JASON EVANS, THE INCIDENTAL AND THE ARCHIVE WITH DAVID A BAILEY WAS ORGANISED IN ASSOCIATION WITH THE INTERNATIONAL CURATORS FORUM (THE ICF) AND THE PERMANENT GALLERY, BRIGHTON.
In a show created specifically for Permanent Gallery, Jason Evans debuted his ongoing Reconciliation project.
For the Brighton Photo Fringe exhibit the photographer presented a new selections from four quite different bodies of work created over from the last eight years in order to speculate the nature of representation.
Where is 'the street'? Where is chance and choice in the 21st Century and if the 'the street' is a state of mind what destinations are there in terms of a metaphorical road?
Also on display are objects such as spoons, collected whilst these works were made, as is an especially commissioned limited edition Reconciliation Scarf, made with long-time collaborator Alex Rich.
The Gallery was re-decorated to bring location into focus and interrupt the authority of four walls.
Image © Julia waugh
Julian Stallabrass on curating The Brighton Photo Biennial.
The title is borrowed from Eduardo Galeano’s extraordinary book, Memory of Fire, an epic literary account of 500 years of Latin American resistance to imperialism. The book consists of numerous self-contained episodes which can be read in isolation but also combine with their neighbours to produce a larger picture of the book’s subject. Similarly, BPB 2008, which covers a long stretch of the South East England coastline, comprises many exhibitions and events, each of which stands alone, but which may be enriched when other elements are seen.
Memory of Fire: The War of Images and Images of War takes on various issues as its main themes: first, it examines the production and dissemination of images in time of war, especially the changing conditions from the Vietnam era to the present. Images made by photojournalists, both as prints and as published in magazines and newspapers, are shown alongside presentations of online image displays, either on screen or made into wall-bound objects.
Memory of Fire will also illumine through an examination of the media the conditions of conflict, imperialism and expropriation, historically and into the present. By taking in views of the different sides of the various conflicts, radically different perspectives will emerge.
Memory of Fire seeks to frame and inform new imagery with old, and vice versa. In looking at historical imagery alongside the photography of current wars, the Biennial elicits intimations of the collective and individual memory of such images, their forgetting and revision, and their rebirth at times of crisis and war.
Finally, the Biennial looks at the place of the art world in the production of images of conflict, particularly the making of large-scale images of destruction on the scale of the history paintings of old (and like them sometimes commissioned by the state).