’I learn most when I walk with a camera; about myself and the company I share. I engage. I stop mentally. I listen.’
Laura Pannack is a London-based, award-winning photographer. Renowned for her portraiture and social documentary artwork, she seeks to explore the complex relationship between subject and photographer.
Italian Views is a continuation of Gail Albert Halaban’s series Out My Window, featuring intimate domestic portraits against the cinematic backdrop of the city. Here, Albert Halaban shifts her focus from Paris to Italy—steadying her gaze through the windows of others in communities throughout Florence, Milan, Venice, Palermo, Naples, and Rome.
Teresa Eng spent time as an artist in resident in China in 2012 and 2015, observing the rapid development the cities and its surroundings.
In “Self/Portrait”, portraits of Chinese millenials that she approached in a shopping centre alongside one of their selfie from their mobile phone. The portraits, introspective by nature, are lit by the bright LED advertisements. In contrast, each subject’s selfie reveals details of their lives and interests as well as how they want to be seen. “Self/Portrait” speaks of individualisation in a transitioning capitalist society as well as the need to belong.
These photographs were made on the Solstices and Equinoxes of 2012 and 2013. They were made wherever we happened to be—our home, travelling, or wherever we found ourselves on those four days of the year.
While photographing, we thought loosely about time, about what time looks like to each of us—time of day, time of year, time in the sense of a lifespan. Not surprisingly, certain themes recurred—birth and death, transition and renewal, lightness and darkness.
The title is borrowed from a Norwegian folk tale. We liked the idea of trying to rely on two continually shifting landmarks as navigational guides, how disorienting that idea is, and how it creates an elusive or impossible place.
Imperial Courts, 1993-2015is a project by photographer Dana Lixenberg about Imperial Courts, a social housing project in Watts, Los Angeles. The project contains work made over a period of 22 years and consists of a book, exhibition and web documentary.
Imperial Courts was built in 1944 on the corner of 116th Street and Imperial Highway in Watts, Los Angeles. Part of a major social housing development, it attracted predominantly African-American migrants from the southern states. Imperial Courts and the neighborhoods around it soon became a ghetto, beyond which African-Americans were not welcome. Frustration at the racial discrimination and social isolation boiled over into the notorious Watts riots of 1965. Widespread riots erupted again in 1992, following the acquittal of four white LAPD officers accused of the brutal beating of Rodney King. Over the years, Imperial Courts has gone from being the epicenter of race riots to an anonymous deprived neighborhood. The media attention has died down, but the lives of the residents go on.
The web documentary consists of three parts: Portraits and Stories, and contributions by Imperial Courts residents. ‘Portraits’ encompasses all the portraits Dana Lixenberg has made between 1993-2015. ‘Stories’ combines her photography with audio, video and short texts to tell short poetic stories about daily life in Imperial Courts. With the ongoing contributions by Imperial Courts residents, the project aims to build an online historiography of which the residents are both protagonists and co-authors.
The title, “My last day at Seventeen,” was first uttered by Eirn while I was taking her photograph in her parents’ back garden on the eve of her 18th birthday. Although Eirn argues her remark was more properly phrased, “it’s my last day as seventeen” the sentiment is the same: there is a time in everyone’s life where the freedom and promise of childhood are lost to the coming of age and experience. The process can be gradual or abrupt; it can begin at age 18, 12 or 40.
The photographs were made over a five year period in the town of Cobh, County Cork in Ireland. I came to Cobh at the invitation of the Sirius Arts Centre in the summer of 2009. Ireland had just begun its sharp decline from the boom years of the Celtic Tiger. I spent my days trying to ingratiate myself with contractors to gain access to building sites that lay abandoned throughout the Irish countryside. I got nowhere.
As part of my residency, I spent two or three afternoons each week, with a small group of young people editing and designing a book of their photographs. After two weeks of getting turned away from construction sites, I asked these kids to show me their neighborhood. Kevin and Eirn, an inseparable couple at the time, took me to Russell Heights.
Russell Heights is a housing estate of uncertain vintage that sits on Spy Hill above Cork harbor. The neighborhood is closely knit: everyone seems to be someone’s cousin, former girlfriend, best friend or spouse. Little can happen there that isn’t seen, discussed, distorted beyond all reason and fiercely defended against disapprobation from the outside. Since I knew Kevin and Eirn, my camera and I were tolerated that first summer. Over the course of four summers with hundreds of photographs made, given away, discussed, remade and argued over, I earned a tenuous but quite touching sense of belonging.
My Last day at Seventeen looks at the bravado and adventure of childhood with an eye toward its fragility and inevitable loss. Some photographs were made spontaneously but most were fashioned collaboratively utilizing a chosen wardrobe, setting and circumstance. While the lives imagined in this narrative should not be confused with the actual individuals that walk the streets of Cobh, the photographs are faithful depictions of adolescent experience, the rhythm and patina of Russell Heights and the anxious countenance of Irish youth.
Natural de Portalegre, Miguel Domingos começou a sua carreira como fotógrafo em Londres há 10 anos, depois de ter concluído um BA em fotografia na London College of Fashion. Em Nova Iorque, estagiou na Art Partner, agência que representa Mario Testino, Terry Richardson e Mert&Marcus. Em Paris, colaborou com a Premices Films nos bastidores dos desfiles durante a semana de moda (Vivienne Westwood, Lanvin, Elie Saab e Sonia Rykiel entre outros). Trabalhou com vários fotógrafos internacionais: Terry Richardson, Glen Luchford, Alasdair McLellan, Asa Tallgard, Horst Diekgerdes e Tom Munro em NY e Paris. Expôs o seu projecto pessoal Future Archive na Casa da Cultura da Comporta e como convidado na ModaLisboa em outubro 2016. Participou também em exposições coletivas no Centro Cultural de Cascais, Luckenpaint Berlin e na 080 Barcelona Fashion Week
Joanna Piotrowska was born in 1985, lives and works between London and Warsaw. She studied Photography at the Royal College of Art in London and Academy of Fine Arts in Kraków. Her photographic practice focuses on familial structures and their relationship to the wider systems—including politics, economics, social, and cultural life. She explores the past and the present, showing all the inequalities of power and psychological drama, and translating the gestures and everyday intimate behaviors into new scenarios - giving them an almost caricature-like quality. The artist uses her surroundings to show the anxiety and psychological tension of the domestic space - rather as a document of a performance than a documentary image. In 2014 she published her first monograph book "Frowst", published by MACK Books, London.