Jošt Dolinšek (1997, Ljubljana, SI) is a lens-based visual artist. His practice is predominantly stemming from photographic medium and is expanded into moving imagery, installation and sculpture.Dolinšek mostly works on long-term projects, exploring the existential experience of environment and time and our relationship towards both. His work is centred upon the questions on uncertainty — of perspective, duration and change. Form and materiality pose as one of the crucial elements of his works, and are often strongly related to the process and the inquiry behind them.In 2023, he graduated from a MFA Photography programme at HDK-Valand in Gothenburg (SE) and in 2020, he earned a BA in Psychology at the University of Ljubljana (SI). Among others, he has exhibited his works in Fotografie Forum Frankfurt (DE), Museum of Modern Art in Ljubljana (SI) and Röda Sten Konsthall in Gothenburg (SE). He lives and works in Gothenburg, Sweden.
"My work leans on day to day encounters that are or turn narrative driven. With the idea of building an archive which can fit different themes while maintaining a certain interchangeability. With this archive gradually growing it’s possible to move around images and create new narratives."
Ioanna Sakellaraki (b.1989) is a Greek visual artist and researcher. Her work investigates the relationship between collective cultural memory and fiction. Drawing emphasis on the photographic object, process and encounter, she explores the boundaries of a primitive, yet futuristic vision of places and people. She was recently awarded a Doctoral Scholarship for undertaking her PhD in Art after graduating from an MA Photography from the Royal College of Art. She is the recipient of The Royal Photographic Society Bursary Award 2018 and was named Student Photographer of the Year by Sony World Photography Awards 2020. In 2019, she was awarded with the Reminders Photography Stronghold Grant in Tokyo and the International Photography Grant Creative Prize. Nominations include: the Inge Morath Award by Magnum Foundation in USA, the Prix HSBC, the Prix Levallois and the Prix Voies Off in France. Her work has been exhibited internationally in art festivals and galleries with a recent solo show at the European Month of Photography in Berlin. Her projects have been featured in magazines such as The New Yorker and journals including The Guardian and Deutsche Welle. Her first monograph ‘The Truth is in the Soil’ is published by GOST Books.
Having worked for several years in various media as a photojournalist, he made the decision to turn in their work and personal lives mainly developing projects of human and environmental fields.
He is currently also as a photo guide in Iceland, Greenland, Faroe Islands, Norway and Ukraine.
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.
Scarlat’s work has been recognised and awarded in several national and international competitions, such as PHotoEspaña, the Emerging Photographer Fund (Magnum Foundation), World Nomads, Promoción del Arte at Tabacalera Cantera, Visa pour l’image, Matera European Photography, Artistas Novos, and Creación Injuve. In 2021 he received a bookmaking scholarship at Magnum Photos. This year he also has received a long-term mentorship scholarship at Magnum Photos, and he is currently working with Gregory Halpern and Alessandra Sanguinetti for this project.
Scarlat has always been interested in working with his family from Romania. After leaving in 2005 at the age of 11 and having spent 15 years away, his relationship with them has changed. In his projects, he like to insist on those tensions and conflicts that have arisen as a result of moving to Spain. He is interested in Eastern Europe, Romania, alcoholics, his mother, religion, death, the traces of communism on people's faces, gypsies, children, the cemetery, the lake, wedding dresses, unmarried women, dead girls in wedding dresses, dead horses, boys playing soccer, abandoned dogs, funerals, weddings, enchantments, women who are going to clean the graves in the cemetery, flowers, gold…
“Can a cardboard disc be mistaken for the moon? Could a streak of paint be perceived as a beam of light?” In her series Light of Other Days, Ann Vincent experiments, fails, plays around and messes with our perception of reality. We are confronted with familiar scenes that we often fail to notice: a puddle of water, a sunbeam on the pavement… In Light of Other Days, Ann Vincent sets out to recreate these fleeting moments in her studio and capture them in photographs. The appearance of a rock in the sand is replicated using industrial chemical components. Each image is painstakingly produced, the result of a tireless pursuit of the right materials, lighting conditions and framing. The process is chaotic but the final image seemingly perfect. Bringing the work to the exhibition space, Vincent continues her game: she cleverly places the photographs in unexpected corners, behind a staircase or floating in front of a window. The photographs become sculptural and encourage the viewer to move around and discover what lies beyond the image.
Ann Vincent plays a trick on us, and in doing so, touches upon one of photography’s most fundamental properties: its disturbing relationship with reality. This body of work is an illusion, disclosing its poetic magic only to the attentive viewer.
www.annvincent.be
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/
For the past 6 years, Snizhko participated in several group exhibitions, festivals and international fairs in The Netherlands, Japan, Ukraine, Austria and Czech Republic. Her installation “TINI” was awarded the Best Artwork Award and Public's Prize at Smart Illumination 2016, Yokohama, Japan, Honorable Mention and Public's Prize of Steenbergen Stipendium 2016, The Netherlands.
"My interest lies in the role of narrative as a reference point in representing contemporary social issues. I work between editorial assignments and long-term projects, taking pride in immersing myself within the place and people that I photograph, working with communities over an extended period of time."
Past works have documented the socio-political effects of the Ukrainian revolution; explored notions of escapism along The English Riviera; living in hiding with Albanian families persecuted in the age old traditions of blood feuds, as well as celebratory traditions in Greece. Previously exhibited works have been included in The Taylor Wessing Portrait Prize, PhotoIreland Festival, Paris Photo, Magenta Flash Forward and The Renaissance Photography Prize and clients include The FT Weekend Magazine, The New York Times, TIME and National Geographic.
Joud Toamah is an interdisciplinary graphic designer and visual researcher based in Antwerp, Belgium. The project 'Archive of Traveling Images, an Image Amidst the Heart' (2018–ongoing) is an archive of digitised images of family albums that the artist sources from acquaintances, friends and family members in Syria and the diaspora. Toamah collects pictures that have undergone processes of scanning, uploading, searching, cutting, pasting, renaming, compressing, downloading, forwarding, etc. As such, she is creating digital archives of private and intimate images. But her research highlights something more interesting than the photographs themselves: the way that this digital circulation within personal networks becomes reflected in the image itself. Digital reproduction and circulation — the conditions of recreating bonds after displacement — leave their traces. In its digital journey of relocation, the image acquires consecutive layers of relationality.
Toamah’s art and research are deeply relatable despite the fact that her archive of travelling images is not publicly accessible. Although she chooses to share only the project’s conditions and context, her approach is poetic rather than analytical. We are invited to see how she secures the invisible, the inaccessible, the untranslatable. The artist’s research suggests that to safeguard one’s humanity, one must retain agency over one’s images — and protect them from the othering gaze. Yet her project moves beyond this aspect: through the recollection of private and personal images, she creates personal bonds based on reciprocity, generosity, care and feedback. Photography becomes an interaction between people, a tool to talk and share. A tool for knowledge production, for telling and retelling, for activating each other’s stories and memories.
The digitised images reveal their unique materiality: the fading of the paper, the despair that one will forget certain places, the writing scribbled on the backs of photographs to remind us across generations and distances that to remember is to relate. Toamah’s research moves beyond the binary oppositions between digital and material, here and there, past and present. She establishes a relational archive and an aesthetics of care: the archive of travelling images creates simultaneously belonging and protection.
- Text by Petra Van Brabandt (.tiff)
Coline Jourdan, born in 1993, lives and works in Rouen, Normandy. She graduated from the National School of Art in Dijon in 2017. Her work has been shown in group and personal exhibitions (Nicéphore Niepce Museum as part of the Ateliers Vortex Photographic Print Prize in 2019 ; La Gacilly Festival, Baden, Austria, 2021; Artefacts, (Residence 1+2), Chapelle des Cordeliers, Toulouse, 2020; Les noirceurs du fleuve rouge, Full B1 Gallery, Rouen, 2019). In 2021, she received she received the Support for contemporary documentary photography from the CNAP, as well as individual aid for creation from the Normandy Region. The same year, she won the 50CC Air de Normandie artist grant.
Maria Leonardo Cabrita lives and works in Lisbon, where she is currently a PhD candidate at the University of Fine Arts. She holds an MFA in Multimedia Art from the University of Fine Arts, Lisbon; a Diploma in Photography from the Art Academy of Munich; and a BFA/BA in Sculpture from the Faculty of Fine Arts of Lisbon. Cabrita’s practice engages a range of subjects, from history and science to other non-artistic practices. She often seeks to question the nature of photography, inverting the relationship between the referent and the referenced, and between what’s seen and what’s perceived. Her current project questions the interconnectivity between optical mirages, images and the act of seeing. Her works have been exhibited throughout Europe and beyond.
Lujza Hevesi-Szabó (1997) studied photography at the Moholy-Nagy University of Art and Design, then worked as a photojournalist and is currently a photographer for Telex.hu. Her works mainly deal with social issues and family dynamics. Hungary, especially the Hungarian countryside and the current situation of the people living there, plays a prominent role in her subjects. She uses irony to make his work attention-grabbing and consumable. She mixes classic documentary photography with elements of subjective visual storytelling.
Oxiea Villamonte (b. 1995) was born in the USA and raised in the Netherlands. She holds both a BA and MFA in Photography from The Royal Academy of Fine Arts Antwerp. Shortly after graduating, her book – Next of Kin – was published by Stockmans Art Books. Through self-portraits and archival material, the project presents the artist’s search for identity in Chicago, where her mother spent her formative years. More recently, Villamonte embarked on a 10-month journey through America by Amtrak, guided by photographs from her parents’ archive. Her work is highly personal, guided by a fascination with identity, and with the legacy of her upbringing in the choices she makes.
Her photography has appeared in National Geographic, der Spiegel, Newsweek China, Die Zeit, and many others. For her photography she was awarded with the Inge Morath award, received the VG-Bild award and won the Lotto Brandenburg Prize and many more. She has exhibited worldwide in countries like Australia, France, Germany, Switzerland - as well as China, Iceland, Ukraine and the US.
David Bakarić Mihaljević, born in 2001. In Zagreb, is an undergraduate student of cinematography at the Academy of Dramatic Arts in Zagreb. With ambitions of completing a master's degree in photography at the academy, David has had three solo exhibitions and participated in five group exhibitions. One of these, named "So Far," he organized himself with the help of his colleagues and friends. Besides photography, and prior to attending the Academy, David filmed two experimental documentaries. His film, "From You I Am Happy," was shown in the non-competition program at the Zg Dox festival.
With additional background in gender studies & activism Marta’s artistic work focuses on geopolitical and social issues, gossip & fiction, as well as personal experiences. She experiments with various media including participatory workshops and sound installations..
Marta’s work was shown e.g. at OBSCURA Festival of Photography in Malaysia, at TIFF Festival in Wroclaw, at ODESA PHOTO DAYS 2020, BLICA - First Biennale of Arts in Lebanon. Photobook presenting SHIFTERS project is shortlisted for Mack First Book Award 2020. She was selected for several residencies, most recently Landskrona Foto Residency (2020), as well as Nida Art Colony, Gasworks, and Botkyrka Konsthal. She took part in ‘Re-Tooling Residencies Project’ organised by CCA Warsaw. She created & curated ‘Fenix Cities: workshops and exhibitions in Warsaw and Beirut’.
www.martabogdanska.com
With his interest in the glorifying and influential nature of photographs and images, Jeroen Bocken investigates the increasingly prominent role of hyper-idealised aesthetics in today’s world. Bocken is fascinated by natural science, human criteria and calculations and the limitations of the camera. He combines a variety of digital processes with natural patterns and algorithms. This experimental and associative process results in illogically constructed images. The photographer alternates these with classic “documentary” images – often iconic and familiar – to create an ambiguous context.
The interplay between real and constructed images requires vigilance. By playing these extreme methods off against each other, Bocken reminds us that an image never really shows the ultimate reality but is only capable of representing it. The image is a documentation, a snapshot and a notion of reality. It has the unequivocal power to steer our interpretation and perception in one direction.
New digital advances, such as 3D renders, mean that hyper-constructed images are being unleashed on the world at a dizzying rate. These immaculate, aesthetic and fabricated renderings are increasingly wrong-footing us and impacting on our perceptions. It is only with effort that we can distinguish the “picture perfect” from reality. Bocken is very intrigued by this ironic and surrealistic fact. By twisting and distorting the technical processing of his own images, and embracing the faults, Bocken explores the boundaries of our sense of reality.
Text by Eléa De Winter
Her works and engagement has been marked by accolades, including the Bayern Innovativ’s Junge Kunst und Neue Wege Stipendium, and grants like the Neustart Kultur Stipend 2022 and Neustart Plus Stipend 2023 from Stiftung Kunstfonds. Albano's works have been showcased in both solo and group exhibitions nationwide and internationally. She premiered her first solo exhibition through the ISO 5000 Prize 2021 of Hans and Annemarie Weidmann Foundation. In 2023 she was part of Les Rencontres de la Photographie d'Arles at the Fondation Manuel Rivera-Ortiz.
Albano's influence extends beyond her art, as she has been an invited guest at the German-British Democracy Forum, and held talks for the Hertie Foundation and the BARCAMP of the German Foreign Office. In 2023, she started to establish an Afro-European artist network, leveraging her Allianz Foundation Fellowship to foster collaboration within the artistic community.