TPG New Talent 19 @ the Photographers’ Gallery

TPG New Talent

TPG New Talent (TNT) was launched in 2019 by The Photographers’ Gallery as a way to identify and champion under-recognised or emerging UK-based artists and photographers who use photography as a key part of their practice.

It continues a tradition of programmes designed by TPG to support practitioners and confirms an ongoing commitment to ensuring new photographic practices are given a public platform.

Showing a range of approaches to both the medium and exhibition making, the artists selected for the first edition of TNT present works which encompass the full spectrum of photographic practices today. From the experimental to the documentary, both the works and presentations test the capacity and materiality of the form, using found imagery, surface manipulation, collage and 3D processes to document contemporary stories through personal memories and collective myths.

A long list of entrants was whittled down by TPG’s curatorial team, and then a final selection made by the American photographer and artist, Jim Goldberg.

In addition to the forthcoming exhibition showcase, the artists each receive twelve months of individual mentoring. Working with TPG curators to identify a particular area of their wider practice needing development and support, each artist will then be paired with a carefully selected mentor from the creative field, who will provide specific and ongoing advice and tutelage. Over the course of a year the mentorship will include studio visits, meetings, discussion and critiques relating to their work.

In other words, a fantastic opportunity for young photographers and artists to get support and help with their careers.

Barely British

My first reaction on reading the wall label was a twinge of disappointment. I had caught the phrase about the scheme being for ‘UK-based’ artists and so mistakenly thought the show would showcase young British talent. Not at all. Of the eight finalists, only two are British and, given that the final judge was American (why an American?), I felt there was only a slender connection between the exhibition and Britain.

Barely photography

The next obvious point is that many of the exhibits aren’t narrowly about photography. To quote again, they ‘present works which encompass the full spectrum of photographic practices today… using found imagery, surface manipulation, collage and 3D processes…’ This explains why the eight finalists are not referred to as photographers, but as artists.

This, in itself, is an interesting fact to mull over. The leading gallery of photography in London (maybe in the UK) runs a competition for young photographers, but frames it as not being about photography per se, but uses a much broader definition to encompass all kinds of art, which may, or may not, use photographic processes or elements. Hmmm. This is good, open, imaginative and inclusive. But there is the slight implication that, these days, simple photography is not enough.

The eight artists

Rhiannon Adam (b.1985, Ireland)

Adam has produced a wall-sized montage about the remote Pacific island of Pitcairn.

Big Fence / Pitcairn (2015-18) by Rhiannon Adam

Pitcairn is the last British Overseas Territory in the South Pacific and might ring a few bells because it was here that the mutineers from HMS Bounty settled after turning on the tyrannical Captain Bligh, and taking over the ship, as portrayed in numerous books and movies. More recently Pitcairn was in the news because of a child sex abuse scandal, which led to the conviction of eight men including the mayor.

Adam made the long journey to Pitcairn and, due to the infrequent shipping schedule, was caught there for three months. The island is a tiny volcanic strip measuring just two by one miles, and is several days sail away from the nearest airstrip. Weary of intrusive journalists and outsiders, the islanders were understandably wary of Adam’s interest and reluctant to be photographed.

To create this wall-sized installation Adam used expired Polaroid film to take some photographs, creating a sense of decay. The installation also combines blow-ups of newspaper articles, alongside stills from the various movie versions of the mutiny on the Bounty, contemporary colour photos, a glass case containing a model of the Bounty, as well as a book on a shelf jutting out from the wall, and headphones on which you can hear voices of some of the islanders Adam interviewed. As the curators pithily put it, ‘a selection of audio, archive and ephemera’.

The general idea is Paradise Lost. Whereas the 1950s movies portrayed Pitcairn as a tropical paradise, the child sex scandals exposed it as being just like anywhere else, sordid and in thrall to bullying perverts. The population of the island has nowadays dwindled down to 40 adults and one child. In other words, the island is doomed. Cheerful stuff.

Miguel Proença (b. 1984, Portugal)

Miguel Proença’s series of colour photos Behind the Hill investigates ancient religions and traditional healing.

Extracts from the series Behind The Hill by Miguel Proença

Proença set out to photograph individuals and scenes remote from our 21st century technological civilisation. The result is traditional colour photos masks, rituals and objects that offer their adherents and practitioners good health and prosperity, for example the guide to palm reading in the middle of the bottom row. And the photo, top left, of a boy wearing a bright red traditional mask is stunning.

Giovanna Petrocchi (b. 1988, Italy)

Opposite Adam’s wall-size collage from Pitcairn is this weird, striking and attractive assembly by Giovanna Petrocchi.

Modular artefacts, Mammoth remains (2019) by Giovanna Petrocchi

Petrocchi combines personal photographs with found imagery and hand-made collages with 3-D printing processes. She creates imaginary landscapes inspired by surrealist paintings, virtual realities and ancient cultures. Influenced by museum displays and catalogues, Petrocchi populates these landscapes with her own collection of surreal artefacts.

I really liked the images themselves, whether presented untouched, or distorted by the surreal addition of masks or limbs.

I liked the way the small, framed, colour images were pasted onto the larger black and white images, breaking up their flow and symmetry.

I liked the way glass cases stick out from the wall.

The curators reckon her work:

aims to question the very idea that culture can be contained by national boundaries and institutions, revealing instead an entity in constant flux, subject to transformative processes of migration and exchange.

Maybe. But my first, initial, visual and emotional gut reaction was how elegant and tasteful her assemblies were. Beautiful, even, if we may use that old-fashioned word.

Alberto Feijóo (b. 1985, Spain)

Feijóo’s work is at the more experimental end of the spectrum. He combines photography, collage, book design and model making, creating results which might be more associated with architects and engineers. Hence the unappealing plywood construction on display here.

New Babylon by Alberto Feijóo

Sparse, isn’t it? The coloured models didn’t do it for me, neither did the layout of the ‘rooms’ with coloured bits stuck on. Or the big plywood frame in the background with much larger colour photo montages stuck on it. Allegedly, it offers:

a space for the viewer to encounter the incorporated objects and images like a roaming character within an extended tableau.

And:

His structures are further inspired by artist Constant Nieuwenhuys’s New Babylon, which imagines a utopian city through the construction of a series of models.

As my son would say, ‘Meh.’

Alice Myers (b. 1986, UK)

Alice Myers works with photography, sound and video to engage with specific communities and places. Made over the course of two years in collaboration with refugees and migrants in Calais, Nothing is Impossible Under the Sun incorporates sound recordings, conversation transcripts, found snapshots, moving image, drawings and closely observed photographs.

Using her role as an outsider to observe how events unfold around the camera, Myers rejects neat linear narratives to evoke disorientation in both her book and video works. This mirrors the physical and psychological spaces that people without documents are consigned to.

The same bien-pensant motive, in other words, which fuelled many of the illustrators and writers featured in the recent exhibition about refugees and migrants at the House of Illustration.

Myers’ work was presented on three video screens which are impossible to capture on a stills camera like mine. When it comes to assessing art videos, it’s relevant that I used to be a television series producer. I hired and fired series directors. Every day directors sent me their showreels on spec, looking for work, which I would sit and watch. Sometimes these showreels were stunningly briliant. Some of the short pieces haunt me to this day. This explains why art videos have to be really outstanding to make an impression on me. These ones didn’t.

And they also didn’t register when compared with almost all the work by or about refugees in the House of Illustration show. Much of that was moving, brilliant and inspiring.

Seungwon Jung (b. 1992, South Korea)

This was the best body of work by far.

From the series Bark by Seungwon Jung

Jung prints fragmented photographic images onto fabric, then uses this as a surface to further work into, apply onto and remove from, different elements. Starting with a completely printed length of fabric, she then submits this to various physical processes including de-threading, unpicking, rethreading and reconfiguring.

The results are stunning. There’s a set of three framed smaller images which are lovely. But it is these two big works, attached to scroll-like sheets of paper hanging from the wall, which really convey the power of the techniques she’s developed. And they are both trumped by an enormous semi-transparent hanging fabric on which she has printed the bark of what looks like a plane tree and which divides the room in half (you can see the three smaller framed works behind it). Wow. Visually and physically stunning. What a great idea. So simple but so effective.

Installation view of Seungwon Jung at TPG New Talent 19 at the Photographers’ Gallery

Adama Jalloh (b. 1993, UK)

Adama Jalloh is a black woman photographer from South London and her work:

explores themes such as identity, race and culture.

Jalloh’s work is straight-up, black-and-white, social documentary photography, and very good, too. There’s a sequence recording a ‘Sara’, an Islamic custom in the Sierra Leonean community that involves Imams praying for a deceased family member or friend. Offerings of traditional food and money are given and condolences are expressed. Visitors are also allocated matching fabrics (known as Ashobi) which they can style to their individual taste.

Photos by Adama Jalloh

If you do a Google image search or go to Jalloh’s website, you’ll quickly see how all her photos are immediately evocative and characterful, conveying a powerful feel for black people and communities.

Frankly the half dozen photos here easily stand out as beautifully composed and printed, but lest this section be ‘merely’ about photography, there’s an interactive element. There are some headphones hanging on a hook, which we’re meant to put on so we can listen to an audio conversation between family members spoken in the Krio and English languages.

Chiara Avagliano (b.1988, Italy)

Chiara Avagliano’s work is another combination of photographs with sculpture and other materials.

All the works here relate to ‘Val Paradiso’, an imaginary valley created by Avagliano and based on real locations from her childhood in Northern Italy. The valley is the setting for a semi-fictional coming-of-age tale told from different points of view and ‘explores the rituals of female friendship, childhood, mythology and make-believe’.

The photos themselves are big, colour and entirely conventional, if haunting.

Val Paradiso by Chiara Avagliano

At the heart of Val Paradiso is a magical lake, Lake Tovel, which turns red in the summer months. By this stage I wasn’t sure what was fact, fiction or magical realism in this display, but I didn’t care. It’s fun. Apparently, Avagliano collaborated with her sister and friends to stage events from the fictional stories and photographed themselves doing it, which explains some of the images here.

And not all of them are photographs. There are a few contour maps of the valley in cases fixed to the wall, and in a big display case a wooden model of the mythical lake.

Model of the mythical lake at the heart of Val Paradiso by Chiara Avagliano

Once I’d understood the intention, I liked this project. It doesn’t have the dramatic impact of Seungwon Jung’s bark hangings, or the vivid street vibe of Adama Jalloh’s black Londoners, or the elegant surrealism of Giovanna Petrocchi’s altered museum pieces.

But the idea is simple and haunting, and the photos are wonderfully atmospheric. I can imagine it being a really good piece of teenage girl fiction, of the kind my teenage daughter reads (and sometimes lends to me).

The artists’ websites

Curators

The TPG New Talent was selected by Jim Goldberg, curated by Karen McQuaid, art direction and graphic design is by Sarah Boris.

Demographics

The exhibition is housed in two rooms on the fifth floor of the Photographers’ Gallery. When I visited, at one o’clock on a Wednesday, it was completely empty, which was very restful on a hot day in central London but not, I imagine, what the Photographers’ Gallery like to see.


Related links

Reviews of other photography exhibitions

The Taylor Wessing Photographic Portrait Prize 2018 @ the National Portrait Gallery

Always look on the bleak side of life

Rule one is that, in modern photography, it is forbidden to smile. Photographing anyone smiling instantly leads to your cameras being confiscated. Photographing anyone laughing leads to instant banishment.

Grifton from the series Perfect Strangers by Nigel Clarke © Nigel ClarkeGrifton from the series Perfect Strangers by Nigel Clarke © Nigel Clarke

Grifton from the series Perfect Strangers by Nigel Clarke © Nigel Clarke

Photography is a serious business. Life is all about being isolated and alienated. A tragic affair. None of the sitters in the 57 photographic portraits on show in the Taylor Wessing Photographic Portrait Prize 2018 is smiling, let alone laughing. Most have expressions of mute despair, sullen passivity, stare plaintively at the camera or mournfully off into the distance.

Portrait of Marta Weiss and her daughter Penelope from the series Artfully Dressed: Women in the Art World by Carla van de Puttelaar 2017 © Carla van de Puttelaar

Portrait of Marta Weiss and her daughter Penelope from the series Artfully Dressed: Women in the Art World by Carla van de Puttelaar 2017 © Carla van de Puttelaar

Remember that awful movie, Dumb and Dumber. This is a display of Serious and Seriouser.

Greta and Guenda by Guen Fiore © Guen Fiore

Greta and Guenda by Guen Fiore © Guen Fiore

Teenagers are good, because they come with built-in sulkiness (which, as the owner of two teenagers, I know only too well).

Eimear by Trisha Ward 2017 © Trisha Ward

Eimear by Trisha Ward 2017 © Trisha Ward

A number of the sitters are actually crying, this guy because he’s just been given a beating in a kids’ boxing competition. Yes, life is a tragic business.

Runner Up from the series Double Jab ABC Show by Sawm Wright 2017 © Sam Wright

Runner Up from the series ‘Double Jab ABC Show’ by Sam Wright 2017 © Sam Wright

I wonder if anyone submits photos of people smiling, laughing, joking or having fun, and the judges systematically weed them all out to produce this uniformly glum set of portraits. Or whether clued-up entrants know from their photography courses (by far the majority of snappers in the competition have degrees in photography) that happiness is not art.

Africa

It’s a shame the selection on display makes such a cumulatively negative and depressing impact because, taken individually, there are lots of absolutely brilliant photos here.

And the locations, ages and types of sitter are pretty varied and interesting. It’s true that, as last year, there is a heavy bias towards British photographers (over half) and Americans (about 10 out of 57). But they get around a lot – especially to Africa, which was the setting for a brilliant couple of photos by Joey Lawrence.

Portrait of 'Strong' Joe Smart from, the series Tombo's Wound by Joey Lawrence © Joey Lawrence

Portrait of ‘Strong’ Joe Smart from the series Tombo’s Wound by Joey Lawrence © Joey Lawrence

This portrait won third prize. Another image which drew me further in the more I looked, was of a teenager called Sarah in Uganda, photographed by Dan Nelken.

Sarah, aged 13, carries a five gallon jerrycan of water home three times a day from the series the Women of Rutal Uganda by Dan Nelken © Dan Nelken

Sarah, aged 13, carries a five gallon jerrycan of water home three times a day from the series The Women of Rural Uganda by Dan Nelken © Dan Nelken

In fact, the winning photo was one of a series by Alice Mann taken of drum majorettes in South Africa.

Keisha Ncube, Cape Town, South Africa 2017 from the series Drummies by Alice Mann © Alice Mann

Keisha Ncube, Cape Town, South Africa 2017 from the series Drummies by Alice Mann © Alice Mann

About 24 of the 64 or so sitters featured in the photos are black. Precisely 32, half the sitters, are white.

Stories

The three photos above, and the suggestive titles of the series which they’re from, raises the matter of the stories behind the photos.

Because the exhibition doesn’t just show 57 photos cold – each one comes with two wall labels, one telling us quite a bit of biography about each photographer (like the fact that most of them are British and most of them have studied photography at university or art college).

And another, often quite lengthy label, telling us about the sitter and the circumstances behind the photo. In some cases these stories are more interesting and thought-provoking than the photos themselves. They say a picture is worth a thousand words, but sometimes a thousand words can say as much or more than a picture.

Take the first of the three black kids, above: we learn that the photo of ‘Strong’ Joe Smart was made in the remote village of Tombohuaun in the Eastern Province of Sierra Leone where Joey Lawrence (Canadian b.1989, self taught) was working with the charity WaterAid. It interested me to learn that Joe had made this mask while playing with his mates, and in between shots mucked about and giggled. It says a lot for the aesthetic of modern photography that no photos were taken of these high spirits. Instead he is depicted like a Victorian angel staring sensitively and seriously into the philosophical distance.

The photo of Keisha Ncube, a nine-year-old drum majorette, is by Alice Mann (b.1991 South Africa, studied photography at the University of Cape Town). It’s one of a set of four on show here (from a much bigger series) all of which are composed beautifully and taken with pin-point digital clarity. The wall label explains how many of these girls come from very poor backgrounds but how saving up for, or making, the costumes, and taking part in the activities gives them a strong sense of dignity and self worth.

Similarly, the photo of Sarah, aged 13, carrying a five-gallon jerrycan of water on her head is a strong image to begin with but gains immeasurably from learning more about the village and her background. The photographer, Dan Nelkin, was born in 1949 in New York.

Unsmiling kids

I counted 64 people in the 57 photos, of whom 31 are children (plus two babies).

Kids give you instant pathos. Especially if you tell them to stop smiling, laughing and fooling around, stand still and look mournful. The wall label explains that Lo Pò (b.1979 studied photography at the London College of Communication) had spent a long frustrating day trying to photograph a racehorse in Sardinia, packed it in and went for a meal at a local pizzeria. Coming out he spotted this pale freckled girl playing with friends. He asked her parents if he could photograph her and placed her against the warm plaster wall which brings out the tones in her skin and hair. It’s an amazing and striking photograph. But it did make me laugh that the first thing the photographer did was stop her playing with her friends. Now, now, none of that laughing and smiling: this is art! Instead she is carefully posed in the soulful, intense, rather numb expression which is the visual style of our age.

Girl outside the pizzeria at night by Andy Lo Pò 2017 © Andy Lo Pò

Girl outside the pizzeria at night by Andy Lo Pò 2017 © Andy Lo Pò

Charlie Forgham-Bailey (b.1989, based London, studied French and Philosophy at uni) is represented by a set of four photos of boy footballers, who were taking part in the Danone World Cup four unsmiling, stern looking young dudes.

Ditto this photo of ‘Rishai’, snapped by Meredith Andrews, sitting sternly unsmiling on his bike. ‘Don’t smile kid – this is art!’

Rishai from the series After School by Meredith Andrews © Meredith Andrews

Rishai from the series After School by Meredith Andrews © Meredith Andrews

Two particular photos of kids take the art of seriousness to new levels; by Richard Ansett (b.1966), they are from two series, one titled After the Attack (The Manchester bombing) showing a teenager in her bedroom who witnessed the bombing and has had difficulty leaving her house, since; and one titled Children of Grenfell, whose subject matter you can probably guess.

Old people

But it isn’t just kids who can look grim and unsmiling. Images of old people, the more vulnerable the better, can always be relied on for instant pathos.

Nan, Hafen Dag Sheltered Scheme, Mid Glamorgan from the series Old Age Doesn't Come By Itself by Rhiannon Adam 2017 © Rhiannon Adam

Nan, Hafen Dag Sheltered Scheme, Mid Glamorgan from the series Old Age Doesn’t Come By Itself by Rhiannon Adam 2017 © Rhiannon Adam

Even famous old people. There’s a dazzling photo of Hollywood legend Christopher Walken (although can anyone name a movie he’s been in since the Deer Hunter?) Against a jet black background, his aged haunted face looms pale and haunted. It’s fascinating to learn that the session took only a few minutes, the photographer Anoush Abrar (b.1976 Tehran, masters degree in photography) setting up, just the two of them in the room, the photos taking just moments to take.

Christopher Walken by Anoush Abrar 2018 © Anoush Abrar

Christopher Walken by Anoush Abrar 2018 © Anoush Abrar

Katherine Hamnett is featured. Who? The fashion designer who hit the headlines way back in 1984 when she was invited to meet the Prime Minister, Mrs Thatcher, and wore a white t-shirt of her down design emblazoned with the words ‘58% don’t want Pershing’ referring to Ronald Reagan’s siting of cruise missiles at Greenham Common. Ah, I remember it well. So I was a little surprised to see that she’s still alive, not so surprised to learn that she’s spent a lot of the intervening 34 years making more t-shirts with ‘political’ slogans on them, and not in the slightest bit surprised that the latest one is anti-Brexit photo by Pedro Alvarez (b.1972 took a degree in photography at Blackpool Uni).

Katharine Hamnett by Pedro Alvarez 2018 © Pedro Alvarez

Katharine Hamnett by Pedro Alvarez 2018 © Pedro Alvarez

Ordinary adults

But most people aren’t babies, kids, teenagers or pensioners. Most people belong to the age range 18 to 65. But this age group, what you might call ordinary everyday people, the kind you go into a work environment and see, or see on the Tube at rush hour.

In contrast to serious children, sensitive artists and sad old people I liked some of the photos of blokes. Here’s a geezer, Conor, with his dog Levi, snapped by Tom Cockram (b.1986, BS Hons in photography from Manchester Metropolitan University).

Conor and Levi from the series British Boxing by Tom Cockram 2018 © Tom Cockram

Conor and Levi from the series British Boxing by Tom Cockram 2018 © Tom Cockram

The more I looked at this, the more I liked it, though it took a while to figure out why. First, the subject does not fill the frame (compare and contrast with all the images, above). He is set in a landscape, which just makes it visually more interesting. And the landscape itself is intriguing, the way the heavy mist obscures the trees on the horizon, and teases you to try and decipher the types of buildings behind them – hotel, council estate, I think that’s a petrol station on the right. And then there’s the visual relation between one man and his dog, the way the sloped back of the politely sitting dog makes a line which, if you extended it, would touch the man’s head, in other words together they form a triangle, hidden, concealed in the photo, but which, I think, subtly gives it a unity of composition.

Also featuring a bit more background than usual, and an intriguing one at that, is this photo of a ‘guest at a graduation party’ by Adam Hinton (b.1965).

Guest at a graduation party by Adam Hinton 2018 © Adam Hinton

Guest at a graduation party by Adam Hinton 2018 © Adam Hinton

The wall label tells us that Hinton had travelled to Plovdiv in Bulgaria to document the largest Roma community in Europe and came across a party celebrating the graduation of several young women from the local university.

I liked this photo because it is not of a serious-looking child, nor of a frail and vulnerable old lady, nor of a high-minded liberal fashionista. It captures the spirit and culture of the huge number of people across Europe, who aren’t educated, don’t read new novels, go to the opera or art galleries, who just make a living trading horses, dealing in scrap metal, working as seasonal labourers, fixing up cars, running second hand TV shops, men who try to do the best for their wives and kids, and on special occasions dress up in bling and greased hair.

It reminded me of some of the photos I’ve seen at the Calvert 22 Foundation, which focuses on art and photography from East European countries, or the absolutely brilliant photos of men and landscapes around the Black Sea taken by Vanessa Winship and featured in a recent exhibition at the Barbican.

I liked all these because they are unusual.

By contrast when I read that one of the photographers on display here had set off on a 1,000 mile roadtrip round America on a Harley Davidson bike, photographing the weird and eccentric people she met, my heart sank. If I never see another black and white photo of weird and kooky, provincial, backwoods, redneck characters from America, it will be soon.

Rinko Kawauchi

There is absolutely no requirement for the exhibition as a whole to be representative of everything. I just like counting, noting data sets, trends, numbers. My day job is a data analyst for a government agency.

Thus I couldn’t help noticing the complete absence of images from India or China which, between them, have 2.7 billion people, 38% of the world’s population. Also because I’m still savouring the exhibition of works by Vasantha Yogananthan at the Photographers’ Gallery. It’s a big country, India. Lots of people. Very colourful. Not here at all (there is one photo of a British Sikh).

I wonder why. Don’t Indians apply? Do Westerners not go looking for colourful subjects in India any more (as they obviously still do in Africa, from the evidence here)?

A country which was specifically represented was Japan, in the form of a special feature – a wall of eleven works by Japanese photographer Rinko Kawauchi. Kawauchi’s work came to prominence with the simultaneous publication of three books: Hanako (a documentary of a young girl of the same name), Hanabi (which translates as ‘fireworks’) and Utatane (a Japanese word that describes the state between wakefulness and sleep. In 2002 Kawauchi was awarded the Kimura-Ihei-Prize, Japan’s most important emerging talent photography prize, following the publication of her first photobooks.

Her photos are about delicacy. She shoots in a way which lets in so much light that the photos are almost over-exposed, have a milky misty quality. And her subject appears to be the everyday life of her family – ‘small events glimpsed in passing’ – including a couple of striking images of adults holding a tiny, tiny baby.

Untitled by Rinko Kawauchi

Untitled by Rinko Kawauchi


Related links

Reviews of other National Portrait Gallery exhibitions

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