This Topic looks at how notions of collaboration overlap with different ideas of geography and environment. We will look at ‘soft’ ideas of collaboration – the idea that as photographers we can photograph the land as something to be exploited – or can have a more immersive/collaborative approach to being in the landscape.
We will examine how the land is photographed, who it is photographed for, and the range of gazes and power structures that are apparent in different forms of representation of the world we live in.
Sarker Protick has developed a practice that combines the roles of an image-maker, a teacher and infrequently a curator. His works revolve around the subjects of temporality, materiality of time and the metaphysical prospects of light and space. Working with photography, video and sound manipulation, Protick has formed a series of works that are built on long-term surveys rooted in his home country, while simultaneously exploring ideas that blur the notion of geopolitical boundaries. Incorporating detailed observations and subtle gestures, his works propose a subjective space, often minimal, vast and atmospheric. Protick is interested in themes such as alteration of land and border, colonial relics and modern ecological emergencies. His landscapes, portraits and photographic series engage philosophically with the specificities of personal and regional histories.
Sarker Protick is interested in the lingering presence of colonialism in the environment.
Q. Is a colonial era present in your environment? In what way?
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Q. What does sound do to images?
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Q. How can sound and image work together?
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Q. What examples can you think of?
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Q. Is history involved in your practice?
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Q. How can you link the contemporary to the historical?
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Optionally watch Catherine Hyland lecture.
Reading.
– Taming the View chapter in Perspectives on place By Jesse Alexander.
– Contexts chapter in Cities and photography by Jane Tormey