The 17th edition of FOTOFESTIWAL ŁÓDŹ Starts Tomorrow!

14th St-Union Sq, 11.12 PM Taken from the Platforms project. ⓒ Natan Dvir

14th St-Union Sq, 11.12 PM
Taken from the Platforms project. ⓒ Natan Dvir

This year’s edition of Fotofestiwal, which touches upon the issues of nature and humanity, contributes to the global ongoing debate on environmental awareness. Scope of activity of the artists and curators creating the festival goes beyond simply documentation, it also includes exploration of nature’s change in the ethical, political and historical context. Fotofestiwal 2018 delves deep not only into the environmental problems plaguing today’s world, but also the solutions which are supposed to hold a key to human race’s survival and to offer us a unique chance to relish in the power of nature in all its glory.

This year’s edition of Fotofestiwal encompasses: almost 30 exhibitions; over 100 guests; 2 competitions: Grand Prix Fotofestiwal and Photobook of the Year; International Photography Night organised in collaboration with Futures – European Photography Platform; Three Hugger, the spectacular art installation in a public space; 2 portfolio reviews aimed at professional and emerging photographers; film section; Parallel – European Photo Based Platform project; educational programme; series of workshops; meetings; slideshows; concerts; and Fotofestiwal Kids.

Taken from the Variation of White project. ⓒ Miia Autio

Taken from the Variation of White project. ⓒ Miia Autio

Taken from the Hometowns project. ⓒ John MacLean

Taken from the Hometowns project. ⓒ John MacLean

PROGRAMME

The Great Pacific Garbage Patch of almost 192 million pounds worth of marine debris is floating somewhere in the ocean between California and the Hawaiian Islands. The patch, five the size of Poland, causes the extinction of over 5 thousand animal species a year. It has already wiped out over 95 percent of the organisms in the Great Barrier Reef. Within the next couple of years, we will most probably witness the death of the entire coral reef. An exponential number of research lends credence to the irreversible human impact on the current state of the environment. In the wake of the 18th century agricultural revolution, humanity has established its dominance over animals, nature and its resources. As a result, some experts argue that we already live in the so-called Anthropocene – the human epoch -  although a scientific debate about the actual gravity of our environmental footprint on earth, which would justify its announcement, remains unresolved. Nevertheless, the Anthropocene has not only become an environmental and humanist buzzword, but also a point of reference for many contemporary artists.

Taken from the HAIL project. ⓒ Garrett Hansen

Taken from the HAIL project. ⓒ Garrett Hansen

Taken from the From Labyrinth project. © Farshid Tighehsaz

Taken from the From Labyrinth project. © Farshid Tighehsaz

Human Nature is the title of the exhibition programme comprising seven solo shows and one group show that together build a narrative about the human relation to nature. Some of the art projects emphasise people’s devastating impact on the environment, while other propose solutions to the most burning ecological issues. A majority of artists based their projects on an extensive research, consulted scientific journals, articles and archives, collaborated with experts in various fields, as well as participated in the science expeditions. They’re all actively engaged in disseminating their findings concerning the plight of Anthropocene.

Taken from the I Loved My Wife (Killing Children Is Good for the Economy) project. ⓒ Dieter De Lathauwer

Taken from the I Loved My Wife (Killing Children Is Good for the Economy) project. ⓒ Dieter De Lathauwer

Human Nature will stage the presentation of Monsanto: A Photographic Investigation by Mathieu Asselin, which premiered at Les Rencontres de la Photographie in Arles, France. Last year, the widely-discussed and critically acclaimed art project most likely received the highest accolades in the field, such as the Paris Photo-Aperture Foundation PhotoBook Award. Mathieu Asselin’s investigative reportage about the history of Monsanto, one of the largest biotechnology corporations in the world, bears testimony to the havoc its practices have wreaked on nature, climate change, global environmental policies, communities and people’s lives. -> Read an interview with Mathieu Asselin and see his project @ doc! photo magazine vol. Q9 #44.

Thuy’ Linh (21). Third generation Agent Orange victim genetic malformation, born without arms. Thuy’ Linh finished high school 2 years ago. She applied to many universities to study but most of them didn't accept her because of her missing arms. Her mother finally found a school willing to admit her. She finished her course in design a few months ago. Currently, she is looking for a suitable job. She went to Tû Dû Obstetrics Hospital when she was 3 years old and stayed until she was 18. Ho Chi Minh City (Vietnam), 2015 Taken from the Monsanto: A Photographic Investigation project. © Mathieu Asselin

Thuy’ Linh (21). Third generation Agent Orange victim genetic malformation, born without arms. Thuy’ Linh finished high school 2 years ago. She applied to many universities to study but most of them didn’t accept her because of her missing arms. Her mother finally found a school willing to admit her. She finished her course in design a few months ago. Currently, she is looking for a suitable job. She went to Tû Dû Obstetrics Hospital when she was 3 years old and stayed until she was 18.
Ho Chi Minh City (Vietnam), 2015
Taken from the Monsanto: A Photographic Investigation project. © Mathieu Asselin

In 1996, Monsanto introduced its first GMO seeds. It ensured that farmers could not save the seeds and essentially lost the ownership of their seeds. Consequently, the power balance shifted away from the farmers to corporations who now own about 80 percent of GM corn and 93 percent of the GM soy market. Now farmers not only have to buy the seeds from the corporations year after year, but they are also forced to comply with the rules and regulations embedded in the contracts, which are designed to put the farmers at a juridical disadvantage. Van Buren (IN, USA), 2013  Taken from the Monsanto: A Photographic Investigation project. © Mathieu Asselin

In 1996, Monsanto introduced its first GMO seeds. It ensured that farmers could not save the seeds and essentially lost the ownership of their seeds. Consequently, the power balance shifted away from the farmers to corporations who now own about 80 percent of GM corn and 93 percent of the GM soy market.
Now farmers not only have to buy the seeds from the corporations year after year, but they are also forced to comply with the rules and regulations embedded in the contracts, which are designed to put the farmers at a juridical disadvantage.
Van Buren (IN, USA), 2013
Taken from the Monsanto: A Photographic Investigation project. © Mathieu Asselin

Claudius Schulze decided to examine the way natural catastrophes and the threat of climate change affect the picturesque landscape you’ve probably seen a million times before on postcards and in vacation photo albums. The photographer packed his 4×5 large format camera into a van, along with his cat, and took a 31 thousand miles journey along the coast of Europe in order to raise awareness of natural disaster management’s influence on the shape of landscapes. -> See Claudius Schulze’s project Statue of Nature @ doc! photo magazine vol. Q9 #44.

Lac d’Emosson, Switzerland Taken from the Statue of Nature project. © Claudius Schulze

Lac d’Emosson, Switzerland
Taken from the Statue of Nature project. © Claudius Schulze

Bort-les-Orgues, France Taken from the Statue of Nature project. © Claudius Schulze

Bort-les-Orgues, France
Taken from the Statue of Nature project. © Claudius Schulze

Mandy Barker, an award-winning British photographer, recipient of many awards, including IPA and Lens Culture Earth Award, among other, specialises in aerial shots of oceanic plastic debris depicted as ‘marine creatures.’ Her works were exhibited at such institutions as the Aperture Foundation in New York City, the Victoria & Albert Museum and the Photographers’ Gallery in London. 

Another esteemed guest of Fotofestiwal will be Dornith Doherty, a Guggenheim Foundation Fellow. For a decade, she has studied the largest seed banks in the world in collaboration with renown biologists. Her impressive oeuvre encompasses, for instance, the series of intriguing x-ray images of seeds.

Kangaroo Grass Taken from the Archiving Eden project. © Dornith Doherty

Kangaroo Grass
Taken from the Archiving Eden project. © Dornith Doherty

One of the festival exhibitions presents Christmas Island, Naturally, an art project of Robert Zhao Renhui (-> doc! #26), a Singaporean visual artist whose series of photographs portrays the natural environment of animals and plants. The founder of the Institute of Critical Zoologists is well-versed in the most recent developments in biological research, as well as the role of nature in the equivocal and marginal aspects of human life. Robert works together with scientists, zoologists and botanists, which to be fair does not guarantee the authenticity of his photographs.

Taken from the Christmas Island II, Naturally project. © Robert Zhao Renhui

Taken from the Christmas Island II, Naturally project. © Robert Zhao Renhui

Inter-Species Conservation is a title of the exhibition featuring works by the Polish women artists: Joanna Rajkowska, Karolina Grzywnowicz and Anna Zagrodzka. The exhibition examines the notion of Anthropocene and visual representation of nature in art.

Furthermore, the finalists of the Grand Prix Fotofestiwal 2018, selected from the total of 630 applicants living in 59 countries, will participate in their long-awaited joint exhibition. The unveiling of the finalists’ art projects is the most prominent and exciting event of the festival since the winner of the Main Prize (PLN 10,000.00) will be announced during the exhibition opening.

Taken from the 100 Hectares of Understanding project. ⓒ Jaakko Kahilaniemi

Taken from the 100 Hectares of Understanding project. ⓒ Jaakko Kahilaniemi

Taken from the Masks, Myths and Subjects project. ⓒ Alexandra Polina

Taken from the Masks, Myths and Subjects project. ⓒ Alexandra Polina

Taken from the Centre for the Living Things project. ⓒ Diana Lelonek

Taken from the Centre for the Living Things project. ⓒ Diana Lelonek

Taken from the Palais des Nations project. ⓒ François Vermot

Taken from the Palais des Nations project. ⓒ François Vermot

Apart from the festival centres, a variety of associated events will be held in a majority art galleries and cultural institutions in Łodź, which became our official partners. It is worth mentioning two of them here. Vienna House Andel’s Łódź, which will traditionally host the first public presentation of the DEBUTS project’s laureates (-> Saturday, June 23 at 7.00 PM), and Imaginarium Gallery, where the long-awaited premiere of the second book by Hubert Humka (-> doc! #37) – Death Landscapes (Warsaw: BLOW UP PRESS, 2018) will take place (-> Sunday, 24 June at 5.00 PM).

Taken from the Death Landscapes project. © Hubert Humka

Taken from the Death Landscapes project. © Hubert Humka

Taken from the Death Landscapes project. © Hubert Humka

Taken from the Death Landscapes project. © Hubert Humka

This year’s film programme also revolves around the theme of nature. A new feel-good film section features significant milestones in the history of nature-themed celluloid entertainment: from Percy Smith’s visual flair scored by Tindersticks – Minute Bodies: The Intimate World of F. Percy Smith (dir. by Stuart A. Staples; UK: BFI, 2016) and the BBC’s Planet Earth II (dir. by David Attenborough; UK: BBC One, 2016) , through Hitchcock’s classic The Birds (dir. by Alfred Hitchcock; USA: Universal Pictures, 1963) and independent films of San Francisco from the VHS era, to the midnight screenings. Our line-up features the latest documentaries about photographers, such as  Faces Places (dir. by  JR and Agnès Varda; France: Le Pacte, 2017), Master and Tatyana (dir. by Giedre Zickyte; Lithuania: MEED Films, 2015), and Instant Dreams (dir. by Willem Baptist; the Netherlands: Cinema Delicatessen, 2017), a film about people trying to keep their dreams of instant photography alive.

The special section devoted to our viewers’ educational experience, prepared in collaboration with the University of Łódź, embraces multimedia presentations, film screenings, temporal events and meetings with artists/experts in ecology. Additionally, a well-stocked reading room will give our audience members an open access to the artistic and scientific publications on nature, environment protection and sustainability.

Taken from The Promise of Sublime Words project. © Ewa Doroszenko

Taken from The Promise of Sublime Words project. © Ewa Doroszenko

Taken from the Behind the Scenes project. © Sergey Melnitchenko

Taken from the Behind the Scenes project. © Sergey Melnitchenko

The International Festival of Photography FOTOFESTIWAL ŁÓDŹ is one of the leading festivals of photography in Europe, held in high regard due to its incredible energy and astonishing art shows orchestrated in the post-industrial venues around the city of Łódź, which have been attracting an impressive audience for several years now. It presents some of the most fascinating phenomena in contemporary photography. Professionals are offered an opportunity to hone their skills during workshops and portfolio reviews, while children may enjoy learning a thing or two on how take pictures and approach photography.

More info @ fotofestiwal.com

 

International Festival of Photography FOTOFESTIWAL ŁÓDŹ
June 21 – July 1, 2018
@ Art_Inkubator (@ Art Factory; 3 Tymienieckiego St., Łódź, Poland)
@ OFF Piotrkowska Centre (138/140 Piotrkowska St., Łódź, Poland)

The 17th edition of the International Festival of Photography FOTOFESTIWAL ŁÓDŹ is organised under doc! photo magazine media patronage.

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