanie Rushton Alexandra Polina Miren Pastor Liz Orton Rodrigo Orrantia, Curator; Jazbec-Povše-Pucelj-Zorman and YoheiKichiraku Ricardo Cases, Stephen Gill Mark Mattock, Martin Parr, Maria Sturm &Cemre Yesil, Anais Lopez, Leon Reidl, Open Call Artists (continued) Michel Le Belhomme

113 The TwoLabyrinths 97 114 Nikolas Ventourakis

115 Defining Lines 109 Katrin Koenning

116 The Crossing 96 Nishant Shukla

Seeking Moksha 106 117 Jost Franko Cotton Black, Cotton Blue92

118

119 120 Miia Autio I calledoutfor mountains, I heard themdrumming 86

121 Truth Leem City of Lost Homes 98 City of

122 Daniela Friebel

123 BATERÍA 92 Yee Man Cheng

Dance Old 90 124 Gijs vandenBerg / Jan Dirkvander Burg

125 Cutting Edges88 Mandy Barker Imperfectly Known Animals86 Imperfectly

126 Beyond Drifting: Guillaume Simoneau

127 Experimental Lake 107 128 Slovenian photographers;Slovenian Jazbec-Povše- Pucelj-Zorman

129 Balkan trails 107 130 Slovenian photographers;Slovenian Jazbec-Povše- Pucelj-Zorman

131 Balkan trails 107 Laurent Chéhère

The FlyingHouses 89 132

FORMAT (continued) 133 Nottingham Castle Museum and Art Gallery Financial TimesWeekend Magazine. (2014) were bothoriginallycommissionedbythe today. and theplacesassociated withit, bothhistoricallyand Nottingham, whohasafocuson workingclassculture is adocumentaryandeditorial photographer basedin for international magazinesandbrands. DavidSevern based inMadrid, Spain, andshootsonassignmentglobally British documentaryandtravel photographer currently Brewhouse Yard. BenRoberts isanaward-winning Social HistoryCollections basedat Wollaton Halland Nottingham CityMuseums&GalleriesIndustrialand The photographic archives havebeendrawn from the Photography Festival coordinated byQUAD, Derby. staged inconjunctionwithFORMAT International Curated byNottingham Castle, thisexhibition hasbeen shape theMidlandsanditspeopleovertime. economic success, andat timesdecline, hashelped exhibition makes connectionstolocalindustrieswhere china factoryinBritain. Eachphotograph inthe Pottery, Stoke-on-Trent, theoldestcontinuousworking and DavidSevernwhovisitedthehistoricMiddleport giant Amazon haduponaformercoal-miningtown, theonlineshopping who examined howthearrivalof alongside contemporary commissions:BenRoberts, and John Player & Sonsfactoriesandtheirworkers, and archival formerNottingham photographs lace of late 19thandmid-20thcenturyglass-plate negatives environments inwhichwelive, thisexhibition presents Examining howmanufacturinghaschangedthe

Amazon Unpacked (2013)andMiddleport Pottery

Strangers not allowed on this works Ben Roberts Amazon Unpacked (2013)

135 People, Places and Things 136

Greg Hobson

W.W.photographers. Winter each generation returning tobe recorded forposteritybythe through thevisitsmadebychildren, parents andgrandparents, moving are families that canbetraced thephotographs of awinneronhisface.arms foldedhasthelookof Especially girl playsinthebackground andamaninrowing costume, a boywithnolegsstares defiantly at thecamera whileayoung hisdog,paws of tryingtokeep itstillforthelongexposure; anomalies occur. A amangrippingthe front photograph of while hopesanddesires remain broadly thesame. Occasional technologies evolveanddemographics andfashionschange, Viewing W.W. theseinthecontext of Winter’s practice, wesee latterly applieddigitally, butwiththesamepurposeandresult. through thedirect coloursandchemicals application of are further enhancedthrough retouching —until recently to create perfectionandsuccess. animageof The photographs is styledandbackdrops, props andlightingvariouslyemployed sitters’ aspirations andself-image. Bestclothesare worn, hair being ontheonehandformulaicandother, a map of this day. Studio portraits are fascinating andunusuallycharged, portrait painting, they establishamodelthat islittle changedto in theirformalityanddrawing heavily ontheconventionsof The earliest photographs inthearchive are portraits. Familiar strong studiophotography traditions alivetoday. of reinforcing thecompanywhilekeeping the thelegaciesof lineage that canbetraced backtothestudio’s origins, that workthere andrunthebusinessare anongoing part of thestudio’sformed thebasisof early success. The photographers continues tobuildonthestrong portraiture tradition of that have beenintroduced. Itisnowafullydigitalbusinessthat embraced newphotographic formats andtechnologiesasthey Over theyears, W.W. Winter’s photography practice has through anongoingprogramme research of andpreservation. studiophotography intheUKand legaciesof andbeyond thecity.landscapes of Furthermore, itcontributestothehistories theinterwovenpersonalities,of industriesandchanging to showhowthisstrikingcollectionformsanimportant record the business. People, Placesand Things draws onthisarchive objects andephemera relating tothehistoryandpractice of negatives andprints,contains thousandsof aswellvarious studio premises since1867. The Derbystudio’s vastarchive now 1852, thebusinesshasbeenoperating from itspurposebuilt business inBritainandpossibly, theworld. Founded inDerby W.W. Winter isthelongestcontinuallyrunningphotography

137 studies from the1850s, while alsobeingsuggestive of it were agiant. Itbringstomind John DillwynLlewelyn’s animal a tree andthescaleisdistorted, makingtherabbit appear asif posed againstaconstructed landscape. A bare twigstandsinfor arabbitDerby pottery hasbeen paperweightintheshapeof photographs onesmallimagestandsapart. A Royal Crown Among theprofessional portraits, urbanlandscapesandproduct recording dailylife, of offering arevealing historicalrecord. comparison andconsideration and, intheirrelatively subjective are uniquelyplacedtodisclose thesechanges, allowing new industriesanddependenciesemerge. Photographic archives demolished andindustriesthat definedthecitydisappear as Positions andcompositionsremain static, whilebuildingsare all unwittingly create apermanenthistoricalrecord Derby. of with chickens andgutted rabbits, aroyal visit, astreet festival— city planningdevelopmentsandprogress. Shopfronts festooned their regular thestreets photography andbuildings, of charting and the W.W. Winter studiohasmappedthesechangesthrough Around theindustries, Derbyhasgrown andevolved thecityof only asthethingitself, suspendedinspace. electric razor orradiator anycontext, —are devoidof existing remove surroundings, anytrace of theseobjects—atrestle table, Photographed againstwhitebackgrounds, orretouched to for photographing forcompanycatalogues forlocalbusinesses. mundane andbanal. Objectswouldbebrought tothestudio that lookremarkably the contemporary intheirobservation of Emerging from theseare exceptional products photographs of aerospace technology.than theheightof Royce flightengine testing, that looks more like afairground ride parts imported from theUSandastrange Rolls photograph of thefirstever assembling of Pullman Railway Coach, built from the mostcompellingphotographs inthearchive. They showthe studio environment andthishasresulted inperhapssomeof required work on location, a controlled away from the confines of businesses, chronicling theirinnovation andgrowth. This W.W. Winter studioactivelyengagedwiththeseandother Rolls Royce establisheditsmainmanufacturing businessthere. built amajorfactoryforitssuccessfullawnmowerbusinessand building, includingtheluxuryPullman Railway Coach. Qualcast For manyyears, DerbywastheUK’s onlycentre fortrain became renowned fortransport manufacturinginparticular. asamajorindustrialcityand was rapidly establishingitself and industrialphotography, advertising andweddings. Derby In theearly 20thcentury, thestudiodiversifiedintocommercial

138 places andthings. dynamic force intherecords thecitiespeople, andhistoriesof Derbyfrom 1852tothe presenthistory of dayandremains a W.W. Winter photography studio hasbeenembeddedinthe studiophotography.significant stepintellingthe storyof support forthecreation a of Trust totake thelegacyforward isa to thecompanyanditscollectionhasbeenimmense his now theprincipalphotographer at W.W. Winter. Hiscontribution in 1975. In1990herecruited andtrained Louisa Fuller whois in the1940sasa14-year-old, thebusiness takingovercontrol of thecompany.managing director of Hubert joinedthecompany photography training byHubert Weston King, thecurrent for acollegeassignmentwhenhewasreceiving formal contemporary stagedphotography. The photograph wastaken

139 Debbie Adele Cooper Exhibition Producer W.W.Ltd Winter The festivalwillalsooffer workshops andtours Archive —acollaboration betweenFORMAT andDerby

of the exhibition and W.W. the of Winter studioledby curated byPete James exploring early studio collections exhibition, People, Placesand Things curated byGreg and their importance to the history of photography.and theirimportance tothehistoryof and continuetomake, onourcollectivelives. Alongside an international photography audience. This project, studios everywhere andtheimpacttheyhavemade, Museum and Art Gallery, Derby utilisingthe storyof Hobson, andaparticipatory exhibition, Museums and Art Galleryfeatures aretrospective heritage volunteers. in theworld, andtoshare theirimportant collectionwith provided W.W. Winter Ltdwithaperfectopportunity photographic studiosasaconduit forphotographic funded byHeritageLottery Fund, FORMAT andDerby to celebrate theirstatus asthelongestrunningstudio the exhibitions isasymposium, UndertheDarkCloth, FORMAT International Photography Festival has

Studio Photography 140 Your Photo and TheFund.Art Council England, W.W. Winter Festival, DerbyMuseums, Arts Network, QUAD, FORMAT The Photography Collections Royal Photographic Society, Research Centre (PARC), the Photography andthe Archive Heritage Lottery Fund, UAL The eventissupported bythe

Under The Dark Cloth: working with photography studio archives the photographers, theirsubjectsand archives. field, thestoriesabout studios, andtotell someof knowledge, and experience among thoseworkinginthis This eventaimstoprovide aplatform toshare skills, studio archive projects. filmsabout will becomplimentedbyashort seriesof oldest workingstudiosintheUK. Their presentations and theworkdonetopreserve thetwo thearchives of Portuguese photographer Carlos Relvas wassalvaged, the gallery;howextraordinary the studioof moves from aprivate spaceintothepublicdomainof purposes; theissuesforstudiophotography whenit art dealer employedphotography forcommercial contribute tomigrant identity formation; howanItalian subjects revealing howthephotographic studiocan studio archives. Their workcoversadiverserange of preserved, researched andpresented exhibitions about This speakers eventwelcomesarange of whohave institutions lostforever. rich archives thesecultural destroyed andthehistoryof and served. thesestudiosare nowclosed, Manyof their thecommunitiestheydocumented place withinthelivesof sights onalmosteveryhighstreet, occupyingadistinct Commercial photography studioswere oncecommon Gallery duringFORMAT17. Winter archive, onshowat DerbyMuseumand Art and Things, that willfeature imagesfrom the W.W. presented tocoincidewiththeexhibition People, Places symposium that willtake placeat QUAD, Derby, Under theDarkClothisainternational one-day

W.W. Winter’s 141 Symposium Here, There and Everywhere artists attending FORMAT17 openingweek. Bandish Projekt and Tanvi Mishra are theselectedIndian communities inBritain. ShivaniGupta, Aradhana Seth, and connectartists from theUK andIndiawithdiasporic areas where artistic activitiestendtobeconcentrated, using digitaltechnology, reach beyondmetropolitan art andcultureshowcase thebestof from bothnations aims topromote international creative collaborations, models. ItwillalsobenefitaudiencesintheUK. The fund newmarkets andbusiness aiding thedevelopmentof resilience amongtheorganisationslegacy of involved, The creation theworkwillbuildskillsandleave a of ideas,of knowledge, workandartistic practice. and strengthen cultural relations basedonthisexchange It isalsointendedtodevelopanintercultural dialogue between artists andcultural leaders inbothcountries. work andbuildsustainablenetworks andpartnerships Council. The programme isdesignedtocreate new exchange programme supported by ACE andBritish Primary. theReimagine Itformspart Indiacultural of with QUAD/FORMAT, MAC, Delfina Foundation and The initiative isledbyNew Art Exchange incollaboration and autonomy. will explore thereal independence artistic meaning of exhibitions,of projects andresidencies thisseries India,of Pakistan andBangladesh. Through aseries independence from theUK, aswellthepartition India’sto coincidewiththe70thanniversaryof and everywhere (across multiplesitesandonline) nations. The workwillbeshownhere (UK), there (India) the finestcontemporary artthesetwo practices of collaboration betweenIndiaandtheUK, showcasing Here, There andEverywhere isanartistic

143 Cannanore, Kerala (1927) Manjerikandy Ramchandran, My paternal grandfather, (May 1977) on theirHoneymooninSimla, My parents, Mr&MrsManchanda, in 2000 Pakistan 1923). HandpaintedinNew York My maternal grandparents, Lahore (now

144 Allahabad, Uttar Pradesh (1937) Kamala Brahmachari, mypaternal aunt, Uttar Pradesh (1977) Etawah,at theannualtownfairof My auntRashmi andmotherSoma, Calcutta, West Bengal(1970) whom isManixiBhakta(right),of (middle), withherfriends, one My motherChandanPatel

Anusha Yadav Indian Memory Project of FORMAT17.of sound samplesinaDJ setduringtheopeningweekend images from thearchive willbetoldthrough Indian performer andmulti-instrumentalist. The storiesandthe arts enthusiasts, Mayurisacomposer, producer, DJ, classicalmusiciansand Ahmadabad byafamilyof a classicaltablaplayer. BorninMumbaiandraised in Projekt resonates MayurNarvekar, themusicalityof collaboration withvisualartist Barret Hodgson. Bandish presented inaliveperformancebyBandishProjekt in people. The imagesfrom theIndianMemoryProject are remembered, realised andexperienced byitsown — asociologicalandphotographic historythat is Memory Project theworld isapersonalmemoryof Founded inFebruary 2010 by Anusha Yadav, theIndian lifestyles, traditions andconsequences. information aboutfamiliesandancestors, cultures, evidence, each postonthearchive reveals valuable subcontinent. With personalimagesservingas alargely undocumentedsocietyand palimpsest of all overtheworld, reveal apowerfulandhistorical the photographs andletters, contributedbypeople personal archives. Contextualised withnarratives, subcontinent through photographs andletters from and visualarchive theIndian that traces thehistoryof Indian MemoryProject isanonline, curated

Delhi (1958) My Father, Amin Chand. 145 146

Aradhana Seth The Merchant of Images “The physicality of places,“The physicalityof peopleandobjectsare This project offers a achance tobecomepart of The Imagesisanongoingtransnational Merchant of

choreographed image and stillness in the age of the the image andstillnessintheageof choreographed as welltoperform, aninvitation tolookcarefully at a timewhenvisittothestudiowasasmemorable as conversation, photography. ledbytheactof Seth Seth’s studiohastravelled theworldfrom Canada to your surroundings, theimagesyoumake. andbeaware of of memory,of longing, simplesorrows andcomplex joys.“ only theirmostobviousdimension. Itry, through my selfie. It is an invitation of sorts. An invitation to reflect reflect to invitation selfie. sorts. Itisaninvitation of An space of theold-fashionedphotostudio,space of andevokes India and comes to Derbywithaspeciallycommissioned backdrop forFORMAT17. it withcolour. invites thepublicintoslower, more considered poses, orbyhandpaintingthefinalimagetoinfuse playfully tweaked fantasy—whether bythehandof medium of photography wasoftenmedium of subverted and through fantasticbackdrops, theatrically staged the caseInIndia, where Sethisfrom, thestarklyrealist the imagethat resulted from it. This was particularly photography, tohintat things: theinnerscaffolding of Aradhana Seth’s mobilephotostudioproject

147

Aradhana Seth

148

Shivani Gupta Thread Whispers realism amongsttheordinary. and imaginative afantastical reconstruction inpursuitof weave memory, togethertheshreds of historicalfact present. visually intoherwork, whichisrooted firmlyinthe communities explore theirhistoryandtranslates this In thisseries, Shivanicontemplates howisolated stories, usingtheirlandscapeasastage. — theyare seenplayingoutthecharacters from their found materials —anythingfrom plasticwastetoflowers robes. Along withfantasticalcreations madeusing thesemythicaltales,protagonists of adornedinethnic photographed andfilmed, the takingonthe roles of love andmountainswithsouls. The youngandoldare ancient folklore —talesanimated bywitches, elusive their persuaded thelocalpeopletoshare thestoriesof LadakhinIndia,Himalayan Mountainsof theartists Dah andHanuvillages, smallsettlements highinthe and dancerShivaniGupta. Chronicling thepeopleof musician Corinne Elysse Adams andthephotographer in Indiaandtwourbanartists —thewriterandfolk storytelling project betweenremote rural communities acollaborativeand Mountaintopistheproduct of Thread Rock, Whispers Chapter1:Of Apricot Thread Whispersinvestigates howcommunities

149 Flâneur New Urban Narratives and BorisEldagsen Curator NunoRicou Salgado Commission Procur.arte andLluèrnia Hijacking Lluèrnia Workshop (ES) DuarteAntónio Júlio Olot Curator MindaugasKavaliauskas Kaunas PhotoCommission Sergiy Lebediskiy (UA) Mariusz Forecki (PL) Henrik Duncker (FI) Caravan Gallery(UK) Kaunas (LT) Sep2016 Curator NunoRicouSalgado Procur.arte Commission Sonia Hamza(FR) Jens Masmann(DE) Fernández Curator Angel Luis González Photoireland Commission Rik Moran (UK) Esther Teichmann (DE) Dublin CandrowiczCurator Krzysztof Fotofestiwal Commission Dima Gavrysh(UA) Cristina DeMiddel(ES) Alexander Gronsky (LV) Lodz Issp Commission Jonas Feige (DE) F.Alex Webb Riga Curator NunoRicouSalgado Procur.arte Commission Martina Cleary (IE) Augusto Brázio (PT) Lisboa CuratorRinaldo Arianna Commission Cortona Onthemove Toni Amengual Marcello Bonfanti(IT) Dougie Wallace Cortona (IT) CandrowiczCurator Krzysztof Hamburg Commission Triennale DerPhotographie Virgílio Ferreira (PT) Giacomo Brunelli(IT) Hamburg Photo London Commission Rut BleesLuxemburg (DE) London FirstCommission Art Kajal NishaPatel (UK) David Severn(UK) Mansfield (UK) (LV) May2016 (ES) Jun 2016 2016 (PL) Jun (PT) Jul 2016 2016 (IE) Jul May 2015 (UK) May2015 Nov 2016 Nov 2016 Jun 2015 2015 (DE) Jun Aug 2016 2016 Lisboa (PT) Aug Sep 2015 Sep 2015 Jul 2015 Jul 2015 (UK) (ES) (UK) (PT)

— stroll around thecity, rediscovering it. shared withtheaudience whoare invitedto‘flâneur’ theplural realities thepublicspace.of of This spiritis who, from acommontheme, forge anewexpression from itscreation artists byalarge anddiversenumberof the urbanterrains. thisprojectThe stems ingenuityof and transverse perspectiveonthesocialdynamicsof Flâneur —NewUrbanNarratives promotes aunique structures, adaptedtoeach specificsite. the exhibition displaysare basedonmodularback-lit the 24/7city, whichisalwaysopenandaccessible, be enclosedinmuseumsandgalleries. Replicating to thesquares, parks andstreets whichwouldnormally then bepresented inpublicspaces, bringingartworks each location. The thesecontributionswill result of workshops aimedat residents willalsotake placein pursue artistic residencies inthosecities. A seriesof localphotographers withothersinvitedto work of view,insider andoutsiderartistic pointsof mixingthe will present in16cities. Itwillbringtogetheramixof During itstwoyear run, Flâneur—NewUrbanNarratives, art practices andthecity. contribute toareflection onthe relationship between contemporary photographya criticalanalysisof and camps andconferences —initiatives intendedtofoster workshops, masterclasses, artistic residences, creative project alsocomprisesseveral otherelementsincluding constantflux.city asasocialconstructinstate of The new interpretations theurbanterrain, of consideringthe photography. The project encourages artists tocreate interventions withinpublicspaces, usingcontemporary countries, artistic theproject isbasedonaconceptof 20organisationspartnership of from 11different Cooperation Program). Designedasaninternational by theEuropean Commission (Creative Europe (International Fund forPromotion Culture) andalso of project created byProcur.arte andfinancedbyUNESCO

Flâneur —NewUrbanNarratives isanetwork

151 Flâneur New Urban Narratives

First Art and FORMAT Commission These projects were presented asaspectacularoutdoor Tom Hunterhasmaneuvered through the thechangingterrain of Authority anddetailstaken from bannersrepresenting local

exhibition located onDerby’s Cathedral Green andSilkMillPark objects andtheirplayers, anecdotally, emotionallyandphysically onto theinstruments, andtheconnectionsbetweenthese as part of FORMAT17,as part of before travelling toMansfieldMarket Co-commissioned byFirst Art (an Arts Council Creative People North EastDerbyshireof andNorth EastNottinghamshire. on the communities, the former coalfields histories and habitats of collective Discipula, MFGPaltrinieri, formedof Mirko Smerdel of thelandscape,of understoodbothaswitnessandrecord their of across NEDerbyshire andNENottinghamshire), andFORMAT, and Placesproject, workingtoinspire greater arts engagement and Tommaso Tanini, haveproduced projects whichshinealight unique totheFirst Art area, Ashfield, whichiscomprised of stories andjourneysembeddedwithin, andliterally engraved Place where itwillbeexhibited from the29 April —13May 2017. International collectiveDiscipulapresent areflection onthe Liz Hingleyexplores thethrivingbrass bandcommunities of Bolsover, MansfieldandNorth EastDerbyshire districts. Each commissionfocusesongeographic andsocialelements Narratives, artists Tom Hunter, LizHingleyandinternational history of mineworkers inEastMidlandsseenthroughhistory of thelens inhabit theregion. thosethat individuals —andtheuniquetaleshistoriesof industries that past;thecommunitiesand replace theonesof presence andlegacy. Their workcombineslandscapepictures via theirlipsandbreath. region from oldandnewurbanhubs;formermining landscapes largest festivalsdedicated tobrass. Hingleywasinspired bythe trade unionlodges. taken bythetriowitharchival materials from Mansfield Coal the region, andinparticular Bolsover, theUK’s hometooneof that haveundergone andare undergoing regeneration; new traditionally beendefinedbytheirindustry. these projects offer newperspectivesonareas that have For theFORMAT17 Flâneur—NewUrban iteration of

153 Tom Hunter Flâneur in an Ancient Landscape its layers of richhistory.its layersof landscape tocreate thepresent apicture intertwined of with in thisproject mixtogether thepeoplewithmysterious up fortheirbeliefsagainstauthoritariandictates. All theimages or thestrikingminers, whothroughout thecenturieshavestood theancientforest theexuberant outlaws defianceof some of young boywiththe‘NoFrack’ placard inthewoodstakes on abandoned, reclaimed andreborn. Likewise, the animageof theareaand industrialheritageof whichisconstantlybeing nature.hands of thehuman This seemstosymbolisemuchof are nowhiddenfrom publicviewandhavefallen back intothe theMansfieldescarpment they Carved intothesandstoneof troglodyte communitywhoonceinhabitedthesespaces. hergreat-grandfatherand doorstellsthetaleof andthe standing outsidethecavedwellingwithitsbricked upwindows to thisarea andthepeopleheencountered. A youngwoman moors, heathlands andwoodlands. Hisimagesare hisresponse villages,Hunter criss-crossed adiverselandscapeof towns, rise uponceagain. regenerated intoplantations theforest andthegreen fingersof theslagheaps havebeen theminingindustryspoilsof of thosewhoinhabitit.community of With thedisappearance has shapedthelandscapeitself, andthecamaraderie and peopletoextract alivingfromof thesubterranean underworld area Nottinghamshire of andDerbyshire. The bandingtogether the miningcommunitiesthat havelatterly cometodefinethis by theirowncodesanddefyingauthority, gohandinwith man andoutlawshidingoutintheheaths andwoodlands, living through thecenturiesandaround theworld. thegreen Itstalesof legends that thisregion havegrown haveresonated outof townsandvillageswhichpepperthisland.of The mythsand the West ishometomore than400,000peopleacross scores Sherwood Forest totheEastandborders thePeak Districtto

The themedieval ancientlandscapewhichincludesparts of UK; (Hatje Cantz, 2012). Crowbar (Here press 2013) has publishedfivebooks includingLe Moderna Museet, Stockholm, Sweden. He UK; USA; Seducedby Art, National Gallery, in Hackney and group shows, recently: LifeandDeath nationally andinternationally inmajorsolo Tom Hunter’s workhasbeenexhibited 154 Another Story A Palace forUs, Serpentine Gallery, , National Gallery Washing D.C. , Photography from the The WayHome

155 156

Liz Hingley Breathing Brass Band andNewstead Brass. Band, Dronfield Band, Hucknall &LinbyMiners Welfare Shirebrookof Miners Welfare Band, Blidworth Welfare camera systems, aswellthe inspiration andsupport ChrisBrown FLIR generosity andSteve of Beynon This project wouldnothavebeenpossiblewithout the taken bytheseinstrumentsandtheirplayers. the instruments, Hingleyhintsat thefascinating journeys Photographing theuniquemarkingsengraved onto instrument andplayerpermanentlyaltereach other. tarnishing themetal. Through thisprocess the DNA, and their of simultaneously leaving trace a through abrass instrument,passes it while as technique reveals thejourneyaplayer’s breath takes used inheavy industrytopinpointgasleaks. This infrared opticalgasimagingcamera, whichisnormally to create sound, HingleyemployedaspecialistFLIR way that aplayer’s breath movesaround aninstrument manybrass bands.functions of Fascinated bythe theinitial coalminerswasoneof Clearing thelungsof back generations. music studentsandevenentire familiesstretching five and80, andincludeaccountants, professors, Bolsover’sof brass bandstodayare agedbetween ex-mining area Bolsover. of The dedicated members between brass instrumentsandplayersfrom the

Breathing Brass explores theintimate relationship

the Getty EditorialGrant. Photophilanthropy Award,Prix Virginiaand received numerous awards including The will bepublishedin2017. Herworkhas Liz’s mostrecent bookShanghaiSacred and HomeMadeinSmethwick (2016). (2010), Shanghai,PortraitsDe Villes (2013) Under Gods’storiesfrom SohoRoad centre inItaly. Herpublications include at FABRICA, acommunications research Liz alsospenttwoyears onascholarship Texas andUniversityCollege London. University inShanghai, theUniversityof and haspreviously heldposts at Fudan Birmingham Residence at theUniversityof anthropologist. Sheiscurrently Artist in Liz HingleyisaBritishphotographer and 157 158

Discipula STRATA Tommaso Tanini. operating contemporary inthefieldof of reality.of Discipula paysparticular ambiguous nature canbecontrolled imagesinthecontemporary and useof Working across practices arange of publishing andeducation, Discipula means of powerandcontrolmeans whose of mediascape. The collectiverefers to varying from art production to visual research foundedin2013by MFG Paltrinieri, Mirko Smerdel and Discipula isacollaborative platform images aspoliticalandeconomic tools, focuses ontheexploration therole of to triggershifts inthe perception time the notion and meaning of landscapeitself. time thenotionandmeaning of theminerswhilequestioningat thesame the legacyof dramatic politicalandeconomicreconfiguration, a timeof creates anopendialoguethrough whichtoreassess, in the interaction betweenthesemulti-facetedsources Along withanoriginaltextual contributionfrom Discipula, and itsstrong connectionwiththelandanditshistory. thebannersreveal theworkingclass of thecore values of the miningindustryasawhole, thegraphic illustrationsof Coal Authority provides aninstitutionalandformalview role that miningplayedinit. More specifically, whilethe the relationship betweentheland, itsresources andthe the trade unionbannersreveal more specificaspectsof the onesselectedfrom theCoal Authority archive and strangersresponse discoveringanunknownterritory, of Discipula’sIf original imagesrepresent thespontaneous viewonthe EastMidlands.specific pointsof embody trade unions. thesedifferent Eachof visualsources details taken from bannersrepresenting localminers’ archival materials from Mansfield Coal Authorityand The workcombinesoriginallandscapepictures with the landscape, whichformsawitnesstotheirlegacy. Midlands miningcommunityseenthrough thelensof STRATA is a reflection on the history of theEast isareflection onthehistoryof

159 — Amsterdam, Photo50—London Award 2015. Art Fair, Matildenhohe Darmstadt, of politicalconscience. of Contemporary Art 2016andLes awards includingPremio Fabbri for attention to the role of theviewer,to therole of attention as Rencontres d’Arles Author Book various Discipula istherecipient of Photography andmore. Budapest, Tokyo Instituteof FORMAT Festival —Derby, Kunsthalle Discipula’s workhasbeenexhibited internationally at UnseenPhotoFair well asform toa as thelooking act of

FORMAT Graduates Award 160

Emily Garfoot Space and Form

Jane Jackson The Jungle James Finney Under Saturn The Graduates Award exhibition aimstogivethese Away

finished prints, aseriestitledUnderSaturn, part of Closer tohome, LisaNix’s poignantinstallation, Fading environments that embodyhardship anddesperation. course — James Finney, EmilyGarfoot, Jane Jackson, of thefemaleform.of Jane Jackson’s documentary adopted adistinctapproach toFORMAT17’s central festival and LisaNix—were selectedbyapanelof a femininedomain, withsurfacesthat suggestabsence upcoming artists further professional experience by exhibiting their work at one of Europe’sby exhibiting theirworkat oneof most judges toexhibit theirworkat FORMAT17. here DerbyBA from Photography theUniversityof prestigious photography festivals. Eachartist has photographs of therecentlyphotographs demolished of photographs focusonde-familiarisingthehomeas reference amelancholyandsilenceinthe‘worldof migrant campin Calais, showmake-shift homesand things’. Inherwork, SpaceandForm, EmilyGarfoot’s theme of HABITAT.theme of James Finney’s large-scale hand- Graduating in 2016, thefourartists represented , evokes hergrandmother’s dementia. symptomsof

161 Jungle

Lisa Nix Fading Away Council England. artworksfrom Arts for VirtualReality Additional funding Council England. fromfunding Arts by DASH with programme led commissioning is aDisability Arts and DASH. INSIDE LEVEL,Arts Junction in partnership with QUAD andD-Lab new works for commission of and isanINSIDE for FORMAT17 is anexhibition Antonia Attwood Daniel Regan & Be Here, Nowby

Daniel Regan & Antonia Attwood

on theautistic spectrum. health difficulties, theelderlyandadolescentchildren difficulties,their ownsetof includingadultswithmental workshops are designedforpeoplethat mayexperience safeandsoothingspaces.around thethemeof These workshops duringFORMAT17,deliver aseriesof theircommission,As part of Regan and Attwood will modernlife. pace of fromto immersethemselvesandswitchoff thefrenetic constructed intoindividualrooms. Viewers are invited thesejourneys,exhibition istheculmination of physically sights, soundsandlightacross England. The resulting or soothedtookthemonvariousjourneys—recording Regan and Attwood’s inquiryintohowwefeelsafe or curlingupbyawarmfire. forests walking andopenfields;thetherapeutic actof nature: thesea andwater; beingin of thesoundsof Overwhelmingly, theresponses focusedonthepower for anonymouscontributionsfrom strangers. research intowhat constitutesasafespacebyasking 2016,During summerof theartists began their moving world. landscapes canoffer safetyandrespite intoday’s fast HABITATthe themeof byexamining howdifferent mentalhealth andwell-being—haverespondedof to and sound. The artists —bothworkinginthefield exhibition that fusesvirtual reality, video, photography natural spaces in the this immersive soothing qualities of Artists DanielRegan and Antonia Attwood explore

Be Here, Now 162

163 University of Derby.University of With thanks tothe Communication. College of (PARC), London Research Centre the Archiveand UAL Photography the Williams of Professorand Val Westminsterof the University collaboration with developed in Moore hasbeen at Us!byDavid Lisa & John —Look

David Moore

Source Magazine , acclaim withreviews in Pictures from theReal social apparatus. His2013 bookandtouringexhibition, who usesdocumentarymodes toobservestate and Moore isa widelypublishedandexhibited photographer realof people. known as‘verbatim’, that isbasedonthespoken words the project documentarytheatre, through aformof Theatre Studio space, thisliveperformanceopensup written anddirected byMoore. Premiered intheDerby only stageplay, original series. Alongside theexhibition isaone-night at thescene’composing key photographs from the scaletheatrical modelsshowingthe‘photographerof Lisa & John —Oh myDays!features aninstallation thenewpieces. to theproduction of with Lisaand John who, asprevious subjects, contribute work through archive interventionandacollaboration theproject theoriginal performsare-assessmentof of on workingclasscommunitiesinDerby. This version 1988 titledPictures from theReal World that focused David Moore’s documentaryphotography workfrom The& Johnproject Lisa updates anarchive of The Lisa& John Slideshow

Photoworks andothers. Lisa & John — Look at Us! World, waspublishedtocritical Time Magazine, The Guardian, , that is David Moore

Lisa & John (1 Lisa 165 988) Miniclick Blindboys

‘home’ viaInstagram using#FORMATOpenHouse. part throughout FORMAT17 bysharingphotographs of for reflection. Participants were alsoencouraged totake global levels, creating auniqueandwelcoming habitat explore oursurroundings onpersonal, communityand environmental perspectives, Miniclickand Blindboys personal habitat, thehome. Insharingtheseunique recordings describingeach participant’s their idea of world. An audio soundscapewasalsocreated with write andsendtoparticipants inIndiaandaround the imageswere printedontopostcardsof forvisitorsto the cards, allowing thestructure toevolve. A secondset Visitors were invitedtoassemble, adaptandre-assemble the exhibition. were usedtoconstructa sculptural formby visitorsto giantplayingcards,were printedontoaseriesof which online andwithinthefestivalspace. Submitted images participate inbuildingaglobalcommunitythat exists the worldwere invited, opencalls, viaaseriesof to FORMAT17’s HABITAT. themeof People from all over incorporates visualandaudiocontentinresponse to site-specific, participatory andevolvinginstallation with DelhiPhotoFestival, created OPENHOUSE. This collaboration withBlindboys(India)andinpartnership MobFORMAT welcomedMiniclick(UK), whoin

MobFORMAT: 166 OPEN HOUSE young photographer’s visualstorytellingskills. welcome, aswere photostorieswhichdemonstrated the conceptual interpretations theHABITAT of theme were and maximisingshapes, lightandcolour. Abstract and theirwork,of usingdifferent anglesandviewpoints, possible andtothinkcarefully aboutthecomposition Applicants were encouraged tobeascreative as the natural environments closeby. and time, spare their spend they liveorwork;where they such as;theirhomeandfamily;where subjects everyday an opencall, andwere asked toconsiderfocusing on Participants were invitedtosubmittheirimagesthrough makers, QUAD Future (aged14—19). by QUAD’s youngcurators group anddecision of HABITAT.by thefestivalthemeof The workiscurated by youngpeople(aged25andunder)inspired Young FORMAT photography isanexhibition of

Young 167 FORMAT Photobook Market David Langham

Sebastian Arthur Hau — thepulpnovels, comicbooks, albums, fineart book That’s Britishphotobook whyIambringingthebestof 20,000 photobooks. The thephotobook renaissance of

can get just as excited for a new episode of Star Warscan getjustasexcited foranewepisodeof , estimate that inthe1920s, France alonepublished objects, travelogues. Although theterm‘photobook’ HenriCartier-Bresson’sas youcanforareedition of a politicalorpoeticnature. It’s thesamewithfilms— you or tofurther engagewithit. The newbooks wealth of academics should be doing of drawing outnewtalent. academics shouldbedoingof are doingthejobthat galleries, institutionsand are toomanyphotographs andtoomanybooks”. highqualitybooks currentlya wealth of ontheshelves. years haveseenarenaissance in photobook publishing. Whether itissmallerpublishinghousesproducing two up photobooks, eithertohidefrom theworldforawhile so manyattempts tofindadefinitionforthephotobook, sensitive toidiosyncratic material, itisof especiallyif seen great qualityaround andbelievethat publishers I would define the modern photobook as a sequence of I woulddefinethemodern photobookasasequenceof What is the specificity of thephotobook?There’veWhat isthespecificityof been I canseethat peopleare growing picking numbersof In myexperience asabookdealer, criticandteacher thing,I distrustpeoplewhosaythat kindof becauseI’ve Modern Art in New York City, QuentinBajac, hascalled Personally, Ireject thenowcommonviewthat “There but none of themseemsufficient,but noneof probably becausethe has onlybecomepopularinthelast20years, tensof in 1952). Ilovetheatmosphere inbookmarkets, the interesting here is‘transformed’ —whereas thebeauty of images transformed intoabookobject. The word that’s is partly duetoastrong interest from institutions —the photobook comesfrom so manydifferent backgrounds publishers togetherforthismarket in Derby. ideas.people passingbyandthelivelyexchange of published findanaudiencebecausepeopleare publishing 15—20books inthesameperiod, there is most famouswork, DecisiveMoment(firstpublished new Chief Curator of Photography at the Museum of Photography Curator at theMuseumof of new Chief were publishedworldwide inthe20thcentury. Historians to three books peryear ormedium-sizedcompanies the form a major part of the history of photography. thehistoryof the formamajorpart of thousands of books consisting mainly of photographs books consistingmainlyof thousands of Why doyouorganise bookfairs?The past15

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These expensive hand-madebooks are luxuryobjects The radical thebookmarket transformation does of Turner Prize-winning photographer Wolfgang Tillmans

expensive astheyare, sellwellontheinternet. Critics alesserinterest toabroadof public. These books, as and academicsare thesedevelopments often waryof distribute itthemselveswithlittle risk. theirworkandbeingabletopublish control of experimenting lessandfailingtoestablishthemselves as publishersare forced tocutcosts. For art and thesamebooksand more sold. of The crisisinthebook on realising theartist’s intentions. the The messageof thephotographer,of andthat theirfocusshouldbe communicate somethingtous. a photobookisnormallythat youjustenjoythe years isthat it’s the nowalmostimpossibletoseeallof spoke last year of a common language of imagesin spoke acommonlanguageof lastyear of Will thecrisisinbookworldlead toanendin books publishedinoneyear. Exciting isn’tit?Ibelieve books in theirpreferred bookshop, asindependently thecontemporary because theycannolongerseeallof in thedigitalage;artists andwriterswantingmore before. Butthat comesat aprice—there are alsomore imagesnotwords.but itisamessageof That’s whythe including online, at photo festivalsandinbookshops produce specialeditions andsellthemat ahighprice. photobooks, it’s lessacutebecausepublisherscan thereader.is tobetheadvocate of An independent produced books are soldinsomanydifferent places products soldtothemwithreductions anddelivered to photobook isconceivedbetweentheseopposingpoles, publisher mightfeelthat theyshouldbetheadvocate theywerephotographs real asif prints. thatThink of photography —webuythesebooks because they not mean books willdisappear, butthere isafear is more traditional publishermightclaimthat theirrole mean? What’s itabout, what doesitwanttosay? A nearly unsolvablequestion—what doesaphotobook worldwide. The most radical change overthepast15 world comesfrom several places;consumerswanting that canrefinance the investmentsmadeonbooks the future of publishing iswideopen! the future of that levels of professionalismthat andaccuracy levelsof willdecrease them fast(Amazonvsbookshops);traditional publishers publishing? Today there are more books soldthanever

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Dieter Neubert your bookdummy andtake part inbook competitions. book, joinaphotobookworkshop ormasterclass, make So myrecommendation is, youare ready if toworkona gallerists andpublishersare contactedintheusualway. book beingpublishedare thenmuchhigherthanwhen international photographic events. that The chances of reaches theKDA shortlist itwillbeexhibited at several publishers, curators andfestivaldirectors. a book If gallerists,but alsotoaninternational audienceof your worknotonlytotheexperts onthejudgingpanel a competitionlike this, showing youhaveachanceof photographer caneasily make abookdummy. Byentering photographers cantake withthebookformat. Every Dummy Award approaches 2016showsthevarietyof the50shortlisted entrantsexhibition of fortheKassel Why take part inbookdummycompetitions? The but alsosimpleandcheap way. images. An excellent photobookcanbemadeinacomplex, dramaturgy the that isconveyedbythesubtleeditingof which thebookmediumisabletooffer. Ithasaparticular photographic workbyexploiting thespecific qualities of An outstandingphotobookhighlightsauniquebody A photobookiseasy toshare, affordable anddemocratic. to spread theirideas inaphysicalwayandtellstories. artistic work.body of The bookform enablesphotographers picturesjust agroup puttogether, of itisanautonomous photographic collections. Butaphotobookismore than photographs toillustrate text-stories, oracatalogue of Traditionally, aphotobookisjustbookwhichuses

Why doesaphotographer usethebookform?

Kassel Dummy 171 Award 2016

The residency scheme isfocusedonsupporting talented

a professional residency at thisyear’s festival. Lee Wing and international artists and image-makers tosubmit WMA also highlights international andHongKong In collaboration withFORMAT17, WMA invitedHongKong- Ki, afinalistwithhisseries Every June, WMA MastersinviteHongKong-based Hong Kong-based artists andphotographers, helping based applicantstotheMastersaward toapplyfor is Mobilityandnext year itwillbe Transition. judgespickoutthewinnerand international panelof photographic andartistic talentwithasocialpurpose. practice, and giving them the opportunity to visit one of and givingthemtheopportunity tovisitone of practice, the work of allfinalists are the workof exhibited. This year’s theme their workaboutHongKong onaspecifictheme. An criticalHongKongimpactful imagesof issues.through to engagethepublicandpromote positive change the world’s largest international photography festivals. develop international networks and professionalthem The WYNG Media Award (WMA)wascreated Tsang’s Odyssey

WYNG Residency 172 , wasselected.

of photography andvisualculture.of conditions that ‘we’mayoverlook. attempts tobuildanarchive andexplore academic journals. Hiswork and culture magazines and international appear in exhibition catalogues, arts Odyssey psychology, aging, mobilityanddesire His writingsandeditorialprojects Lee isalsoaresearcher onthehistory Lee’s works concern‘humanity’and is selected as one of thefinalistsfor is selectedasoneof the social, cultural andpolitical the WYNG Masters Award 2016/17. through photography anddocument, , adocumentary project that Tsang’s

173 Austria, Germany, HongKong, Latvia of Communication,of Universityof HongKongof andobtainedanMA and theUK. studied History of Artstudied Historyof at theUniversity photography hasbeenexhibited in Photojournalism at London College British CheveningScholarship. His Lee Wing Ki(b.1981) isaphotographer in DocumentaryPhotography and born andbasedinHongKong. He the Arts London, supported bya Change the Picture 2

Derventio Housing Trust QUAD “We tookpictures, thought, ate, all drank andmostof ‘Take fivephotographs inyourbedroom, orliving room. This series of imagesrepresentsThis seriesof aPortrait Lives of Jon Legge, aphotographer andeducator basedin

are nolongeraround. Unlike manyobjectswevalue, theirfiveobjects.a photograph asoneof Photographs exhibition willhelptochallengestereotypes andraise about friendsandfamily, allwetalked about butmostof about thisproject, aboutourweek, aboutourinterests, awareness of homelessnessinthelocalDerbyshireawareness area. of and confidence boostandachanceto explore and their We hopethat displayingthesephotographs inapublic skills, friendships, socialnetworks, challenges, and Nearly everyonewhodidthisassignmentincluded supported usingpublicfundingbytheNational Lottery Nottingham, spentthree monthsworking withthegroup. personal space. presented through Possessions, Portraits andsanctuary photographs are alsoubiquitous, cheap andportable.” Derventio Housing Trust inpartnership withQUAD and photographs andwhat theymeant tous. Iassigned various tasks tothegroup overthetimewewere personal experiences through photography. mean alottous, peoplewho especiallyphotographs of was taken: we talked. We things, talked aboutlotsof wetalked with experience of homelessness amuch-neededskills with experience of Photograph thingsthat mean somethinggoodtoyou.’ (sense of place).(sense of They showthephotographers’ interests, together, includingonefrom whichthefollowingtext through Arts Council England. Itsaimistogivepeople Change thePicture 2isaproject delivered by

175

Ben Fredericks Collaborations paralleling theSyrian refugee crisis. save, andhow todeal yourchoices, with theeffects of with refugees —youmustdecidewhoandhowmany to Here theviewer, captain, playingtherole of isinundated plays out–ineffect theywillbe‘playingGod’. ethical dilemmastheyare confronted byasthenarrative to direct thenarrative bymakingdecisions onthe humanitarian crisis. The viewerplayingthisrole isable anoutpostfacinga thecaptainof play thepart of a futuristic, multi-colonisedsolarsystemwhere they reality headset ison, theviewerwillfindthemselvesin that testsamulti-optionnarrative. Oncethevirtual Playing God(R&D Version) isafullyimmersive artwork examines theexperience thisnewtechnologyoffers. explores interactive narratives through virtual reality and artworks that focusonethicalconcerns. Hisnewwork predominantly withmovingimage, producing digital Ben Fredericks isavisualartist working

Playing God 176 d-lab.org.uk England andD-Lab by Arts Council This workisfunded Narrative VR Interactive Version), 2017, Playing God(R&D

5 SMOK .4% ALC /VOL E 330ML D F P INTE E H STIV OTOGR RNA A L TIONA FORMAT 17 APHY L national and international brewers. which hasthecity’s beerfrom local, biggestselectionof Both beersare exclusively stocked at SudsandSoda, integral totheregion inthe past. thecoalminingindustrywhichwasso particularly that of Derbyshire andNottinghamshire,industrial heritageof Porter withadeeplyrichflavourthat reflects onthe theregion.the rolling hillsof The otherisaSmoked garden —inspired byBritishspring-timetraditions and fresh rosemaryhint of grown inthebrewer’s own The firstbeerisahandcrafted IPA, infusedwithasubtle beer drinker, thesebeverages willhavewideappeal. Whether youare analeaficionado oramore casual beautifully crafted —theperfectrefreshing reward. beer shopandbar, bothbeersare understated and artisan brewer, andSudsSoda, Derby’s specialist in partnership with BeestonHop, aNottingham-based that respond tothefestival’s HABITAT. themeof Produced possible, wehavecreated twolimited-editioncraft ales ensure that theFORMAT17 experience isasimmersive for adrinkcanbeanunwelcomedistraction. Inabidto

Looking at photography isthirstyworkbutbreaking

FORMAT Ale 177

Darius Powell QUAD carers, or are bereaved. or disabilities, are sociallyexcluded, are young children whohavecommunication difficulties be referred reasons foravarietyof including autistic spectrum. The other50percent can group’s places are filledbychildren onthe the and youngpeopleagedfiveto18. of Half Q Clubisanafter-school clubforchildren and socialinteraction. expressing theirrelationship toobjects, actions together theirinterests, storiesandideas, imaginary space. These representations bring within theirbedrooms, kitchen, outdoorand own visualrepresentation comfort and play of creative exploration, QClubhavecreated their Using digitalanimation mixed withtraditional they inhabit. around thehomeandinotherphysicalspaces Mandy McKirdy toconsidertheirown habitat’s artists Abbie Canning, Helen Jackson and with digitalartist DariusPowell andsupporting Q Clubmembershavebeenworking Q Clubhouse 178

Habitat narrative, photography, fine art andfilm. factandfiction,in aneclecticmixof documentary and individuals from different creative pathways, resulting FORMAT17.a part of This workhasbeenproduced by Habitat, workinresponse tothethemeof a bodyof as Derbyshire College studentshavebeendeveloping Over thepastsixmonths, Burton andSouth Burton upon Trent, 24March —22 April 2017. Exhibited at The Brewhouse Arts Centre,

Burton and South 179 Derbyshire College BJP_Format_148x242.indd 1 PHOTOGRAPHY FROM ONTEMPORARY THE IN BEST CONTEMPORARY FORMAT FESTIVAL OFFICIAL MEDIA PARTNER MEDIA OFFICIAL FESTIVAL FORMAT www.thebjpshop.com Online |Online Print ESTABLISHED 1854.ESTABLISHED | iPad | iPhone AROUND THE WORLD. THE AROUND 180 07/02/2017 15:43 1000 Words IMAGE: ©Tom Blachford 160 EXHIBITION PHOTOGRAPHY INTERNATIONAL Opening inLondon Touring exhibition Awards andcashprizes Online entry Magazine · Exhibitions · Workshops · Exhibitions · Magazine ENTRIES CALL FOR 1000wordsmag.com

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183 h ats,sotet otpwru professional powerful most smoothest, fastest, The nutv nefc ihaltepwradpromneyuneed. you performance and power incredibly the an all in with images interface your intuitive retouching and sophisticated editing offers enhancing, it for workflow tools on focus meticulous editing a photo With professional software. for boundaries the redefines Photo Affinity losotb ioh Poulton Timothy by Bloodsport WR WINNERS AWARD DESIGN APPLE 2015 FIIYPHOTO AFFINITY ht dtrfrmcSadWindows and macOS for editor photo 0dyfe trial: free day 10 xeinetenwwyt dtpoo iha with photos edit to way new the Experience - Shoot The Frame Affinity Photo Contest Winning Entry Winning Contest Photo Affinity Frame The Shoot - dtr'Choice Editors'

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186 nextleveluk.com Are Photobooks for Everyone? WWW.SOURCE.IE/PHOTOBOOK

187 Partners Funders andSponsors Patrons Organisers dubrek RECORDING . REHEARSA L . C AFE . VENUE

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Print Bur Markeaton Str eau eet And alltheexhibiting artists andcurators at FORMAT17. Boon, Derbyshire HistoricBuildings. Roy Hartle andMaxCraven. Ana Limpinho, Procur.arte. David Amos, Paul Stanton & James Francisco Salgado, MariaSalgado, Pedro Bacelar, Bárbara Rocha, City Council. Jon Ramsell, BalfourBeatty. NunoSalgado, Arts. Kerri Pratt, April Young, Anvil Gallery, MickEmerson, Derby DASH; DavidGilbert, D-Lab; Andrew Williams, level; Junction Gospi Tapestry. Mike Layward, Paula Dower, MandyFowler, Derby Telegraph. Sawako Fukai, Giorgio Persano, LingPeng, Festival. Jim Stephenson, Lou Miller, Miniclick. Victoria Wilcox, Turner, Jury’s InnDerby. DieterNeubert, Kassel Fotobook Donna Adams, EastMidlands Trains. Jenny Cartwright, Alison Photography Show. Federica Chiocchetti, The Photocaptionist. Burton Brewhouse. HazelSoper, Madelene Andersson, The Beech andstudentsat Burton &SouthDerbyshire College. Huddless, Alma Solarte-Tobón, First Art. MarieHolliday, Chris Gallery. MadelineHolmes, Paul Steele, Kevan Jackson, Gary Suds &Soda. Tristram Aver, Nottingham Castle Museum& Art John Richardson, BeestonHop. Tom Ainsley and Josh Mellor, Editions. Jay Dean, Dubrek. Victoria Del-Greco, Creative Sage. Smallprint Company. BridgetCoaker, Michael Walter, Troika Macleod, Metro Imaging. HannahBarker, ChrisBarker, The Hub. MarkHolmes, Ruth Mitchell, SimonLeaf, Riverlights. Steve Nicola Shipley, GRAINPhotography Hub. Karen Harvey, Shutter Karoui, LensCulture. Brendan Oliver, FLOATING POINT DIGITAL. Derby Cathedral. Jim Casper, Kamran Mohsenin, Alyssa Fujita Tickner, Firecatcher. Richard Blunt. SmithCooper. Dr. Alex Rock, Fuji. Adrian Nicholls, John E Wright. Tom HawkinsandSam Mark Foxwell, GabrielleBrooks, GenesisImaging. Jon Cohen, WYNG Foundation. MalcolmDickson, Street Level Photoworks. Ashley Lewis, Cathedral Quarter BID. Belinda Winterbourne, John Forkin, Marketing Derby. Stella Birks, Derby Tourism. Rigby &Co. NinoSimone, Geldards. atAll thestaff W.W. Winter. Skinder Hundal, Sooree Pillay, New Art Exchange. Russell Rigby, Munn, Steve Woodward, MarkRichards, Harcula, Geoff Déda. Pender Derby. Universityof Karen Holland, Banks Mill. Stephen Davies, Jayne Falconer, PhilHarris, Anita Colbourne and Jane Rick Tailby, at MickSimpsonandstaff DerbyMuseums. Huw RPS. John Atkin, Affinty Photo. Jonathan Wallis, EmmaHallam, Mike Brown. Mark Williams, Clifton Cameras. MichaelPritchard, and venues, partners, contributorsandsupporters: FORMAT wouldlike tothankalltheparticipating artists Thanksand Acknowledgements

189 Tom Hunter. Chaired byHuwDavies&PhilHarris. Lars Willumeit, Liz Hingley, Martin Parr, Poulomi Basu, Anne Bourgeois-Vignon, Discipula, HesterKeijser, FORMAT17 Conference Speakers Bankale, SimonBainbridge, Wang Baoguo, Yumi Goto. MacDougall, Peggy Sue Amison, SamBarzilay, Sheyi Kalero, HuwDavies, KimKnoppers, Lars Willumeit, Lola & Caroline Warhurst, ErikKessels, Fiona Rogers, Frank Alexa Becker, BrianGriffin, Christine Eyene, Dewi Lewis FORMAT OpenCall Jury Wang Baoguo, W.M. Hunt, Yasmin Keel, Yining He. Sian Bonnell, Tim Clark, Tom Hunter, Tom Seymour, Oldfield, Remi Coignet, Salvatore Vitale, SheyiBankale, Shipley, NunoRicouSalgado, Peggy Sue Amison, Pippa Dickson, MarinaPaulenka, Mauro Bedoni, Nicola Candrowicz,Krysztof Lars Willumeit, LisaBotos, Malcolm Jim Casper, John Duncan, Karen Harvey, KimKnoppers, Holly Roussell, HuwDavies, IonaFergusson, IrisSikking, Dieter Neubert, EmmaBowkett, Fiona Rogers, Gwen Li, Brown, CharlieFellows, DagmarSeeland, DewiLewis, Braybon, Arianna Rinaldo, BridgetCoaker, Camilla Fernandez,Gonzalez Rastenberger, Anna-Kaisa Anne Alexa Becker, Alfredo Cramerotti, Alicia Hart, Angel Luis FORMAT17 Reviewers

190

Harris, SheyiBankale and Adam Buss. Mike Brown, BridgetCoaker, HuwDavies, SueSteward, Phil FORMAT festivalSteering Group BrianGriffin, Camilla Brown, Royal Photographic Society. FORMAT festivalPatrons BrianGriffin, Clifton Cameras, members. All theFORMAT festivalvolunteers. QUAD’sAll of Front House, of Projection andCafé Barteam Hannah-Hervé Petts, Ann Murby, Lucy Orme. Peter Munford, Steve Magill, Adam Marsh, Lucy Sherwin, Godlington, WilliamWebster,Bertie, Jasmine Kylie Jennings, Emma Dawson, Debbie Varley, Margaret Abbotts, Matthew QUAD Team Marketing material designFIREC A T CHER Catalogue &IdentityDesignstudiocorazzo.co.uk Daryn Shepherd, DariusPowell. Humpston, Bradley Oliver White, Andy Elston, Rob Newman, Andrew Lindley, Matthew Jackman, Toby Richardson, Craig TECH:SQUAD Producer DebbieCooper W.W. Winter ExhibitionCurator Greg Hobson Photobook Market CuratorHau SebastianArthur QUAD GalleryCurators Louise ClementsandHesterKeijser Molly Crowley Ellis Placement Students BethanStreet, Luke Taplin FORMAT Projects InternRachel Mason Jessica Colebourne-Viggers Volunteer Coordinators Andrew Moseley and Marketing Kathy Frain andNolly Aicha Bouameur Marketing andPREleanor Macnair Creative Wellbeing Curator Charlotte Convey Digital Participation Curator JohnWhall Education Curator Sandra Greatorex Programme ManagerMauro Bedoni Curators Peter Bonnell , MichaelSargeant, Jayne Falconer Festival &Portfolio Review Coordinator SebahChaudhryBashir Festival Director MonicaAllende Artistic Director Louise Clements FORMAT17 Team Adam Buss, Laura Millward, Jessica Saunders,

191 Published by QUAD/FORMAT on the occasion of the eighth FORMAT International Photography Festival

24 March — 23 April 2017, Derby UK

QUAD Publishing Market Place Cathedral Quarter Derby DE1 3AS UK +44 (0)1332 285400

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Copyright © QUAD/FORMAT 2017

Photographs © the artists Texts © the authors Print Chapel Press Ltd.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electrical, mechanical or otherwise without first seeking the permission of the copyright owners and publishers.

FORMAT is curated by Louise Clements, Artistic Director of QUAD & FORMAT, hosted and organised by QUAD and University of Derby www.formatfestival.com