We are back in Australia in mandatory self-isolation after our time in New Zealand. We are in a bunker–a pleasant one- and we remain here for 14 days in response to the coronavirus pandemic.We now live in a world where, in the short run, we must live as if we are infected. Every social interaction contains the possibility of death. Dodging bullets in public. It appears that the culture of progressive modernity, that we have only unending development and improvement to look forward to, has been upended. . The masked figures everywhere on our news feeds constantly remind us of the LNP’s appalling fiasco of letting infected passengers from cruise ships go unchecked into the community; the evidence of a biosecurity collapse at airports and the way that Border Force and federal quarantine authorities dropped the ball. The LNP was the political party whose 10 years political rhetoric was ‘stop the boats’ and they couldn’t stop the one boat–a cruise ship– that mattered.
The first part of the trip in New Zealand was for me continue to photograph in Wellington and then to attend PhotoBook/NZ 2020. The second part was a two week holiday with Suzanne in the lower half of the South Island. Apart from walking inWellington I walked around the cities of Dunedin and Oamaru and then day walks around Lake Manapouri and on both the Hump Ridge Track and the Kepler Track when we were exploring Fiordland.
We arrived back in the midst of a Convid-19 pandemic with a vaccine over a year away and the LNP government belated jettisoning everything it ever believed about free markets, “sound” public finances, efficiency dividends and austerity to reduce the deficit to assume command economy powers to deal with the public health crisis it was slow to address. Too little, too late.
The walking in Wellington, Dunedin and Oamaru took the form of urban drifting—a dérive-poetics without goal or horizon, even though my time in acacia of these cities was short. The urban walks were made in the spirit of Walter Benjamin (who advised travellers to foreign cities to learn to lose their ways) with drifting, being something akin to a non-logocentric way of mapping and understanding the world.
I have spent the last couple of months working on the Reconnections: Walking Wellington project. This is based on my walking Wellington around the time of Photobooks/NZ in 2018 and on my previous visits. These visits were designed for me to walk Wellington.
The blog was the easiest way for me to construct the project fragment by fragment, and it is also provides an accessible way for people to see the project in its embryonic form. The picture below is an outtake from the project:
If these submissions are not successful– I am assuming that they wont be, given both the nature of publishing in Australia and New Zealand and the strength and creativity of photography in New Zealand —then I have the basic draft for a new photobook. This time around I will submit the pdf to various book publishers. If I am not successful, then, and only then, will I consider publishing it on my own. I do need to explore the submissions route and experience the normal series of rejections. Continue Reading…
I am participating in the Photoforum Members Show at Studio 541, Mt Eden, Auckland, New Zealand. I rejoined Photoforum when I was at Photobook-NZ in Wellington after several years absence. I submitted 3 images (medium format, colour negative film) for inclusion in the Members Show, which were made when I was walking Wellington on a recent visit. The exhibition was oversubscribed, so the curators/organizers reduced the three images to two. However, it was only due to the stirling work at very short notice by the team at Atkins Photo Lab in Adelaide that I was able to get the images printed, framed and couriered to Auckland. We had a week to do it.
All the images in the Photoforum exhibition are posted on Studio 541’s website along with the bio’s and artist statements. These show a diverse range of work that stands in opposition to, and digs beneath, the NZ is beautiful or a paradise school of photography.
Photo Forum Members’ Show 2018.
Photoforum was co-founded in 1973 by John B Turner, Tom Hutchins and Max Oettli to promote photography as an artistic and expressive medium, to encourage co-operation and collaboration amongst the photographic community, and to provide mentoring for photographers. A secondary, but crucial aim, was to encourage photographers to actively engage in the public risk-taking of critical writing and curatorial practice, outside of the universities and polytechnics.
Over its 40 years history Photoforum has also helped to nurture a critical environment, but there is still a lack of critics and historians to better cover the field of photography in New Zealand. My memories of the early years when I was a member was that documentary photography has been the dominant language of PhotoForum photography.There is nothing like this community-orientated non-profit organisation, which has made valuable contributions to New Zealand art and art history, amongst the art photographers in Australia. We independent Australian art photographers are much poorer as a result of not having a similar DIY community of expressive photographers. Continue Reading…
I attended the opening on Friday night at Te Papa, heard the Peter Turner Memorial Lecture given by Jem Southam on the Saturday night, spend the Sunday at Massey University listening to the talks and panel discussions, reconnected with Sally Jackman (an old friend who I hadn’t seen since my time in Melbourne in the 1970s) on the Sunday night, and photographed around Newton on Monday. I flew back to Adelaide on Tuesday. All in all it was a wonderful and fruitful weekend.
Whakatane, New Zealand
The highlight of the Sunday session at Massey University for me was the talk by Katrin Koenning, a German photographer now based in Melbourne. The talk centred around the ongoing Indefinitely project, which is about the space created by her family’s migration. The notion underpinning this is that this space is not a vacuum or a void, but rather the creator of new narratives. This grew out of an earlier project Near, which was about Koenning’s migratory experience. What I found interesting in this body of work in her talk was the emphasis on emotionality, darkness, and strong contrasts between darkness and light in her pictures. Continue Reading…
In early March I spent a week walking Wellington, New Zealand as well as photographing in the city, whilst Suzanne walked the Grand Traverse, Queenstown way with her Adelaide walking friends. I had studio apartment in the Aro Valley courtesy of Air bnb, and I spent about 8 hours a day walking the city in a Situationist mode. I drifted through central Wellington with two camera bags on my shoulders: one containing a Rolleiflex (TLR) a Leica M4-P rangefinder whilst the other held my newly acquired Sony Alpha A7r111, which I was slowly learning how to use.
2 houses, Wellington
I loved Wellington. It’s a funky, vibrant cultured city. I was so at home being there. Even though Wellington is a much smaller city than Adelaide in population terms, it is so much more alive in an urban sense. Despite the revitalisation since 2013 of the central city and the liquor-licensing reforms Adelaide remains a doughnut city. Wellington was much more alive than it was when I worked there in the 1970s as an economist in the public service. Then it was empty of life at the centre with little in the way of depth of character. The central city is a much better place these days.
Wellington also has a strong art photography culture which, unlike Australia, is connected to, and a part of, a literay culture. There is also a vibrant café culture with excellent coffee scattered amongst the Wellington ‘walkability’. The funky changes in the urban culture happened in the 1990s apparently, but I am not sure what the driving forces for the city’s transformation were, given that Wellington is largely a public service town. Was the emergence of a lively urban culture caused by the acceleration of diverse migration flows? Continue Reading…