“The main issue, which arises quickly, is that too many of the works appear to rest too comfortably on the visual laurels of their specific influences rather than becoming definably hers. For example…”
What aspects of this collaboration, both Thompson’s and Reynolds’ are complicit in the same ideology and methodology of representation that perpetuates this distance between the photographic, its technological apparatus and its subject matter?
“Asselin implicates the prize’s sponsor, using their financial app to display the real-time ballet that is the share price of both Bayer and Monsanto, neatly revealing the complicity of an entity that uses an arts prize to burnish its socially responsible credentials, while assisting a corporation that is a synonym for cynicism.”
“I discovered an enormous story full of ramifications, a contemporary tale of corporate impunity, a mafia-like way of doing business, lies that affected and are affecting thousands of people and communities around the world.”
The artists’ film as an introduction to their work as part of the Deutsche Börse Photography Foundation Prize 2017.
“There nothing more boring than, lets say, a picture of a chair and everybody looking at it thinks, well, thats a chair.”
“I agree that London and Amsterdam are significant players – along with Paris – within the European photography scene. I feel that right now Amsterdam and London are edgier though than Paris – in the way they engage with photography presenting on the whole a less canonical approach to the medium.” An Interview With […]