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‘The photograph we are left with and the memory of that time do not progress along the same time axes.’
‘My father was up early. Everything was in place: his books in their bag; each prayer and reading marked; his shoes shined, his shirt and collar, his cassock and cope pressed.’
‘From this, I developed the idea of the kingfisher’s search for a nest taking place over the course of a day, and this day being a microcosm of her world and a greater search for home and for meaning.’
Halle by Day
‘Partly as a result of emissions from these plants, but more particularly because brown coal is burnt in private houses, Halle has the highest level of air pollution in Germany.’
For the visual essay in Granta112: Pakistan, we collaborated with Green Cardamom – an organisation which focuses on international contemporary art viewed from an Indian Ocean perspective. With their help, we selected fourteen prominent figures from the contemporary art scene in Pakistan, and reproduced their work in the magazine.
In Pursuit of Guzmán
‘They called him Presidente Gonzalo, but his name was Abimael Guzmán. I had come to Lima to find Guzmán, although I knew I wouldn't succeed.’
‘The images of the Romanian revolution – I had seen it on television in Berlin – were still vivid in my mind.’
In the Andes
Sergio Larrain’s photographs of the Andes for Granta 36: Vargas Llosa for President.
In the Milk Factory
'In October 2002 I travelled to the Russian Republic of Ingushetia to see how the people who had fled were faring.'
‘Good heavens, old boy! It isn't the Russians we worry about; it's the British public that we don't want to know about it.’
Darcy Padilla's ‘Julie’ is not only a devastating portrait of a woman enduring the horrors of poverty and addiction but also a legacy of a relationship between subject and photographer that spanned decades.
Kwangju and After
‘Some people said they were not ‘with’ the students. They were not in favour of the use of arms. But they were of one voice in saying that the students were their sons, and that if the army came in the students would be put to death. That was why they kept saying: “Tell the truth about us.”’
‘I was bored. That was how it started. Anything I ever did that amounted to anything–or not–has always been the result of being sick of doing something else.’
Letters to Omar
‘His mail became part of the control process his interrogators exercised.’
Martin Rowson explores historical London through four very different maps.
Means of Transport
‘Use these photos as means of transport. Ride on them. No passes needed. Go close. Imprudently close. They leave every minute.’
The violence the retablos depict, the calamities of fate, weather, accidents or of illness, move us because they distil so powerfully what we already know all too well.
‘Today the Oglala Lakota live in the shadow of Wounded Knee on the Pine Ridge Indian Reservation.’
Mordros: The Sound of the Sea
Kurt Jackson is an environmentalist, ecologist and one of Britain’s leading artists.
Mothers, Daughters, Sons
Markéta Luskačová’s photographs of women and children for Granta 37: The Family.
For Granta 102, Paul Farley and Niall Griffiths returned to Netherley, on Liverpool’s north-eastern rim and the fringes of rural Lancashire, and to what remains of the housing estate where they grew up.
Of Bankers and Soldiers
Alex Kayser’s photographs of Swiss bankers and soldiers for Granta 35: The Unbearable Peace.
Olympic Drift: making way for the Games
‘Walking around the perimeter of the Olympic site has become an act of remembrance.’
Onboard the US Coast Guard Cutter Dallas
Photographs from onboard the US Coast Guard Cutter Dallas.
Out of Ark
‘How long has it been since Noah and his passengers set off in their vessel?’
Pakistani truck art
‘Truck artists transform village rickshaws, city buses and commercial trucks into a procession of moving colour.’