Artist, writer and curator from Britain, David Campany's deliberations over the relationship between photography and art while exploring existing tensions between affection and suspicion with respect to contemporary photography, opened the Delhi Photo Festival (DPF) here today.
"Photography has a very complicated relationship with art. It has functions outside of art. It has a document character which can't be erased or superseded. And this document character conditions its relationship with art," Campany said in his keynote speech.
The third edition of the biennial festival is being held at the Indira Gandhi National Centre for Arts and will continue till November 8.
An initiative of the non-profit Nazar Foundation, the nine-day-long event seeks to create awareness, appreciation and learning of photography as an art form.
The theme for this year's edition is "Aspire."
Campany in his talk, seemed to hint that photography is in fact a form of art, perhaps slightly unconventional, and that its practice exudes both the qualities of artistic beauty as well as documentation, due to its integrated relationship with "traces and time."
"Art and document are two potentials of the same object as photography. Photography is an exemplary medium of art culture which does not know what it wants from art," he said.
The festival, much like the medium of photography itself will offer photo practitioners a platform for vibrant discourses and debates.
"Photography is an exemplary medium of discussion about reproduction, quotation, values, democracy and dissemination (of photographs around the world), often prompting art to ask what is at stake," Campany said.
Campany is also a participant of a panel discussion on "What is Photography in the 21st Century?".
Moderated by Rahaab Allana, curator Alkazi Foundation and Editor of Pix Quarterly, other participants include Regina Anzenberger, artist and founder director Anzenberger Agency, of Austria, Devika Daulet Singh, founder, Photoink Gallery and Rob Hornstra, a photographer from Holland.
"Nukkad," an exhibition born out of a DPF student workshop conducted in association with Aarohan showcased frames shot by students.
The next week is set to witness many such exhibitions and panel discussions besides numerous workshops, gallery walks, artist talks and book launches.
A lecture by P Sainath and a panel Discussion on community photo projects is scheduled on November 2.
To introduce and engage people who are curious about the visual arts in a way that entertains and inspires them, DPF 2015 is also hosting a 'Photomela' from October 31 to November 2. "The photomela will provide a great space for photography
enthusiasts, families and individuals from different walks of life to come together and explore photography through a range of exhibitions and photographic activities," organisers said.
Leading galleries and art institutions have also joined the event as "Partner Galleries," mounting independent photography exhibitions and related events in their own spaces.
Dario Bosia from Italy has documented the "Identity of a Tomato Picker" a series of photos on the African immigrants. Ian Flanders from Australia traces the lives of sex slaves in Vietnam. Johan Bavman from Sweden has an interesting exhibit on the system of providing paternal leave for fathers in his country. Karolin Kluppel from Germany captures on reel women from Meghalaya, especially its Khasi tribe.
Exhibitions at the partner galleries include "Imaging the Isle Across: Vintage Photography from Ceylon" at the National Museum with The Alkazi Foundation for the Arts. "The Forgotten Frames: A Photographic Voyage with the People of Bastar by Manoj Kumar Jain shows black and white photographs of tribal from Bastar at the All India Fine Arts and Crafts Society.
"Behind The Veil: The Other Afghanistan by Nazes Afroz, portrays an Afghanistan, which is little known outside and is being hosted by Alliance Francaise while three American photographers living in Delhi explore the festival's theme of "Aspire" each with their own unique perspective at the American Center.
A portfolio of 18 masterfully-crafted prints, taken in the 1960s and 1970s, documenting Bhupendra Karia's interest in rural villages, creative traditions, and his unique view of India is on at Apparao Galleries while contemporary photographic works from the University of Chicago that respond to current events and media imagery is being showcased at GallerySke.
At the festival conducted tours for school and college students are being organised along with demos and short workshops.
