Photo London

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Just over a month ago the newly formed Photo London hosted its second edition at Somerset House – a neo-classical labyrinth overlooking the Thames. Throughout what people are now calling “Photo London week”, a wide range of talks, events, exhibitions and book fairs takes place with the main focus being the international and local galleries exhibiting at the fair. For us this is an opportunity to convey the depth of our photography programme.

On one side of the space we presented the type of large-format abstracted landscapes that we are most renowned for. Examples of new works by Nadav Kander were presented for the first time alongside works by Edward Burtynsky and Boomoon. In contrast, the mirrored space included artists newer to our gallery. From Appropriation and found objects to painted photography and investigative documentary, this group demonstrates a wider scope of photographic production; Edmund Clark, Julie Cockburn, Tom Lovelace and Esther Teichmann.

Photographs from Edmund Clark’s series Negative Publicity were displayed concurrently with his solo exhibition Terror Incognitus at Zephyr Mannheim in Germany. The artist’s new book, produced together with counterterrorism investigator Crofton Black brings together photographs and documents that confront the nature of contemporary warfare and the invisible mechanisms of state control.

Tom Lovelace works at the intersection of photography, performance and sculpture. Inspired by Industrial forms, his practice is grounded in a reinvention or subversion of everyday objects, materials and processes.Tom Lovelace partcipated in the Photo London satellite event Peckham 24, a 24 hour festival of contemporary photography and video art.

Esther Teichmann’s practice uses still and moving image, collage and painting to create alternate worlds, which blur autobiography and fiction. Central to the work lies an exploration of the origins of fantasy and desire and how these are bound to experiences of loss and representation. Both filmic works and photographs of turned away bodies and primordial spaces of enchantment work with the relationships between images, and the narratives these juxtapositions create.