Issue 50 - Contents

Unpublished journals, teaching notes and unseen visual material form the basis of a new publication from MACK on the work of Larry Sultan. Spanning the documentary experiments of Evidence through to his intimate explorations of family and self, Water Over Thunder: Selected Writings reveals an artist negotiating meaning through uncertainty. Rather than serving as an adjunct to the images, the writings and photographs position Sultan’s reflections at the centre of both his practice and a broader understanding of photography itself, writes Rica Cerbarano.

In his first solo show in India, recently on display at Dilip Piramal Art Gallery, photographer Kalpesh Lathigra turns the camera inward and outward, tracing ancestral trajectories and imagined possibilities through three bodies of work that blur documentary observation with introspective fiction. Set against the shifting urban fabric of Mumbai and framed by curator Veeranganakumari Solanki’s divisions of ‘what if’, ‘what was’ and ‘what might have been,’ The Lives We Dream in Passing meditates on migration and belonging, questioning how images shape memory as much as they record it, Zahra Amiruddin writes.

Invoking Donna Haraway’s question, ‘How do we stay engaged, how do we stay with the trouble?’, photographer and recipient of the Lewis Baltz Research Fund #12 Andy Sewell talks to Tim Clark about Slowly and Then All at Once. Exhibited in Reggio Emilia, Italy, as part of Fotografia Europea 2025, the project visualises climate crisis, elite power and protest. From Extinction Rebellion demonstrations to high-level climate diplomacy, Sewell discusses photography’s ability to convey both the fragility and interconnection of these moments, and the slim but real space for hope, and possibly change.

Kusukazu Uraguchi’s decades-long study of the ama, an exclusively female community of fishers and divers from Japan’s Shima region where he was born, is currently on show at Huis Marseille, Amsterdam. In black-and-white photographs that evoke both nostalgia and immediacy, Uraguchi captures the rigour of the ama’s labour and the quiet poetry of their daily lives on the coast. His work moves between anonymity and intimacy, tradition and modernity, and the delicate tension between the photographer’s gaze and the world it reveals, writes Bas Blaasse.

Around the world, politicians are stepping up efforts to criminalise migrants. In the UK, Reform has been calling to scrap Indefinite Leave to Remain. France is implementing sharp cuts in legal immigration and massive deportations of undocumented people. And in the U.S., Trump’s administration issued the Executive Order 14159 ‘Protecting the American People Against Invasion’, which, amongst other directives, expands expedited removal. Against such a backdrop, Stacy Mehrfar’s The Moon Belongs to Everyone, included in this year’s Glaz Festival in Rennes and Bretagne, France, becomes especially pertinent. A visual poem on what it means to relocate, what it means to come back, and the ever-shifting polymorphic meaning of home, the artist speaks with Raquel Villar-Pérez about migration, belonging and identity.

Resistance – co-curated by artist and filmmaker Steve McQueen after four years of research – follows the mutual shaping of photography and protest in Britain throughout history, debuting at Turner Contemporary and now on show at National Galleries of Scotland. Charting a century of activism in the UK, Resistance gathers a powerful archive of overlooked dissent. Yet, as Mark Durden writes, in stripping protest of its urgency and historical texture, it risks flattening its force through decontextualised display and selective memory.

Books

1000 Words

Curating & Repair

£21.99

Features

10 Must-See Exhibitions: Spring 2026