Oil fields, sex dolls and a 12 year diary of consumption

The shortlist for the fifth Prix Pictet, the international prize for photography and sustainability, have been announced at the Musée d’Art Moderne de la Ville de Paris, during Paris Photo. This year’s submissions tackle the theme of consumption, with the shortlist including large-scale aerial images of oil fields and beef farms, a twelve year visual diary of objects consumed, and a life-size sex doll draped in jewels.

The shortlist for the fifth Prix Pictet, the international prize for photography and sustainability, have been announced at the Musée d’Art Moderne de la Ville de Paris, during Paris Photo. This year’s submissions tackle the theme of consumption, with the shortlist including large-scale aerial images of oil fields and beef farms, a twelve year visual diary of objects consumed, and a life-size sex doll draped in jewels.

My Things (2001 – 2009) by Hong Hao (above), began 12 years ago, with all the goods that the artist consumed being scanned piece by piece to create a visual diary, then categorised and made into a collage.

Adam Bartos’s Yard Sale series (2008), explores the way American yard sales recycle household goods, to extending the life of objects and reduce landfill.

Project Family (2007 – 2011) by Motoyuki Daifu, documents the artist’s home-life, with seven family members and a cat squeezed into a five-room house in Yokohama, Japan.

Rineke Dijkstra’s Almerisa (1994 – 2008), is her longest series to date, tracing the transition of a young Bosnian Refugee, as she adjusts to a new culture and experiments with her appearance.

In Mishka Henner’s Beef & Oil (2013), large-scale photographic prints depict oil fields and beef farms – vast landscapes carved out by the industries in order to meet the demand for two of North America’s top commodities.

The Escalas series (2008 – 2009) by Juan Fernando Herrán, explores the suburban neighbourhoods of Medellin in Colombia, where boundaries between rural and urban space are continually renegotiated by a growing population.

Boris Mikhailov’s Tea, Coffee & Cappuccino (2000 – 2010) focuses on the everyday, aiming to translate the monotony of the scenes into photography.

The untitled 2012 series by Abraham Oghobase depicts images of Lagos, Nigeria, where a population of 10 million people compete for space, for everything from accommodation to advertising.

Lebensmittel (2006 – 2010) by Michael Schmidt combines social documentary with urban topographics, exploring how we feed ourselves, from farm to table.

Allan Sekula’s Fish Story (1988 – 1995) explores the historical, sociopolitical, aesthetic and literary connections between industrial ports across the world.

In Love Doll (2010) by Laurie Simmons, a life-size sex doll enacts the indulgent fantasies of unnecessary excess and consumer fetishism of Western culture.

The winner will be announced 21 May 2014, with an exhibition of shortlisted works at the V&A in London from 22 May to 14 June 2014.

www.prixpictet.com

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