Eat Crow

Photographer, Gerhardt Coetzee captures moments of passion and escapism at Cape Town’s Tygerberg Raceway

Words by Richard Kilpert

Kraaifontein (South Africa) can be a kak (shit) place. Just do a search. Especially on Youtube where the popular list of street fights and shootings is balanced by the angry wail of drifting sedans. Even a virtual drive-by in Streetview is time-travel to decades before the virtual 2010 of Google. Even the cars are from the 80’s. This is so far past the Boerewors (sausage) Curtain that it is beyond the White Wall.

But some brave ones do venture out there on chilly weeknights and on monthly pilgrimages to the dirt oval in the northern reaches of Cape Town’s urban sprawl. It is places like this that call to Gerhardt Coetzee, who for the past five years has been secretly shooting in neglected corners of the over-photographed Mother City.

Coetzee looks for empty places. His Instagram is full of emptiness. If there are people in the frame, their backs are turned, or they are brutally cropped, or are playing precariously close to a compositional abyss that yawns across the image. Here in Kraaifontein he matches moments of still life – a Redbull, Red Heart and Johnny Red on a bonnet – with an unguarded moment on the faces of the inhabitants of this temporal zone. Portraits in limbo.

This portfolio of sunburned photographs are a lesson in form and composition. If you can get past the initial story struggling to hide from the sharp focus, your eyes might return to the image to find hidden details that provide the irony and pathos that Coetzee feeds off. He is the artist that allows the viewer to see the invisible – the stuff that hides from lazy everyday eyes.

Here is a moment of pause in a very noisy pursuit. Customised rides drift incessantly around the short, round track day and night of the event weekend. Armoured cars battle it out physically around the course, some straying into each other, some into the barriers and dust on the edge of the road. The families who come to inhabit this world of petrol, oil and braaivleis (barbecue meat) know this is their place. Safe from the scrutiny of the politically correct, where the only danger is the self-made one of speed and spirits.

This is a ‘Goldblatt in Boksburg’ moment - a quiet revelation of the impact of the political macrocosm on the lives of the ordinary citizen. A witness of a truth in the pursuit of escape. Whereas Goldblatt’s searing black and white documents are a testament to how the ordinary survived an extraordinary world, these images of Tygerberg Raceway are how ordinary people create their own temporary world so as to survive the complicated one which can no longer be understood.

See Naples and Die

Photographer, Sam Gregg captures the spirit and vibrancy of the people of Naples

"See Naples and die” Johann Wolfgang Von Goethe famously espoused in his book, Italian Journey in 1786. During the golden age of Spanish Bourbon rule Naples was considered one of the most opulent cities in the world. So much so that many found it impossible to leave, only doing so upon dying.

In a modern context the phrase is a tongue-in-cheek reference to the over-documented gang violence of the city. Through the media and TV shows such as Gomorrah, the city has garnered bad press amongst the casual observers. Naples topped the European crime index ratings of 2017, however, its portrayal as the new Medellin of the 1980s, is far from the case. I am not discrediting this issue as it is a real and pressing matter, I am merely highlighting through my photography that the people affected are tangible human beings before they are political units.

See Naples and Die is predominantly a portrait of the inhabitants of The Spanish Quarter and Rione Sanità, two of the most visually striking yet volatile parts of the city. It is a documentation of the spirit and vibrancy of the people who live in these areas, who remain steadfast even in the face of adversity. They are fiercely proud of their heritage and emblematic of what it means to be a true Neapolitan.

Boys

Idan Simon photographs Israel’s male youth in a series exploring masculinity

Words by Idan Simon

Boys is a project that seeks to provide a platform for male youth from new middle class neighbourhoods in the Israeli costal town of Holon. This area represents, more than any, standardisation to the way of life that has been taking place in Israeli society in recent year. This is a significant time for them - a transitional period in which they are busy establishing independent identities as young men. More than ever, they are trying to build it up with material culture that has become significant in the way they are represented: electric bicycles, cars, telephones, clothing, and haircuts. The project seeks to expose the complex process of social mobility and the desire to create a heroic personality in the era of social routing.

A Rose Without Thorns

Photographer, Lewis Coombs explores identity and feelings of alienation from the fault lines of England’s North and South regions

Words by Lewis Coombs

Shot between 2016-2017, A Rose Without Thorns is the product of four years spent living in the North of England as a southerner whose entire family were either born and/or raised in the region.
The series contains images from both the North and South across this period, and explores the feelings of alienation that ensue from being caught in the fault lines between two regions, never able to wholly identify with either in a country where the place you come from constitutes a considerable aspect of your identity.

An Archive of My Father’s Youth: 80’s and 90’s Football Culture

A zine by photographer and curator, Bethany Kane explores the violence and camaraderie of 80s and 90s football culture

“Hiding his thin Kodak Disc camera in his underwear, my Dad Billy was able to photograph his trips in Britain and Europe without having his cameras confiscated or broken during police searches, a usual occurrence. Travelling on lengthy coach and train journeys, and camping and sleeping rough abroad, Billy followed his much-loved clubs Leeds United and England.” – Bethany Kane

Through creating such imagery first intended for personal reminiscence, her father’s photographs offer us a rare insight into a somewhat undocumented scene. Bethany shares her father’s story with us through such documentation of his youth experiences whilst Billy and his group of like-minded friends continue to support the teams that they love and actively participate in a culture they feel so passionately about.


Holland v England (Sardinia, Italy. 1990)
A man shouting "come on England the guns aren't loaded" in front of the march at flashpoint


Bournemouth v Leeds (Bournemouth. 26/03/98)
Fighting the police in the grounds car park


Poland v England (Katowice, Poland. 11/10/89)
England fans hotel


Holland v England (Sardinia, Italy. 1990)
Teargas at flashpoint marching to the ground


England's biggest hooligan turn out. (Sardinia, Italy. 1990)
Start of the march from the train station to the Dutch fans


Bournemouth v Leeds (Bournemouth. 26/03/98)
Fighting the police in the grounds car park


Poland v England (Jastrebezie, Poland. 10/10/89)
England fans arriving early and forced at gunpoint to attend match


Poland v England (Katowice, Poland. 11/10/89)
Flares shot into crowd


Holland v England (Sardinia, Italy. 1990)
Teargas and fighting


Poland v England (Katowice, Poland. 11/10/89)
Being escorted into the ground by police


Belgium v England (Bologna, Italy. 1990)
Fighting the police before the game


Holland v England (Sardinia, Italy. 1990)
Teargas and fighting

Still Here, Still Conscious

Photographer, Mark Griffiths captures the harmonious beauty and tenderness of Wales’ historic land and its inhabitants

Words by Mark Griffiths

Spanning over the course of a year and travelling throughout the country, Still Here, Still Conscious depicts a present day Wales. The images are an intimate portrayal of the places and people I met along this journey that shows the harmonious beauty and tenderness of this historic land and its inhabitants.

As a publisher and Community Interest Company, TRIP is dedicated to showcasing unconventional stories that may otherwise be overlooked. We aim to give a platform to the unseen and a microphone to the ignored. Expression is a right and should not be confined to those that can afford to work for free; which is why we strive to support a diverse range of creatives in their work, commissioning exciting projects and creatives to visualize them.
 

Founded as a magazine in 2013 by photographer, Dean Davies, TRIP was born from a desire to provide opportunity and exposure for image-makers across multiple platforms and medias. With a focus on people and place, in 5 years TRIP gained a loyal readership, and became known for its honest image output and representation of the underrepresented, featuring over 800 image-makers from across the world through a website, 5 magazines and 3 free zines.
 

As TRIP C.I.C. we are not interested in profiting from the activities of the organization, and re-invest all income back in to consecutive publishing projects.
 

Directors:
Dean Davies
Alfie Allen
 

For all enquiries: trip@trippublishing.co.uk.