Project Cleansweep takes its name from a Ministry of Defence (MoD) report issued in 2011 identifying sites in the UK where tens of thousands of tonnes of mustard gas, phosgene and other lethal chemicals were, since World War 1, made, processed, stored, burned and dumped in England, Wales and Scotland.
Avonmouth Bristol 2012
This site was part of the National Smelting Works, which at one stage during WWI was the main centre of the production of mustard gas. In 2012 workers clearing the site for the building of a large supermarket distribution facility suffered from skin irritations and nosebleeds after discovering some buried munitions. The site today has been given the all clear and building has recommenced.
Magazine
Our printed editions, circulating throughout various galleries, festivals and agencies are dipped in creativity.
The spirit of DODHO’s printed edition is first and foremost an opportunity to connect with a photographic audience that values the beauty of print and those photographers exhibited within the pages of this magazine.
Project Cleansweep takes its name from a Ministry of Defence (MoD) report issued in 2011 identifying sites in the UK where tens of thousands of tonnes of mustard gas, phosgene and other lethal chemicals were, since World War 1, made, processed, stored, burned and dumped in England, Wales and Scotland.
To this day such sites remain problematic even when they have been returned to civilian usage. The MoD released details of Operation Cleansweep in 2011 to provide “reassurance” that residual contamination at UK sites did not pose a risk to human health or the environment.
In all 14 sites were identified in this report, and I began my research by interrogating these sites. My research subsequently uncovered a further 56 sites in the UK and beyond where chemical and biological weapons were once manufactured, stored, and tested. These sites are now almost all returned to civilian use, and are now within the landscape as local bathing spots, public parks, pathways, deer sanctuaries, industrial estates and petro-chemical factories. The photographs look beyond the romanticized and nostalgic representations of military activity, and point to why art practice is a valid and productive tool for studying post-military activities and the evolving spaces of the post-military sublime landscape. It is typical for studies into these places are nearly always directed towards the most dangerous activities and spaces, which is visually most compelling. My aim as an artist is to connect with these military spaces by considering their banality within the contemporary landscape. By looking at how these once dark military spaces have been returned to benign civilian use, I try to examine the loaded nature of the landscapes the public generally views as unthreatening and often as bucolic. To me however, these places are loaded with a baleful, tumulus-like appearance, resembling a tumour barely concealed under the surface of the landscape. They are post militarized environments and infrastructure, and a reminder still of what was a sustained military land grab in the 20th century, when over 371,000 hectares of the British landmass was reserved and appropriated for military use. Their partial sub-surface invisibility and cult-like detachment could undoubtedly be considered parallel to civil society and, in fact, parallel to life itself. My approach is to consider these historical events in a way that describes a ‘current problem facing our present existence’ as chemical and biological weapons remain a clear and present danger in the world today.
About Dara McGrath
My photographs lie in exploring transitional spaces, in-between places where architecture, landscape and the built environment intersect, where a dialogue – of absence rather than presence – is created. The focus of the photographs is on impermanence, transience, shifts and “repositioning”. Landscape and architecture that appear to be solid and permanent are experienced as somewhat disorientated. [Official Website]
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Their projects can be published among the best photographers and be viewed by the best professionals in the industry and thousands of photography enthusiasts. Dodho magazine reserves the right to accept or reject any submitted project. Due to the large number of presentations received daily and the need to treat them with the greatest respect and the time necessary for a correct interpretation our average response time is around 5/10 business days in the case of being accepted.
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To send it, you must compress the folder in .ZIP format and use our Wetransfer channel specially dedicated to the reception of works. Links or projects in PDF format will not be accepted. All presentations are carefully reviewed based on their content and final quality of the project or portfolio. If your work is selected for publication in the online version, it will be communicated to you via email and subsequently it will be published.
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Submission
Dodho Magazine accepts submissions from emerging and professional photographers from around the world.
Their projects can be published among the best photographers and be viewed by the best professionals in the industry and thousands of photography enthusiasts. Dodho magazine reserves the right to accept or reject any submitted project. Due to the large number of presentations received daily and the need to treat them with the greatest respect and the time necessary for a correct interpretation our average response time is around 5/10 business days in the case of being accepted. This is the information you need to start preparing your project for its presentation.
To send it, you must compress the folder in .ZIP format and use our Wetransfer channel specially dedicated to the reception of works. Links or projects in PDF format will not be accepted. All presentations are carefully reviewed based on their content and final quality of the project or portfolio. If your work is selected for publication in the online version, it will be communicated to you via email and subsequently it will be published.