Irene Fenara (b.1990) is an Italian artist. Her research focuses on the way of seeing and practicing observation on images. She reflects on linguistic devices and she use optical and electronic instruments of various kinds, from Polaroid to surveillance cameras, often in an improper manner and transgressing their basic function. It becomes an instrument for observing the world, in the search for a slight poetic sense. The act of vision is the central element of her work that declines in her latest research on optical devices, often used as instruments of control, bringing attention to the always reversible overturning between who observes and who is observed. Her work has been exhibited in art galleries and public institutions, such as Fondazione Prada Osservatorio (2016), Fondazione Fotografia Modena (2017), P420 (2017), MAMbo - Museo d'Arte Moderna di Bologna (2018), Palazzo delle Esposizioni (2018), Fondazione Francesco Fabbri (2018) e Kunst Merano Arte (2019). She is one of the fifth finalists in ING Unseen Talent Award 2019.
https://www.irenefenara.com/
Exploring the boundaries between sculpture and photography, Vincent likes to gets his hands dirty. Among all the wood cut and the nail hammered, what he likes the most is to make you scratch your head. Let’s face it; we all get bored on the internet. Remember those magic hours spent playing with a woodstick when you were just a kids? Vincent is calling that up.
Can we consider photography as a tool for extended cognition? Krystyna examines this issue in her earlier work, which also explores the interaction between people and space, and provides insight into the different areas of perception with the tools of photography. While studying the human cognitive function, she takes steps to get to know herself. Krystyna sees photography as a reconnaissance tool. For getting acquainted with the unknown areas, she stretches the possibilities of the medium and experiments with frontier topics.
At first, through personal topics, she outlined herself with photography, and later on, the characteristics of the medium and its relation to human and reality began to interest her. She explores the subject of her current interest in details, in many different methods, experimenting with various media to understand the topic as a whole picture. At the moment, she is interested in the directed viewpoint created with images and the features of image reading.
She was represented in several national and international exhibitions. From 2016, she is a member of the Studio of Young Photographers. In 2017 she was awarded the Photography Scholarship by The Association of Hungarian Photographers. From 2018 she is a member of The Studio of Young Artists’ Association. In 2019 she won the Budapest Portfolio Review and she is part of the Futures Photography platform.
Anna Aicher (b. 1993) is a documentary and portrait photographer from Germany. After studying photography in Berlin, she became a team member at Salzburg’s Gallery Fotohof in 2018. She is currently following a Masterclass at Ostkreuzschule, Berlin. Exploring traces of old traditions and rituals in contemporary society, most of Aicher’s projects have an auto-biographical dimension. She travels constantly between the city and the countryside, turning up stories nestled in distinct communities. Besides her personal projects, Aicher regularly works on assignments for various newspapers and magazines.
Website: www.anna-aicher.com
The daughter of Chinese emigrants living in Canada, Teresa Eng had an imaginary and fantastical vision of China, until she decided to visit the country. The degree of difference between the Chinese dream that she had constructed and the reality of a country undergoing a frantic development, might have resulted in a documentary which would not have spared us the excessive nature of contemporary China. On the contrary, Teresa Eng, chose to avoid the obviousness of a documentary and the stylistic clarity this entails. Her China seems to evolve beneath a hazy veil. The here and now are erased, the signs of urban frenzy – abundantly illustrated in contemporary photography – are eluded, potentially treated as asides. An infinite head of hair confronts audaciously the curves of a modern architecture: Teresa Eng treads softly, turning her back on the injunctions of a modern China. Which, out of a rock standing in its ceramic pot, or a concrete pillar erected in the water, merits our attention? Teresa Eng’s China seems to navigate between the riverbanks of a capitalist progressionism (China Dream, the title of the series, is also a popular slogan for president Xi Jiping, which in turn refers to the American Dream) and that of an orientalist romantic nostalgia.
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.
Olgaç has most recently been featured in British Journal of Photography's "Ones to Watch" photographers of 2019, and Aperture’s "Element of Style" issue, that investigates the role of style, dress, and beauty in the formation of individual identity. His work has also been published such as M Le Monde, New York Times Style Magazine, Dazed, Dust, Replica.
https://www.olgacbozalp.co.uk/
Balázs Turós (b. 1990) studied at the Department of Photography at Budapest’s Moholy-Nagy University of Art and Design. After finishing his BA, Turós moved to England, where he was introduced to FotoNow – a media-based social enterprise in Plymouth, with whom he worked for two years. Having returned to Budapest, he pursued a Master of Photography course at Moholy-Nagy University of Art and Design. Turós was awarded the József Pécsi Fellowship in 2018, 2019 and 2020. In 2021, he participated in the Fellowship of the Robert Capa Photography Grand Prize. The following year, his works featured in the Open Program of Fotofestiwal Lodz, Poland.
Wbsite: balazsturos.com
Instagram: balazs_turos
Daria is a lens-based artist currently living and working between Kyiv and Paris. Originally from Odesa, Ukraine, Daria came to France to pursue an M.A. in Photography & Video at École Nationale Supérieure des Arts Décoratifs of Paris, graduating in 2023.In her artistic practice, Daria explores the connections between past and present, focusing primarily on the youth and cultural, social and political contexts in which young people live.Her work was exhibited across Europe and the U.S., including La Villette (Paris), Open Eye Gallery (Liverpool), Hangar (Brussels), Mystetskiy Arsenal (Kyiv), The Gallery at Dobbin Mews (New York). Daria is a finalist of the 39th Hyères festival (2024), Palm* Phot Prize (2022) and a recipient of Beyond the silence grant by Magnum Photos & Odesa Photo Days (2024), as well as a grant for contemporary documentary photography from CNAP.
In 2020 she won the photography scholarship of the Association of Hungarian Photographers. In the same year she was among the winners of Carte Blanche Students, a scholarship founded by Paris Photo, the world's greatest photo art fair. The works of the four winners were exhibited at the Parisian Gare du Nord. Her diploma series, entitled "Three Colours I Know in This World," was chosen for the 10 New Talent 2020 programme by the curators of BredaPhoto Festival and was exhibited in The Netherlands.
Her work is often applauded by the foreign press. Also her photos are part of the Blurring the Lines 2020 issue. From 2020 she is represented by TOBE Gallery, Budapest.
With a mindful approach she seeks stillness and hidden messages in ordinary life, often exploring society, human-made landscape and nature.
Inês Quente (1992, Avintes, Portugal) is a visual artist who lives and works between Vila Nova de Gaia and Porto.She has a master's degree in Documentary Filmmaking from the University for the Creative Arts (UK, 2017) and a degree in Fine Arts from the Faculty of Fine Arts of the University of Porto (PT, 2015).She was a grantee of the Culture Moves Europe (2024), a program funded by the European Union and the Goethe Institut.Her practice navigates themes of ecology, memory and transformation.She showcases her work regularly since 2013, both nationally and internationally, such as her latest individual site-specific installation For Every Light Its Place, at Gallerí Úthverfa, in the city of Ísafjörður (ISK, 2024).She took part in the ArtsIceland international artistic residency (ISK, 2023 and 2024) and Grão research and artistic residency (PT, 2023).
Ieva Baltaduonyte (b.1988 in Kaunas, Lithuania) is a lens based artist and graduate of thePhotography BA programme at the Dublin Institute of Technology. Informed by her own personal experience of displacement, her artistic practice engages with topics and issues relating to migratory culture. Central to her work are the psychological consequences of migration, such as displacement trauma, as well as the concepts home, identity and the in-between state. After spending seventeen years living in Dublin, Ireland, Ieva has recently returned to her native Lithuania, where she is currently based. Transnational migration is perhaps the most highly contested issue across Europe. For new migrants spatial and temporal displacement is potentially traumatic, resulting in shifting identities where home can no longer be understood as a fixed knowable entity. Ieva is preoccupied with revealing personal and collective narratives where trauma, identity and memory encourage a deeper engagement with cross-cultural dialogue. By using photography for both personal expression and to foster a critical dialogue with contemporary society, she invites the viewer to participate in societal debates, foregrounding human experiences, and exposing what is otherwise obscured or ignored. Her carefully constructed projects combine politics and aesthetics inviting a dialogical relationship with the viewer.
She graduated with a Master in the Fine Arts at KASK in Ghent (BE) with great honours in 2012. Her photo series 'The Dwarf Empire' was rewarded with the Photo Academy Award 2012 as well as the International Photography Award Emergentes DST in 2013. Her serie ‘Snow White’ was awarded 16ème Prix National Photographie Ouverte and NuWork Award for Photographic Excellence. She was awarded the Nikon Press Award in 2014 and 2016 for most promising young photographer. The British Journal of Photography selected De Wilde as one of 'the best emerging talents from around the world' in 2014 and recently received the Firecracker Grant 2016, PHmuseum Women's Grant and de Zilveren Camera award for 'The Island of the Colorblind'.
She has been internationally published (Guardian, New Yorker, Le Monde, CNN, Vogue) and exhibited (Voies OFF, Tribeca Film Festival, Circulations, Lagos Photo, Lodz Fotofestiwal, IDFA, STAM and EYE). Since 2013, De Wilde works with the Dutch newspaper and magazine De Volkskrant, in Amsterdam the Netherlands and joined the photoagency NOOR as a nominee in 2017.
The perfect skin and the smooth image which accompanies it, Eva O’Leary knows all too well the different ingredients and recipes of commercial photography. She too, as a teen, ate this cake which now, as an artist, she presents to us on a plateau. In a refrigerator rests a sponge cake, accompanied with printed icing: a saccharine young woman with perfect blow-dried hair watches us. Since it is said that revenge is a dish best served cold, this is the fate which the photographer reserves for the young blonde haired woman with the Colgate smile and her diktat. She grew up in the United States of America in a campus town whose name is almost an order – Happy Valley – and remembers her years spent masking her Irish head in the hood of a must have Abercrombie sweatshirt. The series, Happy Valley, is rooted in her town and her adolescent memories, describing an environment which is intrusive and worrying, modelling individuals whose self identity has been traded for a generic body. With the more recent Spitting Image, it is the years before, the adolescent vulnerability which are exposed. Young girls, around fifteen years old, present themselves to us, tightly framed on a vibrant blue backdrop which permits neither an escape for the gaze, nor breathing room for the model. Eva O’Leary accompanies these photographs with videos: perched upon a stool, we watch them searching for the person they hoped to find in the mirror. In this interval the photographer reopens the field of representations and with it, the freedom to be complex, different, uncertain, unique, human.
Main topics in her practice are: life in province, religion, connections between mythology and identity, her private relations with the world and her own country, with life and death. Her working method — continuous travels to small towns. She looks for something unique — people, communities, as well as place sand objects they produce. Elena says that provincial towns can be compared to separated islands, which are far enough from the mainland for evolution to goin a very unique way. She collects peculiarities of local cultures, since is sure they are on the edge of extinction, caused by globalization as well as just poverty.
Her project “Grandmothers on the Edge of Heaven” is a private family story, but also a reflection on the gap between generations. Which is multiplied in her case by the gap between two countries and two political systems: Soviet Union and modern Ukraine.
Born in Miskolc in 1989, Zsuzsa Darab graduated from the Moholy-Nagy University of Art and Design Budapest (MOME), in photography BA. In 2012, she obtained a scholarship to study painting and fine art in Denmark. In 2014, she studied at Aalto University School of Arts, Design and Architecture in Finland under the ERASMUS programme. In 2015, she graduated from MOME's photography MA department, then in 2016 from the design and visual arts teaching MA department. Same year, she did her photography internship in Reykjavik, Iceland. From 2017 till 2018, she was working as Jón Páll's photo assistant at SuperStudio. From 2018, she lives in Hungary and works as a destination freelance photographer. She has been a member of the Hungarian Assocation Of Young Art Photographers since 2011, and the Women Photograph database, since 2017. Her works are usually personal, conceptual, staged and also experimental. She has already exhibited several times in Budapest and abroad as well, e.g. New York, Rome, Nizhny Tagil, Luxembourg, Helsinki, Istanbul, Warsaw, etc. In 2013, she participated in the Present Continuous art project at the Mai Manó House. In 2016, she was chosen by Photo Botie as one of the 30 under 30 women photographers. She won the NKA Scholarship in 2018, 2022, 2023 and the Pécsi József Scholarship in 2021.
Lisa Bukreyeva (b. 1993) is a photographer based in Kyiv, Ukraine. Since her journey with photography began in 2019, her works have been presented at a range of museums and festivals, including Photo Elysée, Lausanne; Noorderlicht Festival, Groningen; and Deichtorhallen – Internationale Kunst Und Fotographie, Hamburg. Meanwhile, her images have featured in the likes of Der Spiegel, Zeit, The New York Magazine and Blind Magazine. Bukreyeva is a member of the Burn My Eye collective.
Giulia Mangione (b.1987) is an Oslo-based visual artist who works with photography, film and writing. She earned a first MA in Comparative Literary Studies from Goldsmiths University of London, and a second MFA in Fine Arts from the Art Academy in Bergen. She also studied Advanced Visual Storytelling at the Danish School of Media and Journalism in Denmark. Her first book Halfway Mountain, published by Journal in 2018, was selected for the Prix du Livre at Les Rencontres d'Arles and nominated for the MACK First Book Award. Mangione’s work has been exhibited at the International Center of Photography, New York; Musée de l’Élysée, Lausanne; Fotoforum, Bolzano; Fotogalleriet, Oslo; and Bergen Kunsthall, Bergen. She is currently part of the 6th round of the Norwegian Journal of Photography.
Instagram: @giulia_mangione
Website: www.giuliamangione.com