Fresh from its UK premier at Derby’s FORMAT International Photography Festival, we feature Thomas Sauvin’s Beijing Silvermine project – an extraordinary archive of found photographs that picture ‘ordinary’ people stepping out of the shadow of China’s Cultural Revolution – with an accompanying essay by Gordon Macdonald.
Francis Hodgson celebrates the lifetime of powerful work produced by maverick photographer Tom Wood, and offers opinion as to why his first ever UK retrospective, currently on display at The National Media Museum in Bradford, is long overdue; Debra Klomp Ching delves into the pages of Marten Lange’s Another Language to find a cryptic index of nature; and Peggy Sue Amison speaks to emerging photographer Daisuke Yokota about his experimental practice of multi-processing and re-photographing that attempts to capture ideas of how memory is affected by the passage of time.
Elsewhere, Bridget Coaker examines narrative, process and the book form in her review of Elementary Calculus by J Carrier - a series of publicly private moments of migrants and refugees in Tel Aviv and Jerusalem; and finally, we rinse your eyes with vivid technocolour via a project entitled Sunday by Dutch photographer Paul Kooiker. Brad Feuerhelm, introducing the work, describes it as “a fountain of false nostalgias, an anachronism that results in a new kind of noir.”
In our dedicated Books section, David Moore considers what it means to return to and publish old work as he grapples with Alec Soth’s Looking for Love, 1996, Michael Grieve provides some orienting fragments of the back story for In Almost Every Picture 12, the latest publication by editor-extraordinaire Erik Kessels while Brad Feuerhelm shines the spotlight on Collected Shadows from the Archive of Modern Conflict.
