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• archive/index/page:6/sort:title/direction:asc?collection=0&keyword=Joanna Davis

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• title_for_layoutFour Corners Archive - Story
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      • id12
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      • date2025-09-12
      • time11:30:00
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      • titleA Document on Chile
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      • excerpt<p>A Document on Chile is a collaborative exhibition created in 1978 by photomontage artist Peter Kennard and journalist Ric Sissons in response to the 1973 military coup in Chile. </p>
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        • content<h2>A Half Moon Photography Workshop Touring Exhibition</h2>
        • created2025-09-12 11:39:16
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        • content<p>Exhibition Poster, A Document on Chile, Peter Kennard and Ric Sissons, Half Moon Gallery, London,1978</p>
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        • content<p>A Document on Chile is a collaborative exhibition created in 1978 by photomontage artist Peter Kennard and journalist Ric Sissons in response to the 1973 military coup in Chile. Kennard created thirty photomontages in the tradition of the anti-fascist montage artist John Heartfield, using striking visual narratives to expose state violence, repression, and human rights abuses by the Pinochet Regime. Sissons contributed explanatory, historical, and political commentary, ensuring audiences grasped both the immediate and global significance of the events portrayed. Together they recounted Chile’s history, from the years prior to Allende, through his Popular Unity government, to the brutal repression under Pinochet’s regime.</p> <p>Conceived as a touring exhibition and one of the pioneering laminated shows by the Half Moon Photography Workshop, the images and texts were mounted on card panels heat-pressed between thin plastic sheets. This durable, portable format enabled the exhibition to travel widely across the UK, reaching diverse audiences beyond traditional gallery spaces. The touring nature was integral to fostering support for the Chilean exile diaspora and raising awareness of the abuses under Pinochet. It played a vital role in UK solidarity campaigns during the 1970s and 1980s by making political art accessible and sustaining resistance through powerful visual storytelling.</p>
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        • content<p>A Document on Chile, Peter Kennard and Ric Sissons, Camden Town Hall, London, 1978.</p>
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        • content<h3>The thirty works of photomontage and text fall into three groups</h3> <p>1.    The years prior to the 1970 Presidential election victory of Allende.</p>
        • created2025-09-12 11:52:05
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        • created2025-09-12 12:00:48
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        • content<p>2.    The three years of the ‘Unidad Popular’ Government of Allende that culminated in the armed forces seizing power through a coup d’état.</p>
        • created2025-09-12 12:01:30
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        • created2025-09-12 12:14:31
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        • content<p>3.    The years since the death of Allende which have witnessed terrible repression against the Chilean workers and peasants.</p>
        • created2025-09-12 12:15:03
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        • created2025-09-12 12:17:46
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        • content<p>The combination of Kennard’s searing photomontages and Sissons’ incisive text made the exhibition a compelling fusion of art and journalism, exposing injustice and mobilising international support. Their work remained politically charged over decades, enduring censorship yet continuing to inspire activism by visually communicating ongoing struggles related to democracy, inequality, and repression in Chile and beyond.</p>
        • created2025-09-12 12:17:59
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        • content<p>Peter Kennard, Chile, September 11 1973</p>
        • created2025-09-12 12:19:10
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        • content<p>In 1985, Peter Kennard held a retrospective exhibition titled Images Against War 1965-1985 at the Barbican Arts Centre in London. However, the day before it opened, Henry Wrong, the centre’s director, demanded the removal of two photomontages Kennard had created in 1973 in response to the Chilean military coup. The reason for this censorship was that Midland Bank (now HSBC) had booked the Barbican cinema for a meeting of Pinochet's finance officials and British bankers, who would have to walk past the exhibition. Kennard refused to remove the works, and neither did the staff who had installed the exhibition. The following morning, the larger image was covered with a moth-eaten blanket hung from the ceiling, and the smaller piece was taken down.</p>
        • created2025-09-12 12:19:25
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        • created2025-09-12 12:22:18
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        • content<p>This act of censorship sparked public outcry, with commentators highlighting how the Barbican effectively bowed to corporate interests connected to the regime. Kennard chose to leave the exhibition as it was, allowing the blanket and empty space to stand as an additional statement against the coup, its financial backers, and the silencing of dissent.</p>
        • created2025-09-12 12:22:30
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        • content<p>Peter Kennard, News Cutting, Morning Star, July 17 1985</p>
        • created2025-09-12 12:23:10
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        • content<p>Kennard’s photomontages continued to serve as powerful symbols of resistance well beyond the 1970s. His striking images were frequently used as placards and posters in demonstrations throughout the 1980s and the 1990s. Notably, in December 1998, his artwork was prominent during protests outside London’s high-security Belmarsh Magistrates Court when Augusto Pinochet was arrested under an international warrant.</p>
        • created2025-09-12 12:23:24
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        • content<p>Peter Kennard (centre) and others behind images from his ‘Unwords’ series as they await Pinochet’s arrival, Belmarsh magistrates, 12 December, 1998.</p>
        • created2025-09-12 12:24:39
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        • modified2025-09-12 12:24:39
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        • content<p>The placards resonated deeply with Chilean exiles and activists, visually connecting the protest to the regime’s violent history. By distilling complex political realities into visceral and accessible imagery, Kennard’s photomontages, connect political art with the ongoing fight for justice and human rights. </p> <p>This legacy was reaffirmed in 2023 when A Document on Chile was restaged at Four Corners Gallery as part of Chile 50: Political Art, Solidarity and Resistance. The exhibition juxtaposed Kennard’s 1970s photomontages with arpilleras, hand-sewn textile artworks made by Chilean women during the dictatorship, and  capturing the large-scale social protests of 2019-2022. By placing Kennard’s images alongside contemporary photographs of ongoing political struggles, the exhibition revealed the continuities of oppression, resistance, and solidarity in Chile’s history. It demonstrated how Kennard’s visual language of critique and activism still speaks to today’s movements for democracy and justice, emphasising the sustained power of political art to inform, mobilise, and inspire across generations.</p>
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        • created2025-09-12 12:28:26
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      • excerpt<p>By Frances Whorrall-Cambell</p>
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        • content<p>By Frances Whorrall-Cambell</p>
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        • created2025-09-08 14:58:02
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        • content<p>The Young People Cinema Workshop ran at Four Corners from 1980. As a project providing training and filmmaking opportunities to young people from Tower Hamlets, it perhaps has the closest resonance to the community work Four Corners does today. The early Workshops were radically experimental: pushing the boundaries of arts and technical education, and testing the ethos of collaborative filmmaking upon which Four Corners had been founded.</p>
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        • modified2025-09-08 14:58:16
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        • created2025-09-08 14:58:35
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        • content<p>Wilf Thust was the Workshops originator. He had a background in art and education as a teacher in Germany, and brought methods developed in the German avant-garde. During his teacher training, Thust had studied the pedagogy of the Bauhaus and Joseph Beuys, whose proclamation ‘teaching is art’ inspired Thust’s own professional practices. As a teacher in Bremen, Thust handed out Super 8 cameras to be shared around his classes, and when his time as an educational researcher in Bielefeld University was disrupted by student protests, he made the documentary <em>The School Strike OS 77.</em></p> <p> </p> <h2>SUPER 8 CAMERA </h2> <p>Thust saw the seriousness with which these working-class students approached politics and the self-organisation they were capable of, and he took these experiences back with him to London, and to Four Corners. Along with Ron Peck, Mary Pat Leece and Jo Davis, Thust had been one of the founding members of Four Corners during their time at the London Film School. By the time Thust returned to England with Jo, who had become his partner, Four Corners was undergoing a period of transformation.</p> <p>The premises on Roman Road was converted into a cinema accompanied by a regular programme of public screenings, allowing the group to combine production, consumption and discussion of films all in one space. Out of this dynamic context, the Young People Cinema Workshop was born. Thust’s intention was that young people could actively respond to films seen at Four Corners, and then make their own work from and out of their reactions. He conceived of it as a ‘media research group’ with young people learning and working outside of a formal institution.</p>
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        • content<p>There were benefits to working outside of the system: it allowed the Workshop to engage the most ‘unapproachable’ young people. Despite the presence of many progressive groups in Tower Hamlets, real social problems persisted alongside the brutal reality of the National Front. Thust wanted to reverse the ‘them’ and ‘us’ mentality experienced by many of the students: testing out his own prejudices whilst attempting to enter into their experiences, narrowing the gap between student and teacher.</p> <p>The form of the Workshop grew out a programme organised by Jo Davis and Mary Pat Leece called <a href="https://www.fourcornersarchive.org/archive/view/0001169" target="_blank">‘In Front of the Camera’</a>. Here, participants would view work by established filmmakers and feedback their comments, before projecting their own slides and film interpretations. The young participants became the motor of the Workshop, driving projects forward and determining the group’s course. <a href="https://www.fourcornersarchive.org/archive/view/0003830" target="_blank">Lisa Warren</a> in particular was remembered by Thust as a lynchpin. Warren had joined the Workshop from Davis and Leece’s group in Oxford House: she produced a script for the Workshop and brought a gang of friends to meetings.</p>
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        • content<p>This script became the film <a href="https://vimeo.com/334864112" target="_blank"><em>Don’t Think So</em></a>, a rough and ready tale about East End youth and their fraught interactions with family, teachers, and each other. Unlike the more polished films the participants were responding to, such as Derek Jarman’s <em>Jubilee</em> and Ken Loach’s <em>Up</em> <em>The Junction, Don’t Think So</em> registers the process of its own making and is a vital document of the learning and thinking that went on in the Workshop. The group used scrapbooking and wall charts to map out ideas. Part account of progress, part guest book, and part space for critical comments, these sheets spilled out into the film itself in hand-drawn intertitles and sets. The final film is fun and more than a little anarchic: charmingly clumsy at points as you see the participants learning on the job.</p>
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        • content<p>Funding from the Channel 4 Workshop Agreement allowed Thust to undertake more ambitious projects. Between 1982 and 1985 <em>Is That It?</em> was under production at the Workshop. Thust devised it as a film made solely by the young people of Tower Hamlets, with Four Corners providing only the technical means and training, with no conceptual guidance. The project soon evolved to become a diary of work, recording Thust’s interactions with the young participants alongside media statistics about the lives of youth in the borough. Although the final film was not well received, it was groundbreaking in its foregrounding of young voices, and as a record of the Workshop resonated throughout the years.</p>
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        • content<p>At a screening of <em>Is That It?</em> held at Lux in 2002, one of the Workshop’s members was in the audience. Anthony David attended the group when he was 15, and the radical pedagogy he experienced at Four Corners influenced him in the creation of the archive of social movements May Day Rooms, and in his work in the Experimental Teaching Unit he established at Central Saint Martins. The impact of the Young People Cinema Workshop can be found in unexpected places, but its legacy is also channelled still at Four Corners, in our ongoing commitment to providing education and training in film and photography.</p>
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        • content<p>Four Corners, founded in 1975 in East London, is an independent film workshop known for experimental, socially engaged films. It produced ground-breaking works like Nighthawks (1978), Britain’s first openly gay feature, and A Kind of English (1986), the first British Bangladeshi feature. In addition to its workshop and editing rooms, it built a 45-seat cinema and organised screenings, talks, and workshops providing a creative space for the community and promoting engagement between filmmakers and the local audience. </p> <p>Dedicated to nurturing independent and diverse talent, Four Corners remains a vital creative hub for artists, filmmakers, and local communities today.</p> <p><a class="btn btn-primary" href="/explore/a-brief-history-of-four-corners-one-of-the-uk-s-first-independent-film-workshops">Histories: A Brief History of Four Corners</a> <a class="btn btn-primary" href="/explore/four-corners-young-people-cinema-workshop">Four Corners' Young People Cinema Workshop</a></p> <p><a href="/explore/a-brief-history-of-four-corners-one-of-the-uk-s-first-independent-film-workshops">Histories: A Brief History of Four Corners</a> </p> <p><a href="/explore/four-corners-young-people-cinema-workshop">Four Corners' Young People Cinema Workshop</a></p> <p class="text-orange"> </p>
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      • excerpt<p>First published in 1976, <em>Camerawork</em> was unlike any other photography magazine of its time.</p> <p> </p>
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        • content<p>First published in 1976, <em>Camerawork</em> was unlike any other photography magazine of its time. Emerging from the Half Moon Photography Workshop, it provided a bold forum for debates on photography, politics and representation.</p> <p>Radical in intent and striking in design, the magazine was produced collectively, mixing powerful visual spreads with incisive writing from voices such as <a href="/archive/index?keyword=Jo+Berger+and+John+Spence&theme=&collection=&organisation=&medium%5B%5D=39">John Berger and Jo Spence</a>.</p> <p>Across ten years and 32 issues, <em>Camerawork</em> became a touchstone for critical discussions around photography’s social role, before closing in 1985, leaving a legacy that continues to resonate today.</p> <p><a class="btn btn-primary" href="/explore/a-brief-history-of-camerawork-magazine">A Brief History of Camerawork Magazine</a>  </p> <p><a class="btn btn-primary" href="/explore/critical-engagements-with-documentary-photography">Critical Engagements with Documentary Photography</a></p>
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