1000 Words

10 Year anniversary print edition

(Sold out)

*The 10 year anniversary edition of 1000 Words is now sold out*

£25

Book launch/event
Saturday 24 November 2018
Flowers Gallery, London
Details here

Since 2008 we’ve commissioned and published more than 1000 exhibition and photo book reviews, essays and interviews. Contributors include an extensive network of over 90 critics and writers such as David Campany, Susan Bright, Urs Stahel and Charlotte Cotton; as well as respected artists Wolfgang Tillmans, Adam Broomberg & Oliver Chanarin, Vanessa Winship and Taryn Simon.

We’ve grown our audience to readers in over 120 countries and attracted approximately 140,000 unique visitors to the site every month. We have made more than 55,000 Twitter, Instagram and Facebook friends, and we’ve seen nearly 20,000 followers sign up to our newsletter.

We’ve organised exhibitions and workshops, offered awards, and conducted countless talks and portfolio reviews. In 2014 and 2016 we were nominated for a prestigious Lucie Award in the ‘Photography Magazine of the Year’ category.

Now we are launching our first print magazine.

2018 marks the 10th anniversary of 1000 Words, and what better way to celebrate than to publish a special print annual?

Designed by Sarah Boris, and printed at Musumeci S.p.A, Italy, the publication takes the form of a beautiful 200-page bookish magazine featuring a host of newly-commissioned content. At its core lies the high-quality reproductions of 10 portfolios from artists who, we believe, have built significant bodies of work and emerged as increasingly influential practitioners in the past decade. Those individuals include José Pedro Cortes, Laia Abril, Edmund Clark, Esther Teichmann and Zanele Muholi to name but a few.

Other highlights include a series of highly-anticipated city guides. From New York to Milan, London to Shanghai, we focus on some of the most engaging gallery spaces showing photography today. The magazine also contains long-read profiles on curators, opinion pieces on the representation of women photographers at leading photo festivals, reflections on British developments in critical race thinking, as well as insights into a decade’s changes in photography among other features. Finally, we delve into our archives and present a selection of memorable and talked-about articles from the 1000 Words back catalogue.

The production of the 10 year anniversary print edition of 1000 Words has been made possible thanks to 572 backers of a Kickstarter campaign.

Special thanks to Gerry Badger, Norman Clark, Frédérique Destribats, David Solo and Duncan Wooldridge for their generous support.

1000 Words Photography Ltd is registered in the UK as a private company no. 6957640.

ISSN 2631-486X


Table of Contents

Features

9  Editorial
• Tim Clark

10  Photography in Flux
• Lucy Soutter

16 Rewind, Repeat, Repeat with Stuart Hall
• Yasmin Gunaratnam

18 Les Rencontres d’Arles 2018
• Caroline Molloy

20 Multitude of Counterviews
• Taco Hidde Bakker

22 Trapping Time
• Tim Clark and David Campany in conversation


Portfolios

32 Max Pinckers Margins of Excess
• Lisa Stein

42 Laia Abril On Abortion
• Sara Knelman

52 José Pedro Cortes Planta Espelho/Mirror Plant
• Francesco Zanot

62 Daniel Shea 43–35 10th Street
• Stanley Wolukau-Wanambwa

74 Edmund Clark My Shadow’s Reflection
• Max Houghton

84 Esther Teichmann On Sleeping and Drowning
• Daniel C Blight

94 Zanele Muholi Somnyama Ngonyama, Hail the Dark Lioness
• Renée Mussai

104 Yusuf Sevinçli Oculus
• Natasha Christia

114 Paul Mpagi Sepuya Mirror Studies
• Duncan Wooldridge

124 Carmen Winant My Birth
• Susan Bright


City Guides

136 San Francisco
• Roula Seikaly

137 New York
• Jon Feinstein

138 London
• Gemma Padley

139 Paris
• Laurence Cornet

140 Brussels
• Stefan Vanthuyne

141 Amsterdam
• Erik Vroons

142 Berlin
• Julia Schiller

143 Milan
• Ilaria Speri

144 Shanghai
• Yining He

145 Tokyo
• Ihiro Hayami


Archives

148 Richard Mosse Incoming
• Duncan Wooldridge

152 Dominic Hawgood Under the Influence
• Lucy Soutter

154 Edgar Martins Siloquies and Sililoquies
on Death, Life and Other Interludes
• Daniel C. Blight

156 Arpita Shah Nalini
• Emilia Terracciano

158 Christian Patterson Bottom of the Lake
• Lisa Sutcliffe

160 Alexandra Lethbridge Other Ways of Knowing
• Lisa Stein

162 Matthew Connors Fire in Cairo
• Max Houghton

164 Peter J. Cohen Snapshots of Dangerous Women
• Susan Bright

166 Matt Lipps Library
• Chris Littlewood

168 Sara Davidmann Ken. To be destroyed
• Greg Hobson

170 Valeria Cherchi Some of you killed Luisa
• Emma Lewis

172 Salvatore Vitale How To Secure A Country
• Max Houghton

174 Leigh Ledare Double Bind
• Simon Baker

176 T.J Prouchel ADAM
• Sara Knelman

178 Francesca Catastani The Modern Spirit is Vivisective
• Gerry Badger

180 Lisa Barnard The Canary & The Hammer
• Lisa Stein

182 Matthew Finn Mother
• Elizabeth Edwards

184 Peter Fraser Mathematics
• Jeremy Millar

186 Eva O’Leary Concealer
• Urs Stahel

188 Bryan Schutmaat Good Goddamn
• Gerry Badger

190 Federico Ciamei Travel Without Moving
• Duncan Wooldridge

192 Vittorio Mortarotti The First Day of Good Weather
• Natasha Christa

194 Luke Willis Thompson Autoportrait
• Duncan Wooldridge

196 Laura El-Tantawy In The Shadow of the Pyramids
• Gerry Badger

198 Mimi Mollica Terra Nostra
• Gerry Badger


Distribution:

1000 Words is distributed by Public Knowledge Books through a wide selection of bookshops and specialist retailers across the UK and Europe. If you would like to know more about stocking 1000 Words in your store, or if you cannot find it in your country, please contact: info@1000wordsmag.com.

Advertising:

To advertise in 1000 Words please contact Matt Roberts:
advertising@1000wordsmag.com
Tel +44 (0)20 8985 5778 / +44 (0)7805 022950

Press:

Guardian
British Journal of Photography
Self Publish, Be Happy
Creative Review
Humble Arts Foundation
Redeye

José Pedro Cortes

Costa

Pierre von Kleist Editions

14 km south from Lisboa, where I live, is Costa da Caparica. During the last years I often found myself returning to this magnetic place.” With these lapidary and somewhat ominous words, José Pedro Cortes drags us along his photographic journey that serves as the subject for his latest photobook, Costa, a body of work which hovers somewhere between the oneiric and the hypnotic.

Costa da Caparica is the stretch of land that can be reached from Lisbon by crossing the ocean bridge, called 25 of April, named after the Revolução dos Cravos in 1974, following Portugal’s liberation from a half-century of fascism. The aforementioned quote is the only textual element of the book, an overriding caption echoing in each and every photograph, and intriguingly brings to mind the mysterious legend around the toponymy of Caparica. Rumour has it that an elderly woman who lived there, possibly a witch, guarded a fortune (rica, meaning ‘rich’) in her coloured, patchwork cape, hence ‘capa’.

Cortes, mesmerised by the bewitching powers of light, invites the viewer to be his modern Virgilio and sets forth on an exploration of the excruciatingly luminous and varicoloured physical terrain, where the wilderness of nature and the suburban patches mingle together to produce an unsettling scenario of exotic decadence. “I pushed the light to the limits,” he says, “because I wanted to transmit the feeling of bewilderment that I experience when I wander around this territory.” It begs the question, how much light can our retina tolerate before loosing the ability to recognise the place we find ourselves? Frequently indulging in off-kilter compositions, Cortes constantly questions his and, by natural extension, the viewer’s position in this paradoxical territory, as if we were the protagonists of a labyrinthine videogame.

Despite all the positive connotations behind the idea of light, it would be plausible to describe this series of photographs as nihilistic or even apocalyptic; the human presence is only hinted at through not-so-flattering objects, such as abandoned and decrepit architecture, an improvised wooden cross, presumably marking the death of somebody, while images of lunar landscapes with paw prints or a snake are the nearest we come to signs of habitation of any life form. In that respect I can only say that during the last months I often found myself returning to this magnetic book.

—Federica Chiocchetti

All images courtesy of the artist. © José Pedro Cortes