Italian street photography emerged after the WW2 with the explicit aim to suppress the obsolete canons of pictorialism and of celebrative photography. Those were tied with the propaganda instances and aesthetics of the past regime and, as such, had to be obliterated. This was a fertile context for documentary photography, photojournalism, or even for the efforts of photo artists in describing the various aspects of post war’s Italy. It was a fertile context for street photography. Various authors, stimulated by the neorealism of Rossellini and Visconti, were able to embed intimate perceptions and moods in the container of an ethnographically and sociologically rigorous document. Names, as those of Barzini, De Biase, Giacomelli, Migliori, mix up with the names even of amateurs, less known but well dedicated to document the re-conquer of life and dignity in a country so heavily hit by the war. The fine street photographs, and the photographers, here selected among many others, bear witness of just this. Welcome to street photography in Italy.
by Giovanni Mattia Porcelli
doc! #27/28 (pp. 224-243)
On July 11, 1995, Bosnian Serb troops led by Ratko Mladić stormed through the UN peacekeeping enclave into the city of Srebrenica, executing over 8,000 Bosniaks, mostly men and boys. Labeled a genocide, the event is considered the worst episode of European mass murder since the World War II, and was a wake-up call for the West to push for the cease-fire that ended the three-year Bosnian conflict. Today, 19 years after the event, pieces of the bodies are still being found in over 300 mass graves, often in several different locations due to the perpetrators’ attempt to cover up the crime. 6,066 victims have been buried so far during the annual anniversaries of the massacre in Potočari (Bosnia and Herzegovina)…
doc! #27/28 (pp. 71-89)
under doc! photo magazine patronage:
1973-1989. Selected Photographs is a review of Chris Niedenthal’s (doc! #6) works taken between his arrival to Poland and democratic changes in this part of Europe. We can find there photographs taken in countries which then were called Polish People’s Republic, the Union of Soviet Socialist Republics, Socialist Republic of Romania, Hungarian People’s Republic, and German Democratic Republic. As a photojournalist working for Western magazines, Chris Niedenthal reported about political events happening in the Eastern Bloc. But there is something more than politics that keeps man alive. What is this? Come to the gallery and see it yourself!
Chris Niedenthal – 1973-1989. Selected Photographs
NEYGallery&Prints (7 Spokojna 2 St., Warsaw, Poland). Grand opening: January 10 at 6:00 PM. The exhibition will be open to the public until February 10, 2015.
Read the interview with Chris Niedenthal and see his material published in doc! #6 (pp. 33-69)
Open call for the 7th edition of the ShowOFF Section at Photomonth in Cracow continues! The contest is dedicated to debuting artists from Poland and CEE region. This year, all submissions will be evaluated by: Michael Ackerman, Marta Kolakowska, Martin Kollar, Anna Nalecka, and Igor Omulecki.
To submit your project (ready or ongoing, photographic or multimedia), send it along with the completed application form to email@example.com by midnight on January 18, 2015.
More info @ photomonth.com/en/show-off
China Dolls forms a body of work that serves as a perspective on the young women of China, struggling to find their identity in their rapidly changing country. Caught in a transitory state, the women are now uprooting themselves from their former constraints. Up until the Communist Revolution, there was a prominent male domination in Chinese society while women maintained a subservient, dutiful role. Despite Mao Zedong lifting the oppression of women during the tumultuous revolution, women’s liberation in China has remained very much an ideology as Confucian culture and its strict obligatory gender roles remain deeply rooted among the people. In this series of portraits Daoust has sought to pay homage to these women who have long remained in the shadows. The duplicitous elements indicative of her work are evident; strength/weakness, fantasy/reality, beauty/vulgarity, past/future – her subjects wrestle with both notions settling somewhere in-between…
doc! #27/28 (pp. 91-109)