A love from beyond the grave – Kurt Tong on his ‘ghost marriage’ photographs

His latest project, piecing together the story of a bereaved Hong Kong man who wed his dead fiancé, has won an award. The photogapher reveals how it began with the discovery of a trunk of keepsakes

At the centre of Kurt Tong’s elaborate visual narrative Dear Franklin, there is a doomed love story that is also a ghost story. It traces the intertwined lives of Franklin Lung, a man who rose from poor beginnings to become part of Hong Kong’s social elite in the 1940s, and a young woman known only as Dongyu, the daughter of a high-ranking Chinese general.

They met, fell in love, but shortly after their engagement, Dongyu was one of several thousand refugees fleeing the Chinese communist army on board the SS Kiangya when it struck an old Japanese sea mine. “Their love story should have ended with this terrible tragedy,” says Tong, “but it continued after her death because Franklin agreed to a ‘ghost marriage’, an elaborate traditional ceremony in which he became eternally wedded to Dongyu in the spirit world.”

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Two decades of Indigenous photography: the work of Wayne Quilliam – in pictures

For more than 20 years, Aboriginal photographer Wayne Quilliam has captured significant Indigenous events across Australia, from the national apology to the Stolen Generations to the Garma, Barunga and Yeperenye festivals. In his travels through country, Quilliam often visits communities to teach Indigenous youth how to capture their own lives through a lens. His book, Culture is Life, is a modern, photographic celebration of the diversity of Indigenous Australians

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‘I see people ageing – I don’t always see us’: one family, 30 years, 30 photographs

It was a simple idea: one family, photographed at the same time every year. Zed Nelson has traced Sue and Frank’s transition from new parents to grandparents. What’s it like to see your life pass in front of you?

In the summer of 1991, photographer Zed Nelson, then 25, invited a couple of new parents he was acquainted with to visit his London studio. Oh, and bring your baby, he said. At the time he had ambitions to be a travelling photojournalist. Within the year, he would fly out on the first of a series of visits to far-flung conflict zones. But for this, Nelson had in mind a quieter, more domestic project. He set up a backdrop and lights, and he encouraged the visiting parents – a personable couple called Sue and Frank whom he’d met at a party – to pose with their newborn, Eddie. The parents held hands, wild-eyed, visibly shot through with the terror and excitement of parenthood. Eddie, weeks old, oblivious, considered his own fingers and dribbled. It might have been any other family portrait.

Except that Nelson invited Sue, Frank and Eddie back to his studio for more portraits, at the same time of year, every year, for as long as they agreed to come. He would chart the evolution of a parenting life, with Sue fixed in position on the right of the picture, Frank on the left, Eddie inching up between his mum and dad. “Same backdrop every year, same lights, same camera, same angle,” Nelson explains, thinking back over the finicky logistics of a project that has run since 1991 without interruption. “Every year I measure out the distances to the inch. It drives us all a bit mad. But we do keep coming back.”

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Wolfgang Tillmans on space, Brexit and Covid: ‘Let’s hope we get on a dancefloor soon’

From tiny weeds to distant galaxies, the photographer likes to scrutinise the interconnectedness of everything. He talks about coping with lockdown – and living through his second pandemic

Wolfgang Tillmans and I talk on the phone on 23 June, which he calls the “fifth anniversary horribilis”, referring to the Brexit vote. He’s at home in Berlin: a day later, he will travel to the UK to install his new exhibition, Moon in Earthlight, in the seaside town of Hove. To conform to Covid protocols, he’ll be doing it on his own, without his usual assistants, carefully placing his photographic images around the space – a former Regency flat owned by his gallerist Maureen Paley.

These photographs range from an image of wet concrete pouring out of a nozzle to one of a root’s tendrils creeping along a gap in the pavement. They are presented in a variety of formats, from huge printouts suspended on bulldog clips to small photographs tacked to the wall. Like all his shows, Moon in Earthlight will serve as an installation in its own right, a manifestation of Tillmans’ tender scrutiny of the universe. It also includes a collection of astronomical yearbooks dating back to 1978, when the artist was a stargazing 10-year-old.

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Photographer Donavon Smallwood: ‘What’s it like to be a black person in nature?’

The self-taught 27-year-old discusses Languor, a prize-winning series of portraits shot in Central Park over the past year

Since he was seven years old, Donavon Smallwood had lived in the same apartment in Harlem close to the northern tip of Central Park. As a teenager, he hung out there with his friends and, later, as he became interested in photography, he would often wander through the park with his camera looking for hidden places where the clamour of the city seemed a world away. “So many urban communities don’t have any nature spaces,” he says, “so I was lucky to have one close by.”

In 2019, he had “a vague idea for a project about walking and looking”, a flaneur’s take on the park as a place in which to lose oneself. Throughout the spring and summer of 2020, while New York was in lockdown, he photographed in and around the wooded north-western corner of the park, where ravines, glades and manmade waterfalls give the impression of a natural wilderness. Often, on his way there and back, he encountered the same people, locals mainly, for whom the park was a place to escape the constrictions of the Covid pandemic.

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Documenting violence against migrants in South Africa | a photo essay

More than 12 years have passed since xenophobic violence swept unexpectedly through South Africa’s townships, leaving more than 60 people dead, hundreds injured and tens of thousands displaced from their homes. Photojournalists James Oatway and Alon Skuy document the unrest in a new book, [BR]OTHER

In May 2008, a series of xenophobic attacks accompanied by widespread looting and vandalism left at least 62 people dead, 1,700 injured and 100,000 displaced in South Africa. The violence began in Alexandra in Johannesburg after a local community meeting at which migrants were blamed for crime and for “stealing” jobs. Within days the attacks had spread around the country, with Ramaphosa settlement on the East Rand becoming one of the areas that witnessed inhumanity on an unthinkable level.

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‘We have more in common than what separates us’: refugee stories, told by refugees

In One Thousand Dreams, award-winning photographer Robin Hammond hands the camera to refugees. Often reduced by the media’s toxic or well-meaning narratives, the portraits and interviews capture a different and more complex tale

Robin Hammond has spent two decades crisscrossing the developing world and telling other people’s stories. From photographing the Rohingya forced out of Myanmar and rape survivors in the Democratic Republic of the Congo to documenting the lives of people in countries where their sexuality is illegal, his work has earned him award after award.

But for his latest project the photographer has embarked on a paradigm shift: to remove himself – and others like him – from the process entirely. Instead, as part of an in-depth exploration of the refugee experience in Europe, the stories of those featured are told by those who, arguably, know them best: other refugees.

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G7 security preparations in Cornwall – in pictures

Ahead of the G7 summit starting on Friday, 5,000 mutual aid officers have arrived in the area from police forces across the UK. They will join 1,500 officers and staff from Devon and Cornwall police being deployed at the event.
More than 100 police dogs will be working at the summit, though no police horses are due to be there

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‘Father of African cinema’ Ousmane Sembène at work – in pictures

A look back at the career of Senegal-born film director Ousmane Sembène as his 1968 film Mandabi is released in the UK for the first time

•Mandabi is released on 11 June in cinemas, and on 28 June on DVD, Blu-Ray and digital platforms.

•Peter Bradshaw on Mandabi: classic about colonialism resonates today

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My Amazon rainforest angel: Claudia Andujar’s best photograph

‘When I first visited the Yanomami tribe, they were completely isolated – they hadn’t seen a camera and didn’t know what photography was’

It was 1971 when I photographed the Yanomami tribe of Brazil for the first time. I knew that it would take time to build our relationship, but I wanted to see if we could become friends. For me, the best photographers are those who are truly interested in their subjects.

The Yanomami is a big population of indigenous people who live in the Amazon rainforest in northern Brazil and southern Venezuela; several thousand live in Brazil alone. A small village can be as few as 40 people, or a big one as many as 200. When I first went to the Yanomami villages, the tribe was completely isolated – some still are today. At that time, 50 years ago, they hadn’t seen a camera and didn’t even know what photography was.

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