Van Wyk is a member of the African Photojournalist Association with World Press Photo, Women Photograph and Black Women Photographers. Her work has been featured by the internationally based i-D, The Washington Post, Photo Vogue, Der Greif and The Times UK.
Yao Yuan (b. 1988) is a non-binary artist born in Sichuan, China. Their practice navigates between photography, design and moving image. Using documentation and staging, their photographic work expresses an intrinsic curiosity for intersectionality and spirituality. Their investigations explore the power of storytelling and dramaturgy, to rethink the binary framework of dominant norms, particularly those that relate to gender and sexuality. In recent years, the focus of Yuan’s work has touched upon topics of non-normative narratives surrounding motherhood, queer intimacy and representation.
Fred Mungo (b. 1994) is an Italian photographer and visual artist, currently based between London and Bologna. Born in Rieti, she first moved to London in 2013 to study. Mungo holds a BA in Fashion Photography from London College of Fashion (University of the Arts of London), and an MA in Photography and Urban Cultures from Goldsmiths University. Her artistic research sits within the framework of visual sociology.
'June', Červeňová’s most recent body of work, is an autobiographical response to the EU referendum. The month of June in 2016 signified a rupture where the meaning of home and future plans were suddenly thrown into limbo. Coinciding with the beginning of her MA at the RCA, she spent the following two years documenting daily life. Taken in various locations across Britain and Europe, each image is titled simply by the location and date in which it is made, the significance of which becomes apparent when read on mass. When viewed in retrospect, the work emerges as not only a record of daily events, but also a timeline of significant dates that will, or have already become, marker points in history.
The core of the work became an artist book, in which the work has been translated into 24 booklets (each representing one month) collated together with an opening ring – a metaphor for the easily breakable union, where the beginning and the end can be manipulated and the linearity of historical events shifted. Červeňová’s artist book 'June' was amongst 10 shortlisted titles in MACK First Book Award 2019 and was presented at Photo London 2019. June is now in the permanent collection of TATE Modern and Victoria & Albert Museum.
In 2019, Červeňová was nominated for the prestigious FOAM Paul Huf Award. She is a 2017 Bloomberg New Contemporaries Alumni. She regularly collaborates with The FT Weekend and Telegraph Magazine.
The project 'The lost paracosmist' is an animated short film by multimedia artist Josephina van de Water. Using digital photography, printed celluloid film, paint, digital scans, video montage, cardboard and extreme patience, she brings a fictitious world to life in fascinating detail. The film was made in the traditional, time-consuming way that requires particular dedication, with each frame individually handcoloured as was done in the first colour movies.
The imaginary island of Paperland is inhabited by a colourful collection of talking animals. Josephina van de Water wrote and narrated the dialogue, giving each animal its own voice, tone and place in her universe. The chronicle guides us through a logical, yet fictitious, tale, in which we learn about Paperland’s geography, history, language, culture and religion.
As in every good fable, imagination is closely accompanied by reflection. While The lost paracosmist focuses on the irresistible charms of storytelling, it also warns the audience to beware of stories. They have the power to contort our perception of the world and disturb our relationship with reality.
The endearing cardboard animals in their warm, glowing colours, and the gentle, motherly voice of the narrator, are reminiscent of children’s programmes. However, the topics covered in this allegory are anything but childish: territorial disputes, political and religious authority and mechanisms of exclusion and esteem all make an appearance, allowing inequality and frustration to creep into this seemingly safe cosmos.
- Text by Geert Goiris (.tiff)
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.
Born in Belgium in 1989, Lionel Jusseret is a documentary photographer. After finishing his studies at INSAS in 2012, a Belgian film school, he photographed children with autism in the French association J'interviendrais. In the search for unpredictable images, Jusseret works in the intimacy of his subject. The approach is anthropological. After seven years of immersion, he finished his first series Kinderszenen.
Lionel Jusseret lives and works in Brussels.
Exhibitions include: 'Making Strange' 2019 Grand Prix Eyes on Talent in Photography & Sustainability, opened on 6th November during Paris Photo (2019) / 'Making Strange' Hyeres International Festival of Fashion and Photography (2019) / 'Labs New Artist III' Red Hook Labs (2019) / ‘There’s Life in it Yet’ (2016), with Kieran Kilgallon / ‘The Fighting Irish’ (2016) at Drop Everything Festival on Inís Oirr Island, Galway / ‘Resonate’ (2015) at Gallery of Photography, Dublin / 'Apparitions' (2015) at NCAD, Dublin / ‘Thread’ (2012) at the Gallery of Photography, Dublin.
Recent monographic exhibition includes: Untitled, ADN_ Sea(e)scapes, 2021 at galerie Salon H, Paris, and I, the Archive,2020, at Villa Vassilieff, Paris. Kala’s most recent group exhibitions include: This is Not Africa, unlearn what you have learned, 2021 at Aros Museum, Denmark, Un.e air.e de famille, 2021, at Museum Paul Elourd, Saint-Denis, France, Polyphony, 2021 at Gera Museum, Gera, Germany. Kala’s most recent performances include: Stranger, Danger, Wait it’s a Prayer Room, Centre Pompidou, 2019, Mackandal Turns into a Butterfly: A Love potion (2018), Le Pouvoir du Dedans, La galerie Cac de Noisy-le-Sec (2018), Euridice Zaituna Kala Shows and Doesn’t Tell, galerie Saint-Severin (2018). She is the winner of the ADAGP/ Villa Vassilieff Fellowship 2019-2020, a finalist of the SAM art Prix (2018) and also a finalist for the prize for contemporary talent, François Schneider Foundation (2018). Kala’s work will be included in the 5th Casablanca Biennial, Morroco, and she an artist in residency at Urbane Kuenst Ruhr in Germany in 2019-2020. She is the founder and co-organiser of e.a.s.t. (Ephemeral Archival Station), a lab and platform for long-term artistic research projects, established in 2017.
Naina Helén Jåma (b. 1991) is a south Sami photographer, vytnesjæjjah and storyteller from Snåase, Norway. With an education in photojournalism – she has worked as both a photojournalist and photo editor for various newspapers and news agencies in Norway and Sweden – documentary approaches characterise much of her work. Among others, her images have featured in VG, Aftonbladet, Aftenposten, The New York Times, The Guardian, Huffpost, and Dagens Industri. Jåma is also a member of the Sami Artist Association.
Kwabena Sekyi Appiah-nti (b. 1994) is a Belgian-Ghanaian photographer based in Amsterdam. Straddling the boundaries of documentary and fashion photography, his projects reveal a fascination for people who face societal prejudice, aspiring to cut through the clichés of stereotyped representation. Delving into his subjects’ worlds and observing their behaviours, Appiah-Nti documents their true essence; he describes ‘boyhood’ as the overarching theme in his work.
Tamara Janes is an artist based in Bern. After studying photography at the Zurich University of the Arts (ZHdK) and at the School of Visual Arts in New York (SVA), she completed a master's degree at the Institute of Art Gender Nature (IAGN) at the Basel University of Art and Design. She then returned to New York on a Studio Scholarship from the City of Bern to continue her research at the Public Library. Among others, her works have been shown at Kunsthaus Glarus, HeK Haus der elektronischen Künste Basel, Kunsthaus Pasquart, Kunsthaus Baselland, Kunsthaus Langenthal, Stadtgalerie Bern, on the occasion of Plat(t)form15 at Fotomuseum Winterthur and at the Bieler Fototage. Her projects have been supported and awarded several times. Tamara Janes received the Swiss Design Award 2023 in the category photography with her work “Copyright Swap”. Since 2019, she has been a lecturer at the photography class, F+F School of Art and Design, Zurich.
Artist Statement
In my work I deal with the conditions of digital images. I take a critical view of current photographic behaviour because our perception and our handling of images is increasingly determined by technology and algorithms. Mostly we unreflectively consume images every second and strive for more and more unrealistic sharpness and brilliance. This development is at the same time thought content and friction surface for my work. By shifting through and contextualizing my own and other people's visual material, I want to create new perspectives and visual commentaries.
"Porosity is probably the concept that best characterises Etienne Courtois’s approach to his photographic work. One of the threads in his creative process is his distinctly plastic treatment of the medium through integrated and often barely noticeable interventions that are both sculptural and pictorial by nature. These interventions are evident in how he prepares his support as well as in the compositions themselves.
The interventions often originate from the confrontation between various random objects gathered by Courtois during his walks and rambles through the city or in nature, leading to surprising encounters that have a contemporary surrealistic quality, which is further accentuated by the treatment or plastic and pictorial transformations he applies. Courtois adds a subsequent layer of ambiguity to the reading of this process by creating sculptural forms - often in plaster, but also in wood - that are integrated into the images or applied in relief on the prints.
Occasionally, the ambivalence of the treatment is emphasised by multiple exposure of the same photographic negative, which modifies the chromatic values as well as the shapes in the initial image, creating the effect of a shift or spectral motion.
The work of Etienne Courtois clearly surpasses the dichotomy between figurative and representational art. The ambiguity in interpreting and understanding these interventions leads to completely new and surprising formal encounters between everyday objects in a whimsical, alienating atmosphere. Courtois’s work is marked by a distinctly free, singular and often witty approach that evokes the pictorial work of Walter Swennen or the sculptures of Koenraad Dedobbeleer."
Text by Emmanuel Lambion
Her work has been exhibited internationally at Red Hook Labs (NYC), Unseen Photo Fair (Amsterdam), Addis Foto Fest (Addis Ababa), the International Centre of Photography NYC) and at 1:54 Contemporary African Art Fair( London). Mann’s personal and commissioned work has been published internationally including The Guardian, The New Yorker, The New York Times Magazine, Artsy, British Vogue, The British Journal of Photography, and National Geographic.
Her award winning series ‘Drummies’ exploring female drum majorette teams in South Africa, has been selected as a winner of the Lensculture emerging photographer prize (2018), the PHMuseum Women’s ‘New Generation’ prize for an emerging photographer (2018). Four images from the series were awarded first place at the prestigious Taylor Wessing portraiture prize (2018). Mann was also the recipient of the Grand Prix at the 34th edition of the Hyeres International Festival of Fashion and Photography (2019).