Category Archive: politics
A few months ago, at a Belgrade photo night called Periskop, I saw Marija Janković present one of her new projects about her time as a patient at a Serbian maternity hospital, which she calls GAK. The first time I saw this work, with Serbian text, I could only really react to the photographs and the audience around me, who were often left gasping. After the event she told me the project would soon be available on her new website with English captions. I found the quotes she paired with the scenes she had photographed to be extremely compelling. They added a fascinating depth to the reportage and made me think of a slew of questions about the project and the hospitals themselves. Janković has generously agreed to publish the complete series GAK here on dvafoto and to answer some questions about her wide-ranging projects.
I’ve long admired Janković’s approach to her work and the novel ways of framing some very serious topics in Serbian history. I’ve known Janković for a few years but we had not had the chance to have an in-depth conversation about her work and what she was accomplishing. It is my pleasure to present this interview with Marija where she elaborates on GAK and some of the other projects she has completed in her career. Visit her website www.marijajankovic.com for these and many more projects.
dvafoto: Where are you from and what is your background? How did you come to be a photographer?
Marija Janković: I grew up in Sombor, a small baroque, multiethnic town in [the Serbian province of] Vojvodina. Before the WWII, four large ethnic groups lived together in this quiet little town. Now there are two, plus the minorities. My father was from Kosovo and this mix was important for my future work.
Visual art is pretty much all I ever wanted to do in my life. I went to a design school, than I studied painting. I quietly painted still-life until the day in 1999 when the bombings of Serbia started [ed: the NATO bombing of Yugoslavia]. It was the first time I experienced fear for my life. The involvement of the media was shocking to me. I thought that the news was supposed to follow the events, not to create them. On one side there was the Milosevic’s manipulated news, on another, the Western manipulated news. From that moment, there was two ways: close your eyes or get involved. I chose the second. I wanted to understand how the media machine looked like from inside. And I also got my first decent camera, so when I had to make my living, working in the newspapers was the solution. And I loved it, at least at the beginning…
Some of the work on your work on your new website is classic reportage, and other projects are very conceptual, featuring dioramas and models. Do you work on both of these sorts of projects simultaneously? Or do they represent different periods of your career?
If there were only two… hahaha. It’s a parallel work, sometimes more conceptual, sometimes more photojournalistic. Sometimes conceptual becomes documentary, and reportage artistic. I had, for years, worked in the press in a more traditional way (and I still do). I noticed that there are some patterns on how to make a good picture for publishing. Once I learned how to do it, I got bored. To me it was more interesting to do things differently. Unfortunately, at least here in Serbia, there is little space for that. But if I am touched by something I’ll do it, published or not. And then I decide about the approach. Not being under pressure of publishing gives you a beautiful freedom. But it also means that you will work on some other creepy, non-creative photo job to support yourself.
What do you see as the difference between these two ways of working, and why do you choose one approach over the other? How did you first come to make set-up scenes for your pictures?
When stock photography became hysterically popular I thought to join the crowd. In my shopping basket for the set I just dropped the bag of cheap plastic soldiers; it was a strong symbol to me. Back in the studio I made a salad spiced with figurines and I was suddenly in the war zone. [ed: see Janković's War Story]. Pictures from the front line followed me from childhood and in 1999 I made collages with pictures I found in newspapers from the war zones around the world. I got a wish to make my war material but I was aware that, despite my wish, I will have little opportunity to go and cover one. So I created my own. That way I could be critical about whatever I wanted. As I said: freedom.
From the series “Bor” by Marija Janković
Did you feel there were limitations in the traditional reportage you practiced before? Are there freedoms that you are able to explore with these studio photographs? Do you consider them documentary? Either if so or if not, is that label important to you?
Two of my stories (Staro Sajmište and GAK) would be impossible to make as a classical reportage but they are based on true stories. Sajmište happened 60 years ago and many people photographed the actual place, or wrote historical essays or books. For me it was important to show the feelings of the victims and not only the political background. This is how I chose testimonies of survivors, to give them a second life. During the process of making every picture, besides double-checking facts, I had to ask to myself “Who am I in this story? Am I a victim, a reporter, a German soldier or a simple citizen?” As a matter of fact, there are only few original pictures from the time of the camp and none from the period when it was the “Judenlager”. But we are aware that the Germans made pictures and movies. In the way I tried to make the missing pictures. Later I found only one single picture of the “Semlin Judenlager” in the archives of the Novi Sad museum.
Also GAK wouldn’t have been possible as a classical reportage. No woman would tell these things with a camera or a microphone pointed at them. Because I was a patient, without camera, in the intimate atmosphere, women shared to each other their life stories. Gynecological hospital is like a micro extract of our society.
Now we see all the fantastic work from photographers reporting from Kiev. I must admit that I would like to be there, I love the adrenalin of the protests and teargas. I did cover protests in Serbia, but we all know how classic photojournalism can also be manipulative.
Labeling… I couldn’t care less. If somebody needs labels they have all the freedom to attach some to my work but I don’t start my project by giving them this kind of definition. I begin with the problem.
Your work takes on some very complicated and occasionally sensitive topics, such as concentration camps, the destruction of a mining town and loss of the German community in Vojvodina. What motivates you to photograph these stories?
In Serbian society many historical topics are either forbidden or rewritten and people tend to go with the mainstream flow. Nobody ever told me what happened with the Germans after WWII. First, it was dangerous to speak. Then people forgot that thousands of German women and children were kept prisoners by the Partisans in camps in ghost villages in Vojvodina. Thousands died from hunger, cold and diseases. That story was challenging. Many of these German men, husbands and fathers, committed crimes, but we tend to generalize. Women and children were not guilty. It can sound naïve, but I’m often driven by the simple feeling of “justice for everyone”. Some of this motivation comes from the feeling of guilt for the crimes that the Serbs committed, against the will of many Serbian citizens.
Across the body of your work I feel there is a very thoughtful and determined confrontation with certain areas of Serbia’s history that I don’t see many other artists or photographers tackling. Do you in any way see all of the series you’ve published as part of a single, larger narrative? And why do you focus on Serbian stories rather than regional or global issues?
I don’t see Serbia as a very happy or healthy place. It’s country with a constant problem of finding its place and direction. For example, you can’t be a patriot and in the same time say that your people committed crimes. I think opposite: first as a citizen, and then as a photographer. But no matter how much I’m stressed about many things in Serbia, it’s my country and my people and I wish them well. I would like that the Serbs know their history better and that Serbian women (and all other women in the world, for that matter) have better conditions, more human rights, more jobs and better work conditions. I traveled around the region and in Europe and made some good pictures, but there are still a lot of topics to be covered in Serbia. I’m sure that the female stories are similar in the whole world but I think we should start with what we know the best. And experiment.
Are there other artists, from Belgrade or the region, that you look to for inspiration or camaraderie?
Ten years ago I was more inspired by my colleagues work than nowadays. Many of them are good friends and I love to see their work, but at this point I have the feeling that I walk alone. Working with dolls is not my invention. Dolls are a universal symbol and inspiration to many artists. There is always something traumatic about these replicas of humans. However my recent work is more appreciated by my colleagues abroad. I don’t inspire myself just with photographs. Books, fine art, music, daily life and news, global news… All this make us who we are.
I see your latest series GAK and your photograph “Original and 52 notarized photocopies, 2012″ as a direct and logical continuation of the investigations that you completed in your earlier work. But it is much more personal. How has your work lead up to these projects? Do you feel better prepared now to document your own life and the people around you?
In the past few years I went through some difficult personal times. It’s not accepted today to complain, or to be weak. We should be up to every mission all the time, but we witness many complications due to unresolved personal problems. Domestic crime is very common in Serbia. I love the stories that nobody else talks about. I did it in my name and the name of other troubled women. Putting yourself out there is much more difficult than photographing hooligans (this is my artistic side). “Original and 52 notarized photocopies” was very popular in the Serbian media; it became a symbol of bureaucracy. It’s my baby on the picture and my documents, but the problem is universal, and concerns the whole region. During pregnancy, instead of working, I had to spend time collecting useless documents. If I had found that story and those documents somewhere else I would have used it. But one day I just realized that I am the story and the reporter in the same time. Hahaha.
“Original and 52 notarized photocopies” by Marija Janković
As a man – therefore not a patient – and as a foreigner who does not speak Serbian well, I cannot conceive of having any access to the stories of these women in a gynecological hospital if it was not for your reporting. The anecdotes and quotes struck me because of their very distinct and uncomfortable voice, I suppose because they are phrased in such a frank and unguarded way, overheard and not polished for quotation. This, coupled with your photographs of a dirty model of a hospital filled with ghoulish nurses, makes an interesting approach to reportage.
How did you come to conceive of this way of telling this story? Did you consider other more traditional approaches? What advantage (as I was asking above) did you see in telling the story with models and quotations? Do you see any disadvantages with presenting this story in this way?
As I mentioned above, I didn’t set out to make “GAK”. It wasn’t a situation where I made a decision and strategy, like we do for the stories. I was kept [in the hospital] in a t-shirt, with a dying mobile phone, and one notebook. During the next 5 days I was surrounded by sensitive women talking about their deepest secrets and fears. Two weeks after I found the notebook, it clicked together. I was just open to see it. Now, finding a text for this kind of work is difficult. Also, if I imagine the same text with the portraits of those women, it would be less strong. It’s like a painting of a shoe by Van Gogh; it’s much more exciting than a pair of real shoes.
I have my “test audience”, my closest friends and colleagues and I send them the projects to get some feedback before I publish more sensitive things. Most women replied “I can donate you a story!”, and men: “I didn’t know, I feel sick, great work but I can’t look at this twice”…
From time to time we read reports about hospitals and what is noticeable is that people react more to some dodgy pictures that patients made themselves with their mobile phone. You need to be extremely upset to take things in your own hands. 99% of these women accept with resignation these conditions, saying “What can I do?”
How would you like this project to be received? Is there any advocacy present in this project, for example to challenge for better conditions at your hospital?
Once I got the same question (referring to Original and 52 notarized photocopies). My answer then was “Yes, it would be nice to see somebody change something”. Today I am more realistic. I don’t think somebody will see those pictures and say “She is right, we don’t need form 227/b. II” or “We should order nurses to be nicer to patients”. But it can always serve as a support on the level of “woman to woman”, or help in reaching a critical mass of complaints where things need to be changed. It’s a job for all of us to make some pressure.
Are you continuing to photograph your family? Does this project mark any turning point in your work?
Becoming a mother is a turning point, now all I do is photographing family. I’m less prepared to deal with heavy and dark stories, or to run towards burning buildings to get more dramatic shots. At least at this moment. On another hand, I want a better environment for my child, so I will continue to challenge this absurd but well established social structure.
Thank you Marija.
Released on October 15 as the New York City mayoral race heats up, Joe Lhota‘s newest campaign video “Can’t Go Back” uses still photography of violence in New York’s past to scare voters away from voting for his opponent Bill de Blasio. However, Lhota did not pay for the licensing of many (perhaps any) of these still images, which includes work by Richard Sandler, Matt Weber, Q. Sakamaki (image from Tompkins Square Park riot in 1991 above), and Eli Reed. Sandler and Weber have reached a settlement with the Lhota campaign, but Sakamaki and Reed have both told Newsday that they are still upset at the usage and infringement. Newsday has identified all of the images used in the campaign ad, finding that one is actually from Bloomberg’s term in office.
According to Newsday, a spokesperson from the campaign says they found the images on flickr and they were tagged as “royalty-free,” and that they did their best to contact images owners given that information. That seems like a object lesson in the difficulties faced both by photographers and image users.
UPDATE 24 October 2013: Russia has dropped piracy charges against the 30 Greenpeace activists, including photographer Denis Sinyakov. They are now charged with “hooliganism,” which seems to be similar to a charge of “disorderly conduct” in the US. Lenta has the news in Russian.
UPDATE 29 September 2013: There’s now website gathering signatures of support and money for the legal defense fund (via Yandex and Paypal) for Denis Sinyakov: FreedomDenisSinyakov.ru
Original: This week Russian security forces arrested 30 Greenpeace activists who were protesting oil drilling in the Arctic. The group, comprising people from 18 nations, used a boat to approach a drilling operation, and a few members tried to board the platform. The activists were arrested and may be charged with piracy in addition to other crimes (though Putin questions the piracy charge).
Among those arrested was freelance photographer Denis Sinyakov, a Redux contributing photographer, who now faces months in prison. Reporters Without Borders has condemned Sinyakov’s arrest and sentence, calling it an “unacceptable violation of freedom of information.” Sinyakov has worked as a photographer for Greenpeace in the past, in addition to regular assignment work for Reuters and AFP. Russian radio station Ekho Moskvy has a petition asking for the release of Sinyakov, and Greenpeace has a petition asking for the release of all the arrested activists.
In protest of Sinyakov’s arrest, major independent Russian media sites have blacked out their photos today. As seen in the screenshots above, Dozhd, Novaya Gazeta, Russian Reporter, Ekho Moskvy, Znak, Lenta, Russkaya Planeta, and others have joined the call to release the photographer.
We’ve covered the war on cameras many times before. In some cases, police harass photographers for taking pictures of police action. In other cases, photographers are reported or stopped for taking pictures of buildings and bridges in plain view (previously, and also here). In the US, it’s not illegal to take pictures of people, places, and things visible while standing on public property, but that doesn’t stop security guards and policemen from interfering with photographers using their cameras. In a security awareness poster, in fact, the Transportation Safety Administration has equated photographers with terrorists.
The ACLU has just released a slew of “Suspicious Activity Reports” (← pdf link) from the FBI’s Joint Regional Intelligence Center in Los Angeles. An NPR report about the documents’ release details the case of photographer Hal Bergman, who has been questioned both in person and over the phone multiple times by FBI agents. Bergman likes to photograph industrial scenes, and that’s enough to raise the suspicion of the federal government. In the screenshot of one of the reports above, a report describes the investigation of a pair of photographers who were photographing empty lots and streets around a manufacturing plant.
Many of the incidents and investigations contained in these “Suspicious Activity Reports” end, as above, with a line similar to “No further police action/investigation was taken.” However, the reports show that individuals are being targeted for being unfriendly, taking pictures for an art class, or buying water. It’s a waste of resources and potentially quite harmful to the people whose actions are being investigated. In a recent unrelated case, a dark-skinned man was pulled aside for additional screening by the TSA while passing through airport security. Though TSA and the NYPD cleared him after several hours of questioning, Jet Blue refused to allow him to board his plane. Sometimes having a record of being investigated, regardless of whether a crime was committed or not, is enough to make ordinary activities inconvenient or impossible.
Here are some resources to help photographers know their rights in the US:
Fader magazine has just published new work by Daniel Shea focusing on the effects of gun violence on Chicago’s youth. It’s a beautiful and sensitive approach to a difficult topic.
The essay, Chicago Fire, grew out of previous work Shea did for the magazine and is the centerpiece for Fader’s photo issue this year. As photo editor Geordie Wood explains on his tumblr, the work was shot over 4 weeks and aims to show what life is like for youth in Chicago’s South Side. The magazine will devote 16 pages to the photos in print, and more photos will be published on Fader’s website this week. There’s also an interview with longtime Chicago crime reporter Alex Kotlowitz about violence in the city over the past 20 years.
We’ve written before about the so-called “Ag-Gag” bills that make illegal unauthorized video and photography of agricultural operations in various states. Today, the New York Times has an update on the increasing number of these types of laws throughout the United States: Videos show cruelty on farm, and taping becomes the crime. The NYT’s reporting connects bills across the country to a business advocacy group called the American Legislative Exchange Council. The organization creates model legislation for state legislatures to adopt such as The Animal and Ecological Terrorism Act, which would prohibit video and still photography of livestock farms and puts violators on a “terrorist registry.”
Though no laws including a terrorist registry provision have yet been passed, Iowa, Utah and Missouri have passed laws that make it illegal to document operations on farms and agricultural operations without authorization. Indiana and Tennessee will soon vote on similar laws, and California, Pennsylvania, and other states are debating similar measures. The Indiana law would require prospective employees to disclose ties to animal rights groups during the hiring process. Animal rights groups say that these laws make it impossible to document animal cruelty on farms and ranches. Opponents of bills have managed to stall or stop Ag-Gag bills in New Mexico, New Hampshire, and Wyoming.
Christopher Anderson’s, of Magnum and staff photographer for New York magazine, photos are always inventive and cut deep into his subject matter. His portraits from the Republican and Democratic National Conventions this week and last for New York magazine are my favorite coverage of the political conventions, and they look like no one else’s. I feel so many different and conflicted emotions looking through the images from both conventions: hope, aspiration, enjoyment, fright, worry, resignation, indignation, anger, desperation, sadness, intimidation, inclusiveness, engagement, distance, and on and on. Take a look through these galleries:
- Portraits From the Republican National Convention, Part One
- Portraits From the Republican National Convention, Part Two: Bachmann, Brewer, Mitt, and Ann
- Portraits From the Republican National Convention, Part Three
- Portraits From the Democratic National Convention, Part One
- Portraits From the Democratic National Convention, Part Two
It’s not often that a local newspaper’s fall football preview package doubles as on-the-money political satire, but Kai-Huei Yau’s portraits of high school football stars for the Tri-City Herald in eastern Washington state do just that. The spectacle and pageantry of the national presidential campaign has been distilled to its essence in these portraits of competing football players from area high schools. And what do we have in the national presidential campaign if not a high school popularity contest writ large. Just as with high school football players, the politicians have supporting team members, cheerleaders, adoring fans allied to one team or another rather than a particular player, sponsorship and recruiting deals, and parades playing to the hometown base. In one image (above #3), we have a stern looking player appearing to deliver a serious speech with the word “Bombers,” the high school’s team name and mascot, written across his chest; at the Republican National Convention last week, Senator John McCain’s might well have worn the same jersey during his war-mongering foreign policy speech. In another (see the whole series here), we have a player wearing a suit with dirty and bruised fingers standing at a podium holding a football; it’s a perfect visual metaphor for the compromises made behind the scenes that underpin the clean images that candidates present to the public.
Kudos to Kai for his work on this piece. Not all of the images are entirely successful (he’s relying on the acting chops of high school football players, after all), but the idea is right on the money. High school football coverage can be a bear to do, but this silly, over-the-top send-up of high school is creative commentary on the national political campaign process and beats the pants off of most other fall football previews I’ve seen.
Be sure to check out his blog post at the paper’s website for more images from the project and explanation of how he pulled off some of the shots.
Covering the DNC and RNC? NPPA has a handy legal and practical guide for the conventions and protestsAug 14, 2012 by M. Scott Brauer No Comments »
While covering these events police may ask to see your images, recordings or files. Be aware that you do not have to consent to such a request. They may try to intimidate, coerce or threaten you into doing so but “consent” must be voluntary. You should know that absent consent or “exigent circumstances” an officer may not seize your camera. Exigent circumstances only exist where an officer has probable cause to believe a crime has been committed AND that you have captured evidence of that crime on your camera AND that there is also a strong likelihood that such evidence may be lost if the camera is not seized.
Are you planning on covering the Republican or Democratic National Conventions at the end of August and beginning of September? You should be aware of legal and practical issues that may arise during the process of documenting both the conventions and the protests around the conventions. The National Press Photographer’s Association has a handy guide that covers the basics of covering both conventions, ranging from what to do if you’re arrested to how to stay safe in a crowd to dealing with the heat. The guide also includes a brief survey of local and federal ordinances and laws that will apply to people on the scene and educated guesses on how police may treat journalists based on recent actions of police in Chicago during the NATO summit protests earlier this year. For instance, items that could be considered weapons will not be allowed close to the convention areas and include items photographers might bring along such as tripod, monopods, and ladders.
Stay safe out there!
In May we interviewed the Serbian photo collective Kamerades and showed pictures from their group project about the Serbian elections called Dirty Season. This week Saša Čolić released his short film that is part of the same project. The film “is aimed at bringing attention and addressing the causes and reasons for apathy and desolation within the Serbian political process. This is also part of a global problem of voters disinterest and apathy in the political dialog.”
Filmed/Directed by: Saša Čolić / Kamerades
Script: Danka Sekulović
Editing: Maja Yuill and Jelena Vidaković
Project coordinator: Photography Development Center