Provoke: LE BAL, Paris

LE BAL is located north of Paris’ city centre in the 18th arrondissement, slightly away from the bustle and colossal national museums such as The Louvre, Musee D’Orsay, Pompidou Centre and Grande Palais, yet has had a significant impact on the photographic community in the three years it has been open. The building possesses an interesting history and feels an apt home for the image-based exhibitions it now hosts; originally ‘Chez Isis’ a 1920’s drinking den, before becoming the city’s largest betting shop, and then a ruin rescued in 2006 and transformed into LE BAL gallery. I visited a couple of weeks’ ago to view the ‘Provoke: Between Protest and Performance’ exhibition examining Japanese photography between 1960 and 1975. This era witnessed an unprecedented rise in Western consumer society, huge transformation of cities, an increase in American military bases – and consequently an identity crisis across Japan manifesting in a protest movement. The focus of this show is on the subversive magazine ‘Provoke’ which only published three issues and was heavily influenced by the emergence of Japanese performance art and protest at this time. The exhibition also introduced me to lesser known but highly influential photographers including Takuma Nakahira, Yutaka Takanashi and Daido Moriyama who not only documented the era but “thought of the camera as a weapon”. The black walls of the ground floor gallery space create an oppressive staging for images depicting protests against the construction of Narin airport, student occupation of universities and local girls mixing with US troops near military bases. The basement gallery in contrast is painted white punctuated with strong vinyl images. Each page of all three publications of Provoke is on display alongside contemporary examples of performance art and film, which help put the magazine into context. All share blurred compositions, abrupt framing and sequential imaging which by the close of the exhibition felt a standardised element of Japanese photography of this era.

provoke1
Images of protests against the construction of Narin airport
provoke2
Each page of the final issue of Provoke (issue 3) magazine
provoke3
One of the accompanying performance art pieces – ’30-Hours Street Play: Knock’ by Shuji Terayama held in various places in the Asagaya neighbourhood in 1975

For more information visit their website

Advertisements

Focal Point Gallery: Southend-on-Sea

Anticipating a busy September, I made the wise decision to extend my August bank holiday by taking an extra days’ annual leave yesterday. The proverbial cherry on the top was waking up to glorious sunshine, jumping on a train at Fenchurch Street, and forty-five minutes later arriving on the Essex coast at Leigh-on-Sea. With sun blazing, a still and glistening sea, cobbled streets through the old town with traditional cockles, whelks and eels being sold, I floated my way down the promenade to Southend and its Focal Point Gallery. The contemporary gallery currently has two main exhibitions on display; ‘#75’ and ‘CANWEYE{ }’ by Frances Scott. In an increasingly digital age ‘#75’ refreshingly champions the gallery’s own printed material produced between 2009 – 2016 showcasing posters and tea-towels along one wall alongside three display cabinets brimming with printed artefacts. The gallery also aims to continue producing one unique printed accompaniment to each exhibition, as they have with Dan Fox’s four page essay printed in nine different colours which visitors can take away with them. A corridor decorated with brightly coloured neon posters offering a tongue-in-cheek take on Arts Council demographics (including categories like ‘Bedroom DJ’s’ and ‘Time-Poor Dreamers’) leads you to the next gallery space. As you open the door to a darkened room with wooden scaffolding, a single picture draws you to the far end of the room… and this ink drawing by Derek Jarman entitled ‘Plague Street’ is the impetus for Frances Scott’s video installation. The film is played in a slightly uncomfortable setting and jumps between scenes filmed in Canvey Island (Essex) and Venice (Italy) – its constant shifting of location, use of both analogue and digital techniques as well as archival material make it deliberately difficult to settle as a visitor, whilst still managing to be an enjoyable and interesting experience. I’d certainly advise a visit before the Summer season finishes on 2nd October!

fgp1
A snapshot of ‘#75’ showcasing the gallery’s printed matter
fgp2
Some of the posters on display within the ‘#75’ exhibition
fpg3
A percentage breakdown of Southend’s audiences which have been used to decorate the walls in neon green, pink, yellow and orange posters!

For more information visit their website