Virtual Photography Symposium

Tuesday 28 June 2022, 09.30–18.00


Given the shifting shape of photography in computerized societies, we are initiating events to discuss the new emergent roles of the photographic image in them. In this symposium, titled Virtual Photography, we have invited computer industry and educational specialists to present, exchange and discuss the different advances of computational and virtual images. The symposium aims to explore the implications of these changes for industry, education and individual creative producers, artists and photographers. Hosted at the University of Westminster, the first institution in the world to offer educational course on photography (early 1850s), this will be the first of several landmark events to consider the future of the photographic image and the implications for everyone involved.


9:30 Registration

9:45 Introduction: Prof. David Bate and Dr. Paula Gortázar

10: 00 – 11:30 Virtual Industries

How are still photographs integrated in virtual and augmented reality environments? What new roles do still images serve in extended reality environments?

Anders Printz, Photography Manager at Ikea, Sweden

Brandon Harper, AR Designer, HoloLens at Microsoft, California, USA

Robert Overweg, Innovation Catalyst and Virtual Photographer, Founder Adaptable Mindset Method, Amsterdam

Panel Discussion and Q&A, chaired by Paula Gortázar

11:30 – 12:00 Tea Break

12:00 – 13:30 The Future of Image Education?

What computational skills should photography students be taught and how might they be used in the context of an BA photographic arts course?

Richard Kolker, Lecturer in Photography and CGI Designer, Portsmouth University

Prof. Sophie Triantaphillidou, Lecturer in Computational Vision, University of Westminster

Dr. Christopher Fry, Lecturer in Contemporary Media Practice, University of Westminster

Panel Discussion and Q&A, chaired by David Bate

13:30 – 14:30 LUNCH BREAK

14:30 – 16:00 Virtual and Computational Arts

How are photographers integrating computational art in their practice? What are the critical issues and debates related to photography in computational arts?

Prof. Sebastian Schemieg, Artist, Designer and Lecturer at HTW Dresden, Germany

Dr. Ionna Zouli, Editor at Unthinking Photography, The Photographers’ Gallery, London, UK

Dominic Hawgood, Cross-disciplinary Artist, London, UK

Panel Discussion and Q&A, chaired by David Bate and Paula Gortázar

16:00 – 16:45 Plenary Session

17:00 – 18:00 Social Drinks

Conference conveners:

David Bate, Professor of Photography, University of Westminster, London, UK
Dr Paula Gortázar, Lecturer in Photography, University of Westminster, London, UK


General Admission: £7.50. Students: £5.00 – includes lunch, tea and social drinks

Venue: University of Westminster, 309 Regent Street, London, W1B 2HW (Oxford Circus tube)

Contact: Dr. Paula Gortázar


PIX and the South Asian Imaginary

Wednesday 16 March 2022, 13.00

We are so delighted to invite you to the next instalment of our 2021-2022 Global Photographies Network Talks Programme! This time, we’ll be hearing from Rahaab Allana, Tanvi Mishra and Philippe Calia with their talk on PIX and the South Asian Imaginary.

As PIX— conceived and launched in 2009/10 as a quarterly— now completes its 20th publication and 18th issue-based volume this March, we look back at the last decade and the trajectories this contemporary archive has charted over this time. Initially conceived as a discursive and exhibitionary exploration mapping contemporary photography and histories of the medium in South Asia, PIX has evolved over the years as a participatory editorial practice, a publishing platform and an avenue for critical discourse on the image and associated practices through an open-call and commissioned/nominated pieces. 

While the notion of South Asia/n served as a broad contour for research and approach, the examination of this identity led to dialogues beyond physical borders and nationalities ascribed through governments and regimes. Instead, lens-based practitioners and independent authors’ response to the themes of each issue presented micro-histories, fictionalised trajectories and broadly, surveys of contemporary concerns and definitions of identity, belonging and citizenship. Over the course of building this transnational space, we question what it means to be a South Asian, and how that shapes the narratives that emerge from within/without. 

The latest issue, Passages: a subcontinental imaginary, seeks to address ways of expanding and globalising this South Asian representation by consolidating diasporic community perspectives in order to introspect around the politics of framing visual histories. The image and text contributions seek to recalibrate the politically bound arena of South Asia into creative socio-cultural formations and links, further investigating new cultural histories in our present. With South Asian communities spread across the world, we consider the entanglements of memory and space as tethered to ongoing migrations, to make visible a South Asia beyond its borders.

Rahaab Allana is Curator, Alkazi Foundation for the Arts; Fellow of the Royal Asiatic Society (London), a Charles Wallace awardee, and is currently on the advisory board for art and culture of Asia Society (India). He also serves on the advisory of the Trans-Asia Photography (TAP) Review; is the Founding Editor of PIX Founder of the ASAP/art app and Guest Editor of Aperture Magazine’s 2021 summer issue on lens-based culture related to Delhi. He is the lead curator for photography for Bonjour India 2022, the festival of France in India.

Tanvi Mishra works with images as a photo editor, curator, and writer. Until recently, she was the Creative Director of The Caravan, a journal of politics and culture published out of Delhi. She has been part of the editorial team of PIX since 2011. She is a co-curator for the upcoming BredaPhoto Biennial in 2022. She has served on multiple juries, including World Press Photo, Chennai Photo Biennale Awards and the Catchlight grant. She has also been a mentor for the Women Photograph program and is part of the first international advisory committee of World Press Photo.

Philippe Calia (b.1985, Paris) is an artist, photographer and filmmaker who has been living and working in India since 2011. His work has been awarded, exhibited internationally and is held in private collections. Since 2013, Calia has been collaborating with PIX as a photo editor. Between 2015 and 2020, he co-directed BIND, a platform for photobooks in India with a public library.

Time: 07:00 Mexico City / 08:00 New York, Bogotá / 10:00 Buenos Aires / 13:00 London / 14:00 Lagos / 14:00 Paris, Gothenburg, Budapest / 15:00 Cape Town / 15:00 Beirut / 18:30 Mumbai / 19:00 Dhaka / 20:00 Jakarta, Bekasi / 21:00 Singapore, Taipei / 22:00 Tokyo / 00:00 (+1) Melbourne / 02:00 (+1) Wellington

Webinar: 92325886371 Passcode: 499651

Open Call: ‘Photographies’ 3rd International Conference

Tuesday 1 March – Monday 28 March 2022

Following our successful journal conferences held in London (2017) and Singapore (2020) photographies journal announces its third international conference for 2022. The event will be in-person. It will be co-hosted with University of Texas, San Antonio, September 22-24 2022. As previously, we aim to bring together thinkers and photographers in discussion about photography today. We invite papers from contributors that address our original aims:

• photographies seeks to construct a new agenda for theorising photography as a heterogeneous medium in ever more dynamic and changing relations to all aspects of contemporary culture.
• photographies aims to further develop the theory and practice of photography, considering new frameworks for thinking and addressing questions arising from the present context of technological, economic, political and cultural change.

We set out to question how far longstanding boundaries are broken down or called into question by changing social practices: between private and public, screen and human, camera and body, memory and history, local and global. At the same time, when existing boundaries and borders are reasserted and hardened, how do divisions, distinctions and differences develop and mutate our sense of self and outside? The tensions between these movements of fixity and change raise critical questions around the function of boundaries and borders today.

We seek conference contributions that explore ways in which these themes intersect in photographic practice and theory. Example questions and issues that might be addressed include:
• How has photography served to question, support or disrupt boundaries and borders?
• How have photographers worked to transform and reimagine boundaries and borders?
• What are the transdisciplinary debates around photography’s boundaries and borders both in terms of its theory and practice?
• What are the challenges and rewards of photography addressing issues of boundaries and borders?
• Are there specific types of practice that privilege boundaries and borders?
• What methods or frameworks and theoretical models are useful for addressing boundaries and borders in photography in terms of its histories and practices?
• What are the political and ethical ramifications of exploring borders and boundaries through photography?

At this stage we intend presentations to be approximately 25 minutes in length.

Deadline for submissions: 28th March 2022.

For more information visit:

Visual Empire: Translations & Reproductions

Friday 18 February 2022, 08.30

Once called “La perle de l’empire,” Indochina was understood as one of France’s benevolent and civilising enterprises. Within the context of colonial expansion, photography played a substantial yet overlooked role in defining vernacular forms of modernity for the indigènes. In this lecture, Jacqueline Hong Nguyén will focus on the international mobility of Vietnamese photographers during the first quarter of the 20th century and the role photography played in anti-colonial struggles. By mapping a network of Vietnamese photographers, Visual Empire investigates the translation of photographic technology, the dissemination of photographic equipment and, through the technological lens, the restoration of a modern Vietnamese subject.

Jacqueline Hong Nguyén is a visual artist who uses archives and a broad range of media to investigate issues of historicity, collectivity, utopian politics and multiculturalism via feminist theories. She is a PhD candidate in Art, Technology and Design at Konstfack University of Arts, Crafts and Design and KTH Royal Institute of Technology. Nguyén completed the Whitney Museum’s Independent Study Program in 2011, an MFA and post-graduate diploma in Critical Studies from the Malmö Art Academy in 2005, and a BFA from Concordia University in 2003. Her work has been shown internationally, such as at the Boras Art Biennial (2021); Trinity Square Video, Toronto (2019); and Sharjah Art Foundation (2018).

Zoe Butt is a curator and writer whose practice centres on building critically thinking and historically conscious artistic communities and fostering dialogue among cultures of the Global South. She was Artistic Director, Factory Contemporary Arts Centre, Ho Chi Minh City (2017-2021); Executive Director and Curator, Sän Art, Ho Chi Minh City (2009-2016); Director, International Programs, Long March Project, Beijing (2007-2009); and Assistant Curator, Contemporary Asian Art, Queensland Art Gallery, Brisbane (2001-2007). She has been published widely and is a MoMA International Curatorial Fellow; a member of the Asia Society’s Asia 21 initiative; and member of the Asian Art Council, Solomon R. Guggenheim Museum. She is currently a PhD candidate with CREAM, University of Westminster, London.

Register here.

Decriminalised Futures

Wednesday 16 February – Sunday 22 May 2022

CREAM doctoral candidate Camille Waring‘s talk on the state, technology, surveillance and how we resist, now forms part of a new exhibition at the London Institute of Contemporary Art (ICA) in central London.  

Decriminalised Futures is a group exhibition featuring thirteen international artists whose work speaks to the multiplicity of contemporary sex worker experiences.

The exhibition highlights the history of the sex worker rights movement and its inextricable links to issues of racial and social justice, migrant rights, labour rights, anti-austerity work, and queer and trans liberation.

The works in the exhibition – comprising ten distinct projects from the United Kingdom, France, Germany and the United States – include moving image, embroidery, linocut prints, bookmaking, writing, drawing, gaming and sculpture.

Through an interdisciplinary approach, themes of sacred space, mental health, gender, racial justice, joy, pain, disability, tenderness and desire become tools for solidarity and elicit conversations rooted in the imaginaries of a decriminalised future.

Camille Waring’s talk was originally part of a panel discussion at the Decriminalised Futures Conference, held in May 2019. To find out more about the exhibition, visit

Visual Violence: Sex Workers’ Experiences of Image-Based Abuses


In 2021, CREAM doctoral candidate Camille Waring, was awarded £11,400 in research funding from National Ugly Mugs (NUM). NUM is a charity working with sex workers to research, provide safety tools and end the culture of violence against sex workers. The research project, Visual Violence: Sex Workers’ Experiences of Image-Based Abuses was birthed from an unpublished PhD chapter on the way sex workers experience visual terrorism and the weaponisation of photography in online spaces. Little attention has been paid to the way internet web technologies have enabled photographic violence and the implications for image-based surveillance against sex workers. This research goes towards addressing this and seeks to showcase image-based harms, specific to sex workers and their experiences, and we call this visual violence.

Camille Waring developed and led this research project, which involved creating new definitions, visual language, collecting and analysing data, and producing a research report.

“Visual violence is broad, and encompasses a wide range of experiences, from image theft to filming without consent, to blackmail. In all of its forms, visual media is used to incite fear, harm, abuse and destruction. The perpetrators can be sex buyers, intimate partners, friends, family, other sex workers, and strangers on the Internet. Ultimately, this research demonstrates that fears of, and experiences of, visual violence are core concerns for sex workers and that it is vital that their concerns are recognised and included” – Camille Waring.

This research is cutting edge and could not be timelier. The increasing digitisation of sex work, particularly in the wake of the Covid-19 pandemic, presents both new opportunities and new hazards for sex workers. At the same time, there is a need to understand visual violence as it is uniquely experienced by sex workers, within and outside traditional lenses of “revenge porn” and copyright, where debates around sex work online are intensifying.

Camille Waring’s report is available on

Life Between Islands: Caribbean-British Art 1950s – Now

Wednesday 1 December 2021 – Sunday 3 April 2022

Roshini Kempadoo (2004), Ghosting

Roshini Kempadoo (2004), Ghosting

Life Between Islands [Catalogue Cover] (2021) Tate Publishing

The exhibition is curated by David A Bailey, Artistic Director of the International Curators Forum, and Alex Farquharson, Director of Tate Britain. This landmark exhibition explores the work of artists from the Caribbean who made their home in Britain, alongside other British artists whose work has been influenced and inspired by Caribbean themes and heritage.

Spanning visionary paintings to documentary photography, fashion, film and sculpture, Life Between Islands traces the extraordinary breadth and impact of Caribbean British art, in one setting. This exhibition celebrates how people from the Caribbean have forged new communities and identities in post-war Britain – and in doing so have transformed what British culture and society looks like today. The exhibition begins with artists of the Windrush generation who came to Britain in the 1950s, such as Denis Williams and Aubrey Williams, exploring the Caribbean Artists Movement, an informal group of creatives like Paul Dash and Althea McNish. Works from the Black Art Movement of the 1970s and 80s depicted the social and political struggles faced by second generation members of the Caribbean-British community are also included such as Keith Piper’s photo-collage Go West Young Man 1987 and Ingrid Pollard’s Oceans Apart 1989.The exhibition ends with artists who have emerged more recently, many of whom revisit themes encountered earlier in the show such as Marcia Michael’s multimedia collaboration and Liz Johnson Artur on south London’s Grime music scene. CREAM’s Roshini Kempadoo photographic montages from the series Ghosting (2004) are included to convey the co-existence of the Caribbean and Britain, past and present, through intimate everyday scenes.

Featuring over 40 artists, the exhibition is accompanied by a fully illustrated catalogue and an anthology entitled Liberation Begins in the Imagination: Writings on British Caribbean Art.

Intersectional Geographies – a group exhibition curated by Jacqueline Ennis Cole

Thursday 27 January – Sunday 3 April 2022

Roshini Kempadoo (2019) Like Gold Dust

In 2021, Martin Parr Foundation held an open call for a UK-based curator to present a photographic exhibition in the MPF gallery and Jacqueline Ennis-Cole has been selected for her proposed group show, Intersectional Geographies.

Intersectional Geographies brings together a diverse selection of photographers whose works address inclusion within society at a time of climate crisis, social distancing and human rights violations. Each photographer highlights a concern that resonates with them.

Participating Artists: Ignacio Acosta, Rhiannon Adam, Lisa Barnard, Jacqueline Ennis-Cole, Darek Fortas, Roshini Kempadoo, Miranda Pennell, Judy Rabinowitz Price, Xavier Ribas, David Severn, Aida Silvestri, Janine Wiedel

Intersectional Geographies unpacks and addresses complex and timely ideas from climate and social justice to extractive mining practices and questions of gender through the work of a diverse and international list of photographic voices working across the conceptual and documentary mode.’

– Alona Pardo, Curator, Barbican Art Gallery, London.

Zhuang Wubin presents Photography and Southeast Asia: A Narrative of Experiences 

Wednesday 9 February 2022, 13.00

We are delighted to invite you to the next instalment of the Global Photographies Talks Programme on Wednesday 9th February 2022. Zhuang Wubin will be presenting his talk, Photography and Southeast Asia: A Narrative of Experiences. 

Zhuang Wubin is a writer who makes photographs, publications and exhibitions. Zhuang received his PhD by Published Work (Research–Photography) from The University of Westminster in 2021. 

In his own words, Zhuang gives us an overview of his talk:

“This is a narrative of our experiences of photography in the region that would become Southeast Asia. It is an account that moves back and forth, temporally and spatially. In the process, we get a sense of how photographic practices helped to produce pleasure and violence, and how it became entangled in the overlapping projects of modernity, colonialism / nationalism, and the Cold War in the region.”

This talk will be held on Zoom. Please find the details below. 

07:00 Mexico City / 08:00 New York, Bogotá / 10:00 Buenos Aires / 13:00 London / 14:00 Lagos / 14:00 Paris, Gothenburg, Budapest / 15:00 Cape Town / 15:00 Beirut / 18:30 Mumbai / 19:00 Dhaka / 20:00 Jakarta, Bekasi / 21:00 Singapore, Taipei / 22:00 Tokyo / 00:00 (+1) Melbourne / 02:00 (+1) Wellington

Please click the link below to join the webinar:

Webinar: 92927076570

Passcode: 098972

Fotocinema First International Congress: culture and visual memory

Wednesday 29 September – Friday 1 October 2021

Congreso Fotocinema, Universidad de Málaga, Spain

Paula Gortazar presented her research paper Exposed Intimacies: Power and Fragility of the Family Album at Fotocinema First International Congress. The conference was held through a blended format at Málaga University in Spain, with contributors from Spain, Portugal, Central and South America. In this first edition, the congress focussed in photography and film practices engaging with culture and visual memory, either through post-memory, the legacy of visual cultural identities, family histories and public archives among other approaches.