SWAY

SWAY

BY EOIN O'CONNAIL

Eoin O’Conaill is a photographer and educator who works on long-term projects alongside commissioned work.  He has contributed to publications such as New York Times, Financial Times, Irish Times, International Herald Tribune, Le Monde, Telerama and has completed jobs for numerous commercial and fashion clients. 
His personal projects have been exhibited in solo and group exhibitions both nationally and internationally and his work has been nominated for the Foam Paul Huf Photo Award, Prix Pictet 2011 & ‘13 and the project “Common Place” was the recipient of the Gallery of Photography Artist Award in 2009.
Eoin is a lecturer in photography  at Griffith College Cork and holds an MFA in Photography from the University of Ulster and a BA in Documentary Photography from the University of Wales, Newport.

synopsis

This work documents a recurring physical and psychological environment that exists on the suburban fringes of the modern city, exploring the relationship between people and the built world around them. Extending from locations in Ireland, to the UK and Europe, Sway highlights an increasingly homogeneous cityscape of indistinct housing estates, architecture and periphery businesses where streets merge into each other and one town drifts into the next. Sway sets out to explore this familiar urban environment, looking to a landscape where the consequences of urban planning, economic and political decisions meet with human lives head on.

editor's note
Our aim is to disseminate and bring to light telling work of emergent or young photographers.

ROSE COQUILLAGE

ROSE COQUILLAGE

BY ELISE BOULARAN

Elise Boularan is a photographer born 1984, Narbonne, France who has a Master’s degree in Creation and Artistic Research from the University of Toulouse, having studied photography at the Toulouse School of Photography.

Pursuing a career as a photographic artist, her work is extraordinarily powerful for its calm and enigmatic aesthetics. Time seems to stop with her images and there is a powerful rhythm on her series that draws our attention for its profound interiority and quietness. The work of Elise tries to respond in an enchanting way to life´s secrets, creating photographs that allow for truth to appear as a process of emotion and thought.

She has been published extensively and has exhibited in Europe and the USA, notably in Madrid, Denmark, and New York, as well as the French Institute of Ukraine, The Museum of New Art (Mona) and The Russell Industrial Center (Mona Detroit) in Detroit; the Instituto Cultural de México, San Antonio, Texas Hill Country, Usa. Her work is in several private collections.

Her preoccupations concern the human reality of our time, trying to reveal what can be secret at the individual’s as in the works Rose Coquillage, Vapors or Ça reste. With Boulard´s photographic series the viewer is constantly trying to find the meaning of the juxtaposed images, as well as the poetical relation between the series and the titles.

Around My Legs and Désœuvre(ment) seem series more related with space, architecture and territory. The non-spaces of Auge (Désœuvre(ment) and then the way the territory is punctuated by man´s constructions and infrastructure that have an economic and cultural logic that confronts nature (Around My Legs) are also powerfull aesthetic visual narratives of contemporanity and its contradictions.

Pedro Leão Neto

PLANTALTO BARROSÃO

PLANTALTO BARROSÃO

BY SÉRGIO ROLANDO

Sérgio Rolando studied in IPF, holds a degree in Audiovisual Communication and a Master degree in Documental Photography and Cinema by Polytechnic Institute of Porto, ESMAE in Portugal. He is currently working as a freelance photographer and Documentary Photography lecturer in Polytechnic Institute of Porto, ESMAE.

He exhibits on a regular basis and has a great deal of published work. Is much focused on our territories and how they are transformed and appropriated. Between document and fiction, the work of this author gives us a mapping of contemporary life governed by technology, political and economic forces, and how territories are transformed and appropriated by man.

Sérgio Rolando’s “Planalto Barrosão” puts into question the traditional idea of the protected rural landscape of the Barrosão Plateau, while this territory emerges as a cultural (un)built space, permeated by a set of conflicting transformations. The conflict between identity, heritage and protected rural landscape is a challenge that Sérgio presents through images that reveal various infrastructures that tear the landscape apart, and many built elements – unfinished buildings and other architectures – representative of our concrete-made economy and our culture of blindly importing models. Sérgio also adopts an artistic strategy that draws attention to the conflicts of nature and the destruction/transformation of the environment by man, choosing viewpoints and patterns that reinforce the visual and abstract qualities of these landscapes.

Pedro Leão

Maria Neto

PERFIL

PERFIL

POR PEDRO GOMES ALMEIDA

Pedro Gomes Almeida é um Fotógrafo Freelancer que vive em Lisboa. Tem um Mestrado em Geologia e um Curso Profissional de Fotografia.
Através do seu estágio em fotografia, teve a oportunidade de contactar com diversos fotógrafos, tais como Irakly Shanidze, Harold Naaijer, Tim Ashley, Jordi Bursh, Martin Ramos e desenvolveu um estágio específico em Fotografia Documental.

synopsis

O conceito de Território é normalmente estabelecido a partir de fronteiras sociais e noções de poder sobre uma superfície terrestre. Contudo, a própria definição de Território pode também ser estabelecida a partir da relação entre o substrato geológico e da sua expressão orográfica. Domínios geológicos distintos originam orografias distintas que
estabelecem fronteiras naturais, tornando o conceito de Território mais
difuso e acentuando a sua artificialidade.
A disposição geográfica de um povoado é controlada pelo substrato, da região que define os seus aspectos no Ocupado e na sua relação natural/artificial (qual o seu rumo e extensão, a arquitectura e o povoado, o alóctone e o autóctone, entre outros), influenciando a forma como este se desenvolve e se distribui no espaço.
A Serra de Aire e Candeeiros e a Planície do Tejo correspondem a dois domínios geológicos fronteiriços que competem entre si nesta percepção de Território e no estabelecimento humano. A junção destes domínios cria uma nova interpretação de Território, que ultrapassa as suas fronteiras individuais.
Colocou-se a questão de como estes domínios geológicos e respectiva orografia dialogam entre si e como ocorre a sua transição, tal como se estes ambientes naturalmente competem e se o ocupado (natural e/ou artificial) define e/ou caracteriza um Território e as suas Fronteiras.
Estas questões foram abordadas através de princípios cartográficos, tendo por base os seguintes elementos-chave: o elemento Humano na sua relação com o Geológico, o Paisagístico, o Arquitectónico e o Ocupado na sua relação natural/artificial (como se define o natural na Paisagem Humanizada? O que é o natural no Hoje? Qual o limite temporal de Hoje?).
A ideia de perfil resulta de uma ideia de superfície, de um traçado topográfico sem percurso definido. Em Geologia, um perfil geológico corresponde a um corte que permite observar a disposição e natureza das unidades rochosas. Também corresponde a um contorno, uma representação de uma superfície observável.

Palavras-Chave: Geologia, Orografia, Território, Natural, Ocupado, Homem

per-fil
substantivo masculino
1. Contorno do rosto de uma pessoa, vista de lado.
2. Aspecto, representação de um objecto, visto de um dos seus lados.
3. Descrição ou relato em que se faz a traços rápidos o retrato moral e físico de uma pessoa.
4. [Arquitectura] Corte ou secção perpendicular de um edifício, para mostrar a disposição interior.
5. [Geologia] Corte, deixando ver a disposição e a natureza das camadas de um terreno.
6. [Indústria] Barra obtida por um processo metalúrgico ou industrial, de secção transversal com diferentes formas possíveis (ex.: perfil metálico; perfil rectangular; perfis plásticos). = PERFILADO

ter-ri-tó-ri-o
substantivo masculino
1. Área dependente de uma nação, província ou localidade.
2. Termo.
3. Jurisdição.

"Perfil" e "Território", Dicionário Priberam da Língua Portuguesa

PAR DOCKS

PAR DOCKS

BY ADRIAN THEZE

Adrian Theze is a photographer living and working in Cornwall.

He has worked as a teacher for many years before turning to photography full time. He has a particular interests in contemporary and visual art photography more particularly, photographing industrial and utilitarian architecture. There is a long industrial heritage in Cornwall from the very earliest tin mines to the more modern china clay workings in central Cornwall.

It is the industrial and rural architecture of the past, the sites that lie derelict that hold the biggest draw for Adrian. While many see ugliness, he seeks to find the beauty and to capture the essence of what these sites meant for so many working men and woman over the years. A livelihood, a focus for social interaction, a way of life. When industrial plants close, whole communities are impacted. These are not just buildings, wherever one looks, one can always find evidence of the all-important human element that made these buildings work. It’s this evidence he looks for, he wants to tell the story with his photographs, to get people to look beyond, the rusting steel, decaying concrete and crumbling brickwork.

synopsis

For many years, china clay mined from the hills above St Austell was pumped in suspension to Par Docks where it was stored in huge concrete silos before being dried and loaded aboard ships for export but in 2006, it was announced that the docks would close with the loss of 800 jobs.

One of my earliest memories is paddling in the sea at Par, sinking up to my ankles in sand mixed with china clay, the result of spillages from the docks. This place has been a part of my consciousness for 48 years, I wanted to mark its passing.

These photographs are about my sense of loss and sadness that this closure evokes; my choice of processing serving to emphasise the decline and abandonment. Once a hive of industry, now just echoes of the past and its ghosts remain.

On a site once teeming with people and activity, wagons no longer run along their steel tracks. The vast sheds and huge silos stand empty, their machinery rusting slowly. The café with its strings of bunting still poignantly clinging on, hoping for better times, no longer serves its burgers and chips.

For seaman who needed spiritual guidance with their coffee, a welcome once awaited them at the flying angel club, but this too stands empty. The harbour office no longer takes enquiries and the phone box outside no longer makes calls, it stands at a drunken angle, its door long gone.

In my central image, the cross in the concrete suggests to me the need for an epitaph… ‘rest in peace’ perhaps?

editor's note

Our aim is to disseminate and bring to light telling work of emergent or young photographers.

OCCIDENTE NUEVO

OCCIDENTE NUEVO

BY ANTHONY MARCHETTI

Anthony Marchetti is a Minnesota photographer and photography instructor whose work focuses on how people interact with their urban spaces. Marchetti completed a BA at Gustavus Adolphus College and an MFA at the University of Minnesota. Currently, he is an Art Institutes International Minnesota full-time faculty member and also serves as adjunct photography instructor at both the University of Minnesota and Anoka-Ramsey Community College.

synopsis

San Ysidro, southern-most city in San Diego County on the U.S./Mexican border, hosts the world’s busiest land border crossing. At this site, Tijuana receives and recycles San Diego’s discarded architectural waste, re-using and reconstructing materials into unique structures that offer new opportunities for living and working. This photographic project focuses on this cross-border transmigration of building materials and small suburban homes from San Diego to Tijuana. Although located only 20 miles apart, few cities could be more different. San Diego calls itself “America’s finest city,” boasting some of the country’s wealthiest subdivisions, while Tijuana is viewed as decadent, transient and poor (as UCSD architecture professor Teddy Cruz describes it, “a contemporary Sodom and Gomorrah”). As building materials and small homes find their place amidst existing Tijuana neighborhoods, other transported homes are springing up in undeveloped outskirts surrounded by open desert or ringed by sparsely populated squatter communities. While these Tijuana images share affinities with Robert Adams’s mid-1970s work The New West, presenting newly developed tract homes against a barren western landscape, they also offer important differences. Adams documented the human imprint on the American landscape – a stark, expansive natural world, flattened and manicured to make room for tidy boxes providing practical living space, yet seemingly devoid of aesthetic.

This project departs significantly from Adams in both intent and result. Adams’s images reveal the driving force of American commerce and expansion as residential developers cleared huge swaths of land to make room for entire neighborhoods. Growth at Tijuana’s edge is slower, seemingly more haphazard or at least devoid of a master plan. Instead, these images of small homes reveal individual desires to carve out personal space from a crowded urban center. They exemplify serendipity and intention, cultural originality and assimilation. As Tijuana grows and pushes at its less populated perimeter, development will fill the open spaces surrounding these transported homes.

San Diego’s architectural refuse and discarded small homes represent new opportunities for low-income Mexican residents, and the project documents the cultural influences and ingenuity of grass-roots construction through re-use. By examining this process of transmigration, assimilation, and transition, I hope to reveal more about how people build, deconstruct, and reconstruct spaces in which they live and work, and how culture, expediency, and financial resources influence what is considered trash or treasure, waste or opportunity.

Editor´s note

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

NO ONE'S LAND

NO ONE’S LAND

BY LUCAS MEFANO

Lucas Mefano, natural do Rio de Janeiro, Brasil, começou-se a dedicar à fotografia em Espanha, onde concluiu um mestrado nessa área pelo Istituto Europeo di Design - IED Madrid.
Actualmente, vive em São Paulo e frequenta uma pós-graduação em imagem pelo Madalena Centro de Estudos da Imagem, onde desenvolve projetos ligados a cidades e à relação do homem com o seu meio.
Finalista do I Prêmio Gávea de Fotografia (Galeria da Gávea, Rio de Janeiro, Brasil).

Sinopse
Valdeluz - Cidade Planejada consiste num projeto fotográfico que tem por objectivo estimular a discussão sobre planeamento urbano a partir da exploração de Valdeluz, cidade localizada a 60km de Madrid, Espanha. Ao retratar as características únicas de Valdeluz, o projecto busca expor os expectadores às sensações proporcionadas por uma cidade nascida diretamente do papel, que jamais experimentou um crescimento orgânico associado às necessidades dos seus habitantes. Uma cidade planeada que tem por desafio planear a sua própria identidade e vivacidade.

Ano de realização: 2015


Local de realização das fotografias (cidade, estado, país): Valdeluz, Madrid, Espanha

NAMIKAKE

NAMIKAKE

BY ARITO NISHIKI

"By southern coastline of Niigata City is located in northern part of the Sea of Japan. A village sank into the sea by a coastal erosion called "Namikake" in their region. In the darkness of night on this coast, it takes a long time to adjust my vision. Once my eyes get used to it, images of a big rock, trees, a lighthouse, snow and the sea jump into my vision. The images have been there in the darkness, but they suddenly appeared to me. The landscape seems that it hasn't been there before and appeared in that moment I shoot. The coastal erosion that occurs in this region repeatedly changes their landscape each time.It is not the demise that one disappears by erosion, but it is the origin that the other is newly born.Every flash I make in the darkness, new form is born.
While I am at this place, I was feeling ambiguity between existence and creation, and reality and fantasy. It symbolizes that this coast is unstable forever by erosion. "Namikake" series are based on my these feelings in the coast of the snowy winter."

More images of the project  click

About the author

Arito Nishiki

Born in Akita, Japan in 1981.

Graduated from Tokyo College of Photography.

Lives and works in Tokyo.

Solo Exhibitions

2014. Meguro Museum of Art “NamiKake（Makuridashi）”（Tokyo）

2014. Gallery The White, “ NamiKake and Makuridashi”（Tokyo）  

Group Exhibitions

2017. LensCulture Exposure Awards 2017 exhibition at Voies Off Festival (Arles, France)

2016. Gallery The White,「The Ordinary 」（Tokyo）

2015. Echigo-Tsumari Art Triennale（Niigata）

2015. The 12th 「1_WALL」Photography Exhibition （Tokyo）   【Award】

2018.The Independent Photographer Competition Landscape finalist

2017.LensCulture Exposure Awards 2017, Finalist

2015.The 12th 「1_WALL」Photography Exhibition finalist

2012.Japan Professional Photographers Society Exhibition JPS Yang Eye Award
 

website : https://www.aritonishiki.com

NEW FRONTIER

NEW FRONTIER

POR Phillippe Braquenie

"Fronteiras? Nunca vi uma. Mas já ouvi que existem na cabeça de algumas pessoas.", por Thor Heyerdahl

Segurança como uma das necessidades principais do ser humano levou, ao longo da história, a que fossem desenvolvidas muitas formas de se manter seguro. Uma dessas formas para garantir a segurança foi a criação de territórios de forma a separar áreas atribuídas a diferentes grupos ou indivíduos. Os meios usados para definir essas fronteiras variam em função da necessidade de as tornar uma realidade vinculativa ou marcar uma separação clara e distinta.

Ao longo da história, os territórios evoluíram através da fragmentação para se tornarem o território de uma única pessoa; a propriedade privada. Este é o resultado da individualização das sociedades ocidentais que instigam para que estes espaços sejam cada vez menores mesmo quando as fronteiras das nações se abrem e novas separações surgem por todo o mundo, dividindo grupos.

Esta cada vez maior 'repartição' de espaço trouxe a necessidade de simbolizar separações e fronteiras físicas de forma a desvanecerem com o tempo. É o caso de uma cena de crime, por exemplo, onde o território é criado pela necessidade de preservar uma área temporariamente.

Esta série foi realizada em 2011 nos EUA mas também ecoa com ainda mais força no actual clima Europeu. Estamos a assistir pela primeira vez territórios abertos a fecharem-se de novo. A Europa continua a crescer e ainda promete novos membros, mas os países que a constituem estão cada vez mais a fechar-se em si próprios. Novos murus são constantemente erguidos, as fronteiras tornam-se reais de novo, tornaram-se representações físicas de pensamentos de protecção.

Esta série de fotografias pretende desafiar a noção de território e o significado que ainda carrega. Estes espaços, teoricamente invioláveis no seu colectivo inconsciente, foram criados e depois abandonados após a fotografia ter sido tirada. Na concepção dos artistas da American Land Art, estes espaços efémeros estão destinados a desvanecer com o tempo, como todo o conceito criado pelo Homem. Questionar a necessidade social de fragmentar o espaço ao opor o simbolismo de espaços efémeros e excepcionais criados com a extensão urbana dos EUA. Enquanto carrega um olhar entretido perante o absurdo dos limites territoriais, o espectador é levado a admirar os méritos da delimitação que por vezes são reclamados, outras forçados.

Sobre o autor
Phillippe Braquenier, nascido em 1985, é um artista belga que actualmente trabalha a fotografia conceptual e documental. Recebeu o seu BFA em fotografia na HELB em Bruxelas e exibiu no Foto Museum Antwerpen, The Brussels Royal Museum of Fine Arts and Aperture Foundation in New York among other institutions and galleries. His work has recently been published in Wired, Wallpaper Magazine, Wall Street International, Internazionale, Aint-Bad e Médor Magazine.

MY RIVER

MY RIVER

BY GIANPAOLO ARENA

Gianpaolo Arena, architect and photographer, develops research projects on social and documentary themes and environmental issues. The interest in architectural representation has oriented his attention towards architectural photography, urban landscape, the use of photography as a survey of the anthropized territory and towards relations of multiple identities that belongs and characterizes places and people. An important part of his photographic research is developed on modified landscapes in different companies, industrial sites and in the business world. Since 2010, he is editor of a magazine on international contemporary photography called:  “Landscape Stories” with which he coordinates photographic campaigns in the territory, workshops (Massimo Siragusa, Bruno Ceschel-SP, BH, Raimond Wouda, Valerio Spada, Francesco Jodice, Simon Roberts, Vincenzo Castella, Tre Terzi), editorial (Adolescence book, Gianluca Perrone “Balere”, Joël Tettamanti “Works 2001-2019” for BENTELI Verlag!) and exhibition projects (Photissima Festival Torino, 2012, Sifest 2014, 21er Haus, Vienna, 2014). Since 2013 he is the curator of the project “CALAMITA / À”, a platform of investigations and researches on the territories in Vajont. His project “My Vietnam” was presented at the photographic festival “ F4_an idea of photography” in Villa Brandolini, Pieve di Soligo TV in 2013 and during 2014 at the” Photography Festival” in Padova, at Galleria Anteprima d’Arte Contemporanea, Rome and at Fotografia Festival di Roma. In 2013 he participated at the “The 10th Sao Paulo Architecture Biennale”, Brazil with “Latitude Platform” organization. In 2015 he take part of the jury of Melbourne ‘Photobook Award’ and of ‘On Landscape Project’, Matèria in Rome. Teacher of Bitume residency.

synopsis

A resurgent river that winds for about 100 kilometres, shaping springs, little lakes, marshy areas, peat-bogs. The main features of this river and lagoon territory often remain indistinct. The space is not only the background of an action but it often becomes the main character. The perception of it seems confused, indistinct and the limits of the visible become more noticeable. The river is repeatedly the object of other eyes, often the object turns into subject. The observer becomes landscape and vice versa. The eyes and the points of view multiply: landscapes only apparently deserted, landscapes not visible, but insistently visible, landscapes immersed in the fog where there is not a living soul to be seen but thousands of presences are heard. What we don’t see is always more important than what we see. No place looks like that place, every place is that place.

editor's note

Our aim is to disseminate and bring to light telling work of emergent or young photographers.

MY BROKEN WORLD

MY BROKEN WORLD

BY MICHELA PALERMO

Michela Palermo was born in 1980. After obtaining a degree in Political Science at the University of Bologna (Italy), she attended the General Studies Program at the International Center of Photography, New York. While at ICP, Michela was nominated for the Director’s Fellowship, and in May 2008 became a visiting student at the École Nationale Supérieure de la Photographie in Arles (FR). She is mainly focus on the analysis of a territory using different registers, such as landscape photography and observed portraits. She received 3rd Prize for her Portfolio at the Fotoleggendo Festival in Rome in 2010; she won the Camera della Moda section of the Canon Young Photographer Award 2011; and she received a Special Mention in “Motherland” at the Rome International Photography Festival in 2011. In 2013 she was shortlisted for Vacatio at the Rome International Photography Festival. She was among twelve photographers chosen for the Middle Town Project, which was organized by ISSP (Latvia), GAPO (Turkey) in cooperation with Paradox (Netherlands). Since 2015 she works in collaboration with CALAMITA/A’ project. She loves stray dogs.

synopsis

I was born in 1980 in a small village in the south of Italy.
Six months later a terrible earthquake shook the region: it was 7.34 p.m. of November 23 1980, when the earth shook for 90 seconds in Irpinia, Basilicata and Alto Sele districts of Campania Region in Italy.

The seismic waves snuffed out the life of some three thousand human beings, tore down the houses of 280 thousand people, changed the geography of the land, and created in the aftermath expectations that were swiftly deluded. Irpinia, at the earthquake epicenter, was the area that suffered the greatest damages; this land, considered one of the poorest of southern Italy, saw the already slow developing process suddenly stopped.
 
I grew up in this world, until I was 19 and I had the chance to go away, looking for my paths. 30 years later the aftermath, I came home as a photographer. I spent ten years far from home, before to start this project. I have no memories of the event, although these endless seconds affected my perception of this land forever, where everything is still “broken”.

In a more subtle way my work would raise questions about the development of the region, the cost of a process of modernization, the impact on the environment, giving voice to what speak to me.

I tried to assemble a poetic journey, fascinating myself for what was in my past and is still standing by in my present, freezing in timeless pictures a interior landscapes.

I tried to put together a story told through images of a shuttered world,
about a land that was shaken by deep quakes and chasms that haven’t been bridged.

MAPPING EUROPE

MAPPING EUROPE

BY KATERINA MISTAL 

Katerina Mistal is a visual artist based in Stockholm, Sweden. She works across video and photography in the context of installation. Her practice increasingly centres on the way meaning is derived from a specific relationship, or a gap, between the aural and the visual. She is interested in the representation of landscape, and how landscape shapes national identities. She has exhibited Fear of Landscape at the Gallery Hippolyte in Helsinki 2004, Margins at the 7th Biennale of Photography in Poznan, Poland, in 2011, and at the Örebro County Museum in Fotosommar, Den andra blicken, in 2012. She has explored the theme of unknown sites in photo-based installations, Avspärrat/Cordoned-off at the Eskilstuna Art Museum 2008-09; Riots at the 2010 Thessaloniki PhotoBiennale in Greece, and at the Reykjavik Arts Festival at the Nordic house, in 2009.  Since 2010 she is working on the photo based project “Mapping Europe” photographing the outermost coastlines of the European continent. With the help of children attending the local Primary schools who stand along the coastline they represent the end of the continent and of the country. The idea is to draw attention to a limit, which may otherwise not be detected without referring to a map.  

At the Åland Art Museum 2011, she exhibited the first part of the ongoing project ”Mapping Europe”. The project was also a part of the “PhotoIreland” 2012 in Dublin –exploring the theme Migrations: Diaspora & Cultural Identity and ”FOTONOVIEMBRE 2013” the XII Bienal Internacional de fotografía de Tenerife and most recently at the Fotografins Hus, The house of the Contemporary Photography in Stockholm. In September the series will be shown at the “Holding Cohesion” Backlight Photo Festival 14, Tampere. She is currently working on the Nordic segment of Mapping Europe. The work of this emerging photographer combines borders, limits and different types of boundaries, with the interest in the use of different kinds of perspective in order to get the overview over the territories and staged situations. In her artistic practice she works with the staged photography, video and installations. 

synopsis

Photo series “Mapping Europe” examines the landscape and the continent as a symbol of the country and its cultural identity. I am interested in how migration and transnational lives today impact on identity and our relationship to the Europe’s geography. The idea is to draw attention to a limit, which may otherwise not be detected without referring to a map. I am interested in various enclaves and islands that are sometimes fairly remote in relation to the established representation of the map.

My interest in borders and in the different kinds of limits brought me to visit border landscapes and viewpoints in-between countries in Europe. After exploring this approach over a period of years, I started a portrait series with the children who have some kind of connection to the place or are living in the same area. The perspective of the viewer interests me. Just by moving a few feet above a ground you may suddenly see the whole picture. The landscape becomes a map where the children stand for the lands end.

Editor´s note

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

MAKESHIFT

MAKESHIFT

BY PAWEL STARZEC

History is a collective settlement, regarding how the community remembers the events that took place in the past. This common agreement takes shape of a narrative concerning both past and present times, serving as an explanation of the world and unifying the group around it. A certain amount of people sharing the same belief about past events might form a collective identity. A nation - ethnic group in an organised state - has sharing common cultural and historical grounds in it's constitutive features. History and culture of any group take shape of the established order of facts, that had been constructed to establish order, and as such they have to be constantly rewritten to maintain it. By common saying, that's winners who write history.    

Makeshift is a project on rewriting history in Bosnia and Hercegovina, relating to the mass atrocities of Bosnian War and their erased context. In most cases, places used to commit atrocities are renovated to serve former purpose of buildings of public utility. History is a collectively set narration, so it has the ability of being rewritten from scratch, to omit things that had to be forgotten. In present Bosnia, most of people had been directly, or indirectly affected by Bosnian War of 1992-1995. Given the fact that a vital part of events of Bosnian War is now hidden and concealed into new historical narrations, and things had to be forgotten in order to maintain the integrity of newly founded society of divided ethnical groups, it's extremely important to analyse this conflict, reasons behind them and the aftermath of it. In fact, the backbone of the whole processes behind the Bosnian War are universal and beyond specific place and time, and thus easily repeatable. The entire landscape bears contamination that part of newly written history wants to erase.

Work in progress

pawelstarzec.com

About the autor:

Paweł Starzec: photographer, sociologist, educator, journalist. Works on photographic documents. Mainly interested in correlations between space and it's context, and in envisioning broader processes through their aftermath and peripherals. Visual sociologist, working in the field of modern iconography, mass visual memory and visual narratives. Art educator responsible for a number of workshop programs as a lecturer and teacher, co-founder of Paper Beats Rock foundation, current member of Azimuth Press collective. Student of Applied Sociology Department of University of Warsaw (Ph. D.), and of Institute of Creative Photography of Silesian University in Opava (BcA). DIY / zine culture enthusiast.

MALPAÍS

MALPAÍS

BY INÊS MARINHO

Inês Marinho é uma fotógrafa de Vila do Conde, Portugal. Estudou design de comunicação na Faculdade de Belas Artes do Porto e fotografia profissional no IED de Madrid.
Desde pequena que as histórias a fascinam, tanto nos livros como em filmes. Actualmente usa a fotografia como base para as suas narrativas. Através da fotografia, tenta descobrir, explorar e expressar a realidade que a envolve. Foca o seu trabalho na fotografia editorial e documental e tem sido publicada nas revistas Fotoroom, i-D, Ignant, entre outros.

sinopsys
A palavra “Malpaís” significa terra pobre, má e caracteriza uma superfície extremamente áspera, difícil de atravessar e imprópria para a agricultura.
Malpaís é o termo usado nas regiões de língua espanhola, para uma paisagem estéril e irregular com campos de lava visíveis, cones e outras formações vulcânicas.
Este cenário é característico de um ambiente árido visto que os campos de lava são rapidamente destruídos pelo efeito climatérico e erosivo em regiões sujeitas a climas mais húmidos.
Lanzarote atrai pelos tons predominantemente quentes, paisagens de rocha e areia, áreas montanhosas áridas e jardins onde imperam os cactos. É um lugar onde é possível sentir-se a solidão do espaço, a natureza vulcânica desoladora e nua.

A ilha de Lanzarote nas Canárias é um exemplo deste tipo de terra de paisagens solitárias de cores quentes, contrastando com os turistas, as praias e o mar envolvente.

LIVE ABOARD

LIVE ABOARD

BY INGVILD MELBERG EIKELAND

Ingvild Melberg Eikeland lives and works in Stavanger, Norway. 

synopsis

Established in the 1800’s The Grand Canal and the Royal Canal served Dublin with freight and passenger transport up until the 1960’s. As the last commercial barge passed through the waterways, settlements of people living in houseboats slowly started to emerge along the canals creating small communities and bringing life back to the abandoned canals. Up until recent years these communities have existed along the waterways in Ireland with little intervention from the government except essential mooring contracts and fees. Currently a new set of legislation proposed by Waterways Ireland, threatens to yet again change the life on the canals and challenge the living situation of its residents. These new by-laws may force the residents to relocate their homes by several kilometers every 5 days, even though the residents all have postal addresses to their homes.If the legislation falls through it might also cause an increase of the mooring fees to almost 30 times the current cost. This project is a documentation of the canals residents in a time of uncertainty and prospect of transition, but also made to create a window into a little known community and way of life that is now at risk of dying out.

Editor´s note

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

LISBOA, DO RIO AOS SEUS LIMITES

LISBOA, DO RIO AOS SEUS LIMITES

POR JOÃo PEdro MAchado

SINOPSE
Lisboa é a cidade onde cresci e essa é a principal razão da realização deste projecto e inspirando-me na descrição de Stephen Shore relativa ao seu próprio trabalho “showing people what they were not seeing”, convido o espectador para também ele caminhar neste percurso, para que ele próprio se interrogue sobre o território, como o vê e como interpreta algo que lhe é familiar, questionando a sua própria memória e o modo de ver o que está constantemente em mutação desafiando deste modo a relação entre o Homem e a Natureza na cidade contemporânea.

“Lisboa, do rio aos seus limites” pretende mostrar o resultado do crescimento desenfreado que Lisboa sofreu nas últimas décadas, como se construiu ao longo de vias de comunicação como estradas, viadutos, linhas de comboio, casas e prédios, como todas estas infra-estruturas se adaptaram à própria cidade em termos físicos e qual a sua envolvência e relacionamento num meio onde o insólito da simbiose entre a natureza topográfica e a intervenção do homem está sempre presente. Tomando como conceito o ir de dentro para fora, ou seja, assumindo uma postura virada para o exterior que acompanha o crescimento urbanístico do território, esta série de imagens vai-nos apresentando fragmentos de paisagem constituídos por vários elementos em conflito e que se podem caracterizar por uma certa desumanização mas onde o homem ficará sempre presente através da sua acção inconsequente.

BIO
João Pedro Machado nasce em 1987, em Portugal.
Em 2011, quando o seu interesse por fotografia começa a surgir, frequenta o Curso de Introdução à Fotografia na APAF (Associação Portuguesa de Arte Fotográfica). Em 2012 conclui a Licenciatura em Gestão no ISEG (Instituto Superior de Economia e Gestão). De 2012 a 2014 frequenta o Curso Completo de Fotografia no Ar.Co (Centro de Arte e Comunicação Visual).
Actualmente vive e trabalha em Lisboa, Portugal.

LE GRAND LITTORAL MARSEILLE 1996

LE GRAND LITTORAL MARSEILLE 1996

BY ANDRÉ MÉRIAN

Historical :  

« Le Grand littoral Marseille 1996 » is a photographic commission passed by the « Fonds communal d’art contemporain » of the city of Marseille, to the association SITe, South image territory based in Marseille, of which i was a part and also to other photographers.  

After the construction, the « Grand littoral » became a commercial center in 1996, and is one of the largest in Europe and France.  

Faced with movements of underground sounds, the shopping center had for several years to condemn for safety reasons an entire  wing of his building, wich reopens in end of 2006 !!

Text :  

The big littoral project : a no-place in representation.

The spectacle offered by a site on the scale of that of the « grand littoral » in Marseille is a spécial moment in the history of a landscape, although the photographic of the site tends to freeze ephemeral and anecdotal forms, it is a matter of grasping something else.

Here it is of particular interest to grasp a reality that must disappear.

We see the brutal disappearance of uses and practices of the place : old quarry of the tileries of Saint Andrew became precarious habitat, hunting and playing field in the city. Then there is the equally brutal émergence of a new symbolic of this space : a certain way of the economic définition of a territory that excaped for a while.

From the point of view of the people, the space of the building site is a no-place . The yard sets the perception of space in the immediacy, the immédiate présence of things and beings without history in relation with this space. This character of the no-place of the space of the building reinforces the violent and destructive appearances. And it is not appearances, because the building site is destructive of the place of which it excludes the inhabitant not only physically but also symbolically. Admittedly, this exclusion is momentary and can also mean hope for employment or enrichment. But in any case, it is first abandonment, loss of territory.

Fabrice Ney.

ABOUT THE AUTHOR:

André Mérian lives and works in Marseille. He exhibits regularly in France and abroad, his works are part of public and private collections, and are the subject of different monographs. He is represented by Les Douches La Galerie in Paris. In 2009, he was nominated for the Discovery Prize at the Rencontres Internationales de la Photographie in Arles.

Website: 

http://www.documentsdartistes.org/artistes/merian/repro.html

LARGE SITES

LARGE SITES

BY TONY MCATEER

Tony McAteer is interested in urbanism - its structures, aspirations and narratives. His projects cover architecture, traffic, large urban sites and the movement of people within all of this.

He has worked as an architectural photographer since 2000. With this work he gets to travel a lot which he loves. It also gives hum the opportunity to follow his own projects.

synopsis

These photos look at the resource hungry transformation of large swathes of landscape to business, retail and leisure facilities.

At these incomplete stages the aggression of affluent urbanism on resources – land, water, energy – is still exposed. The diptychs allow for dramatic play with form to emphasis this grinding inversion of the landscapes.

editor's note

Our aim is to disseminate and bring to light telling work of emergent or young photographers.

LATITUDE

LATITUDE

BY SARA DE JESUS BENTO

Sara De Jesus Bento is a photographer and film maker. She was born in 1984 in Marinha-Grande in Portugal, lives and works between Paris and Lisbon. After studying at the Academy of Fine Arts in Le Mans, and a Bachelor in Arts minor photo Paris 8 University, she joined the National School of Decorative Arts (ENSAD) Paris in photography and video. In 2010, She continues her photographic research by an exchange studies at the Aalto University School of Arts and Design – Taik in Helsinki, Finland, and she graduated in 2012 from the ENSAD. She works mainly around the representation of landscape, distance, objects and body in its environment through her encounters with places and people that become the scene and the actors of a picture and a story. She exposed and participated in Festivals through the France, Helsinki and Bogota. In 2012 and 2013 her short film “The hunting down song” was selected to the Festival “Traces de Vies” in Clermont-Ferrand, France and to the Film Festival Salon de la Luz Volume IV in Bogoto, Colombia.

synopsis

Latitude specifies the distance of a place from the equator, it's a point on the Earth. This project was born from a desire to explore the landscape by walking and to represent it with a sensitive and visual aspect. Located on the outskirts of towns or residential areas, I'm interested in wilderness forgotten. These areas have been exploited and then abandoned losing their identity and their function. This is the gap between the non-viable place and the space interest me - “the non place as the place of all possibilities”*, free interpretation. I captured these landscapes with a pinhole camera. The use of this tool was a way for me to experience this rudimentary process, and to represent the landspace with a particular look, a softer aesthetic, imperceptible. To grasp the variation in time with pause slowler. Create a meeting with this setting, without the human presence is represented but suggested with the intention to provide a perception open to poetry and imagination for the viewer. *Statement by the Stalker group.

Editor´s note

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

INVISIBLE CITIES

INVISIBLE CITIES

BY PAUL SEAWRIGHT

Paul Seawright (born 1965, Belfast, lives Belfast) studied  at Foundation of Art, University of Ulster, Belfast. He took BA on Photography Photography Film and Video - West Surrey College of Art & Design (Tutors Paul Graham and Martin Parr) and a PhD at University of Wales. He is Professor of Photography at the University of Ulster, and was formerly Dean of Newport School of Art, Media and Design at the University of Wales, Newport, United Kingdom. He was awarded a personal chair by the University of Wales in 2001, and is a Fellow of the Royal Photographic Society, Royal Ulster Academy of Arts and Fellow of the Royal Society of Arts. Seawright is a Council member of the Arts Council of Northern Ireland and Vice President of the Royal Ulster Academy of Arts.

Paul Seawright is both an artist and academic within the world of contemporary photography. An accomplished author who has seen his series published and exhibited internationally. His extensive and inspiring work is mostly characterized by an artistic strategy that undermines the obvious and many times depoliticizes images, creating diverse series focused on troubled or conflicting situations that encourage viewers to see and understand those realities in new ways. Many of his projects could be highlighted, and there is a consistent strategy and conceptual framework on his work that can be traced to his earlier series i.e. Sectarian Murder (1988).

Much of Paul Seawright projects i.e. Invisible Cities (2002), Volunteer (2010) and others alike call our attention to the core of many contemporary individual or collective political, social, cultural and economic problematic boarders and boundaries, which seem for many people invisible.

Invisible Cities engages with the extending and reordering of space in post-colonial cities of sub-Saharan Africa. They examine how peripheral developments and selltlements have become a frontier through unconventional and largely unrecorded means. Abdi Maliqe Simone writes that in African cities urban dynamics are shifted away from actual cities to murky borderlands and where new formulations of sovereignty, belonging and nationhood are provisionally concretized. Exclusion and incorporation, marginality and experimentation, then converge in ways that are not easily discernable. in Exception to the Norm: Representations of Urban Africa in Paul Seawright’s “Invisible Cities”

A more recent case in point of this is his ongoing project The List (2014), a series that deals with an invisible America: the non-places where those convicted of sexual offences have to live and work. Thus, viewers of Paul Seawright work are first intrigued by his enigmatic imagery and then led to search for the meaning of his series and vantage point discovering the several layers of meaning behind the images.