Anna Gajewszky (1997, Budapest) is a photographer based in Budapest. She has recently graduated from the photography masterclass of Moholy-Nagy University of Arts and Design.Her work is mainly characterized by its intimate exploration of personal issues, with a focus on the intricate quality of human relationships. She examines connections people form with each other, their families, their past, their own bodies, animals, and within a larger aspect the land.The use of self portraits underline that her work is rooted in her personal life, however the images transcend personal narrative to engage with broader themes such as womanhood, family connections, generations, and countryside, rural customs, rituals. Her images are mostly staged but they often stay on the ground of reality creating a duality of fiction and truth that is central to her projects. This approach allows her to explore and communicate complex aspects of human experience.Her work was exhibited both in Budapest and internationally, she was published in the 2021 edition of Blurring the Lines, she received the National Higher Education Excellence scholarship, her book was shown at Polycopies 2023, she was finalist at the Paris Photo Carte Blanche Students, she was an exhibitor at the 2024 Breda Photo Festival and was presented at UNSEEN Amsterdam, by Tobe Gallery in 2024 fall.
Vassilis Pantelidis’ images provide a glimpse of an alternative reality, which consists of a series of conceptual self - portraits. The individual scenes adopt a theatrical approach where the abstraction, the paradox and the absurd as well as the repetitive weave and the claustrophobic thread around the human subject, without any sort of redemption or solution.
Róbert Nunkovics (1993) examines the relational systems of urban life, exploring naive artistic attempts appearing in public spaces, graffiti, and the acts of their reception through the medium of photography and video. In his own images, he presents urban space as various, freely usable surfaces for artistic creation. He sensitively combines research-based mediums - objects, memories, drawings, or collective photography - with works coming from his own observations, delicately examining the issues of our environment and social groups.
She has participated in numerous group shows including reGeneration2: Tomorrow’s Photographers Today presented at the Musée de l’Elysée in Lausanne and the Aperture Foundation in New York. She held several solo exhibitions including Futerał at Wschód Gallery, Sunday Night Drama at Centre for Contemporary Art Ujazdowski Castle in Warsaw, Leakage at the Panopticon in Stockholm and at the Discovery Award show at the Rencontres d’Arles 2015. In 2013 she was awarded a scholarship for the PhotoGlobal program at the School of Visual Arts in New York. In 2017 she received the Overseas Photographer Higashikawa Award.
He is interested in the image and imbrication of this medium with other disciplines such as sculpture and installation. As well as visual media, music and the creation of scenography and environments. Trying to convey an experience, an event or a state of mind is his main excuse when developing a project.
He investigates the relationship between the individual and his environment, about the spaces we inhabit and about contemporary forms of domestic life and the state of the objects that inhabit an era of wild mediatic reproduction. His work process is based on finding, combining and remixing poor materials, found objects and waste, signs that encourage him to experiment with new ways of interpreting what surrounds us.
More: https://christianlagata.com/
Sanja Bistričić Srića is a Zagreb-based multimedia artist, photographer and cinematographer. Exploring the possibilities of image, sound and text through various media – film, video, photography, collage – her work explores personal themes in a range of diaristic forms. Srića holds a Master’s degree in Animated Film and New Media from the Academy of Fine Arts, Zagreb. Her works and films have been widely exhibited in Croatia and abroad, whilst her images have been published by the likes of Elle, Vice and Interview. She is a co-founder and member of the multidisciplinary collective RA’AH, which explores intersections of fashion, art and music.
His work was shown in galleries and museums all across the world, such as in France, USA, Haiti, Spain, United Kingdom, South Africa, Morocco, Mali, Peru, and Brazil. He also participated in international Biennales like Lima, Bamako, Thessaloniki or Casablanca.
He is represented by the Alain Gutharc Gallery in France since 2015, The Pill Gallery in Turkey since 2017 and Espai Tactel in Spain since 2018.
The work of Eline Benjaminsen (NO, 1992) studies the lacking visuality of socioeconomic processes and how this effects our ability to engage with them. She deals with the challenge of perceiving market processes through photographic follow-the-money narratives that combine prints, video and text in mixed media installations.
In 2017 she graduated from the Royal Academy of Art The Hague (Department of Photography) with the project Where the money is made - Surfaces of algorithmic capital about the infrastructure of algorithmic stock trading. The project was awarded the Steenbergen Stipendium (2017) and was nominated for the Zilveren Camera category Prijs voor Storytelling (2018) along multiple other nominations. She collaborates with a variety of platforms, from museums and galleries to the financial press.
The latest exhibits of her work include Stroom (NL), FOTODOK (NL), Lianzhou Foto Festival (CN), Heden (NL) and Krakow Photomonth (PL).
Carolina Tardin (b. 1994) is a Brazil-born photographer, currently based in Portugal. Her artistic practice explores diaristic and poetic writing, as well as the manual processes of analogue photography. After obtaining a BA in Communication at Brazil’s Escola Superior de Propaganda e Marketing, Tardin studied Contemporary Photography at the Faculty of Fine Arts in Lisbon. Her projects have since been exhibited in a series of group shows in Portugal: in 2021, her work featured in the Intermitências exhibition at Lisbon’s A Homem Mau gallery as part of the Imago Lisboa Festival. In 2022, Tardin participated in Lisbon's Photobook Fair.
Mateusz Kowalik is a documentary photographer based in Warsaw, Poland. In his work he explores the issues of contemporary society. He studies at the Institute of Creative Photography in Opava, Czech Republic. He is a graduate of the Sputnik Photos Mentoring Program and the PARALLEL European Photo Based Platform. He showed his works, among others at festivals in Wrocław, Łódź, Kraków, Hanover, Zagreb and Los Angeles, as well as at the Robert Capa Photography Center in Budapest.
www.mateusz-kowalik.com
Kristof Thomas’ (b. 1995, Belgium) work is radical and ruthless. Harsh colors, crisp images, manipulated to the unrecognizable. The visitor steps into montages of food and electrical wires, in unnaturally bright colors, chemically screaming, often digitally smeared and strongly edited. All indexical references are chopped and deconstructed, the work is much less about consumption than it is about the process. Not a traditional process, such as the analogue, which possesses the magical power of unpredictability. On the contrary, Thomas is in full control, he lets the beast sweat till it is down. He is not into magic but into sorcery. He creates artificial images, with no interest in reality as it manifests itself. His work is a confrontation with loops, errors and distortions that do not cause the system to fail but make it more flexible. He experiments, doubts his surroundings and tries out all his devices. He releases his work on paper, cardboard, sloppy, framed, sculptural, flat, on the floor, on the wall. Pushes out his uncertainty with cheeky confidence and leaves us guessing. Until we surrender and spin around the room.
Kristof Thomas received in 2019 a Bachelor’s degree in Photography from KASK The Royal academy of Fine arts Ghent, followed by a Visual Arts Master’s degree in 2022.
Her art practice focuses on the relationship between the human being and the landscape. She tracks the history of the ways of space use, of the actions and transformations that leave a series of dispersed marks behind. Including archival materials in her practice, she reveals the changeability of the space in time and constructs a visual essay about memory.
“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