multivocal histories
DESCRIPTION
Article in catalogue Noorderlicht 2009TRANSCRIPT
52 53
bas vroege multivocal histories
In 1990 Julian Germain graduated from the Royal College of Art in London with a book called Steel-
works. The book describes the effects of the radical economic changes in and around Consett, in the
north of England, as a result of the ruthless Thatcherite politics of the time. The title of Kevin Smith’s
2004 book on that period, Civil War Without Guns, describes the nature of the brutal social confrontation
that took place in the UK between 1980 and 1985. What was ground-breaking about Steelworks was the
fact that Germain mixed his own work with photographs made by Tommy Harris, a photographer who
had worked for decades for the local newspaper, and with vernacular photographs from workers’
family-albums, and a reportage made by star reporter Don McCullin for the Sunday Times Magazine.
Without the intention of doing so, Germain thus gave birth to a photographic practice that could be
labelled ‘postmodern visual history writing’. Its essence resides in the fact that no one voice can be
authoritative: history is by its nature the product of multiple voices and of recombining records from
different moments in time. Or, as Frits Gierstberg recognized in Perspektief No. 41 in 1991:
“By juxtaposing different types of photography Germain brings up for discussion their separate
claims to authenticity and historical reality within the presentation itself”.1
Making use of vernacular photography became increasingly popular during the 1990s. Still, most of the time the
material was used for its ability to reveal common culture from a non-intentional point of view, as circumstantial
evidence, part of a personal archive or simply as a fashionable way of suggesting authenticity. Despite photogra-
phers’ growing (and not always voluntary) independence from the press, few chose to combine vernacular
photographs with other image material to tell stories or write visual history. Among the exceptions was Magnum
photographer Susan Meiselas, with her 1997 project Kurdistan: In the Shadow of History, with which she established
the non-existent Kurdish national visual history archive in the form of an exhibition, a book and a website.
Germain’s own pictures represent some 20% of the images in Steelworks. In the case of Kurdistan, however,
Meiselas’s own work only appears sporadically and her role can therefore better be described as editor and visual
researcher than as photographer alone. The traditional division of roles between curators, editors, photographers
and researchers have become blurred here. The result is a visually rich and challenging book and project. To this day
Kurds, living somewhere in diaspora, can make contributions to the project, in the form of the website
(www.akakurdistan.com), adding their memories, their documents and their stories to the ever-larger picture.
54
Both Meiselas’s as well as Germain’s project can also be perceived as examples of ‘slow journalism’. As the press
could no longer cater to having photographers and journalists working on in-depth stories at remote locations,
photographers not only needed to look elsewhere to get their stories funded but also needed to look for alternative
venues for their work, other than print media. Slowly, yet increasingly, museums and the cultural sector at large took
on part of the social responsibility of showing the results of those endeavours. Showing socially committed work
under completely different formal circumstances (a museum space is radically different from a magazine article, not
only as such, but also in how anything shown in it is perceived by a viewer) requires a fundamental rethinking of its
presentation. Who should be in charge of this process? The curator (or the photographer) has to become an editor,
a producer of an often complex production with multiple designers (web, book, exhibition) and possibly other image
or filmmakers, or even sound designers. It is a job description that is far distant from the classic museum curator’s,
let alone conservator’s task. But it is not exactly a photographer’s job either.2
Multivocal Histories brings examples of these practices together, by looking at an historical example, by showing
projects by a new hybrid generation of photographers/curators/researchers trained at the Master’s in Photographic
Studies (MaPS) at Leiden University, and by kindred spirits from elsewhere, as well as in new combinations of image
makers and projects shedding another, nuanced light on various conflicts from the past decade that we thought we
knew well.
From the social confrontation and its aftermath in the UK (Julian Germain) to the war in Chechnya (Taco Hidde
Bakker combining found postcards and text fragments, together with photographer Stanley Greene, filmed by
Stephen J. Bell, on the occasion of the publication of his book Open Wound). And from images of the 1979
revolution in Nicaragua that survived their temporary role (Susan Meiselas) to research showing the changing
symbolic value of the keffiyeh (Wouter den Bakker).
Florian Schwarz started from a set of photographs showing his grandfather in a Nazi uniform, and followed his
trail as POW to the town of Asbest, Siberia.
Vojta Dukát’s unique material documenting the Soviet troops leaving Czechoslovakia in 1991 is complemented
by Ales Vasicek’s still photographs from 2008, from a prize-winning film on the fall of Srebrenica. The French-
Polish-Italian film was partly shot in Milovice, the former Soviet camp that Dukát covered in 1991.
Andrea Stultiens discovered the archive of a remarkable Ugandan man, Kaddu Wasswa, in 2008 and tries to
unravel the story of his multifaceted life.
Anastasia Khoroshilova’s juxtaposition of portraits of children who survived the massacre at the school in Beslan
(North Ossetia) in 2004 and the ID-pictures of those who died in the event is dramatic.
ID-cards were also the starting point for Jian Jiang in a series that he will continue making, on orphaned children
in China’s Henan province.
For Sleeping Soldiers Tim Hetherington and Magali Charrier (editor) juxtaposed photographic stills and video
footage from his long-term engagement with American forces in Afghanistan. The multi-screen installation
makes the horror and stress of war felt in an unprecedented manner.
55
Anthropologist Jay Ruby concluded his article ‘Sharing The Power’ with the words: “The grandiose expectations we
had about documentary media are exhausted. It should be possible to construct a practice with modest aspirations.
One that neither pretends it has the power to change the world nor a desire to pity but instead aids in our attempt to
comprehend and critique a world grown increasingly incomprehensible. Documentarians will have to learn to share
their power to represent or they may lose it altogether.”3
‘Sharing The Power’, subtitled ‘A Multivocal Documentary’, proposed the photographer stand next to his subjects,
having them represent themselves, thus collaborating with them on an equal level. Multivocal Histories is dedicated
to Ruby’s important 1991 call. It is not that all these projects comply fully with his radical requirements. In fact, in
many of these cases the multivocality resides in two or more professionals (image-makers, editors, curators, etc.)
working closely together, in combination with a form of collaboration with the subjects and/or material generated by
them. It has been an evolution (in a somewhat adapted version) rather than revolution, one may argue. But, in fact,
that is quite similar to how most historical processes develop….
Endnotes
1 Gierstberg, Frits, In: Perspektief, No 41, Rotterdam, 1991: p. 38-39
2 Fueled by these developments the University Leiden and the Royal Academy of Art in The Hague founded the Master’s in
Photographic Studies (MaPS) in 2003. The one year Masters aims at training students and professionals with a BA from art
schools as well as universities in historiography and theory of photography as well as contemporary curatorial practice.
With financial support from the Wertheimer Foundation, Susan Meiselas was appointed as extraordinary professor in 2008.
3 Ruby, Jay, Sharing The Power - A Multivocal Documentary/Delen in de macht - De meerstemmige documentaire.
Perspektief, No. 41: p. 4-17
54
Both Meiselas’s as well as Germain’s project can also be perceived as examples of ‘slow journalism’. As the press
could no longer cater to having photographers and journalists working on in-depth stories at remote locations,
photographers not only needed to look elsewhere to get their stories funded but also needed to look for alternative
venues for their work, other than print media. Slowly, yet increasingly, museums and the cultural sector at large took
on part of the social responsibility of showing the results of those endeavours. Showing socially committed work
under completely different formal circumstances (a museum space is radically different from a magazine article, not
only as such, but also in how anything shown in it is perceived by a viewer) requires a fundamental rethinking of its
presentation. Who should be in charge of this process? The curator (or the photographer) has to become an editor,
a producer of an often complex production with multiple designers (web, book, exhibition) and possibly other image
or filmmakers, or even sound designers. It is a job description that is far distant from the classic museum curator’s,
let alone conservator’s task. But it is not exactly a photographer’s job either.2
Multivocal Histories brings examples of these practices together, by looking at an historical example, by showing
projects by a new hybrid generation of photographers/curators/researchers trained at the Master’s in Photographic
Studies (MaPS) at Leiden University, and by kindred spirits from elsewhere, as well as in new combinations of image
makers and projects shedding another, nuanced light on various conflicts from the past decade that we thought we
knew well.
From the social confrontation and its aftermath in the UK (Julian Germain) to the war in Chechnya (Taco Hidde
Bakker combining found postcards and text fragments, together with photographer Stanley Greene, filmed by
Stephen J. Bell, on the occasion of the publication of his book Open Wound). And from images of the 1979
revolution in Nicaragua that survived their temporary role (Susan Meiselas) to research showing the changing
symbolic value of the keffiyeh (Wouter den Bakker).
Florian Schwarz started from a set of photographs showing his grandfather in a Nazi uniform, and followed his
trail as POW to the town of Asbest, Siberia.
Vojta Dukát’s unique material documenting the Soviet troops leaving Czechoslovakia in 1991 is complemented
by Ales Vasicek’s still photographs from 2008, from a prize-winning film on the fall of Srebrenica. The French-
Polish-Italian film was partly shot in Milovice, the former Soviet camp that Dukát covered in 1991.
Andrea Stultiens discovered the archive of a remarkable Ugandan man, Kaddu Wasswa, in 2008 and tries to
unravel the story of his multifaceted life.
Anastasia Khoroshilova’s juxtaposition of portraits of children who survived the massacre at the school in Beslan
(North Ossetia) in 2004 and the ID-pictures of those who died in the event is dramatic.
ID-cards were also the starting point for Jian Jiang in a series that he will continue making, on orphaned children
in China’s Henan province.
For Sleeping Soldiers Tim Hetherington and Magali Charrier (editor) juxtaposed photographic stills and video
footage from his long-term engagement with American forces in Afghanistan. The multi-screen installation
makes the horror and stress of war felt in an unprecedented manner.
55
Anthropologist Jay Ruby concluded his article ‘Sharing The Power’ with the words: “The grandiose expectations we
had about documentary media are exhausted. It should be possible to construct a practice with modest aspirations.
One that neither pretends it has the power to change the world nor a desire to pity but instead aids in our attempt to
comprehend and critique a world grown increasingly incomprehensible. Documentarians will have to learn to share
their power to represent or they may lose it altogether.”3
‘Sharing The Power’, subtitled ‘A Multivocal Documentary’, proposed the photographer stand next to his subjects,
having them represent themselves, thus collaborating with them on an equal level. Multivocal Histories is dedicated
to Ruby’s important 1991 call. It is not that all these projects comply fully with his radical requirements. In fact, in
many of these cases the multivocality resides in two or more professionals (image-makers, editors, curators, etc.)
working closely together, in combination with a form of collaboration with the subjects and/or material generated by
them. It has been an evolution (in a somewhat adapted version) rather than revolution, one may argue. But, in fact,
that is quite similar to how most historical processes develop….
Endnotes
1 Gierstberg, Frits, In: Perspektief, No 41, Rotterdam, 1991: p. 38-39
2 Fueled by these developments the University Leiden and the Royal Academy of Art in The Hague founded the Master’s in
Photographic Studies (MaPS) in 2003. The one year Masters aims at training students and professionals with a BA from art
schools as well as universities in historiography and theory of photography as well as contemporary curatorial practice.
With financial support from the Wertheimer Foundation, Susan Meiselas was appointed as extraordinary professor in 2008.
3 Ruby, Jay, Sharing The Power - A Multivocal Documentary/Delen in de macht - De meerstemmige documentaire.
Perspektief, No. 41: p. 4-17
56 57Taco Hidde Bakker | Grozny Memories 57
the photographers
Taco Hidde Bakker | Grozny Memories
Stephen J. Bell | Video portrait of Stanley Greene
Julian Germain | Steel Works
Florian Schwarz | Wohinundzurück
Tim Hetherington | Sleeping Soldiers
Susan Meiselas | Reframing History
Wouter den Bakker | Hipster Intifada
Anastasia Khoroshilova | Out of Context
Andrea Stultiens | The Kaddu Wasswa Archive
Vojta Dukát & Ales Vasicek | Farewell to Arms
Jiang Jian | Archives of Orphans
56 57Taco Hidde Bakker | Grozny Memories 57
the photographers
Taco Hidde Bakker | Grozny Memories
Stephen J. Bell | Video portrait of Stanley Greene
Julian Germain | Steel Works
Florian Schwarz | Wohinundzurück
Tim Hetherington | Sleeping Soldiers
Susan Meiselas | Reframing History
Wouter den Bakker | Hipster Intifada
Anastasia Khoroshilova | Out of Context
Andrea Stultiens | The Kaddu Wasswa Archive
Vojta Dukát & Ales Vasicek | Farewell to Arms
Jiang Jian | Archives of Orphans
Stephen J. Bell | Video portrait of Stanley Greene 5858 Taco Hidde Bakker | Grozny Memories 59
Stephen J. Bell | Video portrait of Stanley Greene 5858 Taco Hidde Bakker | Grozny Memories 59
60 61Julian Germain | Steel Works
60 61Julian Germain | Steel Works
6262
6262
64 65Florian Schwarz | Wohinundzurück
64 65Florian Schwarz | Wohinundzurück
66 67Tim Hetherington | Sleeping Soldiers
66 67Tim Hetherington | Sleeping Soldiers
Susan Meiselas | Reframing History 68 69
Susan Meiselas | Reframing History 68 69
70
70
Wouter den Bakker | Hipster Intifada
Wouter den Bakker | Hipster Intifada
75< Anastasia Khoroshilova | Out of Context
75< Anastasia Khoroshilova | Out of Context
76
76
79Andrea Stultiens | The Kaddu Wasswa Archive
79Andrea Stultiens | The Kaddu Wasswa Archive
Vojta Dukát | Farewell to Arms 80 81
Vojta Dukát | Farewell to Arms 80 81
Vojta Dukát | Farewell To Arms Ales Vasicek | Farewell to Arms 82 83
Vojta Dukát | Farewell To Arms Ales Vasicek | Farewell to Arms 82 83
85Ales Vasicek | Farewell To Arms
85Ales Vasicek | Farewell To Arms
Jiang Jian | Archives of Orphans86 87
Jiang Jian | Archives of Orphans86 87
89
Bas Vroege (Netherlands, 1958)
He studied photography at St. Joost Academy in Breda.
After a period as director of Perspektief and the Photog-
raphy Biënnale Rotterdam, in 1993 he became director of
Paradox, a non-profit organisation involved with socially
engaged photography projects, including >Play, East Wind
West Wind, Go No Go and The Last Days of Shishmaref.
As curator Vroege was responsible for various cross-media
festivals and exhibitions. In 2005 he planned and put together
a symposium on the depiction of work in photography for the
University of Sunderland and IPRN, the International Photography
Research Network. He teaches in the curatorial programme of the
Master’s in Photographic Studies (MaPS) in Leiden. In addition he
advises the Three Shadows Photography Art Centre in Beijing and
is a member of the Board of Trustees of World Press Photo.
Vroege assembled the exhibition Multivocal Histories. He selected
examples from a current in documentary photography in which the
photographer not only uses his or her own work, but also draws
on other sources including texts and images by third parties. These
are often long-running projects for which the photographer also
assumes the role of curator or visual historian, or works together
closely with a curator and one or more other image makers or ex-
perts. Several of the photographers selected are Vroege’s students
or former students, or are otherwise connected with the MaPS.
57/59 Taco Hidde Bakker (Netherlands)
GROZNY MEMORIES (Rusland 2009)
The Chechen capital Grozny once was known as the greenest city in
the Soviet Union. Today Grozny is synonymous with war, destruction
and gloom. Taco Hidde Bakker came to know the old Grozny from
stories and photographs from Chechen refugees whose portraits he
shot in The Netherlands. Moreover, on the internet he was able to
acquire reproductions of picture post cards of the intact city of yore.
When blown up greatly, the pixelated photos become a metaphor
for memory and devastation. Bakker combined them with the refu-
gees’ recollections of the war which he had previously written up.
The contrast creates a feeling of discomfort and calls up questions
about the influences which go into the mental pictures we develop.
Taco Hidde Bakker (Netherlands, 1978) studied successively at the
Academies for Visual Art in Kampen and Maastricht, and completed the
Masters in Photographic Studies at the University of Leiden. Mister Motley
is one of several sources in which he has published.
58 Stephen J. Bell (United States)
VIDEO PORTRAIT OF STANLEY GREENE (Russia 2004)
Stanley Greene got his teeth into the Chechen conflict like no other
Western photo journalist, refusing to let the subject go. This com-
mitment led to his impressive Open Wound, Chechnya 1994-2003,
published by Trolleybooks in London. The video interview that
filmmaker Stephen Bell did on the occasion of its release combines
Greene’s emotional testimony with the often hair-raising images of
repression and Russian aggression toward the rebellious republic.
Stanley Greene (United States, 1949) studied photography at the School
of Visual Arts in New York and the San Francisco Art Institute. In addition
to Chechnya he has been active in Nagorno Karabach, Iraq, Somalia,
Croatia, Kashmir and Lebanon. He went to Rwanda to record the conse-
quences of the genocide, and photographed the aftermath of Katrina in
New Orleans, a series which was seen in the Noorderlicht Gallery in 2006.
He has been associated with the Noor photo agency since 2008.
With thanks to Trolleybooks and the Noor photo agency.
60-63 Julian Germain (Great Britain)
STEELWORKS (Great Britain 1990)
For almost a century-and-a-half Consett, in County Durham, Eng-
land, was a centre for iron and steel production. That is, until the
factories closed their doors in 1980. These were the early days of
Thatcherism, a period when massive cuts were being made in
Britain’s old industries, without the least concern for the social
consequences. In his book Steelworks Julian Germain recorded the
collapse of Consett. To do this he combined his own work with that
of a local news photographer, Tommy Harris, and family snapshots
and journalistic reports. Unintentionally, this approach put Germain
in the vanguard of a new movement in documentary photography.
Germain contrasted the naive optimism of the past with the loss that
speaks from his own colour photographs and the news reporting of
the day, creating a harrowing picture of a devastated community.
Julian Germain (Great Britain, 1962) studied photography at the Royal
College of Art in London. With his first book, Steelworks, he underlined the
importance of ‘functional’ or amateur photography, as he would also do in
his For Every Minute You Are Angry You Lose Sixty Seconds of Happiness
(2005), which had already been shown at Noorderlicht in 1997. Germain
is a co-founder and member of the editorial committee for Useful Photog-
raphy. He is presently at work on a large-scale project on education.
60 Untitled. 1986 – 1990
61 (above) Archival Press Photograph by Tommy Harris
61 (below) Archival Press Photograph by Tommy Harris
62 Donated family snapshots
63 (above) 283 hectares (423 football pitches)
63 (below) Untitled. 1986 – 1990
88
89
Bas Vroege (Netherlands, 1958)
He studied photography at St. Joost Academy in Breda.
After a period as director of Perspektief and the Photog-
raphy Biënnale Rotterdam, in 1993 he became director of
Paradox, a non-profit organisation involved with socially
engaged photography projects, including >Play, East Wind
West Wind, Go No Go and The Last Days of Shishmaref.
As curator Vroege was responsible for various cross-media
festivals and exhibitions. In 2005 he planned and put together
a symposium on the depiction of work in photography for the
University of Sunderland and IPRN, the International Photography
Research Network. He teaches in the curatorial programme of the
Master’s in Photographic Studies (MaPS) in Leiden. In addition he
advises the Three Shadows Photography Art Centre in Beijing and
is a member of the Board of Trustees of World Press Photo.
Vroege assembled the exhibition Multivocal Histories. He selected
examples from a current in documentary photography in which the
photographer not only uses his or her own work, but also draws
on other sources including texts and images by third parties. These
are often long-running projects for which the photographer also
assumes the role of curator or visual historian, or works together
closely with a curator and one or more other image makers or ex-
perts. Several of the photographers selected are Vroege’s students
or former students, or are otherwise connected with the MaPS.
57/59 Taco Hidde Bakker (Netherlands)
GROZNY MEMORIES (Rusland 2009)
The Chechen capital Grozny once was known as the greenest city in
the Soviet Union. Today Grozny is synonymous with war, destruction
and gloom. Taco Hidde Bakker came to know the old Grozny from
stories and photographs from Chechen refugees whose portraits he
shot in The Netherlands. Moreover, on the internet he was able to
acquire reproductions of picture post cards of the intact city of yore.
When blown up greatly, the pixelated photos become a metaphor
for memory and devastation. Bakker combined them with the refu-
gees’ recollections of the war which he had previously written up.
The contrast creates a feeling of discomfort and calls up questions
about the influences which go into the mental pictures we develop.
Taco Hidde Bakker (Netherlands, 1978) studied successively at the
Academies for Visual Art in Kampen and Maastricht, and completed the
Masters in Photographic Studies at the University of Leiden. Mister Motley
is one of several sources in which he has published.
58 Stephen J. Bell (United States)
VIDEO PORTRAIT OF STANLEY GREENE (Russia 2004)
Stanley Greene got his teeth into the Chechen conflict like no other
Western photo journalist, refusing to let the subject go. This com-
mitment led to his impressive Open Wound, Chechnya 1994-2003,
published by Trolleybooks in London. The video interview that
filmmaker Stephen Bell did on the occasion of its release combines
Greene’s emotional testimony with the often hair-raising images of
repression and Russian aggression toward the rebellious republic.
Stanley Greene (United States, 1949) studied photography at the School
of Visual Arts in New York and the San Francisco Art Institute. In addition
to Chechnya he has been active in Nagorno Karabach, Iraq, Somalia,
Croatia, Kashmir and Lebanon. He went to Rwanda to record the conse-
quences of the genocide, and photographed the aftermath of Katrina in
New Orleans, a series which was seen in the Noorderlicht Gallery in 2006.
He has been associated with the Noor photo agency since 2008.
With thanks to Trolleybooks and the Noor photo agency.
60-63 Julian Germain (Great Britain)
STEELWORKS (Great Britain 1990)
For almost a century-and-a-half Consett, in County Durham, Eng-
land, was a centre for iron and steel production. That is, until the
factories closed their doors in 1980. These were the early days of
Thatcherism, a period when massive cuts were being made in
Britain’s old industries, without the least concern for the social
consequences. In his book Steelworks Julian Germain recorded the
collapse of Consett. To do this he combined his own work with that
of a local news photographer, Tommy Harris, and family snapshots
and journalistic reports. Unintentionally, this approach put Germain
in the vanguard of a new movement in documentary photography.
Germain contrasted the naive optimism of the past with the loss that
speaks from his own colour photographs and the news reporting of
the day, creating a harrowing picture of a devastated community.
Julian Germain (Great Britain, 1962) studied photography at the Royal
College of Art in London. With his first book, Steelworks, he underlined the
importance of ‘functional’ or amateur photography, as he would also do in
his For Every Minute You Are Angry You Lose Sixty Seconds of Happiness
(2005), which had already been shown at Noorderlicht in 1997. Germain
is a co-founder and member of the editorial committee for Useful Photog-
raphy. He is presently at work on a large-scale project on education.
60 Untitled. 1986 – 1990
61 (above) Archival Press Photograph by Tommy Harris
61 (below) Archival Press Photograph by Tommy Harris
62 Donated family snapshots
63 (above) 283 hectares (423 football pitches)
63 (below) Untitled. 1986 – 1990
88
90 91
64-65 Florian Schwarz (Germany)
WOHINUNDZURÜCK (Russia 2007)
Who was Leo Dunz? That question was forced on Florian Schwarz
when he found an old photograph of his grandfather up in the attic.
Dunz served in the Wehrmacht during World War II, and until 1947
was held prisoner in the Siberian city of Asbest, a past of which he
never spoke. Sixty-five years later Schwarz – armed with a cam-
era rather than a rifle – travelled through Russia in an attempt to
reconstruct this blank page in the family history. The resulting visual
document was more than a journey back through time in family and
world history. It became a journey through contemporary Russia, a
road movie about a monotonous and unvarying décor, where silence
and time are one’s foremost fellow travellers.
Florian Schwarz (Germany, 1979) graduated from the Royal Academy
for Fine Arts in Antwerp, receiving the prize for photography from that in-
stitution. At the moment he is working on Blood on the Tracks, a series
on musicians in Nashville, Tennessee.
66-67 Tim Hetherington (Great Britain)
SLEEPING SOLDIERS (Afghanistan 2009)
As part of a long -running project the British photographer Tim
Hetherington followed an American platoon in a remote valley in
Afghanistan. While he was with them he built up a more intimate
bond with the soldiers than most journalists are privileged to.
From this unique position, and making use of both photography
and moving images, together with editor Magali Charrier Hether-
ington created an installation that makes the confusion and stress
of war, but also the comradeship among soldiers palpable. By
arranging documentary material according to the aesthetic of fic-
tion Hetherington has been able to convincingly evoke the stress
of war for the viewer.
Tim Hetherington (Great Britain, 1970) is a photographer and filmmaker,
specialising in long-term narrative documentary projects. He spent eight
years in West Africa, resulting in the book Liberia: Long Story Bit by Bit
(2009). He won the 2007 World Press Photo award for a photograph
he made in Afghanistan. Hetherington’s work has appeared in The New
Yorker, Time, Newsweek, The New York Times, Der Spiegel and other
journals. He lives in New York and is connected with the periodical
Vanity Fair.
66-67 (above) Specialist Michael Cunningham. Second Platoon, Battle
Company, 173rd Airborne, Korengal Valley, Afghanistan. 2008.
66-67 (below) Specialist Steve Kim. Second Platoon, Battle Company,
173rd Airborne, Korengal Valley, Afghanistan. 2008.
68-71 Susan Meiselas (United States)
REFRAMING HISTORY (Nicaragua 2004)
1978 was a turning point in the history of Nicaragua. The tense
political situation in the Central American country unravelled into
a civil war which meant the end for the Somoza dictatorship.
Susan Meiselas reported on the conflict, resulting in the legendary
photo book Nicaragua: June 1978 to July 1979. Since then she
has returned a number of times. In 1991 she went back, together
with her partner Richard P. Rogers and filmmaker Alfred Guzzetti,
in order to interview people photographed at that time. For the
celebration of the 25th anniversary of the revolution she showed
19 of these photographs realised as billboards in public space.
Together with Guzzetti they recorded the reactions on video. Thus
REFRAMING HISTORY is a history written at three moments. It in-
vites those involved to reflect, and builds bridges between genera-
tions. History is no closed book, Meiselas argues, but demands
remembering and revision.
Susan Meiselas (United States, 1948) studied visual education at
Harvard and became a member of Magnum in 1980. She has
published in Time, The New York Times, Life and Paris Match.
She received the Robert Capa Gold Medal for her work in Nicaragua.
Later she won the Leica Award for Excellence and the Hasselblad
Prize. Recently she completed a multi-year project on the visual history
of Kurdistan. Meiselas holds an endowed chair as professor in the
Masters in Photographic Studies at the University of Leiden.
68 President Anastasio Somoza Debayle opening new session of the
National Congress, June 1978, Managua, Nicaragua.
69 (above) “Cuesta del Plomo”, hillside outside Managua,
a well known site of many assassinations carried out by
the National Guard, July, 1978.
69 (below) Nicaragua, July 2004.
70 (above) Nicaragua, July 2004. Muchacho withdrawing
from commercial district of Masaya after three days of
bombing, September, 1978.
70 (below) Nicaragua, July 2004.
71 Youths throwing contact bombs in forest surrounding
Monimbo, June, 1978.
72-73 Wouter den Bakker (Netherlands)
HIPSTER INTIFADA (Worldwide 2009)
Like the portrait of Che Guevara, the keffiya (the ‘Palestinian scarf’)
can be a conscious political statement, but it can also be a fashion
accessory with little or no thought behind it. When Wouter den
Bakker wore a keffiya as a teenager, he did not take the possible
reactions of Jewish classmates into account. Is the symbol still
that charged? Den Bakker began photographing keffiya wearers
in 2007, followed discussions on the internet, and also began to
collect visual materials that were available there. It became clear to
him that the meaning of the keffiya rests primarily on suggestion.
He decided to strip the photographs out of their context and show
them alongside one another – whether they were of Fatah support-
ers or Hollywood stars, professional footballers or fashionistas. ‘It is
not the chameleon-like keffiya itself,’ he concludes, ‘but the visual
language used that determines what statement is being made.’
Wouter den Bakker (Netherlands, 1981) is a freelance photographer.
He was in the cultural studies programme at the Vrije University in
Amsterdam, and completed the Masters in Photographic Studies at
Leiden. HIPSTER INTIFADA, together with a theoretical essay on pho-
tography as a research tool, was his graduation project.
74-77 Anastasia Khoroshilova (Russia)
OUT OF CONTEXT (Germany 2005)
Who had heard of Beslan before the Chechen freedom fighters’ hos-
tage-taking in a school in this Russian city resulted in a bloodbath?
Since then Beslan is a byword for terrorism and ill-considered gov-
ernment intervention. A year after the events Anastasia Khoroshilova
encountered a number of the survivors in Bad-Tölz, in Germany,
where they were undergoing medical-psychological treatment. She
decided to photograph the children outside the context within we
know them, in vacation clothes, against the background of the Ba-
varian landscape. She combined her photographs with images from
the portrait gallery the citizens of Beslan have made as a memorial
to the victims. In this way the inner scars left behind by one of the
blackest pages in Russian history become visible.
Anastasia Khoroshilova (Russia, 1978) completed her study of
photography cum laude at the University of Duisburg-Essen in 2004.
She has had solo exhibitions in Russia, Germany, Italy, France, Japan
and other countries, and has published a number of books including
Russkie (2008) and Five Stories (2007). She lives and works by turns in
Moscow and Berlin.
With thanks to Chlyntstsov Nikolai, Sergei Dzantiev,
Tebieva Galina and Mikhail Mindlin.
78-79 Andrea Stultiens (Netherlands)
THE KADDU WASSWA ARCHIVE (Uganda 2008-2010)
You stumble across the best stories by accident. In 2008 Andrea
Stultiens was in Uganda, where she met Kaddu Wasswa, an old
man who had recorded the sometimes dramatic course of his life
in an extensive archive of photographs, texts and documents.
Kaddu had grown up under the British colonial administration and
lived through the years of Idi Amin’s reign of terror. Ten of his 18
children had died of AIDS. He had worked as a geologist, book-
seller, shopkeeper, novelist, theatre maker, inventor and human
rights activist – among other things. In collaboration with Kaddu
and his grandson Stultiens is using the archive to unravel the story
of a man and his country.
Andrea Stultiens (Netherlands, 1974) completed a Masters in photog-
raphy in 2001 at St. Joost Academy in Breda. She won the Bouw in
Beeld prize in 2009 for ‘Pose, Ugandan Images’ and the Silver Prize of
the Deutsche Fotobuchpreis for ‘Komm, mein Mädchen, in der Berge’
(2008). Her most recent solo exhibition was Things That Matter, in
Kampala, Uganda. Stultiens teaches at the Minerva Academy in Gron-
ingen. She has been working on the Masters in Photographic Studies
at the University of Leiden since 2008.
90 91
64-65 Florian Schwarz (Germany)
WOHINUNDZURÜCK (Russia 2007)
Who was Leo Dunz? That question was forced on Florian Schwarz
when he found an old photograph of his grandfather up in the attic.
Dunz served in the Wehrmacht during World War II, and until 1947
was held prisoner in the Siberian city of Asbest, a past of which he
never spoke. Sixty-five years later Schwarz – armed with a cam-
era rather than a rifle – travelled through Russia in an attempt to
reconstruct this blank page in the family history. The resulting visual
document was more than a journey back through time in family and
world history. It became a journey through contemporary Russia, a
road movie about a monotonous and unvarying décor, where silence
and time are one’s foremost fellow travellers.
Florian Schwarz (Germany, 1979) graduated from the Royal Academy
for Fine Arts in Antwerp, receiving the prize for photography from that in-
stitution. At the moment he is working on Blood on the Tracks, a series
on musicians in Nashville, Tennessee.
66-67 Tim Hetherington (Great Britain)
SLEEPING SOLDIERS (Afghanistan 2009)
As part of a long -running project the British photographer Tim
Hetherington followed an American platoon in a remote valley in
Afghanistan. While he was with them he built up a more intimate
bond with the soldiers than most journalists are privileged to.
From this unique position, and making use of both photography
and moving images, together with editor Magali Charrier Hether-
ington created an installation that makes the confusion and stress
of war, but also the comradeship among soldiers palpable. By
arranging documentary material according to the aesthetic of fic-
tion Hetherington has been able to convincingly evoke the stress
of war for the viewer.
Tim Hetherington (Great Britain, 1970) is a photographer and filmmaker,
specialising in long-term narrative documentary projects. He spent eight
years in West Africa, resulting in the book Liberia: Long Story Bit by Bit
(2009). He won the 2007 World Press Photo award for a photograph
he made in Afghanistan. Hetherington’s work has appeared in The New
Yorker, Time, Newsweek, The New York Times, Der Spiegel and other
journals. He lives in New York and is connected with the periodical
Vanity Fair.
66-67 (above) Specialist Michael Cunningham. Second Platoon, Battle
Company, 173rd Airborne, Korengal Valley, Afghanistan. 2008.
66-67 (below) Specialist Steve Kim. Second Platoon, Battle Company,
173rd Airborne, Korengal Valley, Afghanistan. 2008.
68-71 Susan Meiselas (United States)
REFRAMING HISTORY (Nicaragua 2004)
1978 was a turning point in the history of Nicaragua. The tense
political situation in the Central American country unravelled into
a civil war which meant the end for the Somoza dictatorship.
Susan Meiselas reported on the conflict, resulting in the legendary
photo book Nicaragua: June 1978 to July 1979. Since then she
has returned a number of times. In 1991 she went back, together
with her partner Richard P. Rogers and filmmaker Alfred Guzzetti,
in order to interview people photographed at that time. For the
celebration of the 25th anniversary of the revolution she showed
19 of these photographs realised as billboards in public space.
Together with Guzzetti they recorded the reactions on video. Thus
REFRAMING HISTORY is a history written at three moments. It in-
vites those involved to reflect, and builds bridges between genera-
tions. History is no closed book, Meiselas argues, but demands
remembering and revision.
Susan Meiselas (United States, 1948) studied visual education at
Harvard and became a member of Magnum in 1980. She has
published in Time, The New York Times, Life and Paris Match.
She received the Robert Capa Gold Medal for her work in Nicaragua.
Later she won the Leica Award for Excellence and the Hasselblad
Prize. Recently she completed a multi-year project on the visual history
of Kurdistan. Meiselas holds an endowed chair as professor in the
Masters in Photographic Studies at the University of Leiden.
68 President Anastasio Somoza Debayle opening new session of the
National Congress, June 1978, Managua, Nicaragua.
69 (above) “Cuesta del Plomo”, hillside outside Managua,
a well known site of many assassinations carried out by
the National Guard, July, 1978.
69 (below) Nicaragua, July 2004.
70 (above) Nicaragua, July 2004. Muchacho withdrawing
from commercial district of Masaya after three days of
bombing, September, 1978.
70 (below) Nicaragua, July 2004.
71 Youths throwing contact bombs in forest surrounding
Monimbo, June, 1978.
72-73 Wouter den Bakker (Netherlands)
HIPSTER INTIFADA (Worldwide 2009)
Like the portrait of Che Guevara, the keffiya (the ‘Palestinian scarf’)
can be a conscious political statement, but it can also be a fashion
accessory with little or no thought behind it. When Wouter den
Bakker wore a keffiya as a teenager, he did not take the possible
reactions of Jewish classmates into account. Is the symbol still
that charged? Den Bakker began photographing keffiya wearers
in 2007, followed discussions on the internet, and also began to
collect visual materials that were available there. It became clear to
him that the meaning of the keffiya rests primarily on suggestion.
He decided to strip the photographs out of their context and show
them alongside one another – whether they were of Fatah support-
ers or Hollywood stars, professional footballers or fashionistas. ‘It is
not the chameleon-like keffiya itself,’ he concludes, ‘but the visual
language used that determines what statement is being made.’
Wouter den Bakker (Netherlands, 1981) is a freelance photographer.
He was in the cultural studies programme at the Vrije University in
Amsterdam, and completed the Masters in Photographic Studies at
Leiden. HIPSTER INTIFADA, together with a theoretical essay on pho-
tography as a research tool, was his graduation project.
74-77 Anastasia Khoroshilova (Russia)
OUT OF CONTEXT (Germany 2005)
Who had heard of Beslan before the Chechen freedom fighters’ hos-
tage-taking in a school in this Russian city resulted in a bloodbath?
Since then Beslan is a byword for terrorism and ill-considered gov-
ernment intervention. A year after the events Anastasia Khoroshilova
encountered a number of the survivors in Bad-Tölz, in Germany,
where they were undergoing medical-psychological treatment. She
decided to photograph the children outside the context within we
know them, in vacation clothes, against the background of the Ba-
varian landscape. She combined her photographs with images from
the portrait gallery the citizens of Beslan have made as a memorial
to the victims. In this way the inner scars left behind by one of the
blackest pages in Russian history become visible.
Anastasia Khoroshilova (Russia, 1978) completed her study of
photography cum laude at the University of Duisburg-Essen in 2004.
She has had solo exhibitions in Russia, Germany, Italy, France, Japan
and other countries, and has published a number of books including
Russkie (2008) and Five Stories (2007). She lives and works by turns in
Moscow and Berlin.
With thanks to Chlyntstsov Nikolai, Sergei Dzantiev,
Tebieva Galina and Mikhail Mindlin.
78-79 Andrea Stultiens (Netherlands)
THE KADDU WASSWA ARCHIVE (Uganda 2008-2010)
You stumble across the best stories by accident. In 2008 Andrea
Stultiens was in Uganda, where she met Kaddu Wasswa, an old
man who had recorded the sometimes dramatic course of his life
in an extensive archive of photographs, texts and documents.
Kaddu had grown up under the British colonial administration and
lived through the years of Idi Amin’s reign of terror. Ten of his 18
children had died of AIDS. He had worked as a geologist, book-
seller, shopkeeper, novelist, theatre maker, inventor and human
rights activist – among other things. In collaboration with Kaddu
and his grandson Stultiens is using the archive to unravel the story
of a man and his country.
Andrea Stultiens (Netherlands, 1974) completed a Masters in photog-
raphy in 2001 at St. Joost Academy in Breda. She won the Bouw in
Beeld prize in 2009 for ‘Pose, Ugandan Images’ and the Silver Prize of
the Deutsche Fotobuchpreis for ‘Komm, mein Mädchen, in der Berge’
(2008). Her most recent solo exhibition was Things That Matter, in
Kampala, Uganda. Stultiens teaches at the Minerva Academy in Gron-
ingen. She has been working on the Masters in Photographic Studies
at the University of Leiden since 2008.
9392
80-85 Vojta Dukát and Ales Vasicek (Czechoslovakia)
FAREWELL TO ARMS ((Czechoslovakia 2009)
When the withdrawal of the Soviet army from Czechoslovakia
began in 1991, it was immediately clear to Vojta Dukát that the
event was of historic importance. He decided to record the hu-
man interest aspects of the withdrawal with his camcorder. These
private shots – unique historical images – lay under Dukát’s bed
for 18 years. At the end of 2008 Dukát began to digitise the video
tapes, which had still not been viewed (save for a couple minutes
worth) by anyone, including Dukát. That is how the interesting
material surfaced. In 2009 Dukát made a selection with Ales Va-
sicek, which became the spearhead of the FAREWELL TO ARMS
project. It not only shows the withdrawal, but is also an attempt
to link names to the anonymous faces of the soldiers, and to dis-
cover how they have fared since 1991. To this end the public are
invited to share stories, images and information. Images from then
are the motor for writing a new history now.
Vojta Dukát (Czechoslovakia, 1947) is a photographer and filmmaker.
After the invasion of Czechoslovakia by the Warsaw Pact, he asked for
political asylum in The Netherlands. In 1974 and 1976 he was nomi-
nated for membership in Magnum. Later he won the Capi-Lux Alblas
Prize and the P. Ouborg Prize, and has retrospective exhibitions in the
Stedelijk Museum Amsterdam and the Gemeentemuseum, The Hague.
Dukát is an advocate of the acknowledgement of the Moravian ethnic
minority and the reintroduction of self-government for the Czech region
of Moravia, abolished by the Communists in 1949.
After secondary school Ales Vasicek (Czechoslovakia, 1980) worked
as an assistant to the Japanese photographer Akira Sato. He studied
journalism, and is presently in the Masters in Photographic Studies
in Leiden. Like Vojta Dukát he recorded the military base at Milovice
– sixteen years later, when he played the role of a Dutchbatter in the
French Srebrenica film Resolution 819, and photographed between
the scenes. His presence makes FAREWELL TO ARMS an intriguing
intergenerational encounter.
With thanks to Stroom, The Hague
farewell2arms.com
82-83 Shooting of the movie Resolution 819, Milovice, 2008
84-85 Former Soviet military base Milovice – Bozi Dar, 2009
86-88 Jiang Jian (China)
ARCHIVES OF ORPHANS (China 2005)
The Chinese photographer Jiang Jian describes his series
ARCHIVES OF ORPHANS as an important turning point in his
life and work: during the process he became aware of a new
relation between art and life. ARCHIVES OF ORPHANS is a report
on a campaign to support more than a thousand indigent child
orphans. The children receive help from a philanthropic federation
in the province of Henan and a Shaolin Temple located there until
they become adults. Jiang Jian wants to document the changes
in the lives of the children every five years, making use of diverse
photographic methods.
Jiang Jian (China, 1953) grew up during the Cultural Revolution.
He was sent to the countryside in the late 1960s, where intellectuals
were to be ‘re-educated’ on the farms. Without any formal training,
he became a photographer in 1984. He acquired a reputation for his
first exhibition and photo book, Scenes (1993-1995). His second
book, Masters, has received numerous awards. Jiang Jian is the art
director at the MR Gallery, located in Beijing.
86-87 Yuewei Chang was born in December 1999 in the village
Nanxuguoying in Henan Province, China. His mother Jianhua Liu
passed away in 2000, his father Hongqin Chang died in a car
accident in 2001, and his older sister died of leukemia at the age of
7. YueWei Chang now lives with his grandparents. His grandfather
Shenxian Chang (63 years old) and his grandmother Yuzhen Song
(65 years old) reside in an one-room flat. They make a basic living
by cultivating 2,500 square meters of land. The local administration
and Shaolin Temple grant annual subsidies, but the family only twice
recieved the same sum of financial aid. Yuewei Chang currently
studies in second grade of the village primary school.
88 (above) Hongli Lee was born in January 1993 in the village Baiping
in Henan Province, China. Her father Xin’an Lee died in 1995, her
mother in 1997. Hongli currently lives with her guardian aunt who
runs a noshery in Baiping, her uncle works in a local coalmine.
The couple have a son and a daughter. Hongli studies at the
secondary school in Baiping. She is a hard-working student, ranked
the best in Chinese Studies.
88 (below) Hua Zhang (childhood name Dongdong) was born in the vil-
lage Shiwan, in Henan Province, China. Dongdong’s mother couldn’t
stand the poverty, and abandoned her husband and the 7-month-
child. Two months later, the father left the house and disappeared
as well. Dongdong was raised by his grandparents, 79 and
76-years-old. They still cultivate nearly 2,000 square meters of
land, which provides them food for a basic rural living. Grandpa
nevertheless supported Dongdong’s studies by collecting and selling
recyclable items. In 2008, right before they moved from their shed
to a simple house, the grandpa passed away. At present Hua Zhang
learns Chinese martial arts in the Gongfu School of Dengfeng.