Saturday 31 December 2011

Farewell 2011, hello 2012!

And so another year passes. We hope you have all had a happy, healthy holiday season and here’s to a prosperous 2012! As ever, thanks to everyone who has supported and worked with 1000 Words during this past year. Here are some of our organisation's highlights:

-the appointment of a board of directors who play an active role in the direction of the organisation. They are Camilla Gore, Nicholas Barker, Simon Baker, Aron Morel, Louise Clements, Tim Clark, Michael Grieve and Norman Clark

-the announcement that our sister-site, the 1000 Words blog, was named as the winner of Arts Media Contacts’ Photography Blog of The Year Award

-two 1000 Words Workshops with Anders Petersen and Erik Kessels that took place in the beautifully evocative medina of Fez, Morocco

-1000 Words editors, Tim Clark and Michael Grieve’s
participation in a panel discussion on “galleries” for photography with Linda Berlin and Toni Cederteg, Library Man; and Kristin Bråten, Director, Gallery Riis in association with Objectiv in Oslo, Norway

-curation of a slideshow featuring Anna Linderstram, JH Engström and Viviane Sassen at Łódź International Festival of Photography, Poland

-three issues of 1000 Words Photography Magazine, based around themes of Aporia, Hidden and Thereness, released in February, May and October respectively

-sponsoring The Salon Photo Prize 2011, in which thirty-five early-career photographers were exhibited at Matt Roberts Arts on Vyner Street, East London with one exhibitor, EJ Major, winning the selectors’ prize supported by 1000 Words consisting of £1000 and a subsequent solo exhibition

-Tim Clark, Editor in Chief at 1000 Words, joining the Academy of Nominators for the Deutsche Börse Photography Prize and also co-judging FreshFacedandWildEyed2011, the fourth annual competition for recent graduates organised by The Photographers’ Gallery, alongside Edmund Clark, Photographer; Louise Clements, Artistic Director, QUAD and Format International Photography Festival; and Brett Rogers, Director, The Photographers’ Gallery

Tuesday 20 December 2011



1000 Words is delighted to announce its fourth workshop. Following successes with Antoine d’Agata, Anders Petersen and Erik Kessels we are proud to present Roger Ballen as the workshop leader for the next retreat in Fez, Morocco (5-9 May 2012). 

"Somebody said my pictures are diamonds but they are diamonds with charcoal and carbon inside. What’s going on in the interior of that world is breakdown and chaos, but there is affection on the formal side. You constantly have to deal with these contradictions. They cause ambiguity, which is an important part of my art." Roger Ballen


Like most great artist-photographers Roger Ballen’s work is hard to define. Drawn from the documentary genre, Ballen has developed an approach all of his own. His photographs are complex tableaux of surreal and disturbing visions that attempt to reflect his own psyche, which he regards as revealing his existential journey in life. Focussing on the interactions between people, animals and objects that inhabit rooms - rooms that are typically squalid, their walls covered with scribbled drawings, stains and wire; their floors strewn with bizarre props and artefacts - Ballen stages unsettling scenarios that chafe on our subconscious.

Born in New York in 1950, Ballen has lived in Johannesburg, South Africa since the 1970’s. His work has been exhibited in many important institutions throughout the world and is housed in numerous museum collections including Victoria and Albert Museum in London, Museum of Modern Art in New York and the Centre George Pompidou in Paris. Ballen is represented by the Gagosian Gallery, Stills Gallery and Gallery Xavier Hufkens S.A. His books have received critical acclaim such as Platteland: Images from Rural South Africa (1994), Outland (2001), Shadow Chamber (2005) and his latest series Boarding House (2009).


The organisation's flagship is 1000 Words, an online magazine dedicated to contemporary photography in the UK and beyond. It reviews exhibitions and photobooks and publishes interviews, essays and multimedia. We are committed to showing the work of lesser-known but significant photographers alongside that of established practitioners in the aim of bringing their work to a wider audience. Often incredibly diverse in terms of subjects, concepts, styles and techniques whilst always foregrounding the subjectivity of documentary art photography, 1000 Words intends to explore the limits and possibilities of the medium.

Released quarterly, the magazine attracts over 140,000 unique visitors from more than 75 countries every month. In May 2010 the 1000 Words Blog was ranked at number 3 in The Top 25 UK Arts & Culture Blogs as part of a survey carried out by Creative Tourist and was also named as the winner of Arts Media Contacts' Photography Blog of the Year Award, 2010.

Yet 1000 Words is much more than just an online magazine. It is the first step in our concept. 1000 Words also operates a programme of exhibitions and events including four annual workshops in Fez, Morocco as well as talks, portfolio reviews, prizes and awards. 

1000 Words is governed by its board of directors who play an active role in the direction of the organisation. They are: Camilla Gore, Nicholas Barker, Simon Baker, Aron Morel, Louise Clements, Tim Clark, Michael Grieve and Norman Clark. The 1000 Words Workshops are organised by Tim Clark, founder and editor-in-chief at 1000 Words and Michael Grieve, 1000 Words deputy editor, senior lecturer at Nottingham Trent University and a photographer represented by Agence Vu.


The 1000 Words Workshop takes place in an authentically restored riad situated in the medieval medina, at the heart of the beautifully evocative city of Fez, Morocco. The workshop will be an intense experience lasting five days between 5-9 May 2012 and will consist of 12 participants. The medina is a vibrant labyrinth that will permeate all the senses. Surrounded by the Atlas Mountains, it offers a visually stunning backdrop for this truly unique workshop.

We are looking for a diverse range of participants who understand the work of Roger Ballen and feel that their own art will benefit from his guidance. 


The cost of the workshop will be £1250 for 5 days. Once participants have been selected they will be expected to pay a non-refundable deposit of £500 within two weeks. Participants can then pay the rest of the fee according to deadlines (see below). Participants are encouraged to arrive the day before the workshop begins for a welcome dinner. The price includes:

-tuition from Roger Ballen (including defining each participant's project; shooting; editing sessions; creating a coherent body of work; creation of a slide show; projection of the images of the participants.)
-a welcome and farewell dinner
-lunch everyday and snacks during the afternoon
-24 hour help from the 1000 Words team and an assistant/translator with local knowledge.

Participants will be expected to make their own travel arrangements and find accommodation, which in Fez can range from £150 upwards for the week. We can advise on finding the accommodation that best suits you. Remember that most of your time will be spent either at the riad or shooting. For photographers using colour film we will provide the means for processing and a scanner. Photographers shooting digital will be expected to bring all necessary equipment. Please note that for the purposes and practicalities of a workshop, digital really is advisable. All participants should also bring a laptop if they have one. Every effort will be made to accommodate individual technical needs.


"I have had the most profoundly moving, fascinating, difficult, wonderful week of my life. Thank you 1000 Words. Words can not describe. I have been continuing with my project. It feels different here, of course. And much slower progress. But still shooting with the same or similar mindset. All connected to what I did in Morocco. Really, really missing everyone. I feel privileged, truly, to have been part of it. Have been in the countryside with my parents since getting back and finally showed my mum the slideshow, with music that had been spinning around my head. She cried." Laura 

"The Erik Kessels workshop in Fez has been a fantastic and motivational experience that I will carry with me my whole life." Andy

"The choice of city (Fez) to develop such an educational and inspirational workshop is amazing, since the immersion begins as soon as you arrive. You are induced to leave your comfort zone and search for new references and perspectives, and given that the culture and language are so unique they also become great ingredients in this creative quest. The whole infrastructure offered during the workshop and also the specific venue where the meetings and tutorial activities took place were all part of the environment, serving to create a peaceful and harmonic atmosphere that continuously inspired us all during the workshop." Alan

“Antoine D'Agata workshop in Fez was a mind shaking experience, and for me that was just what I needed! Antoine's repeated question to me was, "but what do you want?" What a simple question it may seem but to truly honestly answer this was one of the hardest things. Antoine struggled with me daily to be truthful to the process of shooting and to my work. Trying to do this as a white woman in a muslim foreign country seemed scary at first. But soon enough this fear pushed me to go farther than I had before. To take more risks and be more bold. In the end, I had allowed myself to befriend men and women who were at first just strangers on the street. My once beautiful but safely intimate portraiture became more real for me, evoking not only the fear of letting myself leap in a strange place but in the process of doing so, being able to see so much more in others.

The workshop venue was such a treat and incredible place to be able to go to every day. A sanctuary to rest and to edit and collect your thoughts. A place to run into your fellow work shoppers and bounce around ideas. The food was more than I had expected and in fact pretty much the best food I ate in Morocco in my three weeks travel. Tim and Michael were so on top of the workshop; they were there managing every detail from accommodations, food, coordinating the class meetings, running film to labs, scanning, and even just being sweet and kind pals to talk with about your day or have a beer with and brainstorm about your project.

All in all, this workshop could not have been better and I feel so lucky to have had such an opportunity. Antoine's phenomenal out of the box thinking and honesty is one of a kind. 1000 Words' workshops fall into the 'do not miss this' category!” Katie


We require that you send 10 images as low res jpegs and/or a link to your website, as well as a short biography and statement about why you think it will be relevant for you to work with Roger (approx. 200 words total). Submissions are to be sent to with the following subject header: SUBMISSION FOR 1000 WORDS WORKSHOP WITH ROGER BALLEN.

01 March 2012: Deadline for applications
05 March 2012: Successful candidates contacted
12 March 2012: Deposit due (£500)
09 April 2012: Second installment due (£750)
04 May 2012: Arrive in Morocco for welcoming dinner
05 May 2012: Workshop begins
09 May 2012: Workshop ends

Good luck!

Tuesday 6 December 2011

frieze issue 143 and frieze d/e issue 3

We are very happy to announce a new discounted offer on frieze magazine exclusively for 1000 Words readers. Over the past last twenty years, frieze has firmly established itself as the leading print publication in the field of contemporary art and culture. Astute critical analysis, exquisite design and through using informed and dedicated writers (guiding principles which are very close to our heart), frieze still continues to be the magazine of choice for today's brightest and most forward-thinking writers, artists, curators and collectors.

Here, we present a short preview of the current issue of
frieze, and frieze d/e their new quarterly bilingual journal, both current issues of which are entirely dedicated to photography!

frieze - issue 143: Still-Life Photography

In the new issue of frieze Elad Lassry discusses his sculptures that "happen to be photographs" with curator Mark Godfrey, articulating the relationship between objects, the importance of the frame and the potential of "nervous pictures."
Plus, Chris Wiley looks at new approaches to photography in the work of a number of US-based artists and David Campany discusses the intertwining of art and commercial photography in the genre of still life. Also featuring: Gilles DeleuzeLuigi GhirriBarbara Kasten and Kathrin Sonntag, as well as Lynne Tillman on a new book on the writing of Diane Arbus that prompts a deeper understanding of her work. Alfredo Jaar answers the questionnaire: "I distrust images".

With 40 reviews from 26 cities including: 'Untitled (12th Istanbul Biennial)'; 'September 11', MoMA PS1, New York; 2011 Folkestone Triennial; 11th Biennale de Lyon and Yokohama Triennale 2011. As well as exhibitions from: Athens, Beirut, Berlin, Brescia, Brussels, Cologne, Dublin, Dundee, London, Los Angeles, Mexico City, Munich, Moscow, North Adams, Osaka, Paris, Portland, Porto, Stockholm, Vienna and Zurich.

frieze d/e - issue 3: The Ends of Photography

How do photographs circulate and what happens to them over time? The winter issue of frieze d/e looks at how artists use photographs both as isolated objects and as instant images.

Editor Jennifer Allen considers the status of photography after the end of film. Plus, Hans-Peter Feldmann contributes an exclusive artist project. Also featuring: Marieta Chirulescu, Haris EpaminondaHolger Hiller, Dorothy Iannone, Albert Oehlen, Rudolf Schwarzkogler, Hito Steyerl and Christina Zück. With 20 reviews from 16 cities including: Aargau, Berlin, Cologne, Dusseldorf, Hamburg, Innsbruck, Kaufbeuren, Lausanne, Leipzig, New York, Stuttgart, Vienna and Zurich.

Receive frieze and frieze d/e through your door and save 25% on newsstand prices.

Quote: COMB11

Subscription hotline: +44 (0)203 372 6102

Monday 28 November 2011

Ochi Reyes

All images © Ochi Reyes

Last Saturday, I met up with my fellow judges and the participating photographers from this year’s Fresh Faced and Wild Eyed at The Photographers’ Gallery offices for the follow-up portfolio reviews and slideshow. Now in its fourth year, the competition celebrates the breadth and dynamism of photographic work produced by recent graduates from across the UK. Following an online application process, the 20 selected finalists were exhibited in an online gallery. To see the list of those photographers who were included, and their respective works click here. This year’s judges were Edmund Clark, photographer; Louise Clements, Artistic Director, QUAD and Format International Photography Festival; and Brett Rogers, Director, The Photographers’ Gallery and yours truly, (Editor-in Chief, 1000 Words Photography Magazine).

At some point during one session with a particular finalist, Ochi Reyes, a voice in my head started to channel the words "She’s got something special" for these indelible self-portraits hit me hard. Their dry humour and deadpan compositions and style remind us of better-known female practitioners from the past such as Jo Spence but also speak in the more contemporary photographic language of say Marina Abromovic or even Catherine Opie. Poignant and political, Reyes’ work examines the influence of the other on the self. She is interested in how our identities are culturally constructed, and her photography explores how conceptions of gender distinctions, love and desire are imposed on our bodies from outside. More often than not, the characters in her photographs are actors, and she questions how we become actors in our own bodies, playing out the roles already scripted and prepared for us. Her photographs question the nature of representation, often exploring the mise-en-abîme effect of using one sort of representation inside another. In her artist statement for the project Revelations, shown above, she writes:

"My own body and thoughts are the basis for a critical examination of society’s expectations to do with identity, surrounding issues of age, gender and family. All of the thoughts scratched onto my skin are related to not fitting in and the feeling of anxiety arising from this displacement. The surface of my body portrays how these thoughts, which come from outside, find their way not only into my psyche but also into my own body image.

My skin condition, dermographism, means that the surface of my body can be inscribed as if it were a slate. In the same way that early morning thoughts linger for a short while before they disappear, leaving a slight trace that remains throughout the day, my skin slowly goes back to normal over the course of the day and is ready the following morning to be re-inscribed. It is not only this malleability of the skin, that interests me, but also the idea that skin absorbs information from the outside world; it is the interface between the self and others, both separating us and becoming the physical link between our bodies."

Ochi Reyes was born in Madrid in 1974. After studying at Murcia School of Art she moved to London and completed a degree at Westminster University in Photographic Arts in 2010. In 2005 her project Photographs of an Amorous Discourse was shortlisted in the category Descubrimientos in PhotoEspaña. She is currently studying for an MA in Photographic Studies at Westminster University. Definitely one to watch.

Friday 18 November 2011

Roe Ethridge

Whilst researching for our latest issue "Thereness", we came across a selection of videos on featured artist Roe Ethridge. In this particular interview with MoMa's Curator of Photography, Roxana Marcoci, Ethridge discusses his experience of working in commercial photography and its influence on his personal projects, and in the process gives us an interesting insight into his unique approach to making fugues that are achieved through what he refers to as "amnesic states of wondering".

Here is an extract from Maggie Gray’s article in issue 12 of 1000 Words:

"Roe Ethridge studied at Atlanta College of Art, after which he found work as a catalogue photographer to make ends meet, so the theme of day to day luxury and branding is one he knows well. On top of influencing his subject choices, Ethridge’s commercial experience informs the eclecticism of his style. Working to other people’s briefs throws up a host of visual and thematic scenarios. As Ethridge put it in this interview, he can photograph “a golden retriever one day and an underwear model the next.” He brings the same incongruous variety to Le Luxe: a turn of the page leads the viewer straight from bikini-clad women to a thoughtful shot of an empty maple syrup jar. Unlikely reverberations and echoes emerge throughout the book. One photograph depicts men breaking up stone slabs for the Goldman Sachs construction. In three others, similar slabs feature as impromptu ashtrays. Are they from the same source? Does it matter if they’re not, if the associations still resound? Other themes, such as Ethridge’s fascination with textural surfaces, are woven more intrinsically into the whole. His free and associative combinations deliberately reflect the heterogeneity of a photographic career – the juggling of projects, the frequent unsolicited finds and the constant casting about for inspiration. Nothing in his work happens in isolation as he draws, untethered, from his entire visual practice.

That Ethridge is prepared to include images from all areas of his work, and beyond (he regularly borrows from public sources such as newspapers and online media) is a powerful thing in itself. Some of the pictures he employs are pixelated and blurred, brazenly failing the standard tests of ‘good’ photography. But contemporary life sees a constant bombardment of images, good and poor, particularly online where they are circulated, replicated, cropped and corrupted with ease. Ethridge is one of several artists who have taken the plunge, raiding this plethora of modern photographs to create work that – to quote video artist Hito Steyerl – offers a “defence of the poor image” instead of bemoaning it. This practice of grabbing, scanning and pasting from other sources raises thorny questions of ownership and originality which Ethridge confronts with humorous candour."

Also worth flagging up is this short interview and slideshow of Ethridge's work created by The Photographers' Gallery as part of the Deutsche Börse Photography Prize 2011 and, finally, here is an installation video of Ethridge's exhibition Le Luxe II BHGG at the Gagosian Gallery in Beverly Hills that took place June 9 - July 21, 2011.

Sunday 6 November 2011

Tallinn Photomonth 2011

Marge Monko, I Don’t Eat Flowers, 2011, colour poster, 42 x 59cm

In 1989 a united group of people formed a human chain that stretched six hundred kilometres across the three Baltic states – Estonia, Latvia and Lithuania. In a move to denigrate the 50th anniversary of the Molotov–Ribbentrop Pact, three pro-independence groups from the three nations organised The Baltic Chain. Witnessed globally, the scene was a powerful act of social solidarity and mobility, preceding Lithuania’s declaration of independence by just six months. Estonia and Latvia were to follow. On the evening of 19 August 1991, an attempted coup (the "August Putsch") occurred in Moscow in an endeavour to take power from Gorbachev. This contributed markedly to the eventual dissolution of the Soviet Union. The coup, supported by the Soviet commander of the Baltics, set in motion the declaring of independence of the Baltic States. On 20 August, as Soviet tanks approached Tallinn, the Estonian-Soviet parliament met in an emergency session to decide the fate of Estonia in or out of the hands of oppressive Soviet power. There occurred the conclusion to the “singing revolution”, as it has been named. A revolution of humility: a revolution of no deaths. The harmony and control shown in this way of overturning power is representative of an attitude that can be seen in the considered and collected nature of Estonian culture today.

KUMU, the Estonian modern art museum, designed by Finnish architect Pekka Vapaavuori Tallinn, Estonia: the 2011 European Capital of Culture.

Such an occasion for a nation with relatively recent independence is an opportunity to demonstrate the individuality and progressivity of its culture in the twenty-first century. With the same consideration and acuity as Heinz Valk’s “singing revolution” of 1991, Estonia has created a vibrant art scene in its capital that does not accede to all of the demands of the art market, instead preferring a discourse that remains on the most-part commercial gallery free, and state-supported in its activities. When few are selling and even less are buying, the discourse of art-making as an incongruous set of commercialised practices is somewhat relieved, resulting in a group of practitioners that seem to be more genuinely interested in the pursuit of art as political and aesthetic process (in-as-much one can separate commerce from these two vast areas of enquiry). For an example, see the Estonian ‘capitalist anti-capitalist’ collective Visible Solutions. It’s not that the Estonian art scene doesn’t want or anticipate a market for its artworks; it just hasn’t developed yet and there is seldom a commercial gallery showing contemporary art to be found in the city. One of the few current examples is Temnikova & Kasela Gallery, who will soon present a seminar on collecting contemporary photography.

Tallinn Photomonth took place this October, and is comprised of a number of exhibitions featuring international and local photographers, or artists, working within the field of lens-based media. The message is clear: Tallinn Photomonth seeks to address current photographic discourse internationally, while showing something original to the Baltic, and indeed Estonian photography. The festival is named Natural Magic, and is filed under the auspices of "exhibitions and events that seek to thematize the possibilities, limits and spatial relations of lens-based art".i For such a huge thematic undertaking, the series of exhibitions around the city contain the usual didacticism one would assume, as well as some genuinely interesting and thought-provoking excursions into the world of Estonian and international photography. The exhibition has been incredibly well organised by Marge Monko, who is also a practicing photographer and a lecturer in the photography department at EKA, the Estonian Art Academy.

BEYOND: Solipsism and Curating

KUMU, the Estonian Art Museum, plays host to the largest and most capacious of the festival’s exhibitions. The building is a shard-like structure in the neo-modern style, jutting out of a limestone cliff. Its inside is curved as one makes one’s way up ramps and steps from level to level. It is a wonderful space for viewing art and one that is generally used to great success, particularly the exhibition The Soviet Woman in Estonian Art, which I saw on my first visit to Tallinn and which opened in April 2010, curated by Katrin Kivimaa and Kädi Talvoja. On my visit this time, I am also intrigued to see an exhibition of work by Tadeusz Kantor, polish avant-gardist and theatre reformer.

For Photomonth, the headline exhibition BEYOND (Look at my face: my name is Might Have Been; I am also called No More, Too Late, Farewell), curated by Adam Budak, features a number of great and interesting works of photography-cum-sculpture-cum-mixed-media, coherently hung together under an unfortunately didactic and ostentatious curatorial proposition. This proposition could be read as really having little to do with the references and meanings behind the works themselves: A large collection of works, with a huge set of individual references and associations, are grouped together under a theoretical pennant, and flown confidently as an exhibition designed to engage the public in an accessible and clear manner (presumably?). The problem is not that theory shouldn’t lead the concept of a publicly-funded exhibition, nor that intellectualising contemporary art is a problem at all, it is just that within the discourse of contemporary curating, there seems to be a decision being consciously or unconsciously made that any theory can be paired with any set of artworks, regardless of their ambiguous connections:

"BEYOND (Look at my face: my name is Might Have Been; I am also called No More, Too Late, Farewell) is foregrounding a self-reflexive nature of the photographic medium and its current condition as well as the photography’s “conditionality” and “exigency” (what Agamben calls “a demand for redemption”, or what he perceives as an agent of the “real that is always in the process of being lost, in order to render it possible once again”). What makes photography “possible”; what makes it “work”, being “useful” and acting in a “relational” way; how photography continuously contributes to the architecture of the image and goes BEYOND (it); what does make photography “speak”; what is “gestural” about it; how to go BEYOND the medium or move AROUND while simultaneously remaining within the photographic discourse?"

The poetic title par excellence opens up the “multiple perspective” approach of much curating; a form of practice that attempts to be flexible in terms of meaning, but in fact remains ambivalent for fear of being pinned-down in response to criticism. This position allows a number of rhetorical safeguards that distract from the almost total lack of cultural engagement paramount in this publicly funded, institutionally supported show. It is the exhibition that does everything, means anything and says absolutely nothing (which seems to be a regular trait of this particular curator). It is the contribution to a discourse where an exhibition must support itself with heavyweight theory - a philosopher’s oeuvre that is being reconsidered in light of some new advancement in contemporary art. It must purport to make the grandest and most profound of statements, asking the viewer to reconsider the meaning of not just a single subject, but the whole discourse of photography itself; its history as an art from; its ‘self-reflexivity’; its ‘conditionality’ and its ‘exigency’. Exhibitions like this take theory out of context and place it in a vacuum-like space somewhere between the financial rhetoric of the art-market and the bemusement of practicing artists and theorists who must attempt to engage with, criticise, or simply “discuss” the myriad of disconnected ideas often put upon the table of exhibition-making. See here and here for other prime examples, and here and here for more contemporary elaborations.

Agamben is not known as a theorist of photography, and his short essay Judgement Day seems to fall into the same Barthesian trap that James Elkins has so well criticised Barthes himself for in his text against Camera LucidaWhat Photography Is (2011). The punctum, "…so personal, so close to history and so close to solipsism." ii Agamben reads like that, his closing remarks in Judgement Day that put affect at the centre of viewing all photographic images; almost to say all we have is this raw and unparalleled emotion and that all photographs are necessarily imbued with such conditions, such exigency. Agamben’s photography is not a photography of aesthetics (he admits this, preferring rather to see it as a ‘demand for redemption’), but a photography of judgement: the Brazilian girl in the portrait he speaks of in Judgement Day is judging him, as if her frozen timelessness could say something more profound than ‘Look at the objects that surround me. I am here, at this time, not in your time.’ Perhaps photographs have the ability to judge us only when they exist in multiplicity? Perhaps a single image is lost without other points of connection in the form of other images? That is one of the reasons why bodies of photographic work commonly exist in series: the photographer himself feeling the need to present serial images of a space, a subject, or a time, in order to make sense of it. Even Agamben speaks of more than one image, a book of images in fact:

"Photography demands that we remember all this, and photographs testify to all those lost names, like a Book of Life that the new angel of the apocalypse - the angel of photography - holds in his hands at the end of all days, that is, every day." iii

Sometimes photographs demand nothing whatsoever. They can exist entirely as images born of the often-pointless relationship between technology and human habit. Is it not the case that photography also shows a non-humanist side, one that downplays human agency?

"Camera Lucida hides photography’s non-humanist, emotionless side. Photography is not only about light and loss and the passing of time. It is about something harder… not only a blurred glimpse of our own deaths, a sense of memory as photographic grain, a dim look at the passage of time, or a poignant prick of mortality, but something about the world’s own deadness, its inert resistance to whatever it is we may hope or want". iv

Sometimes photographs do not contain the events we ascribe to them, or the profundity we label them with; they can also be empty and punctum-less. Such images portray the act of doing simply because one has the ability to do; building simply because one has the ability to build. And as the US housing market has recently shown us - so interestingly and subversively revealed by Edgar Martins’ Ruins of the Second Gilded Age - sometimes there is no one to use or occupy that which has been constructed. Your average person with an iPhone: click, click, and click goes the digital shutter as yet another pseudo-analogue photograph gets sent into the flickering ether. What of this huge archive of images? What are we to do with it? The advent of the “online exhibition”: curating the immaterial, a shifting, morphing subject…

Agamben cites Benjamin, but Agamben’s angel of photography doesn’t seem to view the past as a continuous catastrophe, more an exigence for the punctum itself; that spontaneous, habitual Barthesian nostalgia. Agamben’s angel of photography would not be forced by a storm into the future, but would keep photography in some crumbling idea of its own past (the punctum, a mirror; the narcissism of meaningless humanity). The angel of photography holds in her hands the whole of Flickr and Facebook; an incredible weight to bear whilst caught in a storm, moving towards the future. The images she holds do not contain a punctum, nor do they put affect at the centre of their existence, they are simply historical moments and coincidences:

"The notion of the ‘true’ image has been blasted apart – to use Benjamin’s words – by the dynamite of the split second. No snapshot is an absolute resemblance – Rodchenko uses the example of Lenin to make his case – there are only moments and coincidences. No one photograph summarizes the essence of Lenin, for there is no essence, there is no synthesis, only a shifting subject who moves through time, modifying history, being modified." v

Like Elkins’ statement on Barthes’ closeness to solipsism, so too we see the solipsism of the contemporary curator; one who looks for meaning in exhibition making, but instead ends up back with the conclusion that only he can be proved to exist; that exhibitions must show the existence of the curator overtly. Long has a time passed when the curator lurked in the background of the museum; now he is an art-world celebrity; his name appears in matt-grey vinyl lettering across the wall of the white cube at the same scale of that of the artist. Like the angel of history, a storm pushes the relational, global, philosopher-curator (of which Nicolas Bourriad is the epitome) into the future while art history crumbles behind him in total despair.

BEYOND Mini-symposium

Daniele Monticelli delivers the opening lecture The Event of Language: Life In (and After) the Society of the Spectacle according to Giorgio Agamben. He succeeds at presenting an accessible and intelligent account of Agamben’s thesis adopted by the exhibition’s curator, and in doing so proves it bears little relevance to the works of art featured in the show, other than in the most profoundly general manner.

Liz Wells
brings some coherence to the situation by delivering a highly interesting paper on shifting notions of the sublime, which focuses more on paintings of the polar landscape and Caspar David Friedrich than on the exhibitions concept.

The mini-symposium concludes with a group discussion with several of the artists, in which the curator explicitly refuses to answer questions about the exhibition, preferring to divert attention to the practitioners who all look genuinely perplexed by what is expected of them, with the exception of Alexandre Singh who made some lucid comments that both rightly contradicted and surpassed the logic of the exhibition’s concept. I must also use this opportunity to point to the interesting work of Dénes Farkas, the Hungarian artist who has, for a long time, been contributing to a burgeoning contemporary photography scene in Tallinn.

Moments of Reprieve at Tallinn Art Hall

This exhibition, co-curated by Louisa Adam and David Birkin, and held at the Tallinn Art Hall, contributes to an argument about the crisis of photojournalism, which could find expression, again, in Walter Benjamin’s essay The Author as Producer. Here, Benjamin rightly criticises the tendency photojournalism has to objectify suffering for bourgeois consumption, creating images that allow for too comfortable a contemplation of their content. The critique Benjamin wrote of Albert Renger-Patzsch’s publication The World is Beautiful (1928), contributed towards his wider criticism of the “new objectivity” movement in Weimar Germany at this time. The relationship between aesthetics and politics, according to David Levi-Strauss, reached boiling point in the 1980’s and 1990’s, when several writers took up their discontents with photojournalistic practice and its “aestheticisation of suffering”, including Martha Rosler, John Tagg, Abigail Solomon-Godeau and Allan Sekula (one could add several others to this list).

Today, there are a number of practitioners that continue to criticise mainstream photojournalism, including David Birkin and Adam Broomberg & Oliver Chanarin - who all feature in this exhibition - along with Indre Serpytyte, Idris Kahn, Ori Gersht and Taryn Simon, who, in a variety of ways contribute to this important discourse, where photography exists as social critique and as political engagement, which is one very good definition of art and one that perhaps Benjamin would agree with.

"Moments of Reprieve brings together a group of artists whose work responds conceptually to the challenge of articulating loss in photography, whether as personal experience or political critique. Through a series of staged and stolen moments, the photographs in the show expand on the idea that the medium and its modes of production may point to something beyond a literal visual depiction – for instance, by highlighting how images can communicate more through what they conceal than the subjects they portray. The exhibition takes its title from the 1978 book by Primo Levi, recalling the small and often unspoken gestures encountered during his imprisonment that restored a sense of humanity in otherwise inhumane circumstances." vi

The idea of loss (loss of life; loss of information; loss of control) - one of the key points of consideration in any individual or society’s experience of war - is a valid and understandable concept for an exhibition. Where as BEYOND sought to obfuscate cultural engagement and demand the impossible of itself, the exhibition Moments of Reprieve succeeds in contributing coherently to Tallinn Photomonth by, ironically, disentangling a set of works that hold obfuscation (partial or complete abstraction) at the centre of their existence. The former exhibition takes a body of artworks and seeks to obscure them in verboseness, while the latter exhibition takes a body of obscure and often abstract works - with a stringent political message - and gives them relevance and a platform for accessible cultural engagement.

"I spoke of the operation of a certain type of fashionable photography, which makes misery into a consumer good. When I turn to the ‘new objectivity’ as a literary movement, I must go a step further and say that it has made the struggle against misery into a consumer good." vii

If much mainstream photojournalism, even to this day, represents part of the ideology of “new objectivity”, then it is exhibitions like this one that seek to question it. As Adam Broomberg & Oliver Chanarin have already expressed their objection at the way in which photojournalism comes to be seen and what it means, so too does this exhibition contribute to a discourse of photographic practice and exhibition-making that seeks to expose and criticise some of the problems inherent to contemporary photography and its politics of obfuscation (as Brecht terms photography's obscuring ability in 1931, in the following quote). The role of the mainstream photojournalist has been replaced by the vernacular or everyday image. Technology has developed sufficiently to allow for a situation where photojournalism is rendered redundant in its traditional “new objective” function by the very apparatus (camera technology) that allowed it in the first place. Now the role of the amateur photographer or video maker, which the BBC and other news corporations will describe as “unverified footage”, has taken precedence over Brecht’s model of the bourgeois photographer:

"The tremendous development of photojournalism has contributed practically nothing to the revelation of the truth about conditions in this world. On the contrary photography, in the hands of the bourgeoisie, has become a terrible weapon against the truth. The vast amount of pictured material that is being disgorged daily by the press and that seems to have the character of truth serves in reality only to obscure the facts. The camera is just as capable of lying as the typewriter." viii

This ties into something incredibly pertinent Joel Snyder said in the transcription of The Art Seminar, published in James Elkins’ Photography Theory. The following quote perfectly highlights the erroneous nature of much photojournalism in its quest for accurate social depiction, or verifiable, lucid truth. Perhaps then, what Joel Snyder says here describes exactly where the exhibition Moments of Reprieve might locate itself within the context of exhibition making; and perhaps where BEYOND fails in its perverse solipsism:

"This is the first kind of problem you run into with the index. If you try to go from what you see in the photograph to what was actually in the world at the moment of exposure, you eventually screw up the way we talk about photographs. What we see in photographs is not, either necessarily or even generally, what we would have seen in front of the camera when the picture was taken." ix

The first issue here is representation, in the literal sense of the word: what exists in the world at the time of a photograph is not what is recorded. Photographs can only be imbued with a minority of any given quantity of present information. Therefore the index of a photograph is only ever a small, undemocratic quantity of the index of the event it attempts to capture. I don’t agree that this ‘screws up’ the way we talk about photography; I think it concretises it. Photographs are, on the most part, lies - be them hurtful or nostalgic lies - one who sees the punctum in an image; the narcissism of meaningless humanity - or photographs as empty depictions, such as Elkins’ Dim look at the passage of time, what one is viewing is technology’s ability to lie when taken at face value; when used as intended. Art that depends upon technology in a mechanical or digital sense is best produced, in my opinion, when it criticises the very conditions that make it possible; a kind of inversion of its own logic. That is what is interesting about David Birkin’s Embedded series, and additionally - to give a different example outside of this exhibition - a number of Cory Arcangel’s videos, including this one.

Other Highlights

Sigrid Veer, Nude with Parents. , 2009, 35mm slide installation

Another exhibition, Generation of the Place: Image, Memory and Fiction in the Baltics, curated by Vytautas Michelkevicius, seeks to research photography as a catalyst for discussions and definitions of national identity between the three Baltic states of Estonia, Latvia and Lithuania.

"The exhibition is a part of the project Re:Searching the Baltics, aimed at reviewing photography used by Baltic artists born in the 1970–80s. Grown up in the shift of two eras, this generation still has vivid memories from the early Soviet childhood, mixed with the experience from the teen years in rapidly changing Post-Soviet environment. The experience of this local fin de siècle gave the generation a specific commonness, clearly separating them from earlier and later, entirely Post-Soviet, generations..."

Earlier in the month a solo exhibition by the Ukrainian Boris Mikhailov filled the ground floor space of the Tallinn Art Hall. The show featured two series of work: The Wedding (2005-6), which has recently been published by Mörel Books and I am Not I (1993-2002).

Daniel Campbell Blight is a writer, curator and academic based in London.

Hands in the fire with Erik Kessels

© Michael Grieve / 1000 Words

During the month of September 1000 Words held its third workshop in the medina of Fez, Morocco. This time we invited energetic Dutch man, Erik Kessels, curator, publisher and top banana at KesselsKrammer creative agency, to conduct an interesting and unique workshop that surprised and challenged the participants. Erik is one of those special people who injects a lateral perspective into the minds of those willing to take up a conceptual yet free thinking disposition. And as a passionate collector of anonymous photographs Erik always found the time to hunt in the medina for those vernacular gems hiding in the most unlikely places and lost on the pages of dusty albums.

1000 Words (Michael Grieve and Tim Clark) would like to thank all the participants for a productive workshop and for making the workshop a pleasant and relaxed environment. The participants were:

Alan Nielsen (Brazil)
Natasha Caruana (UK)
Alessandra Ferragina (Italy)
Hyseung Jeon (South Korea)
Hil Van Der Waal (The Netherlands)
Andy Nelson (UK)

We, of course, would like to thank Erik Kessels for his teaching skills and powers of motivation and our local assistant, Omar Chennafi, and Stephen DiRenza for allowing us to use his beautiful riad for the week.

1000 Words is organising four more workshops in Fez for 2012 with some of the finest photographers and artists the world has to offer including Roger Ballen (others still to be confirmed), and will be making a call for submissions very soon.

© Michael Grieve / 1000 Words

Thursday 13 October 2011

1000 Words Photography Magazine #12

I am delighted to inform you that issue 12 of 1000 Words "Thereness" is now available to view online at

Featuring portfolios from Léonie Hampton, Chris Shaw, Maja Forsslund, Rinko Kawauchi, Ordinary Light Photography and Roe Ethridge alongside in-depth interviews, essays and reviews by Louise Clements, Simon Baker, Lucy Davies, Natasha Christia, Brad Feuerhelm and Margaret Gray, 1000 Words attempts to show a kind of photography that draws directly and honestly from life; work that does not fit neatly into categories yet which can be infinitely more rigorous and fresher than any attempts at visual gimmickry made by the latest tricks of the trade.

In line with this, we also cover new titles from Andy Sewell, C Photo and Enrique Metinides in the dedicated books section courtesy of texts from Michael Grieve, Oliver Whitehead and Daniel Campbell Blight.

"[...]'Thereness' is a sense of the subject's reality, a heightened sense of its physicality, etched sharply into the image. It is a sense that we are looking at the world directly, without mediation. Or rather, that something other than a mere photographer is mediating. [...] Such a feeling, such alertness, when present in the photograph, can of course conceal the greatest photographic art. 'Thereness' is seen at the opposite ends of the photographic spectra, in the humblest holiday enprint as much as the most serious art photograph, in the snapshot-inspired, dynamic small camera candid as much as the calm, meditative, large camera view. Those photographs which conjure up a compelling desire to touch the subject, to walk into the picture, to know the photographed person, display 'thereness'. Those photographs which tend towards impressionism, expressionism or abstraction can be in danger of losing it, or never finding it [...]. 'Thereness', in short, is a quality that has everything to do with reality and little to do with art, yet is, I would reiterate, the essence of the art of photography".

From The Art That Hides Itself - Notes on Photography's Quiet Genius by Gerry Badger

Thanks to all the photographers, writers and editorial and production team as well as of course our advertisers for contributing to yet another fantastic issue of 1000 Words.

Enjoy dear readers, and please take note of our new studio address: 1000 Words Photography Ltd, 29 The Arthaus, 205 Richmond Road, London, E8 3FF

Friday 16 September 2011

Hans Aarsman

Greetings from Fez, where our workshop with Erik Kessels is in its final stages. Tomorrow the participants will present their projects but there will be a future blog post for this. For now, I just wanted to share this wonderful talk at TEDxAmsterdam which Erik has put me onto. Its by Hans Aarsman and is titled 'From pretty to ugly and back again; mysterious ways of beauty in photography'.

Surprising, insightful and at times hilarious, Aarsman shows different concepts of beauty in photography, and suggests that the only real photographic beauty is to be found in pictures that were made without such a goal in mind....Food for thought as we break for lunch.

Wednesday 7 September 2011

Michael Ackerman

We stumbled across this haunting, yet rather dramatised multimedia piece on Michael Ackerman's Half Life, the book of which is featured in issue #11 of 1000 Words. In his review, Francis Hodgson took exception to the project stating, among other things, that although the book is often very moving it is not coherent.

"The manner is dark and often blurred, with a heavy grain and a permanent air of history weighing directly upon each photograph just as the light does. There is (or there purports to be) a great deal behind these photographs which is not actually in them. A text by Denis Kambouchner suggests that the pictures are haunted. But Ackerman’s history is not broad, although it runs deep. He has a neat trick of confining himself to that part of our cultural baggage which is shared enough that no further explanations are needed. Dark woods are a simple example. Dark woods are the places of fairy stories, but also of massacres. Naked men in the shower have overtones of concentration camps. Even if you look at photographs of the traditional showers used by the racers after the famously brutal Paris-Roubaix cycle race, they often have those overtones. Ackerman has been living and working for some years in Poland, where he can’t resist the trains: train journeys through Poland are also a branded historical reference. A composite is building up. Ackerman’s subject is often the second world war, and the legacy it has left even as the memory of it fades. And when he’s not looking directly there? Tense pictures of men with hard faces, or naked women, or people on beds. Mini-adventures up stairs or through woods. Smoking and drinking. Again, a composite is building up. This is the mind of a teenage boy. Not the football and Xbox sort of boy, but the more soulful Rimbaud-reading boy interested in death and melancholy."

The rest of the review is available here.

Monday 5 September 2011

Irina Rozovsky

All images ©Irina Rozovsky

While looking through our submissions inbox we found this delicate and understated project by Irina Rozovsky. One to Nothing is a gentle body of work about Israel that abandons any preconceptions or prejudices we may hold towards this typically “troubled” place or depiction thereof.

“One to Nothing depicts an Israel we do not see on the news. These images go beyond politics: they do not defend a side or critique the conflict. Here, Israel is seen in an unexpected light, as a mythological backdrop to the age long struggle between man and the dusty, sun bleached landscape of his origin. The score to this existential battle is locked at 1– 0, with no finish line in sight. A loose, subtle, and open-ended narrative One to Nothing describes historic tension with striking and unusual observations.”

Irina Rozovsky, was born in Moscow in 1981 and grew up outside of Boston. She received a BA in French and Spanish Literature from Tufts University and an MFA in Photography from Massachusetts College of Art. 

She was a recipient of the Magnum Expression Finalist Award, juried by Martin Parr in 2010 and her work has been shown in national and international exhibitions. Among these are; 31 Women in Art Photography, curated by Charlotte Cotton and Jon Feinstein, Photo España, Madrid, Les Rencontres d'Arles, and, most recently, she was the subject of a solo exhibition at the New England School of Photography, Boston.

Rozovsky currently lives in Brooklyn, New York and One to Nothing is her first monograph, recently published by Kehrer Verlag.