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Joshua Berger of Plazm interviews Pälviranta, a photographer from
Finland who documents the violence taking place in his former home town.
Pälviranta writes: "By photographing assaults and batteries I
wish show the real faces of street violence in Finland. In contrast to the
stereotypic portrayals of male heroicism and the worn-out attempts at
shocking people I am interested in dealing with the utmost banality
inherent in violence. What I find more unsettling than any single
representation of physical injuries is the everyday nature of street
violence and the laissez-faire attitude towards it in the Finnish
society."
JB: Perhaps we should start at the beginning. Why did you start
taking these shots? Was there a personal experience that led you to this
subject matter?
HP:
There is no personal violence experience behind all this.
"Battered" springs from my interests towards violence as a
topic. Before Battered I have worked with many other projects dealing with
violence; landscapes of war, illegal guns in people's homes, prisons with
political prisoners, etc. Most of the work I have done outside Finland. I
believe it was late 2005, I was thinking about my practice and I realized
that I should really look into my own hometown, Turku, Finland, as well,
not just always depict maliciousness somewhere else. Because violence in
the end always comes down to personal acts and sufferings, I decided to
face the fact eyes open straight ahead. Naturally this is only one
viewpoint towards pure "honest" violence. I am a pacifist with
journalistic and academic backround, so I guess there is a lot of
interpretative ethos behind my work. I enjoyed the challenge also. In the
beginning I was not certain whether I would be able to do this at all. It
was a subject matter and an approach that really sucked me into it, in
good and bad ways.
So, how did you come to discover
this type of behavior in your hometown?
As a Finn I have seen this happening throughout my
life. First it appeared as a threat of violence at school yards, then it
evolved to semi-accepted behavior of testing one's manhood at the city
center. When I was considering a new subject matter, I happened to see a
few fights and realized that I should try to cover the issue somehow.
I am curious if you have an opinion on why there is such a
high rate of this type of violence in Finland. You tie the violence to
alcohol in your statement about the work. Are there high instances of
other alcohol-related problems?
I believe Finnish
society has a seed of violence built into its foundation. Violence,
although illegal and unacceptable, is still somehow part of the culture,
sometimes it even seems appreciated. Finland's written history is
war-centered and general discourse still celebrates the victories of the
Finnish Winter War (World War II). Then there is a very high rate of
violent crime in Finland, and Finland ranks the third in the amount of
guns per capita, after the U.S. and Yemen. The consumption of alcohol
isn't as high as in southern Europe. Generally, Finns consume alcohol
during the weekends. It is a drink-to-get-drunk type of drinking. Also I
believe Finnish society is very work oriented, rationality and
achievements are celebrated and emotions are pushed aside or played down.
Somehow they burst out during partying. All this leads to the sad
equation, to direct violence.
Can you tell me about
your process? What's it like when you are going out and looking for a
fight?
In the beginning I walked around the town
center on my own during the weekend nights, kind of familiarized myself
with the night life. Bit by bit I became aware of the locations where
majority of these incidents take place. Then I started to approach the
battered people, simply asking them if I could take their picture. I also
approached the local police administration asking permission to accompany
them on their duty during the weekend nights. After three months
discussion I was permitted to do this.
One learnes to identify
the situations that contain the seed for violence. One also learnes
suitable mechanisms for approaching people and photographing them—by
trial and error, spending enough time out there. My practice was basic,
almost dull, I just hung around the scene and, when I felt it was
appropriate, I asked people who had been battered to take their photo, and
made the pictures. There was nothing heroic in my practice, quite the
opposite. I was often treated like a parasite. Sometimes I felt rather
humiliated.
Because of what you are witnessing in your
society? It seems if anyone would be humiliated, it would be the subjects.
They are in the compromising position, yes?
I felt
humiliated because at the time of the photography, I was often viewed as a
scavenger, or yellow press type. I was thinking I was doing something
worthy and more thoughtful. My intentions were anti-violent, showing
something that should not happen. Also I felt ashamed by all of us
involved in the situation: me, both parties of the violence, the audience
around the battery scene, the whole location, how foreseeable it all was.
There is nothing brave in these situations, quite the opposite. These
batteries are the most banal performances in our society.
I
was and still am thinking about the position of the people I photographed.
I wanted to show the faces of the hurt. I asked all of them if I could
photograph them for this project, and even though they all gave their
consent, ethically my practice was critical and discordant. It is
understandable to think of their position as being compromising or
uncomfortable. But at the same time, everything I have photographed is one
hundred percent public. I think the shame stands forward here; through
pictures we recognize something obtuse and uncomfortable within us.
Maybe as spectators we are tied to a feeling of uncanniness, we
wish to see violence and death but at the same time we reject and condemn
the source or presenter of it.
Hearing you talk about
your process makes me think of you simply as a conduit, a documentarian in
more of a photojournalistic sense, telling a story. Do you see your role
differently?
In the very beginning, when I was
considering this subject matter, I intentionally decided to work within
the social documentary tradition, refreshing it with "post"
attitude. I studied the classics, Weegee, Enrique Metinides, and crime
scene and police photography. I selected a hard flash, and I wanted to
combine it with portraiture tradition. I worked with film using a
Hasselblad with a Metz (and sometimes also a ring flash) attached. I was
after a "Jacob Riis look." I wanted to withdraw from the idea of
staged or constructed reality. So I also played around with the
conceptualizations and configurations of realism, for example referring to
research on performative practices and how we 'produce' reality in certain
situations.
I find it very interesting that no-one has
questioned the realness of the pictures! I ask how do we recognize the
real? I think this takes "Battered" away from pure
photojournalism. There is still some bit of photojournalism there, yes.
But certainly there's more to it.
This is a very
interesting point. I never doubted the "Battered" images were
real. They look real to me. But in this era of photography, it is often
hard to know. Certainly someone like Jacob Riis treated his images in an
editorial manner—which was perhaps meant to amplify their impact,
create a cohesion among them and an emotional feeling about them—but
there is no doubt they are real. So, when you say you "refresh the
work with a post attitude" can you clarify what that means? Do you
mean you are processing them all so they have a certain feeling? Are you
manipulating the images?
Now you are raising a major
question! I am using "post-documentary attitude" as a reference
to theoretical classifications and also to art field documentary
practices, that is trying to keep classical observation-based photo
journalism at arm's lenght, or negotiate with it. In my opinion post
attitude in general refers to contemporary theories of documentarism, to
writings and conceptualizations such as Rosalind Krauss' and Bill Nichols'
among others. Simply put, post-documentary is critical towards itself, it
claims that documentary is a diverse practice that is loaded with
subjective motives, playfulness and reflective approach. It acknowledges
that documentaries are audienced differently depending on the people and
their orientations, and that post-documentaries also flirt with
public-private delineations (for example Big Brother, docu-soaps or
webcams). Post-documentary can also acknowledge its position as
reality-making-machinery. My practice is documentary in such way that I am
not only depicting or visually showing something, but more like through
documentary practice constructing a chosen cohesive reality. I take
distance to fictional genres. I bring together real occasions and build a
cohesive gallery narrative, a kind of a statement with them. In Battered I
am using well tested generic practices–naturalism and press
photography–to say something about contemporary city life in
Finland. In lived reality it doesn't happen or appear as cohesive, but
with photography it can be manifested as such.
At its best,
post-documentary is an approach that is self-reflective, it argues against
its own practices, it is aware of the underlying structures of the
practice.
I have not manipulated the images, there are no
tricks whatsoever involved. But certainly I have carefully chosen the
techique though, trying to build a cohesive series out of them. But the
"post" appears more in the conceptual or theoretical level than
in the visual appearence of the pictures.
Have the
works been exhibited publicly in Finland? And, if so, what has the
response been?
Battered has been exhibited in Finland
in solo and in group shows. When it was first exhibited, it caused a
discussion in the media. That discussion focused on the informative
issues, that there are some 35,000 reported batteries in Finland every
year. And Finland is a small country with only 5.3 million inhabitants. In
general the response has been positive but certainly there have been
critical statements as well. Some have questioned my ethics, some have
said this is photojournalistic shit with no art in it. But certainly it
caused reactions. For me it has been the most engaging and significant
work. It both pleases and troubles me still. I am glad I do not need to do
this again, such a hard task it was, physically and mentally even more
so.
www.harripalviranta.com