Skip to content

Donato di Camillo

In a five minute break from work, while I was mindlessly scrolling down my Facebook news feed, I saw an image that jolted me and made me stop and stare.

It’s a one eyed man, his mouth wide open revealing broken teeth and he’s staring up above him – in surprise or in fear? Is he looking at  the seagull that’s just flown past or at something unseen and terrible in the heavens? Behind his right shoulder is a brightly coloured seaside funfair. To his left, dark clouds are gathering over the pier and out to sea.

It’s like a scene from a film or the first picture from a novel. Except it’s real and it’s the work of a photographer called Donato di Camillo.

Donato is self taught – upon his release from prison, he began taking photos of the people he saw around him in New York, people on the fringes of society, people who are otherwise unseen or ignored.

Donato says:

“I want [my subjects] to understand that the reason I’m photographing them is because I see something in them that I see in me, or that I think the rest of the world could relate to.”

He is a photographer with a real talent for capturing portraits that reveal their subjects at a particular moment in time – sometimes chaotic, sometimes touching, always unique.

Related Content

Donato di Camillio’s website

 

 

 

 

 

Carsten Höller: Decision – Southbank Centre

Entrance A or Entrance B? 

That’s the first decision.

IMG_7110

We make our choice and enter a metal corridor. The door behind us shuts and we are immersed in total darkness. Voices echo in the distance. Our eyes, unused to such an intense nothing, try to compensate by creating strange made up splodges that float just out of reach.  We reach out to touch the wall and feel them vibrate with strangers’ footsteps. Slowly, we feel our way around the inky maze and eventually emerge into white light. 

The Decision Corridors (above) are genuinely disconcerting and a perfect gateway into Carsten Höller’s wonderland. 

High above us is a massive mushroom mobile. We turn the dial and watch them fly over our heads. These fly agaric, red and white  mushrooms are naturally occurring hallucinogens that feature in many works of literature (including one of my childhood favourites, Alice in Wonderland). 

Pharmaceutical time passes with Pill Clock (below). Every three seconds, another red and white pill falls from the ceiling to add to the ever increasing mountain on the floor.

IMG_7121

The Forests is a very unsettling experience. It’s a fully immersive dual screen video experienced by a virtual reality headset and headphones. I watch people coming away afterwards: some are shaking their heads as if trying to re-connect with the room.  When I put the headset on, I realise why.  I am in a snow covered forest. A little way in, my eyesight is split in two as I navigate around a tree – my left eye veering off one way, my right eye in the opposite direction. Höller says this experiment in seeing double is an attempt to ‘disrupt the hierarchy of a single image’ and it certainly disrupts my internal hierarchy. I feel very disorientated and nauseous  for a good few moments after I leave the trees. 

Two lonely hospital beds (Two Roaming Beds) covered in crisp white sheets roam slowly but purposely through the lower floor of the exhibition. Are they  awake? Or are they sleepwalking? Dreams, for Höller, are a ‘short cut’ to a special kind of madness that we all have access to. Where do we go when we dream? Will we be the same when we awake once more? 

Upstairs,  a corridor of television features sets of twins. Each twin faces the other, exchanging a series of sung or spoken sentences. It’s a strange, intense experience walking down the middle of their relentless gazes, trying to make sense of snippets of conversation.  Höller records a new set of twins in every city this exhibit is seen in – there are now 7 Twins endlessly talking and teasing. 

A giant white Dice is an internal playground for children. They clamber through the black dots. It’s clearly an exciting experience for some and a slightly unsettling one for others who emerge  looking for their parents – before going straight back in again. 

Mirrors are placed around the walls. We watch ourselves and watch others watching us.  I realise I look subtly different and then realise why. I am not looking at my mirror image but rather seeing myself as others see me. 

Seeing the world upside down while I remain standing upright is a novel experience. Some people manage to walk around quite happily on the roof of the Southbank Centre with the Upside Down Goggles  but I am  not one of those. My hand remains close to a wall for balance as I experience my strange new world. 

Image-1

The final decision is which slide to take to exit the exhibition – a glorious fast fall through space. 

This slideshow requires JavaScript.

This is art that produces a physical reaction. It is not a passive experience – we become part of the artwork as we move around and interact with the exhibits. Höller says museums offer a ’space and time where you try things you can’t try otherwise.’  As I watch people’s reactions as they fly above Waterloo in one of the Flying Machines or emerge exhilarated at the bottom of the Isomeric Slides,  I think that is exactly right. 

History is Now – Hayward Gallery, Southbank Centre

How did we get to where we are today? Changing Britain at the Southbank Centre is a series of events exploring 70 years of British history leading up to the General Election.

Changing Britain

At the Hayward Gallery, 7 artists have curated 7 very different experiences for the History is Now exhibition. Each section covers a particular period of significant cultural change, from the end of the Cold War (Richard Wentworth – complete with a ground to air missile sitting threateningly on the gallery’s roof) through to mad cow disease (Roger Hiorns’ spellbindingly forensic examination of the outbreak and its chilling effects).

FullSizeRender(2)

The exhibition demonstrates artists make great curators. Each section builds on the one before to form a clear, compelling and challenging exploration of Britain’s journey from the Second World War to today.

Simon  Fujiwara opens the exhibition with a sly look at our aspirational lifestyles and the high costs it has extracted. A lump of coal from one of the last remaining mines in the UK sits near the outfit worn by Meryl Streep as she played Margaret Thatcher. Empty Waitrose bags of Waitrose herbs lie near brooms used in the aftermath of the riots.

Hannah Starkey’s collection of photographs from the Art Council’s collection explores gender and social change. How do we interpret the meanings contained in these supposed representations of real life? John Hillier’s ‘Causes of Death’  – ‘crushed’, ‘drowned’, ‘burned’, ‘fell’ – is one photograph cropped four ways – four different disturbing narratives from a single image.

Jane and Louise Wilson look at territory, at public and private spaces and what happens when the two collide. Images of women breaking into the Greenham Common missile base are combined with chilling slogans taken from  walls in Belfast during  the time of the Troubles.

John Akomfrah explores montage as an artistic and a documentary medium.  17 films and videos flicker restlessly on screens, walls and monitors.

This is a highly original, thought provking reflection on Britain’s journey from 1945 to now. With over 250 objects to explore, it rewards a repeat viewing.