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"Part of the appeal of making a photobook is to arrive at a permanent version of a project, to decide which are the relevant images, how they should be sequenced and what text should introduce them. When the book is published the nature of the work is settled. In the case of well known book like Martin Parr’s The Last Resort, it may assume a mythic status, define a new style of photography and become em- blematic for the period. Or maybe not. As Ian Walker found revisiting The Last Resort, many of the components of the first edition of the book like the design and the commissioned text look quite different today and represent priorities that have been forgotten in subsequent presentations of the work. In fact, as Walker describes, the subject of The Last Resort, New Brighton, appears in the essay and Martin Parr’s photographs, as "deliberately different and parallel depictions of this place".
Dragana Jurišić’s The Last Balkan Cowboy follows in the footsteps of cult pre-war Yugoslavian spaghetti western director Hari Džekson. Jurišić retraces his story and reenacts one of his films using the local population as actors from both sides of the ethnic divide. "Returning to the home which she fled, she follows a ghost through a country that has long since disappeared"The resulting images are effectively production stills: locations and actors be- tween takes. The new work precedes a feature-length documentary on Džekson directed by Jurišić, which will premiere at Sarajevo Film Festival in August 2026.
Lucie Armstrong’s new work Repossessed confronts lost futures and inertia in the present day by re-visiting various stages from her life. Re-thinking experiences and people, now invisible but ever- present as spectral entities, made her contemplate their effect on the way her life has turned out. Meanwhile, Trance so far! is a work-in- progress exploring a small-town Cumbrian nightclub as a portal to Armstrong’s teenage years and the lost futures she imagined on the dancefloor.
Anthony Haughey’s new work Eastern Front focuses on landscapes and communities along the Russian border in Estonia, Latvia, and Lithuania. Haughey photographs the spaces and communities shaped by their proximity to borders, histories of occupation and the renewed anxieties of war. Krasimira Butseva introduces the work and notes that "what repeats in each image is, in fact, a trace of silence: a quietness whose frequencies rise if the eye stays long enough with the image" For Haughey the past remains active "not as distant history, but as a persistent force moving through the present, shaping visible landscapes, institutional frameworks, and lived experience".
