TEKST MET EEN LINK

Je kan een link maken: je typt de naam van de link en je selecteert dit. Hierdoor wordt de link optie (kettinktje) ‘actief’. Je klikt erop (de tekst moet is nog steeds geselecteerd) en komt dan in een popup waar je de url kan invoeren.

link naar een externe site: hier de link in een nieuwvenster openen (dus vinkje zetten)

Je kan ook een interne link maken: in het popup zie je alle mogelijke pagina’s of berichten waar je naar kan linken. Gebruik zoeken om de pagina die je zoekt te vinden.

link naar een (interne) pagina of bericht: vinkje nieuw venster hier dus uitzetten.

 

FOTO DIE LINKT

Een link plaatsen achter een foto (bv een link naar een externe site waar iets over je werk is geschreven).

stap 1: Voeg de foto in het bericht.

Rijksmuseum newsarticle about Henk Wildschut's project Food

 

Stap 2: selecteer de foto en klik dan op de link optie. Je krijgt hetzelfde pop-up scherm. De url is al ingevoerd (deze linkt standaard naar het plaatje), maar deze kun je dus vervangen door een andere url. (in dit voorbeeld: de url van het artikel van het rijksmuseum.

opening site

hier artist statement

Henk Wildschut (Harderwijk, NL, 1967) studied at the Royal Academy of Art in The Hague and lives and works in Amsterdam.

He began his Shelter series in 2005. In 2010, this resulted in the book Shelter and the film ‘4.57 Minutes Back Home’ In 2011 his book Shelter was awarded with the Kees Scherer prize for the best Dutch photobook of the years 2009/2010. And he won with  Shelter the prestigious Dutch Doc 2011 Award for best documentary project. Wildschut was commissioned by the Rijksmuseum in Amsterdam to work on the topic of Food. After two year this resulted in the book Food and in a exhibition in the Rijksmuseum. Due to the  emerging refugee crisis in Europe, Wildschut re started to visit Calais in the January 2015. He documented the rise and fall of the informal refugee camp, also known as ‘The Jungle”. This work resulted in April 2016 in his self published book Ville de Calais. Ville de Calais is mentioned in many list of best book of the year 2017. Its award with the Arles Prix du Livre 2017 and short listed for the Aperture award Best book of the year.

The delicate balance between functional aesthetics and human drama

Text: Frank van der Stok

 

Much as Henk Wildschut’s photographic oeuvre seems bent on avoiding an obvious homogeneity of style, subject matter or approach, there is naturally a common denominator that we may consider a hallmark of his work. This characteristic is first evident in his semi-activist book project Sandrien of 2002 and continues through to a future project concerning environmental refugees planned for 2018-2020. Wildschut’s projects are broadly about uprooting and alienation; about people who though misfortune or other inescapable circumstances find themselves forced to improvise in order to survive.

Sandrien was a project about a ship arrested in the harbour of Amsterdam due to a hazardous waste scandal, leaving the crew in limbo and unable to either leave the ship or to continue their voyage. While Sandrien was largely motivated by activist intentions, other projects bear witness to a slow process of perseverance, patience and staying power. His modus operandi is in this respect wholly consistent with the slow journalism approach, although in his case it reaches its effect though the indirect persuasiveness of the underlying story in relation to the wider context. Wildschut demonstrates a capacity that goes far beyond the vogue of the day by giving a pertinent account of a socio-political phenomenon in the form of an all-embracing survey. As a socially engaged photographer, he works by foregrounding a remarkable amount of the background. Unlike the typical documentary photographer who persuades the protagonists of a community to tell their stories in order to illustrate a social or political abuse, Wildschut prefers to portray the abuse itself and how it is dealt with. He does so in the conviction that a single collective story is on balance more meaningful and relevant than a collection of individual accounts accompanied by a gallery of faces. The makeshift migrant transit camps documented in Shelter and its sequel Ville de Calais (“The Jungle”) are, for example, characterized by a hugely pluriform demography, from which we learn relatively little about the fates of the individuals concerned. Only a minor proportion of the picture story is devoted to portraits of immigrants from far-flung corners of the world; and the purpose of these individual images and text miniatures is to depict the often vital role of participants in the economic structure of the camp, rather than to proffer a colourful gamut of individual stories. What stands out most of all is the collective way the uprooted migrants, driven from their former homes and uncertain about the future, succeed in forming a dynamic community despite the constant risks to which they are exposed.

 

 

 

 

 

 

Wildschut’s highly personal leitmotif is here his fascination with the way these individuals preserve a universal human dignity in the face of repression. The tenacity of the migrants generally emerges in these projects through the almost poignant way they endeavour to create an atmosphere of domesticity, normality and cultural identity amid the makeshift surroundings of the camps. Nowhere, however, does Wildschut’s photography fall prey to a sentimental, clichéd or sensationalized treatment of the subject; and this may be attributed to the strongly-developed moral awareness that he somehow manages to weave into all his photographic series.

Wildschut is always keenly aware of the ethical questions involved, and consequently makes no secret of his moral scepticism which forms a tangible subtext of his photography. It is precisely due to the delicate balance between functional aesthetics and the human drama that Wildschut’s unique style of documentation, never straining after effect, succeeds in evoking in the attentive reader a special kind of empathy which which is more authentic than what we might feel from a rushed, sentimentality-tinged piece of journalism. This vulnerable but honest and forthright form of reporting is the true source of Wildschut’s believable impact.

A similar kind of moral dilemma emerges in a project such as Food, in which Wildschut sheds on objective light on aspects of the food industry. Here, too, Wildschut shows us the hidden side (both literally and figuratively) of the food industry ‒ not by interviewing consumers or by adopting a specific standpoint on the subject, but purely by immersing himself empirically in the spectacularly large scale of the food sector ‒ an aspect which we know only through statistics and which is hard for us to picture concretely. Wildschut does not demonstrate an abuse here, but his gaze is unromantic. His imagery is informative and dispassionate. Wildschut trains his lens onto things that clash with what the general public would like to think.  Animal welfare, for example, is typically a prominent concern for the commercial consumer market; but Wildschut holds up a mirror to the consumer/viewer so that the latter can bring his (generally second-hand, idealized) picture of the food industry into perspective. As in other projects, there is not a hint of a wagging finger or a moralizing undertone. Wildschut offers visual fuel for both sides of the argument, allowing the critical spectator to determine a viewpoint using his own powers of empathy, judgement and responsibility.

It is the cumulative insights gained from the high level of instability and fluidity of his subject matter that have in the end induced Wildschut to adopt more stable anchorages for his photographic expeditions. While working on Ville de Calais, for example, he gradually came to the conclusion that an apt response to the mutability of his subject matter would be to embrace serialization, sequence and the moving image (from a static perspective). This led among other things to the photographic trope known as revisiting (the photographic counterpart of the sequel). Considering the rapid destruction and reconstruction of a makeshift settlement like the “Jungle”, this opens the prospect of comparing developments in progress through time. It involves portraying both “before” and “after”, revealingly photographing the subject from a fixed camera standpoint to which the photographer returns at intervals. We may expect the same principles to apply to his new project about environmental refugees.

 

 

Close to the port of Calais there is an area encompassing a few hundred square metres that is known as ‘The Jungle’. The people occupying this area have travelled many miles to get there, and their journey is still not at an end. Calais is the departure point for the final and most desirable crossing. There are thousands of people from Iraq, Afghanistan, Pakistan, Somalia, Sudan and Nigeria, all in search of a better life in Britain, the destination of their dreams.
While they await the opportunity to make the great crossing, they build temporary shelters: tent-like structures made of waste material from the immediate surroundings of the camp. In the best cases, the cultural characteristics of the country of origin can barely be distinguished in these.
The way in which the primary requirements of life are manifested in such shelters forms the leitmotif of this documentary photography project, for which I travelled extensively to Calais, the south of Spain, Dunkirk, Malta, Patras and Rome. For me, the image of the shelter – wherever it is in Europe – became the symbol of the misery these refugees experience.

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19 September 2010 (5 am)

Today I leave for Calais, for the last time. My friend has heard me say this more than once, but this place always pulls me back. “Let’s see what the situation is now.” “It’s an addiction,” she says. In recent years Calais, for me, has become symbolic of the problems surrounding illegal immigration in Europe. It is the place where the hidden world of illegality comes to the surface and becomes visible. Calais is also the place where a better life is dreamed of for the last time. For those who get to the other side, there is only the harsh reality of the illegal life in the big city or deportation back to the homeland.

In 2001 I was in Calais for the first time. Groups of illegal immigrants stormed the Eurotunnel and there was much fuss about the shelter organized by the Red Cross in Sangatte. It supposedly attracted large groups of illegal immigrants trying to come to England through the tunnel. There was then a lot of media attention to this problem. Upon arrival at Sangatte, I was struck by the large number of immigrants and the inevitability of the problem.

At night, I saw groups of men walking around looking for a hole in a fence or an opportunity to climb on a train. What struck me most of all was the ‘dullness’ with which the reporting media came to ‘cover’ their story. It was rumoured that a camera crew was even handing out wire cutters so that the cutting of the fence could be captured on film. I took some pictures at the time, but I decided not to do anything with them.

In 2005 I was asked by Doctors without Borders to make a reportage on earthquake-hit Pakistan. For me, working in a disaster area was a completely unknown thing. I arrived one month after the earthquake and felt – morally speaking – forced to take pictures of the devastation. These are the kind of pictures people want to see of such a disaster. Apart from the misery and sorrow, I saw the resilience of the people and their urge to survive.

What caught the eye most of all was the fact that the tents in the camps had been given a homey touch. So I noticed that people had put up gardens around the entrance of their tent, an image as moving as it is surprising. In one way or another I could, through the need to create order and domesticity, empathise more strongly with their misery. At the same I was painfully aware that this kind of topic wouldn’t work at all back home. Since that time, I am torn between the nature of my personal motivations and the desirability of journalistic convention. Upon my return I examined the possibilities of photographing the phenomenon of domesticity in refugee camps, with the idea to help create an alternative image of refugees in a meaningful way. Shortly afterwards I learned about illegal immigrants in the forests of Calais through the media. The shelter at Sangatte had long been closed; the then Interior Minister, Sarkozy had closed the camp and abandoned its inhabitants at the end of 2002 for populist motives (in his eyes this solved the problem of the illegal immigrants). So this is where I had to go to see what the situation was like.

Beginning January 2006 I left for Calais again, but with a different intention than before. Upon my arrival, I came across groups of men everywhere. There seemed to be more than in 2001. The ones I talked to pointed me to a wooded area just outside Calais. The terrain was sandwiched between a factory and a suburb. From the road there was nothing special to see, just a few villas with backyards bordering the forest. Between the trees I came across colourful shacks made of blankets and clothing and all sorts of waste materials, carefully tied together with bits of rope and tape. It smelled of urine and other waste and layers of clothes and shoes were lying in the mud. I was really surprised; I did not expect seeing something this “un-European” less than 250 km away from my house.

A Pakistani boy told me that life is hard in the ‘jungle’ (which is what the place was called). Without basic accommodations of any kind they tried to survive with the support of charitable organizations. Every night they climbed in, on or under a truck, hoping that it would bring them to the Promised Land – Britain – unseen. Some huts were empty because the temporary occupants may have been lucky that night. But there was a bigger chance that they weren’t lucky and were arrested by the police. The empty huts were usually quickly taken by newcomers. So there was this miserable kind of continuity.
The jungle was roughly divided into three areas: the African section, the Indian section and the Pakistani-Afghan section. There was a certain degree of rivalry between these groups that escalated into regular outbursts of violence, often sparked by nocturnal disagreement over which group first succeeded in finding a suitable truck. ‘Finding’ in this context, by the way, really meant that mafia-like gangs offered a truck as a means of transport at a high price.

What touched me most was that the huts were left so neatly, despite the awareness that every day could be the last. Blankets lay neatly folded and coats were tidily hung. For me it soon became clear that these colourful shacks would be “my” symbol for illegality. It allowed me to give a more indirect and subdued picture of what it means to be excluded.
By focusing on something as ‘trivial’ as ‘shelters’ I hope to provoke a more humane compassion in the viewer than by following the standard ‘human interest’ approach in which the so-called ‘story’ of the wretched fellow human is exposed. It’s a bit like how a background reporting relates to hard journalism.

By leaving out information, I appeal to the imagination and empathy of the viewer, with the intention that he or she will create an image of the preservation of universal human dignity in their own mind, set against the oppression of the deplorable housing and living conditions. That dignity is expressed mainly in the neatly folded or hanging clothes, sleeping bags and blankets, the clean-kept surroundings, and the eliminated waste. People remaining human in an inhuman situation.

The camps were regularly cleared by the police but new ones were established just as quickly. In 2009, one camp actually grew into a mega-camp, with a mosque, a bakery and a real camp store. In the heyday of this camp it accommodated more than a thousand Afghans. Late September 2009, the camp was flattened by bulldozers, an event that was accompanied by much media attention. After I had taken pictures in Calais for a whole winter, I looked for other places in Europe where I might find a similar or comparable situation.

My search brought me to Malta, southern Spain, Madrid, Rome, Tenerife and the Greek Patra. During these visits I found the places where the immigrants stayed ‘in transit’ especially interesting. The places where people stayed longer, such as squats, presented to homey an image and, more importantly: I was usually made to feel completely unwelcome. Immigrants in transit have nothing to lose because they have nothing. People who have built a precarious existence have a lot to lose, which is why they don’t want to be noticed.

Being on the move (in transit) leads to temporary solutions to the need for housing – a shelter. Certain creativity is required to build a ‘shelter’ from found materials. Somewhere I recognize those human qualities in these temporary structures; they remind me of camping with the Boy Scouts or building a cabin in the woods, in the attic or under the table. Those shelters gave me safe, secure feelings when I was a child, out there in that big dark attic or in the wet forest. None of this is noncommittal, there is something uncomfortable about this recognition, it creates a false link between my subject and my own life.

The search for shelters occasionally made me face rather difficult decisions. For instance, I was in 2007 in Melilla (Morocco) because I had heard of illegals who camped out in the woods around this Spanish enclave awaiting an opportunity to climb over the fence to Europe. Despite good research I knew within one hour after arrival that for me as a photographer with my specific subject matter there would be nothing here. There were illegal immigrants and big problems, but no huts or temporary shelters. I took some photos with the realization that I probably would do nothing with them- it did not fit in my story.
Try explaining that to people who accost you to tell you their story. They hope that as a photographer I can do something for them. The hope that a journalist can mean something diminishes during the tour of Europe. Shortly after arrival, the men still have great confidence in the press. They want to tell you everything because they are so embittered by all the injustice that has happened and still happens to them.

Their story has to be told to the world and the problems that they face every day could, as far as they are concerned, easily be solved. In a later stage of the journey their cynicism and distrust of the press has grown and after the umpteenth encounter with a journalist who wants to put a story together, there is nothing but distrust and dislike.

During their journey through Europe, they have discovered that the attention by the press for their existence hasn’t done them much good. On the contrary, attention means politicians who want to do something about the situation – and that means “visits” by the police. Attention means trouble. “What is it to us?”, is a common question. “Only you get better by it. We worse. ”

After driving for three and half hours I arrive in Calais. Normally you see groups of young men are everywhere. I stop at the place where aid agencies hand out breakfast. Again, nobody. There is a bus from the CRS (Compagnies Républicaines de Sécurité), the feared police, from where I am closely observed. I decide to drive past the places where months before I had found many huts. These places had not changed much over the years.
Especially the overgrown bushes in the dunes were always occupied. The dunes are covered with dense thorn bushes. If you didn’t know better, this would seem like a normal piece of nature, but in between the bushes, there are huts hidden. I’ve never been able to make good photo here because of the dense undergrowth.

Again, you immediately notice that the place is deserted. There was always someone on the lookout for the police. Now it’s quiet. When I walk through the bushes, I see garbage everywhere and trampled huts. The camp was obviously abandoned in a hurry. In one camp fire I find a thermos and a notebook with a pen next to it. Everywhere traces of food: cans, discarded empty packs of pasta and rice.

It is clear that the police have been at work here. Life is made impossible for the people here. The camps “visited” by the police a couple times a day. The men are prevented from sleeping and continually chased, until they give up. But these guys do not give up so quickly. They have been in worse predicaments. The chase has been going on for years but the situation there has never changed, let alone improved.

I go back to look at the place where the aid agencies are distributing food. Now I see a couple of Afghan boys. I recognize one of them from my last visit in the spring. He tells me that everyone is gone. To other places where the police leave them alone, like Paris and Dunkirk. The situation in Calais is currently hopeless and it does not make much sense to wait here, the border really seems closed. I wonder how it is possible that the border that has been leaky for years could have suddenly been sealed off so tightly.

According to Frontex (European Agency for the monitoring of the common borders) there are three main reasons: the lack of employment in the EU because of the economic crisis, the stricter immigration and asylum procedures in Member States and effective cooperation with the countries of origin.

There are still a few guys there who arrived a few days ago. Their faces betray a level of disappointment, or rather, defeat which I barely imagine. These guys tell me how their journey through Europe went. The broad outlines of their story are like many stories I have heard before. Most of these guys follow the same route.

Afghans – who in recent years I’ve met the most by far – are left in Turkey by smugglers. With boats they cross the border to Greece. There they are confined in camps and later led into illegality, in many cases with worthless residence papers. But there is currently no work in Greece and survival is almost impossible. The dream must be sought elsewhere. Italy is currently the promised land. To get there, more water must be crossed, from Patra. After that hurdle is taken, disappointment awaits in Italy. Again, they are all but welcome here. Rome is a distribution point. Most Afghans get together at the Roman Ostiense station, for information and to find relative security and safety amongst fellow sufferers.

When you look around you see them at all major stations in Europe. Their destination remains basically still Calais, but there are much less journeys made in that direction now. England was indeed the Promised Land for many years for the illegal worker (here you could work hard undisturbedly and make money for your family), but that seems largely over. The boys who just arrived cannot understand why they cannot go to England. “We just come to work hard. The British were fighting in our country because they supposedly wanted to help us. Now that we come to them because our country is destroyed by war, we are suddenly not welcome. ”

The man I met earlier told me that more and more people give up. They give themselves up to the police. The UNHCR has even opened a special repatriation office. This is news to me and makes me sad. Even though it sounds acceptable, the consequences of a return are extremely serious. The loan of a cool € 10,000 to pay the smugglers will never be repaid and brings them and their families in the downward spiral of a bleak and hopeless existence.

After these conversations, I wonder if I should search for new camps around the port of Dunkirk. Who knows, there is still something unexpected going on. But I decide to drive back home. I realize that the rapidly changing political and economic situation in Europe has changed the circumstances of illegal immigrants in a new way, bringing different problems than the ones they have experienced in recent years.

Politicians want to demonstrate that they approach these problems in a decisive manner. The illegal immigrant will now carefully hide from view since being too visible or gathering in groups can lead to immediate action by the police. But as long as there is inequality in the world, the problem will remain, in one form or another. Europe hides more and more behind its barricaded borders, but those who fight for their hopes of a decent life, will always find opportunities to overcome these boundaries.