Florian Amoser (1990), lives and works in Olten. Florian graduated in 2017 with honors from ECAL in photography. He also holds a bachelor’s degree in architecture from ETH Zurich (2011). After working for the last five years in the BA and MA Photography at ECAL as well as conducting the research project Automated Photography (with Milo Keller, Claus Gunti), he is now focussing on his personal artistic practice. Florian is also part of the curation team of annual young art show JKON / Junge Kunst Olten. Florian Amoser’s works explore the different aspects of human perception. Since photography’s invention, human beings use it as an instrument to expand the limits of their observational capacity. Consequently, the technological development of the photographic apparatus has a significant influence on our perception. Florian Amoser builds his own original tools for his artistic works, which make new photographic images possible. His photographs bear witness to a material dissolution of the environment in which the view of physical reality is strongly influenced by experiences in digital space.
Andreea Harabagiu was born in Bacău, Romania, where she presently lives. Having studied graphics at The University of Arts and Design in Cluj-Napoca, she currently works as a graphic designer. Passionate about documentary photography, she is on a path to pursue this career.
andreeaharabagiu94@yahoo.com
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.
Gonçalo C. Silva (b. 1997) lives and works in Lisbon, Portugal. He has studied at both the Faculty of Fine-Arts in Lisbon and at Atelier de Lisboa, and is currently pursuing an MA at the Faculty of Social Sciences and Humanities from NOVA University of Lisbon. In his work, which applies an artistic approach to photography, Silva addresses themes related to the representation of the landscape, and to the relationship between humans and nature. In his projects, the interconnection of images from different contexts creates new meanings and narratives with a strong symbolic character, related to the artist’s personal experiences.
Over time he acquired his own language, nourished by his own experience and the realization of several master classes with different photographers such as Antonio Heredia, Manu Brabo, Antoine d'Agata and Crisitna García Rodero.
Currently, he is dedicated to the realization of long-term photographic works related to social and human taboos.
I currently live in Paris, and I'm finishing my last year of a double master's degree at La Cambre Bruxelles and Ecole d'art de Cergy. It was music and black life that brought me to different environments and countries in 2021, like Chicago, where I worked with local communities for four months. There have been several venues where I have presented my work, including Treize in 2021 and Cherish in 2022. Earlier this year, I self-published a book of photos and texts, "2 strong for 2 long".
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.
Andrei Budescu has been fascinated by cameras and photography since he was a young boy. Over the last 10 years he has been experimenting with different photographic processes (Polaroid, Wet Plate Collodion) and different cameras (4x5, 5x7, 8x10 cameras). Andrei uses different cameras for his processes and recently he started refurbishing a mammoth camera for his Wet Plate Collodion Process which will be added to his collection.
Duchateau is an artist who mainly works with photography. By applying a wide variety of contemporary strategies. His photos are an investigation into representations of (seemingly) concrete ages. By studying sign processes, signification and communication, he makes work that generates diverse meanings, associations and meanings collide. Space becomes time and language becomes image.
His works are characterised by the use of everyday events in an atmosphere of middleclass mentality in which recognition plays an important role.
By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he plays with the idea of the mortality of an artwork confronted with the power of a transitory appearance, which is, by being restricted in time, much more intense. His works question the conditions of appearance of an image in the context of contemporary visual culture in which images, representations and ideas normally function. He makes work that deals with the documentation of events and the question of how they can be presented.Lars Duchateau currently lives and works in Hasselt and Ghent.
Wathne studied Visual Arts at the Trondheim Academy of Fine Art and Photography at the Norwegian School of Photography.
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)
Something flows, slowly, perhaps a syrup, yet nothing saccharin arises out of Sanna Lehto’s image, but rather a bittersweet background which rests tranquilly. At the heart of this muffled world, beneath a dome, a small flower has traded its innocence in order to come and pass away on the surface of faces, the fluid has abandoned its lightness and its movement in order to gain in weight. Air is rare in Sanna Lehto’s photographic world. The image sometimes blushes, at other times it pales: the chromatic palette varies from crimson red to pink, as if these faces encapsulated between the glass lens and the sensor were breathing gently. A sort of photographic herbarium, that is what she seems to evoke through these portraits and still lifes. The creative process is not that dissimilar: during her summertime walks she gathers and picks, flowers gleaned from the Finnish countryside; sometimes she buys them, guided by a vision of a coloured harmony rather than through any symbolism. Often, she dries them and awaits for a suitable visual frame in order to place them in the photographic field. We may imagine her, back in her studio, patiently pinning these specimens one by one, according to the fortunes of encounters and visual stimuli.
Helcel received an honorable mention in the European art thesis competition START POINT Prize 2020. He is a co-founder and active member of the theatre group Akolektiv Helmut.
Nolwenn Brod is a French artist based in Paris. She has studied humanities and social sciences, and trained in photography in London and at the Ecole des Gobelins in Paris. She is a member of the Vu Agency and represented by the eponymous gallery in Paris since 2016.
She develops her projects most often in the context of creative residencies in France and Europe where she mixes photography and video; and responds to commissions for the press and institutions. Her works are regularly exhibited in France and Europe and are included in the collections of the Bnf (French National Library), the Cnap, the Nicéphore Niépce Museum, the Museum of Brittany, the Villa Noailles, the Agnès b. collection, the Neuflize OBC Foundation, art libraries and private collections.
Her first book was published by Poursuite Editions in 2015, the second is in preparation.
A self-taught photographer, he has built his creative practice by travelling around Kazakhstan and shooting uncanny, unpredictable vistas.
In 2013 his project “A3_Sa-Rc” is shortlisted for the architekturbild - European Prize for Architectural photography - (DAM, German museum of Architecture, Frankfurt ). Selected exhibitions: Museum of Estonian Architecture, KazimKuba, Kassel (2014); Vhs photogalerie, Stuttgart; International tag der Architektur, Vilnius; DAM, German Museum of Architecture, Frankfurt, GER (2013).
In 2014 the first version of his book project “Dahiye” is shortlisted for the fotobookfestival dummy award (Kassel, Germany). Selected exhibitions: Athens Photo Festival, The Photobook Museum, Cologne; PhotoIreland, Dublin, MIA Image Art Fair, Milan; Fotogaleriet, Oslo; Le Bal, Paris; Fotoleggendo, Rome (2014). In the same year Armando Perna joins the “Third Island Ag ’64 ’94 ’14” a research project dedicated to the promotion of an interdisciplinary and historical reflection on large-scale infrastructures in Italy curated by Antonio Ottomanelli. In this frame he presents “A3_Sa-Rc”, his work on the Southern Italy A3 Sa-Rc highway. “The Third Island” is published in 2016 by Planar books, and exposed at the Triennale Museum in Milan and at Palazzo Poli in Rome.
In 2017 his work on Dahiye and Shatila is presented at Pino Pascali Museum of Polignano a Mare (BA).
Ebbesen works with reflections to create surreal effects in her work: "In my work, I aim to play with the sense of reality that we relate to the photograph by distorting the objects and space within the picture frame. With these effects, I aim to surprise and confuse and leave one with the question of what is real." Conceptually her works often deal with identity and the subconscious self affected by and interrelated with the surrounding world.