Amidst the buzz of the north medina on Souk Ahal Fassi Street, go through the doors to Maison de la Photogrpahie and you immediately enter an oasis of calm; clean white walls bedecked with balconies dripping with plants, and curtains gently billow in the breeze protecting the photographs in the galleries which surround the central courtyard. Bold monochrome portraits of Berber women in traditional dress and heavy jewellery hang on the walls of the ground floor space and introduce you to some of the earliest images in this collection (spanning 1879 to 1960). The archive comprises photographs, glass plates, postcards, newspaper articles and other visual paraphernalia documenting Marrakesh as well as Fez, Tangier, Casablanca, the Sahara and Atlas Mountains – offering a rare insight into what captured past visitors to Morocco’s interest. I enjoyed being introduced to photographers I had previously been unaware of, notably Arevalo who shot a moving portrait of a young, black male with a bald head and piercing sad eyes, wearing an oversized cotton garment, as well as Marcellin Flandrin’s 1920’s images of Casablanca, and various photos of the Berber people, their houses and landscapes throughout the 1940’s by Jacques Belin and Pierre Boucher. The riad building with its intricately tiled floors also added to the experience, offering a space to view a photography collection perfectly framed and hung in a different context – outside of a typical contemporary gallery setting – which complemented the works. As such a wealth of Marrakesh’s architectural history has survived, many of the archival images of the city capture the Bahia Palace, Saadiens Tombs, El Baddi Palace, Medersa Ben Youssef or everyday activity in the souks, just as my contemporary photos did, and there was something comforting about appreciating the same things as explorers at the turn of the last century did.
The Round Tower has loomed over Copenhagen since 1642 when it opened to the public as a hybrid structure combining an astronomical observatory, student church and university library. Erected by King Christian IV, the listed building is 34.8 metres high and continues to soar above modern buildings in the city, offering a stunning panorama from a viewing platform at its apex. Upon entering, visitors are greeted by bright white walls setting off the stone brickwork spiral that steadily inclines all the way to the top of the tower – a sublimely unique and leg friendly alternative to stairs! Half way up the tower you reach the Library Hall which functioned as a book lenders until 1861, and now houses temporary exhibitions (currently an archival photographic display entitled ‘Visions and Beliefs’ offering insights into a century of Danish missionaries’ global projects between 1980 -1970). A few steps on from the Hall is a more practical feature within the building; an original toilet complete with nicotine stained arched ceilings following centuries of students’ pipe smoking whilst visiting the privy! As you continue to climb the tower, you reach the Bell Loft which not only houses the bells, but has been utilised widely by Copenhagen’s residents for everything from drying laundry to store tanned hides, dry herbs, paint theatre sets as well as dress-making and millinery. In 1880 the loft was even rented by Leiutenant Bernhard Olsen who created a peasant museum in the space! A final ascent directs you to a reconstruction of the 1700’s Planetarium inspired by Bayer, depicting a three dimensional model of the solar system with the sun in the centre orbited by six planets. A few more steps lead you onto a 360 degree outdoor viewing platform, offering scenic views across the city despite it being cloudy the day of my visit.
Five clusters of vintage projectors are littered across the 4th floor of the The Photographers Gallery, initially looking more like an art installation than a photography exhibition. Once inside the space you quickly realise that they are projecting images directly onto the gallery walls; moreover as a visitor you are encouraged to activate the projectors yourself and control how the various images appear and disappear, and are layered over one another. The images were all taken between the late 1950’s and early 1970’s by the Uruguayan photojournalist Aurelio Gonzalez, who hid 48,626 negatives from the press archive of the country’s Communist newspaper El Popular ahead of the dictatorships’ censorship in 1973. Gonzalez ensconced the slides in a wall cavity in his office building in Montevideo for decades, only recovering them in 2006! The Centre de Fotografia de Montevideo subsequently restored, classified and digitised the archive, and in 2011 the Brazilian artist Rosangela Renno created this exhibition in response to the images. Obviously some heavy editing needed to be done with an archive approaching 50,000 photos, so Renno chose a small selection of images which best depicted the economic decline, protest and civil unrest that preceded the coup, and manipulated the archival black and white slides into digital images we see in this show. Little of this uprising survives in historical or photographic records, and Renno endured similar conditions herself during the military repression of Brazil during her lifetime – making her an apt artist to tell this story. Small red plastic tags attached to the projectors list search terms from the archive’s cataloguing system, offering insights into how the archive has been organised and increase your level of engagement with the photos. Likewise the constant clunking mechanisms of the old projectors intermingles with the Communist Internationale music playing in the background, making the images appear even more powerful.