Photo festivals in the UK tend to pass without controversy, showcasing a wide range of work and helping to keep photography in the cultural mainstream.
However, the organisers of the Belfast Photo Festival, which takes place until June 30th, have been facing lots of criticism – indeed, outright hostility – for an event they are putting on during the festival called Camera Obsolete?
As part of Camera Obsolete? visitors are invited to ‘destroy, dismantle, recast or resist the transformation of obsolete cameras into new sculptural forms.’
A smashing time?
Here is how it works in more detail. Any visitor over the age of 18 can help themselves to a hammer and go into ‘The Destroy Room’ where they can smash up a camera. They can bring their own, or choose one from hundreds that will be on display, and the whole event is free.
Or, they have the option of taking the camera to bits to see how it works. They can then work with other guests to rearrange the remnants of the destroyed or dismantled cameras into sculptures.
These sculptures will then be displayed at the exhibition or even become a permanent fixture at the Belfast Botanical Gardens. It should also be said that there is the option to buy, or ‘adopt’ a camera, for about £10 an item.
It’s all the rage
Needless to say, not every photographer and camera collector is happy about this, er, unique initiative. When finding out about Camera Obsolete?, one observer fumed: “As a film camera collector, I hope you never have a single good day, ever again!’
Others objected to the waste of cameras in the name of art, the loss of potentially rare camera parts, the environmental impact when there is a buoyant market in used cameras, encouraging the populace to get mad in the specially provided ‘rage rooms’ and so on.
Now, social media is not exactly well known for reasoned and even-tempered debate – indeed, it actively encourages people to get hot under the collar – so we thought we’d give the festival organisers a chance to tell their side of the story.
We caught up with Toby Smith, Director of Development at the Belfast Photo Festival.
Have you been surprised at the vociferous reaction from some photographers and camera collectors, furious with the whole premise of Camera Obsolete?
Not at all. The reactions and comments that focus and criticise the ‘Destroy’ element demonstrate how physical cameras, certain brands and models even, hold strong emotional and cultural value to individuals.
We are asking our audience to confront the reality that many mechanical cameras are, by evolution of technology, economy or our own creative choices, becoming obsolete.
Rather than attacking photography or cameras, we have created a public space where people can make choices, express and share their emotions with this reality, whether that be anger, curiosity, grief or excitement whilst promoting a discussion as a community.
There is obviously already controversy, but we feel that is better than the private, silent, accelerating drift of obsolescence into an image culture solely shaped by computation and AI.
How do you respond to allegations that Camera Obsolete? is needlessly destructive and wasteful, particularly at a time when there is a buoyant market for second-hand cameras and a need for spare parts?
It’s a fair challenge and an allegation that I want our audience to test for themselves when the exhibition is open. The ‘Destroy Room’ is the easiest and most graphic concept for us to communicate online but once open we are confident the other choices will be presented in a more balanced manner.
The ‘Resist’ option is the main balancing action, whereby visitors can adopt a camera or other equipment and return it to use, and we expect many people to do exactly that. Every camera is displayed openly so that visitors have the time and space to examine them properly and, we hope, become curious about them, attached to them and invest in their ownership, usage and preservation.
Most of the cameras on display were sourced in bulk from online auctions, charity shops, car boot sales and job lots, often untested and ungraded. It’s fair to say that we have a disproportionate number of cameras that were either common, historically affordable or are now slightly damaged.
We understand that visitors can also buy an old camera if it takes their fancy, rather than dismantling it or turning it into a sculpture…
Yes, any visitor can ‘Resist’ the exhibition by adopting any piece of equipment on display for £10, whether that be a camera body, lens, or accessory such as a flash gun or light meter.
The price is deliberately agnostic as we want the adoption to be symbolic of an emotional connection to a found object not a reflection of its market value. We have borrowed aesthetics and the workflow from a retail environment not to maximise our income, but perhaps to allow visitors to make a purchase and conscious choice to return an object to use in a way that they are familiar with.
Ok, so wouldn’t you have been better off organising a camera auction to raise money for the festival?
An auction would be a different kind of event with a different purpose. In economic terms, some items we know are worth far more than £10 on the second-hand market, but the donation is only intended to offset a small part of the installation costs, not to generate meaningful income for the festival.
We are also taking the accessibility of the event very seriously, including a feedback area where people can state their own choice or sentiment, purely from witnessing the exhibition but don’t need to participate themselves in any of the actions.
There is quite a split between the ‘art/fine art’ photography world and photography societies/camera clubs. Do you think Camera Obsolete? is just going to widen this gulf?
I often disagree with the medium being split into too many different worlds, as that in itself can create camps and polarisation. We should be focusing instead on strengthening and expanding the medium to new audiences.
In my opinion, photography exhibitions and festivals are one avenue where a broad range of interests and communities can and should be catered for. As a visual arts charity based in Northern Ireland, Belfast Photo Festival exists to provide ‘quality exhibitions, events and publications for the people of Northern Ireland, visitors to Northern Ireland and international audiences’.
Based on both the positive and negative feedback so far, and the level of debate and curiosity already visible online, we feel ‘Camera Obsolete?’ is already doing what cultural activity should do and a continuation of our reputation of showing bold work without apology.
We hope that dialogue continues in a way that is respectful and inclusive of different opinions, and that people have the means to judge the project in person before the equipment is rehomed or smashed before we close on 28th June.
The Belfast Photo Festival takes place until June 30th. As well as Camera Obsolete? (which closes on June 28th) it features exhibitions of work by Laura Pannack, Thaddé Comar, Sabine Hess, Nicolas Polli and other notable creatives. There is also a portfolio review. Full details here.
What do you think about the idea of Camera Obsolete? A necessary and thought-proving initiative at a time of great change for photography and the camera industry, or a self-indulgent orgy of destruction? Comment via our social media links below.
Follow AP on Facebook, Instagram, YouTube and TikTok.
