Abid Katib

Abid Katib

Abid Katib >>

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Eyad Baba

Eyad Baba

Wounded Palestinians leave their house following an Israeli air strike in Jabaliya refugee camp in the northern of Gaza Strip. Wednesday, Jan. 14, 2009.

Eyad Baba >>

• Wounded Palestinians leave their house following an Israeli air strike in Jabaliya refugee camp in the northern of Gaza Strip. Wednesday, Jan. 14, 2009.

  

• A Palestinian relative reacts over the body of Belal Al-Batran, 12, one of five members of the Al-Batran family who were killed in Israeli military operations, during their funeral in the Bureij refugee camp in the central of Gaza. Saturday, Jan. 17, 2009.

  

• Palestinians inspect the rubble of a mosque and Islamic school after it was destroyed in an Israeli missile strike in Rafah, southern Gaza Strip. Sunday, Jan. 11, 2009.

  

• Palestinians are seen near a building, damaged during the Israeli army operation in Gaza, in the town of Rafah, southern Gaza Strip. Sunday, Jan. 18, 2009.

  

Ali Ali

Ali Ali

Ali Ali >>

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Ashraf Amra

Ashraf Amra

A Palestinian medic carries the body of a baby allegedly killed by an Israeli tank shell, in Shifa Hospital in Gaza City. Monday, Jan. 5, 2009.

Ashraf Amra >>

• A Palestinian medic carries the body of a baby allegedly killed by an Israeli tank shell, in Shifa Hospital in Gaza City. Monday, Jan. 5, 2009.

  

• Palestinians look at destroyed buildings after an explosion from an Israeli missile strike in Gaza City. Sunday, Dec. 28, 2008.

  

• Palestinians carry 19 dead bodies, Dr. Nezar Rayan, a Hames leader and his 16 family members during their funeral in Jabaliya refugee camp northern Gaza Strip. Friday, Jan. 2, 2009.

  

Fadi Adwan

Fadi Adwan

Palestinians carry a wounded man after an Israeli missile strike hit the home of a Hamas member in Beit Lahiya, in the northern Gaza Strip. Monday, Dec. 29, 2008.

Fadi Adwan >>

• Palestinians carry a wounded man after an Israeli missile strike hit the home of a Hamas member in Beit Lahiya, in the northern Gaza Strip. Monday, Dec. 29, 2008.
  

  

• Palestinian woman and her daughter are treated by medics after being injured in an Israeli army operation in Beit Lahiya northern Gaza Strip, Tuesday, Jan. 13, 2009.

  

Hatem Moussa

Hatem Moussa

Palestinians who fled their homes due to Israeli military bombardment are seen outside a United Nations school, in the Jebaliya refugee camp in Gaza City. Wednesday, Jan. 7, 2009.

Hatem Moussa >>

• Palestinians who fled their homes due to Israeli military bombardment are seen outside a United Nations school, in the Jebaliya refugee camp in Gaza City. Wednesday, Jan. 7, 2009.

  

• Palestinian in the street after an Israeli missile strike in Gaza City. Saturday, Dec. 27, 2008.

  

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• The bodies of three toddlers Ahmed, Mohamed, and Issa Samouni, who according to Palestinian medical sources were killed in an Israeli strike, are seen during their funeral in Gaza City. Monday, Jan. 5, 2009.

  

• Palestinians pray over the bodies of nineteen people killed near a United Nations school Tuesday, during their funeral in the Jebaliya refugee camp, in the northern Gaza Strip. Wednesday, Jan. 7, 2009.

  

Khalil Hamra

Khalil Hamra

Palestinian relatives of Mohammed Qasem, who was killed in an Israeli military operation, react during his funeral in the Zeitoun neighborhood in Gaza City. Wednesday, Jan. 7, 2009.

Khalil Hamra >>

• Palestinian relatives of Mohammed Qasem, who was killed in an Israeli military operation, react during his funeral in the Zeitoun neighborhood in Gaza City. Wednesday, Jan. 7, 2009.

  

• A Palestinian girl reacts after an Israeli missile strike hit outside her home killing her brother and four others, in an Israeli missile strike in Beit Lahiya, northern Gaza Strip. Thursday, Jan. 8, 2009.

  

• A Palestinian boy stands next to destroyed houses after an Israeli missile strike in the Rafah refugee camp, southern Gaza Strip. Thursday, Jan. 1, 2009.

  

Mahmoud Hams

Mahmoud Hams

Mahmoud Hams >>

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Mohammed Abed

Mohammed Abed

Mohammed Abed >>

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Mohammed Saber

Mohammed Saber

Mohammed Saber >>

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Said Katib

Said Katib

Said Katib >>

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Adam Patterson

Adam Patterson

ANOTHER LOST CHILD (Great Britain, 2008)

2007 was a black year for the city of London: at least 26 young people were victims of fatal street violence. According to Adam Patterson the to-do in the media about this just fed the tense atmosphere on the street. With ANOTHER LOST CHILD the photographer tries to provide a counterweight to the panic factory. He decided to find the people who were always being written about, and give them a voice. A grant from the Royal Photographic Society enabled Patterson to work for a sustained period in the problem neighbourhoods, from which many of the victims and perpetrators come. He was able to win their trust, and could work closely with a gang member from Brixton, whose texts Patterson combined with intimate photography. He places the events in a different, less tendentious light.

Adam Patterson >>

• ANOTHER LOST CHILD (Great Britain, 2008)

  2007 was a black year for the city of London: at least 26 young people were victims of fatal street violence. According to Adam Patterson the to-do in the media about this just fed the tense atmosphere on the street. With ANOTHER LOST CHILD the photographer tries to provide a counterweight to the panic factory. He decided to find the people who were always being written about, and give them a voice. A grant from the Royal Photographic Society enabled Patterson to work for a sustained period in the problem neighbourhoods, from which many of the victims and perpetrators come. He was able to win their trust, and could work closely with a gang member from Brixton, whose texts Patterson combined with intimate photography. He places the events in a different, less tendentious light.

  

• ANOTHER LOST CHILD (Great Britain, 2008)

  

• ANOTHER LOST CHILD (Great Britain, 2008)

  

• ANOTHER LOST CHILD (Great Britain, 2008)

  

• ANOTHER LOST CHILD (Great Britain, 2008)

  

Linda Forsell

Linda Forsell

SHAKING OFF (Palestine, 2008)

When Palestine is in the news, it is generally for bloody conflicts and political quarrels. Seldom does anyone report on the difficult details that are a part of everyday life, about ordinary people and the extraordinary choices they must make just to keep going. In SHAKING OFF Linda Forsell documented the sometimes by our standards immoral situations that arise from living on fiercely contested land: the Palestinian who, to earn his bread, joins in constructing the wall that will imprison him; the colonist who does not have the money to move and carries along his machine gun when he goes shopping. 'This is not objective journalism,' warns Forsell. 'This is the story that I encountered in my bewilderment. It is what I have learned about life in Palestine.'

Linda Forsell >>

• SHAKING OFF (Palestine, 2008)

  When Palestine is in the news, it is generally for bloody conflicts and political quarrels. Seldom does anyone report on the difficult details that are a part of everyday life, about ordinary people and the extraordinary choices they must make just to keep going. In SHAKING OFF Linda Forsell documented the sometimes by our standards immoral situations that arise from living on fiercely contested land: the Palestinian who, to earn his bread, joins in constructing the wall that will imprison him; the colonist who does not have the money to move and carries along his machine gun when he goes shopping. 'This is not objective journalism,' warns Forsell. 'This is the story that I encountered in my bewilderment. It is what I have learned about life in Palestine.'

  

• SHAKING OFF (Palestine, 2008)

  

• SHAKING OFF (Palestine, 2008)

  

• SHAKING OFF (Palestine, 2008)

  

• SHAKING OFF (Palestine, 2008)

  

Lurdes R. Basolí

Lurdes R. Basolí

CARACAS, THE CITY OF LOST BULLETS (Venezuela, 2008-2009)

In Venezuela, says the Spanish photographer Lurdes R. Basolí, a life is worth precisely one bullet. Being born in a barrio, the slums of Caracas, is being born in the shadow of death. Dozens die every weekend, on the face of things victims of the drug trade and street violence. But there are deeper causes behind this: the lack of opportunities to escape the slums, corruption, millions of freely available weapons, disfunctional families. Boys in the barrios, whether they are malandros (juvenile delinquents) or 'healthy' (which is to say, without problems) know that they can be struck down by a stray bullet at any moment. In some cases they themselves may have fired the bullet.

Lurdes R. Basolí >>

• CARACAS, THE CITY OF LOST BULLETS (Venezuela, 2008-2009)

  In Venezuela, says the Spanish photographer Lurdes R. Basolí, a life is worth precisely one bullet. Being born in a barrio, the slums of Caracas, is being born in the shadow of death. Dozens die every weekend, on the face of things victims of the drug trade and street violence. But there are deeper causes behind this: the lack of opportunities to escape the slums, corruption, millions of freely available weapons, disfunctional families. Boys in the barrios, whether they are malandros (juvenile delinquents) or 'healthy' (which is to say, without problems) know that they can be struck down by a stray bullet at any moment. In some cases they themselves may have fired the bullet.

  

• CARACAS, THE CITY OF LOST BULLETS (Venezuela, 2008-2009)

  

• CARACAS, THE CITY OF LOST BULLETS (Venezuela, 2008-2009)

  

• CARACAS, THE CITY OF LOST BULLETS (Venezuela, 2008-2009)

  

• CARACAS, THE CITY OF LOST BULLETS (Venezuela, 2008-2009)

  

Seba Kurtis

Seba Kurtis

DROWNED (Spain, 2007-2009)

Week in, week out they take the gamble: Africans who hope to reach the Canary Islands in rickety little boats – and with the Islands, Europe. Some succeed, many drown. Seba Kurtis's photo series DROWNED is a tart commentary on the fate of illegal refugees. The photographer, who himself lived for years in Spain as an 'illegal', threw his photo material into the sea along the coast of the Canary Islands, and presents only the images that 'survived', mutilated, blurred and literally washed out, an echo of his own family photos that years before he had been able to save from a flood. In this way Kurtis confronts us with the human dimension of the issue of illegal immigration, not as a detached outsider, but as an emotionally involved individual, who has experienced first-hand that 'home' is a flexible concept, something that takes a middle ground between a dream and a memory.

Seba Kurtis >>

• DROWNED (Spain, 2007-2009)

  Week in, week out they take the gamble: Africans who hope to reach the Canary Islands in rickety little boats – and with the Islands, Europe. Some succeed, many drown. Seba Kurtis's photo series DROWNED is a tart commentary on the fate of illegal refugees. The photographer, who himself lived for years in Spain as an 'illegal', threw his photo material into the sea along the coast of the Canary Islands, and presents only the images that 'survived', mutilated, blurred and literally washed out, an echo of his own family photos that years before he had been able to save from a flood. In this way Kurtis confronts us with the human dimension of the issue of illegal immigration, not as a detached outsider, but as an emotionally involved individual, who has experienced first-hand that 'home' is a flexible concept, something that takes a middle ground between a dream and a memory.

  

• DROWNED (Spain, 2007-2009)

  

• DROWNED (Spain, 2007-2009)

  

• DROWNED (Spain, 2007-2009)

  

• DROWNED (Spain, 2007-2009)

  

Vincent Delbrouck

Vincent Delbrouck

BEYOND HISTORY (Havana, 1998-2006)

Where does reality stop and poetry begin? Vincent Delbrouck's mixed media diaries make the diving line difficult to see. Delbrouck deconstructs and reconstructs fragments of his own life into 'poetic documentaries'. His collages, accompanied with commentary, e-mails, drawings and poems, evoke a rich reality. Or is it a treacherous form of auto-fiction?For BEYOND HISTORY Delbrouck travelled to Cuba six times. The work shows the Cuba of today, a land of young people striving for a better future. At the same time it sketches Delbrouck's relation to the country and the family who were his hosts. BEYOND HISTORY is confrontational and intimate, but for all its rawness never cynical or exploitative.

Vincent Delbrouck >>

• BEYOND HISTORY (Havana, 1998-2006)

  Where does reality stop and poetry begin? Vincent Delbrouck's mixed media diaries make the diving line difficult to see. Delbrouck deconstructs and reconstructs fragments of his own life into 'poetic documentaries'. His collages, accompanied with commentary, e-mails, drawings and poems, evoke a rich reality. Or is it a treacherous form of auto-fiction?
  For BEYOND HISTORY Delbrouck travelled to Cuba six times. The work shows the Cuba of today, a land of young people striving for a better future. At the same time it sketches Delbrouck's relation to the country and the family who were his hosts. BEYOND HISTORY is confrontational and intimate, but for all its rawness never cynical or exploitative.

  

• BEYOND HISTORY (Havana, 1998-2006)

  

• BEYOND HISTORY (Havana, 1998-2006)

  

• BEYOND HISTORY (Havana, 1998-2006)

  

• BEYOND HISTORY (Havana, 1998-2006)

  

Wayne Liu

Wayne Liu

THE PAST IS A FOREIGN COUNTRY (China, 2009)

Wayne Liu, who grew up in Taiwan and the USA, has been surrounded by English and Mandarin Chinese his whole life, but never entirely mastered either of the two languages. Therefore he feels himself a voyeur in both environments, always searching for clues. Although he never lived there, China has defined his life. People of his generation, he says, grew up with the knowledge that China would develop massively. That led to tense expectations and feelings of uncertainty. In THE PAST IS A FOREIGN COUNTRY Liu does battle with his 'unfinished memories'. He records the constantly changing Chinese landscape, the empty corridors and hollow rhetoric, the flattened buildings and shopping centres under construction. The result is a dystopian sketchbook, the harbinger of a still uncertain future.

Wayne Liu >>

• THE PAST IS A FOREIGN COUNTRY (China, 2009)

  Wayne Liu, who grew up in Taiwan and the USA, has been surrounded by English and Mandarin Chinese his whole life, but never entirely mastered either of the two languages. Therefore he feels himself a voyeur in both environments, always searching for clues. Although he never lived there, China has defined his life. People of his generation, he says, grew up with the knowledge that China would develop massively. That led to tense expectations and feelings of uncertainty. In THE PAST IS A FOREIGN COUNTRY Liu does battle with his 'unfinished memories'. He records the constantly changing Chinese landscape, the empty corridors and hollow rhetoric, the flattened buildings and shopping centres under construction. The result is a dystopian sketchbook, the harbinger of a still uncertain future.

  

• THE PAST IS A FOREIGN COUNTRY (China, 2009)

  

• THE PAST IS A FOREIGN COUNTRY (China, 2009)

  

• THE PAST IS A FOREIGN COUNTRY (China, 2009)

  

• THE PAST IS A FOREIGN COUNTRY (China, 2009)

  

Aïda Muluneh

Aïda Muluneh

ETHIOPIA: PAST/FORWARD (Ethiopia, 2008)

After Ethiopia was in the spotlight during the famine of the mid-1980s, the country has largely disappeared from the world stage, despite the fact that this region in the Horn of Africa, with its rich history, has both great problems and great potential. In ETHIOPIA: PAST/FORWARD the young photographer Aïda Muluneh shows us diverse aspects of the land where she was born, from daily life as it plays out along the side of the road to the role of religion. People of various faiths – including Coptic Christians and Muslims – live peaceably alongside one another in Ethiopia. That is the good news from a country where repression and poverty seriously restrict the opportunities for the population.

Aïda Muluneh >>

• ETHIOPIA: PAST/FORWARD (Ethiopia, 2008)

  After Ethiopia was in the spotlight during the famine of the mid-1980s, the country has largely disappeared from the world stage, despite the fact that this region in the Horn of Africa, with its rich history, has both great problems and great potential. In ETHIOPIA: PAST/FORWARD the young photographer Aïda Muluneh shows us diverse aspects of the land where she was born, from daily life as it plays out along the side of the road to the role of religion. People of various faiths – including Coptic Christians and Muslims – live peaceably alongside one another in Ethiopia. That is the good news from a country where repression and poverty seriously restrict the opportunities for the population.

  

• ETHIOPIA: PAST/FORWARD (Ethiopia, 2008)

  

• ETHIOPIA: PAST/FORWARD (Ethiopia, 2008)

  

• ETHIOPIA: PAST/FORWARD (Ethiopia, 2008)

  

• ETHIOPIA: PAST/FORWARD (Ethiopia, 2008)

  

Anabell Guerrero

Anabell Guerrero

VOIX DU MONDE/DÉLOCALISATION (France, 2006-2007)

Year in and year out the worldwide stream of migrants – legal and illegal – becomes greater. In 2006 Anabell Guerrero began her project VOIX DU MONDE/DÉLOCALISATION in the French city of Envry. More than fifty nationalities live alongside one another in Envry, an ever-changing combination of faces, cultures and traditions. On his long journey, Guerrero notes, the emigrant often takes along nothing but himself: his own eyes, his own hands, his own skin. Guerrero approaches the individual as a continent in himself – a place with a history. By photographing details of the body and sometimes combining them with geographic allusions, she creates a new geography that opens a door to an inner world. In this way she approaches the issue of immigration not as a sociologist or journalist, but attempts to be ‘an archivist of the unseen’.

Anabell Guerrero >>

• VOIX DU MONDE/DÉLOCALISATION (France, 2006-2007)

  Year in and year out the worldwide stream of migrants – legal and illegal – becomes greater. In 2006 Anabell Guerrero began her project VOIX DU MONDE/DÉLOCALISATION in the French city of Envry. More than fifty nationalities live alongside one another in Envry, an ever-changing combination of faces, cultures and traditions. On his long journey, Guerrero notes, the emigrant often takes along nothing but himself: his own eyes, his own hands, his own skin. Guerrero approaches the individual as a continent in himself – a place with a history. By photographing details of the body and sometimes combining them with geographic allusions, she creates a new geography that opens a door to an inner world. In this way she approaches the issue of immigration not as a sociologist or journalist, but attempts to be ‘an archivist of the unseen’.

  

• VOIX DU MONDE/DÉLOCALISATION (France, 2006-2007)

  

• VOIX DU MONDE/DÉLOCALISATION (France, 2006-2007)

  

• VOIX DU MONDE/DÉLOCALISATION (France, 2006-2007)

  

Andrew Tshanbangu

Andrew Tshanbangu

EMAKHAYA (South Africa, 2000-2004)

‘A home away from home’, is what Emakhaya means in Zulu. It is a word that refers to the many migrants who leave the countryside to work in the cities, who only return to their families and loved ones during holidays. Andrew Tshabangu went in the opposite direction. In order to get to know what life in a rural community was like, together with a migrant from Soweto he left the city to visit the man's village, Venda. Tshabangu discovered that the rural areas have many problems, including the absence of the breadwinners, underdeveloped infrastructure, poverty and the loss of agrarian traditions. ‘But despite everything, the people from Emakhaya were the most warm-hearted folk that I have ever met.’

Andrew Tshanbangu >>

• EMAKHAYA (South Africa, 2000-2004)

  ‘A home away from home’, is what Emakhaya means in Zulu. It is a word that refers to the many migrants who leave the countryside to work in the cities, who only return to their families and loved ones during holidays. Andrew Tshabangu went in the opposite direction. In order to get to know what life in a rural community was like, together with a migrant from Soweto he left the city to visit the man's village, Venda. Tshabangu discovered that the rural areas have many problems, including the absence of the breadwinners, underdeveloped infrastructure, poverty and the loss of agrarian traditions. ‘But despite everything, the people from Emakhaya were the most warm-hearted folk that I have ever met.’

  

• EMAKHAYA (South Africa, 2000-2004)

  

• EMAKHAYA (South Africa, 2000-2004)

  

• EMAKHAYA (South Africa, 2000-2004)

  

David Damoison

David Damoison

DOCKERS DE POINTE-NOIRE (Republic of the Congo, 2004)

The most important port city in the Republic of the Congo is Pointe-Noire, where the harbour workers have to perform their tasks under difficult conditions and for very little pay. Loading and unloading the ships takes place with considerably less safety precautions and fewer streamlined processes than in Western ports. David Damoison recorded the men of Pointe-Noire in probing black and white portraits. Their gaze, the dust and dirt betray the severity of their lives, but also their pride.

David Damoison >>

• DOCKERS DE POINTE-NOIRE (Republic of the Congo, 2004)

  The most important port city in the Republic of the Congo is Pointe-Noire, where the harbour workers have to perform their tasks under difficult conditions and for very little pay. Loading and unloading the ships takes place with considerably less safety precautions and fewer streamlined processes than in Western ports. David Damoison recorded the men of Pointe-Noire in probing black and white portraits. Their gaze, the dust and dirt betray the severity of their lives, but also their pride.

  

• DOCKERS DE POINTE-NOIRE (Republic of the Congo, 2004)

  

• DOCKERS DE POINTE-NOIRE (Republic of the Congo, 2004)

  

• DOCKERS DE POINTE-NOIRE (Republic of the Congo, 2004)

  

• DOCKERS DE POINTE-NOIRE (Republic of the Congo, 2004)

  

Jodi Bieber

Jodi Bieber

LAS CANAS (Spain, 2008)

In Spain needle sharing by drug users is one of the leading means of HIV and AIDS transmission. Without a social safety net, in addition to coping with their illness the infected addicts are also victims of social exclusion. As an African, Jodi Bieber was surprised that this practice is also to be found in the rich West. She steeped herself in their situation, made still worse by the poor quality of the drugs. Nevertheless, LAS CANAS is primarily about the addicts themselves: the sort of people from whom we avert our eyes on a daily basis, afraid as we are of recognising ourselves in our neighbours. Like Bieber's photographs, their stories are coloured by sadness, loss and loneliness. The users come from all over the world, but have one thing in common: drugs. It is their vulnerability to that one temptation that makes them different from us.

Jodi Bieber >>

• LAS CANAS (Spain, 2008)

  In Spain needle sharing by drug users is one of the leading means of HIV and AIDS transmission. Without a social safety net, in addition to coping with their illness the infected addicts are also victims of social exclusion. As an African, Jodi Bieber was surprised that this practice is also to be found in the rich West. She steeped herself in their situation, made still worse by the poor quality of the drugs. Nevertheless, LAS CANAS is primarily about the addicts themselves: the sort of people from whom we avert our eyes on a daily basis, afraid as we are of recognising ourselves in our neighbours. Like Bieber's photographs, their stories are coloured by sadness, loss and loneliness. The users come from all over the world, but have one thing in common: drugs. It is their vulnerability to that one temptation that makes them different from us.

  

• LAS CANAS (Spain, 2008)

  

• LAS CANAS (Spain, 2008)

  

• LAS CANAS (Spain, 2008)

  

• LAS CANAS (Spain, 2008)

  

Laurence Leblanc

Laurence Leblanc

RITHY, CHÉA, KIM SOUR ET LES AUTRES (Cambodia, 2000-2001)

What do you do with memories that could best be forgotten? And how can you understand a country that is built on the remnants of an unspeakable bloodbath? Laurence Leblanc went to Cambodia, with the question of how children live with the horrors of the Killing Fields, traces of which are still present everywhere, however great an effort is made to erase them. She photographed the children, in black and white, and out of focus – as a dream world that touches on themes like childhood innocence, time and memory. Faces are as good as absent in Leblanc's work. The style is spiritual, almost transparent. ‘This was the best way to express what I felt’, she says of her approach. RITHY, CHÉA, KIM SOUR ET LES AUTRES shows how deep a bond Leblanc feels with Cambodia and with the children.

Laurence Leblanc >>

• RITHY, CHÉA, KIM SOUR ET LES AUTRES (Cambodia, 2000-2001)

  What do you do with memories that could best be forgotten? And how can you understand a country that is built on the remnants of an unspeakable bloodbath? Laurence Leblanc went to Cambodia, with the question of how children live with the horrors of the Killing Fields, traces of which are still present everywhere, however great an effort is made to erase them. She photographed the children, in black and white, and out of focus – as a dream world that touches on themes like childhood innocence, time and memory. Faces are as good as absent in Leblanc's work. The style is spiritual, almost transparent. ‘This was the best way to express what I felt’, she says of her approach. RITHY, CHÉA, KIM SOUR ET LES AUTRES shows how deep a bond Leblanc feels with Cambodia and with the children.

  

• RITHY, CHÉA, KIM SOUR ET LES AUTRES (Cambodia, 2000-2001)

  

• RITHY, CHÉA, KIM SOUR ET LES AUTRES (Cambodia, 2000-2001)

  

• RITHY, CHÉA, KIM SOUR ET LES AUTRES (Cambodia, 2000-2001)

  

Marie Ange Bordas

Marie Ange Bordas

CO-MOVERE (Worldwide, 2009)

For five years Marie Ange Bordas shared her life with people who had fled their war-torn homelands. She lived with them in refugee camps, ghettos and shelters, from Kenya to Sri Lanka, from Paris to Johannesburg. She sat with them at the breakfast table and shared life stories. She was touched by some, irritated by others, a few became friends, and one a lover. CO-MOVERE arose from the series of workshops and exhibitions that Bordas made in cooperation with the affected communities. The title is an interplay of the Latin commovere (to move emotionally), from co-movere (to move house together) and the English commotion: an uproar, a violent disruption of public order. These are all elements that recur in Bordas's work and that force us to reflection and discussion.

Marie Ange Bordas >>

• CO-MOVERE (Worldwide, 2009)

  For five years Marie Ange Bordas shared her life with people who had fled their war-torn homelands. She lived with them in refugee camps, ghettos and shelters, from Kenya to Sri Lanka, from Paris to Johannesburg. She sat with them at the breakfast table and shared life stories. She was touched by some, irritated by others, a few became friends, and one a lover. CO-MOVERE arose from the series of workshops and exhibitions that Bordas made in cooperation with the affected communities. The title is an interplay of the Latin commovere (to move emotionally), from co-movere (to move house together) and the English commotion: an uproar, a violent disruption of public order. These are all elements that recur in Bordas's work and that force us to reflection and discussion.

  

• CO-MOVERE (Worldwide, 2009)

  

• CO-MOVERE (Worldwide, 2009)

  

• CO-MOVERE (Worldwide, 2009)

  

Mwanzo Lawrence Millinga

Mwanzo Lawrence Millinga

YOUNG MINERS (Tanzania, 2004)

The popular gemstone Tanzanite, purple-blue in colour, is the most important source of income for many Tanzania villages. Mwanzo Lawrence Millinga went to Mererani, where life revolves around mining. The industry attracts people from all over the country, particularly adolescents, often not older than eighteen. Millinga photographed the mineworkers, including the nyoka, or 'snake boys'. Nyoka are able to move quickly through tunnels and passages that are difficult for older workers to negotiate. They bring food and tools, and search for new veins at a depth of hundreds of meters. It is dangerous work and often the boys do not leave the mine alive.

Mwanzo Lawrence Millinga >>

• YOUNG MINERS (Tanzania, 2004)

  The popular gemstone Tanzanite, purple-blue in colour, is the most important source of income for many Tanzania villages. Mwanzo Lawrence Millinga went to Mererani, where life revolves around mining. The industry attracts people from all over the country, particularly adolescents, often not older than eighteen. Millinga photographed the mineworkers, including the nyoka, or 'snake boys'. Nyoka are able to move quickly through tunnels and passages that are difficult for older workers to negotiate. They bring food and tools, and search for new veins at a depth of hundreds of meters. It is dangerous work and often the boys do not leave the mine alive.

  

• YOUNG MINERS (Tanzania, 2004)

  

• YOUNG MINERS (Tanzania, 2004)

  

• YOUNG MINERS (Tanzania, 2004)

  

• YOUNG MINERS (Tanzania, 2004)

  

Viviane Dalles

Viviane Dalles

MUSTANG, LAND AT THE END OF THE WORLD... (Nepal, 2009)

High in the Himalayas lies Mustang, a community of about 9000 Nepalese of Tibetan origin. Protected by the natural boundaries of the mountains, for centuries the kingdom was left to itself. Even when the Chinese invaded Tibet in 1951, Mustang remained out of reach. In political terms, presently the region is part of Nepal and open to foreigners. But it is still a land without asphalt and autos – a country at the end of the world, frozen in time. In Mustang distances are measured in hours, not in kilometers. A specific, Buddhist way of life is passed on to new generations, who without this knowledge would find it difficult to survive in this unique but unforgiving landscape. As Dalles wrote in her diary: ‘The vastness of the landscape reminds me of how small we are, but at the same time it helps me realise that we can be as strong and powerful as the mountains by conquering them.’

Viviane Dalles >>

• MUSTANG, LAND AT THE END OF THE WORLD... (Nepal, 2009)

  High in the Himalayas lies Mustang, a community of about 9000 Nepalese of Tibetan origin. Protected by the natural boundaries of the mountains, for centuries the kingdom was left to itself. Even when the Chinese invaded Tibet in 1951, Mustang remained out of reach. In political terms, presently the region is part of Nepal and open to foreigners. But it is still a land without asphalt and autos – a country at the end of the world, frozen in time. In Mustang distances are measured in hours, not in kilometers. A specific, Buddhist way of life is passed on to new generations, who without this knowledge would find it difficult to survive in this unique but unforgiving landscape. As Dalles wrote in her diary: ‘The vastness of the landscape reminds me of how small we are, but at the same time it helps me realise that we can be as strong and powerful as the mountains by conquering them.’

  

• MUSTANG, LAND AT THE END OF THE WORLD... (Nepal, 2009)

  

• MUSTANG, LAND AT THE END OF THE WORLD... (Nepal, 2009)

  

• MUSTANG, LAND AT THE END OF THE WORLD... (Nepal, 2009)

  

Arja Hyytiäinen

Arja Hyytiäinen

MARSEILLE (France, 2008)

For the Finn Arja Hyytiäinen photography is a means of entering into the lives of others. It is an echo of personal experiences that help enlarge her understanding – and ours. The often sombre black and white photographs that she took in the port city of Marseille underscore the feeling that she got there, as if the residents had an almost permanent mental hangover. She shows the disfigured faces of people in illegal bars, she evokes the sound of fans, wind and footsteps that echo against shuttered windows, and depicts the restless energy of the night, which shades into a day where the heat envelopes your body like a second skin. The city, she says, left an emotional mark behind on her soul. With her subjective images she does the same for the viewer.

Arja Hyytiäinen >>

• MARSEILLE (France, 2008)

  For the Finn Arja Hyytiäinen photography is a means of entering into the lives of others. It is an echo of personal experiences that help enlarge her understanding – and ours. The often sombre black and white photographs that she took in the port city of Marseille underscore the feeling that she got there, as if the residents had an almost permanent mental hangover. She shows the disfigured faces of people in illegal bars, she evokes the sound of fans, wind and footsteps that echo against shuttered windows, and depicts the restless energy of the night, which shades into a day where the heat envelopes your body like a second skin. The city, she says, left an emotional mark behind on her soul. With her subjective images she does the same for the viewer.

  

• MARSEILLE (France, 2008)

  

• MARSEILLE (France, 2008)

  

• MARSEILLE (France, 2008)

  

• MARSEILLE (France, 2008)

  

Kosuke Okahara

Kosuke Okahara

IBASYO, SELF-MUTILATION IN JAPAN (Japan, 2007)

There is almost nowhere else on earth where the individual is under such great pressure to perform as in Japan. It is the land of hikikimori – voluntary self-isolation by young people who can no longer cope with the pressures of society. The photographer Kosuke Okahara has focused on another outgrowth: self-mutilation. Particularly young women damage their own bodies, sometimes in an attempt to exercise control over their own lives, sometimes in order to ‘just still feel something’. Often the self-harming is the result of a history of physical and sexual abuse. By revealing the self-mutilation Okahara hopes to break through the prevailing taboo around the subject.

Kosuke Okahara >>

• IBASYO, SELF-MUTILATION IN JAPAN (Japan, 2007)

  There is almost nowhere else on earth where the individual is under such great pressure to perform as in Japan. It is the land of hikikimori – voluntary self-isolation by young people who can no longer cope with the pressures of society. The photographer Kosuke Okahara has focused on another outgrowth: self-mutilation. Particularly young women damage their own bodies, sometimes in an attempt to exercise control over their own lives, sometimes in order to ‘just still feel something’. Often the self-harming is the result of a history of physical and sexual abuse. By revealing the self-mutilation Okahara hopes to break through the prevailing taboo around the subject.

  

• IBASYO, SELF-MUTILATION IN JAPAN (Japan, 2007)

  

• IBASYO, SELF-MUTILATION IN JAPAN (Japan, 2007)

  

• IBASYO, SELF-MUTILATION IN JAPAN (Japan, 2007)

  

• IBASYO, SELF-MUTILATION IN JAPAN (Japan, 2007)

  

Lorenzo Castore

Lorenzo Castore

SERATONIN (Poland, 2008-2009)

Sometimes you see someone walking along, who fascinates you for reasons that are not clear. Take the Polish woman Ewa, an old lady in Cracow. After years her neighbour Lorenzo Castore was able to penetrate her world. Castore describes his first visit to Ewa’s house as leaving the normal world. ‘You come into another dimension, an interior landscape, a state of mind. The signs of poverty are everywhere, everything is rotting, everything stinks.’ Ewa turned out to live with her brother Piotr. They had once belonged to the well-to-do middle class, but over the years the family had fallen on hard times. On the basis of his own photographs and the childhood photographs that Ewa and Piotr gave him Castore tried to reconstruct their lives. Why? ‘In order to share human experience. Not to judge, but to be open to unexpected beauty, to everything that we do not know and about which we cannot speak.’

Lorenzo Castore >>

• SERATONIN (Poland, 2008-2009)

  Sometimes you see someone walking along, who fascinates you for reasons that are not clear. Take the Polish woman Ewa, an old lady in Cracow. After years her neighbour Lorenzo Castore was able to penetrate her world. Castore describes his first visit to Ewa’s house as leaving the normal world. ‘You come into another dimension, an interior landscape, a state of mind. The signs of poverty are everywhere, everything is rotting, everything stinks.’ Ewa turned out to live with her brother Piotr. They had once belonged to the well-to-do middle class, but over the years the family had fallen on hard times. On the basis of his own photographs and the childhood photographs that Ewa and Piotr gave him Castore tried to reconstruct their lives. Why? ‘In order to share human experience. Not to judge, but to be open to unexpected beauty, to everything that we do not know and about which we cannot speak.’

  

• SERATONIN (Poland, 2008-2009)

  

• SERATONIN (Poland, 2008-2009)

  

• SERATONIN (Poland 2008-2009)

  

• SERATONIN (Poland, 2008-2009)

  

Massimo Berutti

Massimo Berutti

RESIDENCE ROMA (Italy, 2006)

Until recently the Roma Residentie stood not far from the Vatican, a group of buildings where since 1983 hundreds of needy Italians could receive shelter until they found a suitable dwelling. Over the years, Massimo Berutti discovered, on the sly beds were increasingly being allocated to immigrants for exorbitant prices. He described the conditions in the Residentie as inhuman. ‘A rubbish tip. Garbage everywhere, rats everywhere, no hot water and sometimes not even any electricity.’ Berutti’s photographs unmasked the Residentie, once founded with a noble purpose, as a symbol for the corruption of the private and public sectors.

Massimo Berutti >>

• RESIDENCE ROMA (Italy, 2006)

  Until recently the Roma Residentie stood not far from the Vatican, a group of buildings where since 1983 hundreds of needy Italians could receive shelter until they found a suitable dwelling. Over the years, Massimo Berutti discovered, on the sly beds were increasingly being allocated to immigrants for exorbitant prices. He described the conditions in the Residentie as inhuman. ‘A rubbish tip. Garbage everywhere, rats everywhere, no hot water and sometimes not even any electricity.’ Berutti’s photographs unmasked the Residentie, once founded with a noble purpose, as a symbol for the corruption of the private and public sectors.

  

• RESIDENCE ROMA (Italy, 2006)

  

• RESIDENCE ROMA (Italy, 2006)

  

• RESIDENCE ROMA (Italy, 2006)

  

• RESIDENCE ROMA (Italy, 2006)

  

Michael Grieve

Michael Grieve

NO LOVE LOST (Great Britain, 2008)

Can people still make real contact with one another in a spiritually empty environment? In his complex series NO LOVE LOST Michael Grieve plunges into the worlds pornography, prostitution and strippers. In all these circles there is a sort of formal, controlled contact with strangers: a contact that is purely physical in nature, which offers no space for affection. It is a semi-real world in which people play roles, fantasies are acted out and belaboured, always ruled by threat. ‘My aim,’ he says, ‘was to understand my own take on one of the most basic drives.’ Thus no objective documentation of the sex industry, no sensationalism, and no uncovering victims. ‘Each image shows a different feeling: from no intimacy to intimacy where you least expect to find it.’

Michael Grieve >>

• NO LOVE LOST (Great Britain, 2008)

  Can people still make real contact with one another in a spiritually empty environment? In his complex series NO LOVE LOST Michael Grieve plunges into the worlds pornography, prostitution and strippers. In all these circles there is a sort of formal, controlled contact with strangers: a contact that is purely physical in nature, which offers no space for affection. It is a semi-real world in which people play roles, fantasies are acted out and belaboured, always ruled by threat. ‘My aim,’ he says, ‘was to understand my own take on one of the most basic drives.’ Thus no objective documentation of the sex industry, no sensationalism, and no uncovering victims. ‘Each image shows a different feeling: from no intimacy to intimacy where you least expect to find it.’
  

  

• NO LOVE LOST (Great Britain, 2008)

  

• NO LOVE LOST (Great Britain, 2008)

  

• NO LOVE LOST (Great Britain, 2008)

  

• NO LOVE LOST (Great Britain, 2008)

  

Pieter ten Hoopen

Pieter ten Hoopen

TOUCHE-MOI (Sweden, 2009)

A high standard of living is no automatic guarantee of happiness in life. Pieter ten Hoopen makes that clear in his photo project on the city of Stockholm. Stockholm is one of the wealthiest cities in the world, but at the same time has the highest percentage of people living alone. Family ties have weakened or dropped away and the furious pace of living leaves no time for an extensive social life. Moreover, high incomes make it easy for one to afford to live all by oneself – a trap many fall into. Ten Hoopen photographed life in Stockholm: the day-to-day worries of its people, their relations, their loneliness, and particularly their yearning for contact.

Pieter ten Hoopen >>

• TOUCHE-MOI (Sweden, 2009)

  A high standard of living is no automatic guarantee of happiness in life. Pieter ten Hoopen makes that clear in his photo project on the city of Stockholm. Stockholm is one of the wealthiest cities in the world, but at the same time has the highest percentage of people living alone. Family ties have weakened or dropped away and the furious pace of living leaves no time for an extensive social life. Moreover, high incomes make it easy for one to afford to live all by oneself – a trap many fall into. Ten Hoopen photographed life in Stockholm: the day-to-day worries of its people, their relations, their loneliness, and particularly their yearning for contact.

  

• TOUCHE-MOI (Sweden 2009)

  

• TOUCHE-MOI (Sweden, 2009)

  

• TOUCHE-MOI (Sweden, 2009)

  

• TOUCHE-MOI (Sweden, 2009)

  

Anastasia Khoroshilova

Anastasia Khoroshilova

OUT OF CONTEXT (Germany, 2005)

Who had heard of Beslan before the Chechen freedom fighters' hostage-taking in a school in this Russian city resulted in a bloodbath? Since then Beslan is a byword for terrorism and ill-considered government intervention. A year after the events Anastasia Khoroshilova encountered a number of the survivors in Bad-Tölz, in Germany, where they were undergoing medical-psychological treatment. She decided to photograph the children outside the context within we know them, in vacation clothes, against the background of the Bavarian landscape. She combined her photographs with images from the portrait gallery the citizens of Beslan have made as a memorial to the victims. In this way the inner scars left behind by one of the blackest pages in Russian history become visible.

Anastasia Khoroshilova >>

• OUT OF CONTEXT (Germany, 2005)

  Who had heard of Beslan before the Chechen freedom fighters' hostage-taking in a school in this Russian city resulted in a bloodbath? Since then Beslan is a byword for terrorism and ill-considered government intervention. A year after the events Anastasia Khoroshilova encountered a number of the survivors in Bad-Tölz, in Germany, where they were undergoing medical-psychological treatment. She decided to photograph the children outside the context within we know them, in vacation clothes, against the background of the Bavarian landscape. She combined her photographs with images from the portrait gallery the citizens of Beslan have made as a memorial to the victims. In this way the inner scars left behind by one of the blackest pages in Russian history become visible.

  

• OUT OF CONTEXT (Germany, 2005)

  

• OUT OF CONTEXT (Germany, 2005)

  

• OUT OF CONTEXT (Germany, 2005)

  

• OUT OF CONTEXT (Germany, 2005)

  

Andrea Stultiens

Andrea Stultiens

THE KADDU WASSWA ARCHIVE (Uganda, 2008-2010)

You stumble across the best stories by accident. In 2008 Andrea Stultiens was in Uganda, where she met Kaddu Wasswa, an old man who had recorded the sometimes dramatic course of his life in an extensive archive of photographs, texts and documents. Kaddu had grown up under the British colonial administration and lived through the years of Idi Amin's reign of terror. Ten of his 18 children had died of AIDS. He had worked as a geologist, bookseller, shopkeeper, novelist, theatre maker, inventor and human rights activist – among other things. In collaboration with Kaddu and his grandson Stultiens is using the archive to unravel the story of a man and his country.

Andrea Stultiens >>

• THE KADDU WASSWA ARCHIVE (Uganda, 2008-2010)

  You stumble across the best stories by accident. In 2008 Andrea Stultiens was in Uganda, where she met Kaddu Wasswa, an old man who had recorded the sometimes dramatic course of his life in an extensive archive of photographs, texts and documents. Kaddu had grown up under the British colonial administration and lived through the years of Idi Amin's reign of terror. Ten of his 18 children had died of AIDS. He had worked as a geologist, bookseller, shopkeeper, novelist, theatre maker, inventor and human rights activist – among other things. In collaboration with Kaddu and his grandson Stultiens is using the archive to unravel the story of a man and his country.
  

  

• THE KADDU WASSWA ARCHIVE (Uganda, 2008-2010)

  

• THE KADDU WASSWA ARCHIVE (Uganda, 2008-2010)

  

• THE KADDU WASSWA ARCHIVE (Uganda, 2008-2010)

  

Florian Schwarz

Florian Schwarz

WOHINUNDZURÜCK (Russia, 2007)

Who was Leo Dunz? That question was forced on Florian Schwarz when he found an old photograph of his grandfather up in the attic. Dunz served in the Wehrmacht during World War II, and until 1947 was held prisoner in the Siberian city of Asbest, a past of which he never spoke. Sixty-five years later Schwarz – armed with a camera rather than a rifle – travelled through Russia in an attempt to reconstruct this blank page in the family history. The resulting visual document was more than a journey back through time in family and world history. It became a journey through contemporary Russia, a road movie about a monotonous and unvarying décor, where silence and time are one's foremost fellow travellers.

Florian Schwarz >>

• WOHINUNDZURÜCK (Russia, 2007)

  Who was Leo Dunz? That question was forced on Florian Schwarz when he found an old photograph of his grandfather up in the attic. Dunz served in the Wehrmacht during World War II, and until 1947 was held prisoner in the Siberian city of Asbest, a past of which he never spoke. Sixty-five years later Schwarz – armed with a camera rather than a rifle – travelled through Russia in an attempt to reconstruct this blank page in the family history. The resulting visual document was more than a journey back through time in family and world history. It became a journey through contemporary Russia, a road movie about a monotonous and unvarying décor, where silence and time are one's foremost fellow travellers.

  

• WOHINUNDZURÜCK (Russia, 2007)

  

• WOHINUNDZURÜCK (Russia, 2007)

  

• WOHINUNDZURÜCK (Russia, 2007)

  

Jiang Jian

Jiang Jian

ARCHIVES OF ORPHANS (China, 2005)

The Chinese photographer Jiang Jian describes his series ARCHIVES OF ORPHANS as an important turning point in his life and work: during the process he became aware of a new relation between art and life. ARCHIVES OF ORPHANS is a report on a campaign to support more than a thousand indigent child orphans. The children receive help from a philanthropic federation in the province of Henan and a Shaolin Temple located there until they become adults. Jiang Jian wants to document the changes in the lives of the children every five years, making use of diverse photographic methods.

Jiang Jian >>

• ARCHIVES OF ORPHANS (China, 2005)

  The Chinese photographer Jiang Jian describes his series ARCHIVES OF ORPHANS as an important turning point in his life and work: during the process he became aware of a new relation between art and life. ARCHIVES OF ORPHANS is a report on a campaign to support more than a thousand indigent child orphans. The children receive help from a philanthropic federation in the province of Henan and a Shaolin Temple located there until they become adults. Jiang Jian wants to document the changes in the lives of the children every five years, making use of diverse photographic methods.

  

• ARCHIVES OF ORPHANS (China, 2005)

  

• ARCHIVES OF ORPHANS (China, 2005)

  

Julian Germain

Julian Germain

STEELWORKS (Great Britain, 1990)

For almost a century-and-a-half Consett, in County Durham, England, was a centre for iron and steel production. That is, until the factories closed their doors in 1980. These were the early days of Thatcherism, a period when massive cuts were being made in Britain's old industries, without the least concern for the social consequences. In his book Steelworks Julian Germain recorded the collapse of Consett. To do this he combined his own work with that of a local news photographer, Tommy Harris, and family snapshots and journalistic reports. Unintentionally, this approach put Germain in the vanguard of a new movement in documentary photography. Germain contrasted the naive optimism of the past with the loss that speaks from his own colour photographs and the news reporting of the day, creating a harrowing picture of a devastated community.

Julian Germain >>

• STEELWORKS (Great Britain, 1990)

  For almost a century-and-a-half Consett, in County Durham, England, was a centre for iron and steel production. That is, until the factories closed their doors in 1980. These were the early days of Thatcherism, a period when massive cuts were being made in Britain's old industries, without the least concern for the social consequences. In his book Steelworks Julian Germain recorded the collapse of Consett. To do this he combined his own work with that of a local news photographer, Tommy Harris, and family snapshots and journalistic reports. Unintentionally, this approach put Germain in the vanguard of a new movement in documentary photography. Germain contrasted the naive optimism of the past with the loss that speaks from his own colour photographs and the news reporting of the day, creating a harrowing picture of a devastated community.

  

• STEELWORKS (Great Britain, 1990)

  

• STEELWORKS (Great Britain, 1990)

  

• STEELWORKS (Great Britain, 1990)

  

• STEELWORKS (Great Britain, 1990)

  

Susan Meiselas

Susan Meiselas

REFRAMING HISTORY (Nicaragua, 2004)

1978 was a turning point in the history of Nicaragua. The tense political situation in the Central American country unravelled into a civil war which meant the end for the Somoza dictatorship. Susan Meiselas reported on the conflict, resulting in the legendary photo book Nicaragua: June 1978 to July 1979. Since then she has returned a number of times. In 1991 she went back, together with her partner Richard P. Rogers and filmmaker Alfred Guzzetti, in order to interview people photographed at that time. For the celebration of the 25th anniversary of the revolution she showed 19 of these photographs realised as billboards in public space. Together with Guzzetti they recorded the reactions on video. Thus REFRAMING HISTORY is a history written at three moments. It invites those involved to reflect, and builds bridges between generations. History is no closed book, Meiselas argues, but demands remembering and revision.

Susan Meiselas >>

• REFRAMING HISTORY (Nicaragua, 2004)

  1978 was a turning point in the history of Nicaragua. The tense political situation in the Central American country unravelled into a civil war which meant the end for the Somoza dictatorship. Susan Meiselas reported on the conflict, resulting in the legendary photo book Nicaragua: June 1978 to July 1979. Since then she has returned a number of times. In 1991 she went back, together with her partner Richard P. Rogers and filmmaker Alfred Guzzetti, in order to interview people photographed at that time. For the celebration of the 25th anniversary of the revolution she showed 19 of these photographs realised as billboards in public space. Together with Guzzetti they recorded the reactions on video. Thus REFRAMING HISTORY is a history written at three moments. It invites those involved to reflect, and builds bridges between generations. History is no closed book, Meiselas argues, but demands remembering and revision.

  

• REFRAMING HISTORY (Nicaragua, 2004)

  

• REFRAMING HISTORY (Nicaragua, 2004)

  

• REFRAMING HISTORY (Nicaragua, 2004)

  

• REFRAMING HISTORY (Nicaragua, 2004)

  

Taco Hidde Bakker

Taco Hidde Bakker

GROZNY MEMORIES (Russia, 2009)

The Chechen capital Grozny once was known as the greenest city in the Soviet Union. Today Grozny is synonymous with war, destruction and gloom. Taco Hidde Bakker came to know the old Grozny from stories and photographs from Chechen refugees whose portraits he shot in The Netherlands. Moreover, on the internet he was able to acquire reproductions of picture post cards of the intact city of yore. When blown up greatly, the pixelated photos become a metaphor for memory and devastation. Bakker combined them with the refugees' recollections of the war which he had previously written up. The contrast creates a feeling of discomfort and calls up questions about the influences which go into the mental pictures we develop.

Taco Hidde Bakker >>

• GROZNY MEMORIES (Russia, 2009)

  The Chechen capital Grozny once was known as the greenest city in the Soviet Union. Today Grozny is synonymous with war, destruction and gloom. Taco Hidde Bakker came to know the old Grozny from stories and photographs from Chechen refugees whose portraits he shot in The Netherlands. Moreover, on the internet he was able to acquire reproductions of picture post cards of the intact city of yore. When blown up greatly, the pixelated photos become a metaphor for memory and devastation. Bakker combined them with the refugees' recollections of the war which he had previously written up. The contrast creates a feeling of discomfort and calls up questions about the influences which go into the mental pictures we develop.

  

• GROZNY MEMORIES (Russia, 2009)

  

• GROZNY MEMORIES (Russia, 2009)

  

• GROZNY MEMORIES (Russia, 2009)

  

• GROZNY MEMORIES (Russia, 2009)

  

Tim Hetherington

Tim Hetherington

SLEEPING SOLDIERS (Afghanistan, 2009)

As part of a long-running project the British photographer Tim Hetherington followed an American platoon in a remote valley in Afghanistan. While he was with them he built up a more intimate bond with the soldiers than most journalists are privileged to. From this unique position, and making use of both photography and moving images, together with editor Magali Charrier Hetherington created an installation that makes the confusion and stress of war, but also the comradeship among soldiers palpable. By arranging documentary material according to the aesthetic of fiction Hetherington has been able to convincingly evoke the stress of war for the viewer.

Tim Hetherington >>

• SLEEPING SOLDIERS (Afghanistan, 2009)

  As part of a long-running project the British photographer Tim Hetherington followed an American platoon in a remote valley in Afghanistan. While he was with them he built up a more intimate bond with the soldiers than most journalists are privileged to. From this unique position, and making use of both photography and moving images, together with editor Magali Charrier Hetherington created an installation that makes the confusion and stress of war, but also the comradeship among soldiers palpable. By arranging documentary material according to the aesthetic of fiction Hetherington has been able to convincingly evoke the stress of war for the viewer.

  

• SLEEPING SOLDIERS (Afghanistan, 2009)

  

• SLEEPING SOLDIERS (Afghanistan, 2009)

  

• SLEEPING SOLDIERS (Afghanistan, 2009)

  

Vojta Dukát

Vojta Dukát

FAREWELL TO ARMS (Czechoslovakia, 1991/2009)

When the withdrawal of the Soviet army from Czechoslovakia began in 1991, it was immediately clear to Vojta Dukát that the event was of historic importance. He decided to record the human interest aspects of the withdrawal with his camcorder. These private shots – unique historical images – lay under Dukát's bed for 18 years. At the end of 2008 Dukát began to digitise the video tapes, which had still not been viewed (save for a couple minutes worth) by anyone, including Dukát. That is how the interesting material surfaced. In 2009 Dukát made a selection with Ales Vasicek, which became the spearhead of the FAREWELL TO ARMS project. It not only shows the withdrawal, but is also an attempt to link names to the anonymous faces of the soldiers, and to discover how they have fared since 1991. To this end the public are invited to share stories, images and information. Images from then are the motor for writing a new history now.

Vojta Dukát >>

• FAREWELL TO ARMS (Czechoslovakia, 1991/2009)

  When the withdrawal of the Soviet army from Czechoslovakia began in 1991, it was immediately clear to Vojta Dukát that the event was of historic importance. He decided to record the human interest aspects of the withdrawal with his camcorder. These private shots – unique historical images – lay under Dukát's bed for 18 years. At the end of 2008 Dukát began to digitise the video tapes, which had still not been viewed (save for a couple minutes worth) by anyone, including Dukát. That is how the interesting material surfaced. In 2009 Dukát made a selection with Ales Vasicek, which became the spearhead of the FAREWELL TO ARMS project. It not only shows the withdrawal, but is also an attempt to link names to the anonymous faces of the soldiers, and to discover how they have fared since 1991. To this end the public are invited to share stories, images and information. Images from then are the motor for writing a new history now.

  

Ales Vasicek

Ales Vasicek

FAREWELL TO ARMS (Czechoslovakia, 1991/2009)

Ales Vasicek >>

• FAREWELL TO ARMS (Czechoslovakia, 1991/2009)

  

• FAREWELL TO ARMS (Czechoslovakia, 1991/2009)

  

Wouter den Bakker

Wouter den Bakker

HIPSTER INTIFADA (Worldwide, 2009)

Like the portrait of Che Guevara, the keffiya (the 'Palestinian scarf') can be a conscious political statement, but it can also be a fashion accessory with little or no thought behind it. When Wouter den Bakker wore a keffiya as a teenager, he did not take the possible reactions of Jewish classmates into account. Is the symbol still that charged? Den Bakker began photographing keffiya wearers in 2007, followed discussions on the internet, and also began to collect visual materials that were available there. It became clear to him that the meaning of the keffiya rests primarily on suggestion. He decided to strip the photographs out of their context and show them alongside one another – whether they were of Fatah supporters or Hollywood stars, professional footballers or fashionistas. 'It is not the chameleon-like keffiya itself,' he concludes, 'but the visual language used that determines what statement is being made.'

Wouter den Bakker >>

• HIPSTER INTIFADA (Worldwide, 2009)

  Like the portrait of Che Guevara, the keffiya (the 'Palestinian scarf') can be a conscious political statement, but it can also be a fashion accessory with little or no thought behind it. When Wouter den Bakker wore a keffiya as a teenager, he did not take the possible reactions of Jewish classmates into account. Is the symbol still that charged? Den Bakker began photographing keffiya wearers in 2007, followed discussions on the internet, and also began to collect visual materials that were available there. It became clear to him that the meaning of the keffiya rests primarily on suggestion. He decided to strip the photographs out of their context and show them alongside one another – whether they were of Fatah supporters or Hollywood stars, professional footballers or fashionistas. 'It is not the chameleon-like keffiya itself,' he concludes, 'but the visual language used that determines what statement is being made.'

  

Gabriel Jones

Gabriel Jones

IRHANN (2008)

Gabriel Jones describes his ostensibly imaginary country of Irhann as a series of anti-glorious landscapes. In a region forsaken by man we encounter the remains of nuclear missiles and other weapons. They are as ridiculous now as they once were great and threatening. Inert, overgrown, abandoned – are these actually the killing machines that we assume them to be? Jones’s ambiguity leads the viewer down the garden path. Are we looking at the desolate landscape of a long-forgotten war – an apocalypse that wiped out mankind – or are we simply looking at a cemetery for obsolete civil materiel, booster rockets and satellites, icons of progress? Making use of photographs and video stills, Jones simultaneously suggests both hyper-reality and fantasy. His images transcend time, and lose every sense of threat. What remains is the absurdity.

Gabriel Jones >>

• IRHANN (2008)

  Gabriel Jones describes his ostensibly imaginary country of Irhann as a series of anti-glorious landscapes. In a region forsaken by man we encounter the remains of nuclear missiles and other weapons. They are as ridiculous now as they once were great and threatening. Inert, overgrown, abandoned – are these actually the killing machines that we assume them to be? Jones’s ambiguity leads the viewer down the garden path. Are we looking at the desolate landscape of a long-forgotten war – an apocalypse that wiped out mankind – or are we simply looking at a cemetery for obsolete civil materiel, booster rockets and satellites, icons of progress? Making use of photographs and video stills, Jones simultaneously suggests both hyper-reality and fantasy. His images transcend time, and lose every sense of threat. What remains is the absurdity.

  

• IRHANN (2008)

  

• IRHANN (2008)

  

• IRHANN (2008)

  

Simon Norfolk

Simon Norfolk

FULL SPECTRUM DOMINANCE (United States 2008)

Several times a year nuclear missiles without their warheads are launched from California in the direction of the Marshall Islands, simply to see if they still work. During the Cold War this practice called up associations with threatened annihilation, but in the present climate it simply appears ludicrous. The British photographer Simon Norfolk recorded this test ritual in FULL SPECTRUM DOMINANCE. In doing so, Norfolk uses the outdated and essentially functionless death machines as a symbol for mankind's warring madness.

Simon Norfolk >>

• FULL SPECTRUM DOMINANCE (United States 2008)

  Several times a year nuclear missiles without their warheads are launched from California in the direction of the Marshall Islands, simply to see if they still work. During the Cold War this practice called up associations with threatened annihilation, but in the present climate it simply appears ludicrous. The British photographer Simon Norfolk recorded this test ritual in FULL SPECTRUM DOMINANCE. In doing so, Norfolk uses the outdated and essentially functionless death machines as a symbol for mankind's warring madness.

  

• FULL SPECTRUM DOMINANCE (United States 2008)

  

• FULL SPECTRUM DOMINANCE (United States 2008)

  

• FULL SPECTRUM DOMINANCE (United States 2008)

  

Paul Shambroom

Paul Shambroom

SHRINES: PUBLIC WEAPONS IN AMERICA (United States 2008)

What happens with weapons that have lost their original function? In America some of them are displayed on town squares, in parks and at military bases and armouries. They are transformed into monuments, tourist attractions, historical artefacts or playground equipment. That raised questions in Paul Shambroom's mind. Why is an instrument of death used as a memorial? Does it help the community in processing its loss? Does it inspire new generations of warriors? And when these weapons weather-beaten, do they lose their associations with death and warfare? Do we learn anything about the wars that are now being fought by looking at the relics of previous wars? With SHRINES he lays the same questions before us.

Paul Shambroom >>

• SHRINES: PUBLIC WEAPONS IN AMERICA (United States 2008)

  What happens with weapons that have lost their original function? In America some of them are displayed on town squares, in parks and at military bases and armouries. They are transformed into monuments, tourist attractions, historical artefacts or playground equipment. That raised questions in Paul Shambroom's mind. Why is an instrument of death used as a memorial? Does it help the community in processing its loss? Does it inspire new generations of warriors? And when these weapons weather-beaten, do they lose their associations with death and warfare? Do we learn anything about the wars that are now being fought by looking at the relics of previous wars? With SHRINES he lays the same questions before us.

  

• SHRINES: PUBLIC WEAPONS IN AMERICA (United States 2008)

  

• SHRINES: PUBLIC WEAPONS IN AMERICA (United States 2008)

  

• SHRINES: PUBLIC WEAPONS IN AMERICA (United States 2008)

  

• SHRINES: PUBLIC WEAPONS IN AMERICA (United States 2008)

  

Robert Hirsch

Robert Hirsch

UNSEEN TERROR: THE BOMB, OTHER BOGEYMEN, AND A CULTURE OF FEAR (2008)

Our lives, Robert Hirsch says, are dominated by competing groups of fear-merchants, each with their own interests that are promoted by capitalising on our collective anxiety neurosis. In Unseen Terror Hirsch calls us to account about these fears. In an arrangement that does not yield the individual images to the eye just like that, Hirsch dishes up a four-course menu of terrorists, weapons of mass destruction, atomic tests and other icons of anxiety. Look closely, he says, because an aware citizen develops resistance and can cultivate a culture of alternative options.

Robert Hirsch >>

• UNSEEN TERROR: THE BOMB, OTHER BOGEYMEN, AND A CULTURE OF FEAR (2008)

  Our lives, Robert Hirsch says, are dominated by competing groups of fear-merchants, each with their own interests that are promoted by capitalising on our collective anxiety neurosis. In Unseen Terror Hirsch calls us to account about these fears. In an arrangement that does not yield the individual images to the eye just like that, Hirsch dishes up a four-course menu of terrorists, weapons of mass destruction, atomic tests and other icons of anxiety. Look closely, he says, because an aware citizen develops resistance and can cultivate a culture of alternative options.

  

• UNSEEN TERROR: THE BOMB, OTHER BOGEYMEN, AND A CULTURE OF FEAR (2008)

  

• UNSEEN TERROR: THE BOMB, OTHER BOGEYMEN, AND A CULTURE OF FEAR (2008)

  

• UNSEEN TERROR: THE BOMB, OTHER BOGEYMEN, AND A CULTURE OF FEAR (2008)

  

Shunkichi Kikuchi

Shunkichi Kikuchi

HIROSHIMA (Japan 1945)

After the Americans dropped their atomic bombs on Hiroshima and Nagasaki on August 6 and 9, 1945, the Japanese Ministry of Education assembled a special team to prepare a survey of the damage. The Nippon Eiga-sha film company was called in to shoot documentary footage. They took along the seasoned photographer Shunkichi Kikuchi to produce stills for them. His primary task was to record the victims, in order to gather medical information for doctors. More than sixty years later Kikuchi’s photographs are still a penetrating document regarding the horrors of the atomic bomb.

Shunkichi Kikuchi >>

• HIROSHIMA (Japan 1945)

  After the Americans dropped their atomic bombs on Hiroshima and Nagasaki on August 6 and 9, 1945, the Japanese Ministry of Education assembled a special team to prepare a survey of the damage. The Nippon Eiga-sha film company was called in to shoot documentary footage. They took along the seasoned photographer Shunkichi Kikuchi to produce stills for them. His primary task was to record the victims, in order to gather medical information for doctors. More than sixty years later Kikuchi’s photographs are still a penetrating document regarding the horrors of the atomic bomb.
  

  

• HIROSHIMA (Japan 1945)

  

• HIROSHIMA (Japan 1945)

  

Simon Roberts

Simon Roberts

THE RUSSIAN ARMY (Russia 2005-2007)

The Russian army is a reflection in miniature of Russian society as a whole. Many social problems – inequality, corruption, human rights violations, economic and political uncertainties – play a role there in a magnified form. Simon Roberts documented the harsh lives of the conscripts. Their reality contrasts sharply with the public glorification of the army and its illustrious history. WAR MACHINES shows a small selection from Roberts’s exhaustive study. These photographs examine the veneration of the army, as projected on the obsolete weapons that are on display in military museums.

Simon Roberts >>

• THE RUSSIAN ARMY (Russia 2005-2007)

  The Russian army is a reflection in miniature of Russian society as a whole. Many social problems – inequality, corruption, human rights violations, economic and political uncertainties – play a role there in a magnified form. Simon Roberts documented the harsh lives of the conscripts. Their reality contrasts sharply with the public glorification of the army and its illustrious history. WAR MACHINES shows a small selection from Roberts’s exhaustive study. These photographs examine the veneration of the army, as projected on the obsolete weapons that are on display in military museums.

  

• THE RUSSIAN ARMY (Russia 2005-2007)

  

• THE RUSSIAN ARMY (Russia 2005-2007)

  

Peter Voigt

P.W. Voigt

STRANGELOVE (2009)

When P.W. Voigt attended a NATO air show just after the attacks of September 11, he was surprised by the enthusiastic responses from the audience. Did people need this display of fire-power and military strength to restore their shattered world image? That was his impetus for beginning STRANGELOVE, a long-running and still unfinished investigation into the meaning of weapons in peacetime. By examining their public manifestations Voigt exposes the emotions lying behind them. He shows us the flexing of military muscles in the parade and the devout silence of the museum, where weapons are sometimes relics of glorious victories and sometimes a protest against senseless destruction. Their meaning changes over time. The promise of destruction becomes the memory of the promise, the excitement makes way for sentiment and pathos.

Peter Voigt >>

• STRANGELOVE (2009)

  When P.W. Voigt attended a NATO air show just after the attacks of September 11, he was surprised by the enthusiastic responses from the audience. Did people need this display of fire-power and military strength to restore their shattered world image? That was his impetus for beginning STRANGELOVE, a long-running and still unfinished investigation into the meaning of weapons in peacetime. By examining their public manifestations Voigt exposes the emotions lying behind them. He shows us the flexing of military muscles in the parade and the devout silence of the museum, where weapons are sometimes relics of glorious victories and sometimes a protest against senseless destruction. Their meaning changes over time. The promise of destruction becomes the memory of the promise, the excitement makes way for sentiment and pathos.

  

• STRANGELOVE (2009)

  

• STRANGELOVE (2009)

  

• STRANGELOVE (2009)

  

• STRANGELOVE (2009)

  

Yosuke Yamahata

Yosuke Yamahata

NAGASAKI (Japan 1945)

In 1945 there was no photographer who arrived more quickly in Nagasaki to survey the damage from the atomic bomb than Yosuke Yamahata. He was already in the city the day after the bombardment, taking hundreds of photographs within twelve hours – the most extensive photographic document of the immediate aftermath. Within two weeks his photos appeared in the Japanese magazine Mainichi Shibun. Once the Americans had Japan under their control they imposed censorship that prevented the distribution of Yamahata’s photographs. It was only after the restrictions were lifted in 1952 that they would appear in Life.

Yosuke Yamahata >>

• NAGASAKI (Japan 1945)

  In 1945 there was no photographer who arrived more quickly in Nagasaki to survey the damage from the atomic bomb than Yosuke Yamahata. He was already in the city the day after the bombardment, taking hundreds of photographs within twelve hours – the most extensive photographic document of the immediate aftermath. Within two weeks his photos appeared in the Japanese magazine Mainichi Shibun. Once the Americans had Japan under their control they imposed censorship that prevented the distribution of Yamahata’s photographs. It was only after the restrictions were lifted in 1952 that they would appear in Life.

  

• NAGASAKI (Japan 1945)

  

• NAGASAKI (Japan 1945)

  

Tamás Páczai

Paczai Tamas

DREAM ABOUT MOTHERLAND I (2005)

The feeling of astonishment that the simple country life once released in you when you were little is doomed to disappear – just as tradition itself. Daydreams about the balance sheet of life.

Tamás Páczai >>

• DREAM ABOUT MOTHERLAND I (2005)

  The feeling of astonishment that the simple country life once released in you when you were little is doomed to disappear – just as tradition itself. Daydreams about the balance sheet of life.

  

Brigitte Bauer

Brigitte Bauer

JEU DE FORÊT (2008)

Paintball in the woods: amusement or glorification of war?

Brigitte Bauer >>

• JEU DE FORÊT (2008)

  Paintball in the woods: amusement or glorification of war?

  

Peter Beek & Henri Brekveld

Peter Beek & Henri Brekveld

DJELEM DJELEM (2005-2009)

The struggle of the proud, much-tormented Roma to maintain their own identity.

Peter Beek & Henri Brekveld >>

• DJELEM DJELEM (2005-2009)

  The struggle of the proud, much-tormented Roma to maintain their own identity.

  

Nina Berman

Nina Berman

MARINE WEDDING (2006)

The wedding of a severely maimed Iraq veteran.

Nina Berman >>

• MARINE WEDDING (2006)

  The wedding of a severely maimed Iraq veteran.

  

• MARINE WEDDING (2006)

  

Martin Bogren

Martin Bogren

OCEAN (2008)

A group of boys from Rajasthan, India, see the ocean for the first time.

Martin Bogren >>

• OCEAN (2008)

  A group of boys from Rajasthan, India, see the ocean for the first time.
  

  

Natalie Bothur

Natalie Bothur

PAUSE / INNEHALTEN (2008)

A moment between just now and soon, between inside and outside.

Natalie Bothur >>

• PAUSE / INNEHALTEN (2008)

  A moment between just now and soon, between inside and outside.

  

Laura Boushnak

Laura Boushnak

SURVIVOR (2008)

The Palestinian refugee Mohammed lives with prostheses since he lost both legs during the war between Israel and Hezbollah.

Laura Boushnak >>

• SURVIVOR (2008)

  The Palestinian refugee Mohammed lives with prostheses since he lost both legs during the war between Israel and Hezbollah.

  

Susan Bozic

Susan Bozic

THE DATING PORTFOLIO (2005)

A look at the rituals of dating and the romantic dreams – and demands – of women in Western cultures.

Susan Bozic >>

• THE DATING PORTFOLIO (2005)

  A look at the rituals of dating and the romantic dreams – and demands – of women in Western cultures.

  

Alejandro Chaskielberg

Alejandro Chaskielberg

THE HIGH TIDE (2008)

The Paraná River is an important source of fresh water for more than a hundred million people.

Alejandro Chaskielberg >>

• THE HIGH TIDE (2008)

  The Paraná River is an important source of fresh water for more than a hundred million people.

  

Bertrand Cottet

Bertrand Cottet

KOSOVO (2007-2009)

A new country tries to find its way after the horrors of the war.

Bertrand Cottet >>

• KOSOVO (2007-2009)

  A new country tries to find its way after the horrors of the war.

  

Chong Dai

Chong Dai

JOB MARKET (2009)

The economic crisis makes it increasingly difficult to find a job.

Chong Dai >>

• JOB MARKET (2009)

  The economic crisis makes it increasingly difficult to find a job.

  

Nathalie Daoust

Nathalie Daoust

FROZEN IN TIME (Switzerland, 2007)

A surreal feeling of timelessness, as experienced in the Swiss Alps.

Nathalie Daoust >>

• FROZEN IN TIME (Switzerland, 2007)

  A surreal feeling of timelessness, as experienced in the Swiss Alps.

  

Pedro David

Pedro David

ROOT (2007)

Photos taken during a solitary journey through the Brazilian state of Minas Gerais, in search of the remains of his youth.

Pedro David >>

• ROOT (2007)

  Photos taken during a solitary journey through the Brazilian state of Minas Gerais, in search of the remains of his youth.

  

James Whitlow Delano

James Whitlow Delano

GREAT WALL OF AMERICA (2007)

A sign near the Mexican-American border cautions drivers about the danger of an ‘illegal crossing’.

James Whitlow Delano >>

• GREAT WALL OF AMERICA (2007)

  A sign near the Mexican-American border cautions drivers about the danger of an ‘illegal crossing’.

  

Stephen Dupont

Stephen Dupont

FIGHT (2004-Ongoing)

Wrestling in India, from a long-term project about traditional forms of wrestling from all over the world.

Stephen Dupont >>

• FIGHT (2004-Ongoing)

  Wrestling in India, from a long-term project about traditional forms of wrestling from all over the world.

  

Kris van Exel

Kris van Exel

ADDICTED TO THE STREET

In Kathmandu, Nepal, about 1500 children live on the street. They are exposed to the most serious forms of exploitation and exclusion.

Kris van Exel >>

• ADDICTED TO THE STREET

  In Kathmandu, Nepal, about 1500 children live on the street. They are exposed to the most serious forms of exploitation and exclusion.

  

Jenny Gaulitz

Jenny Gaulitz

THE SWEET HEREAFTER (2009)

From a series of 1825 daily self-portraits, taken shortly after waking up. In the inset, the view that morning.

Jenny Gaulitz >>

• 

Kevin German

Kevin German

DEATH AT BUILDING D (2008)

From the series In THE FOOTSTEPS OF GHOSTS (2008). In a fast-changing Vietnam many can not keep up.

Kevin German >>

• DEATH AT BUILDING D (2008)

  From the series In THE FOOTSTEPS OF GHOSTS (2008). In a fast-changing Vietnam many can not keep up.

  

Reinier Gerritsen

Reinier Gerritsen

INAUGURATION (2009)

Watching the inauguration of Barack Obama on a gigantic video screen on Wall Street.

Reinier Gerritsen >>

• INAUGURATION (2009)

  Watching the inauguration of Barack Obama on a gigantic video screen on Wall Street.

  

Brigitte Grignet

Brigitte Grignet

PALESTINE, UNFORTUNATELY IT WAS PARADISE (2005-Ongoing)

Palestinians seek to live with dignity in a territory which has been occupied for forty years now.

Brigitte Grignet >>

• PALESTINE, UNFORTUNATELY IT WAS PARADISE (2005-Ongoing)

  Palestinians seek to live with dignity in a territory which has been occupied for forty years now.

  

Emmanuel Guillaud

Emmanuel Guillaud

UNTIL THE SUN RISES (2009)

An installation about loneliness. About how ordinary locations in Tokio are transformed after sunset, and the men who go to them at night in search of intimacy or a brief kick.

Emmanuel Guillaud >>

• UNTIL THE SUN RISES (2009)

  An installation about loneliness. About how ordinary locations in Tokio are transformed after sunset, and the men who go to them at night in search of intimacy or a brief kick.

  

Conny Habbel

Conny Habbel

GO AND FIGHT (2003)

Yesterday and today come together by placing the lead actors in situations that they only remember from photographs.

Conny Habbel >>

• GO AND FIGHT (2003)

  Yesterday and today come together by placing the lead actors in situations that they only remember from photographs.

  

Katharina Hesse

Katharina Hesse

HUMAN NEGOTIATIONS (2007-2009)

An ambiguous picture of the prostitution industry in Thailand, where women are not just victims.

Katharina Hesse >>

• HUMAN NEGOTIATIONS (2007-2009)

  An ambiguous picture of the prostitution industry in Thailand, where women are not just victims.

  

Elis Hoffman

Elis Hoffman

TONIGHT (2006-2008)

In Sweden people reveal their vulnerability and longings at dance band evenings – feelings that are hidden in everyday life.

Elis Hoffman >>

• TONIGHT (2006-2008)

  In Sweden people reveal their vulnerability and longings at dance band evenings – feelings that are hidden in everyday life.

  

Sohrab Hura

Sohrab Hura

LIFE IS ELSEWHERE (2008)

When Hura’s mother became a paranoid schizophrenic, life began to disintegrate.

Sohrab Hura >>

• LIFE IS ELSEWHERE (2008)

  When Hura’s mother became a paranoid schizophrenic, life began to disintegrate.

  

Mathilde Jansen

Mathilde Jansen

TANZANIA UNLIMITED LTD (BUSINESS AS USUAL) (2008-2009)

Picture of a safari, from a series on the Tanzanian economy and intercultural cooperation.

Mathilde Jansen >>

• TANZANIA UNLIMITED LTD (BUSINESS AS USUAL) (2008-2009)

  Picture of a safari, from a series on the Tanzanian economy and intercultural cooperation.

  

Yevgeny Kondakov

Yevgeny Kondakov

RUSSIAN SEXUAL REVOLUTION (2008)

A visitor to the Millionaire Fair in Moscow is buried under advertising in the form of copies of banknotes.

Yevgeny Kondakov >>

• RUSSIAN SEXUAL REVOLUTION (2008)

  A visitor to the Millionaire Fair in Moscow is buried under advertising in the form of copies of banknotes.

  

Thomas Lekfeldt

Thomas Lekfeldt

A STAR IN THE SKY (2008-2009)

Vibe, a young girl with a brain tumour, looks out the window of the hospital. Despite repeated chemotherapy and radiation treatments, she will die.

Thomas Lekfeldt >>

• A STAR IN THE SKY (2008-2009)

  Vibe, a young girl with a brain tumour, looks out the window of the hospital. Despite repeated chemotherapy and radiation treatments, she will die.

  

Tatiana Leshkina

Tatiana Leshkina

VOIDENTITY (2009)

A metaphor for the feeling you’ve lost your self. The disengagement of the rudderless person.

Tatiana Leshkina >>

• VOIDENTITY (2009)

  A metaphor for the feeling you’ve lost your self. The disengagement of the rudderless person.

  

Sebastien Loubatie

Sebastien Loubatie

VAMOS A LA PLAYA 2 (2008)

People and their bath towels. Signboards for their personalities?

Sebastien Loubatie >>

• VAMOS A LA PLAYA 2 (2008)

  People and their bath towels. Signboards for their personalities?

  

Benjamin Lowy

Benjamin Lowy

IRAQ PERSPECTIVES (2003)

Lowy discovered that an embedded photographer can’t possibly participate in everyday life, which goes on despite everything.

Benjamin Lowy >>

• IRAQ PERSPECTIVES (2003)

  Lowy discovered that an embedded photographer can’t possibly participate in everyday life, which goes on despite everything.

  

Stefano De Luigi

Stefano de Luigi

TORTOISE COMMUNITY (2008)

Former Liberian child soldiers form a community in the ruins of villas where torture once took place.

Stefano De Luigi >>

• TORTOISE COMMUNITY (2008)

  Former Liberian child soldiers form a community in the ruins of villas where torture once took place.

  

Rania Matar

Rania Matar

AFTERMATH OF WARS IN LEBANON (2006-2007)

A sign of humanity where the media sees only terrorism and war.

Rania Matar >>

• AFTERMATH OF WARS IN LEBANON (2006-2007)

  A sign of humanity where the media sees only terrorism and war.

  

Andreas Meichsner

Andreas Meichsner

WELCOME TO THE CLUB (2007-2008)

Secret desires lie behind the choice of a vacation destination, but, paradoxically, so does the longing for the security of structure in moments of freedom.

Andreas Meichsner >>

• WELCOME TO THE CLUB (2007-2008)

  Secret desires lie behind the choice of a vacation destination, but, paradoxically, so does the longing for the security of structure in moments of freedom.

  

Paula Muhr

Paula Muhr

TATA (2006-2008)

The illusion of an ideal life, modelled after the visual language of the mass media. The photographer’s father poses for the pictures.

Paula Muhr >>

• TATA (2006-2008)

  The illusion of an ideal life, modelled after the visual language of the mass media. The photographer’s father poses for the pictures.

  

Sofie Nagels

Sofie Nagels

HERE I STAND (ongoing project)

Girls in their own gardens, a safe habitat in which they grow up. But now they are on the point of leaving that safe nest.

Sofie Nagels >>

• HERE I STAND (ongoing project)

  Girls in their own gardens, a safe habitat in which they grow up. But now they are on the point of leaving that safe nest.

  

Sandy Nicholson

Sandy Nicholson

2ND, THE FACE OF DEFEAT (2008)

An ode to everybody who hasn’t pulled it out in the end. Photos that were just shot after someone took second place.

Sandy Nicholson >>

• 2ND, THE FACE OF DEFEAT (2008)

  An ode to everybody who hasn’t pulled it out in the end. Photos that were just shot after someone took second place.

  

Matthew Niederhauser

Matthew Niederhauser

SOUND KAPITAL - BEJING’S MUSIC UNDERGROUND (2007)

Hedgehog, one of the bands that’s part of the explosion of a new Chinese music scene, gets ready for a performance.

Matthew Niederhauser >>

• SOUND KAPITAL - BEJING’S MUSIC UNDERGROUND (2007)

  Hedgehog, one of the bands that’s part of the explosion of a new Chinese music scene, gets ready for a performance.

  

Mads Nissen

Mads Nissen

A CHINESE OLYMPIC DREAM (2008)

There were worldwide protests against the 2008 Beijing Olympics, but for the Chinese they were a moment of pride and triumph.

Mads Nissen >>

• A CHINESE OLYMPIC DREAM (2008)

  There were worldwide protests against the 2008 Beijing Olympics, but for the Chinese they were a moment of pride and triumph.

  

Nick Nostitz

Nick Nostitz

RED VS. YELLOW (2009)

A victim of the riots in Thailand, where ultraconservatives and supporters of more democracy collided with one another. The escalation of a deep-rooted conflict cost many lives, and more than a thousand people were injured.

Nick Nostitz >>

• RED VS. YELLOW (2009)

  A victim of the riots in Thailand, where ultraconservatives and supporters of more democracy collided with one another. The escalation of a deep-rooted conflict cost many lives, and more than a thousand people were injured.

  

Soon Hwa Oh

Soon Hwa Oh

GIRLS FROM MEKONG DELTA (2009)

Young Vietnamese women marry South Korean farmers in hope of a better life.

Soon Hwa Oh >>

• GIRLS FROM MEKONG DELTA (2009)

  Young Vietnamese women marry South Korean farmers in hope of a better life.

  

Richard Pak

Richard Pak

PURSUIT (2003-2009)

A semi-imaginary America, land of heroes and zeroes. The reality of daily life collides with the popular idea of a land of prosperity.

Richard Pak >>

• PURSUIT (2003-2009)

  A semi-imaginary America, land of heroes and zeroes. The reality of daily life collides with the popular idea of a land of prosperity.

  

Irina Popova

Irina Popova

ANFISA'S FAMILY (2008)

Anfisa, two years old, is the child of drug-addicted parents, who despite their shortcomings love her and try to care for her.

Irina Popova >>

• ANFISA'S FAMILY (2008)

  Anfisa, two years old, is the child of drug-addicted parents, who despite their shortcomings love her and try to care for her.

  

Philip Poupin

Philip Poupin

THE DUMP (2008)

Life on a garbage dump in Kenya.

Philip Poupin >>

• THE DUMP (2008)

  Life on a garbage dump in Kenya.

  

Bruno Quinquet

Bruno Quinquet

SALARYMAN (2008)

Japanese office slaves in times of economic decline.

Bruno Quinquet >>

• SALARYMAN (2008)

  Japanese office slaves in times of economic decline.

  

Katarina Radovic

Katarina Radovic

CHANCE ENCOUNTERS (2008)

Photography as ironic wink, referring to the lunacy of consumerism, fetishism and marketing. Objects take on a new role as erotic toys.

Katarina Radovic >>

• CHANCE ENCOUNTERS (2008)

  Photography as ironic wink, referring to the lunacy of consumerism, fetishism and marketing. Objects take on a new role as erotic toys.

  

Marc Renaud

Marc Renaud

FUNDRAISING, OR HOW TO GATHER MONEY (2006-2008)

The world of philanthropy, where you can build up your network and prestige by ‘doing good’.

Marc Renaud >>

• FUNDRAISING, OR HOW TO GATHER MONEY (2006-2008)

  The world of philanthropy, where you can build up your network and prestige by ‘doing good’.

  

Daniel Rosenthal

Daniel Rosenthal

BITTER CHOCOLATE (2008)

Child labour in Africa, on behalf of the world’s big cocoa producers.

Daniel Rosenthal >>

• BITTER CHOCOLATE (2008)

  Child labour in Africa, on behalf of the world’s big cocoa producers.

  

• THE BONE CRUSHER (2008)

  The suffering of Chinese labourers who go to the big city in hopes of a better life.

  

Denis Rouvre

Denis Rouvre

BROKEN FACES (2006)

Portraits of rugby players soon after a match.

Denis Rouvre >>

• BROKEN FACES (2006)

  Portraits of rugby players soon after a match.

  

Ruth & Samsonoff

Ruth & Samsonoff

PIPPO STORIES (2008)

A modern Don Quixote takes on the asphalt with a watering can.

Ruth & Samsonoff >>

• PIPPO STORIES (2008)

  A modern Don Quixote takes on the asphalt with a watering can.

  

Bastienne Schmidt

Bastienne Schmidt

HOME STILL LIFE (2009)

A project about the domestic gender roles and identity of the housewife, as seen through the mirror of popular culture.

Bastienne Schmidt >>

• HOME STILL LIFE (2009)

  A project about the domestic gender roles and identity of the housewife, as seen through the mirror of popular culture.

  

Corinne Silva

Corinne Silva

BADLANDS (2007-ongoing)

A photo series on Almería, Spain, where a desert landscape is being radically transformed thanks to economic migration, agriculture and tourism.

Corinne Silva >>

• BADLANDS (2007-ongoing)

  A photo series on Almería, Spain, where a desert landscape is being radically transformed thanks to economic migration, agriculture and tourism.

  

Matej Sitar

Matej Sitar

FAIRY TALES (2008-ongoing)

Provocative narrative photos on the borderline between the casual snapshot and staged image.

Matej Sitar >>

• FAIRY TALES (2008-ongoing)

  Provocative narrative photos on the borderline between the casual snapshot and staged image.

  

Kerry Skarbakka

Kerry Skarbakka

LIFE GOES ON (2005)

Human existence as a continual process of falling and getting up again.

Kerry Skarbakka >>

• LIFE GOES ON (2005)

  Human existence as a continual process of falling and getting up again.

  

Martin Specht

Martin Specht

IRAQ (2007)

Sleeping commandos in Iraq, waiting for the moment when they have to go into action.

Martin Specht >>

• IRAQ (2007)

  Sleeping commandos in Iraq, waiting for the moment when they have to go into action.

  

Andrea Stern

Andrea Stern

KID'S PROJECT (2009-ongoing)

In the middle of New York City lies St. Thomas Choir School, a music school where young children are trained in music in complete isolation.

Andrea Stern >>

• KID'S PROJECT (2009-ongoing)

  In the middle of New York City lies St. Thomas Choir School, a music school where young children are trained in music in complete isolation.

  

Jens Sundheim & Kathryn Baingo

Jens Sundheim & Kathryn Baingo

57005 (2008-2009)

An investigation of the extreme game culture of the LAN party, where hundreds of players match themselves against one another.

Jens Sundheim & Kathryn Baingo >>

• 57005 (2008-2009)

  An investigation of the extreme game culture of the LAN party, where hundreds of players match themselves against one another.

  

Flore-Aël Surun

Flore-Aël Surun

THE KISS (1997-2000)

A series of self-portraits of the photographer and her partner, and places they lived.

Flore-Aël Surun >>

• THE KISS (1997-2000)

  A series of self-portraits of the photographer and her partner, and places they lived.

  

Wei Leng Tay

Wei Leng Tay

WHERE DO WE GO FROM HERE? (2009)

A look behind the scenes into Japanese life, where social pressure has a decisive influence.

Wei Leng Tay >>

• WHERE DO WE GO FROM HERE? (2009)

  A look behind the scenes into Japanese life, where social pressure has a decisive influence.

  

Andrew Testa

Andrew Testa

Andrew Testa >>

• 

Amy Touchette

Amy Touchette

THE WORLD FAMOUS *BOB* (2002-2006)

The life of a burlesque dancer in New York.

Amy Touchette >>

• THE WORLD FAMOUS *BOB* (2002-2006)

  The life of a burlesque dancer in New York.

  

David Trattles

David Trattles

MUSLIM BOXING GIRLS OF CALCUTTA (2006-2008)

Portrait of young girls who hope to earn respect in the boxing ring – and with it ultimately a job, too.

David Trattles >>

• MUSLIM BOXING GIRLS OF CALCUTTA (2006-2008)

  Portrait of young girls who hope to earn respect in the boxing ring – and with it ultimately a job, too.

  

Jim Turbert

Jim Turbert

EXPECTATIONS VS. REALITY (2007-ongoing)

The photographer ‘plays’ the expectations for the future that his friends and parents imagine when they think of him.

Jim Turbert >>

• EXPECTATIONS VS. REALITY (2007-ongoing)

  The photographer ‘plays’ the expectations for the future that his friends and parents imagine when they think of him.

  

Sarah Van den Elsken

Sarah Van den Elsken

NTOMBI (2009)

As a result of the mass mortality from AIDS, in many African communities there is no longer anything like traditional family care. Ntombi’s father is dead, her sick mother is cared for by the children.

Sarah Van den Elsken >>

• NTOMBI (2009)

  As a result of the mass mortality from AIDS, in many African communities there is no longer anything like traditional family care. Ntombi’s father is dead, her sick mother is cared for by the children.

  

Valentina Zanobelli

Valentina Zanobelli

TRANCE (2007)

Visitors to a great trance festival, withdrawn into their own little world for just a bit.

Valentina Zanobelli >>

• TRANCE (2007)

  Visitors to a great trance festival, withdrawn into their own little world for just a bit.

  

Johnny Amore

Johnny Amore

LIFE OF G. (2005)

Identity as a compromise between who you really are and what your environment expects of you.

Johnny Amore >>

• LIFE OF G. (2005)

  Identity as a compromise between who you really are and what your environment expects of you.

  

Agnieszka Rayss

Agnieszka Rayss

BEAUTIFUL BODIES (2008)

The hunt for the perfect body. Has the body become a costume or does it remain a part of the person? Is this perfection or parody?

Agnieszka Rayss >>

• BEAUTIFUL BODIES (2008)

  The hunt for the perfect body. Has the body become a costume or does it remain a part of the person? Is this perfection or parody?

  

Boogie

Boogie

Boogie >>

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Dirk-Jan Visser

Dirk-Jan Visser

Dirk-Jan Visser >>

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• Vlada (23) lives with his family in the centre of Belgrade and is addicted to glue sniffing and alcohol. Friends describe his addiction and way of living as a result of his violent home atmosphere. Paintings on his room walls show his father beating him.

  

• From the series 'My Belgrade, Another Serbia'

  

• People hanging a the park in Novi Beograd, drinking beer and smoking pot. Because of high unemployment amongst the young, as well as low wages for those who actually have work, they can’t afford to go to pubs to hang out.
  

  

• From the series 'My Belgrade, Another Serbia'

  

Mark Nozeman

Mark Nozeman

Mark Nozeman >>

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Teun Voeten

Teun Voeten

Teun Voeten >>

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