A Contested Land, at FLOW

 

The next showing of Document Scotland’s current exhibition, A Contested Land, featuring work by Sophie Gerrard, Jeremy Sutton-Hibbert, Stephen McLaren and Colin McPherson, will be at FLOW Photofest 2019, and held at Inverness College UHI.

FLOW Photofest 2019 – the international photography festival running across the Highlands & Islands and Moray in the North of Scotland, will launch on 6th September in Inverness.

 

FLOW would be delighted if you would be able to attend their official opening on the 6th September (6:00-8:00 p.m.) at:

Inverness Museum and Art Galley (IMAG)
Castle Wynd
Inverness
IV2 3EB

On show at IMAG will be work by Michael Flomen, Jana Romanova and Hannah Laycock. At Eden Court Theatre, a short walk away (and open till 10.00pm) we have work on show from:

Beka Globe
Jen Kinney
Tini Poppe
John Farrell
Adam Panczuk
Jeff J Mitchell
Daniel White
Sarah Riisager
Elena Chernyshova

At Inverness College UHI we have a major show from Document Scotland – A Contested Land.

The Launch night will also feature a visual display of work being shown outside Inverness in Thurso, Stornoway, Elgin, Findhorn, Uist and Ullapool by:

David Buchanan,
Iain Sarjeant (in association with Street Level Photoworks)
Kotryna Ula Kiliulyte,
Kacper Kowalski
Linda Lashford
Paul Glazier (in association with Street Level Photoworks)

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A Contested Land, at Perth Museum

Our touring show for this year, A Contested Land, opens on 23rd April at Perth Museum and Art Gallery. The show will run until 23rd June, with talks about the exhibition and work by Jeremy Sutton-Hibbert, Sophie Gerrard and Colin McPherson, on the evening of Thursday 9th May, 7pm.

Perth Museum and Art Gallery,

78 George St, Perth

PH1 5LB.

Tel. 01738 632488

Tuesdays- Sundays, 10am- 5pm. Closed Mondays. Free entry.

 

‘Tresured Island’. © Colin McPherson, 2019 all rights reserved.

 

Set within the context of contemporary political debate and social changes, A Contested Land consists of four new projects by photographers Jeremy Sutton-Hibbert, Sophie Gerrard, Colin McPherson and Stephen McLaren. Collectively, they examine the complex relationships between the nation’s people, history and land at one of the most important times in Scotland’s recent past.

The works reflect upon Scotland’s precarious environmental and economic landscape, within ongoing political conflicts that give these issues relevance and urgency. During both the Independence and European Union referendums, the word that dominated discussion was ‘change’ – it became the go-to for the dissatisfied. However, even with this uncertainty, the referendums have highlighted the fact that the Scottish people are proud of their identity and independent voice.

 

Faslane, Scotland, on 22 September 2018. ‘Nae (No) Nukes Anywhere’ anti-nuclear weapons demonstration at the Faslane Peace Camp and walking to a rally outside HM Naval Base Clyde, home to the core of the UK’s Submarine Service, in protest against Trident nuclear missiles. The rally was attended by peace protestors from across the UK who came “to highlight the strength of support from many UN member states for Scotland, a country hosting nuclear weapons against its wishes”. © Jeremy Sutton-Hibbert, 2018.

 

The four bodies of work presented in A Contested Land – exhibiting for the first time in Scotland at Perth Museum & Art Gallery, reflect upon the ongoing changes Scotland continues to face.

The show launched at the Martin Parr Foundation, in Bristol, in January and February, and now moves to Scotland for a run of showings

– Perth Art Gallery and Museum – 23rd April 2019 – 23rd June 2019. Preview on 9th May, 7pm.
– Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
– FLOW Photofest, Inverness, September 2019.
– Photo North festival 2019, Harrogate, England, 30 November – 2nd December 2019. This showing of A Contested Land will also include work by Margaret Mitchell.

 

Edinburgh Unchained. Photograph © Stephen McLaren, 2018 all rights reserved.

 

from the series The Flows © Sophie Gerrard 2018.

.

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Evening of photography from Scotland

Yesterday evening at Stills in Edinburgh, Document Scotland photographers Jeremy Sutton-HibbertSophie Gerrard, and Colin McPherson, and guests Arpita Shah and Margaret Mitchell, presented new photography work to a packed house, answering questions and generally having an enjoyable evening of photography from Scotland.

 

First on the floor was Sophie, introducing her new work The Flows, which takes a look at the management of the UK’s largest peat bog in the north east of Scotland, and the conservationists who manage it. Arpita led us on a brief trip through a few of her projects all of which look at Asian women, the diaspora and her own family and their journey through India, Kenya and Scotland. We were treated to a look at her new work ‘Nalini’, a project which will be on show at Street Level Photoworks in Glasgow, as of this Saturday, Feb 9th.

Jeremy Sutton-Hibbert presented images of the political demonstrations and marches that he has been photographing these past few years in Scotland, but started the talk with a few similar images from Romania in 1991, and Japanese demonstrations in 2003-2012, showing the threads and seams of work that run through his extensive archive.

 

Colin McPherson introduced ‘Edinburgh Unchained’ work of Stephen McLaren who sadly couldn’t make it along, talking to the Edinburgh crowd of the history of their city and how it benefited and profited from slavery and the end of slavery in the Caribbean, and the compensation paid to UK slave owners.

Margaret Mitchell silenced the crowd with her very thoughtful presentation of work about her own family, shot over 20 years. The projects, ‘Family’ and ‘In This Place’, provoke questions concerning options in life and how these are tied to the places you’re born, the society and families you’re born into, and the economic pressures which come to bare. You can read an interview with Margaret Mitchell about her work on our site here.

 

Colin rounded off the evening with a lovely presentation of his new work from Easdale Island on the west of Scotland, an island he has a 30-year history with, but through photographing there in recent months has rediscovered a new love for the place and and the people that live there.

Many thanks to all who came, for your thoughtful questions and also, much thanks to Ben Harman, Rachael and the staff at Stills for helping facilitate the evening.

The Document Scotland work on show yesterday evening can all be seen on the walls at the Martin Parr Foundation in Bristol until March 16th. Following that the work will tour to Scotland.

See more information about the show and the press release here.

Martin Parr Foundation
316 Paintworks
Arnos Vale
Bristol
BS4 3AR

Gallery opening times
Wed to Sat, 11am – 6pm
Sun to Tue, closed

Free entry to all exhibitions.

Touring exhibition dates

– Perth Art Gallery and Museum – 23rd April 2019 – 23rd June 2019.
– Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
– FLOW Photofest, Inverness, September 2019.
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Forthcoming attraction

As part of the launch of A Contested Land, the first exhibition of which is currently on show at the Martin Parr Foundation in Bristol, we are staging one of our popular salon evenings at Stills Gallery in Edinburgh.

The event takes place on Thursday, 7th February and as well as presenting work from our new show, we are delighted to have two additional contributors to the evening’s entertainment. This will be our third salon at Stills, and we are very much looking forward to a stimulating, relaxed and enjoyable event.

Central to the evening’s programme will be presentations by three of Document Scotland’s photographers who will each talk about their own individual projects: Jeremy Sutton-Hibbert will guide us through Let Glasgow Flourish, his insider’s view of street politics in his native city, which has been the frontline in many of the recent political campaigns, from the Independence and Brexit referendums, to protests about refugee rights, arms fairs and nuclear weapons. Sophie Gerrard will talk about The Flows, her evocative and beautiful study of the unique landscape of the Flow Country in Caithness and Sutherland. The work discovers and explores issues behind the degradation and regeneration of this iconic location, which now enjoys protected status from rapacious exploitation. Colin McPherson’s Treasured Island looks at contemporary life through a historical prism on Scotland’s smallest permanently-inhabited inner Hebridean island, Easdale in Argyll. By weaving together the past and present, he tells the story of an island whose very survival is always in question, but whose population – numbering just 65 – is as resilient and imaginative as anywhere. Finally, we will look at Stephen McLaren’s Edinburgh Unchained, a fascinating investigation into the links between the wealth of Edinburgh and the city’s links to the African and Caribbean slave trade. This body of work poses questions which go beyond the merely rhetorical in seeking an explanation as to why Scotland’s capital still benefits for the actions and injustices carried out by Scots abroad in the 18th and 19th century.

We are delighted also to be able to include work by two of Scotland’s most outstanding current photographers, both of whom are making consistently captivating work. We have previously featured Arpita Shah’s work live and it is a pleasure to be able to invite her back again to see her latest stories. She is a photographic artist and educator based in Edinburgh and works between photography and film, exploring the fields where culture and identity meet. As an India-born artist, Shah spent an earlier part of her life living between India, Ireland and the Middle East before settling in the UK. This migratory experience is reflected in her practice, which often focuses on the notion of home, belonging and shifting cultural identities. Arpita is also co-founder of Focàs Scotland, an initiative that supports local and international emerging photographers.

Glasgow-based Margaret Mitchell’s work spans over two decades and has recently started to receive the recognition it richly deserves. A first-time collaborator with Document Scotland, Margaret will talk about two projects: Family (1994) & In This Place (2016-17). Taken over 20 years apart, these two connected series ask whether the choices we have in life are ultimately predetermined by upbringing, locality and socio-economic position intertwining with the issues of social inequality that they raise.

Document Scotland is looking forward to a great event and we hope that those who have already bought tickets will have an enjoyable and thought-provoking evening.

Please note that the event is now officially sold out, however, if you wish to attend, please email colin@documentscotland.com for the up-to-date situation regarding the waiting list and returns.

‘Edinburgh Unchained’. © Stephen McLaren, 2019 all rights reserved.

‘The Flows’. © Sophie Gerrard, 2019 all rights reserved.

‘Treasured Island’. © Colin McPherson, 2019 all rights reserved.

‘Let Glasgow Flourish’. © Jeremy Sutton-Hibbert, 2019 all rights reserved.

‘In This Place’. © Margaret Mitchell, 2019 all rights reserved.

‘Nalini’. © ArpitaShah, 2019 all rights reserved.

 

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A Contested Land

Document Scotland’s A Contested Land has now opened at the Martin Parr Foundation in Bristol, England. The show runs until 16th March, 2019, before further showings in Scotland at Perth, Dunoon and Inverness.

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019. 

 

It gives us great pleasure to announce that our latest show, A Contested Land, successfully opened last week at the Martin Parr Foundation. Surrounded by friends, family, colleagues and esteemed members of the photographic community, a lively evening kicked off the show’s run in Bristol.

With talks by all four Document Scotland photographers – Sophie Gerrard, Jeremy Sutton-Hibbert, Stephen McLaren and Colin McPherson, the crowd was entertained and the works on the walls introduced before the socialising began over drinks.

With thanks to all who attended including Annie Lyden of the Scottish National Portrait Gallery, David Hurn/Magnum, Homer Sykes, Tony O’Shea, Brian Sparks, Daffyd Jones, Miles Ward, Craig Easton, Toby Smith, Jon Tonks, and many, many more. And of course many thanks to Martin Parr and his wonderful team for their support, generosity and hospitality.

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019.

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019.

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019.

 

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019. 

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019.

 

Document Scotland exhibition ‘A Contested Land’ opens at the Martin Parr Foundation, in Bristol, England, 15 January 2019. © Jeremy Sutton-Hibbert, 2019.

 

See more information about the show and the press release here.

Martin Parr Foundation
316 Paintworks
Arnos Vale
Bristol
BS4 3AR

Gallery opening times
Wed to Sat, 11am – 6pm
Sun to Tue, closed

Free entry to all exhibitions.

Touring exhibition dates

– Salon event at Stills Gallery Edinburgh 7th February 2019 (evening).
– Perth Art Gallery and Museum – 23rd April 2019 – 23rd June 2019. Preview on 9th May, 7pm. .
– Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
– FLOW Photofest, Inverness, September 2019.
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A Contested Land: Behind the lens #4

In the lead up to our forthcoming exhibition A Contested Land opening at the Martin Parr Foundation in Bristol on 15th January 2019, each of the Document Scotland photographers gives an insight into their work, this week Stephen McLaren talks about his new and ongoing work Edinburgh Unchained.
“After I finished taking photographs for my 2015 project, A Sweet Forgetting, which looked at how Scottish slave-owners made their fortunes in the production of sugar by thousands of enslaved Africans in 18th and 19th century Jamaica, I felt that there was some unfinished business here for me. Specifically I wanted to know how wider Scottish society had related to the rapacious nature of the slave-colonies in the Caribbean? What did they know, when did they know it, and what did they do about it? 

Edinburgh Unchained. Photograph © Stephen McLaren, 2018 all rights reserved.

 

These are the kinds of historical questions that photography struggles with, or certainly my kind of photography struggles with. How to photograph the social and historical attitudes of a population?

Anyway, one way through the puzzle, I found was to look at one specific Scottish location, Edinburgh’s New Town, and using historical records try and make some kind of visual record of how slavery impacted the lives of the city’s denizens.

Edinburgh Unchained. Photograph © Stephen McLaren, 2018 all rights reserved.

 

In Edinburgh Unchained, I have attempted to show how those genteel Georgian streets laid out to create room for a burgeoning Scottish middle class, benefited enormously from slavery in the Caribbean during the 18th and 19th centuries. 

Edinburgh Unchained. Photograph © Stephen McLaren, 2018 all rights reserved.

 

In 1834, when slave-ownership was finally abolished, the British government paid out £20m to compensate around 3,000 families that owned slaves for the loss of ‘property’. This sum is the equivalent of around £16.5bn today and equates to around 40% of UK’s gross national product in that year. This was the biggest bailout of private interests in British history and the government debt was only finally paid off in 2017.

The New Town in Edinburgh benefited disproportionally from this bailout and thanks to a ground-breaking database from University College London, we know that 320 Edinburgh addresses were compensated by the government for every slave that was owned by these households. 

Edinburgh Unchained. Photograph © Stephen McLaren, 2018 all rights reserved.

 

In Autumn 2018, I downloaded the UCL database of compensated slave-owners from New Town, Edinburgh, and using GPS I walked and cycles around every street. I photographed every address in whose owners had been compensated in 1834 and found that, thanks to very strict preservation orders, virtually all these addresses currently still exist. Not every house contained slave-owners as many were represented by local agents and lawyers, but a great many were fairly ordinary people, who just happened to own slaves.

Virtually all of the properties I visited are respectable Georgian-era buildings, most are still private dwellings, but occasionally we see how commercial life has taken over some of these properties in the intervening period. What is certain is that Edinburgh, as a city, benefited from slavery, both from the huge government compensation bailout, but also from 150 years of brutal human exploitation of African labour.

Edinburgh Unchained. Photograph © Stephen McLaren, 2018 all rights reserved.

 

In Edinburgh Unchained I suggest that the profits from slavery have been deeply embedded in the very fabric of Edinburgh life and society, and that ultimately, the city, and Scotland as a whole, has a massive debt to pay to the countries of the Caribbean for the depravity and human exploitation which lay at the heart of this transatlantic crime against humanity. 

If you would like to read my Guardian article on why Scotland has a real financial debt to pay the countries of the Caribbean for the era of slavery please follow this link…https://www.theguardian.com/commentisfree/2017/jan/13/slave-trade-slavery-scotland-pay-debts

 

Document Scotland’s A Contested Land will have its first showing at the Martin Parr Foundation in Bristol, England from 16th January until 16th March, 2019, before further showings in Scotland at Perth, Dunoon and Inverness.

See more information and the press release here

Martin Parr Foundation
316 Paintworks
Arnos Vale
Bristol
BS4 3AR

Gallery opening times
Wed to Sat, 11am – 6pm
Sun to Tue, closed

Free entry to all exhibitions.

Touring exhibition dates

– Salon event at Stills Gallery Edinburgh 7th February 2019 (evening).
– Perth Art Gallery and Museum – 20th April 2019 – 23rd June 2019.
– Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
– FLOW Photofest, Inverness, September 2019.
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A Contested Land

A Contested Land – new work and exhibition from Document Scotland. 

Set against the current political backdrop, Document Scotland’s four photographers examine the complex relationships between the nation’s people, history and landscape.

Showing at The Martin Parr Foundation, 15th January 2019 – 16th March 2019.

‘All Under One Banner’, Scotland. © Jeremy Sutton-Hibbert 2018.

 

“The Foundation supports and preserves the legacy of photographers who made, and continue to make, important work focused on the British Isles.” – Martin Parr.

 

A Contested Land.

When taking part in a tournament, competition or any sort of contest, it is usual to know what the prize is for winning. Whether it is a shiny medal or golden trophy, the outcome is usually something pre-determined or tangible, even if it is not ultimately obtainable by everyone competing. To the victor, the spoils: to everyone else the scars of defeat or the satisfaction not of winning but of having taken part.

If this description of where Scotland is as a nation today is somewhat allegorical, it is worth considering that the current and ongoing debate about the nation’s future hides the many layers of its story. Life continues to change and evolve, often in-spite of rather than because of the debates around the merits of becoming an independent nation, the ramifications of Brexit or the challenges posed by climate change or other seismic global events.

Into this miasma steps Document Scotland: four photographers passionate about dissecting their nation and disseminating their viewpoint beyond the border at Berwick in order to stimulate, inform and educate. By looking past the tired tropes and casual cliches which often cloud an accurate view of what Scotland is today, they aspire to offer a passionate yet dispassionate take on aspects of the nation unseen.

The past is ever-present in each of the collective’s four new individual projects which meld together to form A Contested Land, the title of Document Scotland’s forthcoming exhibition. 

 

from the series The Flows © Sophie Gerrard 2018

 

Easdale, Scotland. © Colin McPherson 2018.

 

 

‘Edinburgh Unchained’, © Stephen McLaren 2018.

 

Anti-nuclear demonstration, Faslane, Scotland. © Jeremy Sutton-Hibbert 2018.

 

For decades, Scotland’s largest city has been a hotbed of radical ideas, protest and, at times, insurgency. From the 1919 Red Clydeside rebellion, to opposition to the Poll Tax, from support for Spanish Republicans opposing General Franco to the hero’s welcome afforded to Nelson Mandela, politics has never been far from the surface in Glasgow. Today, set against the prospect of Brexit and a possible second referendum on Scottish independence, Glasgow is alive with political activity. The city has a long tradition of integrating people from elsewhere. In the past, Irish immigrants sought refuge from the Famine whilst Highlanders fled the brutal Clearances. In modern times asylum seekers have sought safe haven in the city. These events have helped shape Glasgow and given it a sense of identity and purpose and a pride that its people are ‘Clyde built,’ like the magnificent ships once manufactured on the river which snakes through the heart of the city: resilient, proud and unique.  As an insider, photographer Jeremy Sutton-Hibbert has spent a quarter-of-a-century documenting the raw and powerful political theatre which plays out in Glasgow’s public places. Saltires, tricolours and Union Jacks compete for space in vibrant and lively displays of standard-bearing, demonstrations and protests. Placards are waved, slogans chanted and the passion and belief on show evoke and provoke a visceral reaction based on one’s own point-of-view. What intrigues is not what divides the different sides of these arguments, but what, ultimately, unites: they are all Glaswegians. Strip away the banners, confiscate the flags, put them side-by-side on their marches, and you cannot tell these adversaries apart. It is what makes this work so poignant and beguiling. And offers the tantalising possibility of an undivided future, whatever the ramifications of current political discourse and disagreements.

 

from the series The Flows © Sophie Gerrard 2018

Sophie Gerrard’s work focuses on the gentle and undulating peat lands of Scotland’s Flow Country. Eschewing sentimentality, the photography looks at how this precious environmental resource has been desecrated and denuded over generations and how these almost magical places are being revived and reinvigorated through careful and considered conservation.  This is no abstract notion: survival of the peat bogs is a touchstone for the health of the nation. Once seen as ‘fair game’ for industrial-scale exploitation, Sophie poses a metaphorical question, asking us to consider our relationship with local and national areas of outstanding beauty and how these places of natural resources fit into Scotland’s topography and consciousness, linking people to the land, and vice-versa.

 

‘Edinburgh Unchained’, © Stephen McLaren 2018.

 

Building on previous work which looked at the historical ties that bind Scotland with slavery through the sugar industry, Stephen McLaren returns to the theme to explore and examine the hidden and almost forgotten link between Edinburgh’s wealth and the slave trade with Jamaica. In the immediate aftermath of this year’s Windrush scandal, it is a timely and forceful reminder that the past, in all its forms, is immediately around us. Behind the front doors of Edinburgh’s New Town lies the legacy of British colonial exploitation. With each pound passed down through the generations, Scotland distanced itself from its inheritance as architects and perpetrators of the widespread and cruel exploitation of many thousands of bonded and chained men, women and children. Stephen’s work does not exist merely to prick our consciousness, but to start a national conversation about acknowledging an historical wrong and discussion about reparations. It should also force Scotland to examine and re-evaluate the relationships with people and communities within and outwith its own borders.

Easdale, Scotland © Colin McPherson 2018

History is the starting point for Colin McPherson’s visual exploration of life on Easdale, the smallest permanently-inhabited Hebridean island on Scotland’s long, varied and sparse west coast. Once the epicentre of Scotland’s renowned slate quarrying industry, this fragile parchment of rock, sitting two hundred metres off the adjoining island of Seil, has become a by-word for repopulation and reinvention as its current community continues to battle traditional adversaries: economics and the environment. At its height in the 19th century, Easdale housed four hundred people; the quarrying provided work for the men and the slates they produced roofed the world, from the cathedrals in Glasgow and St. Andrews to the New World. When an epic storm decimated the island in the 1880s, the island went into decline and depopulation, only for a new band of pioneers to resettle and revive Easdale nearly a century later. The photographer’s personal connections with the island date back thirty years, and in this series he offers a contemporary commentary about the parallels with the past and how many of the 65 current residents live their lives.

In one sense, Scotland is not unique in that the problems it faces are identical in many other nations: environmental dangers demanding urgent governmental and public responses; poverty and lack of opportunity blighting a country of great natural wealth; inequality in all its forms scarring society, holding back peoples’ potential and draining the public purse. Viewed from afar, Scotland appears to be no different from any other country as the world evolves in the 21st century digital dynasty. However, drill down below the surface and what is revealed is a multi-layered tapestry, a hopscotch, hotchpotch history where the ebb-and-flow of power and wealth, emigration and immigration and an often rudderless sense of direction leaves the impression seen from within of a nation sailing precipitously through low-hanging haar towards an unknown destination. That is not to say there isn’t a strong sense of what constitutes Scottishness to guide the country. It pre-determines the national conversation, and if the 2014 Independence referendum highlighted one thing through the debate, discussion and diatribe, it was that those who live, work and breathe the air in Scotland feel first-and-foremost Scottish above all else. Scotland may not be colour coded like so many nations, including its much larger, more powerful and influential neighbour to the south but the sense of Scottishness runs through its citizens veins as strongly as the clear waters of any burn cascading its way down a craggy Munro into one of those fabled lochs or glens. So, whilst the direction of travel might be clear the ultimate destination remains tantalisingly unseen.

Scotland is mired in inconsistencies and contradictions. Vast tracts of its famous wilderness have been scarred by generations, centuries even, of public and private mismanagement, leaving a brutalised landscape, barely fit for human habitation and endeavour. The country’s precious marine resources are controlled by a mere five all-powerful fishing families. The wealth of the wealthiest is 250 times that of the poorest. Whilst the population of its major city conurbations continue to grow and expand, population growth in many areas is flatlining or even falling, leading to an unsustainable drain of the best and brightest from some of the most iconic and far-flung locations. The public response to this has been confused. During both the Independence and European Union referendums, the word which dominated the discussion was ‘change’. It became the go-to for anyone dissatisfied or desperate, demanding or downtrodden.

Although still rooted in many traditions of the past, one-eyed, lopsided romanticism has given way to glorious reinvention and innovative thinking. From the games designers of Dundee who brought the world Lemmings and Grand Theft Auto to Pride marches in the Outer Hebrides giving a voice to marginalised individuals, slowly but surely Scotland is loosening the grip of its moral masters, that toxic combination of power, vested interests and religious intolerance. The visual expression of this may be the flag-clad combatants who take to the streets to announce their political allegiances, displaying a fervour and belief long since lost by the footballing foot soldiers of the Tartan Army, but in quiet corners, small bedrooms and whispered conversations, Scotland is proving itself to be capable of radical thinking, a seed bed for creatives, dreamers and idealists.

The prize remains undefined and Scotland does not know is what it looks like. It is hard, if not impossible, to predict where and what Scotland will be in a generation’s time. The political tectonic plates are shifting and individuals and communities will be forced to adapt and survive in new and as yet unseen realities. With the game still very much in progress and the final result to be determined in remains an exciting time to be in Scotland, after all.

Document Scotland’s A Contested Land will have its first showing at the Martin Parr Foundation in Bristol, England from 16th January until 16th March, 2019, before further showings in Scotland at Perth, Dunoon and Inverness.

Martin Parr Foundation
316 Paintworks
Arnos Vale
Bristol
BS4 3AR

Gallery opening times
Wed to Sat, 11am – 6pm
Sun to Tue, closed

Free entry to all exhibitions.

 

Touring exhibition dates

– Salon event at Stills Gallery, Edinburgh. February 2019. Date to be confirmed.
Perth Art Gallery and Museum – 20th April 2019 – 23rd June 2019.
Dunoon Burgh Hall – 20th July 2019 – 18th August 2019. Preview on 19th July.
FLOW Photofest, Inverness, September 2019.
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Homage to Catalonia

On the day the Catalonian government announces it plans for independence from Spain, Stephen McLaren recounts his experiences from there in the week leading- up to the tumultuous vote.

© Stephen McLaren 2017 all rights reserved.

A yes sign displayed in the streets of Catalonia © Stephen McLaren 2017 all rights reserved.

I first strolled down the famous Ramblas of Barcelona in the summer of 1991. This was a year before the city would be the host for the 25th Olympic Games which would prove to be so successful in raising Barcelona’s international profile. In front of the worlds tv cameras the games were used by Barcelona’s government to revitalise its urban core and announce itself as a world class city, open to curious travellers and lovers of Modernista architecture, glorious food and new Mediterranean styles. I was one of those early Scottish visitors with pesetas in my pocket to revel in the city’s tapas bars and uber-stylish nightclubs.

A group of African boys at the Barcelona v Girona football game © Stephen McLaren 2017 all rights reserved.

At the foot of the Ramblas graffiti scrawled on a wall announced, “Catalonia is not Spain”. This surprised my 24 year old self as I thought I had travelled to Spain’s second city and to a country which had only seven years previous freed itself from the despotism of the fascist general Franco. I had yet to read Orwell’s, “Homage to Catalonia”, his gripping first-person account of the Spanish Civil War being fought in and around Barcelona, but after reading it I realised I had been naive in coming here and expecting the locals to speak the same language as other Spaniards, and to have similar politics and traditions to the Andalucians, the Madrileños and the Basques.

A banner at the recent Barcelona v Girona football game in Girona © Stephen McLaren 2017 all rights reserved.

It took me a while to get it but when I did I began to appreciate that Catalonia was indeed not Spain, it was proud of being its own national entity with centuries of distinct history and cultural achievements. But in 1991 Barcelona and the wider Catalan nation was still very much ruled by the politicians in Madrid who had found their voice in the post-Franco democratic era.
A few weeks ago I found myself in Barcelona again, the twentieth-or-so time I’ve visited this magical place since my first glimpse in 1991. I arrived for a short family holiday taking in Catalonia’s other urban jewel, Girona, and the seaside town of Cadaques, only ten miles from the French border and the home of the artist, Dali, but I knew that an independence referendum was being held at the end of my week’s travels and I felt duty bound to follow the build-up this landmark event with my camera.

Independence supporters in Barcelona sing the Catalan national anthem © Stephen McLaren 2017 all rights reserved.

 

A policeman in Barcelona plays with his handcuffs during the Catalonia referendum on independence.

Having followed the ebb and flow of the 2014 independence referendum in Scotland via the competing signage of “Yes” and “No” I knew that a visual survey of posters and banners would give me an idea of the allegiances of various neighborhoods. However as I walked round the dense and fascinating barrios of Gracia, Raval, Born and Poblemou all I found was a multitude of nationalist Estelada flags and numerous Si banners in windows and public squares but nothing from the opposing camp. It quickly became obvious that those wishing to remain part of Spain were refuseniks in this campaign and were hoping that it would all just go away, perhaps by  judicial action from the Spanish state.
I left for Girona, ninety minutes up the coast, to watch a football derby between the mighty Barca and Girona FC who are always playing the plucky underdog in this fixture. The city of Girona lies at the heart of the campaign for Catalan nationhood. The politician who called the referendum, Carles Puigdemont, is a local boy and the city’s cultural calendar is full of Catalan song, dance and literature so I knew this is where I would find the heartbeat of the Si camp.

A woman in Barcelona walks past graffiti during the Catalan independence referendum © Stephen McLaren 2017 all rights reserved.

Before the match both sets of supporters mingled in front of the stadium grabbing pamphlets and  flags from a huge throng of boisterous Si campaigners. “Welcome to the Catalan Republic” said a huge sign, confusingly to me, in English. Amongst the older sets of fans, groups of young African boys whose families had been welcomed to Girona in recent years proudly wore flags supporting the Si message. I briefly contemplated the possibility of a Celtic Rangers game in which rival supporters coalesced around a similar political campaign and then laughed darkly to myself.
Barca would go onto win the game convincingly but with a week to go until the referendum was due to take place there was a tension around the game and in the city itself which I recognised from 2014 in Scotland. People seemed more focussed and self-conscious in public, the everyday activities of shopping for the dinner table and meeting friends in bars took on an intensity I found hard to convey in photographs. Politics is serious stuff but the politics of nationhood is always of a rawer and more intense variety as notions of identity and national allegiances play out in the public sphere.

A public notice board in Cadaques, Catalonia, announcing the independence referendum © Stephen McLaren 2017 all rights reserved.

In some ways the atmosphere in Girona felt similar to that which I had felt in Dundee in 2014 when it became the city most galvanised most by the Scottish independence campaign. Catalan flags were draped around many of the apartment buildings in the city, political gatherings were raucous, and the Catalan national anthem was song lustily in the beautiful winding streets of the historic city centre.

Girona in Catalonia during the independence referendum © Stephen McLaren 2017 all rights reserved.

Back in Barcelona with only three days to go until the vote, the tension was palpable. Tv news reports showed thousands of Spanish police being shipped-in on a huge ferry at the docks. Students were occupying their universities and groups of flag-wearing Si supporters could be found singing patriotic songs in the old section of the city. I watched several intense political street corner speeches invoking the democratic right to have a vote on self-governance and self-determination.

A dog with a Catalan flag during the independence referendum © Stephen McLaren 2017 all rights reserved.

 

A family attending a rally for independence in Girona, Catalonia © Stephen McLaren 2017 all rights reserved.

Unlike in 2014 Scotland there was no-one with an opposing view to counter-balance the Si message and it wasn’t hard to work out that the Spanish governments refusal to acknowledge the vote would lead to widespread absenteeism from those who preferred to remain part of Spain.
My return ticket, booked for two days before the vote, meant I couldn’t be there to witness the police violence which marred the referendum itself but you tell it was coming. The Spanish PM, Rajoy was on TV bellowing his intransigence from an American visit to fellow strongman, Donald Trump. Police vans prowled much of the city centre and none of the boys in blue were cracking a smile. In the end those who wanted to vote were able to despite a clumsy and reprehensible crackdown from authorities in Madrid but a lack of international recognition remains a major stumbling block for those espousing Catalan nationhood as does the unwillingness of the opposing view to participate widely in a referendum.

A rally for independence in Girona, Catalonia © Stephen McLaren 2017 all rights reserved.

That scrawl of graffiti on the Ramblas from 1991 which alerted me to the idea that Catalonia is not Spain is now being replaced across Barcelona with more aggressive assertions of Catalan separateness . However it remains far from certain that these demands will come to fruition in the face of a bullying state which insists on the indivisibility of Spain above all else. In the following days which will be tense and doubtlessly full of bellicose political posturing It is to be hoped that the democratic impulse and a negotiated settlement is not allowed to flounder in this most culturally rich part of Europe.

A Catalan cultural event in Girona © Stephen McLaren 2017 all rights reserved.

 

Women running for charity in Girona, Catalonia, and supporting independence © Stephen McLaren 2017 all rights reserved.

 

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St Andrews Photography Festival & Salon

Celebrating 175 years of Scottish Photography in the home of Scottish Photography

We at Document Scotland are very pleased to involved with the first ever St Andrews Photography Festival 2016 where we will be presenting a Document Scotland public exhibition and a free Salon  afternoon of talks, multimedia and discussion about documentary photography in Scotland.

 

Document Scotland Exhibition

Featuring work by the four members of Document Scotland this exhibition is on at The Scores Railings – an outside street location open 24 hours – on the north side of St Andrews as you make your way to the Aquarium and the beach. The exhibition includes Drawn To The Land by Sophie Gerrard, North sea Fishing by Jeremy Sutton-Hibbert, A Fine Line by Colin McPherson and Scotia Nova by Stephen McLaren.

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Minty, Isle of Mull, 2014 © Sophie Gerrard all rights reserved

Minty, Isle of Mull, 2014 from the series ‘Drawn to The Land’ © Sophie Gerrard all rights reserved

 

Aboard the seine netter 'Argosy', on the North Sea, 1995. ©Jeremy Sutton-Hibbert, all rights reserved.

Aboard the seine netter ‘Argosy’, on the North Sea, 1995. ©Jeremy Sutton-Hibbert, all rights reserved.

 

'Site of the Battle of Redeswire, 2013' from 'A Fine Line - Exploring Scotland's Border with England' © Colin McPherson, 2013, all rights reserved.

‘Site of the Battle of Redeswire, 2013’ from the series ‘A Fine Line – Exploring Scotland’s Border with England’ © Colin McPherson, 2013, all rights reserved.

 

From the series 'Nova Scotia', Scotland. ©Stephen McLaren, 2012, all rights reserved.

From the series ‘Nova Scotia’, Scotland. © Stephen McLaren, 2012, all rights reserved.

 

Salon Event 28th August 2016 3-5pm

On Sunday August 28th, we’re hosting a Salon afternoon event to showcase some excellent Scottish photography and multimedia, to get people together and to toast the good times of the St Andrews Photography Festival.

The event will be held at Martyr’s Kirk Research Library, 80 North Street, St Andrews, KY16 9TR from 3pm – 5pm and is as ever completely FREE to attend.

We will be presenting some of our own work by the collective members Colin McPherson, Stephen McLaren, Sophie Gerrard and Jeremy Sutton-Hibbert, and also some of our favourite work by others which we’ve enjoyed featured on our blog and website from the last couple of years.
We invite you to come along for an afternoon of some great photography, multimedia and lively discussion.
No need to book, if you would like to attend please just come along. We hope you can make it, and we look forward to the chat!

 

The audience at the Document Scotland Summer Salon event at Stills Gallery, Edinburgh

The audience at a Document Scotland Summer Salon event at Stills Gallery, Edinburgh, August 2013.

 

Press Release

“The University of St Andrews Library Special Collections Division is working with BID St Andrews – the business improvement body created to support businesses in the town – and local businesses to launch an annual photography festival in August which will celebrate the role and importance of St Andrews in the world of photography and engage with those who live, work in and visit the town.

BID Chairman, Alistair Lang, explains: “We are one of the most photographed and filmed towns in the world, yet few realise much of the technology we enjoy the benefits of today began with the work of a collection of photographic pioneers who lived and worked in St Andrews in the 1800s.”

Dr John Adamson is perhaps the most celebrated – a blue plaque adorns the wall of his former home in the town on South St, now The Adamson Restaurant. But many other names are to be celebrated for the role they played, including Sir Hugh Lyon Playfair, David Octavius Hill, Robert Adamson, Thomas Rodger and Sir David Brewster.

The first six-week-long festival – from August 1 to September 11 – which is being curated by the Universtiy Library’s Photographic Collections Manager Rachel Nordstrom, will see events and exhibitions focus on the earliest days of photography in St Andrews as well as Scottish documentary photography over the last 175 years and contemporary photography.”

The Festival was recently featured in The Scotsman

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Further info

To see the full schedule of events please see the full list of exhibitions and events here

To keep up to date visit the St Andrews Photography Festival Facebook page here.

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April Salon Event – Skye!

To mark the end of our exhibition at The Scottish National Portrait Gallery, The Ties That Bind – we are off on the road again to present our work and work by photographers we admire to new audiences in Scotland. April 27th will see us in Skye – at the wonderful ATLAS Arts – if you’re nearby please do come along and join us.

The event is free – as ever – and all are welcome – see more information here

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See ATLAS Arts website at www.atlasarts.org.uk

Thank you to Creative Scotland and The University of St Andrews Special Collections for funding this Document Scotland Salon event.

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Stephen McLaren on the Scottish National Galleries blog

 

When The Ties That Bind exhibition at The Scottish National Portrait Gallery was in the planning stages, it was agreed between each of us at Document Scotland and the galleries that we would write a blog post to accompany our work – each of us approached this task differently, with a different emphasis and subject matter – but each of the posts reflect our thinking and extended research around our subject matter. Here’s Stephen’s post – this is just a screen grab but you can read the full text by clicking on the image below… we hope you enjoy reading it!

 

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Salon event 2016

Our Salon events for 2016 start next month, and we are delighted to be partnering with the University of Highlands and Islands to bring you events across Scotland. On the 18th February 2016 we will be hosting an event from Perth College which will be streamed live to venues across Scotland.

We hope you’ll be able to join us!

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Please jois us in Perth or at any of the venues here;

Room 325, Perth College UHI, Creiff Road, Perth, PH1 2NX  tel: 0845 270 1177

Inverness College UHI, 1 Inverness Campus, Inverness, IV2 5NA tel: 01463 273 000

Moray College UHI, Moray Street, Elgin, Moray, IV30 1JJ tel: 01343 576 000

Orkney College UHI, East Road, Kirkwall, Orkney, KW15 1LX tel: 01856 569 000

Shetland College UHI, Gremista, Lerwick, Shetland, ZE1 0PX tel: 01595 771 000

Lews Castle College UHI, Stornoway, Isle of Lewis, HS2 0XR tel: 01851 770 000

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