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FotoFreo 2010 Festival: de 20 de Março a 18 de Abril, na cidade de Fremantle, na Austrália.
CULLITY GALLERY
Cremone Gardens Theatre Billboard
John Joseph Dwyer, Undated
Courtesy Western Australian MuseumGM001318
An Everyday Transcience: The Urban Imaginary of Goldfields Photographer John Joseph Dwyer
Curated by Philip Goldswain and William Taylor
John Joseph Dwyer photographed the Western Australian Goldfields from 1896 to 1917. Witnessing a period of rapid change and growth, he documented the rise and fall of towns during the gold rush. His revealing images of townscapes, industrial landscapes, machinery and people give an historic and honest perspective, not only of the Goldfields but also the experience of transience. Through his camera lens Dwyer poignantly captures the material, social and psychological reality of fast changing communities. The exhibition of photographs, many of which have been made public for the first time, is accompanied by the publication of a collection of writings offering contemporary insights into the nature of these important historical images. Alongside the rescanned and reprinted images from the Western Australian Museum’s collection the exhibition will feature original Dwyer prints loaned from the Kerry Stokes Collection, Perth.
FREMANTLE ARTS CENTRE
Another Story: Chinese Contemporary Photography
curated by Zhang Guotian, Chief Artistic Director Pingyao International Photography Festival
© Ma Liang
Zhang Guotian has been the Chief Artistic Director of Pingyao International Photography Festival (PIP) since 2008, following five years as its Secretary General. Born in Taiyuan, Shanxi, People’s Republic of China in 1962, Guotian started working in photography in 1986 and began shooting historic Pingyao in 1994. His book Pingyao was published in 2001, the same year he first participated in PIP. Guotian is a member of China Photographers’ Association. He has exhibited at the China Fine Art Museum, collaborated on a number of publications, and created the PICS magazine and continues as its Chief Artistic Director. In 1995 he also directed a MTV for the Shanxi folk song Xiang Qinqin, meaning “my love”, and won the copper medal at the 1995 China MTV Competition.
Magda Stanová
© Magda Stanova
The project In the Shadow of Photography is eminently photographical in a twofold sense: it talks about a presence which is also an absence, in the sense that it reflects on the medium of photography with very few actual photographs; and it considers its own self-reference in a natural, innate way, without forcing any awkward situations. This reflection is carried out from an essential yet (or possible necessarily) invisible position. It considers the way in which the appearance, democratisation and extension of photography has changed our social behaviour.
This set of thirty objects includes drawings, photographs taken from printed media, a book, a camera, a back-projected animation onto the edges of a frame identical to that used for the other works... Everything is explained and yet remains open, in a kind of subtle suspense, much like the title of the installation itself. We live and behave under the influential, omnipresent shadow of photography and yet increasing it doesn’t serve as much to describe us as to make us players in a life completed by the fiction created by its scenes.
© Álvaro de los Ángeles
Joy Horwood Cooke
Southern Africa: A portrait in black and white
'Southern Africa: A portrait in black and white' by Joy Harwood-Cooke. Joy studied photography in South Africa under John Everand then in London at the Regent Street Polytechnic. Here she served an apprenticeship under Angus McBean and Marcus Adams, the Royal Family photographer, in the early 1950s. After returning to South Africa in 1953 Joy photographed for TIME and LIFE which included covering the Royal Tour of Rhodesia. This magazine work was in conjunction with commercial contracts with leading South African companies and the Tourist Commission. The South African Department of Information approached Joy to produce a collection of photographs to tour New Zealand and Australia as a good will tour.
© Joy Harwood Cooke
FREMANTLE CLUBS
© David Dare Parker
David Dare Parker
The ClubsCommissioned by FotoFreo, this project will look at six of Fremantle’s social clubs, which have played such a vital role in the community’s history but are now facing declining and ageing membership. Award-winning photojournalist David Dare Parker will produce the exhibition and combine with writer Ron Davidson to produce a limited edition book, which will be launched during FotoFreo 2010.
...
I am sitting at one end of the freshly painted bar at the Fremantle Workers Social and Leisure Club. It is lunchtime. The bar is busy over all of its 30 metres; as is the café and TAB which in another age was the club library and reading room. I ask my neighbour his name and whether he’d like a drink. His name is Arty and he declines the drink with grace. He hasn’t had a drink since 1970. Why then does he keep coming to the heartland of Fremantle drinking? He tells me he is 86 and comes to the club whenever he feels like a chat. He chats of taking over his father’s union ticket in 1957 and coming on to the wharf: lumping was a family business then unless you happened to be a footballer. He chats of 400 lumpers’ bikes stacked outside the ferry terminal and not one was stolen; and how wharfies came over to the club for their schooners at lunch or smoko and of the some solid drinking ‘until stumps (11 pm)’ which destroyed Arty’s liver. Also how Paddy Troy, the Fremantle workers’ saint, was black-balled from the club and who did the deed. ‘There was no Commies in the Workers’ Club’ says Arty without explaining why. There were also no women and workers could wear their work hats up to the bar.
Now there are women everywhere. The club is flourishing again. However, when ships’ cargoes started to be carried in containers rather than on men’s shoulders, thousands of wharfies and woolies left town. Other clubs closed or became sad places…
© Ron Davidson
FREMANTLE PRISON
Eugene Richards
© Eugene Richards
The Blue Room Eugene Richard’s first colour project, a moving, highly personal project that brings together the themes that encompass all of Richards’ work – what he describes as the ‘transient nature of things’. The photographs are portraits of the abandoned and forgotten houses of western America in areas such as the plains of Kansas, Nebraska, New Mexico and the Dakotas. In the early twentieth century, railroads lured settlers west with the promises of homesteads and towns rose across the plains. But in the wake of the Depression and the dust storms of the 1930s the towns faltered then failed. Richards enigmatic photographs of these forgotten homes are a meditation on memory and loss – family photographs stuck on a wall, a wedding dress hanging in a bedroom, snow falling on a bed by an open window, a wild horse standing at an open kitchen window. Richards’ contemplative, beautiful photographs inspire us to imagine the lives of the former occupants, and make a quiet statement on the inevitability of the circle of life and death, and the vulnerability of man in the face of shifting economic opportunities and the climate.
Text from The Blue Room Phaidon 2008
© Brad Rimmer
SILENCE: the west australian wheatbelt
Memory and cultural idiosyncrasies inform the photographic works by Brad Rimmer. The recollection of growing up in rural Australia, the quietness of the landscape and the silence of the unspoken word. The series Silence alludes to the shifts in rural expansion and its demise, the changes in the social structures where the advent of the car, transport, better road infrastructures opened the way for new experiences. Where the once insular town has slowly lost its youth, its lifeblood and now exists as a residue of memory. Through contemplative and introspective images Brad Rimmer searches for the familiar; the recognisable elements which shape the region and it’s people. These images question the ‘familiar’ beauty of our environments and gently scrutinize Australia’s perception of itself, affirming that our cultural identity is based on empathy and understanding of our environment and the indelible binary link we have with it.
© Paola Anselmi Curator & Writer, Perth
MOORES BUILDING CONTEMPORARY ART GALLERY
Growing Pains - Timor Leste, The First 10 Years
Conor Ashleigh, Philip Blenkinsop, Zesopol Carlito Caminha, Glenn Campbell, Agnes Dherbeys, Chris Parkinson, Martine Perret, Dean Sewell, Matthew Sleeth, Bernardino Soares
© Matthew Sleeth
Order was returned after the intervention of the Australian led InterFET force and Timor started its path to independence under the guidance of the United Nations. The 20th of May 2002 saw the birth of the 21st century’s newest Nation, Timor Leste, but the challenges relating to the establishment of a new government, society and economy simultaneously have been immense. Timor Leste is one of the world’s poorest nations, ranking below both the Congo and Sudan in its indicators of human development. The adult literacy rate is only 58% and one in ten children dies before it reaches five years of age. 42% of the population is under 15 years of age and life expectancy is 56 years.
Dreams of an idyllic independent Timor have been further complicated by poverty, the lack of economic opportunities coupled with unresolved social and political tensions for government and law and order institutions which are divided, weak and fragile. These all came to a head during the crisis of April – May 2006 after violence broke out following the sacking of 591 soldiers who had left their barracks to protest against discrimination based on regional affiliation. Since then the situation has, with a few hiccups, stabilised somewhat although many of the underlying problems are still to be fully addressed. Timor Leste remains heavily dependent on international aid and UN support as it slowly learns to take control of it’s own destiny.
Viviane Dalles
A Journey of Exile
© Viviane Dalles
© Claire Martin
Claire Martin
Slab CitySlab City has been created by a small but committed squatter’s community. It lies in the Colorado Desert in South Eastern California and takes its name from the concrete slabs that remain from an abandoned World War II base. It is a truly horrific and romantic landscape that commands residents to possess the same balance of beauty and beast. Unbearable temperature highs in the summer weed out the many who inhabit the free space in the winter, leaving only the most resilient, or the most unfortunate to become permanent residents. It is also these people who maintain the ad-hoc infrastructure that makes it such a desirable community to visit in the cooler winter months. The people who stay year after year could be described as poverty stricken, living in possibly the worst conditions in the USA, and some residents would tell you this is the truth. Others fiercely defend their lifestyle as a deliberate choice to reject the mainstream society. For these people Slab City provides a freedom they'd never experienced before. There are others who were forced here through circumstance; society wont tolerate them due to their pasts as felons, addicts or vagrants, but who whole heartedly embrace the opportunity to live in a community that wont judge them. Slab City is a place for the broken and desperate and for the fierce defenders of freedom from tyranny. But more than anything else, it is what this small group of people call home.
Jean Chung
Tears in the CongoWomen in the DR Congo suffer from Sexual and Gender-based Violence (SGBV) by different militia groups and civilians. According to UNFPA, 13,247 cases a year, and an average of 1,100 cases are reported each month in the country. One of the reasons for the highest sexual violence in the world is the notion of impunity on perpetrators, who, in the case of rebels, escape back to the jungle after committing the crime. However, there is an increasing number of women speaking out, trying to arrest the perpetrators. There are both military and civil courts in Goma that deal with rape cases, and without the DNA or age tests, the tribunals struggle to prosecute the accused perpetrators. Some of the accused rapists are inside the Central Prison, either already being sentenced or waiting to be. Some argue that they are the victims of women who try to harm them or make profits without any evidence. Despite all odds, the victims live a hard life while receiving surgeries and treatment, and struggle once they go back to their village.
PERTH CENTRE FOR PHOTOGRAPHY
© Amy Stein
Amy Stein
StrandedBeginning with the United States government's failed response to the flooding of New Orleans in 2005, the American people suffered through a series of devastating corruptions of their traditional structures of support. Stranded is a meditation on the despondence of the American psyche as this collapse of certainty left the country stuck in an unfamiliar space between distress and relief. In this series the car serves as both figurate symbol of American destiny and a literal representation of the personal breakdowns on the road to that promise. The images live in the road photography tradition of Robert Frank, Stephen Shore and Joel Sternfeld, but where they sought to capture the American experience through "the journey," Amy Stein’s photographs seek to tell the story of this time through the journey interrupted. For this series Stein drove across America for weeks at a time photographing stranded motorists. Finding subjects was a matter of chance and every encounter tense because of the unusual circumstances of the interaction and the inherent danger of the roadside environment.
Sohrab Hura
Life is Elsewhere
© Sohrab Hura
Life is Elsewhere (Milan Kundera)
It was in the summer of 1999 when my mother was diagnosed with an acute case of Paranoid Schizophrenia. I was 17 then. The doctors, in retrospect, had said that she had already started developing the symptoms many years prior to that. Symptoms that nobody had noticed. But it was the break up with my father that caused her condition to suddenly come alive and then deteriorate. Over the years, the walls of our home started to peel off, people had stopped coming to our home because my mother was too scared to let anybody in and all that remained were the traces of a life that no longer existed. Our initial years were spent hiding from the world. Hers out of paranoia and mine out of embarrassment and anger at who she had become. But after all these years I’ve realized that my mother had never stopped loving me.
Today as I look back, I realize who I am, what I feel, see and think, is connected to my relationship with my mother in a way stronger than I know. And in this work, I hope I am able to connect the relationship that I’ve had with my mother with the rest of my life.
My Life is Elsewhere is a journal of my life, my family, my love, my friends, my travels, my sheer need to experience all that is about to disappear and so in a way I’m attempting to connect my own life with the world that I see with a hope to find my reality in it. Life is Elsewhere is a book of contradictions and of doubts and understandings and of laughter and forgetting in which I am trying to constantly question myself by simply documenting the broken fragments of my life which might seem completely disconnected to one another on their own. But I hope that in time I am able to piece together this wonderful jig saw puzzle called life. And this journey will perhaps lead to reconciliation with my own life.
PERTH CULTURAL CENTRE
© Tamara Dean
Oculi Retrospective
Donna Bailey, James Brickwood, Tamara Dean, Jesse Marlow, Nick Moir, Jeremy Piper, Andrew Quilty, Dean Sewell, Steven Siewert, Tamara Voninski ROTTNEST SALT STORE AND MUSEUM
© Peter Eve
Peter Eve & Monica Napper
Yiloga! Tiwi FootyYiloga! Is an exploration of the importance of football in the life of remote Aboriginal community. The exhibition by Peter Eve and Monica Napper captures the way in which footy has become an integral part of Tiwi culture and highlights not just the Tiwi community’s passion for the game of AFL (Australian Rules) football but also its
positive influence on community life.
In co-production with ArtBack Northern Territory
GALLERY CENTRAL
WAR
© David Dare Parker
°SOUTH is a photographic collective of Australia’s most creative and award-winning documentary photographers who have covered conflicts from Vietnam to present day Afghanistan. These photographers live a very unique lifestyle and often perform at great risk to themselves to tell the story. The dedication of ‘°SOUTH’ is to record ‘evidence’ in a fair, truthful and informative way, following on the great Australian tradition of Frank Hurley, Hubert Wilkins, George Silk, Max Dupain and Damien Parer. Wars are complex situations that defy easy answers. With the courage of a soldier and the eye of a witness these photographers have created images of power and compassion that can influence public opinion, have historical significance and even reawaken a sense of responsibility in Humanity to deal with them.
TURNER GALLERIES
© Annet van der Voort
Annet van der Voort
VanitasDuring the past two years the Dutch photographer Annet van der Voort called her atelier a floral laboratory. Here she observed the transformation of flowers, especially tulips, which she kept in order to use them in their various states of decay for her art. Her technique for producing these images is modern and completely without camera. In a complex process, she scanned the wilting splendor of the flowers and in doing so created a special visual space that corresponds to her understanding of vanitas, the philosophical idea of the transience of everything mundane. Her images are first and foremost constant attempts to home in on the issue of the meaning of birth and decline, of life and death - not only in her still-life series Vanitas and Tulipa, but also in most of her landscapes and portraiture.
Simon Obarzanek
© Simon Obarzanek
WESTERN AUSTRALIAN MUSEUM - PERTH
World Press Photo of the Year 2008
Anthony Suau, USA, for TIME
World Press Photo
World Press Photo conducts an annual, international competition to acknowledge the very best photojournalism in the world. Each year, an independent international jury, consisting of thirteen members, judges the entries in ten different categories, submitted by photojournalists, agencies, newspapers and magazines from all corners of the world. This year’s competition attracted 5,508 photographers from 124 countries. In total 96,268 images were entered in the contest.
The Nikon-Walkley Press Photography Awards 2009
The Nikon-Walkley Awards are the highest honour for Australian photojournalists. With categories for news, daily life, feature and sport photography, and special prizes for portrait and community/regional photography. The Walkley Awards recognise excellence in journalism - from the most senior levels of the Australian media and photography, to non-fiction authors, young journalists and student journalism.WESTERN AUSTRALIAN MUSEUM - MARITIME
© Narelle Autio
Narelle Autio
The Summer of UsNarelle Autio’s vibrant and award-winning images of Australian coastal life have won her impressive national and international acclaim. Since they were first exhibited at Stills Gallery in 2000, her vivid images have also captured the hearts and imaginations of viewers. One beauty of Autio’s work is its ability to speak to so many people about their own experience of being coastal dwellers. Another is the play of colour and light in the photographs, giving them a magic and painterly quality that transcends the usual depictions of the beach. Autio’s images give back to the coastline the complexity, drama and beauty that are eroded by postcards and clichés.
Pat Brassington
Twins, 2001
Image courtesy Pat Brassington &
Stills Gallery
Brassington's work references surrealism, feminism and fetishism. Photographic motifs, collaged or digitally manipulated, create disconcertingly ambiguous imagined states which fascinate and disturb. Images evoke uneasy tensions between bizarre, sinister intimations of menace and weirdly beautiful, benign harmonies. Open to multiple interpretations, the titles deflect from the content to redirect and encourage more subjective meanings. Using sexuality to confront, discomfort and intrigue, she layers and collages the actual with the improbable to create a mesmeric and often humorous quality.
© Diane Foster
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