Was 2011 really so depressing? Just in case we’d already forgotten some of the natural disasters, wars and general misery affecting so many people throughout the world, this exhibition reminds us with 150 in-your-face excellent images.
It is so easy to forget. Was that incident that long ago? I’d forgotten completely about that! But surely that is the point of photo journalism, from whose leading professional practitioners these photos have been chosen: to inform so that we care, or at the very least know what is going on out there.
Many of the images on display here though arguably inform, or show us too much.
Amongst a series of photos from Anders Breivik’s massacre on Utøya island, near Oslo, are images of dead bodies scattered on the shore.
Photos from the Mexican drug wars show bloody scenes of unimaginable violence, including a severed head placed beside severed legs in the beach resort of Acapulco.
There is thought provoking ambiguity in some of these images. In particular, four gritty black and white images of public hangings in Iran appal us at face value, cause some hesitation (just for a moment) when we read that the victims are convicted rapists and murderers. And the final image of a clamoring crowd goes some way to confirming the medievalism of the whole scene. Yet aren’t we clamoring for the same view?
If these images are too graphic, isn’t that an indication of our own preference for denial? To look the other way? Because as this exhibition vividly explains, nothing conveys a truth more than an image. Reading about some of these events will never garner the same strength of impact and therefore, memory, or response to them.
One of the best examples of this is the stunning portrait of what looks like a family on a mountainside in Yemen. Easy to pass, thinking there is nothing going on in this image (which several people did); the caption reveals that the girls, in their early teens, are married to the adult men. The series is about child brides. The image now takes on a whole different horrific gravity such is its illustration of the youth of the girls and the age of the men. While the text helped understand the image, the image, when understood, told us everything.
But despite the violence of many images and the totally depressing situations depicted in others, this annual exhibition perhaps succeeds most in the personal stories.
There are, as you would expect, superb big images from headline news stories, such as the Japanese Tsunami or the Arab Spring. But it is the close up portrait of an aged, deeply lined Japanese woman, captioned “a tsunami survivor” that most impresses, as a photo and an idea.
Likewise, the familiar image of a young woman sat crying amidst an apocalyptic scene is a moving and a truly great image. But another image, in which a woman proudly holds up her daughter’s graduation certificate, salvaged from similar destruction, tells us so much more.
Even in the series on the Norwegian massacre, it is the simple image of a red rose lying on the silent water that is most personal, most moving and most inspiring.
This exhibition makes for difficult viewing. And so it should. People should be hit in the face with the terrors going on in the world.
Saying that, the overall selection of subject and image could benefit from more focus on joyous or inspiring acts (armed guards protecting a Rhino in Kenya from poachers is one of very few images that causes a smile, while also informing and inspiring).
It should be noted that there are images here by photographers who died trying to tell us what is going on. Perhaps not a reason in itself to go. But they are great photos. And they should be seen.