doc! photo magazine Reloaded!

doc! photo magazine vol. Q1 issue #36 - covers

doc! photo magazine vol. Q1 issue #36 – covers

 

Mark Twain once said: “The report about my death was an exaggeration.” This statement perfectly matches doc! photo magazine, whose latest edition has just seen the light of day.  

The ongoing Fotofestiwal in Łódź is not only a large presentation of outstanding photography and its creators, it is also a perfect opportunity for the premiere of reworked doc! photo magazine, which came from the vastness of the Internet on… the paper and has become a quarterly publication.

“Just after the first online edition in 2012 the readers asked us about a paper version of our magazine,” - says Grzegorz Kosmala, its Editor-in-Chief. - “Now we fulfil their requests. The paper edition required some changes. We hope they will make our magazine more attractive as a printed photo provides additional emotions. It is a completely different dimension of the photography.”

The first regular paper version of doc! photo magazine is entirely dedicated to this year’s edition of the Fotofestiwal. It consists of selected projects that are presented in Łódź. Part of them refers to the main theme of the festival – Photographers’ Travel, while others represent projects taking part in the Grand Prix competition.

The travel can be interpreted in different ways. Generally we associate it with something nice and done on our own. We travel to enjoy the sun, to relax far away from our everyday hectic life and work. However it is only one side of the matter. There is also another one – a bit darker that makes people leave their homeland to search for a better life, for an asylum. The first kind of travels result in funny photographs of smiling sunbathing and playing in the water people whereas the other ones are the moving pictures of bodies thrown out on the beach by the waves or retrieved by rescue teams.

doc! photo magazine vol. Q1 issue #36 - Kadir van Lohuizen's Vía PanAm: Tierra del Fuego

doc! photo magazine vol. Q1 issue #36 – Kadir van Lohuizen’s Vía PanAm: Tierra del Fuego

This issue starts with the essay Photography and Travel by Alison Nordström, Art Director of the festival, that is a historical view talking about connections between photography and travel and the role played by photographs depicting the trip.

doc! photo magazine vol. Q1 issue #36 - interview with Adél Koleszár

doc! photo magazine vol. Q1 issue #36 – interview with Adél Koleszár

The variously understood travel is discussed by projects by Kadir van Lohuizen (Via PanAm: Tierra del Fuego), Michelle Frankfurter (Destino), Seba Kurtis (Drowned), Yurian Quintanas Nobel (Happy Nothing), Qian Zhao (offcut, the edge) and Nick Hannes (Mediterranean. The Continuity of Man). They are complemented by François DeschampsPhoto-Rapide and Shadman Shahid’s Ajna projects that cover the travel in a more indirect way.

doc! photo magazine vol. Q1 issue #36 - David Fathi's Wolfgang

doc! photo magazine vol. Q1 issue #36 – David Fathi’s Wolfgang

The magazine also includes three interviews with David Fathi – winner of the main prize of the Grand Prix Fotofestival 2016 contest (material Wolfgang and the interview Jokes and Anecdotes Can Be a Weapon), Adél Koleszár – presented in the festival’s Discovery section (material New Routes of Faith and the interview Transforming the Reality into a powerful Visual Experience), and with Kadir van Lohuizen about the making of the Vía PanAm project (Very Long Days, Very Short Nights).

“With this edition we start a completely new chapter of our travel,” - says Kosmala. – “We feel a little like those old explorers discovering new lands. That is why the premiere during the Fotofestiwal, which is devoted to travels this year, takes on additional meaning.” 

The paper edition of doc! photo magazine is available @ doc! store online shop and in selected retail outlets.

‘Julia wannabe’ by Anna Grzelewska @ doc! photo magazine Fotofestiwal Lodz 2015 edition

© Anna Grzelewska

The Julia wannabe project tells about adolescence of my daughter – Julia. I am interested in the moment when a girl becomes a woman. There is something disturbing, ambiguous at this border point. In our culture, childhood is seen as a land of happiness, innocence and sweetness. Our memory has a tendency to remove any blemish from this picture. While photographing Julia, I wanted to look at the process of adolescence in a more complex way. So it is not a report of the events from Julia’s life, neither it is a diary nor a family album, but it is an attempt to capture the universal nature of that time. Also it is a photographic interpretation of the psychological process of transmission – the photographic image is the resultant of Julia’s experience and my memory. Adopting such a perspective, it appears that the line between the childhood and adulthood is smooth and their images intermingle one another…

by Anna Grzelewska

doc! photo magazine Fotofestiwal Lodz 2015 edition
online version
printed version SOLD OUT!
pp. 57-75

‘Eclipse Plumage’ by Delphine Schacher @ doc! photo magazine Fotofestiwal Lodz 2015 edition

© Delphine Schacher

© Delphine Schacher

Eclipse Plumage is about childhood, countryside, looks, expectations but also melancholy. A series of young girls portraits made in Transylvania, half-way between the documentary and poetry, under the shape of a visual tale which has childhood and the fragility of this precious time as a main theme.

These portraits mix with the pictures of the traditional universe in which these young girls live and make us discover a different vision of a painfully marked Romania, moving forward in the present, while living in the shadow of its history like an adult taking his first steps outside childhood. In a hide and seek game between shadow and light, Eclipse Plumage launches the ball of these unique and fleeting moments of grace which are bound to disappear.

by Delphine Schacher

doc! photo magazine Fotofestiwal Lodz 2015 edition
online version
printed version SOLD OUT!
pp. 87-107

‘Borderland’ by Jiehao Su @ doc! photo magazine Fotofestiwal Lodz 2015 edition

© Jiehao Su

© Jiehao Su

Borderland is a project deeply rooted in my personal history. I spent my early twenties living a nomadic life in China, trying to escape from the sorrow of my mother’s sudden death when I was 18. After years of wandering, I began work on Borderland in 2012 as a way to look inward and recall my early memories, to reflect on my identity, and to search for a sense of belonging.

As I returned to some nostalgic places in China, revisiting moments from my past, I construct a personal narrative with a mix of atmospheric portraits and landscape as well as intimate still life details. Together the images comprise a quiet, delicate, and melancholic meditation on my personal history, between reality and imagination, present experience and memory, isolation and belonging.

My aim is to rebuild my self-awareness through an autobiographical portrait of my homeland, as well as to seek comfort through reconnection to the past. In this sense, Borderland is an intimate work of remembrance, tenderness, and self-consolation.

by Jiehao Su

doc! photo magazine Fotofestiwal Lodz 2015 edition
online edition
printed edition SOLD OUT!
pp. 173-191

‘House of the Seven Ladies’ by Tito Mouraz @ doc! photo magazine Fotofestiwal Lodz 2015 edition

© Tito Mouraz

© Tito Mouraz

It is still said around here that the house is haunted.

At the house there lived seven ladies, all maiden sisters.

One of them was a witch.

On full moon nights, the ladies in their white garments would fly from the balcony to the leafy branches of the chestnut across the street. From there they would seduce men who passed-by.

In the House of the Seven Ladies, chatting, getting to know what it was like before me, listening and imagining, was as important as the act of photographing. I started by doing some portraits of people. They interest me because they have always lived here and are attached to the land just like trees. They speak about time, about their memories; their losses… many of them already dressed in black.

This series gives an account of a persistent return to the same place, so as to scrutinise its differences (the slow deactivation of agricultural practices, the gradual transformation of the territory, ageing…), in spite of listening to the same owl, to the same fox, to the same stories. Like in legend, perhaps the magic and appalling features, this cyclical experience, were my greatest wound: night, fumes, corpses, moon, ruin, sounds. A place of affections, after all I was also born here.

Beira-Alta, Portugal (2010-2014)

by Tito Mouraz

doc! photo magazine Fotofestiwal Lodz 2015 edition
online edition
printed edition SOLD OUT!
pp. 35-57

‘Grand Circle Diego’ by Cyril Costilhes @ doc! photo magazine Fotofestiwal Lodz 2015 edition

© Cyril Costilhes

© Cyril Costilhes

Bay of Diego Suarez. Strip of land in the far north of Madagascar.

A terrible accident.

10 years later, Cyril Costilhes comes back to close the circle.

The descent into his heart of darkness begins.

There is danger lying there, Diego.

It’s like smoking on a sea of gasoline.

Don’t fall in love.

Don’t you fucking fall in love here.

A dark and disturbing presence is lurking beneath the obscene jungle and the outskirts of Diego and its enigmatic dwellers.

Cyril Costilhes went looking for it, through the mirror of a Diego Suarez of the mind.

A Lynchian photographic tale of fallen utopias and broken relationships.

by Cyril Costilhes

doc! photo magazine Fotofestiwal Lodz 2015 edition
online edition
paper edition SOLD OUT!
pp. 109-133

‘EUSA’ by Naomi Harris @ doc! photo magazine Fotofestiwal Lodz 2015 edition

Dog in bonnet. Tulip Festival. Orange City (Iowa, USA), May 2014. (/br) © Naomi Harris

Dog in bonnet. Tulip Festival. Orange City (Iowa, USA), May 2014.
© Naomi Harris

Globalisation has made the uniqueness of a particular country less significant thus creating an indistinguishable common world community. My project EUSA is a reaction to the homogenisation of European and American cultures. Being enthralled by another country’s way of life does not mean that it is always an accurate portrayal, rather it becomes a sentimental and idealised depiction; an homage to a heritage that isn’t ones own. These locations are a perception of fantasy, a sense of what the other wishes the reality would be.

In America these “European” venues resemble a land of make-believe. Like something out of a fairy tale, they are magical, whimsical and quaint. In Europe their fascination lies in an America of the past, when the US was considered glorious and free, a place full of fresh starts and opportunities. Photographing these various maudlin locations within these 2 continents, my goal was to illustrate the enthusiasm we have for one another’s culture and demonstrate this universal phenomenon that is a reaction to the homogenisation of our cultures.

I began this project in June 2008 photographing High Chaparrel, a wild-west theme park in southern Sweden. Since then I’ve visited Indian festivals, an American Civil War reenactment, and a variety of Cowboy and Indian theme parks in an additional 8 European countries. In America I went to over 10 locations including a Tulip Festival in Orange City (IA), a Maifest in Leavenworth (WA), a variety of Oktoberfests, finishing the project in Las Vegas, NV this past October.

by Naomi Harris

doc! photo magazine Fotofestiwal Lodz 2015 edition
online edition
paper edition SOLD OUT!
pp. 135-155

‘I Am Walé Respect Me’ by Patrick Willocq @ doc! photo magazine Fotofestiwal Lodz 2015 edition

Epanza Makita, batwalé: „Bokéngé nyama, bokéngé mpùlú, n’sùname ng’ósunámá, bònkómo w’éngolo.“ „Part animal, part bird, I face upside down, bat the great.“ For pygmies, a bat is a very unique creature, half animal, half bird. By comparing herself to a bat, Walé Epanza Makita (19 years old, married, 1 year in seclusion, mother of Lotitia) talks about her superiority. Her rivals will not be able to copy her because she is unique (the Walé ritual is highly competitive as it’s all about having more prestige and power than your rivals). © Patrick Willocq

Epanza Makita, batwalé:
„Bokéngé nyama, bokéngé mpùlú, n’sùname ng’ósunámá, bònkómo w’éngolo.“ | „Part animal, part bird, I face upside down, bat the great.“
For pygmies, a bat is a very unique creature, half animal, half bird. By comparing herself to a bat, Walé Epanza Makita (19 years old, married, 1 year in seclusion, mother of Lotitia) talks about her superiority. Her rivals will not be able to copy her because she is unique (the Walé ritual is highly competitive as it’s all about having more prestige and power than your rivals).
© Patrick Willocq

For this project, I dove deeply into an initiation ritual of the Ekonda pygmies in the Democratic Republic of the Congo. The Ekondas believe that the most important moment in the life of a woman is the birth of her first child. The young mother (usually 15 to 18) is called Walé (primiparous nursing mother). She returns to her parents where she remains secluded for a period of 2 to 5 years. During her seclusion, a Walé is under very special care. She must also respect a taboo on sex during the whole period and is given a similar status to that of a patriarch. The end of her seclusion is marked by a dancing and singing ritual. The choreography and the songs have a very codified structure but also contain unique qualities specific to each Walé. She sings about her own loneliness, and with humour praises her own behaviour while discrediting her Walé rivals.

I have always been fascinated by native tribes because I feel they have a kind of wealth that we have somehow lost. Today, many initiation rituals in the Congo are disappearing. The ritual of the Walé woman has resisted the pressure of modern life – but for how long? To document this beautiful tribute to motherhood, fertility and femininity, I proposed to some Walés to participate in staged photographs. Each set-up worked as a visual representation of one of the subjects that the Walé would sing about on the day of her release from seclusion.

This series is a personal reflection of women in general and the Walé ritual specifically.

by Patrick Willocq

doc! photo magazine Fotofestiwal Lodz 2015 edition
online version
paper version SOLD OUT!
pp. 18-33

Also read interview with Patrick Willocq – Artistic Documentaries (pp. 9-17)

‘Love Me or Kill Me’ by Sarker Protick @ doc! photo magazine Fotofestiwal Lodz 2015 edition

© Sarker Protick

© Sarker Protick

The Bangladeshi film industry – based in Dhaka, and so known as Dhallywood – has been going since 1956. Dhallywood movies have fallen out of favour among the richer classes, who prefer foreign films. The growing influence of Bollywood (Indian cinema) films in Bangladesh has also had an adverse impact on the local industry. Yet the Dhallywood industry produces around 100 movies a year, and does still enjoy the support of many ordinary moviegoers.

Love Me or Kill Me is the title of a Dhallywood film, one that expresses the extreme emotions that define the genre. Love and revenge are the core ingredients of our movies. The stories do not change much: boy meets girl, falls in love, bad guy takes girl away, and hero fights to get her back. There is always similar climax and a happy ending. People love it.

When I was growing up in Dhaka, there was no cable TV except the national channel. Bangla film was for us the height of entertainment. Slowly, other films and TV channels took over. We didn’t think Dhallywood movies were cool anymore; they no longer played a part in my life. In the process of making photographs of Dhaka city I visited a film studio in F.D.C and was captivated by the colours, the light, and the atmosphere. The events and details were odd, sometimes bizarre. The costumes are flashy, the sets and effects are cheap, and the colours are daring. They seem to have very little in common with reality but I found it full of life.

by Sarker Protick

doc! photo magazine Fotofestiwal Lodz 2015 edition
in online and printed version (SOLD OUT)
pp. 193-215

Also see Sarker Protick’s What Remains story @ doc! #25

International exhibition ‘Generation 74′ opens PIX.HOUSE

Generation 74. © Kirill Golovchenko

Generation 74. © Kirill Golovchenko

With opening of PIX.HOUSE on July 15, Poznan will join the cities, in which documentary photography has got its exposition space. The gallery starts with a great hit – international exhibition Generation 74 that will consist of pictures by 11 photographers: Gintaras Česonis (Lithuania), Kirill Golovchenko (Ukraine/Germany), Nick Hannes (Belgium), Mindaugas Kavaliauskas (Lithuania), Davide Monteleone (Italy), Pekka Niittyvirta (Finland), Borut Peterlin (doc! #21; Slovenia), Przemysław Pokrycki (doc! #7; Poland), Tomáš Pospěch (Czech Republic), Simon Roberts (UK) and Vitus Saloshanka (Belarus/Germany).

„Are the numbers important here or do these eleven photographers have something more than the same year of birth in common? Yes, and quite a lot” - says Mindaugas Kavaliauskas from Lithuania, originator of the project. - “Today each of them is a well-known photographer in and outside their own countries. Some of them are considered photography icons all over the world. They were 15 when the Berlin Wall collapsed, the guys from the Eastern Bloc were 16-18 when their countries regained independence, and 30 when they experienced the European Union enlargement in 2004. They have all created long-term documentary projects, feeling that the world is changing from the analog-unique to uniformly global one. Their attitude to photographing is marked by their civic, social and individual sense of duty to say honestly about their home countries, dwelling places and the places they visited, preparing their projects. Their works don’t try to be fashionable, spectacular, anything but superficial or glossy. Instead of that, they are human, worried, bitter, ironic, humorous and critical.”

Generation 74. © Nick Hannes

Generation 74. © Nick Hannes

The exhibition will be connected with a Polish launch of the book of the same name. It will be accompanied by numerous meetings, discussions and lectures which together will constitute the four-day feast of documentary photography.

July 15, 2015
1:13 PM press lunch – conference with animators of PIX.HOUSE and authors of the Generation 74 exhibition
6:00 PM vernisage of the Generation 74 exhibition and official opening of PIX.HOUSE
7:30 PM Meeting with Mindaugas Kavaliauskas and Kirill Golovchenko
July 16, 2015
1:13 PM – 8:00 PM easy Thursday @ PIX.HOUSE: come, see the pictures, discuss
July 17, 2015
1:13 PM meeting with Maciej Frąckowiak, co-author of the Invisible City project
2:30 PM meeting with Piotr Małecki (doc! #18), documentary photographer of Napo Images agency
4:00 PM meeting with Jacek Piotrowski, documentary photographer, author of the City-People-Cars. 1984-93 exhibition
5:30 PM individual going to Stary Browar for the opening of the 2015 BZ WBK Press Foto’s post-competition exhibition
July 18, 2015
1:13 PM presentation of photographic initiatives of Greater Poland region (Władysław Nielipiński of Regional Public Library)
2:30 PM meeting with Grzegorz Kosmala, editor-in-chief of doc! photo magazine and originator of the DEBUTS project
4:00 PM review of multimedia projects awarded at Grand Press Photo contest
5:30 PM portfolio review with Mariusz Forecki, Adrian Wykrota (doc! #31), Michał Adamski (doc! #19) and Andrzej Dobosz (doc! #22)

Free admission to all events!

Venue: PIX.HOUSE, 35a Glogowska St., Poznan (Poland).

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