The British Council India and The Alkazi Foundation have come together for a photo project titled PHOTOUKINDIA – Origins, to curate works drawn from the shared history of both countries.
The exhibition of the curated entries will be held on October 14 at the British Council India in New Delhi.
We’re very excited to finally announce the participants for the first chapter of PHOTOUKINDIA. Over the coming weeks, we will feature a new artist, their history with, and approach to photography. In these two works, British photographer Alan Knox looks at the idea of the political landscape and the evolving personal space:
“Having been born and raised in Lanarkshire outside the city of Glasgow, my early interest in photography as an art-form was shaped by attending weekend classes at the Glasgow School of Art. During this time, I was exposed to the electrifying transformation taking place within the Glasgow contemporary art scene during the 1990’s, inspiring my practice for years to come.
During the past year my work has explored documentary practices by questioning shifting political sovereignty and it’s effect on the natural landscape. With The Debatable Land, I travelled the Anglo-Scots border with the intention of documenting the b-roads and dirt-paths that criss-cross the border, And presenting them as conduits between past and present.
My companion project, Schengland explores the role of internet imagery in documenting the transformation of border controls across the European project by appropriating Google Street View images from the eastern Schengen border and installing them on the Anglo-Scots border.”
“In the past year my practice has moved from the political to the personal. For Man in the Moon, producing large format black and white negatives from the family archive, held to the sky so to be backlit with the full Moon’s reflection, the faces of my ancestors filter the motion of the lunar orbit, which is traced as I re-photograph the negative at regular intervals.
My practice thus seeks to reflect on the lost aura of the work of art caused by mechanical reproduction, as Margaret Iversen writes: “To experience the aura of the phenomenon means to invest it with the ability to look at us in return. It implies, then, an ethical attentiveness and receptivity to the other.” In my practice, one may become receptive to the loss of the other by investing the lunar satellite with the ability to gaze back at the viewer through the mediation of photography, tracing the timeline of my Grandfather’s life.”
Follow his Instagram feed @alanknoxphotography