Bristol Photo Festival 2024: In conversation with Festival Director, Alejandro Acín

Last Autumn, the 2024 Bristol Photo Festival welcomed over 100,000 visitors to engage with photographic works from 36 artists over 12 weeks in 13 venues; an impressive season of photography with programmed exhibitions and events dotted all across the Bristol metropolitan area, in the region’s larger museums as well as community centres and pop-up spaces. Photomonitor recently spoke with Festival Director Alejandro Acín to learn more about how this year’s festival was created, and to discuss the work behind turning a thematic idea into three months of unforgettable impact on British visual culture. And what’s in store for 2026?

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Christiane Monarchi: Congratulations on an impressive and truly engaging edition of Bristol Photo Festival, themed this time on ideas of movement, with the phrase ‘the world a wave’ threading together the many international and locally created exhibitions with collaborative projects, talks and workshops. Personally, I often returned to the first part of this curatorial exploration, concerning ‘personal stories of global relation’ as I moved between exhibitions. How did the theme start, and how did it evolve throughout the planning stages?

Alejandro Acín: Festival themes are a double-edged sword. On one hand, they need to be broad enough to accommodate a wide range of ideas and approaches. On the other, they must feel relevant and precise, providing the festival with a distinct identity. When collaborating with established art institutions—each with its own curatorial direction—the theme must be inviting, allowing for diverse interpretations that align with the institution’s curatorial interests. For us, the theme often serves as a starting point for meaningful conversations between the festival and our partners. We aim to think holistically, using the theme to shape a cohesive identity for each edition and to curate a program of exhibitions and collaborative projects that engage with one another.

For this edition, we sought a sense of continuity with the first festival edition, which was framed around the concept of A Sense of Place. This time, we decided to explore ideas surrounding movement. The title The World A Wave is inspired by Édouard Glissant’s seminal idea of Relation. Glissant reflects on how the modern world is shaped by immigration and the enduring legacy of colonisation, viewing movement not as an exception but as the essence of being. Additionally, these concepts of movement and connection resonate deeply with the cultural and political landscape of the UK in recent years, making it an opportune moment to address pressing questions through our exhibitions and projects.

From this foundation, we developed an overarching framework focused on four key themes: the movement of people and objects; movements of solidarity and kinship; the emotional impact of photography and the idea of being moved; and the traces of history, or how historical narratives can be reimagined today. We also have a strong interest in the poetics of storytelling – and counterstories – so a lot of our exhibitions use photography to approach this visually. We want exhibitions to be spaces of possibility where visitors undo in order to become, question and disrupt dominant narratives. With this structure in place, we began engaging with our partners, discussing potential artists, exhibitions, and programming ideas across both traditional and unconventional spaces.

Some highlights from the programme were collaborating with Arnolfini to produce At the edge of the everyday world, a survey exhibition by acclaimed Japanese artist Rinko Kawauchi. In early 2023, we began working on the idea of a major Rinko Kawauchi exhibition and were delighted that Arnolfini agreed to partner with us on this project; We also collaborated with Bristol Museum & Art Gallery to produce the first UK exhibition by Iranian artist Hashem Shakeri. Staring into the Abyss documents daily life in Afghanistan, following the Taliban’s return to power. As part of our partnership with city museums, we invited Akosua Viktoria Adu-Sanyah to be in residence at Bristol’s Georgian House Museum, ultimately creating a new body of work in relation to the building’s colonial history. Built in the late 18th century, Georgian House is best known as the home of John Pinney (1740 – 1818), a wealthy sugar merchant and slave holder; yet was also home to Pero Jones (1753-1793) and Fanny Coker (1767-1820), both of whom were born into slavery and brought to Bristol by the Pinney family. Adu-Sanyah spent one month in Bristol producing the work and preparing for the show. The pieces she produced were superb, however her exhibition ideas couldn’t be fully realised due to the limitations and restrictions encountered in the conversations with the Museum space, staff and management. A learning experience for everyone involved that highlights the importance of supporting the artistic integrity of creative proposals that deal with these complex topics.

We’re deeply grateful for the openness and enthusiasm our partners brought to this year’s theme, which fostered a rich and productive dialogue. Their support has allowed us to create an ambitious program that reflects the diversity and depth of these ideas.

CM: What opportunities have you explored to connect with audiences outside the main venues?

AA: The engagement program is a vital component of this festival, and we approach it with the same rigor and creative ambition as our exhibition program. Our goal is to design and produce long-term, collaborative projects that are deeply rooted in the local context, often focusing on culturally underserved areas.

For instance, this year we are working in Avonmouth, a port village near Bristol. Avonmouth and its surrounding port area have been sites of constant transformation since the late 19th century. They hold deep connections to the history of the British Empire, the rise of globalisation, and evolving patterns of work, trade, and exchange. Collaborating with local residents and the last generation of port dockers, we are creating a community visual archive that delves into the layered history of this place. This project incorporates family archives alongside new artistic commissions, bridging personal narratives with broader historical themes.

Additionally, we have been working across prisons in the South West and with newly arrived individuals in the city, offering an educational program of creative writing and visual storytelling workshops. Through these initiatives, we wanted to explore the theme of movement—whether it’s movement that is restricted, as experienced by those in prisons, or movement that is forced, as in the journeys of those displaced from their countries of origin.

CM: I have a fond memory of the many different ways in which I experienced photography in this festival, from three dimensional sculptural installation to video works, light boxes, vitrines, museum quality framed prints, free standing and hanging works, even an exhibition of words with drawings describing unshowable photographs. What have been the challenges and opportunities working with so many different types of production and three-dimensional installation of photographic ideas? 

AA: We see the festival as an opportunity to explore the expansive possibilities of the photographic medium—its interpretation, creation, and presentation—and to examine its connections with other creative disciplines like film, literature, and sound. The way works are presented is central to our curatorial discussions as we develop the program. We aim to create exhibitions that not only stand out individually but also complement one another, offering audiences a multifaceted understanding of what the medium can be.

Given that our festival spans both traditional gallery spaces and unconventional venues like abandoned warehouses, crypts, and historic houses, we often face challenges related to the limitations and restrictions of these spaces. These settings demand innovative and adaptable approaches to exhibition design and installation, pushing us to think creatively about how to best showcase each work.

For example, in Spaces of Separation by Sarker Protick (St. Paul’s Crypt) – the show presented images of architectural ruins scattered across West Bengal. The decision to show the exhibition in the crypt of an historic church, created a shared atmosphere between the space and work. Now Keep Quite Still by Herbert Shergold (The Launderette) – organising the first retrospective exhibition of Herbert Shergold in a space only a few doors down from his original 1960s photography studio, was widely appreciated by audiences. One Hundred and Twenty Minutes by Amak Mahmoodian (17 Midland Road) – the exhibition examined the experience of dreaming for those in exile. Organising the exhibition in an old house, gave the installation a domestic feel that matched the work. 

As with many festivals, one of the recurring challenges is working within a tight budget and timeframes. However, one of the advantages of IC Visual Lab—this edition’s managing organisation—is that we operate as an in-house design and curatorial studio. This dual expertise allows us to efficiently allocate time and resources while maintaining high production standards. Additionally, we are fortunate to have an exceptional team of professional printers, technicians and fabricators who bring their skills and dedication to the realisation of ambitious presentations. Their contributions are invaluable in transforming challenges into opportunities.

CM: How long have you been working on bringing these events and exhibitions together? I’d love to know how a programme this expansive develops over time and space, as you have secured so many venues for several weeks with festival programming and projects. 

AA: IC Visual Lab took over the management of the festival in April 2023. There was a significant amount of housekeeping required to revive the festival, which had been dormant following the conclusion of a challenging first edition held during the global pandemic. One of our first steps was to review the board, inviting new members to join this renewed vision, bringing fresh skills and expertise. These new members worked alongside those involved in the first edition, who offered invaluable insight into the challenges and opportunities within both the national and local contexts. This process also involved extensive discussions with potential venue partners—an essential part of the groundwork that must be laid before even beginning to think about the festival programme.

Broadly speaking, our work is divided into a 70/30 split. Around 70% of our time is dedicated to securing resources through public funding bodies, trusts, foundations, and private sponsors, while the remaining 30% is spent delivering and evaluating the programme we’ve designed.

The Arts Council application has been a cornerstone of our workflow, as it is one of the few funding opportunities that allows us to cover core costs. We received the positive news regarding this funding in mid-January 2024, which officially enabled us to move forward with this edition of the festival. From February to July, we continued our fundraising efforts to secure the necessary budget to realise an ambitious programme featuring 14 solo exhibitions, three group shows, and six engagement projects.

Our festival does not follow an open-call model, a deliberate choice as we believe there are already sufficient festivals in the UK fulfilling that role. Instead, we carefully curate a programme that balances exhibitions of well-established artists, emerging talent, and historical shows. We also prioritise new commissions with both local and international artists that respond to Bristol’s histories and themes. This approach enables us to create a bespoke fundraising strategy to support each of these elements.

The current arts funding landscape in the UK is undeniably challenging—though it has never been straightforward. In recent years, the combined impact of the pandemic, Brexit, and prolonged austerity policies has led to the closure of numerous libraries, archives, and cultural institutions as a result of severe funding cuts. With every funding bid being fiercely competitive, we are profoundly grateful to all the funders who placed their trust in us and enabled the delivery of this edition.

CM: Alongside the main festival programme, how did the parallel programme develop?

AA: The engagement programme grounds this international biennial in the city and serves as the connective tissue that binds each edition together. The programme typically consists of several strands: long-term collaborations, local commissions, a film programme, a symposium, artist workshops, and events.  

The festival usually begins with long-term collaborations, which launch in the spring or summer and run for at least 12 months. These are bespoke partnerships we establish with local or regional organisations, providing opportunities to test project ideas centred around photography, heritage and storytelling. 

Local commissions are also crucial for building cultural capital within the city. For instance, this year we collaborated with the Brigstow Institute to commission two artists, Jessa Fairbrother and Nilupa Yasmin, to work with community groups on a project exploring the cultural and social significance of stitching within diaspora communities. Another example is Sebastián Bruno’s collaboration with The Hive, a local organisation working with neurodivergent adults, where he delivered workshops inspired by Augusto Boal’s theatre techniques.  

The film programme is another popular element of the festival. It features films and documentaries that complement the exhibitions or themes. For example, this year we screened *Tish* (2023), followed by a Q&A with Kirsty Mackay, one of the exhibiting artists. We also showcased *Twice Colonised* (2023), which tells the story of renowned Inuit lawyer Aaju Peter and her lifelong fight for the rights of her people in Greenland, tying into the themes of Inuuteq Storch’s exhibition. Additionally, the programme serves as a platform to premiere new films about photography and photographers. A highlight was *I Am Not Everything I Want to Be* (2024), an extraordinary documentary composed entirely of still images. Directed by Klára Tasovská, the film explores the diaries of photographer Libuše Jarcovjáková as she navigates life in Prague, Berlin, and Tokyo, pushing the boundaries of conventional documentary filmmaking.  

A significant new addition to this edition, compared to the first, was the introduction of an opening week. During this five-day period, all the festival’s exhibitions were unveiled, alongside various events and a symposium. The festival symposium provided audiences with the opportunity to hear directly from festival artists, allowing them to delve into the key ideas and themes explored in their work.  

We also incorporated music events into this edition, recognising Bristol’s rich and vibrant music scene, which has a loyal and enthusiastic audience. In collaboration with Arnolfini and Time is Away, we hosted a live sound event featuring local musicians and producers. This took place during the opening of Rinko Kawauchi’s exhibition, with performances directly responding to her main video works, adding an exciting interdisciplinary dimension to the festival.  

Additionally, this year we support the creation of a sister satellite event called Photo Weston that takes place in Weston-Super Mare. This programme includes artists commissions tackling local issues and hosts exhibitions, workshops and events. 

CM: Are there things you would have changed or something that had different outcomes than expected, in this festival?

AA: We are ambitious in our vision, striving to create a thoughtful programme with multiple strands and long-term ambitions. However, as a small team, the workload can sometimes be considerable. One of the highlights of this edition was the incredible team we assembled—a group of highly professional and enthusiastic individuals who gave their all to deliver every aspect of the festival to the highest standards.

As a young festival, each edition reveals areas for improvement, though these are often closely linked to the constraints of our budget and capacity. Sometimes, our most ambitious plans are tempered by financial realities. Exhibitions are constantly reconsidered in response to what our budget and resources allow. However, I am proud to say that we have successfully delivered all our initial plans, finding creative solutions to overcome limitations. It has been particularly rewarding to hear visitors’ feedback, with many expressing appreciation for the festival’s curation—where exhibitions were not merely a collection of images on a wall, but spaces designed for experience, imagination, and reflection.

Directing a festival involves setting clear priorities to achieve specific outcomes, and each edition presents different challenges and opportunities. For this edition, we aimed to present a diverse range of shows and venues, encouraging audiences to engage with a wide array of questions on this highly relevant topic. However, this approach required a substantial production budget and significant labour, including venue invigilators and technicians.

As part of our evaluation, we are reflecting on our priorities and ambitions for the next edition, which will shape our approach moving forward. We are committed to maintaining the rigour and quality of our curatorial programme while also seeking to enhance the festival’s impact on the city.

CM: Have you already begun thinking of thematic ideas for the next biennial? 

AA: We’ve had only a few initial internal conversations so far, and it’s still early days to discuss it in depth. In the first edition, we explored the concept of place, and in the second, we focused on movement. If we consider this as a trilogy of prepositions, perhaps the next step should be to delve into the theme of time.

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Alejandro Acín is founder-director of IC Visual Lab (ICVL), an independent photography platform which led the second edition of Bristol Photo Festival in 2024. With ICVL, Alejandro has produced curatorial & publishing projects with Bristol Museums & Archives, Arnolfini Gallery, Eastside Projects, Format Festival Derby, Getxophoto international festival & Photo Kathmandu, with support from Arts Council England, Historic England, Heritage Lottery Fund & the British Council. Beyond ICVL, he has a track record of activating historic archives, including Historical Photographs of China 1850-1950 (University of Bristol), The Nepal Picture Library and the British Empire & Commonwealth Collection and managing collections like the Martin Parr Foundation Library. He is also an Associate Lecturer on the MA Photography programme at the University of South Wales.

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