Photoville has become the largest annual photographic event in New York City in just two years. This year it took place in 52 old shipping containers on Pier 5, Brooklyn Bridge Park and involved 265 artists showing off their work through exhibitions, outdoor photo installations, talks, workshops, and multimedia projections.
The work that I found the most interesting was experienced on a two-fold level at Photoville. I was looking for work that was visually engaging and also installed in a way within the containers that showed an innovative approach to use of space.
Trace
Traces by Ian Teh
Ian Teh’s installation was minimal but powerful in the scale and shape of the work within the stark environment of the container.
In the Car with R
In the Car with R by Rafal Milach
Rafal Milach used a collage-like approach that was more casual in its presentation and experienced more in the form of a personal journal and less sculptural than Ian Teh’s Traces.
How Can I Help?
How Can I Help You by Saul Robbins
Saul Robbins had arguably the most interactive space there, where he offered free 15 minute psychotherapy sessions in a space that he created, with one half of the container simulating a therapists’ office.
Dreams in Disguise
Dreams in Disguise by Luceo
Luceo built their container closed with viewing slits at eye level to house a full video loop on one interior wall of their container.
Here In The World
Here In The World from Instagram
The Instagram double stack, Here In The World, had a mechanically geared roll of prints that stretched the full height of both containers and moved according to the grace of the volunteer that steered the wheel – to imitate the scroll of an Instagram feed. On the outside of the Instagram containers, an enormous, luminous installation of a boldly coloured prism glowed through the night, titled Chromatic Aberration, by James Marshall (above).
The Beauty of the Photo Book
The Beauty of the Photo Book from Teun van der Heijden
The lectures were also a great part of Photoville that integrated the audience with its exhibitors, allowing open discussion over the more controversial works on display such as Christophe Bangert’s book, War Porn, in Teun van der Heijden’s curated container, The Beauty of the Photo Book.
Alcohol and Reflection
Ultimately though, I ended up spending the most time in the beer garden… Not because of the drinks, but more to do with the strong sense of community that has been fostered at this festival, where new contacts are made, stale contacts are reacquainted and the old camaraderie between photographers and editors can engage in that unique festival mix of banter, intellectual stimuli and industry heckling.
Find out more about Photoville and make sure you head down in 2015.
Check out more of Ying Ang’s work.
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