I’m pretty sure I picked one of the best possible migration targets a decade ago when I moved to The Netherlands. There is so much photography going on here that I could easily fill a full-time job visiting all the related exhibitions, fairs, talks, etc. The palette is so rich that it’s almost frustrating – as I clearly cannot afford just quitting my job(s) and devote my life to these events, no matter how much I would like to do so. [#firstworldproblems]
The new year started only a few weeks ago and the winners of Zilveren Camera, thus the best photojournalists in the country, are already announced. However, for me, the party only begins when I can finally go to Rotterdam for Rotterdam Photo – and this year also Haute Photographie; two completely different approaches to the medium. The earlier is a rough street event open to just anyone, the latter is a fancy art fair targetting art collectors. About Haute, I have written a somewhat longer review for Fotóművészet (in Hungarian). It is going to be published in March, so here I won’t say a thing. Go buy the magazine, whether you speak the language or not. ;)
Rotterdam Photo was a real player this year! The previous editions had never really convinced me, but now I’m a believer. It got slightly bigger and significantly better. And even though the quality of presentation per container still differs a bit too much for my taste, I saw quite some wonderful stuff. (There were very well done displays, but some other simply caused me hallucinate huge question marks.)
Container #16, titled Camera Works (belonging to Todd Forsgren, Michael Meyer and Marc Redford, curated by John A. Tyson), was definitely one of my favourites. Their unorthodox approach to photography and cameras is inspiring. They like analogue and they like digital. They like including images of their visitors in potential future projects and they mess with their cameras to take pictures of sounds – I don’t need much more to be happy.
I also ran into Naomi Modde‘s beach photographs. I’m a fan of her imagery ever since New Photography 2018 came out. Her pictures remind me of Martin Parr somehow (a moody Parr in a parallel universe, bared of his sarcasm and flash).
In general, I’m into black-and-white, also when it comes to my own photography. Nevertheless, Modde’s photographs make me grateful for the existence of colours – and they trigger me to burn through those neglected colour roll films in my fridge.
Talking black-and-white, I’m a proud owner of Katja Poelwijk‘s Sivar now. (Minimalistic and gorgeous design by -SYB-.) A book built on beautiful, sensitive pictures of a boy who was born into a girl’s body. I do have questions – but it is an impressive series, no matter what. I’m looking forward to Poelwijk’s future works.
(I’m working on a larger post on questions I have been contemplating lately so you will hear more very soon.)