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Her future-oriented work merges analogue photography, AI, ceramics and sculpture to examine the online representation and aesthetics of gender and its relation to power, misogyny and consumption. In her latest project Red Pill - The manosphere, Rohr explores online spaces targeting men, from incel-forums and PickUp communities to looksmaxxing. 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Berlin) is a visual artist and photographer based between Paris and Berlin. She graduated from ECAL’s Master in Photography (Lausanne) in 2025. Through analogue photography, ceramics, sculpture, and AI-generated imagery, she examines the aesthetics and emotional economies of digital culture, how bodies, desire, and identity are mediated, performed, and consumed. Her works often combines tactile processes with synthetic image-making to produce psychologically charged narratives.",{"type":14,"version":4,"children":209},[210],{"text":211,"type":19,"version":4},"‍Her work has been published in the British Journal of Photography, Der Greif, Schema Magazine, SLEEK, and Fisheye Magazine, among many more. She was a finalist for the Picto Fashion Photography Award (2024) and presented her work at Paris Photo (Carte Blanche Étudiante, 2025) last year. In March 2026 she will exhibit at PhotoVogue Festival, is shortlisted for Un/Fund & Residency.","miriellerohr@gmail.com",14189,14188,"Mirielle","Rohr","Artist",[219],11,[221],2,[223,224,225],29,28,20,[227,99,228],9,12,[230,231,232],5,13,41,12873,[],[],[],[],"01/05/2026",[],[],[],{"docs":243,"hasNextPage":152},[],{"docs":245,"hasNextPage":152},[],"2026-10-06T14:42:00.039Z","2026-06-19T14:33:06.070Z","profiles-and-members",[],"Amsterdam","2026","full",[254,275,324,334,355,382,391],{"id":255,"text":256,"blockName":20,"blockType":19},"6a354cd08c91db2725ffb6d0",{"root":257},{"type":9,"format":10,"indent":11,"version":4,"children":258},[259,263,265,269,271],{"type":14,"format":10,"indent":11,"version":4,"children":260,"direction":20,"textStyle":10,"textFormat":11},[261],{"mode":17,"text":262,"type":19,"style":10,"detail":11,"format":11,"version":4},"Much feminist attention has been paid to the fact that one is not born a woman, but rather, becomes one. The same holds true for men. Rohr is part of an emerging wave of artists who turn their eye to the performance of masculinity, adding nuance and complexity to the heated cultural debate around toxic masculinity.",{"type":14,"format":10,"indent":11,"version":4,"children":264,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":266,"direction":20,"textStyle":10,"textFormat":11},[267],{"mode":17,"text":268,"type":19,"style":10,"detail":11,"format":11,"version":4},"‘My work used to exclusively focus on women and girls’, Rohr explains. ‘There was so much happening around femininity online. In my project Money Making Child for example, I showed how girl influencers are being pushed to adhere to ideals of adult femininity. Now we are more aware of boys and men who are equally tough on themselves, pushing themselves to ever more extreme aesthetic norms. The algorithm reproduces what most people resonate with, and that is often a very rigid understanding of gender that impacts men as well as women’.",{"type":14,"format":10,"indent":11,"version":4,"children":270,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":272,"direction":20,"textStyle":10,"textFormat":11},[273],{"mode":17,"text":274,"type":19,"style":10,"detail":11,"format":11,"version":4},"‘Last summer I began to think about the manosphere. I was reading the German feminist author Tara-Louise Wittwer, who writes about the red-pill ideology that undergirds the manosphere. Once you have ‘consumed’ the red pill, you have awakened to the truth that feminism is unnatural.’ ",{"id":276,"blockName":20,"images":277,"blockType":323},"6a354cd08c91db2725ffb6d3",[278,301],{"id":279,"image":280},"6a354cd08c91db2725ffb6d1",{"id":281,"alt":20,"originalUrl":282,"uploaded_by":20,"updatedAt":283,"createdAt":283,"url":284,"thumbnailURL":20,"filename":285,"mimeType":162,"filesize":286,"width":287,"height":288,"focalX":166,"focalY":166,"sizes":289},13816,"https://cdn.prod.website-files.com/66a8941beee6e2bb59ba04ca/69dcaa8e2c132c8494c2bfbe_3.jpg","2026-06-19T13:53:14.826Z","https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-0.webp","the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-0.webp",82976,1667,2500,{"thumb":290,"medium":295,"large":300},{"url":291,"width":170,"height":292,"mimeType":162,"filesize":293,"filename":294},"https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-0-300x450.webp",450,7276,"the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-0-300x450.webp",{"url":296,"width":176,"height":297,"mimeType":162,"filesize":298,"filename":299},"https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-0-1200x1800.webp",1800,53350,"the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-0-1200x1800.webp",{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},{"id":302,"image":303},"6a354cd08c91db2725ffb6d2",{"id":304,"alt":20,"originalUrl":305,"uploaded_by":20,"updatedAt":306,"createdAt":306,"url":307,"thumbnailURL":20,"filename":308,"mimeType":162,"filesize":309,"width":310,"height":288,"focalX":166,"focalY":166,"sizes":311},13817,"https://cdn.prod.website-files.com/66a8941beee6e2bb59ba04ca/69dcaa8e7316e039f9e2346a_4.jpg","2026-06-19T13:53:15.491Z","https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-1.webp","the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-1.webp",91166,1643,{"thumb":312,"medium":317,"large":322},{"url":313,"width":170,"height":314,"mimeType":162,"filesize":315,"filename":316},"https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-1-300x456.webp",456,5556,"the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-1-300x456.webp",{"url":318,"width":176,"height":319,"mimeType":162,"filesize":320,"filename":321},"https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-1-1200x1826.webp",1826,57362,"the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-1-1200x1826.webp",{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},"images",{"id":325,"quote":326,"blockName":20,"blockType":333},"6ab27a557fbdea578644433a",{"root":327},{"type":9,"format":10,"indent":11,"version":4,"children":328,"direction":20},[329],{"type":14,"format":10,"indent":11,"version":4,"children":330,"direction":20,"textStyle":10,"textFormat":11},[331],{"mode":17,"text":332,"type":19,"style":10,"detail":11,"format":11,"version":4},"`The algorithm reproduces what most people resonate with, and that is often a very rigid understanding of gender that impacts men as well as women’.","quote",{"id":335,"text":336,"blockName":20,"blockType":19},"6a354cd08c91db2725ffb6d4",{"root":337},{"type":9,"format":10,"indent":11,"version":4,"children":338},[339,343,345,349,351],{"type":14,"format":10,"indent":11,"version":4,"children":340,"direction":20,"textStyle":10,"textFormat":11},[341],{"mode":17,"text":342,"type":19,"style":10,"detail":11,"format":11,"version":4},"What fascinates Rohr about the manosphere is that it involves different generations. While adult influencers promote toxic masculinity, their audience consists of the Alpha generation: boys as young as 12. They look at violent trends like penis extensions and looksmaxxing, which means breaking jaws in order for them to look more like adult men, as a way of accumulating power. ‘It is very difficult to look at all of it, Rohr says.This has been a very hard subject to work on, I am completely immersed in it.’ But it clearly fascinates her, she is keen on seeing what’s to come. ",{"type":14,"format":10,"indent":11,"version":4,"children":344,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":346,"direction":20,"textStyle":10,"textFormat":11},[347],{"mode":17,"text":348,"type":19,"style":10,"detail":11,"format":11,"version":4},"The AI-generated imagery in Red Pill - The manosphere exclusively feature men. In the manosphere women are remarkably absent, men seek the validation of other men, they rate and confirm one another’s hotness, even though the community is ostensibly deeply heterosexual. ",{"type":14,"format":10,"indent":11,"version":4,"children":350,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":352,"direction":20,"textStyle":10,"textFormat":11},[353],{"mode":17,"text":354,"type":19,"style":10,"detail":11,"format":11,"version":4},"‘I first started to use AI when making Money Making Child. AI and social media work with a similar system of repetition and reenforcement. They also have a similar synthetic, artificially ‘perfect’ look. I collect a dataset of images relating to the topic. I mix screenshots from these trends, and combine them with a different aesthetic. Then I write the prompt. You get a lot of options, there is a part that you can control in AI, but also a part that cannot be controlled. That is the exciting and also the dangerous aspect of working with AI. With photography I am very in control. With AI it is unclear where we end up.’ ",{"id":356,"image":357,"blockName":20,"blockType":381},"6a354cd08c91db2725ffb6d5",{"id":358,"alt":20,"originalUrl":359,"uploaded_by":20,"updatedAt":360,"createdAt":360,"url":361,"thumbnailURL":20,"filename":362,"mimeType":162,"filesize":363,"width":364,"height":165,"focalX":166,"focalY":166,"sizes":365},13818,"https://cdn.prod.website-files.com/66a8941beee6e2bb59ba04ca/69dcaab0da12f7d37e4f11f1_1.jpg","2026-06-19T13:53:17.288Z","https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s2-img.webp","the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s2-img.webp",333556,4128,{"thumb":366,"medium":371,"large":376},{"url":367,"width":170,"height":368,"mimeType":162,"filesize":369,"filename":370},"https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s2-img-300x349.webp",349,7744,"the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s2-img-300x349.webp",{"url":372,"width":176,"height":373,"mimeType":162,"filesize":374,"filename":375},"https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s2-img-1200x1395.webp",1395,58212,"the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s2-img-1200x1395.webp",{"url":377,"width":182,"height":378,"mimeType":162,"filesize":379,"filename":380},"https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s2-img-2400x2791.webp",2791,163136,"the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s2-img-2400x2791.webp","image",{"id":383,"quote":384,"blockName":20,"blockType":333},"6ab27aa67fbdea578644433b",{"root":385},{"type":9,"format":10,"indent":11,"version":4,"children":386,"direction":20},[387],{"type":14,"format":10,"indent":11,"version":4,"children":388,"direction":20,"textStyle":10,"textFormat":11},[389],{"mode":17,"text":390,"type":19,"style":10,"detail":11,"format":11,"version":4},"'With photography I am very in control. With AI it is unclear where we end up.’",{"id":392,"text":393,"blockName":20,"blockType":19},"6a354cd08c91db2725ffb6d6",{"root":394},{"type":9,"format":10,"indent":11,"version":4,"children":395},[396,400,402,406,408,412,414],{"type":14,"format":10,"indent":11,"version":4,"children":397,"direction":20,"textStyle":10,"textFormat":11},[398],{"mode":17,"text":399,"type":19,"style":10,"detail":11,"format":11,"version":4},"Rohr shows me an image of a man with enhanced, purple, smashed cheeks. By printing a collage of images collected from TikTok of the “bonesmashing”-trend on aluminum, hammering the aluminum from the back, and by adding screws, the man literally is turned into a ‘body under construction’. Another image looks like a Batman play figure, dripping in synthetic red, a nod to the Red Pill. Rohr is also creating a big print on aluminum, featuring many screenshots of the very violent trend of looksmaxxing, thus reflecting the fantasies and optimizing nature of manosphere ideals. ",{"type":14,"format":10,"indent":11,"version":4,"children":401,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":403,"direction":20,"textStyle":10,"textFormat":11},[404],{"mode":17,"text":405,"type":19,"style":10,"detail":11,"format":11,"version":4},"Rohr wants to continue working with photography and AI, and she hasn’t completely made up her mind yet, in terms of how strict she want to be with AI. ‘I want to be progressive, it’s here, let’s use it. But at the same time, I worry about my photos, that I have worked on for years, being used as a dataset to reproduce my style. What I find most scary about AI is images that seem real. But using AI because it has strange characteristics can be fun. I often get the question why I use AI, instead of taking photos. But for me that question doesn’t make any sense. It’s like asking “Why do I drink coffee instead of tea?\" When people were painting and photography emerged, people also said that photography was easy. AI is not that easy to use. It’s very difficult to take a good picture, similarly, it’s not easy to generate a good image using AI. It’s not the easier escape.’",{"type":14,"format":10,"indent":11,"version":4,"children":407,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":409,"direction":20,"textStyle":10,"textFormat":11},[410],{"mode":17,"text":411,"type":19,"style":10,"detail":11,"format":11,"version":4},"Rohr also makes artwork with deepfakes, a technology renowned for its misogynistic usage. The video “What would you like me to say?” was inspired by the recent public debate in Germany following the allegations of deepfake abuse and digital violence against TV presenter Christian Ullmen by his own partner, TV presenter Collien Fernandes. Rohr gave her image, video and voice to AI, with the prompt “What would a man from the manosphere want \"me\" to say?” The face carries her emotion, hesitation, and resistance, while her speech no longer belongs to herself. By using AI one feeds AI, but Rohrs work suggests a power grab, in using AI to make something very different, to turn the medium on its head. Rohr’s work uses AI in order to expose it. ",{"type":14,"format":10,"indent":11,"version":4,"children":413,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":415,"direction":20,"textStyle":10,"textFormat":11},[416],{"mode":17,"text":417,"type":19,"style":10,"detail":11,"format":11,"version":4},"Rohr continues to work on femininity, and is making a plexiglass sculpture about the clean girl trend, an equivalent for women, explains Rohr. That is all about ‘being quiet, perfect and pure. It’s very, very conservative and has racist and fascist undertones’. ‘It would be interesting to exhibit them alongside one another’. ","2026-09-22T12:57:18.454Z","2026-06-19T14:04:56.195Z",{"relationTo":147,"value":421},{"id":422,"is_residency_story":93,"title":423,"slug":424,"archived":152,"draft":20,"created_on":20,"updated_on":20,"published_on":20,"thumbnail":425,"author":442,"date_of_publication":443,"teaser":444,"featured":20,"futures_select":20,"news_kind":20,"news_subkind":20,"category":445,"video":20,"corresponding_event":20,"artist_name":20,"reference_artist":446,"residency_location":250,"year":251,"layout_type":494,"content":495,"updatedAt":667,"createdAt":668},553,"The privilege of questioning - Papa De (DeLovie Kwagala) in Conversation with Nanoah Struik","the-privilege-of-questioning---papa-de-deloviekwagala-in-conversation-with-nanoah.struik",{"id":426,"alt":427,"originalUrl":20,"uploaded_by":20,"updatedAt":428,"createdAt":429,"url":430,"thumbnailURL":20,"filename":431,"mimeType":162,"filesize":432,"width":433,"height":434,"focalX":166,"focalY":166,"sizes":435},16014,"Iliana Michali_Papa De Residency","2026-09-21T13:30:53.915Z","2026-09-21T13:30:52.513Z","https://futures-backend-unstated-int.vercel.app/api/media/file/Iliana%20Michali_Papa%20De%20Residency_00027%20-%20dimensioni%20grandi.webp","Iliana Michali_Papa De Residency_00027 - dimensioni grandi.webp",133604,853,1280,{"thumb":436,"medium":440,"large":441},{"url":437,"width":170,"height":292,"mimeType":162,"filesize":438,"filename":439},"https://futures-backend-unstated-int.vercel.app/api/media/file/Iliana%20Michali_Papa%20De%20Residency_00027%20-%20dimensioni%20grandi-300x450.webp",26044,"Iliana Michali_Papa De Residency_00027 - dimensioni grandi-300x450.webp",{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},"Nanoah Struik","2026-09-09T09:46:55.000Z","DeLovie Kwagala AKA Papa De, is the first openly non-binary, queer photographer and social activist from Kampala, Uganda. They’re an award-winning multi-antidisciplinary artivist. Self-taught and now based in Berlin, their work explores identity, belonging, and gender + sexuality, insisting on images that refuse to sexualize, fetishize, or stigmatize their participants. During their FUTURES x Pride Photo residency in Amsterdam, Papa De developed ME(MORIES), a new body of work that revisits a family archive dating back to the 1970s through the gomesi, the traditional dress of Ugandan women from the Buganda Kingdom. In this conversation, we spoke with the artist about rebellion, constant becomings, and the privilege of asking questions.","Identity",{"id":447,"profile_types":448,"is_member":152,"name":449,"slug":450,"archived":20,"draft":20,"created_on":20,"updated_on":20,"published_on":20,"biography":451,"e_mail":466,"banner_header":20,"profile_image":467,"website":20,"instagram":20,"first_name":449,"last_name":10,"kind_of_profile":217,"tags_profession":468,"tags_identity":470,"tags_location":471,"tags_practice":474,"tags_topics":476,"born_in":20,"street_address":20,"city":20,"country":20,"first_thumbnail":20,"second_thumbnail":20,"corresponding_member":480,"member_additional":481,"corresponding_art_projects":482,"corresponding_selected_year":483,"reference_residency":422,"date_of_residency":20,"date_since":20,"date_ended":20,"linkedin":20,"corresponding_artist":484,"curation_reference":485,"past_member":20,"approved_courses":486,"tutor_courses":487,"guest_expert_courses":489,"updatedAt":491,"createdAt":492,"email":466,"collection":248,"sessions":493},1462,[196],"Papa De","papa-de",{"root":452},{"type":9,"format":10,"indent":11,"version":4,"children":453,"direction":20},[454,458,462],{"type":14,"format":10,"indent":11,"version":4,"children":455,"direction":20,"textStyle":10,"textFormat":11},[456],{"mode":17,"text":457,"type":19,"style":10,"detail":11,"format":11,"version":4},"DeLovie Kwagala (aka Papa De) is the first openly non-binary queer photographer from Uganda. An award winning visual artist and film maker, their art is a defiant stance against the colonial gaze, aiming to dismantle stereotypes around beauty, gender identity, and the fetishisation or victimisation of Black and queer bodies. Through self-taught, multi-disciplinary visual storytelling, Kwagala documents and archives African queer youth, exploring themes of identity, belonging, migration, displacement, and climate justice.",{"type":14,"format":10,"indent":11,"version":4,"children":459,"direction":20,"textStyle":10,"textFormat":11},[460],{"type":461,"version":4},"linebreak",{"type":14,"format":10,"indent":11,"version":4,"children":463,"direction":20,"textStyle":10,"textFormat":11},[464],{"mode":17,"text":465,"type":19,"style":10,"detail":11,"format":11,"version":4},"Their mission is to preserve dignity, reclaim marginalised African queer histories, and provoke questioning of patriarchal and colonial narratives. Projects like The Quingdom ~ In Transition and Love(r)ships celebrate queer joy, intimacy, and resistance, asserting that \"to be visibly queer is a political statement in itself.\" Kwagala’s work, featured in TIME, The Guardian, and Vogue, strives to evoke relatability and inspire unlearning, ensuring their community is seen not as victims, but as glorious outliers: resilient, beautiful, and unapologetically present.","de@deloviekwagala.org",16010,[219,469],19,[95],[472,473],141,4,[475],14,[231,477,478,223,479],42,26,39,[],[],[],[],[],[],[],{"docs":488,"hasNextPage":152},[],{"docs":490,"hasNextPage":152},[],"2026-10-06T14:41:24.887Z","2026-09-21T13:20:11.914Z",[],"editorial",[496,510,535,554,571,587,604,615,636,647,658],{"id":497,"text":498,"blockName":20,"blockType":19},"6ab12ffaee738752c69d3f91",{"root":499},{"type":9,"format":10,"indent":11,"version":4,"children":500,"direction":20},[501,504,506],{"type":14,"format":10,"indent":11,"version":4,"children":502,"direction":20,"textStyle":10,"textFormat":221},[503],{"mode":17,"text":444,"type":19,"style":10,"detail":11,"format":221,"version":4},{"type":14,"format":10,"indent":11,"version":4,"children":505,"direction":20,"textStyle":10,"textFormat":221},[],{"type":14,"format":10,"indent":11,"version":4,"children":507,"direction":20,"textStyle":10,"textFormat":221},[508],{"mode":17,"text":509,"type":19,"style":10,"detail":11,"format":221,"version":4},"For this interview, Papa De spoke with Nanoah Struik (they/them), a Dutch-Nigerian writer, speaker, queer activist and award-winning podcast maker. Across their work, Struik engages with queerness, gender identity and diversity, gender equality, and the possibilities of challenging binary systems.",{"id":511,"image":512,"blockName":20,"blockType":381},"6ab13004ee738752c69d3f92",{"id":513,"alt":427,"originalUrl":20,"uploaded_by":20,"updatedAt":514,"createdAt":515,"url":516,"thumbnailURL":20,"filename":517,"mimeType":162,"filesize":518,"width":288,"height":287,"focalX":166,"focalY":166,"sizes":519},16011,"2026-09-21T13:25:55.320Z","2026-09-21T13:25:53.764Z","https://futures-backend-unstated-int.vercel.app/api/media/file/Iliana%20Michali_Papa%20De%20Residency_00056.webp","Iliana Michali_Papa De Residency_00056.webp",266488,{"thumb":520,"medium":525,"large":530},{"url":521,"width":170,"height":522,"mimeType":162,"filesize":523,"filename":524},"https://futures-backend-unstated-int.vercel.app/api/media/file/Iliana%20Michali_Papa%20De%20Residency_00056-300x200.webp",200,9004,"Iliana Michali_Papa De Residency_00056-300x200.webp",{"url":526,"width":176,"height":527,"mimeType":162,"filesize":528,"filename":529},"https://futures-backend-unstated-int.vercel.app/api/media/file/Iliana%20Michali_Papa%20De%20Residency_00056-1200x800.webp",800,76764,"Iliana Michali_Papa De Residency_00056-1200x800.webp",{"url":531,"width":182,"height":532,"mimeType":162,"filesize":533,"filename":534},"https://futures-backend-unstated-int.vercel.app/api/media/file/Iliana%20Michali_Papa%20De%20Residency_00056-2400x1600.webp",1600,236192,"Iliana Michali_Papa De Residency_00056-2400x1600.webp",{"id":536,"blockName":20,"blockType":537,"qa":538},"6ab13071ee738752c69d3f95","qa",{"question":539,"answer":540},"Nanoah Struik: In your residency you’ve worked on a new project. Where does a new body of work usually start for you: with an image you can already see in your head, a material you want to touch, or a question you can't stop asking? ",{"root":541},{"type":9,"format":10,"indent":11,"version":4,"children":542,"direction":20},[543,548,550],{"type":14,"format":544,"indent":11,"version":4,"children":545,"direction":20,"textStyle":10,"textFormat":11},"start",[546],{"mode":17,"text":547,"type":19,"style":10,"detail":11,"format":11,"version":4},"Papa De: It usually starts with an idea, then I visualise what I want the idea to look like, then see how that idea gets reinterpreted through the reality of making it. But with the residency, I actually had no idea what would come out. A lot of it was intuitive. I already had the archival  images from my family, but no idea how I wanted to present them, and that kept shifting throughout the month. That's the beauty of a residency: you have space to give it your all, to play with what works and what doesn't, until you land somewhere you're happy with. ",{"type":14,"format":544,"indent":11,"version":4,"children":549,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":544,"indent":11,"version":4,"children":551,"direction":20,"textStyle":10,"textFormat":11},[552],{"mode":17,"text":553,"type":19,"style":10,"detail":11,"format":11,"version":4},"Normally I work with imagery, I photograph other people. This time was different: I didn’t have that at all. It had to be introspective: I have these images, what do they mean for me? What's my position in telling these stories? There's a difference when the images aren't ones I made myself because my only connection to them was that they came from my grandmother, my curiosity about the dress's [gomesi] history, and the culture itself. Which is also where there's a disconnect: it's a culture that invalidates me, that tells me I don't fit the mold of what it means to be a Ugandan not-woman, nor man. ",{"id":555,"blockName":20,"blockType":537,"qa":556},"6ab13087ee738752c69d3f96",{"question":557,"answer":558},"NS: As you said, you usually are the one behind the camera, photographing dozens of other people's faces and stories in Uganda's queer community, but in your new work ME(MORIES) you insert your own body into a family archive that predates you. What is it like to become the archive yourself? ",{"root":559},{"type":9,"format":10,"indent":11,"version":4,"children":560,"direction":20},[561,565,567],{"type":14,"format":544,"indent":11,"version":4,"children":562,"direction":20,"textStyle":10,"textFormat":11},[563],{"mode":17,"text":564,"type":19,"style":10,"detail":11,"format":11,"version":4},"PD: Honestly, the process was bittersweet. In the days before the opening, there was a cover image of a woman in the dress [gomesi] on a screen outside the residency door. I would see it every time I would pass by it, but at some point I didn't want to see it anymore. It hit me: I'm here representing a culture that doesn't give a fuck about me. But also: most of these women have never even left the country, and somehow they end up on a screen in Amsterdam, in this very cultural attire. Amsterdam of all places: I learned that a lot of the fabric for these dresses are printed and distributed in the Netherlands. It made me question my positionality in this narrative. ",{"type":14,"format":544,"indent":11,"version":4,"children":566,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":544,"indent":11,"version":4,"children":568,"direction":20,"textStyle":10,"textFormat":11},[569],{"mode":17,"text":570,"type":19,"style":10,"detail":11,"format":11,"version":4},"But it was also a rebellion: inserting myself into the archive: you cannot erase me. I'm as much part of this culture and tradition as anyone. My queerness, and being neither woman nor man, doesn't take that away. It's not meant to alienate me from culture or tradition. At the same time, I didn't want to impose myself too much. So I masked their likenesses, respecting that their journey was different from mine, while still honoring that my history, as a queer person, is erased, and I find a way to write myself into the story anyway. ",{"id":572,"image":573,"blockName":20,"blockType":381},"6ab130a6ee738752c69d3f97",{"id":574,"alt":427,"originalUrl":20,"uploaded_by":20,"updatedAt":575,"createdAt":576,"url":577,"thumbnailURL":20,"filename":578,"mimeType":162,"filesize":579,"width":433,"height":434,"focalX":166,"focalY":166,"sizes":580},16012,"2026-09-21T13:28:01.524Z","2026-09-21T13:28:00.554Z","https://futures-backend-unstated-int.vercel.app/api/media/file/Iliana%20Michali_Papa%20De%20Residency_00005%20-%20dimensioni%20grandi.webp","Iliana Michali_Papa De Residency_00005 - dimensioni grandi.webp",66396,{"thumb":581,"medium":585,"large":586},{"url":582,"width":170,"height":292,"mimeType":162,"filesize":583,"filename":584},"https://futures-backend-unstated-int.vercel.app/api/media/file/Iliana%20Michali_Papa%20De%20Residency_00005%20-%20dimensioni%20grandi-300x450.webp",12326,"Iliana Michali_Papa De Residency_00005 - dimensioni grandi-300x450.webp",{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},{"id":588,"blockName":20,"blockType":537,"qa":589},"6ab13101ee738752c69d3f98",{"question":590,"answer":591},"NS: You’ve worked across street photography, staged portraiture, and now archival collage and installation. How do you know which form a story needs to take: when does something want to be a photograph, and when does it want to become an object? ",{"root":592},{"type":9,"format":10,"indent":11,"version":4,"children":593,"direction":20},[594,598,600],{"type":14,"format":544,"indent":11,"version":4,"children":595,"direction":20,"textStyle":10,"textFormat":11},[596],{"mode":17,"text":597,"type":19,"style":10,"detail":11,"format":11,"version":4},"PD: Myself, I’m a constant becoming so I also don’t want to limit any shapes or forms that might want to reveal themselves through the process. The residency work kept evolving, which let me stop controlling it and just be intuitive. It was the first time I mixed disciplines. My first solo show in Berlin was the catalyst, indirectly: that's where I first used sculpture. I felt: there's more to explore there. ",{"type":14,"format":544,"indent":11,"version":4,"children":599,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":544,"indent":11,"version":4,"children":601,"direction":20,"textStyle":10,"textFormat":11},[602],{"mode":17,"text":603,"type":19,"style":10,"detail":11,"format":11,"version":4},"During the residency I really pushed outside my comfort zone. I was a blank canvas, and I let the work paint on me. ",{"id":605,"blockName":20,"blockType":537,"qa":606},"6ab13117ee738752c69d3f99",{"question":607,"answer":608},"NS: Belonging, memory and the body under scrutiny return again and again in your work. Are you circling the same questions from new angles each time, or does each project change what you believe about them? ",{"root":609},{"type":9,"format":10,"indent":11,"version":4,"children":610,"direction":20},[611],{"type":14,"format":10,"indent":11,"version":4,"children":612,"direction":20,"textStyle":10,"textFormat":11},[613],{"mode":17,"text":614,"type":19,"style":10,"detail":11,"format":11,"version":4},"PD: I keep going back to the same questions and getting different answers from myself each time: we're not the same people we were yesterday, and as the world shifts, systemically and economically, what these topics mean shifts too. Even in interpersonal relationships I've been told I repeat the same questions over and over again. Not because I expect a different outcome, I just believe in the art of inquiry and how time influences responses. That's how my brain works as a neurodivergent person, and that flows into how my work works too. ",{"id":616,"image":617,"blockName":20,"blockType":381},"6ab13123ee738752c69d3f9a",{"id":618,"alt":427,"originalUrl":20,"uploaded_by":20,"updatedAt":619,"createdAt":620,"url":621,"thumbnailURL":20,"filename":622,"mimeType":162,"filesize":623,"width":434,"height":624,"focalX":166,"focalY":166,"sizes":625},16013,"2026-09-21T13:29:55.444Z","2026-09-21T13:29:54.305Z","https://futures-backend-unstated-int.vercel.app/api/media/file/Iliana%20Michali_Papa%20De%20Residency_00001%20-%20dimensioni%20grandi.webp","Iliana Michali_Papa De Residency_00001 - dimensioni grandi.webp",387306,854,{"thumb":626,"medium":630,"large":635},{"url":627,"width":170,"height":522,"mimeType":162,"filesize":628,"filename":629},"https://futures-backend-unstated-int.vercel.app/api/media/file/Iliana%20Michali_Papa%20De%20Residency_00001%20-%20dimensioni%20grandi-300x200.webp",18438,"Iliana Michali_Papa De Residency_00001 - dimensioni grandi-300x200.webp",{"url":631,"width":176,"height":632,"mimeType":162,"filesize":633,"filename":634},"https://futures-backend-unstated-int.vercel.app/api/media/file/Iliana%20Michali_Papa%20De%20Residency_00001%20-%20dimensioni%20grandi-1200x801.webp",801,320542,"Iliana Michali_Papa De Residency_00001 - dimensioni grandi-1200x801.webp",{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},{"id":637,"blockName":20,"blockType":537,"qa":638},"6ab13158ee738752c69d3f9b",{"question":639,"answer":640},"NS: Next to being an archivist and a storyteller, you’re also an artivist. Activism often wants to be understood quickly and clearly, yet art often resists that. How do you navigate the tension between wanting a message to land and wanting a piece to stay open to interpretation? ",{"root":641},{"type":9,"format":10,"indent":11,"version":4,"children":642,"direction":20},[643],{"type":14,"format":10,"indent":11,"version":4,"children":644,"direction":20,"textStyle":10,"textFormat":11},[645],{"mode":17,"text":646,"type":19,"style":10,"detail":11,"format":11,"version":4},"PD: However articulate you think you are, however much you believe something is true, perspective shifts things. I’ve learned to be less rigid about what I believe, to make room for other people’s perspectives. Different perspectives can be at the same time. There's room for nuance without erasing the other. 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Shlyk","alexey-shlyk","Mon Oct 14 2024 13:29:38 GMT+0000 (Coordinated Universal Time)","Fri Oct 03 2025 12:05:24 GMT+0000 (Coordinated Universal Time)",{"root":1941},{"type":9,"format":10,"indent":11,"version":4,"children":1942},[1943,1947],{"type":14,"version":4,"children":1944},[1945],{"text":1946,"type":19,"version":4},"Alexey Shlyk (b. 1986) was born in Minsk, Belarus. He lives and works in Antwerp, Belgium. In 2008 he graduated with honors from the Belarus State University, specializing in Mathematics. In 2018 obtained MA degree in photography at Royal Academy of Fine Arts, Antwerp.",{"type":14,"version":4,"children":1948},[1949],{"text":1950,"type":19,"version":4},"Since starting to work in photography in 2009 Shlyk has had solo exhibitions in Belarus (Museum of Modern Fine Art, Minsk), Russia (Russian Museum of Decorative and Applied Art, Moscow and Erarta Museum of Contemporary Art, Saint-Petersburg), Belgium (Extra City, Antwerp), China (Duloun Museum of Modern Art, Shanghai) and participated in several international photo festivals (Breda Photo 2016 in Netherlands, Format 2017 in Derby, Belfast Photo Festival the UK, Photo Phnom Penh 2018). Since 2016 he is collaborating on multiple projects with Ben Van den Berghe. In 2017 his work was shortlisted for Prix Levallois, Shlyk became a laureate of Carte Blanche at Paris Photo and won ArtContest (Belgium). In 2018 he won Prijs Roger De Conynck and became the Public Prize Winner of ING Unseen Talent Award.","info@alexeyshlyk.com","Alexey","Shlyk",[99],[4,1956],7,[1958],18,[230,219],[231,469,478],[1962],1306,[],[1433],[1966],32,[],[],[],{"docs":1971,"hasNextPage":152},[],{"docs":1973,"hasNextPage":152},[],"2026-06-23T13:47:42.887Z","2026-03-26T15:03:48.818Z",[],[1978,1981,1986],{"id":231,"name":445,"slug":1979,"updatedAt":1980,"createdAt":1980},"identity","2026-03-10T15:15:28.212Z",{"id":1982,"name":1983,"slug":1984,"updatedAt":1985,"createdAt":1985},10,"Family","family","2026-03-10T15:15:27.787Z",{"id":1987,"name":1988,"slug":1989,"updatedAt":1990,"createdAt":1990},27,"Post-memory","post-memory","2026-06-23T12:41:47.917Z",[1992],{"id":1958,"name":1993,"slug":1994,"updatedAt":1995,"createdAt":1995},"Eastern Europe","eastern-europe","2026-06-23T13:07:28.504Z",[1997,2001],{"id":230,"name":1998,"slug":1999,"updatedAt":2000,"createdAt":2000},"Portrait","portrait","2026-06-23T12:38:17.840Z",{"id":2002,"name":2003,"slug":2004,"updatedAt":2005,"createdAt":2006},6,"Conceptual","conceptual","2026-06-23T12:38:57.947Z","2026-06-23T12:38:57.946Z","Every time I think of my homeland (Belarus), I am reminded of how wonderfully resourceful and creative the people are. Probably those qualities were inherited - together with tolerance - from the Soviet period.","2026-09-20T19:05:21.195Z","2026-03-10T15:45:48.471Z",[],[2012],{"id":2013,"image":2014},"6a268e2d9fd1b67f54a0586b",{"id":1440,"alt":20,"originalUrl":1441,"uploaded_by":2015,"updatedAt":1443,"createdAt":1444,"url":1445,"thumbnailURL":20,"filename":1446,"mimeType":162,"filesize":1447,"width":1448,"height":1449,"focalX":166,"focalY":166,"sizes":2043},{"id":1442,"profile_types":2016,"is_member":152,"name":1936,"slug":1937,"archived":152,"draft":152,"created_on":1938,"updated_on":1939,"published_on":1939,"biography":2017,"e_mail":1951,"banner_header":20,"profile_image":1440,"website":10,"instagram":10,"first_name":1952,"last_name":1953,"kind_of_profile":217,"tags_profession":2026,"tags_identity":2027,"tags_location":2028,"tags_practice":2029,"tags_topics":2030,"born_in":10,"street_address":20,"city":10,"country":20,"first_thumbnail":20,"second_thumbnail":20,"corresponding_member":2031,"member_additional":2032,"corresponding_art_projects":2033,"corresponding_selected_year":2034,"reference_residency":20,"date_of_residency":20,"date_since":20,"date_ended":20,"linkedin":20,"corresponding_artist":2035,"curation_reference":2036,"past_member":20,"approved_courses":2037,"tutor_courses":2038,"guest_expert_courses":2040,"updatedAt":1974,"createdAt":1975,"email":1951,"collection":248,"sessions":2042},[196],{"root":2018},{"type":9,"format":10,"indent":11,"version":4,"children":2019},[2020,2023],{"type":14,"version":4,"children":2021},[2022],{"text":1946,"type":19,"version":4},{"type":14,"version":4,"children":2024},[2025],{"text":1950,"type":19,"version":4},[99],[4,1956],[1958],[230,219],[231,469,478],[1962],[],[1433],[1966],[],[],[],{"docs":2039,"hasNextPage":152},[],{"docs":2041,"hasNextPage":152},[],[],{"thumb":2044,"medium":2045,"large":2046},{"url":1452,"width":170,"height":1453,"mimeType":162,"filesize":1454,"filename":1455},{"url":1457,"width":176,"height":1458,"mimeType":162,"filesize":1459,"filename":1460},{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},{"id":2048,"project":2049,"artworks":2403},"6a268ec588f680dc7f545480",{"id":2050,"name_of_project":2051,"slug":2052,"archived":152,"draft":152,"created_on":2053,"updated_on":2053,"published_on":2053,"thumbnail_image":2054,"date":2072,"artwork_description":2073,"artworks":2080,"corresponding_artist":2341,"tags_topics":2387,"tags_location":2393,"tags_practice":2399,"feature_homepage":152,"featured_background_color":10,"featured_text_color":10,"meta_description":10,"stichting_futures_project":152,"updatedAt":2400,"createdAt":2401,"artworks_gallery":2402},956,"Masculine Gender","masculine-gender","Tue Feb 03 2026 12:43:19 GMT+0000 (Coordinated Universal Time)",{"id":2055,"alt":20,"originalUrl":2056,"uploaded_by":2057,"updatedAt":2058,"createdAt":2059,"url":2060,"thumbnailURL":20,"filename":2061,"mimeType":162,"filesize":2062,"width":176,"height":1458,"focalX":166,"focalY":166,"sizes":2063},15152,"https://cdn.prod.website-files.com/66a8941beee6e2bb59ba04ca/6981ea15944f79eeee21415b_P%25C5%2582awski_Artur_Masculine%2BGender_1.jpeg",1347,"2026-06-19T15:50:28.576Z","2026-06-19T15:50:11.984Z","https://futures-backend-unstated-int.vercel.app/api/media/file/masculine-gender-art-0.webp","masculine-gender-art-0.webp",292404,{"thumb":2064,"medium":2068,"large":2071},{"url":2065,"width":170,"height":1453,"mimeType":162,"filesize":2066,"filename":2067},"https://futures-backend-unstated-int.vercel.app/api/media/file/masculine-gender-art-0-300x375.webp",15644,"masculine-gender-art-0-300x375.webp",{"url":2069,"width":176,"height":1458,"mimeType":162,"filesize":2062,"filename":2070},"https://futures-backend-unstated-int.vercel.app/api/media/file/masculine-gender-art-0-1200x1500.webp","masculine-gender-art-0-1200x1500.webp",{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},"2025-01-01T00:00:00.000Z",{"root":2074},{"type":9,"format":10,"indent":11,"version":4,"children":2075},[2076],{"type":14,"version":4,"children":2077},[2078],{"text":2079,"type":19,"version":4},"\"The impulse to create this series came from a fleeting impression I remembered from my teenage years: on a vast, empty square of a concrete housing estate, I passed an unknown man. When our gazes crossed, I realized that I truly knew nothing about masculinity. The nature of the space and the content of that impression were, as I now believe, mutually conditioned. To this day, I do not know what this widespread state of bewilderment is, nor the uncertainty with which men themselves define their own identity.\r\n\r\nIn the place where I live, a deeper debate on heteronormative masculinity is only just beginning. The burden of the oppressive consequences that patriarchy has imposed on culture does not encourage reflection on the obvious fact that these consequences also affect the majority of men. The oppressiveness of male value systems permeates the space around us, shapes our everyday gestures, and leaves its mark in subtle ways within established law.\r\n\r\nDespite my personal disagreement with this state of affairs, and without rancor or recourse to ideology, I carried out a private experiment—testing how attentively I am able to register moments in which, in space or in the male figures I encounter, I sense a source of pain and oppression similar to my own. I wanted to remain as open as possible to the complexity of the phenomenon and, through images, to stay in contact with intuition\". 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Sarpaniemi","emma-sarpaniemi","Mon Oct 14 2024 13:30:03 GMT+0000 (Coordinated Universal Time)","Fri Oct 03 2025 12:05:42 GMT+0000 (Coordinated Universal Time)",{"root":2786},{"type":9,"format":10,"indent":11,"version":4,"children":2787},[2788],{"type":14,"version":4,"children":2789},[2790],{"text":2791,"type":19,"version":4},"Emma Sarpaniemi is an artist based in Helsinki, Finland. 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Starting from an interest in political ecology and critical studies, she develops a biocentric practice where photography is used to look-at and sit-within interspecies relationships and more-than-human life in times of extinctions, working through ecological grief, forming multi-species alliances and nurturing relationships based on principles of kinship, reciprocity and shared health. Working with darkroom chemistry made with locally foraged plants, scavenged iron and waste products, reclaiming silver from spent chemistry and applying a circular economy between the darkroom and the land through appropriate waste disposal processes, that allow for chemical waste to be composted and used as fertiliser, she approaches the practice of photography as a process of contaminations and encounters, trying to learn how to better live and die together.",{"type":14,"version":4,"children":5196},[5197],{"text":5198,"type":19,"version":4},"Benedetta graduated with a BA in Photography from the University of Brighton (2016) and with an MA in Art History and Museum Curating with Photography from the University of Sussex (2019). In the past years she has regularly engaged with the teachings and knowledge on ecological practices shared by The Sustainable Darkroom and Curioso Lab. Currently, she is part of the cohort of the postgraduate programme Alternative Ecologies with the Institute for Postnatural Studies (2026-2027).",{"type":14,"version":4,"children":5200},[5201],{"text":5202,"type":19,"version":4},"She is the winner of the Luigi Ghirri Award (2024) and the FE+SK Book Award (2024), and received a special mention from the jury at the 13th edition of the Francesco Fabbri Prize. Her first book, All Things Laid Dormant (Skinnerboox, 2024), is a finalist in the Arles Authors Book Award and the Singapore International Photography Festival Book Award, and has received the special mention of the Marco Bastianelli Photobook Award (2025). Her work has been exhibited in national and international institutions, including Photo Ireland (Dublin, 2019), 副本 INSTANCE (Shanghai, 2021), Fotografia Europea (Reggio Emilia, 2024), Photo Brussels (2024), PhMuseum Days (2024), the Italian Institute of Culture Stockholm (2025), Prague Photo Festival (2025), L’Imagerie Centre d’Arte (2025), Triennale (Milan, 2025) and Almanac (Turin, 2026).","ltr","benedettacasagrande@proton.me",12445,12444,"https://benedettacasagrande.info/","https://www.instagram.com/benedetta_casagrande/","Benedetta","Casagrande",[99,219,228,230],[],[469,479],[5215,475,2002,1958],15,[4641,5217,5218,223],31,24,"Milan","Italy",13666,2087,[5224],1455,[],[5227],54,[3485],[],[],[],{"docs":5233,"hasNextPage":152},[],{"docs":5235,"hasNextPage":152},[],"2026-10-07T14:29:08.512Z","2026-03-26T15:08:43.214Z","benedettacasagrande@gmail.com",[],[5241,5250,5291,5309,5322,5348,5368,5384,5405],{"id":5242,"text":5243,"blockName":20,"blockType":19},"6aabf09291b8275b1ce1473d",{"root":5244},{"type":9,"format":10,"indent":11,"version":4,"children":5245,"direction":20},[5246],{"type":14,"format":544,"indent":11,"version":4,"children":5247,"direction":20,"textStyle":10,"textFormat":221},[5248],{"mode":17,"text":5249,"type":19,"style":10,"detail":11,"format":221,"version":4},"Mid-nineteenth century photography inventor William Henry Fox Talbot talked about 'the pencil of nature' when describing the magical images he fixed on paper, as if photography was inviting natural phenomena to just impress themselves on light-sensitive plates, that by way of human's chemical inventiveness could be preserved and passed on down the generations. Casagrande taps into that pioneering energy of the likes of Talbot and Anna Atkins, while also being firmly rooted in the present, with its digital proliferation as well as ecological and climatical crises. Her work focuses on various non-human life forms, co-inhabitants of the urban environment, photographically magnifying them and picturing them by using plant-based developers. Different traces of the image-making process are left visible, as a gentle reminder that life means symbiosis—no being can do without other beings, whether internally or externally. There is no such thing as purity, according to Casagrande. This conversation is based on two meetings I've had with her in Amsterdam, one studio visit and a public Q&A during the Open Studio on 1 July 2026, in which the work on display functioned as a conversation starter and catalyst for the (re)generation of knowledge and ideas worth spreading. ",{"id":5251,"blockName":20,"images":5252,"blockType":323},"6aabf0aa91b8275b1ce1473f",[5253,5272],{"id":5254,"image":5255},"6aabf0ac91b8275b1ce14740",{"id":5256,"alt":5160,"originalUrl":20,"uploaded_by":5161,"updatedAt":5257,"createdAt":5258,"url":5259,"thumbnailURL":20,"filename":5260,"mimeType":162,"filesize":5261,"width":1458,"height":861,"focalX":166,"focalY":166,"sizes":5262},15958,"2026-09-17T12:49:24.725Z","2026-09-17T12:49:23.722Z","https://futures-backend-unstated-int.vercel.app/api/media/file/GMZ06846.webp","GMZ06846.webp",379628,{"thumb":5263,"medium":5267,"large":5271},{"url":5264,"width":170,"height":3099,"mimeType":162,"filesize":5265,"filename":5266},"https://futures-backend-unstated-int.vercel.app/api/media/file/GMZ06846-300x400.webp",27898,"GMZ06846-300x400.webp",{"url":5268,"width":176,"height":532,"mimeType":162,"filesize":5269,"filename":5270},"https://futures-backend-unstated-int.vercel.app/api/media/file/GMZ06846-1200x1600.webp",256434,"GMZ06846-1200x1600.webp",{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},{"id":5273,"image":5274},"6aabf0b491b8275b1ce14741",{"id":5275,"alt":5160,"originalUrl":20,"uploaded_by":5161,"updatedAt":5276,"createdAt":5277,"url":5278,"thumbnailURL":20,"filename":5279,"mimeType":162,"filesize":5280,"width":1458,"height":861,"focalX":166,"focalY":166,"sizes":5281},15957,"2026-09-17T12:48:40.790Z","2026-09-17T12:48:39.208Z","https://futures-backend-unstated-int.vercel.app/api/media/file/GMZ06844.webp","GMZ06844.webp",342044,{"thumb":5282,"medium":5286,"large":5290},{"url":5283,"width":170,"height":3099,"mimeType":162,"filesize":5284,"filename":5285},"https://futures-backend-unstated-int.vercel.app/api/media/file/GMZ06844-300x400.webp",23388,"GMZ06844-300x400.webp",{"url":5287,"width":176,"height":532,"mimeType":162,"filesize":5288,"filename":5289},"https://futures-backend-unstated-int.vercel.app/api/media/file/GMZ06844-1200x1600.webp",234864,"GMZ06844-1200x1600.webp",{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},{"id":5292,"blockName":20,"blockType":537,"qa":5293},"6aabf0c191b8275b1ce14742",{"question":5294,"answer":5295},"Taco Hidde Bakker (THB): On the surface your work seems to be about beings like caterpillars, moths or birds, while also leaving visible certain traces of the photographic and reproduction technologies you employ. The images betray sustained attention, to what has been observed as well as process, and on the surface have a pleasing aesthetic effect on me. Yet they also hint at unspoken depths. What are the motivations and interests underlying your artistic practice? ",{"root":5296},{"type":9,"format":10,"indent":11,"version":4,"children":5297,"direction":20},[5298,5305],{"type":14,"format":544,"indent":11,"version":4,"children":5299,"direction":20,"textStyle":10,"textFormat":4},[5300,5302,5303],{"mode":17,"text":5301,"type":19,"style":10,"detail":11,"format":4,"version":4},"Benedetta Casagrande (BG):",{"mode":17,"text":1025,"type":19,"style":10,"detail":11,"format":95,"version":4},{"mode":17,"text":5304,"type":19,"style":10,"detail":11,"format":11,"version":4},"I am a biophile, and today as a species we are experiencing a great degree of loss; not only the loss of life happening through extinctions, but a significant loss of knowledge and understanding of other species and of the Earth systems we are embedded in. I see the slow and prolonged observation of more-than-human life prompted by the photographic process as a way to restore lost knowledge and rebuild relationships. Species are co-constituted in inextricable ways: we share an ancient biological kinship with all living forms and whatever the future may hold for us, we are moving towards shared destinies. The joy and marvel in getting to know the multitudes of brilliantly intelligent ways life thrives on Earth, and the joy of knowing we are part of this family, is definitely a driving force in my creative practice. ",{"type":14,"format":544,"indent":11,"version":4,"children":5306,"direction":20,"textStyle":10,"textFormat":11},[5307],{"mode":17,"text":5308,"type":19,"style":10,"detail":11,"format":11,"version":4},"To me practicing art is akin to practicing life, and I am slowly attempting to build an art practice that intersects with and actively sustains practices that take care of the land and of the biosphere, working towards shared health, rooted in relationships based on principles of reciprocity. Practicing is very much a way for me to learn how to inhabit this world. From the teachings of Hannah Fletcher and The Sustainable Darkroom I learnt to think about 'impact' not only as something negative that must be reduced, but as behavior that could potentially affect the places we inhabit in ways that are positive, also through the spoils of art practices. I loved how our public conversation during the Open Studio at the Futures Hub ended on the note that art teaching could result in giving students the tools to learn how to tend to the land and grow a garden. ",{"id":5310,"blockName":20,"blockType":537,"qa":5311},"6aabf0d291b8275b1ce14743",{"question":5312,"answer":5313},"THB: The Sustainable Darkroom and other initiatives working on detoxifying (analog) photography are great. Inspired by their work you are developing your own plant-based methods. Could you describe some of the most important technical details of your special photographic processes, from photographing to developing and fixing? ",{"root":5314},{"type":9,"format":10,"indent":11,"version":4,"children":5315,"direction":20},[5316],{"type":14,"format":544,"indent":11,"version":4,"children":5317,"direction":20,"textStyle":10,"textFormat":4},[5318,5320],{"mode":17,"text":5319,"type":19,"style":10,"detail":11,"format":4,"version":4},"BG:",{"mode":17,"text":5321,"type":19,"style":10,"detail":11,"format":11,"version":4}," At the moment I am in a learning-and-adjustment phase in which I am shifting my practice so to permanently integrate everything I learnt from the Sustainable Darkroom, from Curioso Lab, and from my own experience over the years. I would not say that I am developing my own methods per se, at least not in terms of recipes or research into new materials. But the whole process currently goes something like this: looking -> relating -> consent? -> photographing -> selecting -> printing at home with a lo-fi inkjet printer -> rephotographing on film -> scouting the territory to discover plant species and assess which ones could be appropriate allies to make developer with (are they abundant? how often do they occur? etc.) -> forage -> make developer & other chemistry -> print -> dry -> and if printed on a grid: assemble the parts (finally, the image appears in full!). And finally: degrade chemical waste (takes a few months, depending on the season) -> compost -> return to land. I usually buy silver gelatin paper second-hand (opened/expired/leftovers, etc).",{"id":5323,"blockName":20,"blockType":537,"qa":5324},"6aabf0eb91b8275b1ce14744",{"question":5325,"answer":5326},"THB: I love that you pay close attention to animals wherever you work (among others at the botanical gardens in Amsterdam during your residency there) and that you involve plants around in the process of imaging. There's no direct visible link between image and referent, but there is ecological embeddedness. It's interesting, too, that digital machinery is still in the loop. During my studio visit we've talked about the need for roots, and attachment to place (how to re-indigenize ourselves), but that nowadays it comes with a global mindset. What does it mean to be rooted or uprooted? Is uprootedness the condition for most urbanites? What are the consequences of being detached from ecological realities for one's practices, both in life and art? When artists address issues related to global heating, biodiversity loss, solastalgia and so on, I think the issue of rootedness/attachment to place (topophilia) is key. In what ways does your practice relate to tensions between, on one hand, the global/general and the local/specific on the other? ",{"root":5327},{"type":9,"format":10,"indent":11,"version":4,"children":5328,"direction":20},[5329,5338,5343],{"type":14,"format":544,"indent":11,"version":4,"children":5330,"direction":20,"textStyle":10,"textFormat":4},[5331,5332,5334,5336],{"mode":17,"text":5319,"type":19,"style":10,"detail":11,"format":4,"version":4},{"mode":17,"text":5333,"type":19,"style":10,"detail":11,"format":11,"version":4}," Whilst I do not necessarily use the same plants I photograph to make the developer, I wouldn’t say that there is no direct link between image and referent. I think the material link between body, sunlight and photosensitive surface is a direct link, with light being an active agent that threads together image and referent. The pencil of nature, right? This touching, direct material connection and simultaneous transformation of reality is maybe the main thing that made me fall in love with photography in the first place. But moving on to questions of the local and global, these are questions I have been thinking about a lot, but don't feel like I have actual answers to. Knowing the land, knowing its inhabitants, learning how to take care of them properly, building rooted relationships and deep knowledge... all of this takes time. It means years of observation, interaction, communication, commitment towards one plot of land, whether big or small, urban or rural, and all the living and nonliving things that live upon it and underneath it. It means going back to the same places and getting to know them intimately. My aim in time is to build an art practice that works in synergy with the territory and the passing of the seasons; certain processes take time and require long-term care (e.g. degrading the chemical waste, growing a garden, etc), and these practices are spontaneously rooted in place. It's interesting that you mentioned attachment to place, which reminded me of one of the opening chapters in Deborah Bird Rose's book ",{"mode":17,"text":5335,"type":19,"style":10,"detail":11,"format":221,"version":4},"Wild Dog Dreaming",{"mode":17,"text":5337,"type":19,"style":10,"detail":11,"format":11,"version":4},", about building ethical relationships with nonhuman others in our era of mass extinction. Conservation biologist Michael Soulé said that people save what they love, while Wallace Stegner said that we can love a place and still be a threat to it. Rose takes these two statements as her starting point to reflect on the need to ask new questions about love in an age of extinction. She asks important questions, such as: Who are we as a species? How do we fit into the Earth system? What kind of ethics do we need? How can we find a path toward new narratives that will guide us through an era of profound change? How can we reinvigorate love and action in ways that are generous, mindful, and life-affirming? In addressing these questions, Rose draws on the teachings of the Indigenous peoples of Northern Australia, particularly the Yarralin and Lingara communities, whose culture is rooted in a close interspecies kinship with plants and animals.",{"type":14,"format":10,"indent":11,"version":4,"children":5339,"direction":20,"textStyle":10,"textFormat":11},[5340,5341],{"type":461,"version":4},{"mode":17,"text":5342,"type":19,"style":10,"detail":11,"format":11,"version":4},"We are living through global crises which in many ways require local solutions, so there is this interesting relationship between the local and the global, and I believe many solutions are being carved out by collective action, both locally and across geographical borders. Also in the field of photography and image-making, Curioso Lab and the Sustainable Darkroom work in ways which are rooted yet they are both committed to collectivizing ecological practices across borders, sharing knowledge and know-how so that more and more people can participate and expand these movements, integrating sustainable thinking within their practice and everyday life. It is important for knowledge and ideas to travel and to learn from each other's localized experiences (this is very true also with social movements), and adapt and reshape them based on local specificities. ",{"type":14,"format":10,"indent":11,"version":4,"children":5344,"direction":20,"textStyle":10,"textFormat":11},[5345,5346],{"type":461,"version":4},{"mode":17,"text":5347,"type":19,"style":10,"detail":11,"format":11,"version":4},"Currently these tensions emerge within my practice through the narration—both visual and verbal—of situated encounters that oftentimes result from interspecies dramas happening against the backdrop of a world undergoing a severe loss of life. These encounters are totally mundane, spanning from joyful happenstance encounters with new species, like the caterpillars of the spindle ermine moth in Amsterdam, to relationships that are complicated by hardship and interspecies care, such as the rat pups my husband and I nursed into adulthood last year, after they lost their mother and were rejected by local wildlife rehabilitation centers for being considered 'pests'. I would like my project ‘Recollections’ to be able to hold it all, without leaving out one thing or another: the joy, the grief, the injustice, the love, the curiosity, the anger. ",{"id":5349,"image":5350,"blockName":20,"blockType":381},"6aabf10791b8275b1ce14745",{"id":5351,"alt":5160,"originalUrl":20,"uploaded_by":5161,"updatedAt":5352,"createdAt":5353,"url":5354,"thumbnailURL":20,"filename":5355,"mimeType":162,"filesize":5356,"width":861,"height":1458,"focalX":166,"focalY":166,"sizes":5357},15956,"2026-09-17T12:48:11.524Z","2026-09-17T12:48:10.166Z","https://futures-backend-unstated-int.vercel.app/api/media/file/GMZ06764.webp","GMZ06764.webp",114420,{"thumb":5358,"medium":5363,"large":5367},{"url":5359,"width":170,"height":5360,"mimeType":162,"filesize":5361,"filename":5362},"https://futures-backend-unstated-int.vercel.app/api/media/file/GMZ06764-300x225.webp",225,7734,"GMZ06764-300x225.webp",{"url":5364,"width":176,"height":3095,"mimeType":162,"filesize":5365,"filename":5366},"https://futures-backend-unstated-int.vercel.app/api/media/file/GMZ06764-1200x900.webp",56358,"GMZ06764-1200x900.webp",{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},{"id":5369,"blockName":20,"blockType":537,"qa":5370},"6aabf11291b8275b1ce14746",{"question":5371,"answer":5372},"THB: You've told me about the 'sheer joy' you feel for the multitude of forms of intelligence to be found among life on Earth. Could you describe how that translates into your work? Does it inspire you to experiment with certain techniques or methods, or does it rather direct your focus to depict (or collaborate with) certain non-human lifeforms such as caterpillars, moths and birds? ",{"root":5373},{"type":9,"format":10,"indent":11,"version":4,"children":5374,"direction":20},[5375],{"type":14,"format":544,"indent":11,"version":4,"children":5376,"direction":20,"textStyle":10,"textFormat":4},[5377,5378,5380,5382],{"mode":17,"text":5319,"type":19,"style":10,"detail":11,"format":4,"version":4},{"mode":17,"text":5379,"type":19,"style":10,"detail":11,"format":11,"version":4}," There is something so joyfully world-expanding about moving beyond human affairs and allowing oneself to focus on and familiarize with the affairs and cultures of other species. They provide other ways of accessing the world. In a way, I think this is exactly what photography can do: it provides new points of access and extends the ways we look at and understand the world. I have found myself particularly enjoying changing the scale of things, particularly enlarging small critters and plants. And enlargement in size tends to go hand in hand with a dilation of time, too… with slowness. During the residency in Amsterdam I have been reading ",{"mode":17,"text":5381,"type":19,"style":10,"detail":11,"format":221,"version":4},"The River of Consciousness",{"mode":17,"text":5383,"type":19,"style":10,"detail":11,"format":11,"version":4}," by neuroscientist Oliver Sacks, and I stumbled on a great passage in which he talks about the relationship between speed and scale, thinking about \"slow motion as an enlargement, a microscopy of time, and speeded-up motion as foreshortening, a telescopy of time.\" In the slowed dilation of enlarged images of more-than-human bodies I feel myself pulled closer to the inaccessible 'secret' of the ways in which other species experience the world. The philosophical school of Object-Oriented Ontology (OOO), as formulated by Graham Harman, suggests that nothing can be accessed all at once in its entirety, and that there is no 'top' access mode to get at what a thing really is. In Timothy Morton's words, \"OOO offers us a marvelous world of shadows and hidden corners [...] in which things can't ever be completely irradiated by the ultraviolet light of thought.\" In OOO a human thinking about an apple and a worm tunneling into it both provide equally valid (and equally incomplete) data and information about the apple. How humbling is that?! Photography, like the other arts, does this for me, as well as poetry: it brings me closer to that terrifying vertigo happening when you realize the smallness and the limitedness of our experience of the world. But getting back to your question, it's hard for me at this stage to describe how my attention is being directed by the things I encounter in the world, and how they translate into my work, as it is very much a matter of being situated in place and taking the time to observe who is around, and give them my attention whether they be bugs, birds, bees or trees. It is the mundane space of our bodies and our environment that calls to me, I am never on the lookout for something particularly 'out of the ordinary', as life on Earth is already pretty exceptional and weird on its own. I guess that this is one of the things I hope radiates through my work: the weirdness and amazement of life and the de-centering of human exceptionalism.",{"id":5385,"blockName":20,"blockType":537,"qa":5386},"6aabf12491b8275b1ce14747",{"question":5387,"answer":5388},"‍THB: Above you already raised the question of 'how to co-constitute'? How would you describe co-constitution and what does it mean in the context of your work? I'm also curious how this relates to the role of contamination. You purposefully show your work in a 'contaminated' form by allowing darkroom and other production 'mistakes' to remain visible, which adds to the liveliness of the work, as if nature including chemical and other processes is indeed co-author to the work. ",{"root":5389},{"type":9,"format":10,"indent":11,"version":4,"children":5390,"direction":20},[5391,5400],{"type":14,"format":544,"indent":11,"version":4,"children":5392,"direction":20,"textStyle":10,"textFormat":4},[5393,5394,5396,5398],{"mode":17,"text":5319,"type":19,"style":10,"detail":11,"format":4,"version":4},{"mode":17,"text":5395,"type":19,"style":10,"detail":11,"format":11,"version":4}," There is one passage in ",{"mode":17,"text":5397,"type":19,"style":10,"detail":11,"format":221,"version":4},"When Species Meet",{"mode":17,"text":5399,"type":19,"style":10,"detail":11,"format":11,"version":4}," by Donna Haraway that I particularly love and hold close: “I love the fact that human genomes can be found in only about 10 percent of all the cells that occupy the mundane space I call my body; the other 90 percent of the cells are filled with genomes of bacteria, fungi, protists, and such, some of which play a symphony necessary to my being alive at all, and some of which are hitching a ride and doing the rest of me, of us, no harm. I am vastly outnumbered by my tiny companions; better put, I become an adult human being in company with these tiny messmates. To be one is always to become with many.” This is what it means to be co-constituted. It's not a matter of 'how'; being co-constituted with multitudes of other species and life forms is a biological imperative and an inevitable fact of life. For our bodies to be alive at all we are born 'contaminated', there is no original purity to return to. ",{"type":14,"format":10,"indent":11,"version":4,"children":5401,"direction":20,"textStyle":10,"textFormat":11},[5402,5403],{"type":461,"version":4},{"mode":17,"text":5404,"type":19,"style":10,"detail":11,"format":11,"version":4},"Working with plant-based developers, the chemical instabilities and contaminations become evident in ways I cannot predict or control, as they vary depending on the different types of paper, on the plants who partook in the development, on the temperature changes within the darkroom, on how active or exhausted the developer is, on fluctuating development times. So there is an interest in giving up, or at least loosening, my individual agency and authority. In this sense the images produced are the result of a collective effort, between animate and inanimate things, and the environment they sit in. The image is then further 'degraded' and made 'digitally contaminated' by passing from the lo-fi inkjet printer before being turned into a silver-gelatin negative. All these different forms of materialities, from plants to ascorbic acid to silver to animal-based gelatin to paper fibers to the many singular electronic components of a digital home printer: these technologies embody specific material histories that converge and bring the image-object to us, today, right now, whether we are seeing it on the screen or as a print in an exhibition. I want all of these traces and material interdependencies to become visible on the photographic surface. I guess we can also safely say that by now we are co-constituted not only with other life forms, but with many inanimate agents too, which penetrate our porous skin and affect our biologies. In general, they impact and change our lively world at large. ",{"id":5406,"text":5407,"blockName":20,"blockType":19},"6aabf13491b8275b1ce14748",{"root":5408},{"type":9,"format":10,"indent":11,"version":4,"children":5409,"direction":20},[5410,5414,5422,5434,5442,5450,5458,5465,5471,5474,5478,5489,5500,5503],{"type":14,"format":544,"indent":11,"version":4,"children":5411,"direction":20,"textStyle":10,"textFormat":4},[5412],{"mode":17,"text":5413,"type":19,"style":10,"detail":11,"format":4,"version":4},"Tips for further reading and learning",{"type":14,"format":544,"indent":11,"version":4,"children":5415,"direction":20,"textStyle":10,"textFormat":11},[5416,5418,5420],{"mode":17,"text":5417,"type":19,"style":10,"detail":11,"format":11,"version":4},"Deborah Bird Rose, ",{"mode":17,"text":5419,"type":19,"style":10,"detail":11,"format":221,"version":4},"Wild Dog Dreaming ",{"mode":17,"text":5421,"type":19,"style":10,"detail":11,"format":11,"version":4},"(University of Virginia Press, 2011)",{"type":14,"format":544,"indent":11,"version":4,"children":5423,"direction":20,"textStyle":10,"textFormat":11},[5424,5426,5428,5430,5432],{"mode":17,"text":5425,"type":19,"style":10,"detail":11,"format":11,"version":4},"Robin Wall Kimmerer, ",{"mode":17,"text":5427,"type":19,"style":10,"detail":11,"format":221,"version":4},"The Serviceberry",{"mode":17,"text":5429,"type":19,"style":10,"detail":11,"format":11,"version":4}," (Scribner, 2024) and ",{"mode":17,"text":5431,"type":19,"style":10,"detail":11,"format":221,"version":4},"The Democracy of Species ",{"mode":17,"text":5433,"type":19,"style":10,"detail":11,"format":11,"version":4},"(Penguin, 2021)",{"type":14,"format":544,"indent":11,"version":4,"children":5435,"direction":20,"textStyle":10,"textFormat":11},[5436,5438,5440],{"mode":17,"text":5437,"type":19,"style":10,"detail":11,"format":11,"version":4},"Alexis Shotwell, ",{"mode":17,"text":5439,"type":19,"style":10,"detail":11,"format":221,"version":4},"Against Purity: Living Ethically in Compromised Times ",{"mode":17,"text":5441,"type":19,"style":10,"detail":11,"format":11,"version":4},"(University of Minnesota Press, 2016)",{"type":14,"format":544,"indent":11,"version":4,"children":5443,"direction":20,"textStyle":10,"textFormat":11},[5444,5446,5448],{"mode":17,"text":5445,"type":19,"style":10,"detail":11,"format":11,"version":4},"Timothy Morton, ",{"mode":17,"text":5447,"type":19,"style":10,"detail":11,"format":221,"version":4},"Being Ecological",{"mode":17,"text":5449,"type":19,"style":10,"detail":11,"format":11,"version":4}," (Pelican, 2018)",{"type":14,"format":544,"indent":11,"version":4,"children":5451,"direction":20,"textStyle":10,"textFormat":11},[5452,5454,5456],{"mode":17,"text":5453,"type":19,"style":10,"detail":11,"format":11,"version":4},"Donna J. Haraway, ",{"mode":17,"text":5455,"type":19,"style":10,"detail":11,"format":221,"version":4},"When Species Meet ",{"mode":17,"text":5457,"type":19,"style":10,"detail":11,"format":11,"version":4},"(University of Minnesota Press, 2007)",{"type":14,"format":544,"indent":11,"version":4,"children":5459,"direction":20,"textStyle":10,"textFormat":11},[5460,5462,5463],{"mode":17,"text":5461,"type":19,"style":10,"detail":11,"format":11,"version":4},"Oliver Sacks, ",{"mode":17,"text":5381,"type":19,"style":10,"detail":11,"format":221,"version":4},{"mode":17,"text":5464,"type":19,"style":10,"detail":11,"format":11,"version":4}," (Knopf, 2017)",{"type":14,"format":544,"indent":11,"version":4,"children":5466,"direction":20,"textStyle":10,"textFormat":221},[5467,5469],{"mode":17,"text":5468,"type":19,"style":10,"detail":11,"format":221,"version":4},"With a Bird, A Reader on Avian Kinship ",{"mode":17,"text":5470,"type":19,"style":10,"detail":11,"format":11,"version":4},"(Onomatopee, 2025)",{"type":14,"format":544,"indent":11,"version":4,"children":5472,"direction":20,"textStyle":10,"textFormat":11},[5473],{"mode":17,"text":897,"type":19,"style":10,"detail":11,"format":11,"version":4},{"type":14,"format":544,"indent":11,"version":4,"children":5475,"direction":20,"textStyle":10,"textFormat":4},[5476],{"mode":17,"text":5477,"type":19,"style":10,"detail":11,"format":4,"version":4},"On lower-toxicity* photographic techniques:",{"type":14,"format":544,"indent":11,"version":4,"children":5479,"direction":20,"textStyle":10,"textFormat":11},[5480,5482],{"mode":17,"text":5481,"type":19,"style":10,"detail":11,"format":11,"version":4},"The Sustainable Darkroom: ",{"id":5483,"type":90,"fields":5484,"format":10,"indent":11,"version":95,"children":5486,"direction":20},"6aabf13b1b4dab6ef44dc18a",{"url":5485,"newTab":93,"linkType":94},"https://sustainabledarkroom.com/",[5487],{"mode":17,"text":5488,"type":19,"style":10,"detail":11,"format":11,"version":4},"https://sustainabledarkroom.com/ ",{"type":14,"format":544,"indent":11,"version":4,"children":5490,"direction":20,"textStyle":10,"textFormat":11},[5491,5493],{"mode":17,"text":5492,"type":19,"style":10,"detail":11,"format":11,"version":4},"Curioso Lab:",{"id":5494,"type":90,"fields":5495,"format":10,"indent":11,"version":95,"children":5497,"direction":20},"6aabf13b1b4dab6ef44dc18b",{"url":5496,"newTab":93,"linkType":94},"https://curiosolab.thinkific.com/",[5498],{"mode":17,"text":5499,"type":19,"style":10,"detail":11,"format":11,"version":4}," https://curiosolab.thinkific.com/ ",{"type":14,"format":544,"indent":11,"version":4,"children":5501,"direction":20,"textStyle":10,"textFormat":11},[5502],{"mode":17,"text":897,"type":19,"style":10,"detail":11,"format":11,"version":4},{"type":14,"format":544,"indent":11,"version":4,"children":5504,"direction":20,"textStyle":10,"textFormat":11},[5505],{"mode":17,"text":5506,"type":19,"style":10,"detail":11,"format":11,"version":4},"* While the toxicity is incredibly lower, it is important to refrain from calling the chemistry non-toxic, as it could be misleading to some and also result in improper waste management. ","2026-09-22T14:11:32.417Z","2026-09-17T13:47:16.893Z",{"id":5510,"article":5511},"6a2ab69c5231168533d01b47",{"id":5512,"is_residency_story":152,"title":5513,"slug":5514,"archived":152,"draft":20,"created_on":20,"updated_on":20,"published_on":20,"thumbnail":5515,"author":696,"date_of_publication":5533,"teaser":5534,"featured":20,"futures_select":20,"news_kind":189,"news_subkind":5535,"category":701,"video":20,"corresponding_event":20,"artist_name":20,"reference_artist":20,"residency_location":20,"year":20,"layout_type":494,"content":5536,"updatedAt":7213,"createdAt":7214},552,"Beyond Making Work: Why Today's Artists Need More Than Technical Skills","beyond-making-work-why-todays-artists-need-more-than-technical-skills",{"id":5516,"alt":5517,"originalUrl":20,"uploaded_by":20,"updatedAt":5518,"createdAt":5519,"url":5520,"thumbnailURL":20,"filename":5521,"mimeType":162,"filesize":5522,"width":434,"height":433,"focalX":166,"focalY":166,"sizes":5523},15991,"Melkweg Exhibition","2026-09-20T16:01:10.886Z","2026-09-20T16:01:09.722Z","https://futures-backend-unstated-int.vercel.app/api/media/file/Futures-Melkweg-Exhibition_048%20-%20dimensioni%20grandi.webp","Futures-Melkweg-Exhibition_048 - dimensioni grandi.webp",70454,{"thumb":5524,"medium":5528,"large":5532},{"url":5525,"width":170,"height":522,"mimeType":162,"filesize":5526,"filename":5527},"https://futures-backend-unstated-int.vercel.app/api/media/file/Futures-Melkweg-Exhibition_048%20-%20dimensioni%20grandi-300x200.webp",9798,"Futures-Melkweg-Exhibition_048 - dimensioni grandi-300x200.webp",{"url":5529,"width":176,"height":527,"mimeType":162,"filesize":5530,"filename":5531},"https://futures-backend-unstated-int.vercel.app/api/media/file/Futures-Melkweg-Exhibition_048%20-%20dimensioni%20grandi-1200x800.webp",62200,"Futures-Melkweg-Exhibition_048 - dimensioni grandi-1200x800.webp",{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},"2026-06-23T12:00:00.000Z","The challenges facing photographers today extend far beyond image-making. Artists are expected to develop distinctive practices, navigate increasingly complex professional landscapes, engage critically with emerging technologies and find meaningful ways to share their work with audiences. 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The course combines experimentation with critical reflection, encouraging participants to consider not only what technology makes possible, but what responsibilities and implications accompany those possibilities.",{"type":14,"format":544,"indent":11,"version":4,"children":6674,"direction":20,"textStyle":10,"textFormat":11},[6675],{"mode":17,"text":6676,"type":19,"style":10,"detail":11,"format":11,"version":4},"\"The production of images is becoming so overwhelming that it is not anymore about how we produce these images, but very much about reflecting on how these images are made, for whom, and what kind of life they undertake after they are produced,\" says Vitale.",{"type":14,"format":544,"indent":11,"version":4,"children":6678,"direction":20,"textStyle":10,"textFormat":11},[6679],{"mode":17,"text":897,"type":19,"style":10,"detail":11,"format":11,"version":4},{"type":14,"format":544,"indent":11,"version":4,"children":6681,"direction":20,"textStyle":10,"textFormat":4},[6682],{"mode":17,"text":6683,"type":19,"style":10,"detail":11,"format":4,"version":4},"Why the Photobook Still Matters",{"type":14,"format":544,"indent":11,"version":4,"children":6685,"direction":20,"textStyle":10,"textFormat":4},[],{"type":14,"format":544,"indent":11,"version":4,"children":6687,"direction":20,"textStyle":10,"textFormat":11},[6688],{"mode":17,"text":6689,"type":19,"style":10,"detail":11,"format":11,"version":4},"At the same time, one of photography's oldest formats continues to hold relevance.",{"type":14,"format":544,"indent":11,"version":4,"children":6691,"direction":20,"textStyle":10,"textFormat":11},[6692],{"mode":17,"text":6693,"type":19,"style":10,"detail":11,"format":11,"version":4},"Despite the dominance of digital platforms, the photobook remains a vital space for artistic expression. 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