Camarda’s artistic practice focuses on and explores themes such as the construction of identity, and collective phenomena that affect and define the lives of each single individual. Creating a series of dreamlike and suggestive images, he wants to ask questions and trigger reflections, rather than giving simple answers. His works have been exhibited, among others, at the Triennale of Milano and CAMERA of Torino.
http://www.domenicocamarda.com/
In my ongoing series I photograph myself in dialogue with my late sister’s dresses. Through performative acts and self-portraiture I address the complex process of grief and healing after my sister passed away seven years ago. As a part of this self-recovery, I am leaning to my family’s legacy of rug-making; the cutting of clothes of the deceased to weft. In my family what could not be used was remodelled, deconstructed and reconstructed, as a form of pragmatic exorcism. And by cutting, sewing and weaving I am working through the dresses, taking back authority of my fate.
Essential in my work is the juxtaposition of a living body and the materiality of textiles. The images portray a play between seeing and touch, the form and the tactility. Using my body and the dresses of my sister I examine the relationship of memories and materialities. Can objects harbor emotions? And can one access these enclosed emotions by intervening with their materiality? In the past years these works have become a tool of finding my identity in the world. The combination of the female nude and the aggressive act of cutting have grown to represent liberation from far more than just grief.
Katerina Tsakiri was born in Athens in 1991 and she is based in Gothenburg, Sweden. She studied Photography and Audiovisual Arts in Athens and has an MFA in Photography from the University of Gothenburg. Since 2015 she has been working part-time as a visual artist and part-time as a commercial photographer. From 2019 she has been devoting her time to her artistic practice. She works with self-portraiture and her subjects are mainly autobiographical. The theme of her work is the female identity in Western culture with a focus on the female body. Her practice expands from staged photography to video performances and sculptures. In her latest project, she uses documentary photography to share the journey of her breast cancer treatment. She unravels through the photographic medium her body’s fragility and the impact of the illness on her female identity.
Her work has been recently exhibited in numerous venues, including JAP vitrine, Brussels (2023), IKOB Museum, Eupen (2023), Antwerp Art Weekend (2023), CIAP, Genk (2022), Centrale Vitrine, Brussels (2021), Frac Grand Large — Hauts-de-France, Dunkerque (2021-22), and S.M.A.K Museum, Ghent (2021). She has also gained international recognition through exhibitions in Paris, Germany, Athens, and Caracas.
In recent years, Padilla has been granted numerous residencies and awards including the Fiminco Foundation residency in Paris (2022-23) and long-term residency at Moussem Nomadic Art Centre in Brussels (2023-). She received the Sabam prize of ArtContest in Brussels in 2020, the prize of the Watch This Space biennial in Lille in 2022, and was one of the laureates of the Friends of S.M.A.K prize in Ghent in 2021. Her work is currently on view at The Kunstverein Friedrichshafen in Germany. In 2024, Padilla was selected for the MINO Female Artist Mentorship program with mentors Otobong Nkanga and Léonard Pongo, and will be part of the MLeuven residency program at Cas-co in Leuven and Morpho residency program in Antwerp.
Zane Priede (b.1990) a self-taught still life photographer based in Riga, Latvia, has a background in design and a passion for photography. A graduate of Design Academy Eindhoven in the Netherlands, Priede’s work creates imaginary and surreal scenes with everyday objects, infusing them with fantasy. Her deep fascination for architecture and design can be seen in her visual approach, which involves constructing scenes with small-scale objects. Her interest in science, biology, and psychology are also evident in her visual explorations, contributing a playful approach to storytelling, and discovering the fantastical in the mundane.
Eva Bevec (b. 1998) is a designer, visual artist, and photographer based in Ljubljana, Slovenia. She completed her undergraduate studies in visual communications (with a focus in graphic design) with honors at the Academy of Fine Arts and Design in Ljubljana in 2020. She continued her design studies abroad, at the Master Department of Information Design at the Design Academy Eindhoven in the Netherlands, where she graduated with honors in 2023.
She has participated in numerous group exhibitions in Slovenia as well as internationally, showcasing her works at the prominent Dutch Design Week in Eindhoven, at the Brumen Design Biennial in Ljubljana, and at Layerjeva hiša in Kranj, among others. In 2020, she held her first solo exhibition titled “Madeleines and Linden Tea” at DobraVaga Gallery in Ljubljana. She has received various awards for her work, such as the student Prešeren Award of the University of Ljubljana and the Brumen recognition for excellent Slovenian design. She also participated in the international pharmaceutical conference Health Services Research & Pharmacy Practice in the United Kingdom with her graduate thesis project, Developing a user-focused standardised design system for prescription medicine packaging in Slovenia.
In her artistic and design practice, Eva explores various media and topics, always connected by a genuine interest in the ordinary and the banal aspects of her surroundings. Through curious and critical investigation and documentation of the seemgly mundane, she reveals deeper and broader social, political, as well as aesthetic questions, patterns and implications. The prosaic becomes the extraordinary and the extraordinary becomes the poetic.
Sasha participated in the 5th Moscow International Biennial for Young Art in MMoMA, previous year took a part of “Somewheres & Anywheres: Young Photography from Eastern Europe” exhibition in Berlin gallery EEP and join BERLIN PHOTO WEEK.
His short film “Swallowed by the Routine” was selected for the Fashion Film Awards 2019 by SHOWstudio X HARRODS and was shown in London last October.
The main themes explored by Sasha now are the struggle with the language, because words controls us and reduces our worldview; queer theory, that means infinite pluralism of identities, meanings without hierarchy, ever-changing flexible self-definition; and criticism/decentration of the concept of truth.
This three ideas are really close to each other like the liberation from automatisms, habits and the aspiration to independent, affective perception and action.
In 2017 she obtained the PhotoEspaña scholarship to study the Master's Degree in photography "Theories and artistic projects". Ire Lenes attented workshops and seminars of Antoine D’ Agata, Philip-Lorca diCorcia, Roger Ballen, Eugenio Recuenco and Joan Fontcuberta.
Ire lenes has won several awards such as Ciudad de Alcalá, the DKV scholarship at the Photography and Journalism Seminar in Albarracín, lX3 Prix de la Photographie Paris or Julia Margaret Cameron among others. She has been selected to participate in festivals such as PhotoEspaña or Transeuropa Discovery Week. Her work Archipelagos has been exposed as a solo exhibition in several galleries in Spain and has been published in book format within the Kursala collection of Cádiz, which was recently exhibited at the ¡Hola! event in Taipei, Taiwan.
Currently her work is part of various public and private collections and she has given talks at PiC.A PhotoEspaña, Real Sociedad Fotográfica of Madrid and at the Infotografos conference in Alicante.
In 2017, her personal connection with Lithuania led her to embark on a long-term project, the analysis of ethnic minorities in the Baltic States and the understanding of the particular situation in each country, a trilogy approached from a sociological perspective and materialized through visual narrative.
Szalai studied photography at the Moholy-Nagy University of Art and Design in Budapest and the University of Applied Arts in Vienna. He also holds a degree in Art and Design Theory.
He was nominated for the C/O Berlin Talent Award 2020. In 2019, he was a winner of LensCulture Emerging Talent Awards. In 2018, he became the laureate of the Carte Blanche Award founded by Paris Photo. In the same year, he was selected for the 2nd cycle of PARALLEL - European Photo Based Platform and he was also awarded the grand prize at the Budapest Portfolio Review 2018.
Szalai’s work has been exhibited and published internationally. He is a member of the Carte Blanche Collective and the Studio of Young Photographers, Hungary. He lives and works in Budapest.
One often looks at the work of Arnaud De Wolf with a sense of disbelief. Is that image of a gigantic ice cube really floating in mid-air? Is that colourful picture of an ancient forest a realistic depiction or is it a digital fabrication, a fanciful re-creation? What are we meant to discern in his cyanotype prints: random blue lines surrounding white voids of various shapes and sizes or the contours of a mountainous landscape? By means of an unconventional presentation of the photographic image, simply turning it on its side or projecting it into a corner or using outdated techniques, such as the cyanotype, De Wolf presents us with works that hover between the clarity of description and the artificiality of invention. A projected bundle of light suddenly transforms into a three-dimensional object; abstract lines coagulate into a legible form; colours become deceitfully (un)real. In each of his experiments, De Wolf is testing the boundaries of the photographic system, looking for that breaking point where the photograph loses its readability and easy accessibility. His thorough investigation of colour is particularly revealing: Fading forest makes abundantly clear that colour in photography is always artificial. The colours that we see in a photograph are technologically and culturally coded; they are made in the chemist’s lab or produced by a programmer’s algorithm. Colour is here revealed as the manipulative garb in which the photographic skeleton is dressed.
Text by Steven Humblet
Prins de Vos (1991, Raamsdonk) is a Dutch photographer living in Amsterdam. In 2013, Prins graduated with a Bachelor Design from the Academy of Popculture (Leeuwarden). Their work touches on themes such as intimacy, sexuality and gender. Prins' first photo book Enclose (2013) was launched in photography museum Foam, and included a poetic introduction, written by Dutch author Arthur Japin. In 2022, Prins published their second photo book BOYS DO CRY, about Levi, who is an artist, poet and trans man.
Can we consider photography as a tool for extended cognition? Krystyna examines this issue in her earlier work, which also explores the interaction between people and space, and provides insight into the different areas of perception with the tools of photography. While studying the human cognitive function, she takes steps to get to know herself. Krystyna sees photography as a reconnaissance tool. For getting acquainted with the unknown areas, she stretches the possibilities of the medium and experiments with frontier topics.
At first, through personal topics, she outlined herself with photography, and later on, the characteristics of the medium and its relation to human and reality began to interest her. She explores the subject of her current interest in details, in many different methods, experimenting with various media to understand the topic as a whole picture. At the moment, she is interested in the directed viewpoint created with images and the features of image reading.
She was represented in several national and international exhibitions. From 2016, she is a member of the Studio of Young Photographers. In 2017 she was awarded the Photography Scholarship by The Association of Hungarian Photographers. From 2018 she is a member of The Studio of Young Artists’ Association. In 2019 she won the Budapest Portfolio Review and she is part of the Futures Photography platform.
In 2016 her book "The Modern Spirit Is Vivisective” won the ViennaPhotoBookAward. Her work has been presented and exhibited internationally, including Plat(t)form 2017, Fotomuseum Winterthur; Fotografia Europea, Reggio Emilia; Benaki Museum, Athens; Noorderlicht Photofestival, Groningen; Emerging Talents, MACRO Factory, Rome; Festival Circulations, CENTQUATRE-PARIS, Paris; and Palazzo delle Esposizioni, Rome.
Her latest work Petrus, published by Kehrer Verlag, reflects on a certain rhetoric of masculinity in Western culture. Through a cynical, tender and arbitrary analysis of what probably cannot be sliced and diced Francesca Catastini plays with archetypes and images considering the way they sculpt ourselves and shape our views. Looking for subtle discrepancies her images go beyond their figurative meaning in order to activate new analogies and connotations.
http://francescacatastini.it/
His practice explores themes of isolation and identity, the juxtaposition of collective and individual, communication versus segregation. By using small narratives he wants to shed light on ways we affect and are affected by artificial social and physical environments.
He has exhibited in The Netherlands and abroad and his work was included in The New Dutch Talent catalogue of 2017 from GUP magazine, and in the Encontros da Imagem 2017 festival program, while his project Point of View was shortlisted for FotoFilmic18.
More: http://www.vassilistriantis.com
Today she lives and works as a photographer in Athens. Her work has been published in magazines from Greece and abroad, and presented in photography group exhibitions.
Tashiya de Mel is a photographer, environmental advocate, and communications specialist from Colombo, Sri Lanka who uses visual storytelling to create narratives that drive social change.
Her practice explores the nature and possibilities of documentary image-making and deals with themes such as colonial histories, representation, heritage, family, landscapes, and the climate crisis.
Tashiya is driven by a curiosity to forge connections with diverse disciplines such as art, history, academia and the environment. And find ways of bridging these disciplines through different forms of image-based media.
She was the recipient of the Visura grants for freelance visual journalists in 2023 for her project ‘Great Sandy River’ and received the Stroom talent award in 2024. Tashiya is a recent graduate of the ‘Photography and Society’ masters programme at the Royal Academy of Arts in The Hague (NL). She is based between Colombo and the Hague.
Eunice Pais is a Luso-Mozambican artist who works with video, photography, sound, and sculpture—particularly metal and textiles—to investigate themes of visibility, invisibility, ecology, memory, and labour as dissident and counter-colonial strategies. Her practice operates within speculative and post-nature frameworks, engaging material, spatial, and sonic forms to unsettle extractive logics, imperial modes of knowledge production, and fixed archival methodologies.
Rather than offering resolution, Pais is interested in opacity, porosity, and the productive space of the non-answer, allowing meaning to remain embodied, fragmented, and relational. Through gestures of repetition, contamination, and material transformation, her work foregrounds forms of rebellion that emerge within—and against—histories of extraction and coloniality embedded in everyday structures, landscapes, and bodies.
Her practice is shaped by transnational histories between Portugal and Mozambique, approached not as identity markers but as sites of tension, inheritance, and refusal.
In 2020, she founded PAIS Agency, a photography studio and production agency focused on the intersection of environmental and social justice. Since 2023, her work has been exhibited across the United Kingdom, France, Italy, and the Netherlands, with recent and forthcoming exhibitions in Portugal and across Europe.
She is a recipient of the Alumni Exchange Innovation Fund from the U.S. Embassy in Portugal, and her project Sargassum is supported by Directorate-General for the Arts (Portugal).