Issue 31 - Contents

Edouard Taufenbach’s re-imagined vernacular snapshots of people at leisure conspire to open up something in an unspecified future. Duncan Wooldridge considers how photographs enter a different temporal frame when removed from their original context to change their function – from document to gesture, from report to catalyst.

The long-term project by Swiss photographer Yann Mingard explores global contexts and geological time frames of climate change and the Anthropocene, a period of planetary-scale human intervention played out as sometimes absurd, localised and historically specific sub-chapters. Accompanied by an essay by Lars Willumeit.

Liz Johnson Artur transformed the idea of the “flâneur photographer” into an empowering and complex photographic practice, documenting an atlas of faces and recording diversity within numerous communities. Taous R. Dahmani calls for the need to place her ouevre in a historical and transatlantic continuum of black female street photographers.

Hola Mi Amol sees French-Dominican photographer Karla Hiraldo Voleau experiment with narrative construction in order to challenge the expectations of the men it portrays. Alice Zoo examines the potency of the female gaze, the potency of turning the male gaze back against itself.

Andy Sewell’s Known and Strange Things Pass explores the deep enmeshment of technology with contemporary life, as observed through the subject of transatlantic communications cables linking the UK and North America. Eugénie Shinkle reflects on the use of photographs as an enigmatic and partial way of approaching the unrepresentable.

Paul Halliday evaluates The Image of Whiteness: Contemporary Photography and Racialization, edited by Daniel C. Blight, which makes a contribution towards engaging and bringing into sharper focus a much-needed paradigm shift around addressing ‘whiteness’, its image and its continuing power.

Book Review

Anna Orlowska

Futerał

Wschód Gallery & The Polish National Film School, Łódź

Interview

Mark Sealy

Author of Decolonising the Camera: Photography in Racial Time and Director at Autograph ABP

London