COMMISSIONS

 

Bristol Photo Festival will commission local and international artists to make new work in and about the city of Bristol. The first edition commissions are:

 

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Growing Spaces    by                   Chris Hoare

 

‘Growing Spaces’ is a study of urban land cultivation in Bristol, seen through the experiences of the cities’ diverse inhabitants. It is an on-going work, unfolding at a time when land is in demand and there is an almost  unquenchable thirst for people to have a green space to call their own. Allotments have been around since the 1800’s, but are currently going through a renaissance, particularly in Bristol where many allotments have twice as many people on the waiting lists as they do plots. With such a demand and accessibility becoming a problem, many are commandeering and rejuvenating dead urban space for the benefit of themselves and the surrounding community, for the value it’ often only fully realised through the process of growing.

Working in a slow and methodical way during the coming seasonal changes, Bristol born photographer, Chris Hoare, aims to represent these themes to show the nuances and inherent beauty that draws people in to these routines of growing. In the process he hopes to uncover some of the diverse perspectives on agriculture, and the unexpected relationships which flourish in these distinctly community driven spaces. With such high demand and no sign of the popularity easing, what does the future hold for the city allotment?

 

EXPLORE THE MAP

The Georgian House by                Lebohang Kganye

 

Lebohang Kganye is an artist living and working in Johannesburg. Although primarily a photographer, Kganye’s photography often incorporates her interest in sculpture and performance. Kganye’s work has explored themes of personal history and ancestry whilst resonating with the history of South Africa and apartheid. Using Three-dimensional, photographic collage, she employs narrative to tell stories of home, refuge and family members. She has never met some of these ancestors, yet gains familiarity with them through the retelling of their stories.

Clearly adept at visually weaving complicated narratives, Kganye will pull on The Georgian House Museums’s own histories. The museum provides visitors with the opportunity to discover what a Bristol sugar plantation and slave owner’s home might have looked like around 1790. It’s eleven rooms spread over four floors are used to reveal what life was like above and below stairs, from the kitchen in the basement where servants  prepared meals to the elegant formal rooms above. Using themes of people, home, family, ancestry, slave-trade, and social hierarchy that are particular to this historically rich structure we draw closer to the inhabitants, their stories and the social complexities of the house. Through Kganye’s personal and contemporary lens we find out about these intimate stories whilst also learning more about the wider story of Georgian Bristol as a whole.

 

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The Georgian House by Lebohang Knganye

 

The Living Room Archive is a collaborative project that aims to collect photographs about this particular domestic space using creative citizen participation, through mail-art and digital tools. This ongoing collective imaginary will help us to reflect and analyse the sociological, psychological, anthropological and cultural importance of this domestic space as well as helping us to imagine a new future.

 

The Georgian House by Lebohang Knganye

 

Lebohang Kganye is an artist living and working in Johannesburg. Although primarily a photographer, Kganye’s photography often incorporates her interest in sculpture and performance. Kganye’s work has explored themes of personal history and ancestry whilst resonating with the history of South Africa and apartheid. Using Three-dimensional, photographic collage, she employs narrative to tell stories of home, refuge and family members. She has never met some of these ancestors, yet gains familiarity with them through the retelling of their stories.

Clearly adept at visually weaving complicated narratives, Kganye will pull on The Georgian House Museums’s own histories. The museum provides visitors with the opportunity to discover what a Bristol sugar plantation and slave owner’s home might have looked like around 1790. It’s eleven rooms spread over four floors are used to reveal what life was like above and below stairs, from the kitchen in the basement where servants  prepared meals to the elegant formal rooms above. Using themes of people, home, family, ancestry, slave-trade, and social hierarchy that are particular to this historically rich structure we draw closer to the inhabitants, their stories and the social complexities of the house. Through Kganye’s personal and contemporary lens we find out about these intimate stories whilst also learning more about the wider story of Georgian Bristol as a whole.