“Photographic still life is a double death of a thing.” However, Paweł Żak’s exhibition will be salvation. We will see the perfectly presented reality, shown surprisingly abstractively. A glass of vodka, flowers and a skull just make a seemingly weird set. Yet, in Paweł Żak’s photographic work they make a story. It is also easy to find some reference to Dutch masters of painting there.
Still life is a classic when it comes to visual arts. Sets of static elements put together for compositional purposes, and sometimes for symbolic ones too. Not large, still items are willingly used by painters, but there are definitely fewer photographers interested in this kind of artistic expression. There are very few such masters, who create whole series of still life. No doubt, Paweł Żak is one of them. The artist has been working in this trend for 25 years, constantly amazing the viewer with successive series.
His next exhibition will consist of the latest works of the cycle that started in 2008. The works put under one title Core Curriculum and Other Still Lifes unveil Paweł Żak as the mature, minimalistic and (this time) extremely reserved artist. Digitally made images attract attention with their severity and sharpness. Simultaneously, they captivate with minimalism and abstraction.
These photographs are elaborated in every detail. They take the beginning on paper in the form of precise sketches that are then recorded with apothecary accuracy by millions of photodiodes that are selected in the way to make the viewer see what the artist wanted to show on a 1:1 scale. There is no space for mistakes, all the photos are one frame, in which Żak interferes only to the extent that photographic film allows him to.
As far as technically there is no room for inaccuracy, visually the images captivate with their ambiguity. One-colour background, spotlessly white and perfectly ironed tablecloth, common to all of the pictures, make the viewer concentrated on the presented items. The items, taken out of time and space, are here and now, in one and unchangeable situation, which, in spite of that, gives you a field for interpretation. And this is the sense of still life.
The exhibition opening will also be the release of the And Other Still Lifes album that consists of photographs taken by Paweł Żak since 2008.
Paweł Żak (b. 1965) | based in Warsaw (Poland) | studied Social Sciences at the University of Warsaw | graduate from the Academy of Fine Art in Poznan (Multimedia Communication Faculty) | lectures in Photography at the University of Warsaw’s Faculty of Photojournalism and ZPAF School of Photography | member of the Association of Polish Artists Photographers | presented his works at dozens of group and individual exhibitions in Poland and abroad | his works are in collections of National Library of France in Paris, National Museum in Warsaw, Centre for Contemporary Art in Warsaw, Museum of Art in Łódź, and in private collections in Poland, France, Norway, Denmark, Belgium, Germany, Brazil, United Kingdom, and the USA | his photographs have been published by many magazines, including contra doc! (cd! #1 & #6).
Paweł Żak – CORE CURRICULUM AND OTHER STILL LIFES
@ Leica Gallery Warsaw (3 Mysia St., Warsaw, Poland)
Opening reception: March 31 at 7.00 PM
The exhibition will be open to the public between April 1 and May 28, 2017
The Paweł Żak exhibition is organised under doc! photo magazine patronage.
At the beginning of April, Łódź will become a Polish capital of photography and filming. During three days of jubilee edition of FILM VIDEO FOTO fair, all those, whose passion is recording the light in the frame and film, will be celebrating their feast.
This year’s edition of the fair will give a great opportunity to see novelties presented by leading producers, service provides and distributors of photographic, film, audio-video equipment and accessories as well as multimedia technologies. The FILM VIDEO FOTO fair is not only the novelties from the world of photography and film, that you can see and test on your own, it is also a wonderful opportunity to meet the most recognisable and experienced experts in both of these fields.
As every year, the FILM VIDEO FOTO fair will offer its visitors a number of lectures and workshops. Every day the trainings will be divided into thematic blocks related to photography, film, print and image processing. There will also be exhibitions and meetings with famous photographers during which they will tell us about their skills and experience. This year’s Art Zone will be divided into Young Polish Photographers – including presentation of the DEBUTS (edition 2016) winners – and Masters of Frames. In addition, there will be meetings with artists presenting their own achievements and different kinds of photography.
The first day of the FILM VIDEO FOTO fair in Łódź, the biggest exhibition of photo, audio and video industry in Central and Eastern Europe, will belong exclusively to the industry representatives for B2B meetings. The next two days will be available to all those who want to develop their skills, gain knowledge of news in technology and meet recognisable experts in the industry of photography and film.
More info @ www.filmvideofoto.pl
FILM VIDEO FOTO 2017
@ Expo-Łódź (4 Politechniki Av., Łódź, Poland)
April 6-8, 2017
The FILM VIDEO FOTO fairs are organised under doc! photo magazine patronage.
Are we alone? Are we being watched? Who created us and what is the purpose of our lives? Is there a God or do we live in the Matrix? Or maybe we are just an outcome of the aliens’ experiment? Artists from all over the world are now invited to try to answer these questions.
There have been thousands of files on UFO phenomena collected by governments around the world. Countless amount of documents, researches, videos, photographs, sketches, scientific and sci-fi books and movies, but also artistic interpretations of this topic have been created. There is an ongoing discussion between people who believe and people who don’t believe in extraterrestrial life; not forgetting about various movements uniting people who explain the development of human civilisations (paleo-astronautics) as well as beginnings of main religions in alien activities. So many passionate researchers devote their lives to solve the mystery of UFO; the outcome of their work seems to be underestimated by the society.
#SHOWMEYOURUFO is a new project exploring the UFO phenomena – topic that has always been mysterious and appealing to people around the world. Creators of the concept want to join forces with researches and artists from all over the world to create an archive of contemporary visual representations related to UFO and alien conspiracy theories.
Organisers expect works related to the UFO’s topic or it’s visual language, mainly stories and documentations of sightings, or portraits of abductees/witnesses. Regarding the media – it could be photographs, drawings, clippings, short videos or sounds.
To apply, artists need to simply upload the artworks on Tumblr, Instagram or YouTube and add the #SHOWMEYOURUFO hashtag, or submit them to the email address: firstname.lastname@example.org. There are no age, number of photos per person or nationality restrictions. Artworks in low resolution (72 dpi) should be accompanied by the participants name, surname, website and contact details. Work must be created by the submitting artist.
The most interesting evidence will be presented during upcoming show in Cracow (Poland) and also published on the showmeyourufo.tumblr.com website. Selected files will be featured in the accompanying zine published on this occasion.
The #SHOWMEYOURUFO project is organised under doc! photo magazine patronage.
Street photography is based on capturing unusual events, symbols or anecdotes hidden in everyday situations happening in public places. Street photographers observe, notice and capture things, that others are unable to see. They do not arrange their pictures, they save everyday life as it is.
Un-Posed, founded by Damian Chrobak in 2011, is one of the most recognised Polish street photography collectives. Its primary aim is to develop creativity and visual consciousness in public space and promote the achievements of Polish street photographers. Unposed also is the title of its next exhibition soon to be open in Wroclaw’s FOTO-GEN Gallery.
The Unposed exhibition focuses on a human being seen in different situations and photographed in different places around the world. The pictures by 9 photographers – Damian Chrobak (doc! #13 & #19), Maciej Dakowicz (doc! #12), Jamie Fyson Howard (doc! #16), Ania Kłosek (doc! #25), Monika Krzyszkowska (DEBUTS 2015), Tomasz Kulbowski, Tymon Markowski, Marta Rybicka (DEBUTS 2016) and Adrian Wykrota (doc! #31) – form a story about the current state of man in terms of behaviours, surroundings and emotions. Why are we drawn to these images? Do we see similarities in our own lives? Have we seen such scenes somewhere before?
Despite of the fact that all members of the collective move in the same area of interests, their photographs prove their individual style, which shows complexity and potency of street photography.
The Un-Posed exhibition is organised under doc! photo magazine patronage.
Giovanni Gastel’s first encounter with photography took place in the 1970s. At that time, photography was considered a legitimate art form and discipline and started to be collected and shown in the world’s museums and galleries. Fashion photography, however, was still considered “practical” and had not garnered much recognition in the world of art. With time, fashion photography gained its artistic status. Fashion photographic images were made in a myriad of contexts and, thus, began to define the photographic canon and grace various art spaces. Gastel’s artistic consecration took place in 1997 when the Triennale di Milano held an exhibition of his works, curated by the contemporary art historian, Germano Celant.
Giovanni Gastel does not believe in the unification of the arts, but describes his photographic work metaphorically, in terms of theatre and literature, emphasising the importance of “creating a scene” and “telling a story” with an image. He also paints the analogy of poetry to photography, which, he posits, consists not of the lyricism of an image but of the succinct and concise structure of form.
“What fascinates me about photography is that it has no relation to reality,” – says Gastel. – “It is the interruption of the constant flow of time. From eternal movement, life, to eternal immobility. It alludes to the real to create a real parallel.”
For Gastel, poems and photographs are a bit like dreams. They carry many meanings and can develop by themselves, without an author, just as the image or subject of a photograph makes itself known on the paper’s surface as it develops. The Metamorphoses series refers to Franz Kafka’s text and therein, yields Gastel’s explicit surrealistic understanding of photography. Viewers of his work can find visual references to the artists who preceded him and were considered surrealists such as Man Ray, Irvin Penn, Erwin Blumenfeld and Guy Burden.
Gastel uses various methods and techniques in his artistic practice, spanning many eras, from the Renaissance to Pop Art. He is aware of the illusiveness of fashion photography and continually reinvents the visual canon by offering viewers different perspectives of the idea of beauty and the ways it’s represented in. His methodology also makes reference to the cinematic experience. In the Ritratti di Living series, commissioned by Elle Decor in 2013, Gastel reproduced Edward Hopper’s works and played with that illusive nature, once again, making viewers of the work mistrust their own eyes.
Gastel works with large format analog cameras to contemporary digital devices. He uses various methods of analog photography such as pictorial rielaboration, decoupling and stratification, and when working with digital images, gives particular attention to post production. Unlike many others seasoned photographers, Gastel considers the invention of digital photographic technology to be the real birth of the medium, suggesting that everything until that point was a “mere archeology.”
Giovanni Gastel (b. 1955) | based in Milan (Italy) | fashion photographer | introduced to the world of art by his famous uncle, Italian filmmaker Luchino Visconti | started with wedding and portrait photography, small still-lives and occasionally kids’ fashion photo sessions (the 1970s) | since then, worked for Christie’s Auction House (since 1975) and with Carla Ghiglieri, as his agent who introduced him to the world of fashion (1981) | his photographs have been published by such outlets as Harper’s Bazaar, Vogue, Elle, Donna, Mondo Uomo Glamour, Femme, Amica and Sette, among others, and exhibited in museums and galleries all over the world.
Giovanni Gastel – CANONS OF BEAUTY
@ The Lumière Brothers Centre for Photography (3 Bolotnaya emb, bld. 1, Moscow, Russia)
Opening reception: March 15 at 7.00 PM
The exhibition will be open to the public between March 16 and May 9, 2017
In Łódź (Poland) it is a widely known story. A rich entrepreneur, Izrael Poznański (1833-1900), one of the icons of the best industrial days of the city, wanting to have enough workers for his factory, decided to build houses for them nearby – the famułas. At the time of the greatest prosperity, nearly 7000 people lived and worked there. Unfortunately, at the end of the Poznański’s empire, the slow agony of the famułas and their inhabitants started. Its very end occurred when it was decided to shut down the Poltex company in 1991. The housing for workers became a no man’s land and its inhabitants were left to fend for themselves. This miserable state would have gone on for ever if not the general renovation of the former housing of Poznański’s factories that started in 2014. The renovation was preceded by a long process of carrying out the residents to other apartments. And it is when Urszula Tarasiewicz appeared at the Ogrodowa Street. She started to document the empty buildings. As she admits: “I have always wanted to be a meter reader to have an opportunity to watch how the people live. It fascinated me since my childhood as the decoration of an interior tells a lot about its inhabitants. Whether they decorate their rooms with photos of their grandparents or they prefer to have calendars with naked women on the walls. But this time it was a bit more difficult as the flats were empty, so everything had to be imagined.”
Indeed. There are deserted rooms in Tarasiewicz’s pictures. Shabby walls from which someone ripped the wiring and on which the outlines of once hanging pictures and standing furniture are still visible. We have got used to such pictures. We see them every time after floods and hurricanes. But as far as in these cases they are the consequences of natural disasters, here everything is caused by man. That is why the photographs are more impressive, they even terrify with their ruthlessness and coldness. Yet they can’t stop us thinking about the people who are not in them. Who were the people who used to live there? Where are they and how are they at the moment? How they worked out their life after having left these flats where many of them had lived for generations?
Urszula Tarasiewicz guides us around the world, which no longer exists. She does it slowly as if she wants to give us enough time to come to the conclusion, that such is the way of things, that cities need permanent progress, otherwise they will meet a systematic and relentless fall and from which they can be saved only by a revolution. Nearby, on the other side of the street, such a revolution has been made – Poznański’s factory has become an elegant shopping mall and a hotel, the post-industrial space attracts people again, which for the famułas residents must seem to be out of this world. It must have been a real shock for them, further evidence of exclusion.
Tarasiewicz’s photos are simply shots. One can’t find there any traces of playing with composition or attempts to interesting frames. Actually they are not to do it. They are not supposed to entertain or comfort the viewers. We are to feel this sadness that must have accompanied the inhabitants of these interiors. We must experience the roughness of the place which we can see going away into the past but thanks to these pictures will remain in our memory.
Urszula Tarasiewicz (b. 1975) | based In Łódź (Poland) | graduate of the Łódź Film School | ennobles absurd and marginal things in her pictures, looks for beauty in kitsch, colour in greyness, and happiness in unhappy people | author of many times awarded and exhibited in many countries New Urban Legends series | her photographs have been shown in such group exhibitions as Critical Mass (USA, 2012), Call me on Sunday (Austria, 2014), Face to Face (Germany, 2014), among others | participant in prestigious portfolio review organised by The New York Times (2015).
Urszula Tarasiewicz – OGRODOWA/GARDEN STREET
@ andel Hotel Cracow (3 Pawia St., Cracow, Poland)
Opening reception: February 23 at 7.00 PM
The exhibition will be open to the public between February 24 and March 31, 2017
The Urszula Tarasiewicz exhibition is organised under doc! photo magazine patronage.
Next to the renowned press photography contest, the World Press Photo Foundation also runs a competition focused on digital storytelling. The contest, previously known as the Multimedia Contest, rewards those producing the best forms of visual journalism enabled by digital technologies and the spread of the Internet. The contest is open to digital storytellers, visual journalists and producers, with submissions that include the work of a professional visual journalist.
“This year, the entries in the Immersive Digital Storytelling Category were very strong, diverse and ambitious,” – says Katerina Cizek, chair of the Immersive Storytelling category. – “The projects also ranged widely in scale and scope. Because of this, the jury deliberated on how to weigh and balance the diverse qualities of the projects, and agreed on the criteria of: excellence in visual storytelling, importance and originality of reporting, innovation in immersivity and depth of social relevance. We ultimately agreed upon three winners, who each excel in their own ways, exemplifying distinct developments in our emerging field.”
“This is a rapidly evolving media format in its early stages,” – adds DJ Clark, chair of the Short Form category. – “We need people to push the boundaries and experiment. It won’t always work, but when it does, it stands out.”
Winners of the 2017 World Press Photo Digital Storytelling Contest are:
1. The Dig
Synopsis: You know how you feel about politics, religion, and other issues, but do you know how you feel about the changing landscape of human relationships? Things like trans-sexuality, co-parenting and cyborgs, to name a few. The Dig explores the future of relationships using interactive audiovisual elements, placing the viewer at the centre of the experience to explore and discover their own feelings in this world of rapidly transforming human relations. Piece by piece, a couple’s relationship jigsaw is revealed. The more elements you see, the more you know. In the end, you can decide what you think the couple should do, and in doing so you learn something about yourself. The stories of simple questions about complex problems are told through beautiful cinematography and frank interviews with the people involved.
Topaz Adizes, Executive Director, Creative Director
Mike Knowlton, Executive Director, Creative Director, Creative Technologist
Carla Tramullas, Creative Director, UX Designer
Julia Gorbach, Creative Director
Mark Harris, Creative Director, Creative Technologist
Joe Wheeler, UX Designer
Olivier H. Beauchesne, Data Visualisation
Julia Gorbach, Director, Producer, Additional Camera & Sound
Carla Tramullas, Director, Cinematographer
Dane Benko, Editor
Nicholas D’Agostino, Editor
Mériem Dehbi-Talbot, Associate Producer
Grace Larkin, Associate Producer
Julius Bowditch, Associate Producer
Paige Polk, Associate Producer
Hans Lueders, Associate Producer
The Skin Deep + Murmur
2. The Fine Line: Simone Biles Gymnastics (Team: Rodrigo de Benito Sanz, Producer; Alicia DeSantis, Producer; Alexandra Garcia, Producer, Video Editor; Mika Gröndahl, Producer, Graphics; Evan Grothjan, Producer, Graphics; Taige Jensen, Producer, Video Editor, Color, Audio; Yuliyah Parshina-Kottas, Producer, Graphics; Bedel Saget, Producer, Reporter, Videographer; Joe Ward, Producer, Reporter, Videographer; Larry Buchanan, Reporter, Videographer; Leslye Davis, Reporter, Videographer, Photographer; Juliet Macur, Reporter; Meghean Felling, Video Editor; Ben Laffin, Color; Jeremy White, Graphics; Michael Cordero, Audio; Gregg Matthews, Photographer; Wilson Andrews, Contributing Producer; Danny DeBelius, Contributing Producer; Alexandra Eaton, Contributing Producer; Grant Gold, Contributing Producer; Steve Duenes, Supervising Producer. Organisation: The New York Times)
3. The Injustice System (Team:Ed Pilkington, Chief Reporter; Laurence Mathieu-Leger, Senior Video Producer; Kenan Davis, Interactive Editor; Rich Harris, Interactive Editor; Nadja Popovich, Interactive Editor; Kenton Powell, Interactive Editor. Organisation: The Guardian US)
Synopsis: A generation ago, globalisation shrank the world. Nations linked by trade and technology began to erase old boundaries. But now barriers are rising again, driven by waves of migration, spillover from wars and the growing threat of terrorism. To examine this global phenomenon, the Washington Post produced Raising Barriers, a three-part multimedia project that takes viewers to 8 countries across 3 continents exploring the divisions between countries and peoples.
Zoeann Murphy, Video Reporter
Anthony Faiola, Berlin Bureau Chief
Reem Akkad, Senior Video Producer
Kat Downs Mulder, Graphics Director
Kevin Schaul, Graphics Editor
Douglas Jehl, Foreign Editor
Samuel Granados, Senior Graphics Editor
The Washington Post
2. The Waypoint (Team: Zoeann Murphy, Video Reporter; Samuel Granados, Senior Graphics Editor; Emily Chow, Assignment Editor, Story Design; Kevin Schaul, Graphics Editor; Kat Downs, Graphics Director; Griff Witte, London Bureau Chief. Organisation: The Washington Post)
3. Future Cities (Team: Yvonne Brandwijk, Director, Photographer, Video; Stephanie Bakker, Director, Writer, Reporter; Maaike Holvast, Video Editor; Sara Kolster, Interactive Design; Martijn Pantlin, Development; Hay Kranen, Development; Edgar Vijgeboom, Development; Casper van Deuveren, Sound Design; Ivo Schmetz, Visual Design. Organisation: Future Cities)
Synopsis: In 2012, 17-year-old Claressa ‘T-Rex’ Shields from Flint (MI, USA) became the first woman ever to win the gold medal in Olympic boxing. This short film picks up with Claressa in 2015. She’s still living in Flint and has received no sponsorships or endorsements from her historic victory in the 2012 London Olympics. Now she’s faced with a difficult decision: does she continue on with how things are and hope for the best or does she leave behind her family, her gym and everything she knows in pursuit of her career?
Zackary Canepari, Director
Carter Gunn, Editor
Christopher ISenberg, Producer
Christopher Gary, Producer
Drea Cooper, Producer
Sue Jaye Johnson, Producer, Cinematography, Additional Interviews
Sophia Rose, Cinematography
Jessica Dimmock, Cinematography
Mo Scarpelli, Cinematography
Matthew Joynt, Original Music
Nate Sandberg, Original Music
Gregg White, Coloring
Brian Susko, Sound Mix
Lindsey Phillips, Additional Editing
Co-produced by Great Big Story and Victory Journal
2. Trapped (Team: Nikos Pilos, Producer, Journalist, Videographer and Director; Arsinoi Pilou, Second Unit Camera; Natasha Blatsiou, Script; Pantelis Liakopoulos, Video Editor; Orestis Kamperidis, Music Sound Designer)
3. How China Is Changing Your Internet (Team: Jonah Kessel, Director, Writer, Video, Graphics, Editing; Paul Mozur, Writer, Video, Graphics, Editing; Sarah Li, Production Assistance. Organisation: The New York Times)
Synopsis: Chester (PA, USA), a small town in the United States just south of the city of brotherly love, has a rich history and strong African American heritage that dates back to the 1600’s. In the early 1960’s, the town experienced an industrial collapse and the subsequent economic meltdown still affects residents of Chester today. The domino effect of pervasive socio-economic issues and a long history of government corruption have revealed a microcosm of the structural inequalities that plague American society. In the 1980’s, the local governmental bodies around Chester redrew the zoning maps, effectively excluding the city from the surrounding affluent, predominately white, school districts. This exclusivity forced countless budget cuts causing seven educational bodies to close in Chester since 2000. In 2013, the school district’s graduation rate was 56 percent, a stark contrast to the national average. This predominantly African American populated city, where education is not adequately available, has a murder rate 18 times the national average. While Chester has one of the nation’s highest homicide rates, it has a far lower-than-average clearance rate. Chester has become a place where you can get away with murder. When the Spirit Moves explores the parallels between a lack of education for youth and the ever-rising crime rate in Chester. It is determined to disprove the popular perception of Chester. This is not a forgotten town. These lives are not expendable and Chester is not a place where you can get away with murder.
Justin Maxon, Director, Cinematographer
Jared Moossy, Director, Cinematographer
This year, 282 productions were submitted to the contest: 135 Short Form, 54 Long Form, 62 Immersive Storytelling and 31 Innovative Storytelling.
Winners in each category will receive a diploma and a Golden Eye Award, presented during the annual Awards Ceremony. The prize-winning projects are assembled into an exhibition that travels to selected locations.
More info and gallery of all the winners @ www.worldpressphoto.org
The World Press Photo Foundation announced the winners of the 60th annual World Press Photo Contest.
The World Press Photo of the Year honours the photographer whose visual creativity and skills made a picture that captures or represents an event or issue of great journalistic importance in the last year.
Burhan Ozbilici’s picture (which also won first prize in the Spot News – Stories category) shows how Mevlüt Mert Altıntaş, a 22-year-old off-duty police officer, assassinated the Russian ambassador to Turkey, Andrey Karlov, at an art exhibition in Ankara (Turkey) on December 19, 2016. Altıntaş wounded three other people before being killed by officers in a shootout. Ozbilici is a staff photographer for The Associated Press, based in Istanbul.
“It was a very, very difficult decision, but in the end we felt that the Picture of the Year was an explosive image that really spoke to the hatred of our times,” – says Mary F. Calvert, member of the jury, about the winning photograph. – “Every time it came on the screen you almost had to move back because it’s such an explosive image and we really felt that it epitomises the definition of what the World Press Photo of the Year is and means.”
“Right now I see the world marching towards the edge of an abyss,” – says João Silva, member of the jury. – “This is a man who has clearly reached a breaking point and his statement is to assassinate someone who he really blames, a country that he blames, for what is going on elsewhere in the region. I feel that what is happening in Europe, what is happening in America, what is happening in the Far East, Middle East, Syria, and this image to me talks of it. It is the face of hatred.”
The 2017 contest drew entries from around the world: 5,034 photographers from 125 countries submitted 80,408 images. The jury gave prizes in eight categories to 45 photographers from 25 countries: Australia, Brazil, Canada, Chile, China, Czech Republic, Finland, France, Germany, Hungary, India, Iran, Italy, Pakistan, Philippines, Romania, Russia, South Africa, Spain, Sweden, Syria, New Zealand, Turkey, UK and USA.
“It was a very intense, sometimes brutal, discussion, sometimes even emotional, but I feel proud,” - says Tanya Habjouqa, member of the jury, about this year’s winners. – “I think we were brave in our decision. We were bold. I think the selection is definitely going to push forward a debate and I think it is a debate that is essential to have.”
The 2017 World Press Photo winners are:
WORLD PRESS PHOTO OF THE YEAR
Burhan Ozbilici (Turkey) | The Associated Press
CONTEMPORARY ISSUES – Singles
1. Jonathan Bachman (USA) | Thomson Reuters
2. Vadim Ghirda (Romania) | The Associated Press
3. Daniel Etter (Germany)
CONTEMPORARY ISSUES – Stories
1. Amber Bracken (Canada)
2. Lalo de Almeida (Brazil) for Folha de São Paulo
3. Peter Bauza (Germany; doc! vol. Q3 #38)
DAILY LIFE – Singles
1. Paula Bronstein (USA) for Time Lightbox | Pulitzer Centre for Crisis Reporting
2. Tiejun Wang (China)
3. Matthieu Paley (France) for National Geographic Magazine
DAILY LIFE – Stories
1. Tomas Munita (Chile) for The New York Time
2. Elena Anosova (Russia)
3. Francesco Comello (Italy)
GENERAL NEWS – Singles
1. Laurent Van der Stockt (France) | Getty Reportage for Le Monde
2. Santi Palacios (Spain)
3. Noel Celis (Philippines) | Agence France-Presse
GENERAL NEWS – Stories
1. Daniel Berehulak (Australia) for The New York Times
2. Sergey Ponomarev (Russia) for The New York Times
3. Alessio Romenzi (Italy)
1. Valery Melnikov (Russia) | Rossiya Segodnya
2. Hossein Fatemi (Iran) | Panos Pictures
3. Markus Jokela (Finland) | Helsingin Sanomat
NATURE – Singles
1. Francis Pérez (Spain)
2. Nayan Khanolkar (India)
3. Jaime Rojo (Spain)
NATURE – Stories
1. Brent Stirton (South Africa) | Getty Images for National Geographic Magazine
2. Ami Vitale (USA) for National Geographic Magazine
3. Bence Máté (Hungary)
PEOPLE – Singles
1. Magnus Wennman (Sweden) | Aftonbladet
2. Robin Hammond (New Zealand) | NOOR Images for Witness Change
3. Kristina Kormilitsyna (Russia) | Kommersant
PEOPLE – Stories
1. Michael Vince Kim (USA)
2. Antonio Gibotta (Italy) | Agenzia Controluce
3. Jay Clendenin (USA) | Los Angeles Times
SPORTS – Singles
1. Tom Jenkins (United Kingdom) | The Guardian
2. Cameron Spencer (Australia) | Getty Images
3. Kai Oliver Pfaffenbach (Germany) | Thomson Reuters
SPORTS – Stories
1. Giovanni Capriotti (Italy)
2. Michael Hanke (the Czech Republic)
3. Darren Calabrese (Canada)
SPOT NEWS – Singles
1. Jamal Taraqai (Pakistan) | European Pressphoto Agency
2. Abd Doumany (Syria) | Agence France-Presse
3. Felipe Dana (Brazil) | The Associated Press
SPOT NEWS – Stories
1. Burhan Ozbilici (Turkey) | The Associated Press
2. Ameer Alhalbi (Syria) | Agence France-Presse
3. Mathieu Willcocks (United Kingdom)
The premier award, the World Press Photo of the Year, carries a cash prize of 10,000 euros. In addition, Canon will present the winning photographer with a selection of camera equipment. Award winners have their travel and lodging paid for by the World Press Photo Foundation to Amsterdam so they can attend the World Press Photo Festival, an event taking place 20-22 April featuring photographer presentations, screenings, and talks. They also receive a diploma and a Golden Eye Award at the Awards Ceremony.
The prize-winning photographs are assembled into an exhibition that travels to 45 countries and is seen by more than 4 million people each year. The winning pictures are also published in the annual yearbook, which is available in multiple languages. The first World Press Photo exhibition opens in De Nieuwe Kerk, Amsterdam, on April 14, 2017.
More info and images @ www.worldpressphoto.org
Poland is the result of 10-year-long work of Michał Szlaga. There are thousands of photographs that form a kind of diary of the photographer’s trip throughout the title country. At the second exhibition organised by IFF Gallery one could see 300 photographs taken by the artist.
The pictures included in the Poland series were taken occasionally, spontaneously, as if from a peeper’s perspective. In spite of taking pictures of his characters when they didn’t expect, Michał Szlaga’s intention neither was seeking for sensation nor ridiculing them; his intention was identifying some universal emotions in their gestures and facial expressions.
Contrary to the random selection of the presented images, they form an aesthetically coherent whole. On one hand, these seemingly coincidental images from a trip make up a story about Poland, on the other one – going beyond the documentary layer – they are a record of the search for beauty in the everyday life and banality.
Michał Szlaga observes Poland from a train perspective, from a car or as a common passerby – he hardly participates in events. Poland – as he sees it – is bittersweet: unleavened and kitschy but also self-ironic and absorbed in reflective contemplation.
The exhibition will be accompanied by the book of the same title, that is at the same time a publishing debut of the IFF Institute, whose purpose is to promote Polish photography.
Michał Szlaga (b. 1978) | based in Gdansk (Poland) | graduate from Photography and Intermedia at the Gdansk’s Academy of Fine Arts | known for his portrait and documentary projects | his works are in the collections of the Apollonia Association in Strasbourg, the Ujazdowski Castle – Centre for Contemporary Art in Warsaw and the National Museum in Gdansk | has exhibited his photographs in Poland, Germany, France and Iran, among others | repeatedly awarded at prestigious national and international photo competitions.
Michał Szlaga – POLAND
@ IFF Gallery (Fort Mokotów, 99 Racławicka St., Warsaw, Poland)
Opening reception: February 10 at 7.30 PM
Artist’s tours: February 11 and 12 at 2.00 PM
The exhibition will be open to the public until April 9, 2017
The Michał Szlaga exhibition is organised under doc! photo magazine patronage.
The ninth edition of Chobi Mela – International Festival of Photography in Bangladesh, one of the most prestigious photography festivals in Asia, launches on February 3 and will run until February 16, 2017. The festival is organised biannually by Drik Picture Library Ltd. and Pathshala South Asian Media Institute. Since its inception in 2000, Chobi Mela has become the most significant photography event in Asia.
The Chobi Mela IX is organised under the Transition subject. The festival will feature over 30 exhibitions with work from 27 artists spanning 16 countries accompanied by workshops, portfolio reviews and artist talks. The list of exhibited photographers includes Kanu Gandhi, Stanley Greene, Nasir Ali Mamun, Naeem Mohaiemen, Pushpamala N., Igor Pisuk (DEBUTS 2014), Robert Zhao Renhui (doc! #26) and Donald Webber, among others.
Chobi Mela IX also commissions ten Bangladeshi artists as Chobi Mela Fellows to produce site-specific artwork for the festival. To investigate the theme Transition, artists from different backgrounds of painting, drawing, animation, sculpture, photography, video, sound and installation will stretch the medium physically and conceptually. Through this novel initiative, Chobi Mela aims to support new media artists of Bangladesh to develop independent projects with freedom rarely provided in formal art events.
Chobi Mela IX continues its tradition of recognising individuals who have dedicated their lives to the growth of Bangladeshi photography. We are honoured to announce that the Chobi Mela IX Lifetime Achievement Award will go to Nasir Ali Mamun and Sayeeda Khanom. Nasir Ali Mamun’s passion for portraiture gave us engaging, thought-provoking images of writers, poets, musicians, and artists, and Sayeeda Khanom continues to be a torch bearer for women in the field of photojournalism, which men have long tried to monopolise.
Ensuring access for the general public, which has always been an important part of the festival, mobile exhibitions on ricksha vans (a trademark of the festival) will travel all over Dhaka city including remote locations. The festival is free and open to the public.
More info @ www.chobimela.org