What was the initial concept behind the Club, and what upcoming projects can we anticipate?

The concept revolves around establishing a dedicated platform for individuals and institutions actively involved in vernacular photography, encompassing artists, collectors, curators, academics, and photo book publishers. The founding members, are deeply immersed in vernacular photography, have authored and published extensive research in recent years. The club is committed to producing three annual newspaper journals, each focusing on distinct subjects. Collaboratively curated by all members, these journals will feature an open call for themes, allowing active participation for members. Annually, during the spring, the journal will be published alongside corresponding exhibitions. A highlight of our initiative includes organizing activity during the photo festival in Arles, complemented by a release event during the autumn photo fair in Paris. In addition to these endeavors, we are excited to announce the regular release of podcasts every two weeks. These podcasts will engage in insightful conversations covering topics such as photo books, collecting practices, and the rich realm of vernacular photography.

What influenced your choice to embrace a club format over other forms of institutions?

We want to create a club rather than an institution as a club is a very democratic form of structure. Each member has an equal status and members can integrate themselves as much as they want in the process of creation.

Your manifesto outlines the club's commitment to domestic, utilitarian, and local photographs and vernacular documents. What are your thoughts on the term "vernacular photography" itself? Geoffrey Batchen, the de facto "inventor" of the term, has recently argued that we should abandon it and simply refer to these kinds of images and pictures as photographs. Others propose terms such as "everyday" or "domestic photography," and for digital images, "networked images" has become a widely used phrase lately. Where do you stand on this matter?

The term "vernacular" is undeniably broad and has been applied to these specific types of photographs. While acknowledging its adaptability, we find that, at present, this term aptly encapsulates the essence of our club's activities. The Vernacular Social Club envisions expanding its scope beyond photography, exploring various forms of vernacular expression. We firmly believe that objects, much like photographs, serve as potent cultural artifacts, offering insights into society.

Cultural appropriation is not limited to images; it extends to objects, revealing diverse facets of societal dynamics. Consequently, our club's focus transcends the realm of photography, reaching into broader cultural domains. We aspire to attract members with a keen interest in architecture, object collecting, and linguistics. In our view, the exploration of vernacular and its significance in society has only just begun. Despite two decades of interpretation, this period pales in comparison to the extensive history of vernacular's presence in societies, dating back to the inception of organized human communities.

Could you please share how you and your co-founders of the VPC became involved with this type of imagery and elaborate on the differences in your perspectives & methods?

My personal journey into the realm of vernacular photography and objects began during a research project in Afghanistan. While exploring tourism to conflict areas, I embarked on a unique endeavor where, for the first time, I not only collected objects and photographs but also actively documented the tourism landscape in Afghanistan. This experience served as my initial insight into the profound narrative that vernacular material can weave about a community or society. Subsequently, my exploration led me to delve into box camera photography in Afghanistan. Street photographers utilizing this specific form of photography showcased a distinctive lens through which they documented society, firmly situating these images within the vernacular domain. This marked the beginning of a prolonged journey that continues to unfold, as I strive to comprehend various aspects of societies, communities, and historical periods through images discovered worldwide.

As for my fellow club members and our founding contributors, each has undertaken extensive paths and diverse journeys, whether as collectors, publishers, or researchers, contributing richly to the collective narrative we are building.

Expressing the voices (or in this case more precisely: pictures, faces and looks) of others is invariably a sensitive and complex matter, demanding a heightened awareness of one's own perspective, privileges, and position within social hierarchies. Is there a "best practice" that professionals and amateurs alike should follow when engaging with vernacular photography to mitigate the risk of biases?

Navigating the complexities of working with images, especially those depicting other cultures, poses numerous challenges. Ethical considerations play a pivotal role in the field of vernacular photography, emphasizing the importance of how one interprets and engages with visual representations. Crafting an ethical approach is subjective and contingent on individual understanding and principles.

In my practice, I prioritize collaboration at a local level. For instance, when working in places like Myanmar, I actively engage with local photographers, researchers, and historians. This collaborative effort ensures a more profound understanding of the images under scrutiny. Acknowledging and addressing biases toward materials is a constant consideration when delving into diverse subjects. It underscores the need for a mindful and culturally sensitive approach in the interpretation and utilization of vernacular images.