Kuba Dąbrowski @ Zachęta – National Gallery of Art, Poland

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Piotr Drewko drops in on Kuba Dąbrowski’s solo exhibition at Walsaw's Zachęta – National Gallery of Art, Poland.

Kuba Dąbrowski’s exhibition titled A Drama Feature Film of Polish Production is a vibrant attempt to create well-structured visual correspondence based on artist’s long and fruitful escapade with photography. Entering the gallery we are faced with a chaotic, yet pleasurable space filled to capacity with a vast number of snapshots and portraits from Dąbrowski’s past.

Having read the curatorial statement we’re starting to grasp the principle narrative stream, which is a very personal and intimate portrayal of artist’s adolescent experiences, friends, spontaneous situations and palpable borders of now and then. What is emerging from rhythmic visual tensions is a certain diaristic photography. Dąbrowski’s exhibition does not formulate conceptual method, which situates the viewer at the intersection of art, philosophy, semiotics or science. Instead, the material presented is simply fiction-augmented documentary selection of artist’s life experiences, smattered across the white cube.

And while it seems choreographically careless what becomes vital is his ability to effortlessly translate the spirit of experienced situations and events. The viewer does not see anything that is beyond traditional representation but at the same time he becomes hypnotised by on-going dialogue arranged by the artist. We do not see any seeds of revolution in the way he operates the camera - it is rather very conscious and stimulating evolutionary journey through life. Dąbrowski’s work can be described as simply capturing visual coincidences, which happened to occur within his sight. A major facet of Dąbrowski’s practice is the engagement of our memory and collective experience. The sense of superficiality is reduced before the artist presses the shutter, which generates a strong feeling of familiarity in relation to every single depicted situation. By acknowledging that fact we are able to strengthen the relationship with presented images and address ourselves as participants in that particular conversation. Dąbrowski simply changes our positions as viewers: from being a passive audience we’re starting to actively contribute to the story. All the photographs with their synthesis of subjective and objective planes, of past and present articles, of dual and individual creative vision, become an poetic invitation into which new space is created for any individual, who is willing to look. What we see depends on what we look for.

Piotr Drewko

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This Is What ‘Being Seen’ Looks Like For Queer People Of Color

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The Black Lives Matter protests in 2020 were fueled by images that reshaped how many of us think about representation. At first, these were images of injustice, then, in the months that followed, resistance. Those images paved the way for a visual culture that ushered in a new wave of photographers of color who, through their striking and emotionally complex work, redefined what it means not just to be seen but also felt.

When HuffPost Voices — newly relaunched as a section focused on celebrating the identities we embody — conceptualized an IRL photography pop-up this fall, three photographers came to mind as featured artists: Justin Wee, Kamyiis Mclean and Myles Loftin. They’d not just found success through representing queer people and people of color, but also by reclaiming the stories that are told about their communities by outsiders. In a culture that tends to co-opt and exploit our experiences as queer people of color, seizing those narratives felt like the only logical place to begin redefining what it means to be us.

Loftin’s career took off when he was a student at Parsons, where he worked on a photo project called “HOODED.” Its intent was to offer a counter-narrative to the widespread stereotypes about Black men in hoodies; namely, that a Black person wearing one is criminal by default. To turn that on its head, “HOODED” featured joyfully nuanced images of Black men in colorful hoodies, smiling, hugging each other and frolicking.

Loftin has held on to the ethos that gave birth to “HOODED” throughout his flourishing career, which includes high-fashion print covers. The 24-year-old says that, although the project was criticized by some for the perceived feminization of the men in it, he believed that those people were just uncomfortable because they weren’t used to seeing Black men embracing the radical act of joy. It’s that discomfort that signals a touched nerve and, hopefully, a shifted belief system — one that realizes that Black men are not a monolith nor are they vehicles for outsiders’ ignorant stereotypes.

One of Loftin’s recent and notable portrait series features members of the House of LaBeija, a ballroom house that has welcomed Loftin in as chosen family. Their expressions of transness and queerness, manifested through movement and clothes, have helped Loftin step into his own identity and sustainable peace.

Myles Loftin's 2022 portrait of a member of House of LaBeija in his "True Beauties" photography series.

These portraits all challenging tenets about the ways in which queer and/or people of color should “behave.” Especially in today’s political climates, merely “seeing” a marginalized person is not enough because the ways in which we’ve been seen historically always come with a default set of baggage. Black men and other marginalized people are hypervisible ― disproportionately seen, actually. And often the attention tends to be ambivalent or even destructive. That’s something that Justin J. Wee, an Asian-Australian photographer, addresses in his work, too.

When he’s not shooting, Wee does drag — and the two worlds overlap in harmonious, unexpected ways. He points to the ways in which both mediums allow him to see himself and others in ways that feel complicated, multilayered and ultimately freeing. “I love creating an environment where the people that I’m photographing can see a version of themselves that they don’t normally get to see,” Wee says.

His drag challenges his relationship to himself in a way that his photography does for others.

Justin J. Wee's self-portrait, one of the photographs displayed at the Voices event.
Justin J. Wee's self-portrait, one of the photographs displayed at the Voices event.

In one of the portraits displayed at the Voices event earlier this month, Wee is shirtless, his face halfway beat and aglow across a cosmetic mirror. The image is tender, carrying a weight familiar to any queer child of immigrants who understands that to reach a fuller version of oneself often means having to depart, in some way, from family.

“As Asian folk, we’ve been indoctrinated in a very specific form of masculinity or culture or obligation to our families, and I really want to see myself in a way that I wasn’t allowed to as a kid,” Wee tells me. “I just want to reclaim that for myself.”

Mclean is similarly on a photographic journey that involves both reclaiming his narrative and helping others craft and nurture their own. He was born and raised in Jamaica and moved to New York in 2016 to pursue his dreams of photographing queer people and fashion, two subjects that weren’t particularly favored back home. Mclean’s photographs, which have been featured in Vogue as well several other fashion outlets, are imbued with a quiet defiance that aims to empower Black and brown people. His images often include subjects adorned in garments and accessories that are meant to harness their inner majesty. In one portrait, a woman carries a basket of flowers in a desert while wearing a flowing black dress, embedding elements of glamour to a peacefully bucolic scene.

Kamyiis Mclean combines an inner majesty with high-fashion glamour in a pair of photographs showcased at HuffPost's launch party for the Voices section.
Kamyiis Mclean combines an inner majesty with high-fashion glamour in a pair of photographs showcased at HuffPost's launch party for the Voices section.

The 25-year-old got his first big break during the pandemic and the Black Lives Matter protests, when he took a picture of a person holding a sign that said “Power to the People,” which went viral. “The pandemic brought everyone of color to the next level,” he says. “It opened their eyes, and they saw that it was a movement that’s supposed to be about our representation.” For Mclean, glamor and power go hand-in-hand since they both evoke a sense of agency, especially for Black subjects. Regardless of the assignment, owning your own story is paramount for him.

Photographer Kamyiis Mclean at the HuffPost launch party.
Photographer Kamyiis Mclean at the HuffPost launch party.

The three photographers were already putting out meaningful work before the pandemic, but BLM as an evolving movement gave them a real chance to tell stories that might have been deemed too complicated just a few years earlier. Through their images, the photographers are still shaping the legacy of the movement, hopefully one that moves us all closer toward a world in which our identities are shaped by stories told through a love of the self rather than the uninformed gaze of others.

Ultimately, true representation means allowing historically disrespected people to embody the full beauty and complexity of the human condition. This isn’t, Wee believes, just about being seen but about making us feel whole.

“‘Being seen’ is such a buzzy thing to say, and I feel cynical about it now,” he says. “What’s important is to give people agency, to give people tools that allow them to self-actualize — and not just give them a moment.”



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Art Photo Collector, “I think that the ideal space must contain…

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“I think that the ideal space must contain elements of magic, serenity, sorcery and mystery.”–Luis Barragán 

Artists need support and we need artists. The noted collector and patron, Lonti Ebers, established Amant last year to provide an exhibition space and residency program for contemporary artists. Located in Bushwick, Brooklyn, the center designed by the innovative firm SO-IL Studio is an impressive addition to our arts community in NYC.

Their current show, SIREN (some poetics), curated by poet and writer Quinn Latimer is currently on display, and offers a cerebral exploration into meanings, connections, and borders. Latimer writes:

  • “SIREN (some poetics) examines what lies beyond such borders and binaries—ancestral, technological, epistemological, literary, patriarchal, corporeal, emotional or otherwise,” she continues. “Devoted to the voice […] and the avatar-like bodies we build and break around it, the exhibition considers technologies of myth and mouth, earth and alarm, gender and poetics.”

Amant’s programming, led by Director and Chief Curator Ruth Estévez, also includes artist residencies and a learning center providing a wholistic and international approach to supporting the arts…one that is focused on connecting artistic practices in a multi-disciplinary fashion with other fields of knowledge and experience. 

Amant is a welcomed partner to our arts community in Brooklyn. I encourage everyone to visit, to explore, to learn, and to discover this “ideal space” for themselves.–Lane Nevares

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Libby Hall obituary | Photography

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My friend Libby Hall, who has died aged 81, was a talented street and press photographer, writer and collector.

Her collection of thousands of vintage dog photographs was published as four books by Bloomsbury between 2000 and 2007, then acquired by the Bishopsgate Institute, which called it “possibly the largest number of canine pictures ever gathered by any single person”.

Libby taught herself photography from Popular Photography magazine after receiving a Box Brownie for her seventh birthday. After leaving the Rudolf Steiner school in New York at 16, she worked for six months in the photo lab at Life magazine, then at Village Voice as distribution manager.

Lens Test Abbey Road 1966, a self-portrait by Libby Hall
Lens Test Abbey Road 1966, a self-portrait by Libby Hall

At 18, she moved to Vienna, where she took the photographs of which she was most proud. A friendship with the American photojournalist Walker Evans helped her refine her technique.

Having moved to Suffolk in the mid 1960s to work at AS Neill’s Summerhill school, she documented life in her local pub, the Engineer in Leiston, in a series of photographs following the opening of a nuclear power station in nearby Sizewell.

Die Presse; Vienna 1959-1960 by Libby Hall
Die Presse; Vienna 1959-1960 by Libby Hall

Libby was born in New York to William McKinley Osborne II, a newspaperman, restaurateur and clerk, and Charlotte (nee Cameron), a designer and antique-store owner. The family, by Libby’s account, flitted between Manhattan, Connecticut, New Hampshire and Maine.

From 1960, while living in Vienna, she began a four-year relationship with Arthur S (Anand) Lall, an Indian diplomat and writer, and was subsequently briefly married to Peter Wood. Meeting the writer John Berger in a Genevan supermarket in 1964 began a lifelong friendship. I met her later through writing Berger’s biography. But it was while she was a press photographer for the Daily Worker (now the Morning Star) in London in 1966 that she met the political cartoonist Tony Hall; they settled in Clapton, east London, and married in 1973.

Following her marriage, Libby wound down her professional photography career. In later years, she took Open University courses in geology and science, and became an expert on Arnold Bennett’s novels.

After Tony’s death in 2008, she had “Stop! Do not resuscitate, living will extant” tattooed on her chest. Her diagnosis with end-stage idiopathic pulmonary fibrosis in 2017 did not dim her sense of humour, her curiosity about the world or her ability to travel it in her imagination. Shetland was her last great fascination. Though she knew she would never visit, she fell asleep every night listening to Aly Bain and Phil Cunningham’s song By Dundas Loch.

“Mine has been a good life measured out in dogs,” she wrote in her memoir, self-published in 2019. Her last, Pip, lives with her stepson, Andrew, and his wife, Laura.

Andrew and her brother, Billy, survive her.

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Maciej Pestka

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All images © Maciej Pestka

Brad Feuerhelm rubs shoulders with Maciej Pestka’s self-published photobook The Life of Psy and gets a glimpse into a hilarious case of mistaken identity.

Maciej Pestka’s The Life of Psy is a brilliant navigation between the borders of fame, photography, and the complexities of credence sought through images. During Barcelona Fashion Week in 2013, Korean-born, French-raised Dennis Carre attended a whole host of parties and events in which people throughout the fashion and beauty industry wrongly identified him as K-Pop singer, Psy of ‘Gangnam Dance’ fame. Quick to capitalise on the doppelganger syndrome he represented, Carre’s appearance takes on a surreal façade as he tangos and kisses his way through a bevy of fashion mavens at various parties, where his image or rather the image of an international superstar administer Carre attention to acts of debauchery and trickery.

Maciej Pestka’s photographs themselves are event-type images where the rules of composition and pictorial photographic systems are reduced to a pop-and-flash candid mimicry much en vogue in fashion circles at present. But the point is not really about the quality of the photograph itself, but that of the embrace of spectacle and fame. Clever not to present Carre’s audience as too vacuous or vain, the photographs become a totem of celebration and “I was there” type of infamy. Brilliantly paced throughout the book are shots of Carre at work, partying and living up someone else’s life. Added ephemeral documents such as ‘cease and desist’ letters from Psy’s management add further umpf to the joke and bestow added value to the book as spoof and document of the existential trauma of where belief and need reside.

Brad Feuerhelm

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How To Take Great Family Photos On An iPhone or Smartphone Camera

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There comes a time at every family gathering when someone attempts to take a group portrait. It’s not inherently painful, though often it can be. And you usually end up with a photo that everyone under 35 will undoubtedly untag themselves from.

Getting everyone in the shot likely means you’re all crowding around someone’s phone. While there’s nothing wrong with a little #selfie action, Mario Forgione, a landscape and portrait photographer based in Boston, pointed out that the front-facing camera on a smartphone is generally lower quality. “You probably would be better off using the camera [on the back of your phone] to take a family portrait,” Forgione said.

Knowing your basic smartphone camera features goes a long way toward taking a better picture. “You can tap on the screen and target something, put it into focus,” Forgione said. “You can select grids if you want on your camera and you can use that to center people or offset your subject. Then, oftentimes it gives you a slider to move up and down for exposure.”

Forgione suggested reading through Apple’s how-to guides or even watching YouTube videos to help utilize your phone’s camera to its fullest potential.

“Familiarize yourself with little tips and tricks of how the camera works beyond just ... pointing and shooting,” he said. “Phone cameras in general have gotten so much better over the years. It widens the ability to take a good photo.”

Philadelphia-based photographer Devin Fitchwell agreed, encouraging would-be photographers to take advantage of any new camera updates. “Don’t be afraid to use portrait mode!” Fitchwell said. “Always take a bunch! If it’s a small group, [take] horizontal and vertical” [shots].”

Fitchwell, who often shoots weddings and large events, emphasized the importance of setting up the group shot on your phone and ensuring you’re focusing on the right things. “For groups, tap the focus on chests,” he said. “For up close, do the face. If you are shooting on wide, back up. No one wants to look distorted.”

To help you take a photo your family members will be happy to be featured in, Forgione and Fitchwell shared easy tips and fun gadgets ahead.

HuffPost receives a share from retailers on this page. Every item is independently selected by the HuffPost Shopping team. Prices and availability are subject to change.

Amazon

Set up your shot

The first step to getting a good family photo is thinking about the composition, Forgione said. "Take the extra time to look at the way your photo is set up," he said. "Are there objects in the field that you don't want to be in the photo? Is there a better way to frame your image than just taking a straight-on photograph?"

To help you set up your shot, Forgione recommended grabbing a table tripod that can hold up your phone, allowing you to see what the picture will look like before you take it. "You can all get in the shot that you want and compose the way you want it and take the photo with a timer, so that way everyone could be in the photo," he said.

Fitchwell agreed, encouraging all family photo takers to set up the shot and then use the self-timer. "Self-timer is your friend!" he said. "[Make sure you] get everyone to look at the phone, not you."

This 12-inch table tripod and wireless remote shutter works for DSLR/digital cameras, GoPros and smartphones up to 3.9 inches wide. It has bendable, waterproof legs and can double as a selfie stick.

Promising review: "The remote was a snap to set up. It works well. The mini stand is sturdy holding my iPhone 13. I’ll be gifting to friends and family!" — GreenGuy

Amazon

Give your subjects room to breathe

When setting up a family portrait, you want tall folks in the middle or back, and kids and pets in the front, Fitchwell expained. Furthermore, if you're holding the camera horizontally or "wide," make sure to back it up.

"For group shoots, leave a half a person of room on each side [of the frame], and two to three heads of room up top," he said. "Have everyone on the same standing line or heads in at the same focal plane."

To get everyone in the shot, may want to spring for a full-size tripod like this one, which measures up to 64 inches. You can use the self-timer setting on your phone camera or the wireless delayed shutter remote included with the tripod to get the perfect shot.

Promising review: "Blown away by the quality and versatility of this selfie stick/tripod! Took me 45 seconds to put together phone including. Well made and very sturdy. Can’t beat the price! I couldn’t decide on this one and another top seller one with more reviews but SO glad I ordered this one!! Buy this one you won’t regret it! Also remote is Bluetooth and pairs with your phone super easy as well! All in all 10/10." — Alexa Woods

Amazon

Don't be rushed by the self-timer

"A remote shutter wirelessly activates the shutter of your camera, so you can take a picture while being in the field of view of your camera," Forgione said. "It gives you the opportunity to set something up and step away from the camera and still take a picture."

A delayed shutter is a tiny remote that lets you take the picture from where you're standing, instead of pushing the button on the phone itself or setting a timer and making your entire family wait 10 seconds. It also helps you take a bunch of pictures quickly, without needing to run back to the camera to reset the self-timer again and again.

These days, many tripods (like the two listed above) come with their own remote shutter. You can also grab one for super cheap on its own, like this one that works with iPhones and Androids.

Promising review: "Pairs easily and works as advertised to take a picture or start/stop videos. Just what you need if you want to be in the picture without holding the phone in your hand." — zoombag

Amazon

Ensure there's good front-lighting

During holidays or group events, most people try to take pictures in poorly lit parts of the house. To step up your home photo game, Forgione suggested investing in some LED lights, to brighten everyone's face in the shot. "A lot of hip kids these days use the O-ring lights," he said.

This ring light kit comes with a 61-inch tripod with a smartphone stand as well as a delayed shutter remote and two color filters. It also works for DSLR and digital cameras.

Promising review: "I am a content creator and I bought this ring light in 2020, it is now December of 2022 and my ring light still works like the day it arrived. it’s perfect for travel since it comes with the case & I love that i can change the light covers to offer different lighting settings for my pictures and videos. such an amazing product!" — Giavonna

Amazon

Or go for some ambient lighting

Or, if you want to take a family photo all your kids won't immediately untag themselves from, Forgione recommended getting a softbox. "A standalone softbox and diffuser adds good ambient light to your setting and can really accentuate the photos you take," he said. "You shine a light through it. It's a nylon white sheet that like diffuses the light and makes it more soft. You can get those kits pretty cheap now, and it's just an alternative way to light a scene or get some lights on someone for a portrait."

This RALENO softbox measures 16 inches by 16 inches and comes with a folding, expandable 60-inch tripod and 90 CRI LED Bulb.

Promising review: "Easy to assemble and very good quality for the price. I'll probably buy a few more. Easy to store when not in use." — RRichards



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Art Photo Collector, “There is so much more to the things that we think…

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“There is so much more to the things that we think we know from afar. The closer you get the more complex it is, not the simpler it is to understand.”–Susan Meiselas 

Magnum Photos and the International Center of Photography here in New York are presenting the work of twelve Magnum photographers in a new exhibition, “Close Enough: New Perspectives from 12 Women Photographers of Magnum.” 

Curated by the estimable Charlotte Cotton, the show presents us with recent and ongoing projects from three generations of Magnum photographers, each of whom chose to present work that, in their unique way, reflects their relationships and approaches to telling stories and working with subjects. 

I spoke briefly with Bieke Depoorter who talked about the artist/subject “paradoxical tension” and her ongoing collaboration with Agata Kay. Depoorter’s project, Agata, is multilayered and imbued with emotion. She weaves various narratives together that subvert any “truth” we are hoping to find. Her exploration between two women–artist & subject–is fascinating to see.

With twelve photographers work on display, we are told each one’s work has been displayed in a kind of “open dialogue” with one another. I am not sure I agree: each woman’s project seemed intimate, personal and apart from the others. Seeing excellent work, however, displayed in a well planned and well curated exhibition make Close Enough worth getting to know and to understand. –Lane Nevares

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On “Game of Thrones”, Conservatism, Israel and Lidl

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“GAME of Thrones”, which, in case you hadn’t noticed, returned for its eighth and final season this week, has already had a profound impact on the television industry (if you’re a TV producer with an idea for a multi-series drama your chances of getting a green light have skyrocketed). Let’s hope it has an equally profound impact on the history industry.

Over the past few decades academics have focused on history from below—hence all those university seminars on bastardy in 15th-century Nottingham and hand-loom weavers in 18th-century Lincoln. They have done this for obvious intellectual reasons: Karl Marx’s contention that “the history of all hitherto existing societies is the history of class struggle” is undoubtedly a powerful insight. Added to this is a sociological reason: the vast expansion of the universities (and the arrival of a more socially and ethnically diverse student population) means that historians are reluctant to teach the same thing as they did when they were training a future ruling class. A changing student body requires a changing curriculum.

“Game of Thrones” suggests they were doubly wrong. They are wrong about demand: even in a democratic age people are fixated on the old-fashioned history of kings and queens: that is the history of people who combine something that is quite unusual (lots of power) with other things that are quite usual (personal quirks and family quarrels). History may be in decline as an option in universities precisely because it focuses so much on history from below rather than on history from above. In some ways “Game of Thrones” is a dramatic presentation of Walter Bagehot’s great insight about the British monarchy, that it thrived in a democratic age precisely because it humanised power by putting a family and its foibles on the throne.

They are also wrong about something more fundamental. “Game of Thrones” is compelling precisely because it recognises that dynastic struggles have often taken precedence over class struggles. Up until the first world war, the world was run by a collection of dynasties that possessed every human foible imaginable (from insanity to dwarfism to incestuous longings) and who spent their lives playing the game of thrones: forming dynastic alliances, sometimes even marrying their relatives, going to war over rival family claims to the throne and, above all, scheming to maximise their power.

“Game of Thrones” gets a remarkable number of big things right about the nature of dynastic societies. One is that the dynastic principle eliminates the difference between the public and private realms, a difference that is fundamental to democratic and meritocratic societies. Public life in a dynasty is shaped by the personal foibles of the monarch. Power is wielded by people who can get physically close to the king. The world’s oldest political offices are all related to the monarch’s physical needs—looking after his horse or falcons, or guarding his bedchamber—and were usually reserved for members of his own family or the most blue-blooded aristocrats.

A second is that dynasties put biology at the heart of society. The fate of kingdoms depends on the physical fitness of kings and their ability to produce male heirs (Britain arguably had its first Brexit, the Reformation, because of Henry VIII’s difficulties in producing a male heir). Political dynasties can become global powers if they can marry the right people and produce enough children (the Saxe-Coburgs were the greatest dynasty builders of the 18th and 19th centuries, succeeding first in capturing the British throne and then, because of Queen Victoria’s clever marriage scheming, putting their progeny on the thrones of most of Europe). Royal daughters had to expect to be pawns in the game of alliance building.

All of which leads me to unveil my idea for an HBO production of my own: a history of the Habsburg dynasty. This would be relatively cheap by the standards of recent productions: most of the great Habsburg palaces are still intact and Vienna’s museums are stuffed full of suits of armour, portraits, furniture, table settings etc. And the story is every bit as weird as the story of the “Game of Thrones”. The Habsburgs were so prone to in-breeding that people joked that they married their cousins and slept with their siblings. Charles II of Spain was a mass of genetic problems: his head was too big for his body and his tongue was too big for his mouth, so that he had difficulty speaking, and constantly drooled; his first wife complained that he suffered from premature ejaculation and his second wife that he was impotent; as if that wasn’t enough, he also suffered from convulsions. He died at 39, mercifully without an heir. These personal peccadilloes didn’t prevent the Habsburgs from becoming champion players of the game of thrones, producing one of the most far-flung and enduring empires the world has seen.

****

“CONSERVATIVE” is one of those words that come with an implied question: what is it that you want to conserve? Britain’s Conservative Party is in such turmoil at the moment because it is at sixes and sevens over its answer to this question. In the Cameron-Osborne years it wanted to conserve the Clinton-Blair consensus: that is a combination of free-market economics (symbolised by support for globalisation), social liberalism (symbolised by support for gay marriage) and government activism, particularly in the creation of human capital. That was always an elite project that failed to stir the emotions of most conservative voters and, when it came to gay marriage and hyper-globalisation, may well have repelled them. But it was an elite project that was destroyed in the flames of the Iraq war, arguably the first and last war of neo-conservative globalisation, and the 2008 financial crisis. Now the battle is on between three different answers to the question.

The most powerful is the nation-state. The heart of Brexit is not racism (as some Remainers annoyingly claim) or a desire to be truly global as opposed to narrowly European-focused (as Boris Johnson pretends). It is the desire to restore the sovereignty of the nation-state. Brexiteers don’t just dislike the demands that the European Union poses in terms of agreeing to its rules and regulations. They dislike the idea, beloved of some if not all in Brussels, that the nation-state is an anachronism that we need to get beyond. The fury of the Brexiteers’ resistance to Theresa May’s half-way house approach to Brexit, combined with the flight of many Conservative voters to the Brexit Party, suggests that, to survive, the Conservative Party may have no choice but to become the party of the nation-state.

This defence of the nation-state is linked to a broader defence of the traditional British way of life: that is, Britain’s green and pleasant land (Michael Gove’s agenda at the department of the environment); its provincial cities (the devolution initiative and the creation of new mayors); its built environment (the department of housing’s “building beautiful” initiative which has been sadly overshadowed by the row about Sir Roger Scruton).

A second answer is the traditional values of family and faith. This is the answer that the Cameroons most disliked. Proclaiming a faith in God or a belief in the traditional family was a sure way of getting yourself kicked off the Notting Hill dinner-party invitation list. But they were not alone: Theresa May, the daughter of a vicar and a regular churchgoer, initially embraced transgender rights on the grounds that it was the new gay marriage. The Conservative grassroots are rather more tradition-minded than this, particularly when it comes to transgender activists. Jacob Rees-Mogg has demonstrated that you can win a large grassroots following by speaking out unashamedly for “faith and family”, particularly if you link defence of faith and family to defence of the nation-state.

A third answer is the capitalist system. The Conservative Party has traditionally been the party of business and the City—indeed there was a time, between the wars, when the party was actually dominated by businessmen such as Stanley Baldwin, whose family owned an ironworks, and Neville Chamberlain, whose family once produced a third of the world’s nails. I suspect that Philip Hammond, the chancellor of the exchequer, believes that his party’s main job is to create a favourable environment for business, though he doesn’t exactly wear his political philosophy on his sleeve. The same may be true of Jeremy Hunt, the foreign secretary.

A closely connected answer is “freedom”. Many Tories regard the defence of capitalism as part of a broader defence of freedom. (They also argue, from a public-relations point of view, that “freedom” is a much easier sell than “capitalism”.) Liz Truss, Mr Hammond’s underling at the Treasury and a woman who exudes leadership ambition from every pore, is a leading proponent of this school. Her shtick is to update Mrs Thatcher’s freedom agenda for a populist age: continue with the Thatcherite policies of deregulating markets and encouraging competition but also put a heavy emphasis on the gig economy and social liberalism. Her aim is to reinforce the Thatcherite revolution by showing young people that their personal interests, both as consumers and as young professionals, lies in embracing the start-up economy.

Some Conservatives would no doubt argue that the proper answer to the question is “all of the above”: you need a fusion of all these things for each one of them to make sense—for example, you can’t defend Britain’s built environment without having the wherewithal provided by a successful economy. They would also argue that defending Britain’s nation-state—particularly the nation-state’s ability to generate wealth—sometimes entails sacrificing sovereignty to the European Union.

This “fusionist” position is the default position of the party’s pragmatic establishment. But the logic of current politics—not just because of the Brexit debate but also because of the surge of populism—is to force people to make choices that they’ve previously been able to avoid. Conservatives increasingly feel that they have to make a choice between the nation-state and business—and indeed between traditional values and business. Businesses have made it abundantly clear that they have little time for small-minded nationalism. The global market is their God. They have also made it pretty clear that they don’t have that much time for other important conservative virtues such as defending the family or community: Hollywood pumps out material that undermines the traditional families. Big companies such as HSBC (which has plastered London with annoying ads) is determined to prove how woke it is. Big data companies yoke the values of the millennium left with the business practices of the robber barons. I’m sure that Mr Johnson expressed the views of a growing number of Conservatives when he spluttered “fuck business”.

****

PROGNOSTICATORS are always thinking that they have discovered “the future” in some bit of the world or other. Hegel thought that he had discovered it in Prussia and Lincoln Steffens in Soviet Russia (“I have seen the future and it works”). In the 1960s there was almost a consensus that the future lay in California. At the risk of sounding as idiotic as Steffens I would like to nominate Israel. I recently spent a week in that extraordinary country in order to get a break from writing about Brexit. I was repeatedly struck by the extent to which Israel prefigures trends that are spreading around much of the world: the rise of religion and nationalism; the coexistence of a high-tech sector with orthodox communities; the division of society into rival communities that are so hostile to each other that they need to be kept apart by a wall; and the rise of strongmen leaders who argue, in effect, that the imperatives of national security override namby-pamby worries about civil rights.

In the wake of the second world war the survivors of the Holocaust drew a sharply different conclusion from Nazism than the victorious Allies. The Allies concluded that nationalism needed to be constrained or even, in the case of the architects of the European Union, transcended. By contrast Zionists concluded that the Jewish people needed a nation-state of their own where they could be made safe from any potential enemies—and where they could allow their culture to flourish as never before. Today dreams of a post-nationalist future are dying and the idea that peoples need a place that they can call home for reasons of both self-fulfilment and self-protection is once more on the rise.

****

DURING my Israel adventure I stopped off at a truck stop between Jerusalem and Nazareth. I was struck by the way that Arabs in traditional dress mixed easily with Israeli soldiers (though who knows what was going on in their heads). I was also impressed by the way that a familiar modern economy and a traditional barter economy seemed to co-exist—having handed over my money for a cappuccino in exactly the same way as I would in London, I was approached by Bedouin hawkers trying to sell cordless drills and rides on a camel. How exotic! I thought until I recalled my own experiences back in England. I frequently visit Lidl to buy necessities (bread, grapes, chocolate) only to emerge with a cordless drill or a “smart bicycle helmet” that signals which way you’re turning. The prices are so low that it seems foolish to pass by the jumble of weird goods placed in the centre of the store. All Lidl needs now is a camel or two.

****

BACK from the Holy Land I went to the dentist with a toothache. The dentist poked around for a bit, ummed and erred, and referred me to a root-canal specialist. I showed up to the specialist full of dread about the pain, not to mention the cost, of another root canal. A bit more poking and prodding and the specialist pronounced that she couldn’t find anything wrong with my root canals. So why the persistent toothache? She asked me if I had been under any unusual pressure that might have resulted in me clenching my teeth together more than usual. When I replied that I was a political journalist writing about Brexit she immediately pronounced that “that would explain it…it’s bad enough for the rest of us without having to write about it”. Brexit is a toothache as well as a headache. I’m sending my dental bill to Mr Johnson.

Correction (April 20th 2019): It was not John Reed who claimed that, in the Soviet Union, he had seen the future and it worked, but Lincoln Steffens.

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1000 Words Workshop with JH Engström in Marseille, 13-17 July 2014

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*04.06.14:THERE ARE STILL TWO PLACES AVAILABLE-APPLY NOW!*


1000 Words is delighted to announce a workshop with internationally renowned Swedish photographer, JH Engström. The workshop will take place between 13-17 July 2014 in the port city of Marseille, immediately after the opening week of Les Rencontres d’Arles.

Marseille is France’s second largest city. Located on the southern coast, it is a wonderfully exciting and vibrant metropolis alive with a heady mix of cultures, nightlife and Mediterranean verve. During 2013 it served as the European City of Culture. An extremely visual and diverse locale, it is the perfect environment for creative exploration.

JH ENGSTROM:
JH Engström is a leading Swedish photographer who lives between Värmland and Paris. He is best known for his influential photobooks, most notably the highly collectable monograph Trying to Dance, published in 2003, as well as From Back Home, a collaboration with Anders Petersen for which he won the Author Book Award at Les Rencontres d’Arles 2009. Engström is represented by Galerie VU in Paris and Gun Gallery in Stockholm. He was shortlisted for the Deutsche Börse Photography Prize in 2005.
His photography is marked by a distinctly subjective approach to documenting his surroundings. Born out of emotional encounters, at the heart of his work lies both an intimate connection with his subjects and expression of his own self. Critic Martin Jaeggi has spoken speaking of Engström’s pictures as having “the impression of looking at memories”.

ABOUT THE WORKSHOPS:
1000 Words Workshops will take
place in the heart of Marseille at
Le Percolateur atelier in the Longchamp
district. 
The workshops will be an intense and productive experience lasting five days but numbers are limited to a maximum of 14 participants. 
PRACTICAL INFORMATION:
The cost of each workshop is £800 for five days. Once participants have been selected they will be expected to pay a non-refundable deposit of £400 within one week. Participants can then pay the remaining balance on a case-by-case basis. Participants are welcome to arrive the day before the workshop begins for a welcome dinner. The price includes:
-tuition from JH Engström (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 dinner
-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 Marseille can be considerably cheap for the week. We can advise on finding the accommodation that best suits you. 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.
HOW TO SUBMIT:
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 JH Engström (approx. 200 words total). Submissions are to be sent to projects@1000wordsmag.com with the following subject header: SUBMISSION FOR 1000 WORDS WORKSHOP WITH JH ENGSTROM.
31 May 2014: Final deadline for applications
12 July 2014: Arrive in Marseille for welcome dinner with JH Engström
13 July 2014: Workshop begins
17 July 2014: Workshop ends
IN ASSOCIATION WITH:


INTERVIEW:

1000 Words Deputy Editor, Michael Grieve, catches up with JH Engström ahead of the workshop for a quick discussion about one of a number of his recently released photo books, Sketch of Paris, published by Aperture Foundation. Enjoy, and see you the other side of Arles in Marseille!

Michael Grieve: Your new book Sketch of Paris is part of a fine photographic, literary and filmic lineage of representation of that city from Brassai, Henry Miller, Henri Cartier-Bresson, Christer Stromholm, Robert Frank, to name but a few. How do you regard your work in this history?

JH Engström: These names have inspired me and influenced me. Then it’s later now, it’s another era. All those people have done their job. I’m still working.

MG: Why is the book a ‘sketch’ of Paris? Why a sketch?


JHE: Because a sketch is the only way I could in any way represent Paris with photographs… Paris is really ungraspable to me… Also a sketch is unfinished. It’s a first tryout. I like tryouts and unfinished expressions. The attempts... A sketch is also something that is linked to spontaneity, which I also like.

MG: The photographs in Sketch of Paris are very grounded. We never look up and it is devoid of sentiment. You appear to be consumed in it. Do you think the book is a portrait of you or of Paris?

JHE: It’s both I think. But of course very much a portrait of me, of me in Paris. And yes I am totally consumed by Paris. I could of course have that feeling of being consumed anywhere on this planet, because of the dry fact that I exist. But in Paris that feeling often hits me very strongly. Sometimes I wish it was less like that. 


MG: Is your work honest?

JHE: I hope so. I want it to be.

MG: Your work generally deals with spontaneity, chance encounters, and you seem to be guided by your unconscious. What do you think it is in your early life experience that has steered you to work in this way?

JHE: That is of course impossible to answer. I believe a lot in things that cannot be explained. I believe in having the courage to stay in the ungraspable.

MG: You once said to me that what is more interesting about the work of Nan Goldin is not so much the diaristic aspect but more how she inadvertently documents her time. We can observe fashion, décor; In this regard your work this same form of documentation?

JHE: It’s not only the question of time that’s so strong with her work of course. It’s also her fantastic way of making photographs that talk about deeply existential, human issues. To me her work is quite painful and talks a lot about our mortality.





MG: So far your photography represents lived experience from your own experience. Love, loss, joy, melancholy, uncertainty, hope and the banal constantly permeate throughout your oeuvre. What is the need to share this to an audience?

JHE: I have of course asked my self that. I don’t know to be honest. I have a necessity to do it. Maybe it’s simply a way to deal with things you mention in your question.

MG: Many contemporary photographers and artists seem to want to produce conceptualised projects. What do you think about this?

JHE: I think all photography is conceptual per definition. Therefore conceptual photography can not be defined as different from the rest of photography. But I think maybe some artists tend to lean very much on the concept.

MG: To what extent should contemporary photography practice be aware of itself, by that I mean, should it have a critical awareness contained within itself? Does your work have a critical awareness of itself and if so how?

JHE: I don’t really like to talk about what photography “should” or “should not”. Or what art “should” or “should not”.

MG: What does the aesthetic of a photograph mean to you? Is the meaning of a photograph contained within the aesthetic more perhaps than the subject/object depicted. Is it about expression rather than content?

JHE: It’s impossible to separate the two.





MG: You speak often of the emotional aspect of photographs, that your spontaneous attitude is brought about by an unconscious rather than conscious decision-making process. Do you regard a photograph of a street as equal in relevance to a sexual act or a portrait?

JHE: Yes, if you talk about “equal” in some kind of hierarchal way of thinking.

MG: I am often reminded by your work with someone like Bob Dylan, in the sense that your work is introspective, and it is both real and romantic. Therefore it collides to reveal a fundamental uncertainty. Is it fair to say that work is really about the space and tension in between the beautiful and the ugly?

JHE: You could say that it deals with tensions and the dynamics being created in those tensions.

MG: Your photographs tend to work on the level of the senses, by which we can almost taste the dust in the atmosphere, and the stale smell of bars. Is your sensory perception heightened as a result of your photography?

JHE: I don’t know if it’s heightened. But I know my sensory perception is high. And as I touched in an earlier question I would maybe sometimes like that it was a little less active…





MG: Considering your work is eclectic and on the verge of chaos how do you keep control. I imagine you take control at the editing stage? How do you edit and then sequence? Is the association between images made at this point?

JHE: I don’t think it is control, maybe more an illusion of control. And that is as you say very much done at the editing stage. My process of editing is strongly based on intuition. Once something is finished, like printed in a book, the cards have been laid out on the table and then you can’t take them back.

MG: Given the increasingly sterile nature of contemporary what do you feel is the future of the more subjective approach and really what is your definition of ‘subjective’ photography?

JHE: I think there will always be an interest for the subjective approach. The subjective photography is a method among others. And in that method the photographer uses very much of him/herself as a starting point and tool.

MG: How has your relationship to Paris changed over the years?

JHE: I’m still amazed by the city. Maybe I go to bed a little earlier now a days but it is sure that it is a lifelong love story.


All images © JH Engström, from the series Sketch of Paris.

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