EXHIBITION 04 MAY – 30 MAY 2018
LIGHT HOUSE MEDIA CENTRE
Reclaiming Our Future 2018
Reclaim Photography Festival 2018 is proud to announce: Reclaiming Our Future; a special festival gallery exhibition, hosted by the Light House Media Centre, Wolverhampton. The exhibition will showcase 49 prints, from nineteen regional, UK and international photographers world-wide, selected from our festival submissions. This special festival exhibition will offer emerging artists, the public and young people the opportunity to showcase their creativity and to exhibit their work alongside our established and international photographers.
Reclaim Photography Festival is proud to announce our third festival awards. Our team of festival curators selected a range of prints for our gallery exhibition hosted by the Light House Media Centre from 4 May – 30 May 2018 and the John Lewis Community Hub from 31 May – 26 June 2018. Awards for our gallery exhibitors include:
*exhibition alongside internationally renowned photographers;
*exhibition exposure in two city galleries;
*inclusion in exhibition marketing and promotion campaign;
*inclusion of a selection of gallery exhibitors’ work in Lenscratch magazine*.
Work Experience Opportunity – Reclaim Photography Festival is offering work experience opportunities for young people to assist with the planning and delivery of our special group autumn gallery exhibition.
Exhibition Opportunity – Reclaim Photography Festival is offering the opportunity to a selection of photographers, to exhibit in a special autumn exhibition and publication.
Please note all details are subject to change. Click on the link to download our RPF2018 Festival Exhibitor List and Information Pamphlet. View our festival programme on issuu.
We would like to thank Boro’ Foundry; Coombes Wood Canal Trust, Heartlands Metal Craft and Longwear Alloys for their support with the Industrial Might project. Thank you to photography lecturer Nicholas Priest and Level 3 Photography students at Stratford Upon Avon College for the work experience collaboration with us.
For their continuing support we would like to thank Ulf Fågelhammar, Mike Borg and Mattia Marchi, Reclaim Photography Sweden. We are also indebted to Bradley Pearce Photography; Palm Labs, Birmingham; KBM Framing Gallery, and Phoenix Web Solutions.
Finally, thank you to our festival partner venues, Kelly Jeffs, and the staff and volunteers, Light House Media Centre; John Lewis Community Hub, Birmingham; Dudley Council; Andy Dutton, Laura Wakelin and Tessa Lovell, Black Country Living Museum; Richard Lewis, Dudley Archive & Local History Service, GLL; Darren Campbell, Gunmakers’ Arms, Birmingham; Heidi McIntosh, Wolverhampton City Archives, and Wolverhampton City Council.
Aaron Cole (UK) The Past Resides, 2017
15 x 10 inches
A museum in Jackman, Maine, run by local volunteers, displays its history. Their history is fading into the past as time and age take their toll on the local traditions and the people who hold them dear. www.aaroncolephotography.com
Arka Dutta (India) Lost Home, 2016
1 15 x 10.01 inches 2 15 x 9.98 inches
A local lady stands at the spot where her home once stood in Mousuni Island, which is disappearing due to ever increasing tidal flooding. Mousuni Island, located at the Gangetic Delta in West Bengal, India, stands quite vulnerable. People are staring at a bleak future where the probability of them becoming climate refugees looms large. Image 2 The Devastation in Baliara, 2017 www.arkadutta.com
Rachael Bint (UK) Untitled, 2017
1 and 2 12 x 12 inches
Land and water collide. Edges are redrawn, laying one surface over another. The Land, the Water explores the ambiguous spaces found between those borders. These photographs are renderings of surface and movement, obscured by the rise and fall of water. www.rachaelbint.com
Hiro Tanaka (Japan) Around 42nd and 7th, 2017
1 11.25 x 15 inches 2 15 x 11.25 inches
Times Square attracts many different people from everywhere, and the area gives me the illusion the site has everything from everywhere. Borders between people across race, gender, distance, time, sound, smells, and emotions, with all kinds of activities, merge together to make one big stream. www.asianmanrecords.com/hiro
Ashley Carr (UK) Urban Malaise Series 3, 2018
1 11.7 x 15 inches 2 12.08 x 15 inches
I have been a commercial photographer for 13 years; however, the work here is part of a personal three-part project started in 2016. The project ‘Urban Malaise’ looks at the areas of ‘Work’, ‘Home’ and ‘Play’, and reveals narratives concerned with these areas of our daily lives. Image 2 Urban Malaise Series 4, 2018 www.ashley-carr.co.uk/urban- malaise
Atsushi Fujiwara (Japan) Nangokusho, 2009 & 2010
1 15 x 9.75 inches, 2 15 x 11.25 inches 3 15 x 9.83 inches
These images are from my photo book NANGOKUSHO –ode to the southern lands of Japan- SOKYOSHA 2013. atsushifujiwara.com
I set my foot on the land of Kagoshima triggered by one poem book left by my grandfather. Beautiful Kagoshima before the War captured by the poem of my grandfather who lived all his life as a school teacher and also as a poet under Hakushu. Nature has not changed, but on the contrary, the impression of this regional city and lives of people are quite exhausted. Camera captures Kagoshima of today as it is.
Lesia Maruschak (Canada) Erasure Red, 2017
12 x 12 inches
RED is – fragile image with torn edges – point to narratives of vulnerability, betrayal, and death in Ukraine under Soviet rule. The series underscores the theatre of political power and the creation and maintenance of societies of fear. lesiamaruschak.com
João Galamba de Oliveira (Portugal) Technology Conquered Us All, 2017
1 and 2 15 x 10.01 inches
What most surprised me in South-East Asia was that technology was everywhere: the monks used smartphones even during pray time, the sellers at local markets were always using them, the kids that barely could walk were already playing with smartphones. www.joaogalamba.com
César Dezfuli (Spain) Passengers, 2016
1, 2, 3 and 4 12 x 12 inches
On 1st August 2016, 118 people were rescued from a rubber boat drifting in the Mediterranean Sea, 20 nautical miles far from the Libyan coast. One more of the hundreds of boats that have been rescued from this migratory route in the past years. But who is behind these numbers? What is the identity of the victims and survivors of this trip? www.cesardezfuli.com
Mattia Vacca (Italy) From the series: “The Last Days of Doukhobors’ Disappearing Community”, 2017
1, 2, 3 and 4 15 x 9.98 inches
The Doukhobors are a Christian sect exiled from Russia. They settled their community in remote Georgian villages. In Gorelovka, once their spiritual center, there are 145 left. Their ineluctable exodus north could spell the end of an entire culture. www.mattiavacca.it
Fabio Sgroi (Italy) Palermo Old Harbour, 2006
1 and 3 15 x 5.48 inches 2 15 x 5.52 inches
This series of three images taken in Sicily, is focused on the changes to the coastal and urban landscape, as a result of industry. Past Eurphoria, Bulgaria, 2004, is focused on Middle-Eastern Europe and its unstable identity due to the consequences resulting from regimes’ division and from the advent of democracy. 1 Palermo Old Harbour, 2006, 2 Port, Sicilia 2006, 3 Coal Mine, Sicilia 2006, 4 Bulgaria, 2004 www.fabiosgroiphoto.com
Margaret Lansink (The Netherlands) Borders of Nothingness, 2017
1 10.01 x 15 inches, 2 and 3 15 x 10.01 inches
Visual investigation of the relationship between humans and their (physical) environment is my focus. The way I photograph is purely intuitive; my images present an open, honest reflection of my inner emotions at a certain time, space and interaction. Borders of Nothingness, 2017 www.margaretlansink.com
Ana Caroline de Lima (Brazil) Modern Times Meets Tradition, 2017
15 x 10.01 inches
“A white man went to my tribe, came up to me and said: “why do you have a watch?”. I said: “Because I want to. What about you?” Pankhará, a Kayapó indian, tells me ‘white men stories’ whilst finishing her body painting made with charcoal and genipap, inside her tent. www.antropologiavisual.com.br
Paul Castro (UK) Maputo 1, 2017
1 and 2 15 x 10.01 inches
These images were taken in Maputo, Mozambique. A settler city named Lourenço Marques before 1975, Maputo was re- baptised after independence as part of the dismantling of colonialism. Nevertheless, more than four decades later, inequalities of race and class stubbornly persist. Image 2 Maputo 2, 2017 movingpavement.tumblr.com
Vera Hadzhiyska (Bulgaria, UK) Vera, 2017
1 and 2 12 x 12 inches
Vera Hadzhiyska a photographer, mixed media artist and aspiring curator. Her current work investigates the forceful change of names, religion, traditions and language of a significant part of the Bulgarian population during the Revival Process (1970s – 90s) in Bulgaria. www.verahadzhiyska.com
Zeng Ge (China) New World, 2017
1 10.01 x 15 inches 2 15 x 10.01 inches
For photography, I don’t want just use it to record and copy to the real world simply. Moreover, I will observe the world in my way. When I am wandering around in the street aimlessly, I do my visual inspection for the city, via my camera. zzzzge.lofter.com
Denise Wilson (UK) Heol Yr Orsedd, 2018
1 and 2 15 x 10.01 inches
From the series: Port Talbot: A Victim of Globalisation, February, 2018. Born in 70s Swansea, I headed west along the M4 to 90s Birmingham. My relocation mirrors the journey of steel produced at Port Talbot in supplying the Midlands car industry. Due to globalization, future production is uncertain and in jeopardy. Image 2 Slip Road, 2018 Instagram@denise.wilson.796774
Maki Hayashida (Japan) Smoke Investigation, 2017
1, 2, 3 and 4 15 x 10.01 inches
“Smoke Investigation” is an introduction part of my on-going project “A Voice in the Wilderness”. The project is about the biggest illegal dumping case in Japan, the Teshima incident. Smoke Investigation, 2017 www.makihayashida.com
Jochen Stierberger (China, Germany) Vulnerabilität in Los Angeles, 2015
1, 2, 3 and 4 15 x 10.73 inches
The city of Los Angeles is threatened by a high risk of earthquakes. The work Vulnerabilität in Los Angeles focuses on the documentation of seemingly inconspicuous places that are of importance to L.A. and its inhabitants during an earthquake. 1 Hollywood Dam, 2015, 2 Second Aqueduct 2015,3 Silver Lake Reservoir 2015, 4 Commonwealth Ave 2015 www.stierberger.com