The 2019 edition has been curated by Akshay Mahajan and Lola Mac Dougall. Some of the themes explored herein are:
Simon Bruegner’s The Arsenic Eaters questions the distinction between food and poison by focusing on XIXth century records of arsenic consumption in Eastern Austria. Rajyashri Goody’s Eat with Great Delight, comprises a collection of her own family photographs representing joyful enjoyment of meals. In these vernacular images we are confronted with a celebratory dalit experience of food that responds, in Goody’s own words, to the “need for positive images to break this onslaught of violent images of Dalit people”. Anshika Varma‘s “Kitchen Whispers” responds to food studies literature from the prism of the sensorial archive residing in the Goan village of Gaunkarvaddo. On the last day of the festival, The Edible Archives (a gastronomic project connecting food, memory and art) will curate a meal using the local produce of the Condillac Farm -one of the festival’s venues- offering a farm-to-table communal meal.
- Vernacular photography
Aldona Through Family Eyes is an artistic exploration of vernacular photographs from the village. Two artists -Akshay Mahajan and Angela Berlinde- in collaboration with anthropologist Pedro Manuel Sobral Pombo (Goa University) will put forward a selection of family photographs and their oral histories. Some images will be displayed as they were found while others will be reworked by the artists. Exhibitions by the Portuguese artist Ana Janeiro and Brazilian photographer Helena Martins Costa will also include everyday photography sourced from their respective countries.
- The private / the domestic
The festival venues lend themselves to a type of photography which is private or which makes reference to issues of domesticity, a theme we already explored in an earlier edition and which we continue to delve into in 2019. Pamela Singh’s self-portraits taken in the village of Loutolim are the closest we have to Francesca Woodman in India, both photographers sharing a confidence in the expressive capabilities of their own bodies. The Mexican photographer Tania Franco Klein uses the feminine body –including her own- to narrate a different story. Her impeccable and cinematically constructed interiors speak of confinement and dystopia as we are confronted with an American dream gone wrong. Over twelve years, the Swiss artist Anne Golaz depicted the rural farm where she grew up – she will participate in the form of a performed reading with an accompanying projection, Corbeau, to End as Expected.
At first sight, Ricardo Cases’ Dove Into the Air does not appear to be very domestic -as its protagonists spend their time staring at the sky, looking at how their pigeons race against each other. Wait till you see the collection of vintage images he found in the pigeon-keepers’ homes: a male dove pictured next to the trophy that it earned for its owner standing on top of the living room TV is one such image. The interrogation of the very idea of a home – a woman metamorphosed into an itinerant house as in Shivani Gupta’s Girl in a House– or precisely the absence of one, as in Edgar Martins’ What Photography & Incarceration have in Common with an Empty Vase are also explored by the festival. Cecile Smetana presents Diaspora a delicate portrait of the little known African-Mexican community of El Azure, a fishermen’s village on the Costa Chica region.
- Photobook section: The Travelling Library
The photobook continues to occupy an important place in the festival and the Italian publishing house Humboldt Books will curate a special selection from its book list to this end. This collection will be available for the public to consult in the reading space we will create at one of our venues, the Travelling Library. Federica Chiocchetti from the Photocaptionist will be in conversation around photobooks with its founding editor, Giovanna Silva.