Players.

Los fotógrafos de Magnum miran al juego

Players. Magnum photographers watch the game

11 mayo – 16 septiembre 2017

Planta 3 del Espacio Fundación Telefónica
 A. Abbas
“My photography is a reflection, which comes to life in action and leads to
meditation. Spontaneity - the suspended moment - intervenes during action,
in the viewfinder.”

Biography
(Irán. 1944- )
Born a photographer, Abbas is an Iranian transplanted to Paris. He has dedicated himself to
documenting the political and social life of societies in conflict. In his major work since 1970 he
has covered wars and revolutions in Biafra, Bangladesh, Northern Ireland, Vietnam, the Middle
East, Chile, Cuba, and South Africa during apartheid.
From 1978 to 1980, Abbas photographed the revolution in Iran, to which he returned in 1997
after seventeen years of voluntary exile. His book Iran Diary 1971-2002 is a critical interpretation
of Iranian history, photographed and written as a private journal.
During his years of exile Abbas traveled constantly. Between 1983 and 1986 he journeyed
through Mexico, attempting to photograph a country as a novelist might write about it. The
resulting exhibition and book, Return to Mexico: Journeys Beyond the Mask, helped define his
photographic aesthetic.
From 1987 to 1994, he focused on the resurgence of Islam throughout the world. Allah O Akbar:
A Journey Through Militant Islam, the subsequent book and exhibition, spanning twenty-nine
countries and four continents, attracted special attention after the 9/11 attacks by Islamic
jihadists. A later book, Faces of Christianity: A Photographic Journey (2000), and touring show
explored Christianity as a political, ritual and spiritual phenomenon.
Abbas' concern with religion led him in 2000 to begin a project on animism, in which he sought
to discover why non-rational ritual has re-emerged in a world increasingly defined by science
and technology. He abandoned this undertaking in 2002, on the first anniversary of 9/11, to start
a new long-term project about the clash of religions, defined as culture rather than faith, which
he believes are turning into political ideologies and therefore one of the sources of the strategic
struggles of the contemporary world.
From 2008 to 2010 Abbas travelled the world of Buddhism, photographing with the same
sceptical eye. In 2013 he concluded a similar long term project on Hinduism. Abbas is presently
working on Judaism around the world.
A member of Sipa from 1971 to 1973, then of Gamma from 1974 to 1980, Abbas joined Magnum
Photos in 1981 and became a member in 1985.
Photos

MEXICO 6. 1985.

MEXICO. State of Guerrero. Village of San Augustin de Oapan. Children bath and play in the Rio Balsas.
1985.

MEXICO 5. 1984.

MEXICO. Mexico City. A little girl holds skulls over her eyes. Skulls are part of the ritual of the Day of the
Dead. November 1st, 1984.

The result of nine trips over a period of three years, "Return to Mexico" is a memorable
document of a passionate adventure which reveals the contrast between an ancient, and often,
primitive country, and the objects, the things that proclaim the 'modernity' of those who possess
them. In Mexico - a country that was brutally conquered and then learned to mask its own
culture - photographer Abbas traveled, photographing the country as if writing a novel, and
keeping a journal as if taking snapshots.
Through both his photographs and excerpts from his personal daily journal, Abbas poignantly
conveys the effect of Mexico's transition into a modern state, and also suggests the causes in
their historical perspective. The eloquent introduction by Carlos Fuentes provides great insight
into the understanding and appreciation of Abbas photographs.
 Christopher Anderson
“Emotion is really the only thing about pictures I find interesting. Beyond that
it is just a trick.”

Biography
Christopher Anderson was born in Canada in 1970 and grew up in west Texas. He first gained
recognition for his pictures in 1999 when he boarded a handmade, wooden boat with Haitian
refugees trying to sail to America. The boat, named the Believe In God, sank in the Caribbean.
In 2000 the images from that journey would receive the Robert Capa Gold Medal. They would
also mark the emergence of an emotionally charged style that has come to characterize his work
since.

Christopher is the author of two monographs: Nonfiction, published in 2003 and CAPITOLIO,
published in 2009 by RM and named one of the best photography books of 2009/10 at the Kassel
Photo Book Festival in Germany.

He lives in Brooklyn, New York.

WWW.CHRISTOPHERANDERSONPHOTO.COM

Photos

Personal.

BRAZIL. Rio de Janeiro. 2009. Marion and Atlas in the shower.

Following the birth of his son, Christopher Anderson – who had earned international acclaim for
his documenting of conflict zones – stepped away from war photography as his photographs
turned towards an intimate reflection of family life, resulting in his book Son.

https://www.magnumphotos.com/arts-culture/christopher-anderson-son/
USA. Mississippi. Linebacker Patrick WILLIS.

USA. Mississippi. 2006. American football linebacker Patrick WILLIS at William Faulkner's home.

Feature - Super Bowl

As many as 90 million viewers are expected to be glued to their televisions on Sunday night to
view the broadcast of Super Bowl XLVI.

Since 1966 the two best professional American football teams have met each year to determine
who would be named champion of the National Football League (NFL).

This year's Super Bowl will be played between the New York Giants and New England Patriots,
the same two teams who faced each other four years ago at Super Bowl XLII.
 Olivia Arthur

Biography
Olivia was born in London and grew up in the UK. She studied mathematics at Oxford University
and photojournalism at the London College of Printing.
She began working as a photographer in 2003 after moving to Delhi and was based in India for
two and a half years.
In 2006 she left for Italy to take up a one-year residency with Fabrica, during which she began
working on a series about women and the East-West cultural divide. This work has taken her to
the border between Europe and Asia, Iran and Saudi Arabia. She has recieved support from the
Inge Morath Award, the National Media Museum, OjodePez-PhotoEspana Award for Human
Values.
In 2010 she co-founded Fishbar, a space for photography in London with Philipp Ebeling.
Her first book Jeddah Diary, about young women in Saudi Arabia, was published in 2012.
She continues to return to India - where her long-term work has been supported by a grant from
the Fondation Jean-Luc Lagadere in Paris - and to work in London where she lives.

Photos

TURKEY. 2006. The Middle Distance.

TURKEY. Bitlis. Songul is a teacher working in the town of Van in the east of Turkey. She left her
hometown of Bitlis to go to university in the city a few years earlier. She says she always knew
she had to get away from the conservative nature of the community. 2006
USA. Somali Women in Minneapolis. 2017.

USA. Minneapolis. Fatimah Hussein, co-founder of Asiya 'modest active wear' that designs hijabs to wear
for sport. 2017

https://www.magnumphotos.com/newsroom/society/olivia-arthur-little-mogadishu/?utm_source=fb-
social&utm_medium=social&utm_campaign=Editorial_LittleMogadishu&utm_content=Imagepost

Little Mogadishu
From a state representative to a hijab maker whose garments went viral, Olivia Arthur
photographs the entrepreneurial women of the US's largest Somali community

Olivia Arthur

The photo essay by Olivia Arthur originally appeared in Pacific Standard, our editorial partner for
this project and whose July 2017 issue is a collaboration with Magnum Photos. Here, Olivia
Arthur writes about meeting with entrepreneurial women of an area of Minneapolis known as
Little Mogadishu due to its high concentration of Somali immigrants.

"I meet a whole range of young women who are involved in interesting projects, some
entrepreneurial, some activists"
 Bruno Barbey
“Photography is the only language that can be understood anywhere in the
world.”

Biography
Bruno Barbey, born in Morocco, has dual citizenship, French and Swiss. He studied photography
and graphic arts at the École des Arts et Métiers in Vevey, Switzerland. In 1961-1964 he
photographed the Italians, perceiving them as protagonists of a 'theatrical world', with the aim
of capturing the spirit of a nation. Bruno Barbey began his relationship with Magnum Photos in
1964.
He served as Magnum vice president for Europe in 1978/1979 and as President of Magnum
International from 1992 to 1995. Over five decades Bruno Barbey has photographed in all five
continents and covered wars and conflicts in Nigeria, Vietnam, the Middle East, Bangladesh,
Cambodia, Northern Ireland, Iraq and Kuwait. His work has appeared in the world's major
magazines and he has published over 30 books.
In 1999 the Petit Palais, Paris, organized a large solo exhibition of photographs taken by Bruno
Barbey in Morocco over a period of three decades. In 2015/2016, La Maison Européenne de la
Photographie, Paris, showed his retrospective exhibition which is currently circulating
internationally. He published simultaneously his retrospective book “Passages”. He has received
numerous awards for his work, including the French National Order of Merit. In 2016, Bruno
Barbey was elected a member of the French Academy of Fine Arts, Institut de France.
His photographs are exhibited worldwide, and feature in numerous museum collections. Today
he is working on a new project and photographing extensively in China.

Photos

REUNION.

REUNION. A boy plays in the Riviere of Galets. 1991.

BRAZIL.

BRAZIL. Amazonas. Leticia. The Amazon river. 1966.

The moving heart of BRAZIL

Nordeste is a remote, dried out, and disherited region of Brazil but also the moving heart of the
country. Attracted by what they thought to be a better future, men and women, sometimes
whole families, left their homes for an expected promised land.

They found themselves ending in the favelas of major cities as Rio and Belem or living as
exploited farmers in the Amazonian forest. They tore themselves away from their rich cultural
and historical roots which are a vibrant part of Brazilian identity. Their joys have become a
souvenir. Their colourful carnivals and comforting religious practices, the patch worked ethnical
entities and the multilingual richness of their home land are now haunting their nights and
changing their passed dreams in a daily nightmare.

Bruno Barbey captured moments of this bleeding heart of Nordeste Brazilians. He worked close
to them. His work is not over. His last commitment to their trust in his work is to show that if
their heart is today bleeding it is very much still moving.
 Jonas Bendiksen

“I guess I'm a fairly simple photographer. There is very little hocus-pocus

about what I do.”

Biography
Norwegian, b. 1977

Jonas Bendiksen is Norwegian and was born in 1977. He began his career at the age of 19 as an
intern at Magnum's London office, before leaving for Russia to pursue his own work as a
photojournalist. Throughout the several years he spent there, Bendiksen photographed stories
from the fringes of the former Soviet Union, a project that was published as the book Satellites
(2006).

Here and elsewhere, he often focuses on isolated communities and enclaves. In 2005, with a
grant from the Alicia Patterson Foundation, he started working on The Places We Live, a project
on the growth of urban slums across the world, which combines still photography, projections
and voice recordings to create three-dimensional installations.

Bendiksen has received numerous awards, including the 2003 Infinity Award from the
International Center of Photography, New York, and second place in the Daily Life Stories for
World Press Photo, as well as first prize in the Pictures of the Year International Awards. His
documentary of life in a Nairobi slum, Kibera, published in the Paris Review, won a National
Magazine Award in 2007.

His editorial clients include National Geographic, Geo, Newsweek, the Independent on Sunday
Review, the Sunday Times Magazine, the Telegraph Magazine, and the Rockefeller Foundation.
Photos

NORWAY.

NORWAY. 2012. Vesteraalen.

Rubber tire skid marks form artistic figure-8s on the road out from Myre. Myre is home to many
car enthusiasts.

Serie: NORWAY. "Singing Norwegian Singers"

Tjalve (Andre Kvebek) Jørgen Nilssen from Befouled Aleksander Ilievski from Imaginator

Sverre Dæhli from Audiopain Storm from Den Saakaldte Henrik Skar from Vinterbris
Frederic Hellesøe Nielsen Kaahrl Ødemark Øyvind Rasmussen from Skrømt

All around the world, I’ve had problems explaining my home country of Norway to people. Even
if they imagine they know where this small nation is on the map–somewhere near the North
Pole, many say–it is often difficult to find well-known Norwegian exports people can relate to.
Nobel Peace prizes, fjords, oil exports, and even chess player Magnus Carlsen, often yield a blank
stare and a shake of the head.

Not so with Norwegian metal.

In fact, Norwegian extreme metal music has become one of the country’s biggest cultural
exports. People all over the world know the lyrics, life stories and albums of bands like
Gorgoroth, Burzum and Darkthrone, as well as newer and more obscure bands.

I’ve met people in tiny villages from Bangladesh to Venezuela who almost self-ignite with
excitement the moment I mention Norway.

In the early 1990s Norwegian Black Metal made its shocking entry on to the world stage with
church burnings, homicides, stagecraft, with an intensity few had seen before. The growling
vocals and intense riffs of metal music made in Norway somehow hit a primal dissonant note all
over the planet.

I wanted to photograph the music with the same directness and intensity. I took a flash and
photographed Norwegian singers singing, head on."

(Jonas Bendiksen, 2016)

 Ian Berry

“The great single picture is emotionally satisfying, whereas getting a good

journalistic story is more about being a professional.”

Biography
Ian Berry was born in Lancashire, England. He made his reputation in South Africa, where he
worked for the Daily Mail and later for Drum magazine. He was the only photographer to
document the massacre at Sharpeville in 1960, and his photographs were used in the trial to
prove the victims' innocence.

Henri Cartier-Bresson invited Ian Berry to join Magnum in 1962, when he was based in Paris. He
moved to London in 1964 to become the first contract photographer for the Observer Magazine.
Since then assignments have taken him around the world: he has documented Russia's invasion
of Czechoslovakia; conflicts in Israel, Ireland, Vietnam and the Congo; famine in Ethiopia;
apartheid in South Africa. The major body of work produced in South Africa is represented in
two of his books: Black and Whites: L'Afrique du Sud (with a foreword by the then French
president François Mitterrand), and Living Apart (1996). During the last year, projects have
included child slavery in Ghana and the Spanish fishing industry.

Important editorial assignments have included work for National Geographic, Fortune, Stern,
Geo, national Sunday magazines, Esquire, Paris-Match and Life. Ian Berry has also reported on
the political and social transformations in China and the former USSR.

Ian Berry works out of London.

Photos

GB. London Docklands.

Greenwich foot tunnel. 1997

GB. Yorkshire. Whitby.

Ian Berry | The English An elderly woman plays cricket with her family on the beach. Whitby, England.
1974

Ian Berry's 1978 book sees him return to his homeland after many years abroad to both
document and rediscover the English way of life.

After a decade of travelling and living in Africa and then Paris, Magnum photographer Ian Berry
conceived of The English as a project that would enable him to both document and rediscover
the country in which he was born and grew up. “It seemed like a good idea to do something on
the English before my eyes got too jaded,” Berry remembers whilst speaking to us about the
project today. Returning to London in the mid-Sixties to become the first contract photographer
for the Observer, he received a commission from the Whitechapel Gallery in 1972 to photograph
the local area. His images capture the unique character of the East End and the diversity of its
residents, both well-established and recent arrivals.
 Michael Christopher Brown
“What interests me about the photographic process is the relationship
between distance and honesty. As one moves closer to their limits, they
often become more honest.”

Biography
Michael Christopher Brown is a photographer and filmmaker raised in the Skagit Valley, a
farming community in Washington State. His recent work-in-progress explores the electronica
music and youth scene in Havana, Cuba, and the conflict in the Democratic Republic of the
Congo. In China (2009/2010) he put together a series of works from road and train trips, while
Libyan Sugar (2011) explored ethical distance and the iconography of warfare while using a
phone camera. A contributing photographer at publications such as National Geographic
Magazine and The New York Times Magazine, he was subject of the 2012 HBO documentary
Witness: Libya. His photographs were exhibited at the Massachusetts Institute of Technology,
the Instituto Cervantes (New York), The Museum of Fine Arts (Houston), the Annenberg Space
for Photography and the Brooklyn Museum. Libyan Sugar book was released in 2016 by Twin
Palms Publishers, a film and a mixed media installation will complete the project.

Photos

KENYA. Kakuma Refugee Camp.

January, 2017. Scenes from Kakuma Refugee camp. Playing football (soccer) at Kakuma Camp 4.
USA. Baseball Player, Alex Gordon.

USA. Kansas City, Missouri. April 2, 2007. Alex Gordon, a baseball player for the Kansas City Royals, makes
plays during a game against the Boston Red Sox at Kauffman Stadium.
 Bruce Davidson

“If I am looking for a story at all, it is in my relationship to the subject - the

story that tells me, rather than that I tell.”

Biography
Bruce Davidson began taking photographs at the age of ten in Oak Park, Illinois. While attending
Rochester Institute of Technology and Yale University, he continued to further his knowledge
and develop his passion. He was later drafted into the army and stationed near Paris. There he
met Henri Cartier-Bresson, one of the founders of the renowned cooperative photography
agency, Magnum Photos.
When he left military service in 1957, Davidson worked as a freelance photographer for LIFE
magazine and in 1958 became a full member of Magnum. From 1958 to 1961 he created such
seminal bodies of work as “The Dwarf,” Brooklyn Gang,” and “Freedom Rides.” He received a
Guggenheim fellowship in 1962 and created a profound documentation of the civil rights
movement in America. In 1963, the Museum of Modern Art in New York presented his early
work in a solo show.
In 1967, he received the first grant for photography from the National Endowment for the Arts,
having spent two years witnessing the dire social conditions on one block in East Harlem. This
work was published by Harvard University Press in 1970 under the title East 100th Street and
was later republished and expanded by St. Ann’s Press. The work became an exhibition that
same year at the Museum of Modern Art in New York. In 1980, he captured the vitality of the
New York Metro’s underworld that was later published in a book, Subway, and exhibited at the
International Center for Photography in 1982. From 1991-95 he photographed the landscape
and layers of life in Central Park. In 2006, he completed a series of photographs titled “The
Nature of Paris,” many of which have been shown and acquired by the American Academy of
Arts and Letters.
Davidson received an Open Society Institute Individual Fellowship in 1998 to return to East 100th
Street His awards include the Lucie Award for Outstanding Achievement in Documentary
Photography in 2004 and a Gold Medal Lifetime Achievement Award from the National Arts Club
in 2007. Classic bodies of work from his 50-year career have been extensively published in
monographs and are included in many major public and private fine art collections around the
world. He continues to photograph and produce new bodies of work
Photos
Serie: USA. NYC. Brooklyn Gang.

USA. Coney Island, NY. 1959. Brooklyn Gang.

On the boardwalk at West Thirty-third Street, Coney
Island. Left to right: Junior, Bengie, Lefty.

USA. New York City. 1959. Brooklyn Gang. Coney Island.

Kathy fixing her hair in a cigarette machine mirror.
USA. Coney Island, NY. 1959. Brooklyn Gang.

In 1959, Bruce Davidson read about the teenage gangs of New York City. Connecting with a social
worker to make initial contact with a gang in Brooklyn called The Jokers, Davidson became a
daily observer and photographer of this alienated youth culture.

The Fifties are often considered passive and pale by our standards of urban reality, but
Davidson's photographs prove otherwise. Nearly 70 sheet-fed gravure plates show images of
tough people, tough lives, tough lovers, all trying to be cool. They are followed by a short
recollection by the photographer and a lengthier interview with Bengie, a surviving gang
member, who is now a drug counselor.

These photographs of Brooklyn gangs, Davidson's first photographic project, were undertaken
when he was not much older than the boys depicted in the work. Never before published as a
whole, though frequently excerpted in collections, this gritty monograph is
photodocumentation at its best.
 Carl De Keyzer
“I want to question the images that are in our memory. There is always a
double level in my work; what you see is true and at the same time not true.”

Biography
Carl De Keyzer started his career as a freelance photo-grapher in 1982, while supporting himself
as a photography instructor at the Royal Academy of Fine Arts in Ghent. At the same time, his
interest in the work of other photographers led him to co-found and co-direct the XYZ-
Photography Gallery. A Magnum nominee in 1990, he became a full member in 1994.

De Keyzer, who has exhibited his work regularly in European galleries, is the recipient of a large
number of awards including the Book Award from the Arles Festival, the W. Eugene Smith Award
(1990) and the Kodak Award (1992).

De Keyzer likes to tackle large-scale projects and general themes. A basic premise in much of his
work is that, in overpopulated communities everywhere, disaster has already struck and
infrastructures are on the verge of collapse. His style is not dependent on isolated images;
instead, he prefers an accumulation of images which interact with text (often taken from his
own travel diaries). In a series of large tableaux, he has covered India, the collapse of the Soviet
Union and - more recently - modern-day power and politics.

Photos
Serie: RUSSIA. Siberia. Zona.

Krasnoyarsk region. RUSSIA. Krasnoyarsk region. Kansk. Youth camp.

Town of Reshoti (500 km from Krasnoyarsk). (14-18 year old boys). Prison camp, former Gulag.
Former Gulags turned into prison 2001.
camps. Youth camp (14-18 year old boys).
Project "Zona".

A colorful snapshot of life inside a Siberian prison camp by Carl de Keyzer

“Imagine my surprise when I discovered in 2000 that most of the former gulags where still in
function, only now as ordinary prisons”.
 Raymond Depardon

“The photographer is filled with doubt. Nothing will soothe him.”

Biography
Raymond Depardon, born in France in 1942, began taking photographs on his family farm in
Garet at the age of 12. Apprenticed to a photographer-optician in Villefranche-sur-Saône, he left
for Paris in 1958.

He joined the Dalmas agency in Paris in 1960 as a reporter, and in 1966 he co-founded the
Gamma agency, reporting from all over the world. From 1974 to 1977, as a photographer and
film-maker, he covered the kidnap of a French ethnologist, François Claustre, in northern Chad.
Alongside his photographic career, he began to make documentary films: 1974, Une Partie de
Campagne and San Clemente.

In 1978 Depardon joined Magnum and continued his reportage work until the publication of
Notes in 1979 and Correspondance New Yorkaise in 1981. In that same year, Reporters came
out and stayed on the programme of a cinema in the Latin Quarter for seven months. In 1984
he took part in the DATAR project on the French countryside.

While still pursuing his film-making career, he received the Grand Prix National de la
Photographie in 1991, but his films also won recognition: in 1995 his film Délits Flagrants, on the
French justice system, received a César Award for best documentary, and in 1998 he undertook
the first in a series of three films devoted to the French rural world. The Maison Européenne de
la Photographie in Paris mounted an important exhibition of his work in 2000. The sequel to his
work on French justice was shown as part of the official selection at the Cannes Film Festival in
2004.

As part of an initiative by the Fondation Cartier for contemporary art, Depardon made an
installation of films on twelve large cities, shown in Paris, Tokyo and Berlin between 2004 and
2007. In 2006 he was invited to be artistic director of the Rencontres Internationales d'Arles. He
is working on a photographic project on French territory which is due to be completed in 2010.
He has made eighteen feature-length films and published forty-seven books.
Photos

GREAT-BRITAIN. Scotland. Glasgow.

GREAT-BRITAIN. Scotland. Glasgow.

In 1980 the Sunday Times Magazine asked Depardon to go to Glasgow. To a photographer of

the south and the desert, Glasgow seemed to be at the antipodes of his photography. And yet
he discovered the northern light, and remembered it later when he photographed the north of
France. In Glasgow he functioned like an anthropologist: ¿how could he avoid the trap of
exoticism? What distance should he take? In large cities, Raymond Depardon feels like an inner
exile, as a young man he found it hard to find his foothold in Paris. The reportage has never been
published, and these photos taken in Glasgow appear now for the first time in a book.
 Bieke Depoorter
“Photography guides me into the routes where I can stay amazed”

Biography
Bieke Depoorter (*1986) received her master’s degree in photography from the Royal Academy
of Fine Arts (KASK) in Ghent in 2009. She works mostly on autonomous projects. In 2009, she
travelled through Russia, photographing people in whose homes she had spent a single night for
her series Ou Menya, which won several prizes, including the Magnum Expression Award, and
led to a book, published by Lannoo in 2011. A similar long-term project in the United States led
to her second book 'I am about to call it a day', co-published in 2014 by Edition Patrick Frey and
Hannibal. Currently Bieke undertakes various works, such as "Who Knows/Mumkin", where she
is photographing in the intimacy of Egyptian Families. She joined Magnum Photos as a nominee
in July 2012, became an associate Member in 2014 and a full member in 2016.

Photos

EGYPT. 2015. "As it May Be / Mumkin".

S/T
Ou Menya

In the wake of the Arab Spring, Bieke Depoorter travels to Egypt to capture moments of intimacy
in the everyday experiences of the strangers she meets.

“Since the beginning of the uprising in 2011 Egypt has been through a period of change. After
three years of instability, economic decline, and power shifts, one no longer hears the
revolutionary demands of ‘¡Bread, Freedom, Social Justice!’ in the streets. Most of all it seems
the locals long for stability and security.

The national media has once more returned to its old strategy, using creative conspiracy theories
to scare people while blaming foreign agendas for the chaos in the country. During several key
moments in these years of turmoil, Bieke Depoorter was in Egypt.

Away from the politics and news of the day Depoorter searches for the quieter moments that
are of course directly influenced by the larger issues. Each day, she searches for places to spend
a night, through the people she meets in the side streets in country lanes.

Capturing the transient, but very powerful shared moments she experiences, Bieke allows us to
be part of intimate experiences with people in between two moments in history, between two
days — the in-between moments.” – Ruth Vandewalle
 Carolyn Drake

"Images can describe, abstract, interpret, but they are not absolute"

Biography
Carolyn Drake was born in California and is now based in Athens, Georgia. She studied
Media/Culture and History in the 1990s at Brown University, where she became interested in
approaches to documentary and the ways that history and reality are purposefully shaped and
revised over time. She worked for multimedia companies in New York for many years, but
eventually left her office job to engage with the physical world through photography.

Between 2007 and 2013, Carolyn traveled frequently to Central Asia from her base in Istanbul
to work on two projects which became acclaimed photo books. The first, Two Rivers, explores
the connections between ecology, culture and political power along the Amu Dary and Syr Darya
rivers. The second, Wild Pigeon, is an amalgam of photographs, drawings, and embroideries
made in collaboration with Uyghurs in western China.

Carolyn is the recipient of a Guggenheim fellowship, the Lange-Taylor Prize, a World Press Photo
award, a Magnum Emergency Fund grant, and a Fulbright fellowship, among other awards.

Carolyn became a Magnum Nominee in 2015.

Photos

USA. Florida.
USA. Vallejo, California. 24 Hours on Milita Street.

North American-born photographer Carolyn Drake spent a decade living and working abroad in
Ukraine, Turkey, China, and the stans of Central Asia. Early this year Drake moved to the small
city of Vallejo in the San Francisco Bay Area. Here, Drake shares the first part of a new long-term
project examining her new home town.

Made up of 100,000 people, Vallejo was once, in 1852, the state capital of California, but in 1996,
the naval shipyard on Mare Island, which had propelled Vallejo’s economy for more than a
century, shut down.

The city declared bankruptcy: people lost jobs, houses were vacated, and crime rates rose. It
became a seedy counterpoint to Silicon Valley, its rapidly gentrifying neighbor. “Despite its bad
luck, Vallejo’s eclectic character and diversity drew me not only to begin making photographs
here, but to make it my new home,” says Drake. “It recalls an older California from before the
tech boom but makes me question the nostalgia Ive carried for decades about the state I moved
away from when I was very young.”

"It took a few years of hopping around to find a place it made sense to stay put"
- Carolyn Drake

How did Drake end up in the unassuming city of Vallejo? “It was the endpoint of a road trip I
took tracing an ancestor’s 19th century diary across the country. My partner and I ended up
moving in again, 150 years later. It was the only place in the Bay area we could afford,” says
Drake. “I’ve worked all over the world, but I haven’t actually settled anywhere since I lived in
New York before 9/11…and I after that I lived abroad long enough that when I came back to the
US, I was uncertain about where I belonged. It took a few years of hopping around to find a place
it made sense to stay put.”

Although her creative process often involves integrating herself into environments to further
understand them, Drake suggests that the process isn’t wholly natural. “Despite the length of
time I spend on my different projects, I’ve always felt more like an outsider. Even at home I tend
to feel this way. My work seeks that feeling of being connected, but it is driven by a personal
feeling of disconnection. And in the end Id like that conflict to be evident in the work.”

Drake’s depiction of Vallejo carefully faces the stigma attached to the city, molding a sense of
place through the characters who, sometimes tenuously, open themselves to the camera.
“Vallejo is slower than other parts of the Bay. There are not as many restaurants, not as much
wealth,” explains Drake. “People perceive it as being on the outer edge. Even before it went
bankrupt and people started moving away, the naval shipyard, with its itinerant sailors and
brothels, gave it a certain stigma.”

These images are the first chapter in Drake’s new project constructing home in the US. “This
work in Vallejo is a little different than my previous work in Central Asia because it involves
standing still in one place instead of hitting the road. I want to explore how this country behaves
on a local level, and to look at my own role in the entrenched economic and social relations that
a lot of people here think need fixing.

Despite talk about gentrification around town, Drake prefers not to speculate about the future.
“A couple weeks ago there was a buzz that Vallejo was the top real estate market in the country.
It seems to be on that radar at the moment. If it follows the path of Berkeley and Oakland and
the rest of Silicon Valley, then its destiny seems pre-determined, but I don’t like thinking that
way. As I just learned when the country elected Donald Trump for President, I cant read the
future.”

USA. (Work in progress.)

USA. Bend, Oregon. 2015. Boyscouts from LA at a rest stop. They are waiting for the 24 hour
train ride home after spending a week at camp. Somewhere on highway 97 south of Bend.
 Thomas Dworzak
“I like the fact that I am not in control, that the photographs are what
happens, rather than the result only of the decision I make. You could say
that’s the downside of photography, but it’s also why it is magic”.

Biography
Born in 1972 and growing up in the small town of Cham in the Bavarian Forest, Thomas Dworzak
very early decided to become a photographer.

Early on, in high school he traveled to Northern Ireland, Israel/Palestine and the disintegrating
Yugoslavia.

Immediately after graduating from Robert-Schuman Gymnasium, Cham (specializing in English,

French and history ) he left Germany, always combining his travels and attempts to become a
photographer with studying languages. Spanish in Avila, Czech in Prague, Russian in Moscow.

In 1993 he ended up in Tbilisi, Georgia. Staying on until 1998.

At this time he began to discover the Caucasus, it’s conflicts (Chechnya, Karabakh, Abkhazia),
people and culture which resulted in the publishing of his book, “Kavkaz”
in 2010. The album combines pictures with excerpts of classic 19th century Russian literature
(Tolstoy, Pushkin, Lermontov).

Affiliated with the Paris photographic agency Wostok Press, he began to cover news, especially
the Kosovo crisis in 1999, mostly on assignment for US News and World report.

Based again in Moscow since 2000 Dworzak returned to Chechnya. His dramatic pictures of the
Fall of Grozny were widely published and received several awards. He also continued his
exploration of the North Caucasus.

Dworzak became a Magnum nominee in 2000 and a full member in 2004.

He spent the years following the 9/11 attacks covering the wars in Afghanistan and Iraq as well
as their impact on the US.

During a several-months assignment in Afghanistan for The New Yorker, he discovered studio
portraits of the Taliban. This became his first book, “Taliban”.

Images taken during his many assignments in Iraq, most of which were shot for TIME Magazine,
were used to create his next book: “M*A*S*H* IRAQ”.

From 2005 to 2008, as a TIME Magazine contract photographer Dworzak covered many major
international news stories: Macedonia, Pakistan, Chechnya, Sri Lanka, Nigeria, Lebanon, Haiti,
Chad, C.A.R., the London Attacks, Ethiopia, Iran, US presidential campaigns, Hurricane Katrina
(VIDEO), and the revolutions in the former Soviet republics of Georgia, Kyrgyzstan and Ukraine.
"Wars" VIDEO

During breaks from conflict areas and war zones he regularly photographed Fashion Weeks in
major cities.
In 2006 Thomas photographed the New York Marathon while participating himself.

Thomas remained in Georgia after the 2008 war with Russia. This would lead to the Magnum
Group project “Georgian Spring” which was a starting point for a new, several-year long
engagement with the “New Georgia” under President M. Saakashvili. In 2012, Thomas
photographed Nowrooz celebrations in Georgia.

Dworzak spent 2009-2010 in Afghanistan, documenting the deployment of ISAF troops and their
return home. In 2009 he also visited Iran to photograph Ashura.

A National Geographic assignment on the Sochi Olympics became later the book “Beyond Sochi”.

In 2013, a commission for the Bruges Museum led him to photograph the memory of WWI. This
has since become an ongoing project concerning the legacy of the First World War around the
world, which he plans to finish in 2018, 100 years after the end of the conflict.

Always an avid collector, Thomas started gathering Instagram screen shots of a variety of
subjects and has been grouping them together into ever-growing collections of #instagram artist
scrap books.

Besides his personal stories, Thomas Dworzak continues to cover international stories, such as
the DMZ in Korea, Cuba, Colombia, China, Liberia, Arab spring in Egypt, the war in Libya and
most recently, the refugee crisis in Europe the November, 2015 Paris terror attacks, and 2016
US Presidential elections. Covering the heightened migration crisis in Europe since 2015 lead
him to initiate the “Europa” guide for refugees.
Dworzak has also been teaching a number of workshops (Magnum, Hong Kong, Rio, Shanghai,
Open Society Documentary Project, La Caixa Fotopress…).

Photos
FRANCE. Paris. August, 2016. (mismo título para cada foto)

The Dark World of Pokémon Go!

Thomas Dworzak takes a broad approach to documentary photography in his latest

exploration into human behavior

Thomas Dworzak

There is a scene in the 1961 French-Italian film L’Année dernière à Marienbad where characters,
rendered in black and white, move enigmatically around the grounds of a palatial château. There
is something curious and slightly off about their difficult interactions, their jagged positioning
combined with the geometrically manicured gardens evoke a game of chess. This plays into the
experimental narrative structure of the film, in which time and space are warped concepts. This
summer, Magnum photographer Thomas Dworzak observed a similarly curious phenomenon in
Paris. On returning to the city this summer after some time traveling, he was intrigued by slow-
moving crowds of people, hunched into their iPhones, walking with a sense of purpose and then
stopping suddenly on seemingly invisible marks. They had discovered the augmented reality
videogame app sensation Pokémon Go!
“I was back in Paris and walking round and suddenly there was this very weird movement. I was
in the park with my wife and people were coming from all sides looking down at their phones –
it was very beautiful, the whole scenario. The movement of groups of people was very
interesting. It’s very graphic and very strange. They’re like figurines in a play.”

A Document of Behaviour

A documentary photographer whose interests lie in human behavior and society, Dworzak’s way
of understanding the phenomenon was to photograph it. His panning black and white shots of
the people of Paris echo the mysterious movements of Alain Resnais’s cinematic masterpiece.
“I spend a lot of time in my life travelling to exotic places and exotic countries and dealing with
that kind of stuff, so I sort of looked at this in a similar way. This is something totally strange,
something different. This is the Western world and culture.”

In order to deepen his understanding, Dworzak decided to download Pokémon Go! himself. He
allowed the game to be his guide, gravitating towards spots the it led him to, and passively
opening up the app just to see what was there. “I chose these spots because the game gave
them to me. The first PokéStop that I found was a memorial plate for twenty three French school
children who had been brought to Auschwitz, which I thought was dark.” Taking both iPhone
screen grabs and using the in-app camera, which is part of the game, Dworzak began to build up
a study of the augmented reality game’s relationship with the physical world, and human
beings’s changing relationship to their surroundings.

"I don’t really know what to make of it. I want to leave it open because I want to know what
people will think about it"

Dark Tourism

Dworzak, who has an interest in the phenomenon of dark tourism, discovered the cartoon
‘catch-em-all’ game took him to some unexpectedly sensitive places: “I went to a concentration
camp and memorial and there is actually a sign on the entrance that says ‘Don’t play Pokémon’,
which I understand. I went to the locations and I was like, ‘Okay, look, if there is none then there
is none,’ and I just left it on. But, strangely enough a couple of them appeared whilst I was
walking around. There were two Pokémon, not exactly inside the thing, but using the memorial,
the monument commemorating the deportation of people in World War II.”

“I don’t really know what to make of it. I want to leave it open because I want to know what
people will think about it. There are people screaming out about how horrible it all is, but then
there’s people who tell me it’s nice because their kids are interacting with history. I feel weird, I
mean, I took the picture because I’m there, but I thought it was strange. There’s a war cemetery
in Normandy where the entire cemetery is separated by PokéStops. The Bataclan in Paris, the
place where the terror attack was in November 2015 is a PokéGym. It’s pretty strange; for me,
these are places associated with something very sad.”

“I went to photograph Rouen when the priest there was killed by terrorists, for my normal work,
and I’m standing at the police cordon and there’s these kids on bicycles and they’re like, ‘Yeah,
yeah, I got one,’ ‘Oh, there’s another one over there,’ ‘Oh f**k we can’t cross the police line.’ It
turned out the Church where this happened was a PokéStop, but that I think may because in a
small village that’s a landmark.”
 Elliott Erwitt
“It's about reacting to what you see, hopefully without preconception. You
can find pictures anywhere. It's simply a matter of noticing things and
organizing them. You just have to care about what's around you and have a
concern with humanity and the human comedy”.

Biography
Born in Paris in 1928 to Russian parents, Erwitt spent his childhood in Milan, then emigrated to
the US, via France, with his family in 1939. As a teenager living in Hollywood, he developed an
interest in photography and worked in a commercial darkroom before experimenting with
photography at Los Angeles City College. In 1948 he moved to New York and exchanged janitorial
work for film classes at the New School for Social Research.

Erwitt traveled in France and Italy in 1949 with his trusty Rolleiflex camera. In 1951 he was
drafted for military service and undertook various photographic duties while serving in a unit of
the Army Signal Corps in Germany and France.

While in New York, Erwitt met Edward Steichen, Robert Capa and Roy Stryker, the former head
of the Farm Security Administration. Stryker initially hired Erwitt to work for the Standard Oil
Company, where he was building up a photographic library for the company, and subsequently
commissioned him to undertake a project documenting the city of Pittsburgh.

In 1953 Erwitt joined Magnum Photos and worked as a freelance photographer for Collier's,
Look, Life, Holiday and other luminaries in that golden period for illustrated magazines. To this
day he is for hire and continues to work for a variety of journalistic and commercial outfits.

In the late 1960s Erwitt served as Magnum's president for three years. He then turned to film:
in the 1970s he produced several noted documentaries and in the 1980s eighteen comedy films
for Home Box Office. Erwitt became known for benevolent irony, and for a humanistic sensibility
traditional to the spirit of Magnum.

Photos

France (conversion)
USA. Nevada. "The Misfits". 1960.

USA. Reno, Nevada. 1960. Film set of "The Misfits" by John HUSTON, with US actors Marilyn
MONROE, Clark GABLE, Montgomery CLIFT and Eli WALLACH and writer Arthur MILLER.

Miscellaneous.

Photographic master Elliott Erwitt has created many noteworthy portraits of womankind over the years.
In Regarding Women he presents us with an exceptional collection composed (almost) exclusively of
black-and-white female portraits. This volume is Erwitt’s evocative personal tribute to female strength,
intelligence, and beauty. The archival material spans several generations, with many images not
previously published or rarely seen before. Conveying respect, admiration, and sometimes awe, these
photographs portray all the complex elements that make up the feminine nature, whether formidable
and tenacious, or occasionally capricious and coy. Through capturing their many varied facets the
photographer shares his insights into how all kinds of women make their way into—not to mention their
mark on—the world. In these pages, readers will find romance and glamour, touches of sensuality, as well
as much affection. Of course, there are also those disarming flashes of candid everyday humor that are
so quintessentially Erwitt.

Miscellaneous.
FRANCE. Saint Tropez. 1979. Elliott Erwitt, self-portrait.

FRANCE.

Yes, we’ll always have Paris and who better to capture all its moods than the inimitable Elliott Erwitt?
With a keen eye for the real city, Erwitt sees beyond the tourist clichés. Whether the mightiest of
monuments or the charm of la vie quotidienne this master photographer chronicles it all. Alternating
intimate details with grand vistas, Erwitt captures the true flavor of la metropole.

Born in Paris in 1928, Elliott Erwitt arrived in the U.S. in the late 1930s. Establishing himself in the ’40s and
’50s as a leading magazine photographer, he joined the prestigious Magnum agency in 1953.
In addition to his work in magazines, he achieved great success as an advertising photographer and
filmmaker. He currently lives in New York City—but spends a great deal of time in Paris.
 Stuart Franklin
“I love photographing. It's that simple”.

Biography
Stuart Franklin was born in London in 1956. Having left school at 16, he went on to study
photography at West Surrey College of Art and Design. His photographic career began when he
started to work for the Sunday Times and Sunday Telegraph Magazine in London and later with
Agence Presse Sygma in Paris.

During his time at Sygma (1980–85) he absorbed the skills of news photography, and also
followed Henri Cartier-Bresson’s approach to photography; as he puts it, ‘curious, gentle, surreal
with beautiful compositions – his work influenced just about everything I attempted.’ In his
words, ‘At Sygma photographers arrived from Algeria, Iraq and Lebanon unloading their Domke
bags and their stories. Later I felt confident enough to tell my own. I covered the 1983 Nigerian
exodus, the Heysel Stadium disaster, the Beirut bombing of the French and American bases, the
civil war there and in Sri Lanka, the conflict in Northern Ireland and finally the 1984–85 famine
in Sudan.’

In Khartoum Stuart shared a flat with Sebastião Salgado for a few weeks. Salgado worked with
Magnum Photos in Paris – founded by Henri Cartier-Bresson, David Seymour, Robert Capa and
George Rodger. Stuart was invited to join in the summer of 1985, and has been a full member
since 1989, serving most recently as the agency’s elected president between 2006-2009.

It was during the course of 1989 that Stuart took his acclaimed photographs in Beijing’s
Tiananmen Square, where a demonstration for freedom ended in a massacre. Thereafter he
began to move away from news into magazine feature photography. Between 1990 and 2004
he photographed about twenty stories for National Geographic Magazine. During this time
Stuart decided to pursue a better theoretical understanding of some of the issues he confronted,
by embarking a period of academic study in 1997. He graduated with a first class degree in
geography from Oxford University, and went on to complete his doctoral thesis there in 2002.

In 2005 he undertook the series of large-format photographs of Europe’s changing landscape

that has led to his book, Footprint: Our Landscape in Flux (Thames & Hudson, 2008).

During 2009 Stuart travelled to Mali and the Middle East. Stuart co-curating the Noorderlicht
Photo Festival 2009 with an exhibition entitled “Point of No Return” on the continuing conflict
in Gaza. In a change of approach to documentary, Stuart undertook a course of training at the
UK’s National Film and Television School in observational documentary. Subsequently Stuart
worked on his first long form documentary Runners, together with film work for ESPN.

During 2010 continued with the project: ‘Farmscapes’ supported and funded by the Scottish
National Galleries. The work was first exhibited at the Scottish National Portrait Gallery in 2012.
During 2010-13 Stuart completed a long-term landscape project ‘Narcissus’, exhibited during in
2012/13 in Ålesund-Norway, Kristiansund - Norway, London, Paris and Edinburgh.
Photos

MEXICO. 1996

MEXICO. Mexico City. Mariarchis playing in the Plaza Garibaldi. mexico. 1996.

CHINA. Beijing. Tianamen Square. Revolution.

Stuart Franklin: how I photographed Tiananmen Square and 'tank man'

At the start, Tiananmen Square had the atmosphere of a festival. Most people couldn't see the
hunger strikers – they saw the crowds marching with banners and music being played. Lots of
things were surprising about the events in Tiananamen Square, even the demonstration itself.
It's pretty rare in Chinese history for people to get together at the centre of a government square
and defy the leadership.

I had arrived in Beijing in the last week of May 1989, working for Magnum on assignment for
Time magazine. I got myself a bicycle to get around the city and was staying just off the square.
It was relatively easy to work as a photographer back then, by today's standards. The political
class weren't as sophisticated at handling the press, or realising the power that they had.
On 30 May, Chinese art students wheeled a huge statue out into the square that resembled the
Statue of Liberty. It became a symbol of democracy and was described in New York, and by the
press, as the "Goddess of Democracy". The Chinese were protesting for freedom of speech,
freedom of the press and an end to corruption but they didn't know the rhetorical force of this
figure, and how she would be used and seen as a powerful image all over the world.

After the statue was brought in, and once protesters had been camped out for weeks, the
government realised they needed to act. Two days before the crackdown, the army arrived in
bulk and the atmosphere changed radically. Within a few hours, truckloads of troops arrived
from all different directions. At the time, no one really knew what was going on. In fact, there
were even rumours of civil war across China.

I witnessed the troops moving into the square and clearing out the protesters on the night of 4
June. I left in the early hours of 5 June with Newsweek photographer Charlie Cole and we headed
back to our hotel. After that point, we were totally confined. The military occupied the lobby
and journalists were searched and stopped from working. I was on a balcony with a group of
other photographers and journalists when we saw the man jump in front of the tank on 5 June.
That image has now become so iconic – but what drove its impact was the fact that people had
seen the man moving in front of the tanks on TV, as well as footage of the violent crackdown
the night before. The still photographs that a few of us took of that 'tank man' scene seemed
unremarkable to me, only because I was so far away on that balcony.

The majority of journalists were not there to witness the scene; lots had moved to another hotel
and missed the 'tank man' moment. Most of them started at the Beijing Hotel, but the food
wasn't great. Another place nearer the airport did hamburgers, so they had decamped and got
stuck outside the city by blockades at the point of the crackdown.

As I was photographing the tank, I had very clear memories of the Prague spring of 1968, when
citizens faced off with Russian tanks. The atmosphere soon became chaotic in the hotel, as
people were worried about getting their stories out in the unfolding tragedy. Authorities inside
the hotel confiscated footage, but I packed my film into a box of tea and gave it to a French
student who was heading back to Paris. She got it to Magnum. It was really common then to
stow our films with passengers travelling back on planes, because it was quicker than air
freighting and less admin. You'd often sit in airports looking for people who would take your
film.

In the days that followed, it became clear that not many Chinese people had seen any footage
or images of what had happened during the crackdown. Looking back at the set of pictures I
took, this image of people gazing at a lamppost stands out. A picture had been pinned up of
someone that had been killed. Throughout central Beijing, lampposts acted as the media for the
Chinese public, because the press was so heavily controlled. Nobody really knew what had
happened, so these lampposts became the Twitter of their day – it's really bizarre to see that
now.

When I returned home, a lot of people were talking about the tank image – but the Sunday
Times magazine ran with this picture of a guy with his arms raised in the air as their cover shot.
Many other publications ran it as a more powerful, human image of what the demonstration
and uprising meant for the Chinese people.
As a photographer, the objective is to crystallise the emotion of an event and communicate that
as effectively as possible. My pictures follow the different efforts I made to come to terms with
the events as they were unfolding, to tell the story even as it was changing.

SOUTH AFRICA. Johannesburg. Soweto 0n Sea

 Leonard Freed
“Ultimately photography is about who you are. It's the seeking of truth in
relation to yourself. And seeking truth becomes a habit”.

Biography
Born in Brooklyn, New York, to working-class Jewish parents of Eastern European descent,
Leonard Freed first wanted to become a painter. However, he began taking photographs while
in the Netherlands in 1953, and discovered that this was where his passion lay. In 1954, after
trips through Europe and North Africa, he returned to the United States and studied in Alexei
Brodovitch's 'design laboratory'. He moved to Amsterdam in 1958 and photographed the Jewish
community there. He pursued this concern in numerous books and films, examining German
society and his own Jewish roots; his book on the Jews in Germany was published in 1961, and
Made in Germany, about post-war Germany, appeared in 1965. Working as a freelance
photographer from 1961 onwards, Freed began to travel widely, photographing blacks in
America (1964-65), events in Israel (1967-68), the Yom Kippur War in 1973, and the New York
City police department (1972-79). He also shot four films for Japanese, Dutch and Belgian
television.

Early in Freed's career, Edward Steichen, then Director of Photography at the Museum of
Modern Art, bought three of his photographs for the museum. Steichen told Freed that he was
one of the three best young photographers he had seen and urged him to remain an amateur,
as the other two were now doing commercial photography and their work had become
uninteresting. 'Preferably,' he advised, 'be a truck driver.'

Freed joined Magnum in 1972. His coverage of the American civil rights movement first made
him famous, but he also produced major essays on Poland, Asian immigration in England, North
Sea oil development, and Spain after Franco. Photography became Freed's means of exploring
societal violence and racial discrimination.

Leonard Freed died in Garrison, New York, on 30 November 2006.

Photos

HOLLAND. Winter.

NETHERLANDS. Amsterdam. 1964. Winter scene.

 Cristina Garcia Rodero
“I tried to photograph the mysterious, true and magical soul of popular
Spain in all its passion, love, humor, tenderness, rage, pain, in all its truth;
and the fullest and most intense moments in the lives of these characters as
simple as they are irresistible, with all their inner strength”.

Biography
Cristina García Rodero was born in Puertollano, Spain. She studied painting at the School of Fine
Arts at the University of Madrid, before taking up photography. She then qualified as a teacher
and worked full-time in education. For the next 16 years, she also dedicated her time to
researching and photographing popular and traditional festivities - religious and pagan -
principally in Spain but also across Mediterranean Europe. This project culminated in her book
España Oculta published in 1989, which won the "Book of the Year Award" at the Arles Festival
of Photography.

The same year, García Rodero also won the prestigious W. Eugene Smith Foundation Prize. The
documentary and ethnological value of her work is considerable, but the esthetic quality of her
photography makes it more than a simple visual record.

In recent years, García Rodero has traveled around the world in search of other cultures with
particular traditions. Over a period of four years, she went several times to Haiti, where she has
documented voodoo rituals, producing a series of expressive portraits and moving scenes
flanked by engaging documentary observations. Rituals in Haiti was shown for the first time in
the 2001 Venice Biennale.

Cristina García Rodero has received many prizes, including the Premio Nacional de Fotografía in
1996 in Spain. Her work has been widely published and exhibited internationally. She has
published several books and has been a member of the agency Vu for more than 15 years. Garcia
Rodero joined Magnum in 2005 and became a full member in 2009.
Photos

Espana Oculta.

SPAIN. Galicia. Ourense. 1985. El enharinao. Laza.

Espana Oculta.

SPAIN. Galicia. Vigo. "Buscadores de tesoros".

https://elpais.com/cultura/2014/11/17/actualidad/1416257254_999771.html

SPAIN. Madrid. 1994.

 Bruce Gilden
“I'm known for taking pictures very close, and the older I get, the closer I get”.

Biography
Born in 1946, Bruce Gilden and his photography are inextricably linked. Hours as a child looking
at tough guys on the bustling streets of Brooklyn from his second-story window shaped Gilden’s
attraction to his photographic subjects, which he fondly refers to as “characters”.

After studying sociology at Penn State University, Gilden felt drawn to photography as a lifestyle
after seeing Michelangelo Antonioni's classic 1966 film Blow Up and he decided that he, too,
would become a photographer. In 1968, he bought himself a cheap Miranda camera and took a
few evening classes at the School of Visual Arts. Those early classes aside, Gilden is essentially
self-taught. To support his burgeoning photography habit he drove a New York yellow cab, but
found that the job left him no time to take pictures. So he quit and began driving a truck part-
time for his father’s business, walking the streets with his camera on his days off. Since then,
Bruce Gilden has continued to focus on strong characters and to apply Robert Capa’s mantra to
his own work: “if the picture isn’t good enough, you aren’t close enough”.

While he drove every winter to photograph the famous “Mardi Gras” in New Orleans (just
published in his last book Hey Mister Throw Me Some Beads!), Gilden’s first long-term personal
project, which he worked on from 1968 until the late 1980’s, was on Coney Island, the legendary
New York beach. The strong dynamic forms of these images have come together in his book
Coney Island, published in 2002.

In 1984, Bruce Gilden began to work in Haiti where he returned for the next ten years more than
a dozen times for three-week stretches. describing himself as “drawn to the people’s singular
blend of passion and apathy, cruelty and fatalism, resilience and desperation”. Gilden’s work
was published in 1996 in the book Haiti, which won the European Publisher’s Award for
Photography.

Between trips abroad, Bruce Gilden always went back to his lifetime project, the streets of New
York City, where he started photographing in 1981. Gilden’s powerful New York work has
brought him worldwide fame: his confrontational, graphic style and his use of flash have
rendered his black and white images immediately recognizable. His work on the streets of New
York culminated in the publication of Facing New York in 1992, and later in 2005 in his
retrospective book A Beautiful Catastrophe.

His next project explored rural Ireland and its passion for horseracing. After the Off juxtaposes
Gilden's photographs with text by the Irish writer Dermot Healey.

Published in 2000, Gilden's next book, Go, the title of which refers to the classic strategic board
game popular in the East, was a penetrating look at Japan's darker side. Go’s images divide into
three subjects: Yakuza gangs (the Japanese Mafia); the homeless and street life in general; and
Bosozoku or young biker gangs.
After years spent traveling around the world on commissions and personal projects in India
where he photographed holy gatherings, gypsies in Portugal and Romania and “bad guys” in
Russia and Australia, in 2008 Bruce Gilden went back to photograph in his own country. At the
time of the American historical pre-election. Gilden captured the sorrow of Americans affected
by foreclosures and the melancholy of abandoned homes. His work in Florida became the first
segment of “No Place Like Home” a project that would lead him between 2009 and 2011 to
Detroit, Michigan; Fresno, California and Reno-Las Vegas, Nevada. The book Foreclosures was
published in 2013.

Upon returning from Europe where he had been photographing the streets in London on a
commission for Archive of Modern Conflict (published in A Complete Examination of Middlesex,
2013), Gilden felt the need for a change: as he was participating in the Magnum collective
project “Postcards From America” in Rochester, New York, Gilden experimented digital color
photography. In the next two episodes of “Postcards” in Florida and Milwaukee in 2013, Gilden
took the change even further, adopting a new style: close up portraits of people’s faces in color.
This recent work has been published last July in the book Face.

In 2015, Gilden returned to candid photography in black and white to photograph in the streets
of New York, Paris, Manchester, Hong Kong and Johannesburg on a commission for RATP the
Parisian transportation system. The work was exhibited in 17 Parisian metro stations throughout
the summer 2015, and the book Un Nouveau Regard sur la Mobilité Urbaine will be released in
April 2016.

Bruce Gilden’s work has been exhibited widely around the world and is part of many permanent
collections such as MOMA, New York, Victoria & Albert Museum, London and the Tokyo
Metropolitan Museum of Photography. In March, 2015 his recent work was exhibited in a group
show, "Strange and Familiar, Britain as revealed by international photographers" at the Barbican
Art Museum in London.

In 2013 he became a recipient of a Guggenheim Foundation fellowship. Bruce Gilden joined

Magnum Photos in 1998.

Already the recipient of numerous grants and awards (among them three National Endowment
for the Arts and a Japan Foundation Fellowship) in 2013, Bruce Gilden became the recipient of
a Guggenheim Fellowship.

Bruce Gilden joined Magnum Photos in 1998.

Photos

USA. NYC. Marathon.

USA. New York City. November 7, 2004. New York City Marathon

USA. NYC. NY Marathon.

USA. New York City. November 2, 2003. New York City Marathon runner Miho IZUMIKAWA of
Japan finished 44th for women with a time of 3:03:43.
USA. NYC. NY Marathon.

USA. New York City. November 2, 2003. New York City Marathon runner Yvan SUTER of France
finished 484th for men with a time of 3:03:42.

USA. NYC. NY Marathon.

USA. New York City. November 2, 2003. New York City Marathon runner Jacinto ZAMORA of
New York finished 503rd for men with a time of 3:04:18.

USA. NYC. NY Marathon.

USA. New York City. November 2, 2003. New York City Marathon runner Ryan RAFFA of New
York finished 550th for men with a time of 3:05:41.

USA. NYC. NY Marathon.

USA. New York City. November 2, 2003. Dee Jacobs, 53, of New York, cools down after
finishing the New York City Marathon. Jacobs placed 3rd in her age group with a time of
3:31:10.

USA. NYC. NY Marathon.

USA. New York City. November 2, 2003. New York City Marathon runner Ken KODAIRA of Japan
finished in 2860th place for men with a time of 3:37:24.

USA. NYC. NY Marathon.

USA. New York City. November 2, 2003. A runner cools off after reaching the Central Park
finish line of the New York City Marathon.

USA. NYC. NY Marathon.

USA. New York City. November 2004. The New York City Marathon.

USA. NYC. NY Marathon.

USA. New York City. November 2004. The New York City Marathon.

For two consecutive years, Bruce Gilden took portraits of Marathoners and of the public in the
streets of New-York.
USA. New Orleans.
USA. New Orleans, Louisiana. 1982. Mardi Gras. Coneheads.

“Hey Mister, throw me some beads!" is a phrase that is iconic in New Orleans' Mardi Gras street
argot. Strings of beads, doubloons, and other trinkets are passed out or thrown from the floats
in the Mardi Gras parades to spectators lining the streets. In 1974, Bruce Gilden was a young
photographer when he first went down to Mardi Gras to shoot his first personal essay away
from his home city New York. But when Gilden first stepped foot in New Orleans, he found
himself in "a pagan dream where you can be what you want to be." So Gilden became a regular,
making seven trips down to the mayhem of Bourbon Street between 1974 and 1982. The energy,
the mentality, social / cultural mores of Mardi Gras were all new for Gilden, but he captured the
carnival crowds with the same raw intensity and poignancy that characterize his most iconic
New York street photographs.

FRANCE. Cannes Film Festival.

FRANCE. Cannes. 1991. Barbie dolls on the beach.

 Burt Glinn
“I think that what you've got to do is discover the essential truth of the
situation, and have a point of view about it”.

Biography
Born in Pittsburgh, Pennsylvania, Burt Glinn served in the United States Army between 1943 and
1946, before studying literature at Harvard University, where he edited and photographed for
the Harvard Crimson college newspaper. From 1949 to 1950, Glinn worked for Life magazine
before becoming a freelancer.

Glinn became an associate member of Magnum in 1951, along with Eve Arnold and Dennis Stock
- the first Americans to join the young photo agency - and a full member in 1954. He made his
mark with spectacular color series on the South Seas, Japan, Russia, Mexico and California. In
1959 he received the Mathew Brady Award for Magazine Photographer of the Year from the
University of Missouri.

In collaboration with the writer Laurens van der Post, Glinn published A Portrait of All the Russias
and A Portrait of Japan. His reportages have appeared in Esquire, Geo, Travel and Leisure,
Fortune, Life and Paris-Match. He has covered the Sinai War, the US Marine invasion of Lebanon,
and Fidel Castro's takeover of Cuba. In the 1990s he completed an extensive photo essay on the
topic of medical science.

Versatile and technically brilliant, Glinn is one of Magnum's great corporate and advertising
photographers. He has received numerous awards for his editorial and commercial
photography, including the Best Book of Photographic Reporting from Abroad from the
Overseas Press Club and the Best Print Ad of the Year from the Art Directors Club of New York.
Glinn has served as president of the American Society of Media Photographers. He was president
of Magnum between 1972 and 1975, and was re-elected to the post in 1987.
Photos

USA. The Seattle Tubing Society

USA. Seattle, Washington. 1953. Members of the Seattle Tubing Society in full float.

One of the rites of spring in Seattle society during the 1950s was the Seattle Tubing Society Springtime
Float. The society members would dress in outrageous costumes, line the banks of the Sammamish Slough
with their inner tubes in hand, and then march into the river to float down to Lake Washington. They were
always accompied by a bar tube that was well supplied.

USA. Sammy DAVIS Jr.

USA. New York City. 1959. Sammy DAVIS JR. dances across Madison Avenue after his last show at the Copa
Cabana.
 Jim Goldberg
“I have the great privilege of being both witness and storyteller.
Intimacy, trust and intuition guide my work.”

Biography
Jim Goldberg has been exhibiting for over 30 years and his innovative use of image and text
make him a landmark photographer of our times. He began to explore experimental storytelling
and the potentials of combining image and text with Rich and Poor (1977-85), where he
juxtaposed the residents of welfare hotel rooms with the upper class and their elegantly
furnished homes to investigate the nature of American myths about class, power, and
happiness. In Raised by Wolves (1985-95), he worked closely with and documented runaway
teenagers in San Francisco and Los Angeles to create a book and exhibition that combined
original photographs, text, home movie stills, snapshots, drawings, diary entries as well as single
and multi-channel video, sculpture, found objects, light boxes and other 3-D elements.

His book, Open See (2003-2010), tells the story of refugees, immigrants, and trafficked
individuals journeying from their countries of origin to their new homes in Europe. Open See
remains within Goldberg’s multi-faceted and multimedia practice by using diverse formats to
create a thickly interwoven, expressionistic narrative from many points of view.

Goldberg’s current project, Candy (2012-2015), layers archival materials, Super 8 film stills, and
text from his childhood in New Haven with new photographs of its urban landscape and
residents. The result is a twisting, multilayered exploration of American notions of aspiration
and betrayal.

His forthcoming books include Ruby Every Fall, Nazraeli Press; The Last Son, Super Labo; Candy,
Yale University Press, and Raised By Wolves Bootleg, Self-published.

Jim Goldberg’s work is in numerous private and public collections including MoMA, SFMOMA,
Whitney Museum of Art, The Getty, LACMA, MFA Boston, Hallmark Collection, National Gallery
of Art, MAST Foundation, The High Museum, Nelson-Atkins Museum of Art, Library of Congress,
MFA Houston, National Museum of American Art, Musee de la Photographie, Pier 24
Photography, and the Art Institute of Chicago.

Among the many awards Goldberg has received are three National Endowment of the Arts
Fellowships in Photography, a Guggenheim Fellowship, the Henri Cartier-Bresson Award, and
the Deutsche Börse Photography Prize.

Goldberg’s fashion, editorial and advertising work has appeared in numerous publications
worldwide.

Jim Goldberg is Professor Emeritus at the California College of the Arts. He is represented by
Pace/MacGill Gallery in New York and Casemore Kirkeby Gallery in San Francisco. Goldberg joined
Magnum Photos in 2002.
Photos

Rich and Poor. 1979.

USA. San Francisco, California. 1979. "My son, David, always seems to take an amused,
philisophical approach to life. He is the kind of son that every mother wishes she had."

Rich and Poor. 1979.

USA. San Francisco. 1979. "I think I am a good person. My mom is nice. I hate the doll."
Rich and Poor. 1983

USA. San Francisco. 1983. "We haven't done anything to promote it, but she seems to think she
is Shirley Temple. She is so sophisticated. I wonder what she may become."

Rich and Poor. 1983.

USA. San Francisco. 1983. "I feel comfortable. I get new toys often. I get to go to France. Some
people cant even speak French. Am I lucky!"

Eight year project that used photographs and the handwritten text of the poor and wealthy of
San Francisco. The project culminated in the publication of a book and a traveling exhibition.
 Harry Gruyaert
“I was living in London at the end of the 1960s when I became aware of the
brainwashing power of television…I became interested in making a portrait
of England by photographing the TV screen.”

Biography
Born in Belgium in 1941, Harry Gruyaert studied photography and film-making. He made a few
films as director of photography for Flemish television before turning to colour photographs in
his adopted Paris in the early 1960s. By the end of the 1970s he had travelled to the United
States, India, Egypt, Japan and Morocco. The latter was a revelation to Gruyaert whose images
of the country were later published in two different books.

In the early 1970s, while he was living in London, he worked on a series of colour television
screen shots later to become the “TV Shots” now part of the Centre Pompidou collections.
Around the same period he also photographed his homeland and produced two books, “Made
in Belgium” and “Roots”.

In 1982, he joined Magnum Photos.

Among other importants works, the two editions of Rivages (Edges), published in 2003 and 2008,
are the testimony of how Gruyaert likes to work in different environments, with contrasting
lights and colours.

He had a retrospective of his work in Paris in 2015 and is currently working on a major show due
to open at the FOMU in Antwerp in 2018. He lives in Paris and is represented by Gallery 51 in
Antwerp.

Photos

BELGIUM. 1981.

BELGIUM. Brussels. 1981. New Year's eve in a café.

CHINA. Town of Shanghai. 1999.

CHINA. Shanghai. Early morning dancing on People's Square with the new Opera house designed
by French architect Jean-Marie CHARPENTIER. 1999.

EGYPT. Town of Luxor.

EGYPT. Valley of the Kings. Left bank of the Nile. Town of New Guerna. 1987.
Mud house designed by the architect Hassan FATHY.

IRELAND.

IRELAND. County Kerry. 1988.

 David Alan Harvey
“It's a lot of work living the life that you want to live, but that's what I'm
doing.”

Biography
Born in San Francisco, David Alan Harvey was raised in Virginia. He discovered photography at
the age of 11. Harvey purchased a used Leica with savings from his newspaper route and began
photographing his family and neighborhood in 1956.

When he was 20 he lived with and documented the lives of a black family living in Norfolk,
Virginia, and the resulting book, Tell It Like It Is, was published in 1966. He was named Magazine
Photographer of the Year by the National Press Photographers Association in 1978.

Harvey went on to shoot over forty essays for National Geographic magazine. He has covered
stories around the world, including projects on French teenagers, the Berlin Wall, Maya culture,
Vietnam, Native Americans, Mexico and Naples, and a recent feature on Nairobi.

He has published two major books, Cuba and Divided Soul, based on his extensive work on the
Spanish cultural migration into the Americas, and his book Living Proof (2007) deals with hip-
hop culture. His work has been exhibited at the Corcoran Gallery of Art, the Nikon Gallery, the
Museum of Modern Art in New York, and the Virginia Museum of Fine Arts. Workshops and
seminars are an important part of his life.

Harvey is founder and editor of the award-winning Burn magazine, featuring iconic and
emerging photographers in print and online.

His latest book (based on a true story) was published by BurnBooks in 2012.

Harvey joined Magnum as a nominee in 1993 and became a full member in 1997. He lives in NC
and NYC.
Photos

Based on a True Story. BRAZIL. Rio de Janeiro.

BRAZIL. Rio de Janeiro. 2011.

Based on a True Story. BRAZIL. Rio de Janeiro.

BRAZIL. Rio de Janeiro, RJ. 2011. School children dance in Rocinha, the largest favela in Rio de
Janeiro, as their classmates and teacher look on.

(based on a true story)

David Alan Harvey's photo novella captures the vibrancy and cultural energy of Rio de Janeiro

David Alan Harvey

David Alan Harvey book (based on a true story) captures the vibrancy and cultural energy of Rio
de Janeiro, Brazil.
Raw, sensual, fresh, real, passionate, sexy and two years in the making, Harvey’s photographs
span the strata of society giving an insight into the lives of the rich, the glamorous, the poor, the
humble and the everyday.

(based on a true story) is Harvey’s very personal journey into the novella, a mystery tale that is
not about Rio but set in Rio. A tale told in an entirely new and innovative way, in 3D. A book that
lets the reader play a part of it and remodel the story, interacting with the characters present
throughout the book. A script more than a book, it is an analogue interactive experience. A book
that can be read conventionally and unconventionally, it is a puzzle for the reader to try and
piece together.

Rio is one of Harvey’s favorite cities, and this series melds documentary with myth. Despite years
of research, it is a representation of just one night in Rio; a personal and semi fictionalized
account that expresses a feeling about the place rather than explaining it. Harvey’s intention is
to make you “feel it, be it, live it”.

BRAZIL. Rio.

BRAZIL. Bahia. 2000. Soccer players, Itaparica.

 David Hurn
“Life as it unfolds in front of the camera is full of so much complexity,
wonder and surprise that I find it unnecessary to create new realities.
There is more pleasure, for me, in things as-they-are.

Biography
Born in the UK but of Welsh descent, David Hurn is a self-taught photographer who began his
career in 1955 as an assistant at the Reflex Agency. Whilst a freelance photographer he gained
his early reputation with his reportage of the 1956 Hungarian revolution.

Hurn eventually turned away from coverage of current affairs preferring to take a more personal
approach to photography.

He became an associate member of Magnum in 1965 and a full member in 1967.

In 1973 he set up the famous School of Documentary Photography in Newport, Wales. He

resigned in 1989. He has since been in constant demand to lecture and do workshops around
the world.

In 1997 he collaborated on a very successful textbook with Professor Bill Jay, On Being a
Photographer, since then the book has never been out of print.

It is his book, Wales: Land of My Father, that truly reflects Hurn's style and creative impetus. It
is a self initiated project attempting to discover what is meant by the phrase 'my culture'. It
consists of observations on the remarkable changes taking place in Wales from 1970 until the
books publication by Thames and Hudson in 2000.

David Hurn has a longstanding international reputation as one of Britain's most influential
reportage photographers. His prints are acquired by many leading collectors and museums.

He continues to live in, and work from, his home in Tintern, Wales.
Photos

GB. Isle of Wight Festival.

GB. ENGLAND. Isle of Wight Festival. It's a strange, wonderful feeling to be among 150,000
peaceful people. 1969.

GB. Isle of Wight Festival.

GB. ENGLAND. Isle of Wight Festival. A crowd of about 300 naked people in the sea raising the
peace sign. In the centre a girl sits on a man's shoulders. 1969.

GB. Isle of Wight Festival.

GB. ENGLAND. Isle of Wight Festival. The Pink Fairies, anarchist rock group, play for free to a
bare chested dancer. 1969

GB. Isle of Wight Festival.

GB. ENGLAND. Isle of Wight Festival. A couple sitting together on the edge of a cliff. During the
festival a 17-year old boy fell to his death down these cliffs. 1969.

The Isle of Wight rock festivals ran for 3 years at the height of the Hippie movement. David Hurn
was present at the 1969 and 1970 festivals, the latter becoming the largest festival ever held in
the United Kingdom.
 Richard Kalvar
“The photograph is completely abstracted from life, yet it looks like
life. That is what has always excited me about photography.”

Biography
After studying English and American literature at Cornell University in the mid sixties, Richard
Kalvar worked in New York as assistant to French fashion photographer Jérôme Ducrot. It was
an extended trip with a camera to Europe in 1966-1967 that made him decide to become a
photographer. After working for two years in New York he was offered his first and last role in
the theatre, acting in French in Marseille and Paris, where he settled, helping found the Viva
agency in 1972. In 1975 he became an associate member of Magnum Photos, and a full member
two years later. He has subsequently served as vice-president and president.

Kalvar has done an extensive personal work in America, Europe and Asia, notably in France, Italy
England, Japan and the United States, supporting himself with journalistic and commercial
assignments. He has a long-term unfinished project in Rome.

In 1980 Kalvar had a one-man show at Agathe Gaillard gallery in Paris, and has participated in
many group shows. A major retrospective of his work was shown at the Maison Européenne de
la Photographie in 2007, accompanied by his book Earhlings.

Kalvar’s photographs are marked by a strong homogeneity of aesthetic and theme. His images
frequently play on a discrepancy between the banality of a real situation and a feeling of of
strangeness that emerges from a particular choice of timing and framing. The result is a state of
tension between two levels of interpretation, attenuated by a touch of humor.
Photos

GREAT BRITAIN. Nottinghamshire. Town of Warsop Vale.

UK. England. Nottinghamshire. Town of Warsop Vale, one of England's largest mining towns.
Two benches, two girls bending over backwards. 1974.

Warsop Vale is one of England's largest mining towns. Between 1973 and 1974 it led several
strikes protesting against British Prime Minister Edward HEATH's conservative labor policies.

USA. New York City. 1969.

USA. New York City. 1969. Woman looking at herself in store window.
 Miami: (Street) Photography Workshop with Richard Kalvar

5-day workshop as part of the Miami Street Photography Festival

Richard Kalvar

Magnum Photos is proud to announce a 5-day workshop by Richard Kalvar on (Street)

Photography as part of an extensive workshop programme at this year’s Miami Street
Photography Festival.

“I’m not crazy about the term “street photography” to describe what I do, because it’s not
necessarily done on the street. The pictures can be taken on a farm, at the zoo, in an office, and
so on. Let’s say we consider the general category of “unposed pictures of people” (or sometimes
animals or even inanimate objects when they happen to be possessed by human souls), and
then the subcategory “with nothing particularly important going on.” If we further narrow it
down to the “play” sub-subcategory, we get into the domain I’ve worked in for forty years. That’s
what I like to do: play with ordinary reality, using unposed actors who are oblivious to the
dramas I’ve placed them in.”

“But photographs sure look like reality, and it’s this complex and impossible relationship
between the two that opens up all kinds of wonderful possibilities. As long as you don’t
manipulate what’s going on, through posing or Photoshopping, you can create scenes that are
both believable and absurd. Impressions are all.”

Kalvar has done extensive personal work in America, Europe and Asia, notably in France, Italy
England, Japan and the United States, supporting himself with journalistic and commercial
assignments. He has a long-term unfinished project in Rome.

In 1980 Kalvar had a one-man show at Agathe Gaillard gallery in Paris, and has participated in
many group shows. A major retrospective of his work was shown at the Maison Européenne de
la Photographie in 2007, accompanied by his book Earthlings.

Kalvar’s photographs are marked by a strong homogeneity of aesthetic and theme. His images
frequently play on a discrepancy between the banality of a real situation and a feeling of of
strangeness that emerges from a particular choice of timing and framing. The result is a state of
tension between two levels of interpretation, attenuated by a touch of humour.

In 1975 he became an associate member of Magnum Photos, and a full member two years later.
He has subsequently served as vice-president and president.

"That’s what I like to do: play with ordinary reality, using unposed actors who are oblivious to
the dramas I’ve placed them in"
- Richard Kalvar
FRANCE. Paris. 1971

FRANCE. Paris. 1971. Men walking with tables on their heads.

WEST GERMANY. Hamburg.

GERMANY. Hamburg. Man looking for lost item behind park bench. 1973.
 Hiroji Kubota
“I love beautiful things, and I want to make pictures that lift people's
spirits. I see the giving and receiving of photographs as something
beautiful and personal.”

Biography
During a visit by Magnum members to Japan in 1961, Hiroji Kubota came to know René Burri,
Burt Glinn and Elliott Erwitt. After graduating in political science from Tokyo's University of
Waseda in 1962, Kubota moved to the US, settling in Chicago, where he continued
photographing while supporting himself by working in a Japanese catering business.

He became a freelance photographer in 1965, and his first assignment for the UK newspaper
The Times was to Jackson Pollock's grave in East Hampton. In 1968 Kubota returned to live in
Japan, where his work was recognized with a Publishing Culture Award from Kodansha in 1970.
The next year he became a Magnum associate.

Kubota witnessed the fall of Saigon in 1975, refocusing his attention on Asia. It took him several
years to get permission to photograph in China. Finally, between 1979 and 1984, Kubota
embarked on a 1,000-day tour, during which he made more than 200,000 photographs. The
book and exhibit, China, appeared in 1985.

Kubota's awards in Japan include the Nendo Sho (Annual Award) of the Japanese Photographic
Society (1982), and the Mainichi Art Prize (1983). He has photographed most of the Asian
continent for his book Out of the East, published in 1997, which led to a two-year project, in turn
resulting in the book Can We Feed Ourselves?

Kubota has had solo shows in Tokyo, Osaka, Beijing, New York, Washington, Rome, London,
Vienna, Paris and many other cities. He has just completed Japan, a book on his homeland and
the country where he continues to be based.
Photos

USA. NYC and various landscapes from national parks. 1989.

USA. Rockland, Maine. 1990. Lobster Festival. The children's contest to see who could eat
Lobsters the fastest.

USA.
USA. Cattle drive. Roundup, Montana. 1990
From Sea to Shining Sea - A Portrait of America
Hiroji Kubota

In his introduction to this stunning book, Charles Kuralt writes, "[Kubota] is the impulse of
human beings from the first primitive cave painter - to make a record of the things by which we
are awed, so that others passing this way will know what we have seen and felt. This brilliant
cave painting of his, this mural of America, will endure to notify and instruct the generations to
come: however we may look to you, in America in the late twentieth century, this is how we
were."

Hiiroji Kubota's "From Sea to Shining Sea" is spectacularly different from other photographic
books about America in that never before has one man traveled so many miles and taken so
many glorious and revealing photographs. His images show a vast land of extraordinary diversity
- its beautiful landscape and its people reflect a continuity of vision that enhances our
understanding of the many facets of America - from the majestic bison of the western plains to
a town meeting in New England; from the towering offices of New York's financial center to the
Pueblo dwellings in New Mexico; and from the factory workers in Detroit to dirt farmers in the
Southeast. The result of Kubota's efforts is indeed, as Kuralt says, "a mural of America."
 Guy Le Querrec
“A photographer is an acrobat treading the high wire of chance,
trying to capture shooting stars.”

Biography
Born in 1941 in Paris into a family from Brittany, Guy Le Querrec shot his first pictures of jazz
musicians in London in the late 1950s, making his professional debut in 1967. Two years later he
was hired by the weekly Jeune Afrique as picture editor and photographer; he did his first
reportages in Francophone Africa, including Chad, Cameroon and Niger. In 1971 he entrusted
his archives to Vu, recently founded by Pierre de Fenoyl, and in 1972 he co-founded the co-
operative Viva agency, but left it three years later. Le Querrec joined Magnum in 1976. In the
late 1970s he co-directed two films, and in 1980 directed the first photo-graphic workshop
organized by the City of Paris. During the Rencontres d'Arles in 1983 he created a new form of
show by projecting photographs alongside a live quartet of jazz musicians, repeating the
experiment in 1993 and 2006.

Le Querrec has undertaken numerous reportages on the Concert Mayol in Paris, subjects in
China and Africa, and North American Indians. He punctuates his work with breaks devoted to
jazz (festivals, clubs and tours), and has traveled through twenty-five African countries with the
Romano-Sclavis-Texier trio.

Le Querrec's background in jazz has informed his photography. He sees everyday scenes as a
musical score, played or activated by natural forces. Sun rays in a café could be a cry or a trumpet
call; Spanish workers resting on the edge of a limestone quarry are musical notations in a solo
piece.

Le Querrec has also devoted much time to teaching workshops and classes in France and other
countries. He has exhibited regularly throughout the world.
Photos

FRA. Isère. "Jazz à Vienne" Festival.

Théâtre Antique-Rue de Cirque. In the dressing room, rehearsing before the evening
concert "Michel PORTAL invites Louis SCLAVIS". From left to right: the French jazz
musicians Louis SCLAVIS (clarinets, saxophones), Michel PORTAL (clarinets, saxophones,
bandoneon) are reflected in the mirror. The band: Michel Portal (anches, bands), Louis
Sclavis (anches), Andy Emlei(piano), Bruno Chevillon(bass), François Merville(drums).
Monday 11th July, 1994.

FRANCE. Jazz Festivals in South of France.

The American jazz musician Sonny ROLLINS (tenor saxophone).
FRA. Haute-Garonne. "Jazz sur son 31" Festival.

FRANCE. Town of Toulouse. Palais des sports. On stage: US trumpet player Miles DAVIS
performing with the MILES DAVIS QUINTET including the American jazz musicians:
Kenny GARRETT (saxophones), Foley MC CREARY (guitar), Darryl JONES (electric bass),
Adam HOLMAN (keyboards), Rudy BIRD (percussions), Ricky WELLMAN (drum). Tuesday
20th October, 1987.

FRANCE. Jazz Festivals in South of France.

In the foreground: Michel PETRUCCIANI (piano) - Elisabeth CAUMONT (vocals)

Louis PETRUCCIANI (bass).
Nîmes. "La Movida" Club.
 Alex Majoli
“It is beautiful to take pictures”

Biography
At the age of 15, Alex Majoli joined the F45 Studio in Ravenna, working alongside Daniele
Casadio. While studying at the Art Institute in Ravenna, he joined Grazia Neri Agency and
traveled to Yugoslavia to document the conflict. He returned many times over the next few
years, covering all major events in Kosovo and Albania.

Majoli graduated from art school in 1991. Three years later, he made an intimate portrayal of
the closing of an asylum for the insane on the island of Leros, Greece, a project that became the
subject of his first book, Leros.

In 1995 Majoli went to South America for several months, photographing a variety of subjects
for his ongoing personal project, 'Requiem in Samba'. He started the project 'Hotel Marinum' in
1998, on life in harbour cities around the world, the final goal of which was to perform a
theatrical multimedia show. That same year he began making a series of short films and
documentaries.

After becoming a full member of Magnum Photos in 2001, Majoli covered the fall of the Taliban
regime in Afghanistan, and two years later the invasion of Iraq. He continues to document
various conflicts worldwide for Newsweek, the New York Times Magazine, Granta and National
Geographic.

Majoli, in collaboration with Thomas Dworzak, Paolo Pellegrin and Ilkka Uimonen, had an
extremely successful exhibition and installation Off Broadway in New York in 2004, which
travelled to France and Germany. He then became involved in a project for the French Ministry
of Culture entitled 'BPS', or 'Bio-Position System', about the social transformation of the city of
Marseilles. His project, 'Libera me', is a reflection on the human condition.

Alex Majoli lives and works in New York.

Photos

BRAZIL. 2014 FIFA World Cup. Coverage by Magnum Photos for ESPN with the support of Save
the Dream and Instituto Moreira Salles.

BRAZIL. Sao Paulo. June, 17, 2014. Brazilian supporters watching a broadcast of the Brazil-
Mexico World Cup match.

BRAZIL. 2014 FIFA World Cup. Coverage by Magnum Photos for ESPN with the support of Save
the Dream and Instituto Moreira Salles.

BRAZIL. Sao Paulo. June 28, 2014. Brazilian supporters watching a broadcast of the Brazil-Chile
world cup match, which Brazil won in the end.
 Offside Brazil: 2014 World Cup
A Magnum group project capturing the passion and excitement of football
in Brazil
Magnum Photographers

Offside Brazil is a large-scale, innovative photographic collection, capturing and promoting the
values of sport, produced during the 2014 Football World Cup in Brazil.

This special project, born from a collaboration between Magnum Photos and NGO Save the
Dream, provides a unique insight into the emotion, spirit and passion that young Brazilians have
for football and sport.

The photographs were presented as a touring exhibition at Instituto Moreira Salles in Rio de
Janeiro and then in the UK, Italy and the United States.

Photographers: David Alan Harvey, Susan Meiselas, Jonas Bendiksen and Alex Majoli.
 Peter Marlow
“I go for photography that overlays and enhances. By blending
observation and wit with reason, I want my work to generate a sense
of the unexpected, the hidden, and the seemingly spontaneous.”

Biography
Although gifted in the language of photojournalism, Peter Marlow was not a photojournalist. He
was initially, however, one of the most enterprising and successful young British news
photographers, and in 1976 joined the Sygma agency in Paris. He soon found that he lacked the
necessary appetite for the job while on assignment in Lebanon and Northern Ireland during the
late 1970s; he discovered that the stereotype of the concerned photojournalist disguised the
disheartening reality of dog-eat-dog competition between photographers hunting fame at all
costs.

Since those days, Marlow's aesthetic had shifted - in that he made mainly color photographs -
but his approach was unchanged. The color of incidental things became central to his pictures
in the same way that the shape and mark of things had been central to his black-and-white work.

Marlow had come full circle. He started his career as an international photojournalist, returned
to Britain to examine his own experience, and discovered a new visual poetry that enabled him
to understand his homeland. Having found this poetry, he took it back on the road: he
photographed as much in Japan, the USA and elsewhere in Europe as he did in the UK.

Photos

G.B. London. Executive Stress. 2003

G.B. ENGLAND. London. Executive stress. Arena Magazine writer. Masturbation in front of a
Porno video.
Serie titulada: GB. Eton Wall Game, Eton School, Windsor.
The Eton Wall Game is a vigorous hybrid of rugby union and football played since 1766. Played
on a strip of ground 5 metres wide and 110 metres long next to a slightly curved brick wall
erected in 1717, the game takes place on Ascension day, and is played between a team of
"Collegers" (scholarship holders) and a team of "Oppidans" (the rest of the students, who
comprise most of the student body). Prior to the Ascention Day game a service in Latin is held
at six in the morning on the roof of the Chapel, presided over by the head Chaplain. Opposing
teams then file into the Chapel and sit opposite each other heartily singing hyms and psalms
until the game which starts at seven in the morning. 2006.
 Susan Meiselas
“The camera is an excuse to be someplace you otherwise don't belong.
It gives me both a point of connection and a point of separation.”

Biography
Susan Meiselas received her B.A. from Sarah Lawrence College and her M.A. in visual education
from Harvard University. Her first major photographic essay focused on the lives of women
doing striptease at New England country fairs. She photographed the carnivals during three
consecutive summers while teaching photography in the New York public schools. CARNIVAL
STRIPPERS was published by Farrar, Straus & Giroux in 1976. A selection was installed at the
Whitney Museum of Art in June 2000. The original book was revised and reprinted by the
Whitney Museum and Steidl Verlag in 2003.

Meiselas joined Magnum Photos in 1976 and has worked as a freelance photographer since
then. She is best known for her coverage of the insurrection in Nicaragua and her documentation
of human rights issues in Latin America, which were published widely throughout the world. In
1981, Pantheon published her second monograph, NICARAGUA, JUNE 1978-JULY 1979 which
was reprinted by Aperture, fall 2008.

Meiselas served as an editor and contributor to the book EL SALVADOR: THE WORK OF THIRTY
PHOTOGRAPHERS (Writers & Readers, 1983) and edited CHILE FROM WITHIN (W.W. Norton,
1991) featuring work by photographers living under the Pinochet regime. She has co-directed
two films: “Living at Risk: The Story of a Nicaraguan Family” (1986) and "Pictures from a
Revolution" (1991) with Richard P. Rogers and Alfred Guzzetti. In 1997, she completed a six year
project curating a 100 year photographic history of Kurdistan, and integrating her own work into
the book entitled KURDISTAN: IN THE SHADOW OF HISTORY (Random House, 1997; reprinted
by the University of Chicago Press, 2008). Meiselas then created the website,
www.akaKURDISTAN.com, an online archive of collective memory; as well as an exhibition that
launched at the Menil Collection in Houston, and traveled for eight years to several venues in
the United States and Europe

Her 2001 monograph, PANDORA'S BOX (Magnum Editions/Trebruk) which explores a New York
S & M club, has been exhibited both at home and abroad. In 2003, ENCOUNTERS WITH THE DANI
was featured as an installation in the International Center of Photography's Triennial "Strangers"
and co-published by ICP/Steidl Verlag. The book explores a 60 year history of outsiders’
discovery and interactions with the Dani, an indigenous people of the highlands of Papua in
Indonesia.

Meiselas has had one-woman exhibitions in Paris, Madrid, Amsterdam, London, Los Angeles,
Chicago and New York. Her work is included in American and international collections. Honorary
awards of recognition include: the Robert Capa Gold Medal for “outstanding courage and
reporting” by the Overseas Press Club for her work in Nicaragua (1979); the Leica Award for
Excellence (1982); the Engelhard Award from the Institute of Contemporary Art (1985); the
Maria Moors Cabot Prize from Columbia University for her coverage of Latin America (1994); the
Hasselblad Foundation Photography prize (1994) and most recently, the Cornell Capa Infinity
Award (2005). In 1992, she was named a MacArthur Fellow.

Photos

USA. NY. Prince Street.

USA. NYC. 1976. Prince Street Girls.

USA. NY. Prince Street.

USA. New York City. 1976. Little Italy. Dee, JoJo. Frankie and Lisa after school on Prince Street.
USA. Soho. Prince Street Girls.

USA. New York CIty. 1979. Little Italy. JoJo with Dee, Lisa and some new friends on Prince Street.

Prince Street Girls: 1975-1999

After a chance meeting in the streets of New York, Susan Meiselas went
on to document the relationship between a group of young Italian-
American kids known as the Prince Street Girls
Susan Meiselas

I was riding a bicycle through my neighborhood in Little Italy nearly twenty-five years ago.
Suddenly, a blast of light flashed into my eyes. Its source was a group of kids standing with a
mirror, focusing the sun on my face, nearly blinding me. That was the day I met the Prince Street
girls, the name I gave the group that hung out on the nearby corner almost every day. I was the
stranger who didn’t belong. Little Italy was mostly for Italians then.

The girls were from small Italian-American families and they were almost all related. Sometimes
they would reluctantly introduce me to their parents if we met in the market or the pizza parlor,
but I was never invited into any of their homes. I was their secret friend, and my loft became a
kind of hideaway when they dared to cross the street which their parents had forbidden.

I started photographing them in the spring of 1975. At that time, I was completing a project
about carnival strippers, which would later become my first published book. The Prince Street
Girls began as a series of incidental encounters; I would photograph them when I could. At the
beginning I was making pictures for them. They’d see me coming and yell, ‘Take a picture! Take
a picture!’ By 1978, they were changing, and I wanted to capture them growing up. Yet I felt my
focus shifting. I had joined Magnum Photos and my work was taking me away from the
neighborhood. When I landed in Central America, I found myself in the middle of a war which
drew me into another community.

By the time I got back to New York nearly ten years later, the girls were long past their teens,
beyond the boundaries of our streets, and beginning families of their own. Looking at these
pictures now, reminds me of how difficult it was to integrate my two lives – family and friends
at home, and my life as a journalist on the road. It was often a painful separation, though not
one I regret having chosen.
I still live in the old neighborhood, though it’s changed enormously. It is filled with young models
and dot-com-ers, chic cafes and expensive shops. It’s almost impossible to imagine the streets
as they once were.

The girls have moved away, but Frankie, the only boy in the group, is still here. He keeps in touch
with them. Through him we all got together for dinner a few years ago. We passed around the
pasta and the pile of old photographs I’d brought. It was a delight to watch them rediscover
themselves, and think about how my neighbors, who became my subjects, now feel like old
friends. – Susan Meiselas, October 2002.
 Trent Parke
“I am forever chasing light. Light turns the ordinary into the magical.”

Biography
Trent Parke was born in 1971 and raised in Newcastle, New South Wales. Using his mother's
Pentax Spotmatic and the family laundry as a darkroom, he began taking pictures when he was
around 12 years old. Today, Parke, the only Australian photographer to be represented by
Magnum, works primarily as a street photographer.

In 2003, with wife and fellow photographer Narelle Autio, Parke drove almost 90,000 km (56,000
miles) around Australia. Minutes to Midnight, the collection of photographs from this journey,
offers a sometimes disturbing portrait of twenty-first century Australia, from the desiccated
outback to the chaotic, melancholic vitality of life in remote Aboriginal towns. For this project
Parke was awarded the W. Eugene Smith Grant in Humanistic Photography.

Parke won World Press Photo Awards in 1999, 2000, 2001 and 2005, and in 2006 was granted
the ABN AMRO Emerging Artist Award. He was selected to be part of the World Press Photo
Masterclass in 1999. Parke has published two books, Dream/Life in 1999, and The Seventh Wave
with Narelle Autio in 2000. His work has been exhibited widely. In 2006 the National Gallery of
Australia acquired Parke's entire Minutes to Midnight exhibition.

Photos

AUSTRALIA. Adelaide

AUSTRALIA. South Australia. Adelaide. Seaton. 2007.

AUSTRALIA. Adelaide

AUSTRALIA. South Australia. Adelaide. Seaton. 2007.

AUSTRALIA. Adelaide

AUSTRALIA. South Australia. Adelaide. Rosewater. 2007.

The Christmas Tree Bucket

Trent Parkes Family Album
On the 28th of November 2004, our first son Jem was born.
At the time my partner Narelle and I lived in a small, two-bedroom apartment in Sydney.
Apart from two years living in a tent, I had spent the last 15 years of my life living in apartment
blocks.

On the 16th of October 2006 our second son Dash was born.
Our small two-bedroom apartment became even smaller.

Things had to change. Wanting more space, family support and a change of scenery we moved
to the city of Adelaide, Narelle's place of birth.
On arriving in Adelaide, with our life in storage, we bunkered down with Narelle's folks while we
tried to find a place to live.
Like my parents in Newcastle, they live in the suburbs.

One afternoon I decided to venture to the local mega mall, specifically to the hairdresser. After
removing all of my very long hair the very young hairdresser said 'There you go, a new hair cut
for a new start'.
I thought, that's nice and what a great thing it was to be able to see again.

On returning to the in-laws that evening I started to feel very odd and a little queasy.
As day turned to night I lay down on the freshly mown back lawn and watched
clouds drift past a nearly full moon. I expected to hear a dog howl or a cat wail.

I started vomiting, violently, and uncontrollably.

I grabbed the nearest thing I could throw up into.

Narelle and her parents, Laurie and Ann were sitting in the back room watching the TV.

'Narelle' I yelled out, again throwing up.

'What' she said, 'You want me to come out and photograph you?'.

'Yeah' I yelled back.

'Ohh you've got to be joking' Laurie gasped, as he rose from his chair.

Narelle came out and climbed on to a table. The sudden blast of the flash lit up what I could
smell, but couldn't see.

Bright, brilliant, red.

Ann joined the crowd gathering to see the show.

Another flash. Bright, brilliant, red.

Ann yells, 'Ohhh Laurie he's vomiting into the Christmas tree bucket!'

Another flash.

And it was there, while staring into that bright red bucket, vomiting every hour on the hour, for
fifteen hours straight, that I started to think how strange, families, suburbia, life, vomit and in
particular, Christmas…. really was.
 Martin Parr
“With photography, I like to create fiction out of reality. I try and do
this by taking society's natural prejudice and giving this a twist.”

Biography
Martin Parr was born in Epsom, Surrey, UK, in 1952. When he was a boy, his budding interest in
the medium of photography was encouraged by his grandfather George Parr, himself a keen
amateur photographer.

Martin Parr studied photography at Manchester Polytechnic, from 1970 to 1973.

Since that time, Martin Parr has worked on numerous photographic projects. He has developed
an international reputation for his innovative imagery, his oblique approach to social
documentary, and his input to photographic culture within the UK and abroad.

In 1994 he became a full member of Magnum Photographic Corporation.

Martin developed an interest in filmmaking, and has started to use his photography within
different conventions, such as fashion and advertising.

In 2002 the Barbican Art Gallery and the National Media Museum initiated a large retrospective
of Martin Parr’s work. This show toured Europe for the next 5 years.

Martin Parr was Professor of Photography at The University of Wales Newport campus from
2004 to 2012.

Martin Parr was Guest Artistic Director for Rencontres D'Arles in 2004.

In 2006 Martin Parr was awarded the Erich Salomon Prize and the resulting Assorted Cocktail
show opens at Photokina.

In 2008 Martin Parr was guest curator at New York Photo Festival, curating the New Typologies
exhibition.

Parrworld opened at Haus de Kunst, Mucich, in 2008. The show exhibited Parr’s own collection
of objects, postcards, his personal photography collection of both British and International
artists, photo books and finally his own photographs. The exhibition toured Europe for the
following 2 years.

At PhotoEspana, 2008, Martin Parr wins the Baume et Mercier award in recognition of his
professional career and contributions to contemporary photography.

Martin Parr curated the Brighton Photo Biennial that took place in October 2010.

In 2013, Martin was appointed visiting Professor of Photography at the University of Ulster in
Northern Ireland.

More recently Martin has been working on a 4-year project documenting the Black Country, an
area of the English West Midlands, in conjunction with Multistory. Phaidon publishes the third
volume of the highly influential History of the Photobook in Spring 2014 and Martin is also
working on a book about the History of Chinese Photobooks to be published by Aperture in late
2014.

Martin Parr has published over 80 books of his own work and edited another 30.

Photos

ALBANIA. 1990.

ALBANIA. Saranda. Sports and Social club. 1990.

USA. Florida

USA. Florida. 1997.

Martin Parr, who made his name photographing the Liverpool beach resort New Brighton, has turned his
attentions to America's beaches for the first time, 'I'm fascinated by tourism’, says Parr. 'I'm attracted to
the idea of what other people are finding attractive'. He spent six days in southern Florida - Miami, Fort
Lauderdale and Palm Beach - shooting what he describes as 'The scenes within the scenes', from bronzed
muscle boys playing on the sand to leather skinned senior citizens baking in the sun. 'My quest is to
photograph the most ordinary things possible and make them look interesting. America is a great place
for that because so much of America is so fantastically bland.
HUNGARY. Millenium. 1999.

HUNGARY. Budapest. Szechenyi thermal baths. Taken in the New Year. 2000.

GB. Scotland. St Andrews

GB. Scotland. St Andrews. St Andrews Golf Course. Souvenirs. 2001.

ZIMBABWE. 1995.

ZIMBABWE. Harare. Royal Harare Golf Club. 1995.

 Paolo Pellegrin
“I'm more interested in a photography that is 'unfinished' - a
photography that is suggestive and can trigger a conversation or
dialogue. There are pictures that are closed, finished, to which there is
no way in.”

Biography
Paolo Pellegrin was born in 1964 in Rome. He studied architecture at L'Università la Sapienza,
Rome, Italy before studying photography at l'istituto Italiano di Fotografia, in Rome.

Between 1991 and 2001 Pellegrin was represented by Agence VU in Paris. In 2001 he became a
Magnum Photos nominee and a full member in 2005. He was a contract photographer for
Newsweek for ten years.

Pellegrin is winner of many awards, including ten World Press Photo awards and numerous
Photographer of the Year awards, a Leica Medal of Excellence, an Olivier Rebbot Award, the
Hansel-Meith Preis, and the Robert Capa Gold Medal Award. In 2006, he was assigned the W.
Eugene Smith Grant in Humanistic Photography. He lives in London.

His books include: 100 Photos of Paolo Pellegrin for Press Freedom (Reporters Sans Frontières,
France, 2013); Paolo Pellegrin (Kunstfoyer der Versicherungskammer Bayern 2012); Dies Irae
(Contrasto, Italy, 2011); Photo Poche (Actes Sud, France, 2010); As I Was Dying (Actes Sud,
France, 2007); Double Blind (Trolley, 2007); Kosovo 1999-2000: The Flight of Reason (Trolley,
USA, 2002); L'au delà est là (Le Point du Jour, France, 2001); Cambogia (Federico Motta Editore,
Italy, 1998) and Bambini (Sinnos, Italy, 1997).

Photos

ATHLETES.

USA. Los Angeles. Hurdler Kerron Clement. 2008

ATHLETES.

USA. Los Angeles. Hurdler Kerron Clement. 2008

ATHLETES.

USA. Fort Lauderdale. Divers Davd Boudia and Thomas Finchum. 2008
ATHLETES.

ITALY. Formia. Russian polevaulter Yelena Isinbayeva.

Paolo Pellegrin photographed some of the worlds top athletes, for 'Play' The New York Times
Sports Magazine, as they prepared for the 2008 Olympic Games in Beijing.
 Gueorgui Pinkhassov
“The power of our Muse lies in her meaninglessness. Even the style
can turn one into a slave if one does not run away from it, and then
one is doomed to repeat oneself. The only thing that counts is
curiosity. For me personally, this is what creativity is about. It will
express itself less in the fea”.

Biography
Pinkhassov's interest in photography began while he was still at school. After studying
cinematography at the VGIK (the Moscow Institute of Cinematography), he went on to work at
the Mosfilm studio and then as a set photographer.

In 1978 Pinkhassov joined the Moscow Union of Graphic Arts and obtained the status of an
independent artist. His work was noticed by the prominent Russian filmmaker Andrei Tarkovsky,
who invited Pinkhassov to the set to make a reportage about his film ‘Stalker’ (1979).

Pinkhassov moved permanently to Paris in 1985. He joined Magnum Photos in 1988. He works
regularly for the international press, particularly for Geo, Actuel and the New York Times
Magazine. His book, Sightwalk, explores individual details, through reflections or particular kinds
of light, often approaching abstraction.

Photos

MOROCCO. 2000.

Near the town of Agadir. A small village built around the lighthouse of the Cap Ghir. The grocery shop.
RUSSIA. Youth.

RUSSIA. Moscow. 1993. Artists squatting in a house in the center of the city. Center: PETLYURA.

GREAT BRITAIN. London. 1999.

 Mark Power
“Now that everyone in the developed world seems to own some form
of camera, a different space has opened for documentary
photographers. It's a space free from specific events, where there are
different expectations, where it is first and foremost about ideas. Now
we can all take pictures, with varying degrees of ability, it's what we
DO with our cameras that counts.”

Biography
As a child, Mark Power discovered his father's home-made enlarger in the family attic, a
contraption consisting of an upturned flowerpot, a domestic light bulb and a simple camera lens.
His interest in photography probably began at this moment, though he later went to art college
to study life-drawing and painting instead.

After graduating, he travelled for two years around South-East Asia and Australia. To support
himself Power tried a number jobs (he was an English teacher, a television actor and a fish farm
attendant in Hong Kong; he painted cinema murals in Bangkok; produced large numbers of
identical paintings for others to sell as their own in the Australian outback (very questionable,
this one!) and ended up running the camera department of a large chemist in Bankstown, in the
Western Suburbs of Sydney). While travelling Power began to realise he enjoyed using a camera
more than a pencil and decided to 'become a photographer' on his return to England, two years
later, in 1983.

He then worked in the editorial and charity markets for nearly ten years, before he began
teaching in 1992. This coincided with a shift towards long-term, self-initiated projects which now
sit comfortably alongside a number of large-scale commissions in the industrial sector. For many
years his work has been seen in numerous galleries and museums across the world, and is in
several important collections, both public and private, including the Arts Council of England, the
British Council, the Victoria and Albert Museum, Los Angeles County Museum of Art, Milwaukee
Art Museum, and Marrakech Museum of Photography and Visual Art.

To date Power has published eight books: The Shipping Forecast (1996), a poetic response to
the esoteric language of daily maritime weather reports; Superstructure (2000), a
documentation of the construction of London's Millennium Dome; The Treasury Project (2002),
about the restoration of a nineteenth-century historical monument: 26 Different Endings (2007),
which depicts those landscapes unlucky enough to fall just off the edge of the London A-Z, a map
which could be said to define the boundaries of the British capital; The Sound of Two Songs
(2010), the culmination of his five year project set in contemporary Poland following her
accession to the European Union; Mass (2013), an investigation into the power and wealth of
the Polish Catholic church; Die Mauer ist Weg! (2014), about chance and choice when
confronted, accidentally, with a major news event - in this case the fall of the Berlin Wall, and
Destroying the Laboratory for the Sake of the Experiment (2016), a collaboration with the poet
Daniel Cockrill about pre-Brexit England.

In 2007 he tried his hand at curating. Theatres of War featured the work of five artists whose
work is concerned with contemporary conflict and surveillance. It opened, appropriately, at
Oskar Schindler's former enamel factory as the keynote exhibition of Krakow Photomonth,
Poland.

Mark Power joined Magnum Photos as a Nominee in 2002, and became a full Member in 2007.
Meanwhile, in his other life, he is visiting Professor of Photography at the University of Brighton,
a city on England's south coast where he lives with his partner Jo, their children Chilli (b.1998)
and Milligan (b.2002) and their dog Kodak.

Photos

The Shipping Forecast.

GB. England. Mablethorpe.

Humber. Saturday 13 July 1996. Southwesterly veering northwesterly 4 or 5. Occasional drizzle.

Moderate with fog patches. FROM 'THE SHIPPING FORECAST' SERIES 1993-96

The Shipping Forecast

The enigmatic British radio broadcast inspires a series devoted to
landscapes of the imagination and romantic notions of Britain's island
status
Mark Power

Intangible and mysterious, familiar yet obscure, the shipping forecast is broadcast four times
daily on BBC Radio 4. For those at, or about to put to sea, the forecast may mean the difference
between life and death.

But for millions of landlubbing radio listeners it is more than this; the enigmatic language of the
forecast has entered the public conciousness, creating a landscape of the imagination and
confirming romantic notions of Britain's island status.
In The Shipping Forecast, Mark Power documents the 31 sea areas covered by the forecast,
which include, among others, Finisterre off the north Portuguese/western Spanish coast, Biscay
off the north Spanish/western French coast, the Irish Sea, and southeast Iceland.

One of Britain’s leading photographers, Power’s images have an almost mythical resonance.
Here, in picture after picture, life itself appears to have lost its co-ordinates, movements are
disjointed and frenetic, people wander aimlessly or gather in trance-like formations, lonely gazes
stare out towards blank horizons.

Yet despite this, the shipping forecast is a steadfast national narrative and symbol; for over
seventy years it has given reports on an unstable, volatile ‘exterior’ against which the ideas of
‘home’ and ‘nation’ as places of safety, order, and even divine protection are reinforced.

Personal.

GB. SCOTLAND. North Berwick. Completion of a golf match. 16.12.1994

 Eli Reed
“The main thing for me is that I'm happy that I've been able to work
as a professional photographer. What is at the core of my work is, in
essence, a meditation on being a human being.”

Biography
Eli Reed was born in the US and studied pictorial illustration at the Newark School of Fine and
Industrial Arts, graduating in 1969. In 1982 he was a Nieman Fellow at Harvard University. At
Harvard's Kennedy School of Government, he studied political science, urban affairs, and the
prospects for peace in Central America.

Reed began photographing as a freelancer in 1970. His work from El Salvador, Guatemala and
other Central American countries attracted the attention of Magnum in 1982. He was nominated
to the agency the following summer, and became a full member in 1988.

In the same year Reed photographed the effects of poverty on America's children for a film
documentary called Poorest in the Land of Plenty, narrated by Maya Angelou. He went on to
work as a stills and specials photographer for major motion pictures. His video documentary
Getting Out was shown at the New York Film Festival in 1993 and honored by the 1996 Black
Film-makers Hall of Fame International Film and Video Competition in the documentary
category.

Reed's special reports include a long-term study on Beirut (1983-87), which became his first,
highly acclaimed book Beirut, City of Regrets, the ousting of Baby Doc Duvalier in Haiti (1986),
US military action in Panama (1989), the Walled City in Hong Kong and, perhaps most notably,
his documentation of African-American experience over more than twenty years. Spanning the
1970s through the end of the 1990s, his book Black in America includes images from the Crown
Heights riots and the Million Man March.

Reed has lectured and taught at the International Center of Photography, Columbia University,
New York University, and Harvard University. He currently works as Clinical Professor of
Photojournalism at the University of Texas in Austin.
Photos

USA. Perth Amboy.

USA. Perth Amboy, New Jersey. 2000. Kids play on Razor scooters near Oak Street.

USA. New Orleans, Louisiana. Post-Hurricane Katrina.

USA. New Orleans, Louisiana. October 2005.

 Marc Riboud
Biography

In Memoriam: Marc Riboud, 1923 – 2016

The life and work of early Magnum member Marc Riboud

It is with great sadness that we announce that one of Magnum’s earliest members, Marc Riboud,
passed away yesterday, Tuesday, August 30, 2016, after a long illness.

Born in 1923 in Saint-Genis-Laval near Lyon, France, the budding photographer took his first
images in 1937, at the Exposition Universelle in Paris, using a small Vest Pocket Kodak given to
him by his father for his 14th birthday.

During World War II, Riboud joined the Resistance, and after the war, studied engineering before
deciding to become a photographer.

His well-known photograph of a painter on the Eiffel Tower appeared in Life Magazine in 1953,
his first publication, which prompted an invitation from Henri Cartier-Bresson and Robert Capa
to join Magnum Photos.

Riboud’s prolific output includes over 30 books, with his seminal work covering the Cultural
Revolution in China, Tibet, Japan, but also some of the great classic street scenes and life in Paris,
as well as his iconic photographs of anti-Vietnam War protests in Washington, D.C.

In 1955, he traveled by road through the Middle East and Afghanistan to India, where he stayed
for a year before deciding to continue his travels eastwards, pushing from Calcutta to China,
which he revisited numerous times. Finally, arriving in Japan, he initiated work on his first book,
Women of Japan.

In the 1960s, he covered the USSR, the wars for independence in Algeria and Sub-Saharan Africa
and both South and North Vietnam, one of the rare photographers allowed entry. By the 80s
and 90s, making return trips to the East and particularly to China, he had compiled a 30-year
survey of the region.

Fellow Magnum member Patrick Zachmann, whose documentarian work on China was recently
published in So Long, China, remembers:

“One image springs to mind: that of my first meeting with Marc in a CAAC airplane (the Chinese
air company), which brought us both to Bejing. I was 27 years old, a young independent
photographer, and this was my first trip to China. I took a couple of pictures in the plane and a
Westerner, sitting in economy class, intrigued, asked me who I was and what I was doing. This
was Marc Riboud. I was impressed. We sympathized and he gave me some useful advice for a
young ‘long-nose’ arriving in China.‘Do not get impatient with your Chinese interlocutors, stay
calm and never let them lose face.’That was how I met Marc. I often saw him again later, in Paris
as well as in China.”

Abbas remembers a moment shared at the end of the conflict in Vietnam:

“In 1975, the Vietnam war had just finished. We had dinner, with Marc Riboud, in a small
restaurant in Hanoi, which still served rabbit and other French food. Arrives a bo doi in full
uniform and colonial style helmet, who sits down, without having been invited to, at a table
dressed with a white tablecloth. He asks for a spoon, opens a banana leaf, and quietly starts
eating the boiled rice, that had been wrapped into the leaf, without paying any attention to the
other guests, who eat, but not just boiled rice. At first Riboud and me, we thought that this was
done by provocation, but no, the bo doi just needed a table and a spoon to be able to eat his
portion of rice. This was the most curious scene I witnessed during my stay in the North.”

Marc Riboud’s work is exhibited world-wide, and he has received numerous awards including
two prizes from the Overseas Press Club, the ICP Infinity Award and the Nadar Prize for his book
Into the Orient published by Xavier Barral. He donated 192 original prints made between 1953
and 1977 to the National Museum of Modern Art (Centre Georges Pompidou), in Paris.

“Marc’s association with Magnum has been a long and fruitful one. He was a terrific
photographer and of particular note was his pioneering work in China, which he first visited in
the late 1950’s, and continued to photograph over the next three decades. Our thoughts and
best wishes go out to his family,” said Magnum Photos President, Martin Parr.

Photos

MIDDLE EAST.
QATAR. 1974.
IRAN. Teheran.
IRAN. Teheran. "Varzesh-e pahlavani", traditional Iranian martial arts.

Pahlevāni and zoorkhāneh rituals is the name inscribed by UNESCO for varzesh-e pahlavāni
(Persian: ‫ایزورخانه و پهلوان آیی‬, "heroic sport")[1] or varzesh-e bāstāni (‫ ;باستان ورزش‬varzeš-e
bāstānī, "ancient sport"), a traditional system of athletics originally used to train warriors in Iran
and adjacent lands. Outside Iran, zoorkhanehs can be found in Azerbaijan, and they were
introduced into Iraq in the mid-19th century, where they seem to have existed until the
1980s[2]. It combines martial arts, calisthenics, strength training and music. Recognized by
UNESCO as the world's longest-running form of such training, it fuses elements of pre-Islamic
Persian culture (particularly Zoroastrianism, Mithrāism and Gnosticism) with the spirituality of
Shia Islam and Sufism. Practiced in a domed structure called the zurkhāneh, training sessions
consist mainly of ritual gymnastic movements and climax with the core of combat practice, a
form of submission-grappling called koshti pahlavāni.

Fuente: Wikipedia
 Moises Saman

“As a photojournalist I am interested in searching for the positive

commonalities in human spirit, to expose those intimate moments
among people that reminds us of dignity and hope in the face of
conflict.”

Biography
Moises Saman was born in Lima, Peru, from a mixed Spanish and Peruvian family. At the age of
1 his family relocated to Barcelona, Spain, where Moises spent most of his youth. Moises studied
Communications and Sociology in the United States at California State University, graduating in
1998. It was during his last year in university that Moises first became interested in becoming a
photographer, influenced by the work of a number of photojournalists that had been covering
the wars in the Balkans.

Moises interned at several small newspapers in California, and after graduating from university
he moved to New York City to complete a summer internship at New York Newsday newspaper.
That fall, upon completion of the internship, Moises spent a month traveling in Kosovo
photographing the immediate aftermath of the last Balkan war.

In 2000 Moises joined Newsday as a Staff Photographer, a position he held until 2007. During
his 7 years at Newsday Moises' work focused on covering the fallout of the 9/11 attacks,
spending most of his time traveling between Afghanistan, Iraq, and other Middle Eastern
countries. In the fall of 2007 Moises left Newsday to become a freelance photographer
represented by Panos Pictures. During that time he become a regular contributor for The New
York Times, Human Rights Watch, Newsweek, and TIME Magazine, among other international
publications.

Over the years Moises' work has received awards from the World Press Photo, Pictures of the
Year and the Overseas Press Club and his photographs have been shown in a several exhibitions
worldwide.

In 2010 Moises was invited to join Magnum Photos as a Nominee and became a full member in
2014. He now lives in Tokyo.
Photos

AFGHANISTAN.

AFGHANISTAN. Jalalabad. March 30, 2004. A boy covers his head with a plastic bag during a rain
storm.

Afghanistan: Broken Promise

Moises Saman tracks the evolution of conflict in the country, observing the US troops presence
and the resulting impact on the lives of Afghan civilians since 2001

Moises Saman

“The Afghanistan I know is a land of clashing contrasts, of raw beauty, its landscape scarred by
centuries of wars fought against foreign armies and with itself. Since 2001 I have returned over
and over again, with the hope of documenting the promise of peace and prosperity made by the
latest invading powers. I soon realized the fragility of this promise and found Afghanistan staring
at a precipice, its free fall toward anarchy gaining strength throughout the country; no longer
confined to the Pashto-speaking provinces where the Taliban was born and remain entrenched.

The deteriorating security situation is evident all around me on each subsequent visit. One less
safe road to travel on, a labyrinth of blast walls surrounding Kabul, the hostile stare of an
innocent child. For the local population, peace and stability have become a fleeting dream, not
a sustainable promise in which their sense of hope finds refuge. Still, I continue to find myself
drawn to this remarkable place and its people, to their unmatched sense of pride on being
Afghan, and the hint of dignity and spirit that I find in most of the people I meet here, determined
to carry on however battered their existence.” – Moises Saman
LIBYA. Uprising.

LIBYA. Zawiyah. 2011. A Qaddafi supporter holds a portrait of the Libyan leader during a celebration
staged for a group of visiting foreign journalists after regime forces re-took the city from rebels.

On Wednesday, October 15th Moises Saman received a W. Eugene Smith Memorial Fund that
will allow him to continue his project concerning his past coverage of Arab Spring events.

Since 2011 Saman has spent considerable time on assignment in multiple hotspots: Tunisia,
Libya, Egypt, Syrian, Lebanon and Iraq. He's now had a chance to step back and reassess the
imagery he accumulated during his many trips.

In his interview with The New Yorker, Saman said:

“For me, the editing process for an assignment is very different from that when I’m editing a
longer narrative. A book in particular needs rhythm, and, as such, I felt that 'Discordia' needed
to incorporate the quieter pictures that are sometimes overlooked because they capture
moments just before or after the main event. The aim was to literally cut out the subject from
the context of the photograph and focus on the theatrical body language and expression rather
than to look for the best single image that captured the action."
SOUTH KOREA. Peace Village.

SOUTH KOREA. So Seong Ri village, Seongju. May 14, 2017. Suk Ju Lee, 63, is the head of Se Seong Ri
village, and an activist opposed to the US Army's deployment of its THAAD missile defense system.

Located well south of Seoul, the farming town of Soseong-ri has long been isolated from saber-
rattling between North and South Korea. This all changed when the 160-person community
discovered that a US THAAD (Terminal High Altitude Area Defense system) unit was going to be
deployed there. Since then, Soseong-ri has become a center of Korean anti-war sentiment.
Fearing that the presence of THAAD units will anger China and make the South vulnerable to
attack, thousands of demonstrators have been congregating in Soseong-ri to voice opposition
to this new defense program.

Moises Saman visited the town in May and photographed the inhabitants and demonstrators.

JAPAN. Vacationers.

JAPAN. Ibusuki, Kagoshima Prefecture. August 18, 2017. Noriko Nomaguchi, 52, a Japanese tourist from
Osaka, enjoys a sand bath in Ibusuki, Kagoshima Prefecture.

Most Japanese take brief two or three day vacations away from their urban homes. Many flock
to one of many natural hot springs that are scattered around the country. During the holiday of
Obon, families gather at relatives’ grave sites and celebrate the dead, often dressed in
traditional costume.

This past Summer, Moises Saman traveled around Japan photographing vacationing families.
 Alessandra Sanguinetti

Biography
Alessandra Sanguinetti was born in New York, 1968, brought up in Argentina from 1970 until
2003, and is currently based in San Francisco.

She is a recipient of a Guggenheim Foundation fellowship and a Hasselblad Foundation grant.

Her photographs are included in public and private collections, such as the Museum of Modern
Art (NY), the San Francisco Museum of Modern Art, the Museum of Fine Arts in Houston,
Museum of Fine Arts, Boston. Her book, “On the Sixth Day”, was published by Nazraeli Press in
January 2006.

She has photographed for the The New York Times Magazine, LIFE, Newsweek, and New York
Magazine.

Photos

ARGENTINA. Buenos Aires. "The Adventures of Guille and Belinda..." (Book 1)

ARGENTINA. Buenos Aires. 2000. The Models.

ARGENTINA. Buenos Aires. "The Adventures of Guille and Belinda..." (Book 1)

ARGENTINA. Buenos Aires. 2001. Revolver.

ARGENTINA. Buenos Aires. "The Adventures of Guille and Belinda..." (Book 1)

ARGENTINA. Buenos Aires. 1999. The Couple.

ARGENTINA. Buenos Aires. "The Adventures of Guille and Belinda..." (Book 1)

ARGENTINA. Buenos Aires. 2001. Ophelias.
In the remote farmlands near Buenos Aires, Argentina, Alessandra Sanguinetti produced a
series of photographs entitled On the Sixth Day that centered on the symbiotic relationship
between the farmers, their animals, and the land. While working on this series she first met
Guille and Belinda whose families lived and worked on these farms. The two cousins were ten
and nine years old when Sanguinetti began to photograph them. Sanguinetti sought to portray
the psychological and physical transformations of these girls as they matured into adults. As
opposed to a more traditional documentary narrative of these two girls growing up in this rural
environment, Sanguinetti instead focused on the desires and dreams of their active
imaginations. Sanguinetti writes, "I have attempted to interpret the ending of their childhood
by entering their imaginary spaces. The time when their dreams, fantasies, and fears would
fuse seamlessly with real day-to-day life are ending, and the photographs I have made intend
to crystallize this rapidly disappearing very personal and free space." The resulting series of
images, presented here under the title The Adventures of Guille and Belinda and the Enigmatic
Meaning of Their Dreams, represents not only an elaborate collaboration between
photographer and subject but an intimate relationship cultivated over a five-year period.
 Jerome Sessini
“I don’t like rigid categories. Sometime there is art in journalism and
journalism in art. Conscience, heart, beauty, balance and loss of
balance are essentials for me.”

Biography
Jérôme Sessini builds a passion for photography, discovering documentary photography through
books shown by a friend, a photographer. He initiates his own practice, shooting people,
landscapes and daily lives of those around his native Eastern France (with Diane Arbus, Lee
Friedlander, Mark Cohen, in mind).

In 1998, although nothing predicted he would turn to journalism, Sessini arrives in Paris. Gamma
photo agency gives him the opportunity to cover the ongoing conflict in Kosovo.

Sessini has since then covered most of the international current events: Palestine, Iraq (from
2003 to 2008), Aristide’s fall in Haiti (2004), the conquest of Mogadishu by the Islamic militias
and the war in Lebanon (2006).

Sessini’s work is immediately internationally acknowledged. It is published by prestigious

newspapers and magazines among which, Newsweek, Stern, Paris-Match as well as Le Monde
and the Wall Street Journal.

His photography also leads to single exhibitions at the Visa Photo Festival in Perpignan, at the
Rencontres d’Arles, the Bibliothèque nationale François-Mitterrand, as well as with the French
Ministry of Culture.

In 2008, Jerome Sessini starts the Mexican project: «So far from God, too close from the US”, a
dive into the drug cartels’ war in Mexico. This yet ongoing project has already been awarded
twice with the F-Award and a Getty Grant.

From this direct confrontation with violence, Sessini has recognized a state of things which is at
the heart of his work, “Ordinary fellows are always those losing, either it being in Iraq, Mexico
or France”.

Evolving within an uncertain balance of cynical realism and straight upset, Sessini is very careful
with the “rightness” of his photographic work. He rejects idealism and otherworldliness, which
do not take in account some pieces of reality.

Jerome's website dedicated to his coverage of the revolution and conflict in Ukraine:
www.jeromesessiniukraine.com
Photos

UKRAINE. East-Ukraine. 2014.

UKRAINE. Donetsk. August 16, 2014. People in the basement of the cultural center of Petrovka. Locals
from the area are caught in shelling between ukrainian army and rebels.

Two buildings were hit by Grad missiles launched by Ukrainian forces in Maryanka, a working
class suburb south of Donetsk center. At least one woman was killed during the attack while she
was in her kitchen. Petrovsky, another suburb of Donetsk, has also been seriously damaged.
Civilians were fleeing the area. Separatists took some of them to a safe area by bus and provided
some with shelter at a base while others have been housed at a Hospital 24 in Donestk. At least
10 civilians were killed.

Sortie des ouvriers de l usine DACIA Renault Vues de Bucarest

On March 24, about 8,000 of the 13,000 workers at the Dacia car factory in Romania went on
open-ended strike. One of their demands was a wage increase of 50-70 percent. For the first
time in a strike in Romania, the strikers did not base their demand on standard wages in Romania
but compared themselves to Renault workers in Turkey or France, who earn between 900 and
2000 euros for the same work (the workers at Dacia earn about 300 euros). This strike at Dacia
is the most significant struggle in the Romanian private sector since 1989 and could be the
beginning for a wave of strikes for better living conditions in Romania.
 Jacob Aue Sobol
“When I photograph, I try to use my instincts as much as possible. It is when
pictures are unconsidered and irrational that they come to life; that they
evolve from showing to being.”

Biography
Jacob Aue Sobol was born in Copenhagen, Denmark, in 1976. He lived in Canada from 1994-95
and Greenland from 2000-2002. In Spring 2006 he moved to Tokyo, living there 18 months
before returning to Denmark in August 2008. After studying at the European Film College, Jacob
was admitted to Fatamorgana, the Danish School of Documentary and Art Photography in 1998.
There he developed a unique, expressive style of black-and-white photography, which he has
since refined and further developed.

In the autumn of 1999 he went to live in the settlement Tiniteqilaaq on the East Coast of
Greenland. Over the next three years he lived mainly in this township with his Greenlandic
girlfriend Sabine and her family, living the life of a fisherman and hunter but also photographing.
The resultant book Sabine was published in 2004 and the work was nominated for the 2005
Deutsche Börse Photography Prize.

In the summer of 2005 Jacob traveled with a film crew to Guatemala to make a documentary
about a young Mayan girl’s first journey to the ocean. The following year he returned by himself
to the mountains of Guatemala where he met the indigenous family Gomez-Brito. He stayed
with them for a month to tell the story of their everyday life. The series won the First Prize
Award, Daily Life Stories, World Press Photo 2006.

In 2006 he moved to Tokyo and during the next two years he created the images from his recent
book I, Tokyo. The book was awarded the Leica European Publishers Award 2008 and published
by Actes Sud (France), Apeiron (Greece), Dewi Lewis Publishing (Great Britain), Edition Braus
(Germany), Lunwerg Editores (Spain) and Peliti Associati (Italy).

In 2008 Jacob started working in Bangkok and Copenhagen.

Photos

JAPAN. Tokyo. 2007.

JAPAN. Tokyo. 2007.

JAPAN. Tokyo. 2007.

I came to Tokyo for the first time in the spring of 2006. It was a society I had never experienced before,
one of which I had little knowledge and to which I had no real sense of relationship. Initially I felt invisible.
Each day I would walk the streets without anyone making eye-contact with me. Everyone seemed to be
heading somewhere, it was as they had no need of communication. Most mornings I would take the Chuo-
line from Nakano to Shinjuko, and even though the train would be packed with salary-men and school
girls in uniform, I rarely heard a word being spoken.

Though Tokyo and its people seemed unreachable, I felt drawn to the tight and confined reality of the
metropolis. My feeling of isolation and loneliness was overwhelming; it was something I had to find a way
to change. And so I began taking my pocket camera out with me on the streets and in the parks. Rather
than focusing on the impressively tall buildings and the eternal swarm of people, I began searching for
the narrow paths and the individual human presence in the city that felt both attractive and repulsive at
the same time. I wanted to meet the people, to get involved in the city, to make Tokyo mine.
 Alec Soth
“I fell in love with the process of taking pictures, with wandering
around finding things. To me it feels like a kind of performance. The
picture is a document of that performance.”

Biography
Alec Soth’s work is rooted in the distinctly American tradition of ‘on-the-road photography’
developed by Walker Evans, Robert Frank and Stephen Shore. From Huckleberry Finn to Easy
Rider there seems to be a uniquely American desire to travel and chronicle the adventures that
consequently ensue. He has received fellowships from the McKnight, Bush, and Jerome
Foundations and was the recipient of the 2003 Santa Fe Prize for Photography. His photographs
are represented in major public and private collections, including the San Francisco Museum of
Modern Art, the Museum of Fine Arts, Houston, and the Walker Art Center. His work has been
featured in numerous solo and group exhibitions, including the 2004 Whitney Biennial and a
career survey at the Jeu de Paume in 2008.

His first monograph, Sleeping by the Mississippi, was published by Steidl in 2004 to critical
acclaim. Since then Soth has published NIAGARA (Steidl, 2006), Fashion Magazine (Magnum,
2007), Dog Days, Bogotá (Steidl, 2007), The Last Days of W (Little Brown Mushroom, 2008), and
Broken Manual (Steidl, 2010). In 2008, Soth started his own publishing company, Little Brown
Mushroom. He is represented by the Sean Kelly Gallery in New York and the Weinstein Gallery
in Minneapolis. Alec Soth became a nominee of Magnum Photos in 2004 and a full member in
2008. He is based in Minneapolis, Minnesota.

Photos

USA. Sleeping by the Mississippi.

USA. Sleeping by the Mississippi.

USA. Grand Rapids, Minnesota. 2002. Kenny & Bill - Bad Newz, garage band.

Evolving from a series of road trips along the Mississippi River, Alec Soth's "Sleeping by the Mississippi"
captures America's iconic yet oft-neglected "third coast". Soth's richly descriptive, large-format color
photographs present an eclectic mix of individuals, landscapes, and interiors. Sensuous in detail and raw
in subject, "Sleeping by the Mississippi" elicits a consistent mood of loneliness, longing, and reverie. "In
the book's 46 ruthlessly edited pictures," writes Anne Wilkes Tucker, "Soth alludes to illness, procreation,
race, crime, learning, art, music, death, religion, redemption, politics, and cheap sex." Like Robert Frank's
classic "The Americans", "Sleeping by the Mississippi" merges a documentary style with poetic sensibility.
The Mississippi is less the subject of the book than its organizing structure. Not bound by a rigid concept
or ideology, the series is created out of a quintessentially American spirit of wanderlust.
 Chris Steele-Perkins
“Everything shifts as you move, and different things come into focus
at different points of your life, and you try to articulate that.”

Biography
At the age of two, Chris Steele-Perkins moved to England from Burma with his father. He went
to school at Christ's Hospital. At the University of Newcastle-upon-Tyne, he studied psychology
and worked for the student newspaper; he graduated with honors in 1970 and started to work
as a freelance photographer, moving to London in 1971.

Apart from a trip to Bangladesh in 1973, he worked mainly in Britain in areas concerned with
urban poverty and subcultures. In 1975 he worked with EXIT, a collective dealing with social
problems in British cities. This involvement culminated in the book Survival Programmes in 1982.
He joined the Paris-based Viva agency in 1976. In 1979 he published his first solo book, The Teds;
he also edited the Arts Council of Great Britain's book, About 70 Photographs.

Steele-Perkins joined Magnum Photos in 1979 and soon began working extensively in the
developing world, in particular in Africa, Central America and Lebanon, as well as continuing to
take photographs in Britain: The Pleasure Principle explores Britain in the 1980s. In 1992 he
published Afghanistan, the result of four trips over four years. After marrying his second wife,
Miyako Yamada, he embarked on a long-term photographic exploration of Japan, publishing Fuji
in 2000. A highly personal diary of 2001, Echoes, was published in 2003, and the second of his
Japanese books, Tokyo Love Hello, in March 2007. He continues to work in Britain, documenting
rural life in County Durham, which was published as Northern Exposures in 2007. In 2009 he
published a collection of work from 40 years of photographing England - England, My England.
A new book, on British centenarians, Fading Light was published in 2012.

Steele-Perkins has two sons, Cedric, born 16th November 1990, and Cameron, born 18th June
1992. With his marriage to Miyako Yamada he has a stepson, Daisuke and a grand-daughter,
Momoe.
Photos

GB. London. 1974.

GB. England. London. 1974. City of London school for boys. Swimming pool.

G.B. ENGLAND. London Marathon

U.K. ENGLAND. Greenwich Park, starting point red. Toilet just before start. 2008

ENGLAND. Observer Sport. Cricket. 2006

G.B. ENGLAND. Solent. Cricket match played at low tide on exposed Bramble sandbank between The Royal
Southern Yacht Club at Hamble and the Island Sailing Club on the Isle of Wight. Bowling. 2006.
ENGLAND. Observer Sport. Cricket. 2006

G.B. ENGLAND. Solent. Cricket match played at low tide on exposed Bramble sandbank between The Royal
Southern Yacht Club at Hamble and the Island Sailing Club on the Isle of Wight. Appeal for Out. 2006.

ENGLAND. Observer Sport. Cricket. 2006

G.B. ENGLAND. Solent. Cricket match played at low tide on exposed Bramble sandbank between The Royal
Southern Yacht Club at Hamble and the Island Sailing Club on the Isle of Wight. The playing fields. 2006.
GB. Newcastle. 1978.

G.B. ENGLAND. Newcastle-upon-Tyne. 1978.

 Dennis Stock
“Art is a well-articulated manifestation of an aspect of life. I have been
privileged to view much of life through my cameras, making the
journey an enlightened experience. My emphasis has mainly been on
affirmative reactions to human behavior and a strong attraction to the
beauty in nature.”

Biography
Dennis Stock was born in 1928 in New York City. At the age of 17, he left home to join the United
States Navy. In 1947 he became an apprentice to Life magazine photographer Gjon Mili and won
first prize in Life's Young Photographers contest. He joined Magnum in 1951.

Stock managed to evoke the spirit of America through his memorable and iconic portraits of
Hollywood stars, most notably James Dean. From 1957 to 1960 Stock made lively portraits of
jazz musicians, including Louis Armstrong, Billie Holiday, Sidney Bechet, Gene Krupa and Duke
Ellington for his book Jazz Street. In 1968 Stock took a leave of absence from Magnum to create
Visual Objectives, a film production company, and he shot several documentaries. In the late
1960s he captured the attempts of California hippies to reshape society according to ideals of
love and caring. Then throughout the 1970s and 1980s he worked on color books, emphasizing
the beauty of nature through details and landscape. In the 1990s he went back to his urban
origins, exploring the modern architecture of large cities. His recent work was mostly focused
on the abstraction of flowers.

Stock generated a book or an exhibition almost every year since the 1950s. He taught numerous
workshops and exhibited his work widely in France, Germany, Italy, the United States and Japan.
He worked as a writer, director and producer for television and film, and his photographs have
been acquired by most major museum collections. He served as president of Magnum's film and
new media division in 1969 and 1970.

Dennis Stock resided in Woodstock, New York, and his widow is the author Susan Richards.
Photos

USA. Miles DAVIS.

USA. 1958. Miles DAVIS.

USA. Jazz Book.

USA. 1958. Louis ARMSTRONG, trumpet player, singer, composer and band leader, in a hotel.
USA. Jazz Book.

USA. 1958. Charles MINGUS.

Dennis Stock’s Jazz Street

Dennis Stock’s book evokes the improvisational spirit of the American Jazz scene in the late
1950s

Dennis Stock

Growing up in Upper Manhattan, close to Harlem, Dennis Stock was exposed to jazz at an early
age. As a child, Stock would accompany his father to the famous Apollo Theatre in Harlem,
where prominent jazz musicians of the time such as Duke Ellington and Dizzy Gillespie would
perform. These experiences would prove to be formative, sparking an interest that he would
later return to as a photographer. In 1957, Stock embarked upon a journey inspired by those
early memories that would culminate in one of his best-known bodies of work: ‘Jazz Street’.

“I had a passion for jazz. I had listened and attended many jazz sessions from a child on. So I
went out for three years and explored the world of musicians all across the United States and
had a wonderful time. It was joyful. Just marvelous.”

Over the following years, Stock would go on to document the jazz community across the country,
from its birthplace in New Orleans to the famous nightclubs of 1950s New York. Exploring not
just the variety, but the reality of life in the jazz community at the time, he captured the energy
of the live circuit from Newport Jazz Festival to The Savoy, as well as quieter, more candid
moments at home and on the road with Louis Armstrong.

First, however, Stock needed to gain the trust of his subjects, who were not immediately
receptive to the presence of an outsider. Gradually winning them over as he became increasingly
immersed in the community, “their reactions moved from suspicion to acknowledgement, to
curiosity, and finally to friendliness.” Although even then, his presence as a photographer came
with certain conditions: “My job was respected with the reservation that it should not interfere
with their own. Often I was obliged to accept a fleeting moment in a busy musician’s day. A
moment can be enough.”

"It often happened quickly; the photographic decision, like the jazz decision, must be
instantaneous." Dennis Stock

Stock’s patience and commitment were rewarded and during this period he photographed many
of the genre’s most enduring names, including Louis Armstrong, Billie Holiday and Miles Davis,
as well as many other influential musicians of the time whose names have since faded from
popular consciousness. In these photos, Stock was led by the guiding force of jazz, finding the
nature of the music analogous to photography in its immediacy and spontaneity.

“Improvisation, the essence of their art, dictated the form of this book. It often happened
quickly; the photographic decision, like the jazz decision, must be instantaneous. I thoroughly
enjoyed knowing the people. The artists who appear in this book. It is my intention that you
have a comparable experience.”

"My subjects – the bikers, hippies, road people, artists – are simply people who have sought a
less conforming way to explore this difficult life that we all lead." Dennis Stock

While Stock’s photographs captured the improvisational spirit of live performance, his
documentation was not bound to the stage. ‘Jazz Street’ reflects his close relationship with his
subjects, penetrating beyond the clubs and into the daily lives of this group of working
musicians: close-up, contextualized within their families and homes, jamming after hours for
kicks, working in smoky cellars and formal recital halls, commuting home from their jobs in the
pre-dawn darkness. It was this broader fascination not just with the music but with a particular
way of life that kept Stock interested, a common thread that can be traced through his career.

“My subjects – the bikers, hippies, road people, artists – are simply people who have sought a
less conforming way to explore this difficult life that we all lead. It was my fascination with their
ability to survive as individuals that kept my camera busy.”
 Matt Stuart

“Buy a good pair of comfortable shoes, have a camera around your

neck at all times, keep your elbows in, be patient, optimistic and don’t
forget to smile.”

Biography
Born in 1974, Matt Stuart was raised in the leafy suburbs of Harrow, North West London. He
admits to a less than distinguished school career, but was called upon aged 11 to play a trumpet
solo in front of the Queen Mother. Her Majesty’s reaction is not recorded.

A little later, in 1986, Matt discovered skateboarding after watching the film “Back to the
Future”. Skating occupied his every waking moment until 1994, when he looked up from the
half-pipe and noticed that girls had got a lot more interesting. He also indulged in a brief, ill-
advised affair with Kung Fu.

Matt’s father, keenly aware that his son would never be the next Bruce Lee, introduced him to
photography, handing over books by Robert Frank & Henri Cartier-Bresson. Ever since then,
photography has been Matt’s overriding passion, although he’s still quite interested in
skateboards and girls. (But thankfully not Kung Fu).

Photos

GB. England. London. 2011.

GB. England. London. Trafalgar Square.

GB. England. London. 2005.

GB. England. London. 2005. Needham_Road

GB. England. London. 2016. The Notting Hill Carnival.

 Mikhael Subotzky

Biography
Mikhael Subotzky was born in 1981 in Cape Town, South Africa, and is currently based in
Johannesburg.

Subotzky’s photographic work combines the directness of the social documentary mode with a
questioning of the nature of the photographic medium itself. He is concerned with the structures
of narrative and representation, as well as the relationship between social storytelling and the
formal poetics of image making. Over the past eight years, his work has focused on the inside
and outside of South Africa’s notorious prisons, the small town of Beaufort West, and Ponte
City, a single iconic building in Johannesburg

Subotzky’s work has been exhibited widely in major galleries and museums, and his prints are in
the collections of the Museum of Modern Art, New York, the Victoria and Albert Museum,
London, the South African National Gallery, Cape Town, and the Johannesburg Art Gallery.
Recent awards and grants include the 2011 Discovery Award at Rencontres de la Photographie
Arles, the 2009 Oskar Barnack Award, the 2008 W. Eugene Smith Memorial Grant, and the 2007
KLM Paul Huf Award.

His only monograph to date, Beaufort West, was published by Chris Boot Publishers and was the
subject of the 2008 exhibition, New Photography: Josephine Meckseper and Mikhael Subotzky
at the Museum of Modern Art in New York.

Photos

SOUTH AFRICA. Johannesburg. Ponte City. 2008.

SOUTH AFRICA. Johannesburg. 2008. From the Ponte City project, A book about the tallest residential
skyscraper in Africa. In collaboration with Patrick Waterhouse. Copyright Mikhael Subotzky and Patrick
Waterhouse courtesy Goodman Gallery.
 Beaufort West: Rural South Africa
Vivid characters and poignant social landscapes are the subject of Mikhael Subotzky's first
photobook confronting central issues of contemporary South African society

Mikhael Subotzky

At the half-way point along South Africa’s great highway – the N1 running from Cape Town to
Johannesburg – lies the small town of Beaufort West. With its prison in the middle of town, on
an island in the highway, it’s a surreal road-stop that offers everything a traveler might want –
food, gas, a place to stay, an hour of sex…

His first photobook, Beaufort West is exquisitely produced on a large portfolio scale. With an
introduction by leading South African writer Jonny Steinberg and Subotzky’s own commentary
on the photographs, the book is both a document of social evidence and the visual manifesto of
the best of the new wave of South African art photographers.

Smashed Works.

Swimming. Hout Bay. 2007.

Christopher Sibidla was burnt to death in Pollsmoor Prison in 2004. Shortly after his death, I
went to see Chris’ parents to ask for permission to photograph his funeral. After agreeing, his
mother asked me to take his younger brother to the mortuary to complete the administrative
formalities. She also asked me to take a photograph of Chris’ body.

This was ten years after democracy in South Africa, at a time when service delivery protests, the
HIV pandemic, high crime rates, and rising social tensions all contributed to a sense of friction
and disorder in my country of birth. Coincidently, it was also the year that my family fell apart,
our previously “happy”, “lefty”, middle-class existence sheared through by affairs, illness,
violence and abuse.

I went to the mortuary and, having never seen a dead body before, took the photograph. After
printing it, I agonized over whether to take such a violent image back to Chris’ mother. I could
hardly look at the image, but she took one look at my print, kissed its surface and pushed it to
her chest, thanking me for helping her to put her son to rest.

The image haunted me for years and I had a strange but strong instinct that I wanted to smash
it. This felt like a very scary, violent thing to do, in some ways re-enacting the violence done to
Chris. But I soon realized that conversely, in smashing the glass, I was also covering up the burnt
nakedness of his body. I was retrospectively writing my own feelings of violence, trauma and
fear that came from both my experience of taking the photograph and my ambivalence at the
representation I had made, back into the photographic object itself. Those feelings of mine had
been left out of the “neatness” of the story where the mother thanked me for the image and
the lessons that I had supposedly learnt from her very different reaction to the photograph.

In thinking about this gesture further, Barthes’ theory of punctum came to mind. I had always
loved this description of the subtle, obscured and implied element of the photograph that could
“puncture” the surface and reach out to grab the viewer emotionally. I hoped that my best
photographs had this quality, but then also grew frustrated with the way that my large prints
could still be “consumed” for their formal qualities. In ignoring Barthes’ nuance and taking this
“puncture” literally to the point of smashing the surface, I felt that I was drawing attention to
the photographic surface itself as an intermediary between the representational world of the
subject and the physical world of the viewer, and thus reminding the viewer of what they are
looking at in objective terms. I was hoping to make it impossible for them to be complacent
either with the images’ or their own subjectivity.

Through smashing this and other photographs, my relationship to photography has

fundamentally changed, as well as my ability to relate the pain of others to the pain I feel in
myself.
 Larry Towell
“If there's one theme that connects all my work, I think it's that of land-
lessness; how land makes people into who they are and what happens
to them when they lose it and thus lose their identities.”

Biography
Larry Towell's business card reads 'Human Being'. Experience as a poet and a folk musician has
done much to shape his personal style. The son of a car repairman, Towell grew up in a large
family in rural Ontario. During studies in visual arts at Toronto's York University, he was given a
camera and taught how to process black and white film.

A stint of volunteer work in Calcutta in 1976 provoked Towell to photograph and write. Back in
Canada, he taught folk music to support himself and his family. In 1984 he became a freelance
photographer and writer focusing on the dispossessed, exile and peasant rebellion. He
completed projects on the Nicaraguan Contra war, on the relatives of the disappeared in
Guatemala, and on American Vietnam War veterans who had returned to Vietnam to rebuild
the country. His first published magazine essay, 'Paradise Lost', exposed the ecological
consequences of the catastrophic Exxon Valdez oil spill in Alaska's Prince William Sound. He
became a Magnum nominee in 1988, and a full member in 1993.

In 1996 Towell completed a project based on ten years of reportage in El Salvador, followed the
next year by a major book on the Palestinians. His fascination with landlessness also led him to
the Mennonite migrant workers of Mexico, an eleven-year project completed in 2000. With the
help of the inaugural Henri Cartier-Bresson Award, he finished a second highly acclaimed book
on the Palestinian-Israeli conflict in 2005, and in 2008 released the award-winning The World
From My Front Porch, a project on his own family in rural Ontario where he sharecrops a 75 acre
farm.
Photos

CANADA. Ontario. Mennonites.

CANADA. Ontario. 1995. Lambton County. Mennonites.

Mennonite colonies in Mexico.

MEXICO. Durango. 1998. Durango Colony. Mennonite.

MEXICO. Mennonites.

MEXICO. 1994. Durango Colony. Durango. Mennonites.

In 1874, 8000 Old Colony Mennonites left Russia for southern Manitoba and Saskatchewan,
Canada. The threat of Canadian military draft and state-controlled education pushed nearly
7000 of the most conservative members to move to north and central Mexico. An authoritarian
church and a collapsing Mexican economy caused another exodus back to Canada. The
Mennonites work in the seasonal labor market, planting and harvesting on Ontario's vegetable
farms. Many continue to live a transient life journeying the highways back and forth from
Mexico.
 Peter van Agtmael
“Photographs are monuments.”

Biography
Peter was born in Washington DC. He studied history at Yale, graduating with honors in 2003.

Since 2006 he has primarily covered the 9/11 Wars and their consequences, working extensively
in Iraq, Afghanistan and the USA.

He has won the W. Eugene Smith Grant, the ICP Infinity Award for Young Photographer, the
Lumix Freelens Award, as well as awards from World Press Photo, American Photography
Annual, The Pulitzer Center, The Center for Documentary Studies at Duke University and Photo
District News.

In 2008 he helped organize the book and exhibition Battlespace, a retrospective of largely
unseen work of 22 photographers covering Iraq and Afghanistan.

Peter joined Magnum in 2008 and became a full member in 2013.

Photos

Miscellaneous.

USA. Louisville, Kentucky. 2016. Late night dance party in a parking lot.
USA. Wounded Veteran, Sgt. Raymond HUBBARD.

USA. Wisconsin. 2007. Raymond plays with Star Wars lightsabers with his sons Brady and Riley.
 Alex Webb
“I only know how to approach a place by walking. For what does a
street photographer do but walk and watch and wait and talk, and
then watch and wait some more, trying to remain confident that the
unexpected, the unknown, or the secret heart of the known awaits just
around the corner.”

Biography
Alex Webb became interested in photography during his high school years and attended the
Apeiron Workshops in Millerton, New York, in 1972. He majored in history and literature at
Harvard University, at the same time studying photography at the Carpenter Center for the
Visual Arts. In 1974 he began working as a professional photojournalist and he joined Magnum
Photos as an associate member in 1976.

During the mid-1970s Webb photographed in the American south, documenting small-town life
in black and white. He also began working in the Caribbean and Mexico. In 1978 he started to
photograph in color, as he has continued to do. He has published seven photography books,
including Hot Light/Half-Made Worlds: Photographs from the Tropics, Under A Grudging Sun,
Crossings, the limited edition artist book Dislocations and Istanbul: City of a Hundred Names.

Webb received a New York Foundation of the Arts Grant in 1986, a National Endowment for the
Arts Fellowship in 1990, a Hasselblad Foundation Grant in 1998 and a Guggenheim Fellowship
in 2007. He won the Leopold Godowsky Color Photography Award in 1988, the Leica Medal of
Excellence in 2000 and the David Octavius Hill Award in 2002. His photographs have been the
subject of articles in Art in America and Modern Photography. He has exhibited widely in the
United States and Europe, in museums including the Walker Art Center, the Museum of
Photographic Arts, the International Center of Photography, the High Museum of Art, the
Museum of Contemporary Art, San Diego, and the Whitney Museum of American Art.

Photos

CUBA

CUBA. Havana. 2000. Children playing in a playground.

For most of President Ronald Reagan's first term, U.S.-Cuban relations were frozen. But late in
1984, an agreement was reached between the two countries. Cuba would take back more than
2,700 Cubans who had come to the United States in the Mariel because of criminal or psychiatric
disqualification. Castro canceled the agreement when the U.S. began the Radio Marti broadcasts
in May 1985 to bring a non-Communist viewpoint to the Cuban people.

With the collapse of communism in eastern Europe, Cuba's foreign trade plummeted as did aid
from Russia, producing the worst economic crisis in the island's history. The government moved
slightly toward a mixed economy in 1993 by permitting limited private enterprise in a number
of trades and services and allowing Cubans to possess convertible currencies. In March 1996,
the U.S. passed the Helms-Burton Act, which further extended the U.S. trade embargo on Cuba
by penalizing non-U.S. companies doing business with Cuba. Reaction to the measure was
widespread international condemnation that included the U.S.'s North American neighbors,
Canada, Mexico, and the Caribbean nations. Christmas was declared an official

holiday in Cuba in 1997, for the first time since the revolution, in preparation for Pope John Paul
II's historic visit to Cuba in Jan. 1998. By Castro's allowing the pope's visit, he raised hopes that
the gesture signaled a new openness, easing of restrictions, and increased religious freedom for
Cubans.

In mid-1999, the U.S. sent negotiators to Havana to begin talks on better communication
between the U.S. and Cuba regarding drug shipments in the Caribbean, despite protests from
some Cuban-Americans. The U.S. government stated that the action was not part of an effort to
normalize relations with Cuba.

GERMANY. Bavaria. Münich.

GERMANY. Munich. 1991.

MEXICO. Leon & Guanajunto.

Leon. 1987.
 Patrick Zachmann
“I became a photographer because I have no memory. Photography
allows me to reconstruct the family albums I never had, the missing
images becoming the engine of my research. My contact sheets are
my personal diary.”

Biography
As a freelance photographer since 1976 and a member of Magnum Photos since 1990, Patrick
Zachmann has dedicated himself to long-term works, books and video films, all dealing with the
themes of memory, identities and immigration.

In 1982 his work on the Naples police and mafia -the Camorra- led to a collection of
cinematographic photographs that became his first book “Madonna!” in 1983, accompanied by
a fictional novel inspired by his pictures. From 1982 to 1984, besides a project on highway
landscapes supported by the French Ministry of Culture, Patrick Zachmann explored the lives of
immigrant teenagers in the north neighbourhoods of Marseille.

Over the course of seven years he explored jewish identities in France ending up with a chapter
on his own family. That led to his second book “Enquête d’identité ou Un juif à la recherche de
sa memoire” (“Inquest of identity or a Jew searching for his memory”) in 1987.

In 1989, his feature of the events on Tiananmen Square in Beijing was widely published in the
international press. In the same year he was awarded the prestigious Prix Niepce for his work.

Over a period of six years, Zachmann pursued an in-depth work on the Chinese diaspora in
different parts of the world. This gave rise to the publication of “W. ou l’œil d’un long-nez” (“W.
or the eye of a long-nose”) in 1995, which was hailed by critics. The book was accompanied by
an exhibition that traveled to ten countries in Asia and Europe, except in China where it was
censored.

Between 1996 and 1998, Patrick Zachmann directed the short film “La Mémoire de mon père”
(“My father’s memory”), followed by his first feature-length film “Aller-retour: Journal d’un
photograph” (“Back and Forth, diary of a photographer”), which deals with the disappearance
of traces of memory and of the bodies, especially in Chile, and how photography can interfere
in the process of recovering memory.

In 2006, Zachmann started working on a new project in China titled Chinese confusions, for
which he was awarded the l’Aide à la Création de la Délégation aux Arts Plastiques (DAP).

He gives lectures and leading Masterclasses at the Paris Art School “Ecole Nationale des Arts
Décoratifs”, the Academy of Graphic Design and Photography in Rome, in China and all over the
world.

Between 2006 and 2008, Patrick Zachmann worked on a feature film titled “Bar Centre des
Autocars”. It is an investigation into the lives of the ten young kids he had met and photographed
in Marseille’s poorest suburbs twenty years earlier. In May 2009, the photographer and film
maker presented a retrospective on his 25 years’ work concerned with immigration and suburbs
in France at La Cité Nationale d’Histoire de l’Immigration (CNHI) in Paris, (“National Museum of
Immigration’s History”).

A book, awarded in 2009, came out with the exhibition called “My dearest suburb” (“Ma proche
banlieue”).

To mark the twentieth anniversary of the events on Tiananmen Square in Beijing in 1989,
Zachmann made a web-documentary “Generation Tiananmen” in 2009, shown on Le Monde,
Der Spiegel and Al Jazeera’s websites.

Patrick Zachmann has been working on a project covering illegal immigration in Europe. He
portrayed immigrants on their journeys through Malta, France and Greece. A documentary on
the fate of a Somali emigrant has been shown on the France5 website and national channel.

He has been selected as one of the artists assigned for Marseille-Provence 2013 for which he
presented an exhibition, including a movie and a book called “Mare Mater” in Marseille at Le
Mucem Museum, in 2013 and in Châlons sur Saone at the beginning of 2015.

A book and an exhibition on his work in China, 30 after this original work, called “So long, China”
got a strong reaction and the book was published by Xavier Barral. It received the 2016 Nadar
Award.

Photos

Misceallenous.

FRANCE. Paris. 11th arrondissement. Bastille

FRANCE. 2001.

Auvergne region. Puy-de-Dôme department. Town of Bourboule. April 14. "La Bourboule", a well-known
spa town, opened its first spa in 1821. In a thermal bath for children.

SOUTH KOREA. Seoul. 2004.

Personal.

FRANCE. Normandie. Veulette sur mer.

FRA.Languedoc-Roussillon. Aude. New Year celebration

Village of Caunes-Minervois. December 1997. Lotto game organized by firemen.

FRANCE. French journalist and writer Ménie GREGOIRE. 2007.

FRANCE. Indre-et-Loire department. Rochecorbon. French journalist and writer Ménie GREGOIRE at
home. November, 2007.