Katerina is an artist based in Athens. She leads a lens-based practice that explores the relationship between space and narratives through long-term research projects. An exploration that expanded and developed during her decade long scenography practice, and evolved into incorporating a different medium. Her work often utilizespublic oral archives, fragmented narratives and the spaces they inhabit to retell stories that have been silenced or misrepresented.Her first monograph, “The Fumes of Mars” will be published by GOST Books in the Summer of 2025. This work has won The Format Reviewers Choice Award 2022, was featured in the printed and online issue of the British Journal for Photography (BJP) that was presented in Paris Photo ‘21, was selected and featured for the COCA Project 2021, was shortlisted for the Belfast Dummy Award and Festival ’22, and was exhibited at LCC in London as part of the “Common Ground” Exhibition.She holds a BSc in Mathematics & Theoretical Physics from Imperial College London, a BA in Design for Performce from Central Saint Martin’s and a MA with Distinction in Photojournalism & Documentary Photography from LCC.
Kata Geibl (1989, Budapest) is a photographer living and working in The Hague. Her work is mainly focused on global issues, capitalism, the Anthropocene, and the ambiguities of the photographic medium.
She is currently working on her new series titled There is Nothing New Under the Sun. The series deals with the rampant individualism that underpins our contemporary social, political, and economic system, and in particular, the environmental impact that it has. By juxtaposing the melting glaciers of Dachstein, animals under human control, almost Greek god-like athletes a narrative of our new age unfolds through the images.
Her previous work entitled Sisyphus received international attention, was exhibited at UNSEEN Amsterdam which was followed by her first solo show in Budapest. She received the emerging talent Paris Photo Carte Blanche Award for the series and in the same year she was nominated for Palm* Photo Prize.
In 2019, she received the József Pécsi Photography Scholarship and was a talent for Futures Platform nominated by Capa Center Budapest.
In 2020 she is a Grand Prix Finalist at Fotofestiwal Lodz, won the PHmuseum Vogue Italia Prize and is shortlisted for Palm* Photo Prize.
More: www.katageibl.com
Just as much a physical experience which disturbs the tranquil surface of the photograph as a workshop narrative with a documentary character, Laetitia Bica’s series Cream, cannot be confined to a single genre. Following two years of collaborations with the CREAHM workshop in Liège (Creativity and Mental handicap), she undertook two months of intense research with the workshop’s artists, the result of which is this corpus of disruptive and vibrant photographs. Collaboration, a creative process which is a daily part of this photographer’s life as she typically works on commission in the areas of fashion, music, and design, in these photographs is transmitted through the body. Gestures, colours and materials become elements of language during their creative exchanges. Thus unfolds a series of figures covered in paint with thick and bold features and accents that are at times wild, at times warlike. A few of the images, placed in a sequence, follow an artist’s movement, rendering the in progress nature of this experiment and indicating Laetitia Bica’s double position on what takes on the appearance of almost ritualistic practices: at the same time actor and master of ceremonies.
The current project Systems of Order examines the hidden relationship between fear and joy - something that is deeply embedded within the Russian condition. The first part of the project focuses on the drag community in Novosibirsk, Russia. In joy, there is a darker reality and often the truth must be hidden in this world and “joy” can only be expressed through beauty - one has to place him/herself within the system.This, in a lot of cases, is based on oppression and boundaries. The theme of oppression vs. exhibition is constantly present in those systems of order. Joy becomes a form of repression in itself, there are moments of freedom in the constructed safe space, but they can only be obtained and permitted behind the masks of beauty and entertainment.
Beauty within a Russian context allows for certain freedoms from the norm. You must fit in the central mass of these systems unless you have power, money or beauty. In this way, beauty can become your safety net. In the country, unsure of its own reality and fearful to discover the boundaries, many struggle to be themselves in the current dystopian hybrid.
At the heart of a grey spectre, from moonlight to basalt, from transparency to deep obscurity, bodies, all female, reveal their plasticity. Forget lascivious poses, postpone conventional attitudes or a complacent light: this is not her subject. Pascale Arnaud disturbs appearances, because in this age which she wishes to depict, defined implicitly between the ages of adolescence and adulthood, there is little room for clear lines and distinguishable outlines. She thus undertakes an exploration which is properly photographic, it is in the matter of the image itself that she sets about translating the reality of this age of becoming and emergence. No clue of the subject’s identity exudes from this grey envelope. The young girls are symbolic figures, caryatides of silver salts which brandish their desires. Tight compositions upon fragmented bodies, contorted poses and unmasked faces: this photographic manner brings to light, from these grey zones, the strength and the vulnerability at play, at a time when an individual enters alone into the world to find its foundation. A colossus with clay feet is seen from a low angle, reminding us of all of the ambivalence and uncertainty due at a time of great expectations.
'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.
Georgiana Feidi, currently based in Cluj-Napoca, Romania, is a visual artist whoachieved her photo video MA's degree from the University of Art and Design in Cluj-Napoca in 2020. In her artistic approach, she uses both digital and analog tools, including post-processing and the hands-on exploration of darkroom and alternative photography techniques. In her artistic endeavors, Georgiana explores themes inspired by the mysteries of the universe, nature, personal insights and experiences. Her works reflect a journey into unexplored territories, creating visual narratives that transcend conventional boundaries of thought. Over the years, she has presented her work in solo exhibitions nationally, and participated in group shows across Romania and internationally, including cities like Dortmund, Melbourne, New York, and Rome. Her work has also been featured in various online publications both nationally and internationally.
Sebastián has used different disciplines such as photography, writing, sound and video to explore a variety of topics related to fiction, poetic strategies and landscape.
He also has published two books of literary fiction. The first, Tartamudo, published in Colombia, addresses the issue of stuttering from a choppy and fractionated writing. The second, The Secret Sound of the Stars, published in Mexico, is a children's book that tells the story of a kid who doesn´t sound at all.
On the other hand, Sebastián has been a professor of photography and art processes in Colombia and México.
He lives and works in Madrid, Spain.
He deals with social issues and the people‘s connection to history and their surroundings. With his photo-essays he wants to raise questions that follow the viewer and contribute to an examination of the topics and thus to a better mutual understanding.
He was awarded for PDN Student Contest, World Report Award, PDN Emerging Photographer and was nominated for the W. Eugene Smith Student Grant. In 2019 he was selected for the screenings at Visa Pour l’Image. His work was featured in Neue Zürcher Zeitung, FAZ Woche, Tortoise Media and others.
He is a founding member of DOCKS, a collective of five documentary photographers who act upon shared humanistic values.
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.
Prins de Vos (1991, Raamsdonk) is a Dutch photographer living in Amsterdam. In 2013, Prins graduated with a Bachelor Design from the Academy of Popculture (Leeuwarden). Their work touches on themes such as intimacy, sexuality and gender. Prins' first photo book Enclose (2013) was launched in photography museum Foam, and included a poetic introduction, written by Dutch author Arthur Japin. In 2022, Prins published their second photo book BOYS DO CRY, about Levi, who is an artist, poet and trans man.
Claudiu Guraliuc (b.1977) is a fine art photographer and educator based in Cluj, Romania. His work specialises in fine art portraiture and nudes, inspired by the aesthetics of Old Master paintings from the Baroque period. Guraliuc holds a Licentiate from the Royal Photographic Society of Great Britain, and has achieved numerous international accolades for his work; in January 2022, he received the International Master Photographer of the Year Award. His images have been published by a range of international photography magazines, and his work is found in both private and public collections in Europe, Asia and the United States. Guraliuc is represented by Katsea Art Gallery, Baltimore, and Influx Gallery, London.
The addictive force of the internet is real, and no one knows this better than Aurélie Bayad. In a post-internet world, where IRL increasingly merges with URL, new possibilities of being are creeping into our daily lives. In her versatile art practice, Bayad uses video, photography and performance to confront us with the messy, dirty thoughts and desires of our hyperreal (what is real?), cultivated identities, as we try to live up to the new rules and standards set by the digital sphere of fake likes and dark web eroticism. Bayad uses her camera, her own and other bodies, and texts she wrote to create a fresh aesthetic language for the new desires of contemporary culture. In slimy and gooey, ugly and disgusting, cheap and glittery settings, we watch her unfold the personae of her filmed and photographed subjects. She hides her models behind the soft, nostalgic hues of the kitschy eighties and nineties; includes erratic and ecstatic sequences in her films, with heart-pounding soundtracks; and fearlessly looks back into the lens, as if asking us: ‘What is your real personality? What is real beauty? What is your true desire, your fetish? Who do you want me to see?’ With her otherworldly beauty standards, her visceral and vomitous but lively encounters with food and other quotidian objects, and her frank interrogations of intimacy, giving and receiving, love and abuse — so pertinent that they can make you tremble with self-doubt — Aurélie Bayad shares with us her search for personal grounding in this confusing, networked world.
- Text by Zeynep Kubat (.tiff)
Jan Kazimierz Barnaś – born in Sandomierz on September 12, 1991; currently permanently connected with Lodz. Student at the Faculty of Visual Arts of the Academy of Fine Arts in lodz in the specialty of Photography and Multimedia. In his works, he often takes up the subject of the destruction of the image, his main interest is film and video art. As the FILMMAKER on his account, he has several etudes, video-arts, animations, music videos and feature films.
Wojciech Kamerys – born in 1994, student of the faculty of Photography and Multimedia Communication at the Academy of Fine Arts in lodz. Practice based on photography, combined with other media. Participant of several exhibition in Lodz, Gdynia and Bydgoszcz. Cooperation with Academy of Music in Lodz, and The National Film, Television and Theatre School of Lodz and MS1 in Lodz. Theme of works based in relation between human and architecture, funcion of light and shadow in a classic silver photography.
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.
Hiep Duong Chi (b. 1996), who holds a BA from the Institute of Creative Photography in Opava, was born in Děčín, Czechia. Photography formed part of his life from the very beginning; his grandfather ran a photography studio in Vinh, Vietnam, where his mother took photographs before she moved to the Czech Republic in the 1990s. His own work began along the lines of classic documentary photography, exploring notions of family, the Vietnamese community, or following events that caught his attention. During the pandemic, the artist instead began arranging, staging and creating still-lifes and portraits. In this new work, he touches on the realities of life as a second-generation Vietnamese immigrant – That time I wished I was a white butterfly combines references to traditional customs with his own inner feelings.