After graduating with a BA in geography and communications, she started studying photojournalism at the Danish School of Media and Journalism (DMJX). She has worked at the Danish daily, Dagbladet Politiken and studied abroad at The Royal Academy of Art in The Hague (KABK). In January 2020 she graduated and is now working freelance and on personal projects.
Nanna is a Canon ambassador and member of Women Photograph. In 2020 she was nominated for the Joop Swart Masterclass held by World Press Photo, and for The 6x6 Global Talent Program in 2019. In 2017 she attended the Canon Student Development Programme at Visa Pour l’Image. Her work has been published in NPR, PHmuseum, Politiken, Information among others and she has won several prizes at CPOY, Danish Picture of The Year and others.
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).
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).
Her work was exhibited internationally in personal and collective shows and since 2019 she teaches at the Master IUAV in Photography.
In 2018 she was awarded with the Giovane Fotografia Italiana Award at Fotografia Europea (Reggio Emilia) and Lesley A. Martin awarded her dummy ‘Are They Rocks or Clouds?’ with the Cortona On The Move Dummy Award. Thanks to these awards and the collaboration with Hans Gremmen and Taco Hidde Bakker in 2019 the photobook was published by Fw:Books. The photobook was awarded with the 2020 Bastianelli Award for the best italian photobook.
In 2019 she was commissioned by MUFOCO and the Italian Ministry of Culture of a project about italian architectural heritage and later, by the National Mountain Museum, of a new project based on their archives.
Caneve’s work is now part of private and public collections.
She is co-founder of CALAMITA/À, a multidisciplinary platform exploring the attractive nature of catastrophes in society and in the environment.
The work of Thomas Nolf examines the ways in which national myths are formed, instrumentalised and frequently suppressed. Confounding fiction and documentary, fabled event and scientific enigma, his work looks into how nation-building ideology influences modes of storytelling, and vice versa. Nolf handles his subjects with a close appreciation of narrative and its ambiguous relationship with veracity and considers the ways in which heritage and eroded beliefs can be re-established and repurposed.
For his long-term project Peculiar Artefacts in Bosnia and Herzegovina - an imaginary exhibition, for example, Nolf’s point of departure was the so-called “Bosnian pyramids” and other disputed historical sites and artefacts, including stone spheres and medieval monuments. Juxtaposing his own documentary work with kitschy acrylic paintings of dream-like, bucolic landscapes and an assortment of found photographic footage —including shots of a triangular mountain looming over a scenic village and a shepherd carrying a sheep on his back — Nolf keeps adding elements to our already confused reading of the phenomenon, its emergence and reception. By doing so, he revives the public controversy over the existence of an ancient civilisation in the region.
Drawing on the mythological dimension of the triangle-shaped hills, Nolf proposed an exhibition that would exploit the stories and objects surrounding the “Bosnian pyramids” to the National Museum of Bosnia and Herzegovina, which, in 2012, had temporarily closed its doors due to a lack of state funds. If myths and legends have proven to be valuable assets in branding a particular place as a unique tourist experience, its effectiveness in generating local informal economies might as well be explored.
Even if Nolf’s project-based practice is driven by a pragmatic desire to formulate alternatives to the status quo, he poetically engages with particular sites and times, carefully tending to a range of subjects — from the promise of a desirable ancient past to the current funding realities devastating cultural institutions in post-war Bosnia-Herzegovina — while, at the same time commenting on photography's rhetorical qualities and its — at times deceptive — relationship to representation and truth-telling.
Text by Laura Herman
Ihar Hancharuk (b. 1986) is post-documentary photographer and visual artist from Belarus. With a background in foreign languages, his creative work makes use of photographic and digital archives, including video footage. Haranchuk’s projects refer to questions of national and personal identity, collective memory, and the influence of mass media on contemporary life; he also addresses the patriarchal violence to which he was exposed during a period of mandatory military service, concluded in 2010. Among others, his works have been exhibited at Krakow Photomonth, Poland; National Center for Contemporary Arts, Belarus; and Circulation(s) Festival, France.
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).
To make a photograph, you need a specific apparatus. The most obvious would be a camera. Nevertheless, it would be a mistake to consider the camera as a mere tool that works strictly according to the intentions and desires of the photographer. Nobody, not even the operator, knows exactly what is going on inside the box after the button has been pressed. This question seems to haunt the work of Calixte Poncelet. Instead of aiming his camera at the world, he scrutinizes the photographic recording device itself. In Useless Gesture, GX680, a series of 90 images, he slowly moves around a camera, capturing it from all sides as though it were a treacherous thing that needs to be closely observed. Offscreen Interaction, GX680, is a photograph of one camera observing another one: the watcher being watched. But a third camera is also present, the one that took the picture we’re looking at now, acting as the silent observer of the two other cameras. Throughout these and other works, the camera appears as a wild, ferocious animal, as the prowling predatory system that Vilèm Flusser conjures up in his book Towards a Philosophy of Photography. Mimicry, a 9-minute-long video, reinforces this idea of the camera as hunter. As we stand in front of it, we look straight through the lens into its entrails. Now and then, the shutter is released, creating a bright red circle of light. The camera is transformed into an eerie Hal 9000 (2001: A Space Odyssey) lookalike. Like that computer gone rogue, the camera tells us that we humans have no business here.
Text by Eveline Vanfraussen
Felipe Romero Beltrán (B.1992. Bogotá, Colombia) is a Colombian photographer based in Madrid, Spain. In 2010, He earned a scholarship in Argentina and moved to Buenos Aires to study Photography. By that time, he had developed an interest in documentary photography and traveled many times abroad for his projects. Years later, in 2016, he moved to Madrid, Spain. He got a MFA degree in photography.
Felipe focuses on social issues, dealing with the tension that new narratives introduce in the field of documentary photography. At the same time, He is currently preparing a Phd dissertation on documentary photography at Complutense University of Madrid. His practice, characterized by its interest on social matters, is the result of long-term projects accompanied by extensive research on the subject.
A common thread throughout his practice is an interest in the metaphorical potential of photographs. His project, ‘John’s Notebooks’ (2020-2021), pulls on the symbolism present with the landscape of the home to touch on the emotions and memories connected to the childhood loss of his father. Whereas his most recent work ‘Murmurations’ (2020-21), employs the starling murmuration as a symbol to reflect on the current global crisis and the act of coming together and converging as a group.
Barraclough is a recent graduate of the MA Photography programme at Bristol UWE and is due to exhibit his master’s project, ‘John’s Notebooks’, at the 2021 Bristol Photo Festival.
Spiros Zervoudakis was born in Athens. He studied Mathematics in Aristotle University of Thessaloniki , continued with Post Graduate studies (Msc) in Applied Mathematics in Technical University of Crete and Philosophy of Mathematics in National University of Athens.
His interest in Photography started when he attended classes on the medium in the Photographic Group of the Aristotle University of Thessaloniki and continued by attending seminars and workshops. He has presented his work in individual and group Exhibitions both in Greece and abroad and his works have been awarded prizes in National and International Competitions. His works are exhibited in the “Benaki Museum”, in the Benetton Foundation’s collection, in Thessaloniki Museum of Photography (MOMus), in the Municipal Gallery of Chania, in “Contemporary Art Museum – Olivepress” as well as in many private collections in Greece and abroad. He lives, works and creates in the city of Chania, Crete.
http://zervoudakis.eu/