2
April - 4 May 2003
The
Photographers' Gallery
8 Great Newport Street
A
touring show organised by Stichting Fotografie Noorderlicht in The Netherlands
Gaza City. Gaza. 1993. Larry
Towell
Antoine d’Agata
(France), Didier Ben Loulou (Israel), Harry Cock (The Netherlands), Dinu
Mendrea (Israel), Paolo Pellegrin (Italy), David Sauveur (France), Henrik
Saxgren (Denmark), Bruno Stevens (Belgium), Larry Towell (Canada)
Since the
invention of photography in the 19th century, war has been one of its
most prolific themes. Photographers have brought to our homes images of
monumental and horrific events happening around the world: from Robert
Capa’s pictures taken of the Normandy beach landings during D-Day
in 1944, to Don McCullin’s photograph of a shell-shocked U.S. marine
fighting in Vietnam, photographers have risked their lives to be in the
centre of the action.
In Confronting
Views nine photographers offer individual perspectives on the Israeli-Palestine
situation, a region with a long and complex history of bitter territorial
disputes and religious divide. No single position is represented by the
show: the international origins of the photographers and the variety of
photographic approaches aims to give a balanced perspective on this devastating
conflict. As boundaries between photographic fact and digital fiction,
authors’ intent and viewers’ interpretation become increasingly
blurred, photography’s role has become evermore precarious. As the
conflict in the Middle-East continues to be central to International politics,
Confronting Views offers a timely insight into the role that photographers
can have in war zones.
In the show
Henrik Saxgren and Antoine d’Agata document the scars that sustained
military incursions have left on the urban environment. Saxgren, a distinguished
Danish photojournalist, visited Gaza with his large format camera and
made a series of photographs noticeably devoid of human presence, entitled
Landscapes of War. D’Agata’s work is regularly published in
both Liberation and L’Humanité, and in his work Palestine
he has taken a series of panoramic shots of sites where family homes once
stood, now reduced to piles of rubble. D’Agata’s other work
records tensions on the streets of Jerusalem, black and white images of
violent skirmishes, gesticulating crowds and edgy looking young soldiers.
In 1994,
the Canadian Larry Towell was awarded the World Press Photo Award for
a picture of Palestinian youths. His work shows how young boys are taking
up the Palestinian cause, holding guns and throwing stones. The French
photographer David Sauveur has produced two very distinct bodies of work;
one that documents Israeli military actions and emotionally charged Palestinian
funerals; the other more poetic images of religious life and the architectural
landmarks of Jerusalem. In April 2002, Italian Paolo Pellegrin, a prize
winning documentary photographer, was allowed to accompany the Israeli
elite army on a night mission. The aim of these pseudo-military raids
is to instill fear and tension among the civilian population. Bruno Stevens
depicts the human cost of the conflict. He takes pictures of victims carried
away in body bags, and in Faces he makes a series of photographic death
masks recording the casualties of war. Didier Ben Loulou’s images
are more symbolic and abstract with images of graffiti-covered walls and
of knives placed on mutilated hands.
Some
photographers elect not to show evidence of violence at all, but instead
focus on how everyday life in the region continues against adversity.
Dinu Mendrea, who now lives in Israel, has spent two years travelling
with his camera through Jerusalem capturing images of young people in
the City, to make his photo essay, Twenty in Jerusalem. He believes that
depicting violence can perpetuate the situation, and so aims to show young
people in their social environment. Harry Cock, from The Netherlands,
states “The image of this region that sticks in our minds is one
of violence and suffering. Yet ordinary life goes on….”. In
his colour images we see children playing football on the streets, people
working in factories, and idyllic beach scenes with youths riding horses
by the sea.
|