Review: Photoquai 2009

The Quai Branly Museum has just launched the second edition of Photoquai, its photography biennale of "world images". The mission of the biennale, to "highlight and make known, artists whose work is previously unexhibited or little known in Europe, and to foster exchanges and the exchanging of views on the world," sounded pretty good to me (as far as these mission things go) as this is basically what I am trying to do in photography. The fine art photography world can be very Western-centric and there is a huge amount of great work out there that does not make it onto the European or American photography circuit.

For the second edition of Photoquai, fifty photographers have been invited to show a handful of works each. The photographers are chosen by several guest curators who each select a few photographers from the region that they represent. I met with Tadashi Ono, a photographer and the guest curator responsible for Japan, Korea and South-East Asia, over the summer and got a sneak preview of his choices: I know Masato Seto and Hiromi Tsuchida's terrific work well, but all of his other selections were new to me and uniformly interesting. His selection focuses on documentary work in the loosest possible sense; most of these artists deal with the transformation of society, personal identity or of the landscape. After a couple of afternoons spent listening to his stories of research travels throughout Asia and previewing the work on his laptop, I had high hopes for Photoquai.

The biennale is not in the museum itself but on the banks of the Seine directly opposite. It's set up as a photographic walk through a series of modules on which the work is exhibited. As this all takes place outdoors, the photographs are printed on weatherproof material and of course this means that allowances have to be made for the quality of the printing. They made a decent effort with the scénographie (although I spent half of my time trying to figure out whose photos were whose) and the lighting, and the location cannot be beat. However, having finally taken the time to go through all the work on show, I have to admit that I was pretty disappointed.

There is a danger with a festival that is set up to show "non-Western photography" that the work will be chosen to match a Western exoticised ideal, or that it will end up being a collection of photo-journalist reportages on poverty and deprivation in the third world. In theory Photoquai's system of inviting guest curators to help source work from all of these regions should avoid this, but I felt that it fell short of the mark. I found a majority of the work here to be forgettable and a few of these photographers presented here should be tried for Photoshop crimes against photography.

I don't want to be overly negative as thankfully I also made some interesting discoveries. The Iranian Gohar Dashti's photographs of a young couple living a seemingly ordinary life (sleeping, eating, getting married) on a battlefield surrounded by tanks and soldiers, have a surrealist and poetic quality reminiscent of the films of the Palestinian director, Elia Suleiman. Chuha Chung from Korea's images of life in a Korean town adjacent to a nuclear power plant raise the question of how life goes on in the shadow of such a powerful and ominous symbol. Pablo Hare from Peru's Monuments series, is a study of the monuments, from the grand to the ridiculous, and how these affect and interact with the public spaces around them.

However, Photoquai really feels like a missed opportunity. It is not easy to get a new photography festival off the ground in these troubled times, but it is always a shame when you see an event fall far short of its commendably ambitious aims.

Photoquai, Quai Branly Museum, Paris, 22 September - 29 November 2009

Update Further reading: Pete Brook has put together a good round-up of online opinion on Photoquai.

Review: From Back Home (book and exhibition)

"The land between Klarälven River and the chestnut tree at Ekallén is full of little hard memories of sad and lonely times, but there is also a streak of warm confidence that runs all the way up to Älgsjövallen, a place of fairy tales and inquisitive moose." Anders Petersen

From Back Home is a collaboration between two of Sweden's leading photographers, Anders Petersen (b. 1944) and JH Engström (b. 1969), focusing on the Värmland region, one of the most sparsely populated provinces in Sweden. The two photographers have a shared relationship with the land—they both come from this region—as well as a strong personal relationship. Engström worked as Petersen's assistant and the older man is a major influence for him.

The book

From Back Home won the Author Book Award at Arles 2009 and deservedly so. The book is split into two parts, first Petersen's images followed by Engström's. Petersen's section starts with the birth of a child suggesting that this will be a journey of intense discovery. The first few images immediately set a mystical, slightly oppressive, dark and lonely tone.

I find that Petersen's vision has become more concentrated and more potent with time. His signature high-contrast black-and-white imagery crackles with energy as we are taken from birth to death and everything in between (although love seems to have the last word). Petersen's series centres mainly on the people that cross his path, photographs of random encounters mix with those of friends, family and lovers. The series is also punctuated with little details of the surrounding landscape (an empty skatepark surrounded by forest, a tree snapped in half). Petersen has said before that he is seeking to become almost animal-like in his approach, to become a dog when he photographs, and this also comes through clearly in his raw, angular images. Animals also appear intermittently as subjects, reminding us of our mortality and of the fact that we are just another creature that will come and go.

The cover image (above), a photograph by Petersen of his mother, is one of the most haunting portraits I have come across in some time. It is full of dignity, an almost classical image, but there is a certain distance between the photographer and his subject which seems to contain all of the complexity of Petersen's relationship with 'home'.

The second half of the book is devoted to Engström's work. As opposed to Petersen, Engström hasn't adopted and honed a signature style, instead mixing lo-fi, washed out colour images, with cheap flash portraits or high-contrast black and white landscapes. He focuses mainly on life at night, from the drunken fumblings of teenagers in the forest to old couples pressed together at a dance. His photographs seem instinctive (in his introduction he writes "I've returned to something that my body and emotions recognize"), and he succeeds in creating a sense of openness and immediacy. There are also a number of photographs of collages of several polaroids or small prints: a device that seems to be a way for Engström to revisit his memories, heightening the sense of return rather than of discovery.

Unfortunately, I found that his work suffered a little when juxtaposed with Petersen's. The power and refinement of the older photographer's images slightly overpower Engström's looser and more diffuse approach. I also found some of the juxtapositions of images bizarre, with a result that seemed to add up to less than the sum of its parts.

Despite this minor reservation, this is a very successful book and the relationships between these two photographers and this remote region is undeniably powerful and complex. The printing of the book is beautiful and I found that the black-and-white work was particularly well reproduced.

From Back Home (Stockholm: Bokförlaget Max Ström, 320 pages, hardcover, 2009).

Rating: Highly recommended

The exhibition

The From Back Home project has also led to an exhibition, which is currently on show at Galerie VU in Paris. In addition to the prints from the From Back Home series, the exhibition also includes an additional series of vintage works by both photographers.

For Petersen's From Back Home work, it was interesting to see the prints hung in a floor-to-ceiling grid three prints high. The prints are not quite as good as the reproductions in the book and many of them were buckling slightly as they did not seem to have been dry-mounted (I heard Petersen pointing this out to the gallery so this may end up getting fixed), but the full wall of images works well for this work. The vintage work that is shown alongside these is Gröna Lund, a series of images taken at an amusement park in Sweden in the late 1960s and early 1970s. I found it fascinating to see the evolution in Petersen's approach. His photographs have gained a heightened intensity and visceral energy, making his earlier work seem almost restrained. His latest work feels a lot closer to Moriyama's sensibility, darker and more animalistic.

In Engström's case the second series of work on show are unseen 'vintage' (it always strikes me as strange to call something that is only a few years old 'vintage') prints from his Trying to Dance series. Although I'm not sure that the 'vintageness' is so important to his work, this is one of his strongest series in my view and an interesting precursor to From Back Home. Overall I found that this latter work came through better in the exhibition than in the book. The intentionally haphazard framing and hanging of his prints worked well for me and gave the impression of being invited into Engström's living room. I was particularly struck by a group of six highly grainy and contrasty aerial photographs of the Värmland landscape which are hung separately to the rest of the prints, a step back from those moments of intimacy that lends a darker edge to the series.

I would recommend the book over the exhibition, as I think From Back Home is probably better-suited to the book format, but the show is definitely worth a visit.

From Back Home. Anders Petersen and JH Engström. Galerie VU, 11 September - 31 October 2009.

Rating: Recommended

Update: This review has also been published on Lensculture along with a few other photobook reviews that I have been contributing to Jim's excellent webzine.

Willy Ronis 1910-2009

Willy Ronis, one of the most celebrated photographers of Paris has died aged 99. A contemporary of Henri Cartier-Bresson and Robert Doisneau he took many photographs of Paris in its heyday that have become iconic images of the city. I was lucky to catch him speaking at his last show at this year's Rencontres d'Arles and I was amazed at how he was still so willing to participate in discussion panels, sign books and just chat to people. He will be missed, but 99 is a pretty decent innings. Aurevoir Willy.

The ten commandments of culture

I just found out that France has a Council for Artistic Creation and that Marin Karmitz (a producer, distributor and founder of MK2 cinemas) runs it. Apparently Karmitz's position is complementary to the minister of culture: he is not involved with the macro stuff but is supposed to "innovate, experiment and push the boundaries", particularly for young artists. In a country where "youth" has become a dirty word, this strikes me as refreshing. Yesterday at the Musée du Quai Branly, he put forward the 10 commandments of his cultural programme. You can see the full list here (en français of course); some of them are tremendously vague (make Paris the global capital for art), others a bit pedestrian, but there were a few that I found particularly interesting:

Event to "raise the visibility of young people's inventiveness" In summer 2010 young artists (under 30) from all artistic disciplines will be given carte blanche to take over major public spaces (parcs, train stations, factories, monuments and even a few chateaux), however they feel like it.

Youth orchestras in rough areas France are essentially going to copy Venezuela's hugely successful youth orchestra programme initiating 500 young people (aged 7-15) to classical music and giving them in-depth training.

Nomad film school A "nomad" film school will be set up early next year on a barge in one of France's many rough urban areas with the aim of creating a "cinema of the streets". The project will involve around 20 young people (aged 18-25) that will get 1.5 years to make a first film. The director of the school will be Abdellatif Kechiche, the director of La graine et le mulet (The Secret of the Grain), one of my favourite films of last year, and the barge will be the one he used in that film.

Hiroshi Sugimoto: Lightning fields

Hiroshi Sugimoto is showing prints from his latest series in progress, Lightning Fields, at the Fraenkel Gallery in San Francisco. Each image is created by applying an electrical charge from a 400,000-volt Van De Graaff generator directly onto the negative. I find them truly stunning.