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Jawahar Kala Kendra 'Ellipsis: Between Word and Image' Jaipur, 2019

Koel Gallery, 'Solitude', Karachi, 2018

Lahore Biennale   ‘River In An Ocean’ Lahore, 2018

Chobi Mela, Solo show. Dhaka 2015

Lahore Literary Festival, Lahore, 2014, 2015

Paris Photo Expo, Michael Hoppen Gallery, Paris, 2010

Mohatta Palace Museum, Karachi, 2010

Rohtas Gallery, Solo show. Islamabad, 2010

Rohtas Gallery, Solo show. Lahore, 2010

PhotoSpace, Solo show. Karachi 2010

Palais de Tokyo, Paris 2008

Dubai International Financial Centre, Dubai 2008

Thessaloniki Museum of Photography, Thessaloniki 2008

Einhoven University of Technology, Einhoven 2008

Noorderlicht Dutch International Photofestival, Groningen 2007


Sony World Photography Awards, Selected, Portrait Section, 2010

Prix Pictet, the world’s premier photographic award in sustainability, finalist 2009

Scottish Arts Council Artist’s Assistance Grant 2002

Observer/Hodge Awards, Young Documentary Photographer of the Year, finalist, 1996

Curated Exhibitions

Women Photographers Photographing Women of Pakistan, Canadian High Commission, Islamabad 2015

Eye Am Camera, Alliance Francaise, Dhaka, 2013

When Three Dreams Cross, Whitechapel Gallery, London. Curatorial Advisor

UNESCO Photojournalism from Pakistan, Lahore 2007

Angkor Photography Festival, Punjabi Street Photography, Cambodia 2006

Conference Papers

Modern Conference of Modern South Asian Studies 'Ruh Khitch', Spirit Pulling Photography from the Punjab, Manchester University 2008


Ganda Nalla, A Short History of Water in the Punjab,  2010

Mazzar Bazzar, Oxford University Press 2010      

Water, TeNeues New York 2008

The Majesty of Mughal, Thames and Hudson London 2007

Act of Faith, Stitching Aurora Borealis, 2007

Another Asia, Stitching Aurora Borealis, 2006

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'Dialogue, Document, Discourse'

An Introduction to the photographic practices of Malcolm Hutcheson

Documentary as a medium, within the gallery space, has shed its genre specificity and freed itself of the cycloptic vision to provide multiple interpretations within single events. The Gallery is a place for experimentation and innovation where we can bring together a new documentary form, a hybrid convergent medium which uses sound, video, writing and single images to impart effect. What this amounts to is a re-evaluation of both image studies and convergent histories where the central narrative is within the control of the artist and not directed by media troupes.  The freedom this imparts requires documentary artists to re-engage with subjects on multiple fronts and over extended time periods to re-tell familiar stories in a variety of new forms.

Only images which directly challenge their conventional uses are of interest. Only images which engage beyond their surface to reveal their operation as part of their structure have sufficient life to fill the gallery space. It is necessary at all times to challenge the conventional reading of images but it would be a mistake to separate that concept from the study of reality forms which imply both a philosophical and practical engagement with the real. Therefore in representational systems, the subjects role in the triangle made of reality/subject, practitioner/documentarist and market/audience has to be of major concern when reading the images proposed in my work. Because the works are complex does not mean they are not concerned with the real problems and suffering which are described within them, for without direct engagement the works would become sophistic. But the traditional forms of documentary photography which signal direct engagement with subjects have become ridden with the cliche of sentimentality and confused by issues of truth and authenticity. Most photojournalism barely rises above a form of emotional manipulation of the ‘other’ while ignoring the corrupting power structures inherent in the medium itself. I look towards a new discursive space where reality image constructs replace photo-agency packaging and committed engagement replaces the self serving of the ’Artist’s Vision’.