Next week drool. will bring you a full report from the Noorderlicht International Fotofestival . . .

This week, though, it’s all about the anatomy of the exhibition at De Zwarte Doos. This was one of eight locations scattered throughout Groningen that mounted exhibitions for this iteration of the festival.

Invitation, front and back

The folks who run the festival, I’m pleased to report, are a smart, caring, together, totally professional bunch. A joy to work with.

As well, the fact that they traditionally pick political themes draws me to them. I’m so tired of the decorative, lyrical approach to photography that just caters to the bread and circuses aspect of this modern life, in these unsettled times.

Anyway . . .

De Zwarte Doos

As I was saying . . . Noorderlicht (translation: Northern Lights) happens in various venues throughout Groningen. De Zwarte Doos (translation: The Black Box, which is what the locals call this building) is where my work is being shown, along with photographs by (in alphabetical order) Michele Borzoni (Italy), Alan Gignoux (UK), Sergey Novikov & Max Sher (Russia), and Martin Toft (Denmark)

Martin Toft taking the photo below . . .

De Zwarte Doos is a recently vacated government Social Services building, and most of the photographs hung here are enhanced by that association. (Not to mention the fact that the theme at Noorderlicht this year is Late Capitalism and the effects of neoliberalism.)

Michele Borzoni‘s photographs are shown to great effect in the tiny rooms that had been used to conduct one-on-one interviews with social assistance seekers when the building was being used for that. This placement of these images is just so fitting.

Open Competitive Examinations portrays the bureaucratic procedure aspiring police officers, nurses and teachers must undergo to have a chance at a job. Workers Buyouts shows group portraits of employees who had taken over their companies when the original owners of those companies were threatening to shut them down.

My work, on the main wall, is from After the Fact, which imagines some possible future. Here’s an excerpt from the statement I sent to Noorderlicht:

The Earth is changing, our societies are too. These changes are causing upheavals planet-wide. The rich don’t need to worry though, the constant crisis provides opportunity for them. They have the resources to construct their own realities and safe havens. The rest of the world is becoming, for them, redundant.

After the Fact imagines what life in the First World might look and feel like for those who have been deemed, in these changing times, surplus to requirements. 

From the UK, Alan Gignoux traveled to the oil sands in Northern Alberta. There, mostly from a helicopter, he photographed that blight on the landscape.

Attached to many of these aerial photos are smaller images that show aspects of life on the ground . . . farmers, monster houses, churches and the like.

Sergey Novikov & Max Sher are exhibiting large panels of photographs with text. This work visualizes the ideas, techniques, tactics and narratives the ruling powers in Russia use to exercise their power.

Finally, Martin Toft, originally from Denmark but now living in the Channel Island of Jersey, uses that proximity to probe aspects of that island’s transformation into one of the world’s leading offshore International Finance Centres (read: tax haven).

The images shown here are but one aspect of a long, deep investigation Martin has been conducting that tells the story of Jersey’s contemporary prosperity.

The five projects in The Black Box consider various aspects of the times in which we live, and the show is stronger because of that. It’s so great to be involved in an endeavour that features and contextualizes photography that’s about more, really, than just what’s in front of the lens.

The festival runs until December 1st. If you find yourself within striking distance of Groningen you should go have a look.

The Noorderlicht venues in Groningen

Author: Tony Fouhse

Tony is an Ottawa-based photographer.