Edition 2019 : Cultural Capital/Capital Culture
why ?
installation # 1
why ?
We believe that for you, as well as for us, this is an important and complicated issue: a lot of open questions and unclear answers, which is the reason why we want to meet with you and explore how our decisions as curators, artists, critics, writers can affect the ethics of our work, as well the much urgent global issues. How our work can coexist, if, with the omnipresence of private and corporate money in the photography world : the Whitney Museum and Warren Kanders, Photo London and the Dorchester Collection, Nan Goldin and Sackler, etc..
talks
installation # 1
why ?
A series of informal conversations in a relaxed setting. We hope to encourage the sharing of experience and opinion with invited guests and members of the public. Open to everyone, refreshments provided. One session per day, 11:00.
Guests : Laia Abril, Max Pinckers, Emma Bowkett, Karen Paulina Biswell, Lewis Bush, Monica Alliende, Lina Pallota, Salvatore Vitale and Luis Weinstein.
installation # 1
installation # 1
installation # 1
INSTALATION # 1, JULY 2019.
275 newspaper, 28.9 x 38 cm, first edition, printed in London.
25 special edition with pigment print 28.9 x 19 cm.
A series of conversations, 45 min (each).
150 invitation cards, 8.4 x 5.5 cm.
1 plexiglass box with black vynil lettering.
339 paper sheet , 21 x 29.7 cm (each).
5 chairs
1 red indoor carpet, 15m2.
1 monitor
guest
newspaper
guest
On July 6, Luis Weinstein, one of the editors had the presentation of "Una revisión del Fotolibro Chileno", the culmination of the research initiated in 2017 on photobooks in Chile by Sud Fotográfica.
For more information, download the book for free here : http://www.sudfotografica.cl/publicaciones.html
Workshops
International Summer School of Photography, 13th edition: Photography and the World, Latvia.
12 – 20 July 2019
The Camera as Political Apparatus: Protest and Engagement in Documentary Photography
This workshop invites participants to think, discuss and challenge their beliefs on what critical documentary photography is and can be. As photographers, how does our point of view and engagement affect how and what we photograph? Is documenting enough in today’s world? Are we in danger of succumbing to a certain aesthetic laziness in the way we photograph pain and misery, and is there an alternative? We believe that documentary photography still has an important role in criticizing, revealing and in other ways actively catalyzing change in today’s world. The way we as photographers approach what we do can mean the difference between visual tourism, a cry of outrage or effective criticism.
From planning and developing to promoting and funding a project, the participants will have an opportunity to clarify the next steps for their existing politically or socially engaged long-term work.
Part I. From outrage to productive criticism
Where to aim and how to create an efficient critique? We’ll discuss how to navigate the seemingly endless possibilities – from coming up with ideas, to developing a coherent storyline and form, collaboration, access to the subject, planning, visualizing and more.
Part II. Delivering the message and the form of the project
As the project develops, its final form and presentation should be kept in mind. The options are many, but we will talk about how to “set your own rules” by pinpointing what is most suitable for a specific project.
Part III. Show me the money
Funding is the Achilles heel of documentary photography. Photographing climate changes with a grant from Shell Oil Corporation – a disaster or a possibility? There is little money to go around, and what there is not always “clean”. Sponsors, prizes, grants, print sales – navigating these unclear waters is key in making choices that can affect the ethics of your work.
General requirements
Participants should be working on or have recently completed a long-term project. Bring your work-in-progress (small/medium prints are recommended as well digital files), as well as your portfolio.
Workshop in Zaļenieki Manor, Jelgava district, Latvia, 2019.
collaborators
