The Olympics through the lens

London launched a rich variety of Olympic photography exhibitions last week.

You could be forgiven for not knowing where to look first as the capital city launched a myriad Olympic photography exhibitions last week. Whilst Tate Britain opened its nostalgic vintage homage to the metropolis "Another London", The Photographers Gallery by contrast unveiled its ambitious long term project "The World in London". Staged as a large outdoor portrait exhibition that is best encountered via bike (and while wearing imperviously waterproof clothing), it showcases 204 commissioned portraits of Londoners, each originating from one of the Olympic game’s competing nations by 204 acclaimed photographers. The exhibition is repeated across two sites; the BT London Live site in Victoria Park, Hackney and at Park House development in central London’s Oxford Street. Despite the struggles presentating such a project -- the simplistic large scale posters that imbricate slightly with little consideration to pacing -- the depth and breadth of this project is a huge achievement, especially when considering the many pitfalls that a large publically funded project such as this can be faced with. The ensuing exhibition is as much a survey of London’s diverse cultural heritage and identity as it’s a celebration of portraiture itself.

In refreshing contrast and far from the saccharine buzz of the Olympic celebration, "Residual Traces" at Photofusion Gallery, Brixton is a group exhibition of 6 photographic projects concerned with the consequences of the London 2012 Olympic Games and the subsequent marginalisation of a community in one of London’s least known and contentious areas, the Lea Valley. A formerly overlooked and undeveloped enclave of urban neglect - pylons and graffiti, Tower blocks and abandoned sheds, compulsory land purchase orders and hipster regeneration - this polemical exhibition explores the hastily engaged transformation of one of London’s most loved hinterlands. The work included in this exhibition documents aspects of this transformation of Lea Valley and includes work by Sophia Evans, Stephen Gill, Zed Nelson, Jason Orton, Jan Stradtmann and Gesche Weurfel. The exhibition is curated by Bridget Coaker, Director of Troika Editions.

"The World in London" : Victoria Park Dates: 27 July - 12 August 2012, Park House Dates: 27 July - 30 August 2012; Admission: Free Venues: Victoria Park, E3; 453 - 497 Oxford Street, London, W1. 

"Residual Traces": a group exhibition curated by Bridget Coaker: Troika Editions, 27 July – 7 September 2012, Photofusion Gallery, 17A Electric Lane Brixton, London SW9 8LA, 020 7738 5774.

"Another London": 27 July – 16 September 2012, Tate Britain Millbank, London SW1P 4RG.

 

Manor Garden Allotments London, 2007 by Jan Stradtmann on view at Photofusion
Rebecca McClelland is photography editor of the New Statesman
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How wine crosses national boundaries

With a glass of wine, and a bit of imagination, wine can take us anywhere.

Wine offers many pleasures, one of which is effortless movement. You can visit places that make the wines you love, but you can also sip yourself to where these grapes once grew, or use a mind-expanding mouthful to conjure somewhere unrelated but more appropriate to your mood. Chablis, say, need not transport you to damp and landlocked Burgundy, even if the vines flourish there, not when those stony white wines suit sun, sea and shellfish so well.

Still, I’d never been to Istria – a triangle of land across the Adriatic from the upper calf of Italy’s boot – either in vino or in veritas, until I tried a selection of wines from Pacta Connect, a Brighton-based, wine-importing couple obsessed with Central and Eastern Europe. 

The tapas restaurant Poco on Broadway Market in east London has fiercely ecological credentials – it uses lots of locally sourced and sustainably grown food and the space is a former bike shop – but this fierceness doesn’t extend to entirely virtuous wine-buying, thank goodness. I’m all for saving the planet: waggle the eco-spear too hard, however, and I’ll be forced to drink nothing but English wine. Trying each other’s wines, like learning each other’s customs, is vital to understanding: there’s no point improving the atmosphere if we all just sit around inhaling our own CO2 at home.

The world is full of wine and it is our duty to drink variously in the name of peace and co-operation – which are not gifts that have frequently been bestowed on Istria. I have sought enlightenment from Anna, the Culinary Anthropologist. A cookery teacher and part-time Istrian, she has a house on the peninsula and a PhD in progress on its gastronomy. So now, I know that Istria is a peninsula, even if its borders are debated – a result of Croatia, Slovenia and Italy all wanting a piece of its fertile red soil and Mediterranean climate.

From ancient Romans to independence-seeking Croatians in the early 1990s, all sorts of people have churned up the vineyards, which hasn’t stopped the Istrians making wine; political troubles may even have added to the impetus. A strawberry-ish, slightly sparkling Slovenian rosé got on splendidly with plump Greek olives and English bean hummus, topped with pickled tarragon and thyme-like za’atar herbs from the Syrian-Lebanese mountains. A perfumed white called Sivi Pinot by the same winemaker, Miha Batič, from Slovenian Istria’s Vipava Valley, was excellent with kale in lemon juice: an unlikely meeting of the Adriatic, the Atlantic and the Mediterranean. Sivi Pinot is another name for Pinot Grigio, which seems fair enough: as long as we can raise our glasses and agree to differ, names should be no problem.

But sometimes we can’t. The other Slovenian winemaker on the menu, Uroš Klabjan, lives three kilometres from the Italian city of Trieste, where his Malvazija Istarska would be called Malvasia Istriana. Either way, it is fresh and slightly apricot-like, and goes dangerously well with nothing at all: I see why this is Istria’s most popular white grape. His Refošk, an intense red, is also good but there is a complicated argument over when Refošk should be called Teran. Like battles over parts of the Balkans, these wrangles seem incomprehensible to many of us, but it’s sobering to think that wine can reflect the less pleasant aspects of cross-cultural contact. Intolerance and jingoism don’t taste any better than they sound.

We finish with Gerzinić’s Yellow Muskat and rhubarb parfait: Croatian dessert wine from an ancient grape found around the world, with an English plant transformed by a French name. There’s nothing sweeter than international co-operation. Except, perhaps, armchair travel.

Nina Caplan is the 2014 Fortnum & Mason Drink Writer of the Year and 2014 Louis Roederer International Wine Columnist of the Year for her columns on drink in the New Statesman. She tweets as @NinaCaplan.

This article first appeared in the 23 June 2016 issue of the New Statesman, Divided Britain