‘Territorial’ group show

I am currently part of a group show titled ‘Territorial’ at The Banks Space gallery in Adalgate East, London E1, the gorgeous gallery that belongs to The Cass/ London Metropolitan University

This is an exhibition that I have curated, selecting and presenting my work and that of 5 other contemporary photographer as part of London Photomonth.

Territorial

The idea behind this show is to present work of contemporary photographic practicalness whose work is concerned with concepts human geography, identity and territory.

The show opened on 20th October with a well attended private view, and it will continue till 12th November. It’s open Wednesdays to Saturdays (shut sun-mon-tue).

There will also be 2 artist talks on 27th of October and 3rd November at 6pm, open to the public.

Working on this show whilst also preparing my solo show at The Stone Space gallery has been tough, especially due to the lack of funding – unfortunately funding for the arts in the UK seem to have miserably shrunk! To go around this issue, I printed everyone work with a white border and used it to pin the images to the wall, avoiding frames.

On the private view night the show was well received and I received positive feedback about both my work and my curation, of which I am very pleased.

I presented a selection of images of my series ‘Borderlands’ including some new images that I had never shown before, such as an image showing the Danube overflown (border Croatia-Serbia) and a portrait of an orthodox priest (photographed in Psarades, border Greece with Albania and Macedonia, last summer).

My work on show at The Bank Space

My work on show at The Bank Space

20161020_204902_1477213192040_resized

20161021_132832_1477213039966_resized

Other artists included Ania Dabrowska, who showed a combination of 3 different series which includes both portraits as well archival images, collage and landscape as well as “passport books”. Her work deals with issues of identity, migration, belonging and homeland.

Ania Dabrowska ' work on show at the private view

Ania Dabrowska ‘ work on show at the private view

20161020_191621_1477213194592_resized

Other artists include Yiannis Katsaris, presenting images of prayer boxes “EKissakia” on the roadside of Greece together with a new video piece composed of found family footage from the 80s, and Paul Greenleaf who is showing his work ‘Correspondence’. In this series Greeleaf has worked with found-postcards, rephotographing the location as it is today. The images are showcased with the original postcards, and the writings at the back of the postcards compose the titles. I approached Paul Greenleaf to take part in this exhibition as I found interesting his visual correlation between past and present, as well as how carefully he had curated the shots, matching the focal length used in the original postcards to that used in the new landscapes. He also exhibited 3 pieces of ambient music.

I also included 2 large scale images from the series ‘Sandlings’ by Alastair Bartlett, an ex student of mine at University of Suffolk.  His work is shot in 5×4 and beautifully presents landscapes of the Suffolk countryside which the photographer has selected based upon his childhood memory and personal attachment to that territory.

Alastair Bartlett series 'Sandlings'

Alastair Bartlett series ‘Sandlings’

Also part of the show is Christos Koukelis, an award winning photographer who has shown one of his first works titled ‘The Hill’. Photographed over a period of many months in 2000, this series focuses on a man made hill, constructed on top of a dried lake. It shows not only the passing of different seasons, but the human impact on the territory, as the vegetation has been burnt out and the lake dried up to make space for farmland and this hill. We don’t know the reason why it’s being built, but it’s awkwardly perfect symmetry stands out against the roughness of the natural landscape damaged by humans.

Christos Koukelis work 'The Hill'

Christos Koukelis work ‘The Hill’

Territorial_exhibition_logotype

Print

 

 

‘Borderlands’ Exhibition at The Stone Space gallery

I am currently having an exhibition at The Stone Space, a lovely gallery in Leyton, London E11, as part of London Photomonth.

The exhibition opened on 6th October with a well attended private view, followed by my artist talk on 8/10. It will be open till 30th October, opening days Thursdays to Sundays (shut mon-wed).

The gallery is a non-profit space run by artists and volunteers, and it’s a small but excellent space, with a large window on the road.

I have exhibited a selection of 9 images in different sizes, plus 2 large maps. I showed a selection of images from the corpus buffer zone/serbia-croatia/serbia-romania border.

It’s the first time I combine my photographs with maps: these maps are scans of the maps that I use when I walk along borders, which I often use to write down notes. The maps become integral part of my practice and I collect them as precious reminders of the borders visited. I scanned a selection of them and printed them of Sticky-Tex, a vinyl paper that sticks to the wall but can be removed and re-used, and combined different scans to print  a long 60x250cm print.

20161006_192031_1477213681275 IMG_20161008_125004_1477213680502 20161008_131844_1477213679978 20161006_192113_1477213681708 20161006_184936_1477213680714 IMG_20161009_135514_1477213679776

check out The Stone Space post about my exhibition here!

Very pleased with the results, and very happy to have been part of London Photomonth

EXHIBITION!

Exhibition! My work “Borderlands” on show in the cloister of the Badia Fiesolana, European University Institute, Fiesole, Florence. I tool part in the annual conference of the project “EU Bordercare” , I am working on this project as collaborator. My work will be on display through July 2016.

 

 

exhibition at Badia Fiesolana, Florence. part of the EU Bordercare project

exhibition at Badia Fiesolana, Florence. part of the EU Bordercare project

photo 3 photo 4 photo 5

all images printed on Canson paper

 

Since 2012, Paola Leonardi has taken analogue photographs of people and places along the land borders of the European Union, narrating life at the edges of Europe. Her project juxtaposes the concepts of geographical and political Europe. The series focuses on the connection between people and territory, the significance of transnational and transcultural identities, and the relevance of European identity to concepts of home and belonging, memory and territory.

In the summer of 2003, I travelled by train between Slovenia and Italy. Coming into Italy, the train stopped for a passport check at an empty ground, 110 meters of bleak concrete paving – an empty space standing between the two countries and curiously seeming to belong to neither. When my turn came, the Italian guard joked, suspiciously, that I looked too fair for an Italian. But he’d let me in, he said, since Slovenia would join the EU the following year anyway.

He wasn’t too wrong; my grandmother had come “from the other side”: her family left their native Istria in WWI, and she was born a refugee in Switzerland before they settled in Italy. We called her “the Jugoslavian grandmother.” My family’s history filled my imagination with faraway lands and people. In 2011-2012, I started thinking of photographing along the borders of Europe, following the border lines on a map.

I mainly travel on foot, sometimes I use public transport, and I have also cycled and hitchhiked. Slow travel has allowed me to meet people, and get a better idea of places and lifestyles. The borders tend to be depopulated and not touristy, so people most often welcome me. On the other hand, I risked hypothermia along the Finland-Russian divide, and the Turkish soldiers in Cyprus were rather hostile!!

On the Serbia-Croatia border, the Croatian inhabitants showed me where they had hidden from invading Serbian soldiers in the mud of the Danube’s bank. A lady whispered to me, “I am a Serbian, but don’t tell anyone; they don’t like me here.” In Serbia, a Croatian family said they were hoping for both countries to be in the EU. In Cyprus, people cried at my photos taken in parts of the island their families had to leave after the 1974 invasion. On the buffer zone, people on both sides invited me to their homes, and spoke of how they wished for a country without divide. On the Romanian-Serbian border, I spent a day with a Hungarian shepherd, who had walked down from Hungary: he couldn’t to write, but was able to use Facebook. In Greece, some elders warned me against crossing on foot into Turkey; “it could be dangerous, they hate us.” Their Turkish counterparts said exactly the same! In Finland, I met a man who needed a visa to travel 25 kilometers into Russia to visit his cousins, and identified as both Russian and Finnish saying, “I don’t care what governments say, my family belongs to both places.” For the most part, people have responded well to my project. My feeling is that there is a common European identity, but also a strong identification with the other side of the border.

new borders

today I was reading this article on an Italian newspaper in which it defines portaerei Cavour, an Italian military vessel, as the “last border of Europe”. this boat rescue migrants in the mediterranean sea

read the article here in Italian only, sorry!

aside from the debate on migration, this interests me as I am collaborating with the European University Institute, whose research in anthropology focuses on the borders of Europe. In particular my work is part of the “EU Border Care” an anthropological project that studies migration in relation to maternity. The project is funded by an ERC Starting Grant.

link here

At the end of June 2016 as part of this project I will exhibit some of my work at the Closet Gallery in Villa Fiesole