Metro is delighted to support Spanish born photographer Alex Franco, producing C-Type prints for his upcoming exhibition “Remember Me When I’m Gone”.
Best known for his fashion imagery in magazines such as Vogue, Vogue Homme and V Magazine “Remember Me When I’m Gone” is a personal cultural and social project for which Alex travelled to Calais several times to document The Jungle, a refugee and migrant encampment in the vicinity of Calais, France, in use from January 2015 to October 2016.
Visiting The Jungle over the course of eighteen months, Alex’s intention was to explore the context of displacement, led by a curiosity and concern that stem from a personal connection, a strong theme within Alex’s work. Learning of immigrants who had travelled from Morocco to Spain in the last few decades and their constantly compromised status, safety and human rights result in Alex’s handwritten personal account of those to whom The Jungle was home.
The media have documented the scenes of shabby temporary constructions of these impermanent homes; places of refuge for those who have fled their own homes in countries far away, and have upon arrival been displaced once again, to the outskirts, to the margins of our system. The interest in the problem seems to have vanished as we delude ourselves that the problem no longer exists once the structure has been dis- mantled.
This exhibition strives to shine a light on a problem that remains unresolved.
1st & 2nd December ’17: Crea Centre Polivalent, Carrer Ros de Olano, 20 Vila De Gracia, Barcelona
5th & 6th December ’17: Unit 10 Huntingdon Estate, Ebor St, London E1 6AW
Follow Alex Franco on Instagram
Images © Alex Franco
As one of the sponsors of Portrait Salon ’17 we were delighted to attend a one-off exhibition featuring a selection of portraits displayed at an outdoor location in London Fields before it takes up a longer-term exhibition at Ravensbourne.
Julie said of the selection process, “As an artist who looks at, and works with portraits every day, I thought that selecting from the submissions to Portrait Salon would be a straight forward process, but it was one of the hardest things I have done, testing me, educating me and touching me in ways I had not expected. There was something compelling about each photo, each person depicted, but I found myself drawn to particular things. I am not a photographer, but I consider myself an image-maker, and composition is integral to my practice, especially when working on a found image. There were powerful images that didn’t make my final selection, perhaps with strong composition or skilled lighting, but I chose ultimately those pictures that introduced me to someone I would be intrigued to meet”.
Portrait Salon was founded by Carole Evans and James O Jenkins to celebrate images submitted to, and rejected by, the Taylor Wessing National Portrait Gallery Photographic Portrait Prize.
The Portrait Salon ’17 exhibition continues in The Atrium at Ravensbourne from 23rd November until 7th December 2017
- © James Perolls
- © Dave Imms
- & 4. Direct to Media Printer © Kate O’Neill
Metro worked with performing artist Heather Agyepong recently producing C-type prints for her project ‘But We Are Still Here’ which takes place at the Tate Modern this month.
But We Are Still Here provokes thought, questions and through a series of events and activities considers how culture is produced. Onlookers and participants are invited to voice ideas and experiences and to listen to others whilst considering how culture is (re) produced through our everyday behaviours and activities.
Difficult questions are asked in order to provoke debate, reflection, comment and action and what it might feel like to be visible/invisible, sharing responses in the space, exchange ideas and share experiences as well as participating in a diverse range of activities from zine making to poetry, performance to workshops.
The conversation unfolding on the Tate Exchange floor is framed by a series of photographs by Heather Agyepong to create a thought-provoking installation. Reimagined as Ghanaian Ashanti Warrior Yaa Asantewaa, Agyepong appears in a series of images that raise questions of value, ownership and erasure.
For more information and detail about the exhibition and events
Exhibition dates: 16th – 26th November 2017
Opening times: Thursday–Sunday: 12.00pm–6.00pm
Tate Exchange, Level 5, Bankside, London, SE1 9TG
Images © Heather Agyepong Yaa 2017 (detail)
On the Heights is an exhibition showcasing new work from Miriam Austin, Sam Belinfante, Tom Lovelace and Frances Scott, four artists who were invited to spend two weeks living and working at Yorkshire Sculpture Park (YSP) in April 2017.
It explores the history, stories and landscape of the area, presenting a new dialogue between nature and experimental contemporary art practice for visitors to explore whilst extending YSP’s history of building relationships with and supporting young and emerging artists through the visiting artist programme.
Metro worked with Tom Lovelace producing C-Type prints for part of his installation which sensitively considers the extraordinary setting of YSP. Considering slippages in the manipulated landscape, Tom’s work prompts moments of uncertainty and doubt across various locations in the Park.
. The Park’s Upper Lake is the site of a large sculptural work, partnered by another sculptural piece in the Formal Garden pond and a series of photographic, assemblage works in the Bothy Gallery.
Tom also presents a new performance work that takes the visitor on an alternative tour of the Park, in which stories and anecdotes about YSP’s history and landscape are presented, but cannot necessarily be trusted.
Exhibition dates: 28th Oct –3rd Dec 2017
The exhibition takes place in the Bothy and in the open park
Yorkshire Sculpture Park
Wakeﬁeld WF4 4LG
Images © Tom Lovelace
British photographer and filmmaker Lynda Laird worked with Metro recently using our Direct to Media printer to print images directly onto silk for her installation in the Planche(s) 2017 Festival. Now in its eighth year, this photography festival presents the works of a variety of photographers invited to spend a residency in Deauville, France.
The inspiration for Lynda’s installation was taken from the events that commenced on 6th June 1944, when allied forces launched the biggest amphibious military attack in history, known as the D-Day Landings. Codenamed ‘Operation Overlord’ the landings marked the start of a long and costly campaign to liberate north-west Europe from German occupation, it was the beginning of the end of WW2.
Lynda’s photographs were taken in and around the coastal bunkers that formed part of the Atlantic wall along the Normandy coast from Utah beach to Deauville.
Lynda explains, “In part, I used infrared film – created by the military in WW2 to detect camouflage and expose a visual spectrum that’s invisible to the naked eye. Silk and Japanese mulberry paper forms part of this installation, both were important technologies specific to WW2; escape maps were printed on to silks and stitched inside officers uniforms, mulberry paper was used for this purpose as well as for creating balloon bombs.”
Also included in her installation is a video shot in the sea of the D-Day beaches at the exact time of the landings. The words spoken in this video are a diary entry from 6th June 1944, by Odette Brefort who lived in Deauville during the German Occupation and throughout WW2. As a member of the French Resistance she provided military intelligence on the German defences by drawing intricate and beautiful maps to send to her comrades in Paris.
Odette’s diary translation:
Oh, what a night! My little head is all shell-shocked.
Since midnight it’s been impossible to sleep: the humming from planes, the anti-aircraft bombs, the machine gun noise.
I went downstairs because I couldn’t sleep and after 15 minutes it went quiet. Thinking it would be better, I went back to bed. What a mistake!
All night, the humming from planes, it was non-stop.
What a joy when waking this morning, someone announces there was a landing at Dives.
At 8.20am a bomb falls on the Printemps store, another one on the Normandy.
By rule we don’t have the right to leave Deauville, or to ride our bicycles.
The weather remained foggy until midday, the sun shone from 4pm. It must be the English who brought the clouds! The defence volunteers will be able to move freely tonight.
Around 6pm, what a tremendous bang! It is the Mont Canisy. The English navy must have blown up a large artillery battery that was shooting at them. It had been deafening us since this morning. I think the shot hit the target, as we can’t hear a thing anymore.
What on earth will happen to us when the Navy and Air Force take care of our region?
There is no electricity. Deauville is in the dark.
Odette Brefort, 6 June 1944.
La Planche(s) 2017 runs from October 21st to November 26th, 2017
Images © Lynda Laird
Flying Trees and Sunken Gardens is the fifth in the changing foyer displays at the iconic Barbican Centre, London. It explores the history behind the creation and design of the open spaces, gardens, and conservatory that are found across the Barbican Estate and Arts Centre.
The site where the exhibition stands was, for over a decade (1940–1956), a devastated post-war site, a wild landscape. As the debate on the urban role of open space raged on, the weeds gently but effectively regenerated the City from its ashes. A monumental landscape emerged, combining low and high rise buildings and spaces, creating an enclosed, urban fabric within the City.
Metro is thrilled to have produced Giclée, C-Type matt and black and white resin prints for this extensive installation which is broken into three sections; references from continental Europe and inspiration from the English garden are brought to light from a selection of books from founding CP&B partner Geoffrey Powell. Archival drawings and illustrations convey the interweaving of artifice and nature and at the centre, historical drawings of the Conservatory and newly commissioned botanical photography celebrate the glass and steel design of this hidden garden.
Exhibition dates: present until 20th March 2018
Silk Street, London
1, 2 & 4. Rhiannon Stanford
3. Courtesy RIBA