Scenes from a tiny Island / The Hunt

Jostein took me out on a hunt yesterday evening.  When I got to his house, he immediately fished out of his extensive hunting wardrobe appropriate clothes to keep me warm and dry.  I kind of protested at being told to wear waterproofs that were three sizes too big.  But it was a silly thing to do in hindsight.

We walked across the fields to one of his favorite hunting spots and started a stakeout.  During our walk Jostein explained to me the nature of the hunt, animal behaviour and how the night would proceed.   He also told me in detail his family’s connection with hunting, with the surrounding nature and what it meant for him.  There were a lot of simple truths in what he had to say and it was difficult for me to disagree.

The moment we settled down in our hideout, it began to rain.  We sat on the spot for two and a half hours, motion less, barely breathing.  Jostein had instructed me on certain rules, the most important being no sudden movements and if possible no movements at all.  He was looking out on the right; I was to keep an eye out on an open patch of field grass to the left.  So we waited, and the darkness came, the rain continued and the temperature began to fall.

The light was deep blue/grey, the constant fall of the rain was kind of soothing and there was no breeze.  It was getting dark rapidly and there was no sign of deer.

After about two hours Jostein spotted a small herd but they were too far and it was too dark.  We watched them for about half an hour, and made a decision to head back home.   This was the perfect decision as far as I was concerned.  Even though I had agreed to go on a hunt and to stay for the slaughter and the clean up, I was not prepared to see an animal die so that I could make a few interesting pictures.  But that night I experienced something quite special.

Jostein is the kind of a person who kills because he has a deep connection with nature and the animals around him.  He is acutely aware of his actions.  He is not a trophy hunter.

 

Posted in Artist's Residency, Halsnoy Residency | Leave a comment

Scenes from a tiny Island / An Old Couple

The man’s wife took us to one side and started chatting to us in Norwegian.  Within five seconds we realised that she did not understand English.  This however did not stop her flow of softly spoken chitchat.  It also became obvious that the man had no interest in dealing with the foreigners who were about to trespass through private land.   But she seemed experienced in dealing with such issues and from what we gathered, there were reference to dirty shoes, mud, grass, and photographers in what she was saying.  In the end she walked us to a little wooden gate and with a quick demonstration on how to lock the gate, she sent up off on our way with a little wave and a nod.

 

Posted in Artist's Residency, Halsnoy Residency | Leave a comment

Scenes from a tiny Island / Human Presence:

Yesterday I was invited to photograph theater rehearsals at the Sunnhordland folkehøgskule.  Since the beginning of the residency I have gravitated towards photographing landscapes and inanimate objects and observations.  But for the past few days, my trigger finger had been itching to make images with people in it, and so to be with the students rehearsing was a thrilling hour and a half.

It is the fleshy human presence that I had been longing for in my images.

 

Posted in Artist's Residency, Halsnoy Residency | Leave a comment

HALSNOY : Scenes from a tiny Island

On the 11th day:

Yes, it has taken me a while to get to this first entry.  At the moment I am in Norway, taking part in an artist’s residency for a period of three weeks.

I am on a small island of Halsnoy (59.8041°N 5.651°E), staying in a house build in 1840’s on the site of a monastery built around 1100’s.  Kloster Fjord, hills and trees surround us.  Water is everywhere.  Almost every window of the house has a view of water.  There is also the rain.  The play of light, clouds and rain keeps you on your toes.  There are barns and remains of the original monastery dotted around the main house.

It is achingly beautiful

What do I make of this place?  What is going to be final outcome of the stay?  There is uncertainty on all accounts.  In the mean time, I would like to share these with you.

The Red room:

The Green room:

The Green room.  Dani, the other artist staying here with me plays the piano, and the guitar in this room.  Tiny echos of escaping melodies can be heard across the house.

A Slow day:


One of the first things I had to become familiar with on the island is that to get off it there is a process which requires patience and planning.  Missing a ferry leaves you with no other option except to wait until the next one turns up.

Dani’s Tree:

Dani is fascinated with this ancient Ash tree.  It is the the oldest tree in Norway.  She goes and sits in it, photographs it, and I think even caresses the bark.  I like to watch it from my window.  It give me a feeling of reassurance.  It also reminds me of India, and the ancient banyan trees that are increasingly becoming a rare site.

A Letter:

Hand of Odin:

Two strange encounters in one night.  The tiny island is fully of surprises.

Moonshine:

The baker’s husband told us that the next two days are going be stormy.   Last night, the clouds were floating past the moon in anticipation of the storm, giving us a glimpse of an almost full moon.  From the steps of the house down to the oceans edge, moonlight was penetrating and beguiling.

Posted in Artist's Residency, Halsnoy Residency | Tagged , , , , , , , | Leave a comment

Les Rencontres d’Arles Photographie – 2011

Non Conforme / Uncertified

Probably the most important photography festival in Europe once again leaves an impression.  47 shows arranged in broad thematic segments cover a range of photographic practices, and strongly raises the question of what photography is and who is a photographer in the 21st Century.

The New York Times Magazine exhibitions at venues 13 and 15 are the easiest and most accessible on offer.  Over 30 years of editorial photography is presented by its photo editor Kathy Ryan.  It is remarkable to see works by the likes of Gregory Crudson sit next to Paolo Pellegrin, where war, fashion, joy and pain all blend into perfect layouts and beautiful photography that has elevated the New York Times Magazine to an enviable place.  The displays of personal letters written to such starts as Tilda Swinton and Gwyneth Paltor, and faxes, notes and polaroids reveal the artistic process.  Tear sheets, contact sheets, and covers are laid out in an intelligent and unpretentious way to create a journey through the world of magazine photography.

In venue 22, is the work of a unique collective Tendance Floue, a group of fourteen photographers who offer singularly individual views of the world, yet creating harmonious projects that are impressive and inviting.

Next to this is the Amnesty International with over 50 years of images confirms how much harm humans have inflicted onto each other.  Magnum plays an iconic role in bringing this to our attention.  Many of the images are well known but seeing them together allows a new examination of what conflict/war photography and photojournalism can do at its best.

Mexican photography is one of the broad themes of Arles this year.  At venue 10, Garciela Iturbide images are intensely beautiful and unique.  Images of Seri Indians, Birds on the Highway and works from India are simply outstanding.  Staying with Mexico, in venue 19 are a set of portraits that requires a second viewing to full comprehend the complex, humorous and revealing nature of the content.  This is the upper echelon of Mexican society photographed in homes that have dropped straight out of Hollywood B movies.  Further works that are worth exploring are images of Dulche Pinzon and Enrique Metinides in venue 19.

The Discover Award selection by a handful of curators from around the world sits firmly in venue 21 and is worth a trip for multiple reasons.  It reveals how photography is being used as a tool to create expressive work that breaks boundaries and traditional notions of what is a “photography” subject.  In this, the light boxes of Mikhael Subotzky, road trip images of Yann Gross and sculptural images of Indre Serpytyte are worth spending time with.  They reveal unseen worlds with new techniques and voice.

Finally, the show at venue 20 “From Here On” is a journey that is going to leave you in much doubt about what photography is and who is a photographer.   A manifesto created by curators Martin Parr, Joachim Schmid, Erik Kessels, Clement Cheroux and Joan Fontcuberta offers itself as the face and future of where this art is headed for.  This is armchair photography and Google provides the images. Images are downloaded in an almost anthropological fashion; edited, recreated, retraced and redefined into expressive commentary on modern society.  This found photography is at once frightening and refreshing. Step into it with an open mind…

Finally, don’t forget to have your portrait taken at the JR photo booth and see the magic of your image floating down from photographic heaven…

Posted in News, Photo festivals | Tagged , , , , , , | Leave a comment

Indian Mag Culture: Motherland

“Motherland” is a monthly publication from W +K Publishing.  It’s a magazine that I did not know I had been waiting for.

The first issue is the August/September 2010 Volume 01 (ok, so I just got my hands on it!).  I came across the magazine by chance, but now it will be part of my habitual Indian reading list.  The theme for the first issue is “Freedom” and as you see from the cover below, no other person brings the words freedom and India together in the same sentence like Gandhi does.  The cover image is by Bharat Sikka.  This is perfectly apt for me considering my current project “SALT” referenced by the philosophies of Gandhi during the Salt March of 1930.

It’s an evocative name “Motherland”, especially for a British Indian like myself.  It connects to me on multiple levels, but it also does not give away too much until one begins to flick through the content.

The magazine is slim (72 pages), and printed on matt stock paper.  It is lovely to handle.  The pages shuffle comfortably, and the lightweight makes it an ideal companion on long train journeys.  What impressed me most about the magazine is the use of photography and graphic design.  I do hope that in the future issues the magazine becomes a showcase and a vehicle for younger more unknown Indian photographers, from whom it can commission and feature projects of.  I also hope that it will attract new and younger writers, shying away from celebrity and “known” cultural commentators.

The artwork is laid out with space for it to breathe.  Any artist lucky enough to be featured in it will realize that great depth is achieved in the way the layouts are created.  Photo essays are not edited down to 2.5 images!  There are lots of little details, which make the experience pleasant, allowing the eyes to wander, and discover.  Some of the graphic illustrations are good enough be mini posters! Editorial photography is clear, creative and unpretentious.  Not an easy thing to achieve considering that “style” on many occasions in the publishing industry overtakes content.

The issue has features on a broad range of popular culture happenings that signpost to India that is not just about bollywoodesque obsessions.  Food, women, youth and art are clearly and cleverly blended together.  Each of these are discussed and discovered with unique angle of storytelling.

It is for me a merger of Monocle, Intelligent Life and New Yorker, blended into a one very Indian but also very global magazine from a very global country.  I am looking forward to discovering more of this India…

 

 

Posted in Magazine Culture, Popular Culture | Tagged , , , , | Leave a comment

Arundhati Roy at SOAS : Burning Ground, June 5th 2011

A lot of media attention is given to Arundhati Roy’s involvement as a campaigner and supporter of the adivasis communities that are under incredible amount of threat and in danger of being wiped out from the hills and forests of eastern and central India.

This threat stems from the relentless mining that is taking place to dig up rich minerals such as bauxite, which are being mined by companies’ listed in the London and NY Stock Exchange.

A campaign of $42 billion, manned by 200,000 paramilitary and other special forces has been established in the area since September 2009 to eradicate all traces of the ancient adivasi settlement and to handover the land to the global mining companies who have bought rights to mine.

The event was organized by the International Campaign Against War on People of India, which was initiated in December 2009 to help bring focus and news relating to the events in India.

As Arundhati Roy put it bluntly and clearly, the act is one of self-colonization of India by India.  The poor and the lower classes are again being marginalized, so that the greater society of the middle classes can keep the fire of the 9.2% growth rate burning.  It is a fusion of the elite with the state.

A revelation to the debate was the role London plays in this, with the London Metal Exchange at its center.   The funding comes from London as well as New York, and the approval of these projects is provided by the big four accounting firms based in the city, which are happy to give a stamp of approval to companies like Vedanta (one of the main culprits of the mining in Chhattisgarth)  which is listed in the LSE.

In India, Rule of Law is not enforced, as it would have an immediate impact on the exploitation of the week by the strong.   In the process, the country is creating new definition of what modernity and civilization might mean.

As expected, Arundhati Roy was took the first punch from the first questioner in the audience.  The man accused her of hating India and asked her to think of good things about the country instead of publicly humiliating it.  She was very polite but firm in her response, stating that it is because she loves the country so much, its beauty and its nature and its less fortunate people that she is sitting in this room and trying to help and bring global media attention to the cause of he adivasis.

She hopes that the western media will awaken to this and begin reporting on the massive genocide being conducted by the government and corporate India (in collusion with Western companies) on the people of India.

 

Posted in Adivasis, News | Tagged , , , , , | Leave a comment

SOAS project revisiting India:

A SOAS project starting on 1st of September this year will revisit a seminal research project about rural life in India, which took place in the 1950’s.

Headed by Dr. Edward Simpson, a senior lecturer in anthropology at the university and his co-investigator Professor Patricia Jeffery, a sociological professor at the University of Edinburgh, the project will focus on how three villages in Gujarat, Orissa and Madhya Pradesh have evolved since the 1950’s and assess the impact of the open economic policy of the 1990’s on these villages in 21st Century India.

F.G. Bailey, Adrian C. Mayer and David F. Pocock undertook the original research studies in the beginning of the 1950’s.  According to Dr. Simpson, this is the first time a comparative restudy project is being carried out in anthropology of other anthropologists’ works.

Each of the three states has experienced rapid and profound changes. Economically, Gujarat is regarded as the powerhouse of India but still vast number of villagers live in poverty.  Orissa is experiencing political issues with land rights of the Adivasis (the first arrivals) whose ancient forest land and traditions are under threat from global mining companies.  Finally MP’s industrialization has made economic disparities across the state even more obvious.

The extensive research project is likely to produce important data and highlight real issues being experienced by villages across the post-colonial landscape of modern India.

For Gandhi, Indian villages were the cradles that gave birth to the real India and were the soul of the nation.  He believed that villages would, after the independence provide the resources (both physical and spiritual) for India to stand on her own two feet.

I will be posting updates as and when they are made available from SOAS.

 

Posted in News | Tagged , , , , , , | Leave a comment

A great video of the exhibition opening in Paris

A short video of the making of  and the opening party of the show at the Galerie Duboys in the Marais district:

This is not That – 10 Indian Photographers – Opening Night 19th May 2011

Posted in Artists' Books, Collecting Photography, Contemporary photography, Exhibition - past, Films | Tagged , , , , , , , , | Leave a comment

The Cloud-Capped Star (Meghe Dhaka Tara) by Ritwik Ghatak (1960/India)

Usually when it comes to Bengali art house movies, Satyajit Ray is pretty much the master for me.  But tonight I came across something quite brilliant and unique.  The work of director Ritwik Ghatak whose short output is overshadowed by the globally known master works of Satyajit Ray.

The Cloud-Capped Star is a new wave movie, Indian style with melodrama.  Usually I walk away from a Satyajit Ray movie deeply touched by the acting, where as in this one (because of the onslaught of melodrama) I did not feel as attached to the characters.  BUT, it is the cinematography that leaves me breathless!  Shots that I have not even seen in the works of Satyajit Ray.  Cuts, jumps and swipes of frames that create a masterful movie.  And all this accompanied by amazing sounds of 1960 Bengal.  There are moments when the music creates such an impact on the image that words need hardly be uttered by the characters.

Ritwik Ghatak shows us poverty, abandonment, family jealousy and mental madness in a strikingly beautiful and magical way.  The opening scene of a line of ancient trees in the Bengal landscape is stunning.    Scenes and locations are repeated throughout the movie, and the impact of this is that we feel at home in those moments when we revisit the places with the characters.   To be fair, the melodrama is touching at times, the acting is strong and the characters are believable.

I will be exploring further movies of Ritwik Ghatak.  His output was small, but if this is an indication of what is to come, I am excited at the prospect of discovering Bengal again through the eyes of a visionary directory.

Posted in Films | Leave a comment