The State of the Region by Marvin Systermans


The State of the Region


The structural change that is coming with the end of the coal mining industry in Germany is noticeable throughout the Lausitz region. The immense quantities of earth that have been moved have not only brought forward new landscapes; With the end of lignite mining, the Lausitz region is also looking for a new identity. This process takes place in different ways in the urban space, the renatured lake landscapes and the surroundings of the still active coal mines. The photo series "The State of the Region" examines places where traditional and young structures coexist, old structures slowly vanish and something new is created. On the one hand, the work deals with problems and conflict issues such as the environmental impact of coal mining and urban vacancy, while at the same time reflecting stereotypical representations of the Lausitz region. It describes the gradual departure of the region from the era of the coal industry, as well as the emergence of Europe's largest lake landscape.

Marvin Systermans is a german photographer, photo editor and communication designer working on a variety of different projects. His photographic work mainly focuses on different approaches to reflect on urban spaces, structural changes, and the human habitat in general.


2019 — Solo Exhibition, Galerie im Foyer, Bremen
2019 — Group Exhibition, the horizons Zingst, Environmental Photo Festival
2019 — Group Exhibition, Wendener Hütte, Wenden
2019 — Solo Exhibition, Galery Flut, Bremen
2018 — Group Exhibition, Münzenberg Forum, Berlin
2018 — Group Exhibition, Osthaus Museum, Hagen
2017 — Group Exhibition, Summerset House, London
2017 — Group Exhibition, Forum of Design, Magdeburg
2016 — Group Exhibition, 1st Design Biennale, Havanna
2015 — Group Exhibition, German Youth Photography Award, German History Museum


2019 — Shortlist Vonovia Photo Award
2019 — Shortlist Canon New Talent Award 2019/2
2019 — Scholarship from the BFF Neuer Förderpreis 2019
2018 — Münzenbergforum Photo Award, 4. Place
2017 — Shortlist Felix Schoeller Photography Award, Best Emerging Artist
2017 — Shortlist Sony World Photography Award, Professional Architecture
2015 — German Youth Photography Award


2019 — BangaloResidency Goethe Institute, Max Mueller Bhavan.
In collaboration with Raisa Galofre, photographer
instagram / @marvin.systermans


Places of disquiet by Ricardo Nunes


Places of disquiet


In 2016 and 2017 I travelled several times through Portugal, following old memories of places I might have been. Since I was born, I had to visit the land of my parents to spend time with distant relatives, who lived in commuter towns on the outskirts of city centers. Many images of my past are formed by rushing through unknown cities or small villages around the center of Portugal. For a long time, I couldn’t relate to the attractive stories I had come to hear about the country from others. At the age of 21, I explored for myself the historically overwhelming center of Lisbon for the first time. The images of a »Portuguese city« though, still arose from my former memories of places like Barreiro, Queluz or Guarda.The urbanization of Portugal was accelerated after the fall of Salazar’s dictatorship in 1974. The following and abrupt de-colonialization of African and Asian countries brought many immigrants to Portugal. Housing shortage and accession to the European Union in 1986 consider­ably speeded up the modernization process and strongly shaped the appearance of Portuguese cities. The ongoing financial crisis with rising poverty and criminality, as well as ghettoization, heightens the tense atmosphere. As news of forest fires and police raids were reported, I was told that the crisis and the heat are driving people crazy. It became important to decipher and describe this discomfort towards Portugal. A country with a formerly glorious past. Seemingly empty cities. A state of continuous melancholy. A fear of being spoken to. A fear of revealing that I am a foreigner. The light isn´t warm, it scorches skin, trees and landscapes. This journey to Portugal is an exploration of the feeling I carry — a simultaneity of foreignness and familiarity. The photographs are a portrait of a country I am choicelessly connected to. The loneliness that overcomes me in Portugal still has no release.

Ricardo Alves Ferreira Nunes

*1986, Germany

2014 — 2017 Master, HFK Bremen, Germany
2010 — 2014 Bachelor, FH Dortmund, Germany
2012 Srishti, Bangalore, India
instagram / @afnunes_


Future Rust, Future Dust by Loïc Vendrame


Future Rust, Future Dust


This long-term documentary project across several countries around the world aims to analyze the urban and architectural impact of the last world financial crisis and the burst of the real estate bubble.
Through a "concrete tsunami" exploration of ghost cities, aborted tourism projects, unused infrastructures, or roads leading to nowhere, this project plunges us into a post-apocalyptic atmosphere, vestige of this modern age mixing economic failures, corrupt elected officials, megalomaniac investors and dreams of home-ownership.
Witnesses of this big waste of – often public – money, these modern ruins hide human and ecological tragedies: indebted and defrauded people, homes finished but abandoned when so many people can’t find a place to live, and Nature disfigured for nothing, even in areas protected by law.

In a documentation process of showing the persistence of abandonment and incompleteness of these ‘non-places’ many years after the crisis, the visual approach combines aestheticism and graphism, while retaining these unfinished constructions in their surroundings landscape to reinforce the absurdity of these concrete skeletons, frozen in time, while Nature begins to slowly return back at its place.

‘The Spanish Sahara, the place that you'd wanna
Forget the horror here
Forget the horror here
Leave it all down here
It's future rust and it's future dust
I'm the fury in your head
I'm the fury in your bed
I'm the ghost in the back of your head’

Foals - Spanish Sahara (2010)

Geographer, now working in humanitarian NGO, and self-taught photographer, Loïc passion's for urban photography was born in 2012. Firstly attracted by contemporary architecture, he explored metropolises to find colorful and graphics architectural subjects, seeking to sublimate volumes and perspectives.

Since 2016, his photographic work shifted towards the study of the dynamics and changes of urban and peri-urban landscapes, through a monographic photo study documenting abandoned, stopped or under-utilized modern spaces throughout the world caused by the financial and real estate crisis.
instagram / @loic_vendrame_photography


Originally by Gaëtan Chevrier




The Earth is this anthropized planet we share and whose future livability we must ensure. The rise of so-called natural disasters, hurricanes, cyclones, tsunamis, earthquakes, remind us of the vulnerability of inhabited spaces, and of the interdependence of human and nonhuman beings living there.Therefore planetary urbanization choices are paramout.

Decisions to build in the most fragile areas - behind dikes, below sea level, on geological faults - which are most often destroyed, remind us of the limits of the act of building.
And these decisions are those that will or will not impact our relationships with the built environment.In this regard, we note today the recurrent choice to focus on improving techniques and engineering to protect ourselves from this planet, rather than to evolve towards strategies for a dwelling that has been conceived as fragile.

Gaëtan Chevrier, trained as a designer and worked as a graphic designer in an advertising agency for about 10 years. At the same time, he specializes in photography as an autodidact and perfects his art through workshops in Paris and Arles to ENSP.
His work questions landscape (natural and / or urban), man’s place in it and how he can use it. It focuses on the concepts of natural / arti cial and wild / built. Through his artistic approach, he produces a formal and sensitive representation of his surroundings, halfway between art and document.
Lives in Nantes (west coast of France)
instagram / @gaetanchevrier


Predator/Protector by Nicholas Constant




Exploring the evolution of the battlefield and various forms of distance, Predator/Protector contemplates particular developments that may change the future of warfare (UAV/drone warfare) and what this means not just for the victim but the perpetrators as well. Using Sontag’s ideas of how war imagery on TV and internet distance us further from the actual happenings, as we relate these scenes to the cinematic, Predator/Protector attempts to combat this by showing that these issues materialise and take action from our space and in our time. Reflecting a stereotypical view of pastoral Britain, the land in these images challenge the idea of perception we have towards a modern day battlefield where the land would be completely different, yet the sky would be the same.

Adopting a similar aesthetic to that of British landscape painters then directing the camera towards the romanticised landscape, the project aims to contrast these idealistic and unintrusive views with the reality of what is taking place in these locations to show that they are part of the ever-expanding ‘battlespace’ in the information age. Romanticism derived from a time where the industrial revolution emerged, artists were drawn to look back to natural, idyllic settings in order to contrast and question their current political climate. Here, the images speak about our current time as a pivotal moment for the future of warfare. The interruptions in the landscape hint to how technological advances have meant that the battlefield could be considered to be here just as much as ‘there’ with soldiers technically commuting to and from the battlefield each day.

These images are combined with representations of aspects which cannot be seen from the public eye (the drones themselves and the operating rooms) this uncovers interesting parallels that would not be achievable photographing the actual subjects under investigation. Objects that have particular links to classical meanings are recontextualised to contrast names or places that are in use in the UAV programs. Such as the statue of Hermes, which is the name, the Israeli company ‘Elbit’ named one of its drones used in the 2014 Gaza attacks. The god Hermes is known for being a trickster and a traveller as well as escorting the dead to the river Styx. The fact they named an unmanned vehicle after an omnipresent being says a lot about the perception of the weapon.

Predator/Protector is the name of the new British drone where the name is being changed from Predator to Protector.

Internationally raised, London based artist with an interest in the spectacle of modern warfare. I explore spaces in which conflict occur particularly interested in the indirect effects on war; how they surface in the everyday and how these issues are dealt with in absence of mainstream media. Using a simple, unintrusive approach to many of the projects, I attempt to make invisible subjects visible through the use of landscape and context. Photographing in a slow and quiet manor, I try to force the viewer to study the image to extract the most information they can to then be reinforced by their own contextual knowledge and personal views. Consciously realising my place as a western spectator of modern conflict issues, I try to make work which aims to resonate with the western viewer in a non-confrontational way, believing empathy is most effective when the viewer pieces the puzzle together for themselves.

Instagram: @nicholas_constant


Pairidaeza by Leonardo Magrelli




Paradise - from ancient Persian Pairidaeza (Pairi - around, Daeza - wall) a place surrounded by walls.

Iran has recently been included in Trump’s Muslim Ban list. This already mostly unknown land will now be even less accessible. This reason alone would suffice to motivate the choice of photographing the country under a different, detached and less propagandistic light. Other issues though emerge in the encounter with this region of the world. 

This series of photographs was taken while roaming the Iranian central desert and the cities within. So many different populations, religions and empires have followed one other for millennia, inhabiting these lands, reaching peaks of astonishing balance with their surroundings. Mithraic temples, Zoroastrian villages, Persian cities, they all were conceived and built in a perfect symbiosis with the land.

And yet today there seems to be a kind of ambiguous struggle to fit in these territories. A latent friction emerge between the human presence and the environment. Things seems to be out of place: ambiguous objects, unfinished buildings, indefinite traces of the mankind are left behind, lying isolated and scattered on the ground. It’s “the mutual interference between the landscape and those who live it” as Baltz wrote in his Review of the “The New West”. 

It may seems outdated nowadays to still talk about the issues raised by the new topographers more than forty years ago. But it must be kept in mind that Iran hasn’t yet started to develop a proper sensibility to the ecological and aesthetical problems of the landscape. The way people live the territory and live inside the territory no longer relies on the fusion with the surroundings, but rather on the separation from it. A separation that becomes quite paradoxical and absurd in many cases. The vast expanses of the uplands are now littered with industrial structures, commercial areas and various buildings. Most of them are surrounded with walls along their outer perimeter. Who are they keeping out? What are they keeping out, in these completely empty and uninhabited territories? Only the landscape is cut out, only the desert, the mountains and their extensive space. One could wonder if this derives from the ancient Persian gardens, however, the paradise is not anymore within these walls, but outside them, hidden from the view.

Born in Rome in 1989, holds a BA in Design and Architecture from “La Sapienza” university in Rome. While still studying, starts working with the photographer Marco Delogu, director of Fotografia – International Rome’s Photography Festival, and chief editor of the publishing house Punctum Press. Aside from collaborating with the organization of the festival, Leonardo also designed many of the books published by Punctum. Later starts working on his own, to focus more on his photography. In the last years his works has been published in several printed and online photography magazines, and has been displayed in collective exhibitions and festivals.


A World around Disney by Christoph Sillem


A World around Disney


While perusing Google Maps, I noticed a huge circle 30km to the east of Paris. It was actually the ring road surrounding Eurodisney, which got me wondering if Disney had an influence on the environment beyond its circle. Getting there, I was surprised to see to what extent this was the case. I found a kind of pre-Disneyland that is meant to get all arriving visitors in a happyclappymickeymood before entering the park, but that was not all. As opposed to Eurodisney, where you expect the illusion and pay for being tricked, I also discovered the community of Val d'Euope, which is reality, but you're tricked anyway. It is a Truman Show like über-replica of a French village from the last century, which seems to have sprung up overnight. While Eurodisney is crowded with people, the streets are empty here. Clean and nearly retouched, it is an odd combination of the familiar and the odd. You feel as though you are in another country that is pretending to be French, even though you are indeed in France itself.

Christoph Sillem was born in Germany and graduated from Bayerische Staatslehranstalt für Photographie in Munich.
He currently lives and works in Paris, France.


Beyond The Ordinary & Updated Landscape by Guillaume Hebert


Beyond The Ordinary & Updated Landscape


These series are a hybrid genre that combine pieces of modern landscapes with, in the background, landscapes that come from old and famous paintings. The name of this series is a notion that tells us about the changes created by urbanisation in our modern societies. These works invite us to compare the vision of an ancient painter with the vision of a modern photographer, in order to remodel our perception of the environment in an aesthetic dimension.

Guillaume Hebert, also called Guillelmus Paulus Julianus, is a French visual artist more focus on photography born in 1969 in Normandy. He graduated from the School of Fine Arts in Caen (DNSEP : National Superior Diploma of Plastic Arts). He started truly photography in Taiwan in the year 2012. He stays there for 6 years and goes regularly to mainland China. He currently collaborates with a Shanghai Gallery: M Art Center and participates in many festivals and art fair. After his pilgrimage he returned to Europe and settled in Berlin for one year. Back in France, he currently lives and works in the Papal city, Avignon.


brasilia, off the map by Cyrille Weiner




Arriving in Brasilia is a strange feeling: an illusionary city that would reveal itself very slowly. From afar, the landscape is flat. Then, above the emptiness, a vibrant shape appears in the bright sun, like a giant model growing up from the ground. The vision speeding faster as the city progressively appears. Unbelievable.

Brasilia is the capital of a vast country. But it is not a city. It is the drawing of a city, a cross in the middle of the desert. An act of possessing a territory, perfectly and globaly achieved from scratch by architect Oscar Niemeyer and urbanist Lucio Costa, under the impulse of president Joscelino Kubitschek.

I came to see a city. I discovered an infinite garden. A wasteland. A suspended space that stretches out of human dimension.
I walked for hours. Off the map and its limits in an urban space that has not yet been conceived for a walker. I met a few men, as my own reflection in a mirror. They walked to the rodoviaria – the main bus station – at the crossing of the two wings of the Plano Piloto.

The public space in Brasilia is the whole territory. Cities’ grounds are covered with ashalt. In Brasilia, despite the sophisticated urban shaping. the red earth does not disappear.

Time is suspended. Life seems to have stopped the shining day of April 21st 1960 : the inauguration day of its new capital, built ex nihilo. Strange scenes of parades of workers, soldiers and officials, between scattered brand new futuristic buidings, like an oversized movie set. A utopia that became real in a thousand days.
Perpetual comeback, perpetual availability for the future.
I came to Brasilia with the feeling of coming back. I left it asking myself if Brasilia exists. It seems to. Not as a myth or a symbol of the modernist utopia, but an available open playground for all the improvisations of all of us.
The real monumentality of Brasilia is its emptiness.

Photographer born in 1976 and trained at the Ecole nationale supérieure Louis Lumière. His work has been published by numerous international magazines (M Le Monde, Foam, British Journal of Photography, foam, Art Press…) and exhibited at MAC Lyon, at the Rencontres d’Arles, the laurent mueller gallery in Paris and at the Villa Noailles in Hyères. He was the laureate of the Prix Lucien Hervé and Rudolf Hervé in 2012 and the author of Presque île (2009) and Twice (2015). Cyrille Weiner recurrently poses the question of space, and how individuals appropriate themselves to their living spaces, distanced from directives coming from “on high.” Progressively leaving the documentary register, he proposes a universe crossed by fiction, that he establishes with exhibitions, editorial projects and installations.


Picture of Health by Andy Feltham




“The NHS will last as long as there are folk left with the faith to fight for it”.

Aneurin Bevan, the Health Minister who created the NHS 

Since its inception in 1948, the National Health Service has been the prized jewel in Britains welfare crown. As mortality rates decrease year-on-year, the demand for cutting-edge therapies, and their associated tariffs, continues to rise. A victim of its own success, the NHS faces its biggest fight to date.

Picture of Health is my take on a small corner of the NHS today. Shot over two years, starting in February 2016, I was granted access to all areas across Northampton General Hospital, a mid-sized district general hospital in Northamptonshire, UK.

In part I wanted to explore the unseen recesses of the hospital, hinting at the hidden complexities inherent within the delivery of care. Further, I hoped to highlight chronic underfunding across the NHS, which has meant that the provision of safe care to the populace of Northamptonshire has become increasingly difficult. Despite - or perhaps because of - this, it was also the aim of this project to celebrate the hard work and commitment shown by staff at Northampton General Hospital in providing the Best Possible Care to their patients on a daily basis.

Andy Feltham is a self-taught photographer who lives in Northampton, UK, who also works part-time within the healthcare setting at his local hospital. He has been exhibited in the UK, USA and Italy and featured in numerous publications, both online and in print. He has also been commissioned to work in the commercial as well as the fine art setting.

Feltham seeks to create a tension within each photograph by using meticulous framing, exposure and technique to detach the subject from its surroundings. This lends a subtle disquiet to the underlying themes of beauty, mortality and humour that hallmark his work.


To Name A Mountain by Alfonso Almendros




In the spring of 1863, the landscape-painter Albert Bierstadt, started his second tour across the Rocky Mountains with his friend the American writer Fitz Hugh Ludlow.

The story says that during their expedition, the painter was astonished by the view of an enormous mountain. Immediately he made a sketch where a dark grey storm crosses an imaginary horizon of gigantic peaks blown out of proportion. Bierstadt entitled his painting “A storm in the Rocky Mountains, Mount Rosalie” in honor of his traveling companion’s wife. The work was interpreted as a representation of his emotional anguish and the mountain, unnamed until that date, was named Mount Rosalie in honor of the woman that Bierstadt secretly loved.

Most critics thought Mount Rosalie was impossibly high. The painting and Bierstadt’s work seem to talk about desire, but always through the excess and the violation of a reality that only seemed suggestive for the artist when it was conducted by his imagination. His idea of beauty oscillated between the sublime exaltation of his emotions and the calculated effectiveness of the forms. Both contradictory notions though, is it not an audacity and a frustration at the same time to try to reach a summit? Nevertheless, the purpose of naming a mountain is an act charged of poetry. It tells us about the desire of possession and permanence. It reminds us, through creation, of the memory of those we have loved.

Alfonso Almendros is a Spanish photographer and lecturer living in Madrid. He graduated in 2010 with a Bachelor in History of Art from the University of Valencia, an Associate Degree in Artistic Photography from E.A.S.D Valencia and a MA Photography in Efti Madrid.

His work has been exhibited internationally, including exhibitions in Encontros da Imagem in Braga, Sala Kursala from the University of Cádiz, the Cultural Center of Spain in Mexico, the King Juan Carlos I Center of New York, Article Gallery in Birmingham or Guernsey Photography Festival and granted in several international competitions like the V Galician Prize of Contemporary Photography, the Roberto Villagraz Grant 2016, the Photographic Museum of Humanity 2014 grant or the Grand Prix Fotofestiwal 2011.

Since 2015, he is a visiting professor at the Instituto Nicaragüense de Enseñanza Audiovisual and the National Cinematheque of Nicaragua, Node Center of Curatorial Studies in Berlin and the IED Madrid.


Under Construction




Growing up in Dubai, my parents would take my siblings and I to the UK over the summer holidays. Arriving back to the UAE after five or six weeks away, we’d look out of the window of the car on the way home from the airport and point out all of the things that had changed in the time we’d been gone; a new skyscraper would’ve started construction on what used to be an empty sand lot, or a complex of villas had been flattened to make way for a hotel, or what used to be small roundabout was now on it’s way to becoming a spaghetti junction.

We’d play football in Safa Park – a huge green space with fair ground rides, ice cream stands and cafes. Then two years ago, they dug a canal right through the middle of it, bulldozing half of the park and circling a section of downtown Dubai to turn it into an island. The city changed so quickly, and it wasn’t sentimental about what it got rid of. And this is what Dubai has become known for; these construction projects are what you see on travel brochures and TV shows around the world.

They’ve had to keep up this rate of construction to mirror the city’s transient, expanding population. But because of it, residents live amongst an unusual landscape – a pattern of urban decay means that the peripheries of the city resemble a graveyard of half-funded construction projects. And in the city centres, land is constantly re-purposed for new construction ventures, meaning that the face of the city changes almost literally over night.

Shot over two years on whichever camera I had on me, this project is about the half-built spaces, and looks at how Dubai’s residents live amongst them.



I'm Here With You




The majority of LGBTQ people in South Korea hide their true identities from their colleagues, friends and their families. Despite a recent surge in LGBTQ activism, Korea remains a very conservative country and those who come out face being disowned by family or dismissed from their employers. Many Koreans still express bitter hostility toward LGBTQ people, while others simply deny their existence. The Korean military actively hunts down gay soldiers, going so far as to mount sting operations using gay dating apps. And when someone does come out, parents and family members often choose to ignore the truth.

This project literally and metaphorically represents sexual minorities living in Korea who are forced to hide their sexual identity. The LGBTQ individuals photographed—all facing away from the camera—remind us of how Korean society continues to neglect and refuse to accept them. By creating these images, my intent is to both implicate the viewer in the nation’s larger refusal to acknowledge the identity of LGBTQ individuals and, more importantly, to spur us all to take action and change this attitude once and for all.


Gowun Lee (b. 1984) is a visual artist who utilizes photography. She explores themes of a social issue such as LGBTQ in South Korea and human relationship in conceptual ways. She moved to South Korea from New York for her ongoing project.

She received BFA in Photography from the School of Visual Arts. She has been shortlisted for Tokyo International Photo Competition, ZEISS Photography Award 2018, 2018 Aperture Summer Open: The Way We Live Now.

Her images have been featured in Open Society Foundations, The Guardian, CNN Style, Bubblegumclub, Aperture Foundation, Korean daily, Monthly photo, ZEISS LensPire, and World Photography Organization.

Her work has been included in exhibitions at the United Photo Industries Gallery in New York, Onfoto Gallery in Taiwan, SVA Chelsea Gallery in New York, Tak Gallery in Seoul, MayFlay in Seoul, Wonder Fotoday in Taiwan, Head On Photo Festival in Australia , Somerset house in London and Upcoming exhibition T3 Photo Festival in Tokyo.



The Rage Of Devotion: Liza Ambrossio



Some time ago I decided to change my life in the most extraordinary way possible. I looked in and without intending it I remembered the phrase with which my mother said goodbye the last time I saw her at sixteen years old – “I wish you well, and believe me I hope you´ll become strong and brave, so you can be merciless when the time comes to destroy your body and crush your soul the next time we see each other”- After an overwhelming emotional breakdown, I started this series of images intermingling with pictorial canvases and photographs of my family archive to impel the observer to immerse themselves in my psychology. 

I stumble, but in the same way freeing myself, finding their lascivious looks, my fear of touch and the instinctive repulsion that represents for me the concept of “family”. In “The rage of devotion” I discover that although I look, I don´t want to see, because what lives inside me, looks and it is completely monstrous.

Liza Ambrossio


Liza Ambrossio is an young Mexican artist based in Madrid, Spain. Her body of work combines photographs of macabre archive with cryptic paintings, performance, intervention, installations, videos, psychology, lucid nightmares, science fiction, ero-guro and witchcraft that come together in free association.

Wen she was sixteen years old she asked for one of the house keepers of her mother's house to steal photographs of the family albums while Liza self-portraying herself looking for ways to survive away from her family's own decision, while compiling chilling early-morning scenes in Mexico City, her mental and real travels from her adolescence to her adulthood. In her project The rage of devotion-La ira de la devoción, the feminine is threatening because it seduces and in the poetics of its seduction devours. Project awarded with the Discoveries scholarship of Photo España-La Fabrica, the scholarship portfolio review for FotoFest 2018 in Houston, she was selected to participate for New Visions 2018 in the Cortona On the Move Festival, Italy, she received the first honorific mention for the Emerging Prize within the Encontros Da Imagens festival-2018, Portugal and the first prize in the Voies Off Award 2018 in Les Rencontres de la Photographie, Arles, France. Resulting in a photo book co-edited by Desiertas Ediciones and La Fabrica.

For her latest project  Blood Orange-Naranja de Sangre, Liza paints with three colors: orange, red and yellow the psychology of uprooting, madness, love and loneliness as an affront to terror and dehumanization because she believes that human passion is in itself a act of challenge. Series awarded with the FNAC New Talent Award, 2018, the 6th. Edition of the (TAI) Photography Talent Grant, Liza is currently selected for the contest Full Contact in Tarragona, Spain and she was winner of the Babel Gallery Award (Brazil) in the first Contest of Contemporary Photography of Latin America in Monterrey, Mexico and the DOCfield Dummy Award Fundación Banc Sabadell 2018 in Barcelona, Spain. She has recently been nominated for the Plat(t)form prize of Winterthur Fotomuseum in Switzerland 2019 and she has been invited to exhibit at the FORMAT19 festival in the UK;  Liza has been granted with scholarships for production residencies in Iceland, the United States and Luxembourg 2017-2018.



Diary: Exile



I need to stop wearing masks, lay down myself as I am. Unlabeled, raw and naked. Accept or move on, nothing to lose here, I have already been lonely, I have already been bruised.


Abdo was born in 1982 in Oran, Algeria to a Sudanese father and an Algerian mother. Abdo studied Telecommunications Engineering at the University at of Sirte, Lybia until 2006. In 2012, he undertook an Internship at Magnum Photos Paris, which gave him the opportunity to reflect on his photographic approach and make his first story for the magazine “Rukh“, His photographs have been published by a number of printed and online magazines as well as by newspapers. In 2015 he received a nomination for Magnum Foundation Emergency Fund and in 2016 his series ‘Diary: Exile’ was selected by the Addis Fotofest, the same series was shortlisted for The CAP Prize 2017. In 2018 he receives the ADPP grant from AFAC and Magnum foundation for his ongoing project ‘Dy’.



Facebook: https://www.facebook.ccom/AbdoShananphoto/?ref=bookmarks

Instagram: @abdo.shanan

Twitter: @abdoshanan





Dinis Santos completed his bachelor's degree in Painting at the Faculdade de Belas Artes da Universidade do Porto in 2007, and in 2012 he completed his master's degree in Contemporary Philosophy at the Universidade do Porto. He has developed his activity in photography and video since 2007. 


These images come from the way I work at my "digital lab”. During the processing of the “raw” files, from my digital camera, I’m always zooming the image to 100% at fullscreen to analyze the contrast, detail, texture… by doing this, a lot of times, I was surprised by the image that I would find. The computer screen -16x9 - does a frame on my picture and shows me a new image. I became fan of this moment of chance and I begun to be more conscious about it. Now every time I’m processing images I pay attention to the details and I use my screen as a viewfinder, when I find something that interests me I do a “print screen”. Even when I’m taking pictures sometimes I’m thinking about the re-framing that I’ll be able to do. These images, that I am showing you, are a small group of pictures that were born this way. Pictures that came from other images from different contexts and works - from my personal work or from my comercial work. These are frames that I find during my work as a photographer. The frame, 16x9, it’s the ratio of the present days. I like this idea and I like to be guided by the means of production and to explore them. It’s my screen that chooses my frame. Being aware of the technology and their processes it’s a way of looking the world.

Editor´s note

The presented project was selected from a spontaneous submission made by Dinis Santos. Our aim is to disseminate and bring to light telling work of emergent or young photographers.






Maria Begasse was born in Oporto in 1982. From early on she showed interest in the area of communication, having started her studies in a vocational school, in graphic arts. At university she embarked on a more dynamic field of comunication, in the area of audiovisuals, having complemented her studies with a master's degree in photography, in London. Since 2012 she has been a freelancer in photography focusing her eye mainly in architecture and interior photography and on live music photography. In addition to her commercial work, she produces conceptual work that balances between the abstract and the concrete. She has exhibited collectively and individually, both in England and Portugal. Won the Audience Award in the Black and White 2015 Festival, with the We’ve been fighting over rotten potatoes work.


'We've been fighting over rotten potatoes' is a series of 11 pictures that at first sight recreate images of war, supported by the drama of black and white and the contrast of light/shadow, but actually they are referring to the manipulation and creation of illusion.

These images have as reference iconic photographs of the 20th century (for example, Joe Rosenthal’s picture - Raising the flag on Iwo Jima, 1945, WWII) that even today maintains a universality and timelessness that raises disturbing questions about human behavior, since the beginning of humanity until nowadays — the current crisis of values deeply interconnected with the financial crisis and with the European policies of austerity. This work is from 2013, a dramatic year in the Portuguese society and other European partners, in that human values are beginning to be strongly sidelined in favour of the exploitation of numbers.

Focusing on the interaction of little toy soldiers of make-believe games in a field of dirt in that old potatoes simulate hills and trees ravaged by fire, this series of images result in a game of light/shadow and perspective, which deludes the eye by mimicking a real battle field.

In the production of the photographed scenarios lies the key to the illusion that the title itself refers to — what seems important, inevitable, the only possible reality, has behind it other orchestrated motivations.

editor's note

Our aim is to disseminate and bring to light the work of emerging or young photographers.






Martin Brink (b. 1984) is a Swedish photographer and artist. He is equally excited by internet and screen output as by the physical print medium, which has lead him to make several of his projects available as pdfs and ebooks, create animations (initially just sent out in email newsletters), and to found the blog The Digital Photobook.


The “Walks” photos are not about the path, although it might be visible.
Instead, the photos are a method of discovery, of getting out, keeping focus, staying productive and alert. I see the photos as documentations, not of places, but of the brief selected moments when I stop and see that a composition has formed in front of me.

editor's note

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