“I’m one of those people who, no doubt out of modesty, don’t externalize their feelings publicly. Especially when it’s about my roots, the important people of my life. Except maybe through pictures. I can tell you that they teach me what love really is.”
Work In Progress
"Crystal Identity” is long-term ongoing project. I started the researches and basic realizations in 2017. I decided to work on it when I realized that for a long time I was feeling that I existed only in the face of nature. Towards nature, I’ve felt like I was making revisits. Photography has become part of the act of action. And the landscapes and their character have become the witnesses of what happens in the space. I started to look for the "in situ” places, where there appear sublte union, indirectly related to refuge. Allegedly nature was supposed to release alienation.
It’s a tractate on apperception and becoming the part of. I’m inclined to reach out to the invisible and undermine that what is invisible does not exist. I nurture the fragments of nature, traces it contains as the carriers of memory, archetypes. I penetrate those unobvious resources of nature, that are never deprived of its identity. I explore dependences between subconsciousness and memory, traces recalling the past events, which are a memorial as proof of what is hidden. I take the journey to search for identity, balance, roots embedded without the context of time and space.
I’m multidisciplinary artist from Poland, I work within the visual and performance arts. I focus on the processes of the research, exploration and transformation in the fields of human states and nature, and the memory and identity they contain. My artworks have been presented and published in Poland and abroad. I graduated from Photography at the department of Multimedia at the University of Fine Art in Poznan, Poland, and earlier, also from Technical Physics at the University of Technology in Wroclaw, Poland. I practice Butoh.
Website: www.agnieszkagotowala.com
Kip Harris is a retired architect with degrees in English literature, humanities, and architecture. For nearly 30 years, he was a principal of FFKR Architects in Salt Lake City, Utah focusing on university / K-12 school buildings and Native American gaming projects. The last of these was Talking Stick Resort / Casino in Scottsdale, Arizona. His interest in public art has lead him to a three year membership of the Art Design Board of Salt Lake City and to extensive use of Tribal art in Native American casinos.
His photographic work has been exhibited in group and solo exhibitions in the US, Canada, and Europe and on a variety of photographic websites. He now lives in a small fishing village on Nova Scotia’s South Shore in a heavy timber cape originally built in 1823.
synopsis
“... the canvas began to appear ... as an arena in which to act. What was to go on the canvas was not a picture but an event."
Harold Rosenberg
Brightly painted walls in sunlight have the power to stop me in my tracks. It may be the surprise of something novel or the accidental harmony of the color combinations. I have felt this surprise when confronted with the deep blue of Giotto’s Upper Chapel at San Francesco in Assisi or seeing Blaue Reiter or Fauvist paintings or opening a new box of Color Aid. Often the best color combinations occur as part of a repair effort that wasn’t quite finished, leaving it in a state of unresolved tension like the best abstract expressionist paintings. These painted walls can create an immediate connection between the observer and the painter - a dialogue too often missing from our streets and buildings.
The images in this portfolio come from hours of wandering through poorer parts of cities looking at collapsing walls using a camera instead of a brush to capture what caught my eye. Trying to convey this evanescent quality is slippery. It can pass by your eyes like water.
editor's note
Our aim is to disseminate and bring to light telling work of emergent or young photographers.
Ways of Escape is an intricate entanglement of symbols, human figures, and unresolved landscapes. Portrayed as the birthplace of western culture, Athens is often the perfect backdrop for projected historical assumptions, which cast shadows on a shattered present reality.
Is every city expected to live up to the specific ideas that formed it? Can a city escape its future? The series follows the traces of these ideas by observing the surface of Athens.
About the author:
Antonis Theodoridis (MFA Photography University of Hartford) is an artist based in Athens, Greece working in the mediums of photography, photo-montage and installation. His work explores history, fiction and mythology set against a backdrop of modern western identity. His first monograph Newspaper from the American West is published by Agra Publications in 2018. His recent work Ways of Escape has been exhibited in the Benaki Museum, as part Athens Photo Festival '17 main program.
Website: www.antonistheodoridis.com
Sim, há lugares em que a noite é mais noite, com as sombras a confundirem-se com os corpos e os objectos. Tudo o que por lá se move parece projectar uma realidade escondida. Naquelas ruelas, por exemplo. Naquelas ruelas interiores que os grandes blocos de prédios permitem e comprimem, há uma vida oculta, imperceptível. É preciso entrar pelo escuro para sentir esse pulsar. No reverso dessas ruelas as vias são largas, iluminadas, com uma luz calculada para projectar a exuberância das grandes casas comerciais e para deixar respirar os neóns e as aparências. A cidade vive destes contrastes. Sem contemplações acolhe a liberdade dos poderosos e, ao mesmo tempo, a escravidão dos homens amarrados a um trabalho que os consome lentamente. Desfigurando-os. Até se tornarem invisíveis dos demais.
Yes, there are places where night is more night, with shadows confused with bodies and objects. All things moving around there appear to be projections of a hidden reality. In those lanes, for example. In those inner lanes that great blocks of buildings create and compress, there is a hidden, imperceptible life. It is necessary to enter through the dark to feel that pulse. Behind these lanes, the streets are wide, well-lit, with light calculated to project the exuberance of the large shops and give the neons and appearances room to breathe. The city lives on these contrasts. Without ceremony, it accommodates the freedom of the powerful and, at the same time, the slavery of the men tied to work that slowly consumes them. Disfiguring them. Until they become invisible to others.
Sobre o autor:
João Miguel Barros nasceu em 1958, em Lisboa
É advogado de profissão, em Lisboa e Macau. Foi codiretor da revista de cultura e artes visuais SEMA (1979-1982). Recentemente começou a expor os seus trabalhos, tendo publicado em 2017 o livro de fotografia Between Gaze and Hallucination.
Actualmente tem no Museu Berardo, Centro Cultural de Belém, uma exposição de grande fôlego denominada "Photo-Metragens", constituída por 14 pequenas histórias independentes, com imagens e textos ficcionados.
Nos últimos anos tem vindo a estudar os principais artistas contemporâneos chineses e japoneses. É curador freelancer na área da fotografia contemporânea, tendo organizado duas exposições de fotografia de artistas chineses em Portugal e estando a trabalhar em vários outros projectos de curadoria para o próximo triénio.
After the civil war which ended in 1949 there are two China’s, the People’s Republic of China * and the Republic of China better known as Taiwan*, both are locked in a complex military, political and diplomatic confrontation. Since then, the relations between China and Taiwan have been characterized by limited contact, tensions, and instability, due to the fact the Civil War merely stopped without formal signing of any peace treaty and the two sides are technically still in a state of war. The questions of independence and the island's relationship to mainland China are complex and inspire very strong emotions among Taiwanese people. As such, the political status and the legal status of Taiwan (alongside the territories currently under Taiwan jurisdiction, like the islands of Matsu an Kinmen) are in dispute. In 1971, the United Nations gave the China seat to China instead of Taiwan: most states recognize China to be the sole legitimate representative of all China, and the UN classifies Taiwan as "Taiwan, Province of China". Taiwan has de facto relations with most sovereign states. US policy has been described as one of "strategic ambiguity", seeking to balance China's emergence as a regional power with US admiration for Taiwan's economic success and democratization.
These series are to be framed within this historical context. In between the Chinese mainland and Taiwan lies the small Taiwanese islands of Matsu and Kinmen so close to mainland China they can see each other. The islands are culturally related and geographically very close to the China, but politically to Taiwan. This geographical proximity of these two ‘enemies’ made me curious. Although things cooled down over the years, the islands remain still heavily militarized. The islands of Kinmen, which means Golden Gate and are only a couple of kilometeres from the Chinese city of Xiamen, has a long and rich common history over more the 1700 years. The archipel of Matsu, very close to the Chinese city of Fuzhou, used to be just some small fishing villages, but became a frontline between the two states, with thus heavy militarization as a result. Only in 1992 the military administration was lifted and (some) of the island became open to the public.
* For easy reading and understanding of the texts the word China will be used to described the People’s Republic of China and the word Taiwan will be used to describe the Republic of China. By no means the use of these words have political connotations, these words are used for more easy reading and understanding of the texts, since to my believe, these words are commonly used to describe both states.
** The title of these series The frontline relies on you refers to a free translation of the song Jun Zai Qian Shao (君在前 哨 ) by the immensely popular late Teresa Teng which is being used as propaganda in Beishan Broadcasting station on the island of Kinmen.
About the author
Verdickt’s work shows a fascination on how ideas and ideologies can sublimate into images and formulates them into a visual story. In order to find stories he travels around the globe, mainly Asiatic countries.In 2014 he published his first book ‘The South Street Village’, his second book ‘Nobody Likes To Be Hindered By WorldlyTroubles’was shortlisted for the Liège PhotobookAward,the Belfast PhotobookAward and the Athens Photobook Award. In 2015 he won the LensCulture Exposure Award. His work has been published internationally, including GEO Magazine, Private, De Volkskrant, De Morgen, among others. Franky Verdickt was born in Belgium in 1971.
Invited authors: Miguel Carneiro and Pelucas Martin
“PUBLIC ART is a broad term which refers to artworks in any MEDIA created for and sited either temporarily or permanently in public places. Public places are generally associated with external spaces; however, artworks can be situated outside in private spaces, such as shopping malls and private housing developments, or inside in public spaces, such as publicly funded ART MUSEUMS and GALLERIES or hospitals and libraries. Consequently a definition of what constitutes public space is problematic”.1
In 2001, David Hickey2 brought together the work of twenty nine artists at SITE (Santa Fe International Biennial) in an impressive installation created by Graft Derin. Several kinds of works were presented in that installation, which significantly turned the museum into a large “Architectural Frame”. This event at SITE proved that the installation of an exhibit may adopt different strategies and configurations and that, more often than not, it is the artwork’s spatial configuration and location itself that will create a new space. In this case, the result is an impressive “Architectural Frame”, with a non-traditional configuration, where the placement of the works reinforces the innovative spatial character of the museum.
Like the artists in the seventies, who felt the need to create their own spaces to experiment with new languages and to answer the excessive “institutionalization” of conven- tional spaces such as museums and galleries, public art also tried to find an answer for the traditional classical monumentality. It is important to clarify what public art means; the defi- nition is controversial and not easy to establish with accuracy, implying different perspectives. Although easily identifiable, Malcom Miles’s description – “the term ‘public art’ generally describes works commissioned for sites of open public access” (in “Art Space and City: Art and Urban Futures”) – is still not enough to offer a coherent definition. In my opinion, Harriet Senie3 offers a more significant answer to contemporaneous impulses when she tries to define public art as a consequence of having audience as a starting point for the creation of the artwork, thus making it respond to the viewer’s perception of that very same work.
(...)
The artworks here on display, mainly chosen because their supports are several plans of building that have become derelict, belong to two authors from different fields who show strong similarities in the work they develop. They are not trying to be “main stream” nor are they exactly “against the current”. They embrace their individuality through great phantasy and imagination. They are simply artworks.
Miguel Carneiro’s intervention target “Cospe Aqui” [“Spit Here”] is well known by those of walk around Cedofeita14. Although dating back some years ago, it is still very up-to-date. Being somewhat hostile, the author states that “Who was born and has lived in Porto has an instinct to slalom between the many obstacles left by men and animals along the city pavements. (...) COSPE AQUI [SPIT HERE] stencil appears in this context, as an attempt to maximize this cultural habit as an evocative provocation. Although at first it randomly competed with other marks in the pavements, the stencil soon started to direct itself to more international targets, from political propagandas, including party headquarters and multinationals, to the most exclusive art gallery entrances, everything could become a target for the excess of saliva that we daily gather in the mouth”. The juxtaposition of the stencil with signs of political nature, near art galleries, clearly shows its interventionism, a critical message to the oblivion of some, through an image an undeni- able and much needed irreverence. On the contrary, Pelucas Martin is an author with a great graphic accuracy, who in his imaginary looks for references of his back- ground. Sometimes architectural details of that early period stand out (see the mural in the former Campanhã space, nowadays “Oficina Arara” [“Arara Workshop”], Campanhã Porto). The phantasy is rather evi- dent in the different artworks. Sometimes a kind of anthropomorphism appears, poking at the frontier of illustration, especially when referring to a set of characters who, outside their habitat, contradict the images commonly used in today’s precarious urban environments.
1 http://www.imma.ie/en/downloads/publicart.pdf
2 North-American Art critic. Author of The Invisible Dragon: Four Essays on Beauty and Air Guitar, Essays on Art and Democracy. Professor of Art Theory and Criticism at the University of Las Vegas.
3 Senie, Harriet, Contemporary Public Sculpture: Tradition, Transformation and Controversy, Oxford University Press, New York,1992.4 Cf. The presentation of several works by avant- garde artists, such as Calder, Picasso or Moore, just to name a few. mouth”. The juxtaposition of the stencil with signs of political nature, near art galleries, clearly shows its interventionism, a critical message to the oblivion of some, through an image an undeni- able and much needed irreverence. On the contrary, Pelucas Martin is an author with a great graphic accuracy, who in his imaginary looks for references of his back- ground. Sometimes architectural details of that early period stand out (see the mural in the former Campanhã space, nowadays “Oficina Arara” [“Arara Workshop”], Campanhã-Porto). The phantasy is rather evi- dent in the different artworks. Sometimes a kind of anthropomorphism appears, poking at the frontier of illustration, especially when referring to a set of characters who, outside their habitat, contradict the images commonly used in today’s precarious urban environments.
Shin Noguchi is an award winning street photographer based in Kamakura and Tokyo, Japan. He describes his street photography as an attempt to capture extraordinary moments of excitement, beauty and humanism, among the flow of everyday life and has a discreet, poetic and enigmatic approach that is sensitive to the subtleties and complexities of Japanese culture without using posed/staged and no-finder/hip shot.
"Street photography always projects the "truth". The "truth" that I talk about isn't necessarily that I can see, but they also exist in society, in street, in people's life. and I always try to capture this reality beyond my own values and viewpoint/perspective."
synopsis
"Nonverbal Space", it is unstable, distorted, and contradicts what we have created. And [Ma], exists in there.
The characteristic of the Japanese [Ma] is very beautiful, also delicate, and if you are not always aware of the very small amount of undulation of [Ma], it loses balance immediately.
I tried to listen to a lump of invisible voice (or the voice that was confined) of [Ma] existing in nonverbal/unstable spaces of our daily lives, and I aimed to visualize the two invisible elements, [Ma] and human [Gou] (karma/conduct) that underlies in [Ma].
Also, in this project, I dared to express the human being as the existence (visualization of [Gou]), not as an individual but by making the whole nonverbal space the subject without including people in the frame. this way, i am managing the awareness of the relationship between individuals, society and the surrounding environment for the viewers.
Danshi Tatekawa said that "Rakugo is an affirmation of human [Gou] (karma/conduct), that is, inconsistency", and Alexander Pope also said that "To err is human, to forgive divine".
As they talked towards "people", could their words really be said in front of the "Nonverbal Space" which is more closer to the "society"? and could that "forgiveness" recreate another type of hope or a new possibility in this land where everything had changed to something that looks irreversible?
I shoot the "Nonverbal Space" (it is unstable, distorted, and something contradicts what we have created) while being aware of their words which were created by human beings as well.
Finally, by expressing the subjective viewpoint of the photographer, this project is, so to speak, an antithesis against the new topographic photographs.
editor's note
Our aim is to disseminate and bring to light telling work of emergent or young photographers.
Rarely does something in reality look the same as in our memories. This morning was the first time in a long time that I was able to see my home town precisely as it exists in my mind. The small town where I grew up is called Siófok,- in Hungary- it's right on the lake shore of Balaton, the largest lake in Central-Europe. It's often called the summer capital of the country due to its touristic position, with 25.000 inhabitants which in summer is often going up sevenfold. For most people Siófok is only known as their holiday place, with the blue lake and happy summer moments, however those who grow up here can see the town in an entirely different way. The places and things important to me are totally different than those liked and remembered by the tourists, and I feel that this is how it should be. I left this place 10 years ago, and every time I return I feel a deep nostalgia. I think that growing up here, and being a local, is a lucky situation as it enables me to show this place in an unusual and unexpected context.
About the author:
Marietta Varga was born in 1992, in Hungary. She completed her studies, BA in Photography at Moholy-Nagy University of Art and Design between 2013-2016. Currently living and working between Budapest and Siófok. Her visual world is described as simple and clean, balanced with precisely directed compositions.
Her sensitivity in the use of colours and spatial awareness help to create the unique atmosphere of her visual world. Her pictures often have strong symbolism where the viewers can find themselves in a strange surreal dream.
website: https://www.mariettavarga.com/
Jan Piotrowicz is an urban landscape and architecture photographer based in Manchester, UK. Piotrowicz is soon-to-be photography graduate. In his work, city as a subject and issues of urban space and planning are critical and most prominent features. In his work is present a constant inquest into those domains. Other inspirations include psychogeography and topography as the modes of exploring and responding to the urban environment. "La beauté est dans la rue".
Piotrowicz is obsessed with a notion of space and my photography is an attempt to capture it. He believes that the places people live in tell more about them than any portrait would ever do. With a little background in urban planning, He tries to seek for areas where urban meets nature, where ugliness unites with beauty. He constantly try to give places a new meaning. Piotrowicz believes that the public keeps many secrets to be revealed.
synopsis
In 2007, Professor Danny Dorling from University of Sheffield made an attempt to measure and map English national stereotype: the myth of the North and South differences. Can something so vague can be presented as a specific geographical feature on a map? A line was created, spreading from North-East regions of Lincolnshire down to the South-Western county of Gloucestershire. The line seems to be not only an artificial border between the two distinctive areas; it also runs diagonally across the whole Midlands and beyond. The project is about materializing that line. 25 towns and villages were picked with the strict rule: the border needs to fall directly on them. By playing a reversed connect-the-dots game, the journey plan was established. Each single picture is an attempt to seek identity: North, South or maybe Mid? The line acted as the guide in search of the default, generic England, free of the stereotypes and divisions.
Editor´s note
The presented project was selected from a spontaneous submission made by Jan Piotrowicz.
"In Transit" is a project based on the artist's personal experience of change and displacement. In 2011 Carlos moved from his hometown in Spain to San Francisco, CA, fact that certainly transformed his cultural and personal environment, this series is the result of that period of adaptation and change. Through different elements as home, fate or youth, the project works around the idea of displacement, nostalgia and dislocation, and tries to translate into images the feeling of not belonging to any land, not the one he left but not the one where he is neither, feeling mentally in transit.
Most of the photographs in the project are divided in three groups. - house entrances, random elements found in the street by chance and portraits of young subjects- each of them represent a certain part of the journey and are intended to interact and complete each other, working together almost like a code, these groups of pictures are mixed and displayed in three different sizes when exhibited, in a non linear narrative form, creating a sense of rhythm within the series. All these elements together form ̈In Transit ̈, a body of work that represents the process of this new journey; the instability, the uncertainty, the feeling of adaptation or the lack of it.
About the author
Born and raised in Madrid (Spain), Carlos graduated from the European University of Madrid with a master’s degree in Photography in 2010, that same year he was selected as one of the best upcoming photographers to participate in the international award "Descubrimientos PhotoEspaña”, shortly after he moved to San Francisco to continue developing his career in Photography where quickly got involved in the Photography community of the Bay Area, taking part in several group shows in galleries and venues in different cities of the United States, He was also the recipient of the Rayko’s artist-in- residence program in 2014 and was chosen as one of 2016 PDN's 30 new and emerging photographers to watch, more recently, his project Façade was shortlisted for the Book Dummy Award organized by Photo London and La Fábrica.
Currently, Carlos splits his time shooting both personal work and editorial assignments for magazines like Apartamento, The FADER, WSJ Magazine or The California Sunday Magazine among others.
website: https://www.carloschavarria.com
Along the banks of Kifissos river of Athens, there was once a great Olive Grove. The siting of the heavy industry in the area during the 19th century, put an end to this immense garden that was marveled by historians and travelers. Now only urban weeds & invasive trees are growing. The traces left of the past topography are covered by the dust and lost in the disturbing noise. During the daylight heavy trucks ply the roads emptying products in warehouses and factories. The darkness of the night though is transforming the place. The distant horizon disappears while the shadows of old and new green are emerging from the dirty roads of this unruly industrial landscape.
The olive grove was preserved intact until the 1880s, according to the map drawn by the German cartographer Johann Kaupert. Among the 170.000 trees of the time there was also mapped the first industrial building of the time, a tannery.
About the author
M. Arch/School of Architecture/Aristotle University of ThessalonikiGreek freelance photographer and architect working on a long term projects, covering environmental, social and urban issues. Born in Istanbul Turkey, lives and works in Athens.
website: www.reapapadopoulou.com
In Paramaribo, the main city of Suriname, Jacquie Maria Wessels photographed city scenes, dominated by the typically Surinamese wall paintings: hand-painted advertisements containing hyper-realistic depictions of tools, soup cans, oatmeal, hot dogs and other products, along with exhortations like 'Do your best in school'... This carefully composed photo series is both alienating and surrealistic and gives the viewer in a playful way a glimpse into the Surinamese culture and daily life.
The analogue photographed series 'Cityscapes' is published in the Photo Book 'Cityscapes + Birdmen' by Voetnoot publishers.
About the author
Jacquie Maria Wessels was born in Vlaardingen, the Netherlands, and presently lives and works in Amsterdam. She graduated from the Gerrit Rietveld Academy in Amsterdam in photography in 1990, and studied social psychology at the Vrije Universiteit (VU) in Amsterdam. Wessels has developed into an autonomous/documentary photographer who prefers to delve deeply into a subject over a long period. She travels all over the world to discover new surroundings. Her subjects often serve as a framework for investigating the diverse social situations in which people find themselves.
The work of Wessels has been exhibited at various locations in the Netherlands and abroad including, Photography and Visual Arts Festival Encontros da Imagem in Braga (PT), the Surinaams Museum in Paramaribo (SR), Museum Het Valkhof in Nijmegen (NL), Museum IJsselstein (NL), Museum of Photography Thessaloniki (GR), PhotoBiennale Greece (GR), Noorderlicht Photo Festival in Groningen (NL), New York Photo Festival (US), Gallery Carte Blanche San Francisco (US), Naarden Photo Festival (NL), Corcoran Gallery Washington (US), Gallery Cultural Speech Amsterdam (NL), Galerie Baudelaire Antwerp (BE), Municipal Museum Arnhem (NL), Amsterdam Municipal Archive (NL), the Historical Museum in Amsterdam (NL) and diverse (inter)national Art Fairs.
Website: https://www.jacquiemariawessels.nl/portfolio.html
Orli Perel Nir was born in 1977, lives and works in Israel. He has a Bachelor degree (B.E.Des) in photography with honors and excellence by Wizo Design Academy, Haifa, Israel. With several exhibitions and awards, Orli Nir works in private and public collections in New York, Poland, Israel, Russia & Romania.
synopsis
100 Years of Red Sun is a series of portraits of young cadets from military academies in Eastern Europe, where strict military education from an early age still takes place and being a part of a the national identity after long centuries of tradition. For an outside viewer this world might seems far and strange, but altogether a unique remnant of a glorious era, a current hallmark of a distinctive heritage throughout history; a world that retained its own rules and beliefs despite the enormous changes throughout time. Young boys are being trained to be senior officers in the army while the choice of military life is being made from a very young age. The thin line between childhood and manhood in the pictures is being crossed over and over, as well as dreams and disappointments. The subjects were chosen carefully and were staged like on a theatre stage; emerging from the black background behind them or being swallowed by it. Young children posing like in the old portraits of war heroes painted in the 16th and 17th centuries, the faces of the future being held back by the past.
Editor´s note
The presented project was selected from a spontaneous submission made by Orli Perel Nir. Our aim is to disseminate and bring to light telling work of emergent or young photographers.
Attilio Fiumarella was born in Naples, Italy and presently lives and works in Birmingham, UK. He has an Architectural background, but his great passion has always been photography and since 2011 his main activity has been as a photographer.
Already published in several magazines and books devoted to Architecture, in 2014, he was awarded with an honorable mention at "Novos Talentos FNAC" for the project "Works of Mercy" and got a bursary from "Some Cities" to develop a new project in Birmingham.
The work of this promising emergent photographer combines architectural photography with contemporary issues and his series reveal the potential of adopting an artistic and documentary approach in photography. His projects exemplify very well how photography can be used as a powerful research instrument and a privileged mean to give visibility to issues that are invisible in the main stream media and society.
"Works of Mercy" is a case in point of Attilio Fiumarella humanist conceptual framework and artistic strategy for unveiling problematic lives and issues. In this series he works, as did Michelangelo Merisi da Caravaggio, with real people and the photography project is a powerful series inspired by the chiaroscuro light that encourages viewers to reflect on contemporary society values through the nudity of people living a harsh life.
Pedro Leão Neto
Daniel Gentelev was Born in 1983, Russia. In 1992 he immigrated to Israel with his family.
After his service in the IDF, he travel to South America and became interested deeply in the medium of photography.
He attended and graduated from “Bezalel” Academy of Arts and Design” photography department. He took part in Bezalel's exchange program for merit students in the third year and study at the VSUP-Academy of Arts, Architecture & Design in Prague.
His personal work known for his (mostly) square photographic portraits of adolescence and interior life.
He worked on documentary film sets as assistant cameraman and as a freelance photographer in Theater. He had his first group exhibition at the "Farkash" gallery Tel-Aviv and has been shown around several art Magazines and group exhibition around Europe.
He lives and works in Berlin and his work depicted social and classical subject matters.
synopsis
”In making and presenting the photographs of the series, i am trying to tell a story that is based on actual events.
I view the central events as a domain of my inspiration work in the community of regressive Christian in the basque country who defy western description and required to leave absolutely everything behind. in this alleged cult, everything held in common and as you integrate the group more, more conditions and rules are laid on you, such as relinquish your possessions, etc.
The whole community lives in one big house with rooms for the parents, room for the children. married couple share a room with their children. daily activities start at 6 in the morning. it is then that teaching are given and people are pray and dance. for this 70 group of people who more than half are children, consider themselves the only true Christians and believe in Yahshua, Jesus by his Hebrew name.
Outside world is unwholesome. and according to that it is the best way to keep the children apart from
the reality that doesn't agree with their beliefs. so anything different is taken out of the books.
The community force the children to work from a very young age. they have censored to avoid any theory from outside world. instead of that, they stay at home to perform different chores. the girls are in charge of household and the boys are assigned tasks such as preparing the firewood or carpentry. many of these children are born there and don't know any other environment. this is their only world, the only reality. young people are not allowed to make bonds with other young people their age outside.”
Charles Sarrazin was the winner of the second edition of SCOPIO International Photobook Contest and, as the name implies, it was directed towards the creation of an Artist Photobook, which also involves the visual definition of a concept. Titled 'Crossing Borders Shifting Boundaries: City', this contest was focused on diverse countries and on how the migratory movements have influenced the places and people (identities) of those territories. In search of new talents, the jury awarded the photobook "Studio Breiner House".
"Studio Breiner House"
The photographer gives us interestingly detailed insight into the Breiner House, where Erasmus students use to live together during their stay in the city centre of Porto. Charles Sarrazin - a French Erasmus student - created this photobook and called it 'Studio Breiner House' because he not only lived in this large old house, but also used it simultaneously as his studio. The simple black & white photographs - views inside the house and views from there towards the city - combined with text notes give the viewer a first concentrated impression of the very special living space of Erasmus students in Porto today. In the second part of the book, we see the subjects themselves, intense portraits of the students, all in the same format and with the same focused dark background. The last chapter finally changes into colour, and the movement changes from a more documentary style at the beggining to a subjective stage-managed, lively kind of photography.
Maxim Ivanov is an undergraduate student of the British Higher School of Art and Design on the BA (Hons) Photography course.
Synopsis
The children depicted in this project are the residents of an orphanage in a small settlement near Moscow. With this series Maxim Ivanov aims to draw attention to the small people who live, study and are formed in an isolated regimental institution. In many senses such children are treated like impersonal things: their parents can get rid of them, they can be moved from one institution to another disregarding their interests, they can be chosen like flowers (sometimes even bought and sold); in Russia they can also be used as instruments of foreign affairs. From the very moment of birth coming through severe realities of life they manifest themselves in a specific manner.
Editor´s note
The presented project was selected from a spontaneous submission made by Maxim Ivanov. Our aim is to disseminate and bring to light telling work of emergent or young photographers.
Dinis Santos nasceu em 1983. Licenciou em Pintura, pela Faculdade de Belas Artes da Universidade do Porto em 2007. Desde então que trabalha no Porto em regime "freelance" em fotografia e vídeo. Em 2012 faz o curso de mestrado em Filosofia Contemporânea da Universidade do Porto. Desde 2008 que tem vindo a desenvolver, paralelamente à sua actividade profissional, trabalho pessoal em fotografia e vídeo.
synopsis
Não era a primeira manifestação para a qual íamos juntos. Naqueles meses elas sucederam-se. O encontro ficou combinado em casa de um de nós. Nasci em 83 e trinta anos depois tenho novamente o FMI a barricar o caminho do futuro. Uma vez mais, a canção de José Mário Branco fazia sentido em Portugal e possivelmente fora dele também.
Estava tudo pronto. Já estávamos todos, a sala enchia-se de fumo e ansiedade. A manifestação prometia acontecer, já havia murmúrio e os tambores rufavam ao longe. Estávamos certos de ali estar. Respira-se esperança quando alguém nos olha como cúmplice.
O disco está a rodar. As colunas apontadas à rua. José Mário Branco canta de novo. Nós estamos agora sentados de olhar baixo. Ficou pesada a sala. Parecemos não conseguir cruzar olhares. A canção continua impiedosa no retrato da nação e a voz de José Mário Branco ecoa pela Avenida dos Aliados até que, repentinamente, o disco encrava:
"Esta merda não anda, Esta merda não anda, Esta merda não anda, Esta merda não anda,Esta merda não anda,Esta merda não anda,Esta merda não anda, Esta merda não anda,Esta merda não anda, Esta merda não anda, Esta merda não anda, Esta merda não anda, Esta merda não anda...”
Quis deus ou a história, se preferirmos, que o vinil nos presenteasse com tão dura repetição. Finalmente um de nós levantou-se, deu um toque na agulha, a canção prosseguiu e nós também.
"Pela vaga de fundo se sumiu o futuro histórico da minha classe, no fundo deste mar, encontrareis tesouros recuperados, de mim que estou a chegar do lado de lá para ir convosco. Tesouros infindáveis que vos trago de longe e que são vossos, o meu canto e a palavra, o meu sonho é a luz que vem do fim do mundo, dos vossos antepassados que ainda não nasceram. A minha arte é estar aqui convosco e ser-vos alimento e companhia na viagem para estar aqui de vez. Sou português, pequeno burguês de origem, filho de professores primários, artista de variedades, compositor popular, aprendiz de feiticeiro, falta-me um dente. Sou o Zé Mário Branco, 37 anos, do Porto, muito mais vivo que morto, contai com isto de mim para cantar e para o resto."
José Mário Branco - FMI"
Sanjin Hadzalic is a documentary photographer who was born in Bosnia and Herzegovina, currently living in the Netherlands.
Synopsis
"We had to leave our home country of Bosnia, due to the ongoing war (1992-1995). We barely took any photographs with us to our new 'home' country, the Netherlands. The memories of home were fading and we had no records to remind us of those better days. We entered a new country and started a new life".
Snapshots After the War contains family pictures of those first years as a refugee taken by Sanjin's parents and rephotographed by Sanjin.
"I was fascinated by those first years. Adapting to a new culture, learning a new language and managing to survive without jobs and with the little money we had. From those first years I remember beeing very close with my parents, we did everything together and we were very happy".
Editor´s note
The presented project was selected from a spontaneous submission made by Sanjin Hadzalic. Our aim is to disseminate and bring to light telling work of emergent or young photographers.
