In the beginning of 2018 I joined London Independent Photography as their exhibition organiser. In the past months I have been very busy working on their 30th annual exhibition. The show took place in Espacio Gallery, Bethnal Green, London between the 2nd to the 7th of October with 75 photographers taking part and 120 photographs in total exhibited. The selectors whom I invited to pick the works exhibited were Tom Lovelace, Wendy McMurdo and Hazel Watts.
Tom Lovelace is a London based artist, who works with photography, sculpture, performance and explores the semantics of everyday, revealing and reimagining materials, processes and histories. He is a visiting tutor at Royal College of Art and the Arts University of Bournemouth, as well as a regular speaker in different universities and galleries. His work has been nominated for Foam Paul Huf Award, Deutsche Börse Photography Foundation Prize, Prix Pictet Award and the Infinity Award (International Center of Photography, New York) and he has been published in Financial Times, The Guardian, Time Out London, The Daily Telegraph, Dazed and Confused, Wallpaper Magazine, The British Journal of Photography, Source Photographic Review and others. His self-published books are a part of Tate Artist’s Book Collection and he recently exhibited and curated work at Peckham 24.
Hazel Watts is the director of Spectrum Photographic. Spectrum is a professional imaging lab based in Brighton, founded in 1993 and currently one of the leading photographic printing services in the UK. They have worked with a number of established photographers such as Simon Norfolk and have produced the work for exhibitions such as Peckham 24 and Post-Visions at Calvert 22.
Wendy McMurdo is an acclaimed British artist who works primarily with photography and time-based media. She trained initially as a painter at the Edinburgh College of Art before developing her practice as a photographer at the Pratt Institute in New York and then at Goldsmiths College, University of London. Since then McMurdo has gone on to produce a series of influential works investigating the relationship of children and photography to the computer. She has exhibited and published widely and has been commissioned by The Photographers Gallery, London (Indeterminate Objects Classrooms) The Science Museum, London (Who am I?), The Scottish National Portrait Gallery and the Ffoto Gallery (The Skaters) in Wales amongst others. She was awarded a PhD by publication from the University of Westminster in 2015. She is currently a Module Leader (MA photography) at Falmouth University.
Along with the exhibition I also organised four artist talks by Dafna Talmor, Thom Bridge, Peter Ainsworth and Alina Kisina.
Thom Bridge is a Swedish British artist, organiser and curator whose photographic practice explores the languages, uses and formats of photography as a technology within the arts, culture and the everyday. Through print-making, sculpture and installation his work closely scrutinises the mechanics and multiplicities inherent in and inherited by photography. In the on-going collaboration T. Bridge, he works with his identical twin Theo to challenge the twin as a photographic trope.
Dafna Talmor is an artist and lecturer based in London whose practice encompasses photography, curation and collaborations. Her work revolves around a preoccupation with notions of home, transnationality and utopian ideologies. Over the last few years, Talmor has been developing Constructed Landscapes, an ongoing photographic series made from collaged colour negatives that engages with representations of landscape - its tropes and pictorial conventions - through historical and contemporary references. This body of work and a recent collaborative initiative On Landscape Project, co-founded with artists Minna Kantonen and Emma Wieslander, is what she will be focusing on for her talk at LIP.
In this discussion Peter Ainsworth, will highlight his current research practice surrounding the museum space examined through usage of consumer level photogrammetry apps. He will explore the agency of 3D digital photographic objects created and disseminated of, and in, the museum space. With particular reference to notions of digital repatriation - the process by which digital simulacrum are created for cultural or conservational usage - and the agency of virtual artefacts, Ainsworth will raise concerns of the relation between original and copy within this context.
Thom Bridge is the founder and coordinator of Field/s, a forum of twelve artists, photographers and curators that are joined every month by an invited guest. Set up in 2017 with funding Bridge was awarded by Artquest in partnership with The Photographers’ Gallery, Field/s aims to encourage transnational, intergenerational and cross-disciplinary discussions between arts professionals and is now hosted by Gasworks. Field/s will present its first public presentation in November at Sluice HQ in London in the shape of an exhibition and public programme curated by Bridge. Previous guests to the forum have included Swedish artist Lotta Antonsson, Open Eye Gallery curator Thomas Dukes, British artist and curator Tom Lovelace, British artist Sarah Pickering, Assistant Curator in Photography at Tate Emma Lewis, Norwegian photographer and writer Nina Strand, editor-in-chief of the photography journal Objektiv, and American artist Sonja Thomsen.
Alina Kisina is a Ukrainian-British artist photographer working in the UK. Her work is concerned with finding harmony in chaos through those universal, timeless human qualities that reach beyond location, gender and social background. Education and public engagement are central to Alina’s practice. She was invited as a Visiting Lecturer at the University of Wolverhampton (2013) and Duncan of Jordanstone College of Art and Design (2011).
In this talk Alina, will discuss the benefits of combining different creative streams including photographic practice, teaching and sharing your vision with others through public speaking. The talk will focus on how different creative activities can stimulate each other and enrich your artistic practice.
The show was a huge success having hundreds of visitors on the private view and many during each day. The artist talks were fully booked and there were very interesting discussions formed throughout.