© punctum/photo by ampanee satoh
first year, we featured Peter Dench and his photos
of England on beer mats. Peter told me, “This is
the best location ever for my work.” We do small
prints and also huge prints. We have work by Jill
Greenberg and Vee Speers that will be four meters
high by three meters wide. We have photos everywhere, from bar windows to walls to the beach.
Outdoor advertising is not allowed in Bilbao, so
there is no visual pollution, just the photos.
Photoquai is a biennale supported by the Musée
du Quai Branly [the museum of indigenous art from
Africa, Asia, Oceania and the Americas, located in
Paris]. The art directors contracted, until now, just
did the job of choosing photographers. But because
I’ve worked in print and multimedia, I’m getting into
changing the Web site, improving the catalogue
and the social media integration.
PDN: Punctum has been described as the first
print magazine devoted to contemporary
pan-Asian photography, but in your editorial
statement you also said it’s not a photogra-
phy magazine, it’s a magazine that uses pho-
tography to show life across Asia. What is its
FK: That’s what I said about OjodePez also. I like
to use photography as a medium, not a finality. I
always say it’s a magazine whose content is pho-
tography, but it’s not for photographers, it’s for
the rest of the public. I don’t want to circumscribe
photography to the photo ghetto. Can you imagine
music only for musicians? It would be a disaster.
© angki purbandono
PDN: How is the photography selected?
Top, left: The cover of Issue 3 of Punctum, with a photo by Ampanee Satoh from a story on France’s burkha ban.
Above: An image from Punctum by Angki Purbandono, a Jakarta, Indonesia-based visual artist.
pdnonline.com | October 2012 | PDN 73