A collection of wearables with photographic impressions sourced from the Found Photo Foundation project
FLORA MCCALLICA printed jersey hoodie: printed with three iconic Flora Mccallica photocollages across its entirety: front, back, sleeves, kangaroo pocket, hoodie and hoodie lining. More about the hoodie here
FLORA MCCALLICA printed T-shirt: printed with three iconic Flora Mccallica photocollages across its entirety: front, back and sleeves More about the T-shirt here
Unbound Curated by Rob McDonald Herbert Read Gallery, Canterbury, 20 Oct – 9 Nov 2017 This exhibition includes works sourced from the Found Photo Foundation. Central to the works is the selection and publication of images in a variety of media, ranging from photobooks to photo-texts, newspapers and multiples.
Connecting Worlds Curated by Drawing Room in collaboration with UBM, 9 Sept 2013 – 14 March 2014 The photocollage works Time of Its Other (allegories of history, included in the exhibition were sourced from Found Photo Foundation and unearth a period of collective amnesia and censorship in Portuguese history that lasted until 1974.
Queer Paper Gardens Curated by: Joao Pinharanda Museu da Eletricidade, Lisbon 2013 Flora McCallica installation of 28 framed, photowork sourced from the Found Photo Foundation.
Silkscreen prints on newsprint paper black silkscreen ink treated with water and heat creating stains and patterns that are unique to each print 170 cm x 480 cm (85 cm x 120 cm each print)
Installation Silkscreen prints on metal wood pedestals Grange Walk studios London 2015
Stone lithography on newsprint paper 84 cm x 29cm | 2013
Collage photoworks Gelatin silver prints with herbarium specimens 39.5 cm x 29cm
Installation Gelatin silver prints with herbarium specimens on wooden frames 120 cm x 270 cm Dreaming Through exhibition 198 Gallery London I 2012
Installation Gelatin silver prints with herbarium specimens on wooden frames 164 cm x 210 cm Queer Paper Gardens exhibition | Museu da Eletricidade Lisbon I 2012
Stone Lithograph Frans Masereel Centrum 2013
Installation Silkscreen printed newspaper works on hardcover 77 cm x 120 cm Art in a bookshell: A survey of artists working with and inspired by books exhibition Milton Gallery London 2015
Installation Litho, silkscreen and xerox prints on industrial warehouse components Unbound exhibition | Herbert Read Gallery, University for the Creative Arts Canterbury 2017
Installation Silkscreen prints on industrial warehouse components 77 cm x 120 cm UN8 msdm studio gallery London 2017
Silkscreen print on archival paper 34.5 cm x 24.5 cm | 2013
Installation Silkscreen printed newspaper works on studio assemblages 77 cm x 120 cm Paradigm Store exhibition | Howick Place London | 2015
Flora McCallica as a body of work contains printworks, installations and photobookworks. The collages have auto-ethnographic and archaeological references, mixing orphan photographs dated 1958 found in the Lisbon flea market, and botanical specimens from an herbarium dated 1920s discarded by London Kew Gardens. Like pieces of evidence altered by the passage of time, the silkscreen and stone lithography prints have stains and patterns that are unique to each print. Central to my work is the selection and publication of images in a variety of media, ranging from photobooks to photo-texts, newspapers and multiples. I am interested in the practices of assembling, collecting and archiving and look for intersections of context and narrative. I combine my own photographs with those by other photographers. The sources are diverse, including the Found Photo Foundation and other photographic collections,and so are the publishing formats. Multiplication, collage and decomposition are methods of working that reflect upon notions of authenticity, authorship and the aura of the technologically reproduced work of art.
A STORY table edition 21 single section books 148 x 210 mm each, duotone toner prints on 80gsm paper installed on wood trestle table 60 x 74 x 200 cm
BUS-SPOTTING leporello edition leporello with 31 folds, closed: 29x21 cm; total length unfolded: 1,271 cm installed in in wood & metal support structure 28x x 49 x 180 cm
About the project
BUS-SPOTTING + A STORY marks the launch of Found Photo Foundation’s Orphan Series. Each work in the series explores a particular approach to publishing the printed material in the Found Photo Foundation collection. Orphan #1 BUS-SPOTTING + A STORY is the result of the collaboration with Mireille Ribière, author, photographer and scholar.
BUS-SPOTTING + A STORY is a 4-part photo-essay. Parts 1 and 2 (Bus Ride) comprise a sequence of 32 photographs in the form of twin books, split in images of double and single-decker buses. Part 3 (A Story) uses text and image with reference to the genre of photo-romance. Part 4 (Transport Enthusiasts) elucidates the raison d’être of the overall work, as well as the context in which the photographs were taken, through correspondence with one of the original photographers.108 pages 4 separate books (B&W, duotone and colour). More on the photobook here
The FOUND PHOTO FOUNDATION is an artist-led curatorial platform for the study and care of orphan photographs. There are multiple reasons these photographs became orphaned: they may have been abandoned following the death of their owners, they may have been stolen, or they may have simply ceased to be useful and thrown in the garbage, from where they may have been rescued and put back on the market.
Organised in informal collections, the photographs are used for study, workshops, publications and exhibitions. Creative research methods allow to unravel the diverse meanings of collecting, exhibiting and publishing orphan photography.
Museum für Gegenwartskunst Siegen Curated by Eva Schmidt
In the exhibition "Dear Aby Warburg: What can be done with images? Dealing with Photographic Material," the FOUND PHOTO FOUNDATION was exhibited as an experimental archive. It explored the use of photographic collections in contemporary art, and its many transmutations since Warburg’s Mnemosyne Atlas (1924-1929). The homage to art-historian Aby Warburg (1866 - 1929) as precursor to current art archival practices is unpacked by the exhibition’s curator Eva Schmidt, in the accompanying research publication. The montage of reproduced photographs from divergent sources, the use of variable, nonsystematic ordering parameters, and the extremely provisional display strategies are some of the Mnemosyne Atlas’ characteristics that reappear in contemporary works in the exhibition, and in the processes of photographic collection, accumulation and archiving used in the FOUND PHOTO FOUNDATION.
A materialisation of the FOUND PHOTO FOUNDATION. appeared in the installation The past persists in the present in the form of a dream (participatory architectures, archive, revolution) that was exhibited in London by HS Projects as part of Paradigm Store, a curatorial project reflecting on the haunting gap between 20th century modernist utopias and historical matrixes that have ripped apart modernist myths of progress. The past… in the form of a dream occupied that gap between the 1970s promises of radical participatory democracy and the contemporary reality of neo-liberal democracy in southern europe, featuring the Apeadeiro housing estate, one of the urban villages developed during the portuguese SAAL architecture programme, and now facing demolition.
This book presents the FOUND PHOTO FOUNDATION in the context of contemporary artistic and research-based approaches to existing archives, the act of collecting images, and creating new archives. Peer-reviewed, bi-lingual English and Swedish.
Dear Aby Warburg: What can be done with images? Dealing with Photographic Material
This book presents the FOUND PHOTO FOUNDATION with recent positions in contemporary art that deal with photographic material. Starting from the “Mnemosyne” picture atlas by the famous art historian Aby Warburg (1866-1929), the book and related exhibition unfolds a contemporary aesthetic of photographic constellations.
As archival artwork, in the medium of exhibitions and publications, the FOUNDATION investigates the archive as the site of an ongoing negotiation between the appropriation of photo-historical material and accumulative strategies of installation and publication. To date such research has produced several projects where strategies of photographic reproduction and distribution are scrutinised as particular modes of knowledge production that whilst engaged in the creation of archival art are far apart from the 19th century model of bureaucratic archive.
The collections are also a source for the ORPHAN Editions. Each Orphan edition explores a particular approach to publishing the printed material in the Found Photo Foundation collections.
Today, the Found Photo Foundation is located in the msdm house-studio-gallery and open to anyone who is interested, by arrangement. Please call or send an email to make an appointment.
The question 'What is to be done with images?' is also a question about the relationship between the archive and the presentation- the atlas, the tableau, the display. Does the archive in question represent a limited body of material, for example, the glass negatives exposed in a photo studio during the 1930s and 1940s and purchased by Cecile Hummel from a street vendor in southern Italy, or the images that paula roush gathered at portuguese flea markets and garage sales to archive in her Found Photo Foundation? It is ususally impossible to trace the provenance of these photographs which roush refers to as 'orphans'. they have become homeless, but nonetheless tell something like a private subterranean history of the time spent under a dictatorship..
Or do the images derive from a variety of sources, without being founded upon a coherent archive, as int he case of Ozlem Altin's investigation of formal correspondences between depictions of the body in motion. Are the images stolen away, so to speak, out of their original context or are their sources carefully documented, as i the case of Katrin Mayer, who also repeatedly juxtaposes them with passages of text that interest her - resulting in the creation of a new context for both image and text?
Regardless of all the differences in terms of the technique and the potential sources of the images, the art of the 'photographic collection' can be summarily described as a sort of game of Memory. When playing the normal version of Memory, it is the still hidden cards whose pictures cannot be seen. But let us assume that Memory were to consist of thousands of cards, most of which are not even on the table and some of which may even have been lost. Ultimately, Warburg was already playing this game, as Didi-Huberman at least optically establishes in the case of the Mnemosyne Atlas:"The images of an ensemble photographed on a single plane are suggestive of a card game spread out on a table.'
The artists of the exhibition Dear Aby Warburg are collectors of images; their artistic individuality consists less in a style or gesture than in the specific manner in which they...also physically open up new spaces for thinking between the images- something begun with Warburg when he started to pin photos to canvasses.
Flora McCallica, installation view of 28 framed photo-collages, exhibition Queer Paper Gardens, Museu da Eletricidade, Lisbon 2013.
Flora McCallica, collage of orphan photos from a set dated 1958 found in the Lisbon flea market and a 1920s herbarium (Herbarium Britannicum) discarded by the London Kew Gardens. Album titled after Annie McCall founder of the Maternity Hospital (1889-1970) where Stockwell Studios (where the work was developed) were based until 2013, Mary Delany inventor of botanical collage (Flora Delanica 1772-1782).
Flora McCallica, photo-collage, edition of: 1, 40 x 29 cm each
Orphan #1 BUS-SPOTTING + A STORY is the result of thecollaboration between paula roush, artist, publisher and creator of the Found Photo Foundation and Mireille Ribière, author, photographer and scholar.
BUS-SPOTTING + A STORY is a 4-part photo-essay.
Parts 1 and 2 (Bus Ride) comprise a sequence of 32 photographs in the form of twin books, split in images of double and single-decker buses. Far from being static, the collaged sequence suggests a bus ride through past time and spaces. The momentum stems from the varying points of view the constantly changing street scenes, as well as from the way complete and partial images alternate and run on from page to page, leading the reader’s eye back and forth.
Part 3 (A Story) engages with the narrative and fictional potential of found photographs –a different approach to the material – usingtext and image with reference to the genre of photo-romance.
Part 4 (Transport Enthusiasts) elucidates the raison d’être of the overall work, as well as the context in which the photographs were taken, through correspondence with one of the original photographers; additional material such as thereproduction of the copyright stamps at the back of the prints, as well as a letter dated 1971 between a photographer and a collector further highlight the tangible nature of the collection.
Edited, designed and bound by paula roush
Text by Mireille Ribière, with Colin Stannard
Photographs from the FOUND PHOTO FOUNDATION by Colin Stannard, Douglas F. Parker, G. Mead, J. G. S. Smith, Phil Picken, Robert F. Mack, T.E.S., T. L. Jones, and unknown photographers.
4 separate booklets in a slipcase 108 pages (B&W, duotone and colour) Laser printed on Fabriano 120gsm and 200gsm (slipcase) 21 x 30 cm (Parts 1, 2 ,4) and 14.8 x 21 (Part 3)
I perhaps don’t have the words to describe what I’m seeing, since I work on film rather than photography. But there was lots that I could see that reminded me of moving images. I especially like the layout of the two bus series. Bleeding some of the images across the page edge worked especially well for me; it reminded me as a reader/viewer of the editing process that went into producing the book, and I also liked the way it plays with the expectation that a cutaway or a close up will reveal the truth of the image, whereas actually it’s often just another layer or perspective that becomes visible.
I also enjoyed the dynamism that is introduced by juxtaposing two or more images; it brings the buses back into movement, whereas the single shots seem to freeze them in time. Plus of course, as you said yesterday, what become visible when the edges of the image are selected are the everyday stories that circulate around the buses as groups gather around them, or individuals pass across the shot.
Another thing: the story of the excursion was exquisite – it tells a history of ordinary (working-class) people going about their business, but also taking their lives in their hands, having places to go and things to do – collectively. Again, the serial organisation accentuates the mobility of the crowd – so the photographs move away from documenting a moment, and start to embody the movements and feelings of the group excursion as a social experience in history
Erica Carter, Professor of German and Film, King’s College London, comments to paula's presentation of BUS-SPOTTING + A STORY during "Chaos of memories- Surviving archives & the found photo foundation" for the launch of Order and Collapse: The lives of Archives April 2016