Published by Financial Times

May 15, 2024



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One of Ulf Saupe’sRes Navalis (new creatures of the sea)’ series, cyanotypes on glass showing plastic bags under water

This week’s ninth edition of Photo London dips its toes into alternative artist representation models. A new sector, called Positions and funded by a group of collectors, gives space to five emerging artists without gallery representation. One of these, the photographer Bex Day, echoes how many artists feel. “I would love a gallery but I’m not sure about the process” of finding one, she says. She brings work from her Petal series, which she describes as “celebrating the vulva” with strategically placed flowers (£100-£1,000).


Elsewhere, two artists — Cyrus Mahboubian and Ulf Saupe — have had solo booths supported by their collectors, respectively Doha’s Mohammed Al Baker and Zurich’s Kuenzler Collection. Mahboubian, who uses vintage Polaroid film to nostalgic effect (£1,800-£2,700), says his work is “an antidote to how technology is inescapable”. Saupe’s work also eschews the digital and includes his unique cyanotypes on glass, Res Navalis (new creatures of the sea), a series that shows disarmingly beautiful plastic bags under water (£3,500 each).


Photo London, which runs until Sunday, has 120 exhibitors in the sprawling Somerset House. There seem to be more solo booths this year, notably of female artists, making a more attractive visit. Highlights include Florence Di Benedetto at Podbielski Contemporary (€2,300-€12,000) and Jacquie Maria Wessels at Galerie Baudelaire (up to £11,000).



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