Brighton Photo Fringe Photo Stroll Part Two – Richard Glynn, PhotoVoice and Brighton ArtsFORUM 2.0 with Farnham student Catherine Symons

Welcome to the second part in Catherine Symons’ Photo Stroll on the press view for Brighton Photo Fringe 2012.

RICHARD GLYNN – LOST WALTZ

Richard Glynn – Lost Waltz. Photos © Catherine Symons.

Situated on the North Lawn, St Peter’s Church is this intriguing outdoor exhibition by Richard Glynn, a Wideyed exhibition curated by Human Endeavour.

In 1869 Josephine Bowes and her husband decided to make a grand house, which was also designed to be a place for their large artwork collection to be shared with the people of Teesdale, County Durham. However, the Bowes didn’t live to see the completion of this project, and although some rooms were open to the public, some were incomplete.

“The images are of a space in transition; an unfulfilled dream about to find new life, but tinged with the stillness and sadness of what might have once been.” From Wideyed website.

There is something captivating about this exhibition. There is the busy traffic of Brighton all around, and yet, encapsulated within the lawn, is the stillness of the subjects in these photographs. On until 18 November.

PHOTOVOICE – HAVING OUR SAY TOO

PhotoVoice, Having Our Say Too. Photos © Catherine Symons.

PhotoVoice is an organisation which was set up to encourage and allow people from socially excluded groups to express themselves through photography and story telling.

The exhibition is currently displayed in one of the Photo Fringe’s hub spots – The Redroaster café. Showcased work is from a two-year project working with young people from around the UK who have been sexually exploited.

Many of the participants had never used a camera before so PhotoVoice set up  workshops. What was so apparent, when talking with the young people about the work they made, was how much it helped them and how much they enjoyed working with PhotoVoice and photography. “It gave me something to focus on and I would definitely like to continue with photography.”

The hard-hitting subject of the images displayed in this busy café highlight how this is an every day occurrence and one that should not be ignored.

Over the next year, PhotoVoice will deliver three more projects and combine them to make a DVD. This DVD will be a resource for practitioners working with young people, supported by The National Working Group for Sexually Exploited Children and Young People. Ended 20 October.

Brighton ArtsFORUM 2.0

Female Fighters, Amelie Shepherd. Photos © Catherine Symons.

Brighton Media Centre hosted a selection of work from Brighton ArtsFORUM facilitators and presenters as part of Brighton Photo Fringe.

Artists include Murray Ballard, Peter Bennett, Martin Everett, John Ferguson, Emer Gillespie, Fiona Harvey, Beatrice Haverich, Julia Horbaschk, Vanessa Jones, Catherine Larré, John Mallett, Jacqueline McCullough, Ellen Montelius, James Reid, Amelia Shepherd, Mariya Ustymenko and James Withey.

Brighton ArtsFORUM aims to facilitate and support critical debate, where artists can articulate and discuss the concerns of their work in progress.

Included in the exhibition is photographer Amelia Shepherd with her series Female Fighters. Portraits of female fighters are presented alongside audio interviews on a video screen. The women have all been documented in the moments straight after fighting or sparring. The idea behind Amelia’s work came from her own participation within the sport, as she comments upon misconceptions of female fighters. Ended 17 October.

Brighton Photo Fringe 2012 – Blind Field presents Origins of Encounter until 21 October

Blind Field are showing Origins of Encounter at the Phoenix Brighton until Sunday 21 October as part of the Brighton Fringe 2012. The artists involved are Joan Alexander, Luke AR Hamblin and Louise Maher, all of whom, according to the press release, “examine notions of the encounter in relation to place, narrative and the photograph”.

© Joan Alexander – Study V – Facing North Window – 60 Minutes

Joan Alexander
“Alexander’s work explores the margins of inscription and projection, the unacknowledged spectra between positive and negative. Alexander is interested in the ‘latent image’. A visual in waiting, from between times, like the line between shadow and light; the line, like a map, is always a metaphor. Alexander’s practice immerses the viewer within a passage of time through an encounter with the movement and interruption of light. Her projections create a space where the viewer must pass through lines of light drawing attention to their presence. The correlation between printed and projected material asks for a closer examination creating awareness to the tangible and intangible nature of her practice.”

© Luke AR Hamblin – A study of still life. Sunflowers

Luke AR Hamblin
“Hamblin is interested in the way in which photography enables us to dissect the world and pull it apart. For Hamblin making photographic pictures is about assembling a Cast of characters, analysing their poses, placing them in the picture frame. Hamblin has developed a complex process of picture-making, exploring the role of perception and portrayal in our engagement with ‘place’. His series Studies for a theory of the Epic Photograph encourages us to think about how simple aspects of pose and gesture can embody whole narrative worlds. Drawing on references from early twentieth century modes of portrayal: theatre, cinema and painting, Hamblin’s photographs offer the viewer undisclosed narratives to decipher and re-construct.”

© Louise Maher – Old Head, Kinsale 2006-2012

Louise Maher
“Maher’s practice concentrates upon the inextricable relationship we have to our environment. By focusing on everyday expressions of this connection, she explores perceptions of the encounter. Maher’s approach stems from an appreciation of the historical development of street photography, yet it is also influenced by a typological approach. She values the photograph’s capacity to simultaneously document and picture the world. Her photographic series’ unite aspects of spontaneity and formalization to create a visual language that presents the viewer with space to translate.” From the press release.

Brighton Photo Biennial curator Martin Parr video from the press tour and some photo fringe encounters

A few pix from last week’s visit to the photo festival in Brighton where I chanced upon a novel approach to exhibiting using garage doors to create spy holes, a Matchbox Gallery (an organisation that assists photographers in promoting their work to galleries, publishers and the imaging industry) box hidden behind a door which had been photographed earlier and then circulated via twitter for someone to find using the GPS tags on the photo, and one final pic my return to London in the rain.

A quick thought, I have noticed a strong showing of night photography during this festival, not only in Alex Bamford‘s work seen through the peephole, but also in Wendy Pye and Ellie Davies’ bodies of work, see previous post, as well as the wonderful work by Alejandro Chaskielber and Esteban Pastorino Diaz  featured in Parr’s, A Night in Argentina show.

Alejandro Chaskielberg and some of his work

The short film snippet I shot and edited together, all very rough as I was hand holding the iPhone and it registers the slightest movement. Those in the know have braces/supports to help keep the camera steady. The following podcast features Parr showing us around Alec Soth’s show, the co-director of Fabrica talking about converting the space and a quick glimpse of A Night in Argentina. The video is 6 mins long.

Herman van den Boom responds to Brighton Photo Fringe 2010 statement over removed photos

There have been some new developments. Over the weekend, further discussions between the Brighton Photo Fringe festival organisers and van den Boom took place regarding the removal of three of his photos from his Better In Tune series.

It is easy in these situations for things to become conflated and confused so I will reflect on all that has been said regarding this situation and will write a post looking at exactly what the implications are as there are quite a few aspects to separate out and consider. In the meantime, I have requested to see the contracts that have been signed by photographers taking part both in the Fringe and Biennial with the ‘department store’ building where work is being shown.

For now, here’s his reply.

Herman van den Boom replies:

First of all, I want to express my feelings that I am very unhappy with this situation.

A controversy like this is the last thing I expected to happen about some of my pictures and certainly not in the context of a serious photo festival. And not in the least that I have or had the intention of attracting away the attention of other shows or artists nor did I want to discredit the festival and festival curators. I saw all the shows yesterday and today and I was impressed by the quality and innovative choice that is to be seen and experienced. It is a wonderful festival with a very high quality of work, exactly as I expected.

I exhibited at international important festivals like Fotofest Houston, the Biennial of Moscow, the photo festivals of Lodz in Poland, the New York Photo Festival etc and I can assure that Brighton Photo Fringe is one of the major events one should visit.

That’s why I was so “surprised” by the “things” that happened, I never experienced such a confrontation in my life. Thinking about this “event” the last days, I come probably to another conclusion than I did before.

Certainly there was a big misunderstanding from both sides about the other party’s artistic vision and position. One really can say that there was a kind of small clash of civilisations. We do things differently, not necessarily better or worse, and the English do things differently also, not necessarily better or worse. I come to this realisation because I live in Belgium and we have these kind of “confrontations” all the time the clash between the Flemish and the Walons. There, I’m aware and used to it and deal with it, here I didn’t expect it and didn’t see it.

Things, words and meanings can be completely differently read and understood and interpreted.

Realising this and thinking this over, I can say that I made a show which was perfect for a continental audience but inappropriate for a British audience.

I realise that in Britain there is a complete different emotional relationship between the arts, the artists and the public. A building contractor renting out his building to an art show would never, wouldn’t even dare, let an art festival sign a contract about moral issues.

Here they do and nobody takes notice, in Holland Belgium Germany, France the company would be lynched by the media and the artists!! And so for the curatorial staff!

Was this then censorship?

Yes, from my point of view and coming from my artistic upbringing and environment.

No, from the point of view from PhotoFringe because they brought in their skills and know how to bring my work in the best way possible they thought to the British audience. And, as I pointed out before, Gordon McDonald is an excellent curator and editor.

It really was a pity that we didn’t get into a more intellectual discussion but that it all became focused on one aspect, namely the contract, and that therefore things escalated in a way I don’t feel comfortable with.

One thing I learned is that, if I might have in the future another exhibition in Britain I make a special British version.

Herman van den Boom

Brighton Fringe Festival 2010 issues written statement in response to censorship claims by photographer

Hot Off The Press
This email has just come through from Brighton Photo Fringe organisation:
Brighton Photo Fringe statement

RE: Hans van den Boom

To Whom It May Concern:

Hans van den Boom agreed to remove three images from his display as part of Brighton Photo Fringe 2010 after conversation with the Directors and the Chair of the board. These images were questioned in regard to the contract signed by van den Boom which states ‘Content: Brighton Photo Fringe reserves the right to withdraw works from the exhibition which are explicit, inappropriate or in conflict with the ‘moral and ethical’ contractual agreement with Cooperative Estates.’

Van den Boom was asked to discuss the works and to justify them in regard to a conceptual grounding for the work or a response that could be given to visitors and our partners, should they have questions about the work. Van den Boom was unable to articulate a contextual statement regarding the nature of the works in question, so an edit of the work was made with his consultation. The artist agreed to this edit and left the building – we have not heard from him since and only received an email requesting a press comment on this matter late last night.

We are happy to discuss any work in the Brighton Photo Fringe and to enter into dialogue with any artist.

We are also happy to relook at the contract with Mr van den Boom and to reconsider other works for his place in this exhibition. Mr van den Boom is also welcome to remove his work from exhibition if he is not happy with the way that he has been treated.

We are happy to answer any other questions you or Mr van den Boom may have on this matter, or to discuss any of the other one hundred and thirty great shows made by artists as part of the Brighton Photo Fringe 2010.

Thank you for your interest in Brighton Photo Fringe.

Brighton Photo Fringe statement