After having displayed her work for the first time at Plat(t)form 2015, held at the Fotomuseum in Winterthur (Switzerland), she was asked to display her work on the occasion of the Fotopub Festival in Novo Mesto (Slovenia) and at Circulation(s) in Paris. In 2015, she was shortlisted for the Francesco Fabbri Prize for her work Lay Out. Over the last year and a half, she has concentrated exclusively on her own personal research, focusing on the creation of new series and projects. Se has been selected for Fotografia Europea 2017. Since 2016 she has been represented by Viasaterna.
Veronika Čechmánková is a Czech photographer and mixed-media artist based in Prague. She focuses primarily on the transformation of symbols and traditions over time, and their possible meanings in the present. Taking pieces of visual and cultural history, she examines their validity and possibilities in a contemporary context. Čechmánková studied at the Studio of Photography and New Media at FAMU – Film and TV School of the Academy of Performing Arts in Prague, Czechia. Her work has been exhibited in a range of institutions, including the Center for Contemporary Art FUTURA, Prague; Karlín Studios, Prague; Studio Vortex, Arles; and the BF Artist Film Festival, London.
Her works have been on exhibition widely in Finland and abroad. Her photobook won the Nordic Dummy Award 2013 –and was published by Kehrer Verlag with a title When the Sense of Belonging is Bound to a System of Movement in 2014. In 2014 Savolainen was a nominee of Fotofinlandia prize. She is also a founder of Maanantai-collective.
She is an artist who is not only interested in photographic work, but also the installations and the space are additional elements that enrich her projects. Her approaches are conceived from various perspectives through the handling of different objects and languages and works from photographic concepts by themselves, such the light, but she extrapolates it into a more abstract proposals, that why it makes her so interesting for us.
Time at work, this time which rushes, always too short, it is this which Csilla Klenyànszki addresses in her performative and photographic games. Of course, this artistic approach is accepted, being defined by a sum of constraints which might be resumed here as follows: the daily siesta of a child, the domestic setting imposed by this siesta, or thirty minutes for creation. Pillars of Home is a series of variations upon a single theme that is as dizzying as it is absurd. In thirty minutes flat, within this confined frame and with no more than plants, plastic beakers, a vacuum cleaner, table, chair, teapot and other utensils (with the inclusion of her own body, an object which she does not hesitate to contribute and contort), this artist provides ninety-six answers held in a fragile balance between the floor and the ceiling of her apartment. We are amused by one, stunned by another. Yet none of them impose a superiority as, more than just the form, it is the process and the accumulation of experiences which the photographer wishes to highlight: not the beauty of the sculpture nor the skill of its assembly, but the action of an artist who wishes to oppose time with a mischievous and vital fantasy. Ephemeral, yes, but certainly not trivial.
Bärbel Reinhard (b. 1977) is a German artist, teacher and curator based in Tuscany, Italy. After graduating in Art History, Sociology and Modern German Literature at Humboldt-University Berlin, she followed a three-year photography programme at Florence’s Fondazione Studio Marangoni. Her work has been exhibited in various shows in Italy and abroad, whilst her images have been published by the likes of Liberation, La Republica and Phroom. The main focus of Reinhard’s work lies in the characteristics and limits of photography as a time-space-tied medium. Moving between observational photography, mixed media installations, assemblages and collages with both her own and found material, she works primarily on long-term projects.
Instagram: thefoxisred
Website: www.baerbelreinhard.com
In 2022 she was shortlisted at Sony World Photography Awards, Open Competition: Portraiture. In 2023 she was shortlisted at Sony National & Regional Awards. She had collective exhibitions in: Romania, France and The United States. Maria is interested in documentary photography, remote places, youth, notion of home and the relation between humans and environment.
Laure has exhibited her work internationally in Berlin (DE), Reykjavik (IS), Brussels (BE), Paris (FR), and soon in Stockholm (SE), Luxembourg (LU), and Osaka (JP). Her work has entered the collection of several foundations, such as the Fondation des Arts du Luxembourg and the Palais de Liège (BE).
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.
Zellei studied Photography at the University of Kaposvár and received her MA in Photography at Moholy-Nagy University of Art and Design Budapest in 2017. In 2016 she studied as a visiting student at Hochschule für Künste Bremen. Besides Hungary, she was represented in exhibitions in Berlin, London, Vienna, Kanazawa, Breda, and Monopoli. Her works were published in several magazines, for example on the cover of HANT Magazine für Fotografie, in The Guardian, Spiegel Online, IMA Magazine (JP) and C41 Magazine (IT).
In 2020 she earned the 3-year scholarship of Hungarian Academy of Fine Art. In 2018 the artist was a New East Photo Prize finalist, a Prix Pictet nominee, and earned the Pécsi József Photography Grant. She won the third prize of Different Worlds competition in 2017.
Jéssica Pereira Gaspar is a Portuguese transdisciplinary artist, born in Coimbra in 1996. She began her academic journey in sciences and technologies, which profoundly influenced her methodology, research focus, and creative practice. She earned her Bachelor's degree in Visual Arts from Universidade Lusófona de Lisboa and her Master's degree in Visual Arts from Escola Superior de Artes e Design das Caldas da Rainha.Currently, she is pursuing a PhD in Science and Technology of the Arts at the Catholic University of Porto, where she is developing research on interfaces for interspecies communication and artistic co-creation with different organisms.Her practice centers on interactions with other-than-human entities and their dynamic agency, seeking to unravel the intricate relationships between living organisms and matter. By integrating multiple mediums such as image, video, sound, and organic materials as catalysts for immersive experiences, her work creates a space for reflection on the interconnectedness of all entities. In 2022, she was awarded a scholarship for an art residency at RAMA, where she developed the solo exhibition Spectacular Instability. She also participated in Zonas deTransição (2023), a project by the PLMJ Foundation, showcasing Transmutations II, a piece later included in the foundation's collection. Her work has been featured in group exhibitions such as A Certain Practice of Attention (2023) and the XXII Biennial of Cerveira (2022). In 2024, her work was included in the Portuguese Emerging Art book, the Millennium BCP Young Art Award from which she was awarded the Portuguese Serigraphy Center Award.In 2025, she was one of the five artists to be selected to represent Porto and Ci.clo Platform in Futures Photography Festival of 2025.
Nazanin Raissi (b. 1981, Tehran) is a Swedish-Iranian artist and clinical psychologist based in Sweden. Centred on the medium of photography, her work ranges from site-specific installations to video animation and sculpture. Her research-based artistic practice explores themes of memory, loss, and displacement.
Léonie Pondevie's photographic form is composite, arranged by the aggregation of clues: contemporary shots, collected archive images and shared personal documents sit side by side on the wall like evidence of an ongoing investigation into complex and evolving realities. In Un point bleu pâle, Léonie Pondevie contemplates the sky and observes the weather. In the same way that her father would obsessively record rainfall levels and temperatures in small notebooks, she assembles particle images, waiting to be analysed. She subjects these images to a kind of poetic decantation: her father's notebooks and his measurements from another age, archive images of the village where he was born, press cuttings from the 1970s, the clouds in front of us at sea, a hand caressing an antediluvian granite and raindrops on the hood of a relative. The stratospheric and the extremely close, immensity and intimacy, impassive geological time and climatic urgency, it's all there, under the same sky. Placing her observation post at the heart of her family history, Léonie Pondevie eludes the Manichean demonstration: the photographic project, though wide-ranging, does not claim to elucidate anything, but sets itself up as a humble hypothesis. What Un point bleu pâle portrays is the act of human experience; not the thing, the climate, but the ways in which we take it into consideration, from the observer who guesses at its insignificance and modestly records the life of the clouds in little notebooks to the way they are boxed up by geo-engineers, neo-demiurges. From these decanted images, the reflection of a distant land, with which we have lost contact, rises. The simultaneous and paradoxical measure of our insignificance and ourpower to cause harm.
Léonie Pondevie (1996) graduated from the École européenne supérieure d'art de Bretagne in Lorient in 2020. She is a member of the Collectif Nouveau Document and is based in Lorient.
In 2020 Erien Withouck’s fascination for overlooked figures and myths led her to the Shetland Isles. Several islanders told her of the mythical “Selkie”, a hybrid creature which has the ability to remove its seal skin and take on human form. On Midsummer’s eve, a female Selkie emerges from a foaming sea and sheds her seal skin. A man sees her on the shore: he carelessly steals her skin and makes her his wife. Always longing for the ocean, the Selkie prefers the freedom as a seal to her expected role as a good mother and housewife, she eventually reclaims her skin and returns to her former home.
This myth is the sort of transient tale that chimes with Withouck’s aesthetic and sensibility. The antagonism between the fleeting nature of oral history and the desire to capture things permanently on film raises an important question: what do we wish to remember, and what would we rather forget? A literal reconstruction of the past is neither useful nor appropriate. The camera offers the chance to play, to intersect the paths of history and imagination.
Her photographs illuminate the traces of these unknown figures and mythical creatures which escaped the pages of history books, subtly capturing the unwritten habits, routines and cultures that still slumber on in remote communities. In scenes that beautifully evoke the fisherman’s world of pounding waves and craggy cliffs, the sea – with its continuous ebb and flow between eternity and fluidity – is clearly the protagonist. This ambiguity is exposed in the imagery of Erien Withouck.
- Text by Dagmar Dirkx (.tiff)
Visual artist, performer, author of installations and video art. PhD fellow at the Jan Matejko Academy of Fine Arts in Cracow. Resident at the International Studio and Curatorial Program in New York City in 2023. MFA graduate of the Studio of Spatial Activities of prof. Mirosław Bałka at the Academy of Fine Arts in Warsaw (2020). Also studied at the Gerrit Rietveld Academie (2010-11) in Amsterdam and during an internship at the Studio of Performance at FaVU VUT in Brno led by Julie Béna and Jakub Jansa (2021). Received the Europe Beyond Access award granted by Zachęta National Gallery of Art in Warsaw and British Council in 2021 and the Grand Prix at the 10th Biennale of Young Art Rybie Oko (Baltic Gallery of Contemporary Art in Słupsk, 2022). Presented her works and performances at, among others, Museum of Modern Art in Warsaw (2023), Kunsthalle Bratislava (2022), Galeria Miejska Arsenał in Poznań (2022), Zachęta National Gallery of Art in Warsaw (2021), Sto Lat Gallery in New York (2021).
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.
In 2016 she published her first photo book, eden, thanks to the Fiebre Dummy Award. Since 2010 she lives in Madrid, alternating her work as a photographer with her personal projects.
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.
Julia Klewaniec (1996) photographer and culture animator. A graduate of Photography in Film School in Łódź. She is a co-creator of the Picture Doc Foundation with a group of photographers (Duży Pokój Gallery) in Warsaw. Resident in the student section of the "W ramach Sopotu" festival in Poland (2022). Chosen by Fotofestiwal in Łódź for Futures Talents 2022. Talent of the Year 2022 in the Pix.House competition. Her debut project "Silent Racism" was presented among others in Warsaw, Opole, Łódź, Turin, Braga, Bochnia, Copenhagen. At the end of 2022, together with Pix.House and Krzysiek Orłowski, she published the zine "Silent Racism". She is interested in statements about contemporary society, life and relations between people, language and the environment.
http://klewaniec.pl/@klewaniec
Visvaldas Morkevicius (b. 1990) is a Lithuanian artist s a Lithuanian artist working in the expanded field of the image, who explores photography and its boundaries through personal experiences and reflections on society. His work navigates themes of identity, technology, and power, blending minimalism with layered narratives to examine modern life’s emotional and psychological dimensions.At this moment, he is pursuing his MA diploma in Photography at EACL, Switzerland (2025).Visvaldas works reflect a deep engagement with contemporary life's emotional and psychological dimensions, examining how hyperconnectivity, media saturation, and systemic forces shape human perception, memory, and agency. The artist's approach is both critical and reflective. He uses photography and interdisciplinary media to explore themes of loss, disconnection, and resilience, juxtaposing personal experience with broader societal dynamics. His art often reveals the tension between intimacy and detachment, questioning how technology mediates relationships, reframes violence, and commodifies identity. Visvaldas draws from psychoanalysisand critical theory to investigate the cycles of desire, control, and addiction embedded in modern systems.He is particularly interested in how these systems exploit human vulnerability, trapping individuals in loops of consumption and obedience. Through his practice, he challenges viewers to confront the fragile balance between autonomy and control, reality and hyperreality.His work combines stark minimalism with layered narratives, creating immersive experiences that invite reflection on contemporary life's emotional and ethical implications. Visvaldas seeks to uncover hidden connections, offering a lens through which to question the forces that shape our lives while exploring the human desire for meaning, connection, and self-expression.Represented by Galerie Elisabeth & Reinhard Hauff
In her work she explores the boundary between truth and fiction. Using reality as a starting point, her image-making anchors the subject matter in her own personal perspective. Depicted themes include technology, internet culture, sexuality and identity. Alongside her practice she has initiated and developed short-films, exhibitions and a film festival. She is the co-founder of the independent film festival Cinema Underexposed - a The Hague based platform aimed for new voices and perspectives.
After graduating from The Royal Academy of Art in The Hague, she is now attending the master program at the Norwegian Film Academy in Oslo. In 2020 she attended the Canon Student Development Programme at Visa Pour l’Image. Her work has been shown at Eye filmmuseum and Stedelijk Museum in Amsterdam. San Mei Gallery in London, Grimstad short film festival in Norway, gallery CK13 in Serbia and cultural platform Page Not found in The Hague, among others. She has been published in Morgenbladet, Aftenposten and Zweikommasieben magazine.