The article is a critical analysis of the work of Finnish photographer Iiu Susiraja based on her series Good Behaviour / Perfect Everyday Life and conversation with the author. Susiraja places herself and her personal life at the centre of her work.
Irish photographer Mark Curran presents his on-going project THE MARKET, which is an exploration of the predatory nature of the functioning and condition of global markets. Focusing on financial and commodity exchanges, Curran provides a multi-layered and multimodal investigation of market culture.
From the Magazine
Sure, images that are meant to make an argument about social relations can ‘work’. But the documentary that has so far been granted cultural legitimacy has no such argument to make. Its arguments have been twisted into generalizations about the condition of ‘man’, which is by definition not susceptible to change through struggle.
Deceased gay activist and teacher David Kato stated in an interview in 2011 that there were two ways to survive being gay in Uganda: to either hide and seek darkness, or proudly step forward, out of the darkness. Photographer Tadej Žnidarčič has efficiently used this very contrast in his project We are here, we are gay and we are Ugandans.
Since (capitalist) market is an abstract concept, photographic narratives about it are by necessity indirect, focusing on visual representation of its many manifestations. Through most of the 20th century, photographers have continuously been focusing on its most evident manifestation – labour.
For centuries, military uniforms had been colourful to differentiate friend from foe on the battlefield, but also as a distinguishing feature towards civil society. With technological progress and the advent of both aviation and improved photography a century ago, camouflage became a necessity.