Eileen Perrier

Eileen Perrier’s work has been widely exhibited since 1999, including The Photographers’ Gallery, (London, UK); Tate Britain (London, UK); The Whitechapel Gallery (London, UK), the touring exhibition Africa Remix, which included the Hayward Gallery (London) and The Centre Pompidou (Paris, France).

Perrier has also been artist in residence at Light Work (in partnership with Autograph ABP) (New York, USA); in Playing The City, Kunsthalle Schirn (Frankfurt, Germany) and has worked with Tate Britain (as an invited artist) on their education programme – BP Family Festival: Close Encounters of the Art Kind and currently has work installed from a portrait commission with Kings College London called “Portraits of a Global Law School” currently displayed on level -1 in Somerset House East Wing. She is a trustee of the Photographers’ Gallery.

For more information on Eileen’s research, supervision and teaching experience also see:

https://www.westminster.ac.uk/about-us/our-people/directory/perrier-eileen

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Salon 19: New Approaches In Photography

Friday 18 October – Saturday 26 October 2019

Four Corners is delighted to present SALON 19: NEW APPROACHES IN PHOTOGRAPHY, an exhibition of new work by sixteen photographers participating in its London Creative Network (LCN) programme.

LCN offers a unique career development opportunity for London-based photographers. Participants are encouraged to experiment and create new projects using techniques that they have not tried before.

SALON 19 showcases exciting new work developed through the LCN programme.  Discover a diversity of projects exploring a range of themes, from experiments in specialist print processes to video installations and long-term documentary projects. 

The Artists: 

Rachel Megawhat, Pablo AntoliLiam LeslieJulia GrassiMichael KempMarcela FerriHannah SlaneyFloro AzquetaLaura BlightAilsa RobertsonElio RuscettaSara HibbertJosh RedmanGabriel AndreuMartina O’SheaGavin Li

https://www.artrabbit.com/events/salon-19-new-approaches-in-photography

Makina Books, David Moore: The Lisa and John Slideshow – Book Launch

2019

In 2012, photographer David Moore returned to the site of his celebrated 1980s colour documentary series Pictures from the Real World. Moore offered the full archive of the project to Lisa and John, two subjects of the original series and asked them to make their own selections. The outcome released many previously unseen photographs and became the acclaimed script and play The Lisa and John Slideshow – a contemporary piece of documentary theatre addressing family memory, loss and the everyday.

David Moore is a widely published London-based photographic artist using and interrogating documentary modes. Moore belonged to a group that has come to be known as “the second wave of new colour documentary in Britain”, having attended West Surrey College of Art and Design, where he was taught alongside photographers such as Anna Fox and Paul Seawright.

‘Poised between one form of documentary and another, a pivotal place where social realism meets an altogether more provocative approach.’

– Sean O’Hagan, The Guardian

‘A photographic documentary archive from it’s very insides, where content is redrawn with the subjects’ own words.’

– Karen McQuaid, Senior Curator, The Photographers’ Gallery

‘The 80s were a great decade for British colour documentary photography. The Lisa and John Slideshow is unique as it brings to life photographs of the family first seen in Pictures from the Real World and as such is a valuable contribution to understanding this decade.’

– Martin Parr, Photographer

‘Moore’s photographs come to life and we become part of the drama.’

– Val Williams, Writer and Curator

Thu, 26 September 2019, 19:00 – 21:00

The Calder Bookshop & Theatre, 51 The Cut, London, SE1 8LF

Estéfani Bouza

Estéfani Bouza is a visual artist whose work focuses on ideas of archiving and collecting in photographic practice. She holds a PhD and an MA in photographic studies from the University of Westminster. Her work has been exhibited widely in UK, Spain and South America, including at Ambika P3 (London), the Sheffield Institute of Arts Gallery, Círculo de Bellas Artes (Madrid), and Galeria Mascate (Porto Alegre).

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Sunil Gupta

Sunil Gupta is a Visiting Professor of Photography at UCA, Farnham, and Visiting Tutor at the Royal College of Art, London. He has been involved with independent photography as a critical practice for many years focusing on race, migration and queer issues. He was an active participant in the ‘Black Arts’ movement in the UK in the 1980s and a co-founder (1990) of Autograph-Association of Black Photographers, London, and a holder of one of the two founding curatorial franchises of INIVA in London. Operating under the name of OVA he researched and produced a number on international exhibitions of contemporary art focusing on post-colonial issues from 1993 to 2004. His latest show (with Charan Singh), “Dissent and Desire“ will be at the Kochi-Muziris Biennale, Kochi, India 2018 and his last book is “Christopher Street 1976” Stanley Barker 2018. His work has been seen in many important group shows including “Paris, Bombay, Delhi…” at the Pompidou Centre, Paris 2011 and is currently on show at the Tate Modern, and Tate Britain. He i He was Lead Curator for the Houston Fotofest 2018. His work is in many private and public collections including; George Eastman House (Rochester, USA), Tokyo Metropolitan Museum of Photography, Royal Ontario Museum, Tate, Harvard University and the Museum of Modern Art, New York. His retrospective show will open at the Ryerson Image Centre, Toronto in January 2020.

www.sunilgupta.net

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David Moore

David’s practice concerns itself with explorations of institutional traces via state,
social or corporate apparatus. He most often employs the document as a genre and
has also worked with film and performance genres.

His practice considers agency of the subject within historical and contemporary
contexts, and the effect of corporate or political hegemony in a variety of contexts.
He seeks bespoke, useful and accessible responses to modern social conditions
within a critically-informed and expanded documentary practice.

Described as a ‘Northern Eggleston’ by the writer, Sean O’Hagan, his most recent
project, ‘Lisa and John’ returns to the virtual site of his 1988 series, `Pictures from
the Real World’ and addresses agency and a critique of documentary as a genre
using collaboration, installation and documentary theatre in the series and stage
play; ‘The Lisa and John Slideshow’ performed for the first time in March 2017.

His work is held in public and private collections and he has been the recipient of
several major funding awards from Arts Council England and The British Council.
David is a widely published and exhibited photographic practitioner who uses
documentary modes to observe state and social apparatus and whose practice
includes explorations of institutional power and hegemony using still photography,
performance and moving image.

His 2008 book publication and touring exhibition, The Last Things (Dewi Lewis
Publishing) developed various aspects of this practice yet, his most recent
publication, ’Pictures from the Real World. Colour Photographs 1987-88’ offered a
view of his early work, and was published to critical acclaim in 2013 with reviews in
Time Magazine, The Guardian, The Independent, and many others. David and has had solo shows at The Photographers’ Gallery London, Belfast Exposed; Impressions Gallery, Bradford; The Bluecoat Gallery, Liverpool and many others.

For further information about David’s research, teaching and supervision experience, also see: https://www.westminster.ac.uk/about-us/our-people/directory/moore-david#publications

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Gholam

Friday 30 March 2018

Mitra Tabrizian in conversation

A feature film by Mitra Tabrizian. Starring Shahab Hosseini, recipient of the Grand Jury Prize for Best Actor at Cannes 2016 for his lead role in Asghar Farhadi’s Oscar winning The Salesman.

Set in London, Gholam is the story of an enigmatic Iranian cab driver who works at night and doesn’t like to talk about his past. A man with no past, no future, no convictions, he still gets involved in the conflict of a total stranger, regardless of the consequences.

Director: Mitra Tabrizian
Screenplay: Mitra Tabrizian and Cyrus Massoudi
Producer: Zadoc Nava

Gholam trailer

Sara Dominici

My research is positioned at the intersection of history and theory of photography, cultural history of technologies, and archive theory and practice. My research interests include social and material practices of photography, visual historiography, the relationship between photography and archive practice, the relationship between cultural technologies, media and modernity, and the role of photography in popular culture. I am currently working on the relationship between photographic practices and technologies of personal mobility from the late nineteenth century, seeking to understand the role that everyday lived experiences had on visual modernity.

I recently completed a monograph entitled Reading the Travel Image (Routledge, 2018), which investigates how popular participation in the production, dissemination and consumption of photographic images, specifically those that pertained to the experience of travelling, challenged and subverted the dominant visual culture of travel in Britain between 1888 and 1939. I am a member of the European Society for the History of Photography and of the Società Italiana per lo Studio della Fotografia. I have published in journals including History of Photography and Photography and Culture.

For more information about Sara’s research, supervision and teaching experience also see:

https://www.westminster.ac.uk/about-us/our-people/directory/dominici-sara

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We understand photography as a broad inter-disciplinary field of study based on the photographic image, set within the distinct but overlapping networks of visual art, culture and media practice. Current focus includes contemporary art, social media, digital imaging, politics and big data networks.

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Roshini Kempadoo

As a media artist, photographer and scholar, Roshini Kempadoo creates photographs and multimedia artworks that interpret and re-imagine contemporary and historical experiences of the particular and everyday. She works to create montages using, layering, narration, archive material and interactivity as photographs and media art installations. She evokes women’s stories and perspectives, and is less interested in the (his)stories of national heroes or grand events.

Her artwork and photographs are influenced by a long career of documenting Caribbean communities, individuals and addressing, rights issues and inequalities. As someone of the Caribbean diaspora, she is particularly interested in exploring the relationship between British and Caribbean culture (Guyana and Trinidad in particular) and the way in which this is creatively expressed from one generation to the next. Through the use of fictional writings, photographs, recordings, music, interactivity, and networked environments, Roshini often includes autobiographical and situated perspectives to represent issues that are less visible, underrepresented or unsaid. 

Roshini’s recent exhibition contributions, research projects and editorial work includes: A print series from Ghosting for the Fotofest 2018 Biennial, Houston curated by Sunil Gupta for the exhibition India: Contemporary Photographic and New Media Art; Originating the research project Creating Interference investigating contemporary artworks as creative responses of memories and historical narratives. Launched as an international network in June 2018 in association with CREAM and Iniva, the first event was held at the University of Westminster and Regent Street cinema with screenings of some 15 experimental artist films and symposia with contributions by 20 artists, critics and researchers. As contributing visual editor for Small Axe: A Caribbean Journal of Criticism (Duke University Press), Roshini has currently launched the Small Axe Visualities online platform (SXV) and joined the development team for Visual Life of Social Affliction (VLOSA) a Small Axe exhibition and publishing project funded by the Andy Warhol Trust and Ford Foundation. Her latest artwork, Face Up was curated by Paul Goodwin for the exhibition Ghosts: Keith Piper and Roshini Kempadoo (2015), Lethaby Gallery, London. Roshini published her monograph Creole in the Archive: Imagery, Presence and Location of the Caribbean Figure in 2016. She is currently working on a new art project Like Gold Dust (2019) concerned with women’s narratives set within a climate of financial inequality, economic migration, and precarious working lives.

Roshini is Director of the CREAM Doctoral Programme. For further information about her research, supervision and teaching experience also see:

https://www.westminster.ac.uk/about-us/our-people/directory/kempadoo-roshini

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We understand photography as a broad inter-disciplinary field of study based on the photographic image, set within the distinct but overlapping networks of visual art, culture and media practice. Current focus includes contemporary art, social media, digital imaging, politics and big data networks.

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