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Her future-oriented work merges analogue photography, AI, ceramics and sculpture to examine the online representation and aesthetics of gender and its relation to power, misogyny and consumption. In her latest project Red Pill - The manosphere, Rohr explores online spaces targeting men, from incel-forums and PickUp communities to looksmaxxing. 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Berlin) is a visual artist and photographer based between Paris and Berlin. She graduated from ECAL’s Master in Photography (Lausanne) in 2025. Through analogue photography, ceramics, sculpture, and AI-generated imagery, she examines the aesthetics and emotional economies of digital culture, how bodies, desire, and identity are mediated, performed, and consumed. Her works often combines tactile processes with synthetic image-making to produce psychologically charged narratives.",{"type":14,"version":4,"children":211},[212],{"text":213,"type":19,"version":4},"‍Her work has been published in the British Journal of Photography, Der Greif, Schema Magazine, SLEEK, and Fisheye Magazine, among many more. She was a finalist for the Picto Fashion Photography Award (2024) and presented her work at Paris Photo (Carte Blanche Étudiante, 2025) last year. In March 2026 she will exhibit at PhotoVogue Festival, is shortlisted for Un/Fund & Residency.","miriellerohr@gmail.com",14188,"Mirielle","Rohr","Artist",[220],11,[222],2,[224,225,226],29,28,20,[228,99,229],9,12,[231,232,233],5,13,41,[],[],[],[],"01/05/2026",[],[],[],{"docs":243,"hasNextPage":153},[],{"docs":245,"hasNextPage":153},[],"2026-10-06T14:42:00.039Z","2026-06-19T14:33:06.070Z","profiles-and-members",[],"Amsterdam","2026","editorial",[254,269,279,328,337,352,361,388,397],{"id":255,"text":256,"blockName":20,"blockType":19},"6a354cd08c91db2725ffb6d0",{"root":257},{"type":9,"format":10,"indent":11,"version":4,"children":258},[259,263,265],{"type":14,"format":10,"indent":11,"version":4,"children":260,"direction":20,"textStyle":10,"textFormat":11},[261],{"mode":17,"text":262,"type":19,"style":10,"detail":11,"format":11,"version":4},"Much feminist attention has been paid to the fact that one is not born a woman, but rather, becomes one. The same holds true for men. Rohr is part of an emerging wave of artists who turn their eye to the performance of masculinity, adding nuance and complexity to the heated cultural debate around toxic masculinity.",{"type":14,"format":10,"indent":11,"version":4,"children":264,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":266,"direction":20,"textStyle":10,"textFormat":11},[267],{"mode":17,"text":268,"type":19,"style":10,"detail":11,"format":11,"version":4},"‘My work used to exclusively focus on women and girls’, Rohr explains. ‘There was so much happening around femininity online. In my project Money Making Child for example, I showed how girl influencers are being pushed to adhere to ideals of adult femininity. Now we are more aware of boys and men who are equally tough on themselves, pushing themselves to ever more extreme aesthetic norms. The algorithm reproduces what most people resonate with, and that is often a very rigid understanding of gender that impacts men as well as women’.",{"id":270,"quote":271,"blockName":20,"blockType":278},"6ada1986b8a6e56f48e05458",{"root":272},{"type":9,"format":10,"indent":11,"version":4,"children":273,"direction":20},[274],{"type":14,"format":10,"indent":11,"version":4,"children":275,"direction":20,"textStyle":10,"textFormat":11},[276],{"mode":17,"text":277,"type":19,"style":10,"detail":11,"format":11,"version":4},"Last summer I began to think about the manosphere. I was reading the German feminist author Tara-Louise Wittwer, who writes about the red-pill ideology that undergirds the manosphere. Once you have ‘consumed’ the red pill, you have awakened to the truth that feminism is unnatural.’","quote",{"id":280,"blockName":20,"images":281,"blockType":327},"6a354cd08c91db2725ffb6d3",[282,305],{"id":283,"image":284},"6a354cd08c91db2725ffb6d1",{"id":285,"alt":20,"originalUrl":286,"uploaded_by":20,"updatedAt":287,"createdAt":287,"url":288,"thumbnailURL":20,"filename":289,"mimeType":163,"filesize":290,"width":291,"height":292,"focalX":167,"focalY":167,"sizes":293},13816,"https://cdn.prod.website-files.com/66a8941beee6e2bb59ba04ca/69dcaa8e2c132c8494c2bfbe_3.jpg","2026-06-19T13:53:14.826Z","https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-0.webp","the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-0.webp",82976,1667,2500,{"thumb":294,"medium":299,"large":304},{"url":295,"width":171,"height":296,"mimeType":163,"filesize":297,"filename":298},"https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-0-300x450.webp",450,7276,"the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-0-300x450.webp",{"url":300,"width":177,"height":301,"mimeType":163,"filesize":302,"filename":303},"https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-0-1200x1800.webp",1800,53350,"the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-0-1200x1800.webp",{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},{"id":306,"image":307},"6a354cd08c91db2725ffb6d2",{"id":308,"alt":20,"originalUrl":309,"uploaded_by":20,"updatedAt":310,"createdAt":310,"url":311,"thumbnailURL":20,"filename":312,"mimeType":163,"filesize":313,"width":314,"height":292,"focalX":167,"focalY":167,"sizes":315},13817,"https://cdn.prod.website-files.com/66a8941beee6e2bb59ba04ca/69dcaa8e7316e039f9e2346a_4.jpg","2026-06-19T13:53:15.491Z","https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-1.webp","the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-1.webp",91166,1643,{"thumb":316,"medium":321,"large":326},{"url":317,"width":171,"height":318,"mimeType":163,"filesize":319,"filename":320},"https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-1-300x456.webp",456,5556,"the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-1-300x456.webp",{"url":322,"width":177,"height":323,"mimeType":163,"filesize":324,"filename":325},"https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-1-1200x1826.webp",1826,57362,"the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s1-2-1-1200x1826.webp",{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},"images",{"id":329,"quote":330,"blockName":20,"blockType":278},"6ab27a557fbdea578644433a",{"root":331},{"type":9,"format":10,"indent":11,"version":4,"children":332,"direction":20},[333],{"type":14,"format":10,"indent":11,"version":4,"children":334,"direction":20,"textStyle":10,"textFormat":11},[335],{"mode":17,"text":336,"type":19,"style":10,"detail":11,"format":11,"version":4},"`The algorithm reproduces what most people resonate with, and that is often a very rigid understanding of gender that impacts men as well as women’.",{"id":338,"text":339,"blockName":20,"blockType":19},"6a354cd08c91db2725ffb6d4",{"root":340},{"type":9,"format":10,"indent":11,"version":4,"children":341},[342,346,348],{"type":14,"format":10,"indent":11,"version":4,"children":343,"direction":20,"textStyle":10,"textFormat":11},[344],{"mode":17,"text":345,"type":19,"style":10,"detail":11,"format":11,"version":4},"What fascinates Rohr about the manosphere is that it involves different generations. While adult influencers promote toxic masculinity, their audience consists of the Alpha generation: boys as young as 12. They look at violent trends like penis extensions and looksmaxxing, which means breaking jaws in order for them to look more like adult men, as a way of accumulating power. ‘It is very difficult to look at all of it, Rohr says.This has been a very hard subject to work on, I am completely immersed in it.’ But it clearly fascinates her, she is keen on seeing what’s to come. ",{"type":14,"format":10,"indent":11,"version":4,"children":347,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":349,"direction":20,"textStyle":10,"textFormat":11},[350],{"mode":17,"text":351,"type":19,"style":10,"detail":11,"format":11,"version":4},"The AI-generated imagery in Red Pill - The manosphere exclusively feature men. In the manosphere women are remarkably absent, men seek the validation of other men, they rate and confirm one another’s hotness, even though the community is ostensibly deeply heterosexual. ",{"id":353,"quote":354,"blockName":20,"blockType":278},"6ada199ab8a6e56f48e05459",{"root":355},{"type":9,"format":10,"indent":11,"version":4,"children":356,"direction":20},[357],{"type":14,"format":10,"indent":11,"version":4,"children":358,"direction":20,"textStyle":10,"textFormat":11},[359],{"mode":17,"text":360,"type":19,"style":10,"detail":11,"format":11,"version":4},"I first started to use AI when making Money Making Child. AI and social media work with a similar system of repetition and reenforcement. They also have a similar synthetic, artificially ‘perfect’ look. I collect a dataset of images relating to the topic. I mix screenshots from these trends, and combine them with a different aesthetic. Then I write the prompt. You get a lot of options, there is a part that you can control in AI, but also a part that cannot be controlled. That is the exciting and also the dangerous aspect of working with AI. With photography I am very in control. With AI it is unclear where we end up.",{"id":362,"image":363,"blockName":20,"blockType":387},"6a354cd08c91db2725ffb6d5",{"id":364,"alt":20,"originalUrl":365,"uploaded_by":20,"updatedAt":366,"createdAt":366,"url":367,"thumbnailURL":20,"filename":368,"mimeType":163,"filesize":369,"width":370,"height":166,"focalX":167,"focalY":167,"sizes":371},13818,"https://cdn.prod.website-files.com/66a8941beee6e2bb59ba04ca/69dcaab0da12f7d37e4f11f1_1.jpg","2026-06-19T13:53:17.288Z","https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s2-img.webp","the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s2-img.webp",333556,4128,{"thumb":372,"medium":377,"large":382},{"url":373,"width":171,"height":374,"mimeType":163,"filesize":375,"filename":376},"https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s2-img-300x349.webp",349,7744,"the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s2-img-300x349.webp",{"url":378,"width":177,"height":379,"mimeType":163,"filesize":380,"filename":381},"https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s2-img-1200x1395.webp",1395,58212,"the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s2-img-1200x1395.webp",{"url":383,"width":183,"height":384,"mimeType":163,"filesize":385,"filename":386},"https://futures-backend-unstated-int.vercel.app/api/media/file/the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s2-img-2400x2791.webp",2791,163136,"the-grand-performance-of-manhood-mirielle-rohr-in-conversation-with-lotte-houwink-ten-cate-s2-img-2400x2791.webp","image",{"id":389,"quote":390,"blockName":20,"blockType":278},"6ab27aa67fbdea578644433b",{"root":391},{"type":9,"format":10,"indent":11,"version":4,"children":392,"direction":20},[393],{"type":14,"format":10,"indent":11,"version":4,"children":394,"direction":20,"textStyle":10,"textFormat":11},[395],{"mode":17,"text":396,"type":19,"style":10,"detail":11,"format":11,"version":4},"With photography I am very in control. With AI it is unclear where we end up.",{"id":398,"text":399,"blockName":20,"blockType":19},"6a354cd08c91db2725ffb6d6",{"root":400},{"type":9,"format":10,"indent":11,"version":4,"children":401},[402,406,408,412,414,418,420],{"type":14,"format":10,"indent":11,"version":4,"children":403,"direction":20,"textStyle":10,"textFormat":11},[404],{"mode":17,"text":405,"type":19,"style":10,"detail":11,"format":11,"version":4},"Rohr shows me an image of a man with enhanced, purple, smashed cheeks. By printing a collage of images collected from TikTok of the “bonesmashing”-trend on aluminum, hammering the aluminum from the back, and by adding screws, the man literally is turned into a ‘body under construction’. Another image looks like a Batman play figure, dripping in synthetic red, a nod to the Red Pill. Rohr is also creating a big print on aluminum, featuring many screenshots of the very violent trend of looksmaxxing, thus reflecting the fantasies and optimizing nature of manosphere ideals. ",{"type":14,"format":10,"indent":11,"version":4,"children":407,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":409,"direction":20,"textStyle":10,"textFormat":11},[410],{"mode":17,"text":411,"type":19,"style":10,"detail":11,"format":11,"version":4},"Rohr wants to continue working with photography and AI, and she hasn’t completely made up her mind yet, in terms of how strict she want to be with AI. ‘I want to be progressive, it’s here, let’s use it. But at the same time, I worry about my photos, that I have worked on for years, being used as a dataset to reproduce my style. What I find most scary about AI is images that seem real. But using AI because it has strange characteristics can be fun. I often get the question why I use AI, instead of taking photos. But for me that question doesn’t make any sense. It’s like asking “Why do I drink coffee instead of tea?\" When people were painting and photography emerged, people also said that photography was easy. AI is not that easy to use. It’s very difficult to take a good picture, similarly, it’s not easy to generate a good image using AI. It’s not the easier escape.’",{"type":14,"format":10,"indent":11,"version":4,"children":413,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":415,"direction":20,"textStyle":10,"textFormat":11},[416],{"mode":17,"text":417,"type":19,"style":10,"detail":11,"format":11,"version":4},"Rohr also makes artwork with deepfakes, a technology renowned for its misogynistic usage. The video “What would you like me to say?” was inspired by the recent public debate in Germany following the allegations of deepfake abuse and digital violence against TV presenter Christian Ullmen by his own partner, TV presenter Collien Fernandes. Rohr gave her image, video and voice to AI, with the prompt “What would a man from the manosphere want \"me\" to say?” The face carries her emotion, hesitation, and resistance, while her speech no longer belongs to herself. By using AI one feeds AI, but Rohrs work suggests a power grab, in using AI to make something very different, to turn the medium on its head. Rohr’s work uses AI in order to expose it. ",{"type":14,"format":10,"indent":11,"version":4,"children":419,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":421,"direction":20,"textStyle":10,"textFormat":11},[422],{"mode":17,"text":423,"type":19,"style":10,"detail":11,"format":11,"version":4},"Rohr continues to work on femininity, and is making a plexiglass sculpture about the clean girl trend, an equivalent for women, explains Rohr. That is all about ‘being quiet, perfect and pure. It’s very, very conservative and has racist and fascist undertones’. ‘It would be interesting to exhibit them alongside one another’. ","2026-10-22T14:11:57.343Z","2026-06-19T14:04:56.195Z",{"relationTo":147,"value":427},{"id":428,"is_residency_story":93,"kind_of_residency_story":429,"title":430,"slug":431,"archived":153,"created_on":20,"updated_on":20,"published_on":20,"thumbnail":432,"author":449,"date_of_publication":450,"teaser":451,"featured":20,"futures_select":20,"news_kind":190,"news_subkind":191,"category":452,"video":20,"corresponding_event":20,"artist_name":20,"reference_artist":454,"residency_location":250,"year":251,"layout_type":252,"content":502,"updatedAt":674,"createdAt":675},553,"research","The privilege of questioning - Papa De (DeLovie Kwagala) in Conversation with Nanoah Struik","the-privilege-of-questioning---papa-de-deloviekwagala-in-conversation-with-nanoah.struik",{"id":433,"alt":434,"originalUrl":20,"uploaded_by":20,"updatedAt":435,"createdAt":436,"url":437,"thumbnailURL":20,"filename":438,"mimeType":163,"filesize":439,"width":440,"height":441,"focalX":167,"focalY":167,"sizes":442},16014,"Iliana Michali_Papa De Residency","2026-09-21T13:30:53.915Z","2026-09-21T13:30:52.513Z","https://futures-backend-unstated-int.vercel.app/api/media/file/Iliana%20Michali_Papa%20De%20Residency_00027%20-%20dimensioni%20grandi.webp","Iliana Michali_Papa De Residency_00027 - dimensioni grandi.webp",133604,853,1280,{"thumb":443,"medium":447,"large":448},{"url":444,"width":171,"height":296,"mimeType":163,"filesize":445,"filename":446},"https://futures-backend-unstated-int.vercel.app/api/media/file/Iliana%20Michali_Papa%20De%20Residency_00027%20-%20dimensioni%20grandi-300x450.webp",26044,"Iliana Michali_Papa De Residency_00027 - dimensioni grandi-300x450.webp",{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},"Nanoah Struik","2026-09-09T09:46:55.000Z","DeLovie Kwagala AKA Papa De, is the first openly non-binary, queer photographer and social activist from Kampala, Uganda. They’re an award-winning multi-antidisciplinary artivist. Self-taught and now based in Berlin, their work explores identity, belonging, and gender + sexuality, insisting on images that refuse to sexualize, fetishize, or stigmatize their participants. During their FUTURES x Pride Photo residency in Amsterdam, Papa De developed ME(MORIES), a new body of work that revisits a family archive dating back to the 1970s through the gomesi, the traditional dress of Ugandan women from the Buganda Kingdom. In this conversation, we spoke with the artist about rebellion, constant becomings, and the privilege of asking questions.",[453],"Identity",{"id":455,"profile_types":456,"is_member":153,"name":457,"slug":458,"archived":20,"created_on":20,"updated_on":20,"published_on":20,"biography":459,"e_mail":474,"profile_image":475,"website":20,"instagram":20,"first_name":457,"last_name":10,"kind_of_profile":218,"tags_profession":476,"tags_identity":478,"tags_location":479,"tags_practice":482,"tags_topics":484,"born_in":20,"street_address":20,"city":20,"country":20,"corresponding_member":488,"member_additional":489,"corresponding_art_projects":490,"corresponding_selected_year":491,"reference_residency":428,"date_of_residency":20,"date_since":20,"date_ended":20,"linkedin":20,"corresponding_artist":492,"curation_reference":493,"past_member":20,"approved_courses":494,"tutor_courses":495,"guest_expert_courses":497,"updatedAt":499,"createdAt":500,"email":474,"collection":248,"sessions":501},1462,[198],"Papa De","papa-de",{"root":460},{"type":9,"format":10,"indent":11,"version":4,"children":461,"direction":20},[462,466,470],{"type":14,"format":10,"indent":11,"version":4,"children":463,"direction":20,"textStyle":10,"textFormat":11},[464],{"mode":17,"text":465,"type":19,"style":10,"detail":11,"format":11,"version":4},"DeLovie Kwagala (aka Papa De) is the first openly non-binary queer photographer from Uganda. An award winning visual artist and film maker, their art is a defiant stance against the colonial gaze, aiming to dismantle stereotypes around beauty, gender identity, and the fetishisation or victimisation of Black and queer bodies. Through self-taught, multi-disciplinary visual storytelling, Kwagala documents and archives African queer youth, exploring themes of identity, belonging, migration, displacement, and climate justice.",{"type":14,"format":10,"indent":11,"version":4,"children":467,"direction":20,"textStyle":10,"textFormat":11},[468],{"type":469,"version":4},"linebreak",{"type":14,"format":10,"indent":11,"version":4,"children":471,"direction":20,"textStyle":10,"textFormat":11},[472],{"mode":17,"text":473,"type":19,"style":10,"detail":11,"format":11,"version":4},"Their mission is to preserve dignity, reclaim marginalised African queer histories, and provoke questioning of patriarchal and colonial narratives. Projects like The Quingdom ~ In Transition and Love(r)ships celebrate queer joy, intimacy, and resistance, asserting that \"to be visibly queer is a political statement in itself.\" Kwagala’s work, featured in TIME, The Guardian, and Vogue, strives to evoke relatability and inspire unlearning, ensuring their community is seen not as victims, but as glorious outliers: resilient, beautiful, and unapologetically present.","de@deloviekwagala.org",16010,[220,477],19,[95],[480,481],141,4,[483],14,[232,485,486,224,487],42,26,39,[],[],[],[],[],[],[],{"docs":496,"hasNextPage":153},[],{"docs":498,"hasNextPage":153},[],"2026-10-06T14:41:24.887Z","2026-09-21T13:20:11.914Z",[],[503,517,542,561,578,594,611,622,643,654,665],{"id":504,"text":505,"blockName":20,"blockType":19},"6ab12ffaee738752c69d3f91",{"root":506},{"type":9,"format":10,"indent":11,"version":4,"children":507,"direction":20},[508,511,513],{"type":14,"format":10,"indent":11,"version":4,"children":509,"direction":20,"textStyle":10,"textFormat":222},[510],{"mode":17,"text":451,"type":19,"style":10,"detail":11,"format":222,"version":4},{"type":14,"format":10,"indent":11,"version":4,"children":512,"direction":20,"textStyle":10,"textFormat":222},[],{"type":14,"format":10,"indent":11,"version":4,"children":514,"direction":20,"textStyle":10,"textFormat":222},[515],{"mode":17,"text":516,"type":19,"style":10,"detail":11,"format":222,"version":4},"For this interview, Papa De spoke with Nanoah Struik (they/them), a Dutch-Nigerian writer, speaker, queer activist and award-winning podcast maker. Across their work, Struik engages with queerness, gender identity and diversity, gender equality, and the possibilities of challenging binary systems.",{"id":518,"image":519,"blockName":20,"blockType":387},"6ab13004ee738752c69d3f92",{"id":520,"alt":434,"originalUrl":20,"uploaded_by":20,"updatedAt":521,"createdAt":522,"url":523,"thumbnailURL":20,"filename":524,"mimeType":163,"filesize":525,"width":292,"height":291,"focalX":167,"focalY":167,"sizes":526},16011,"2026-09-21T13:25:55.320Z","2026-09-21T13:25:53.764Z","https://futures-backend-unstated-int.vercel.app/api/media/file/Iliana%20Michali_Papa%20De%20Residency_00056.webp","Iliana Michali_Papa De Residency_00056.webp",266488,{"thumb":527,"medium":532,"large":537},{"url":528,"width":171,"height":529,"mimeType":163,"filesize":530,"filename":531},"https://futures-backend-unstated-int.vercel.app/api/media/file/Iliana%20Michali_Papa%20De%20Residency_00056-300x200.webp",200,9004,"Iliana Michali_Papa De Residency_00056-300x200.webp",{"url":533,"width":177,"height":534,"mimeType":163,"filesize":535,"filename":536},"https://futures-backend-unstated-int.vercel.app/api/media/file/Iliana%20Michali_Papa%20De%20Residency_00056-1200x800.webp",800,76764,"Iliana Michali_Papa De Residency_00056-1200x800.webp",{"url":538,"width":183,"height":539,"mimeType":163,"filesize":540,"filename":541},"https://futures-backend-unstated-int.vercel.app/api/media/file/Iliana%20Michali_Papa%20De%20Residency_00056-2400x1600.webp",1600,236192,"Iliana Michali_Papa De Residency_00056-2400x1600.webp",{"id":543,"blockName":20,"blockType":544,"qa":545},"6ab13071ee738752c69d3f95","qa",{"question":546,"answer":547},"Nanoah Struik: In your residency you’ve worked on a new project. Where does a new body of work usually start for you: with an image you can already see in your head, a material you want to touch, or a question you can't stop asking? ",{"root":548},{"type":9,"format":10,"indent":11,"version":4,"children":549,"direction":20},[550,555,557],{"type":14,"format":551,"indent":11,"version":4,"children":552,"direction":20,"textStyle":10,"textFormat":11},"start",[553],{"mode":17,"text":554,"type":19,"style":10,"detail":11,"format":11,"version":4},"Papa De: It usually starts with an idea, then I visualise what I want the idea to look like, then see how that idea gets reinterpreted through the reality of making it. But with the residency, I actually had no idea what would come out. A lot of it was intuitive. I already had the archival  images from my family, but no idea how I wanted to present them, and that kept shifting throughout the month. That's the beauty of a residency: you have space to give it your all, to play with what works and what doesn't, until you land somewhere you're happy with. ",{"type":14,"format":551,"indent":11,"version":4,"children":556,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":551,"indent":11,"version":4,"children":558,"direction":20,"textStyle":10,"textFormat":11},[559],{"mode":17,"text":560,"type":19,"style":10,"detail":11,"format":11,"version":4},"Normally I work with imagery, I photograph other people. This time was different: I didn’t have that at all. It had to be introspective: I have these images, what do they mean for me? What's my position in telling these stories? There's a difference when the images aren't ones I made myself because my only connection to them was that they came from my grandmother, my curiosity about the dress's [gomesi] history, and the culture itself. Which is also where there's a disconnect: it's a culture that invalidates me, that tells me I don't fit the mold of what it means to be a Ugandan not-woman, nor man. ",{"id":562,"blockName":20,"blockType":544,"qa":563},"6ab13087ee738752c69d3f96",{"question":564,"answer":565},"NS: As you said, you usually are the one behind the camera, photographing dozens of other people's faces and stories in Uganda's queer community, but in your new work ME(MORIES) you insert your own body into a family archive that predates you. What is it like to become the archive yourself? ",{"root":566},{"type":9,"format":10,"indent":11,"version":4,"children":567,"direction":20},[568,572,574],{"type":14,"format":551,"indent":11,"version":4,"children":569,"direction":20,"textStyle":10,"textFormat":11},[570],{"mode":17,"text":571,"type":19,"style":10,"detail":11,"format":11,"version":4},"PD: Honestly, the process was bittersweet. In the days before the opening, there was a cover image of a woman in the dress [gomesi] on a screen outside the residency door. I would see it every time I would pass by it, but at some point I didn't want to see it anymore. It hit me: I'm here representing a culture that doesn't give a fuck about me. But also: most of these women have never even left the country, and somehow they end up on a screen in Amsterdam, in this very cultural attire. Amsterdam of all places: I learned that a lot of the fabric for these dresses are printed and distributed in the Netherlands. It made me question my positionality in this narrative. ",{"type":14,"format":551,"indent":11,"version":4,"children":573,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":551,"indent":11,"version":4,"children":575,"direction":20,"textStyle":10,"textFormat":11},[576],{"mode":17,"text":577,"type":19,"style":10,"detail":11,"format":11,"version":4},"But it was also a rebellion: inserting myself into the archive: you cannot erase me. I'm as much part of this culture and tradition as anyone. My queerness, and being neither woman nor man, doesn't take that away. It's not meant to alienate me from culture or tradition. At the same time, I didn't want to impose myself too much. So I masked their likenesses, respecting that their journey was different from mine, while still honoring that my history, as a queer person, is erased, and I find a way to write myself into the story anyway. ",{"id":579,"image":580,"blockName":20,"blockType":387},"6ab130a6ee738752c69d3f97",{"id":581,"alt":434,"originalUrl":20,"uploaded_by":20,"updatedAt":582,"createdAt":583,"url":584,"thumbnailURL":20,"filename":585,"mimeType":163,"filesize":586,"width":440,"height":441,"focalX":167,"focalY":167,"sizes":587},16012,"2026-09-21T13:28:01.524Z","2026-09-21T13:28:00.554Z","https://futures-backend-unstated-int.vercel.app/api/media/file/Iliana%20Michali_Papa%20De%20Residency_00005%20-%20dimensioni%20grandi.webp","Iliana Michali_Papa De Residency_00005 - dimensioni grandi.webp",66396,{"thumb":588,"medium":592,"large":593},{"url":589,"width":171,"height":296,"mimeType":163,"filesize":590,"filename":591},"https://futures-backend-unstated-int.vercel.app/api/media/file/Iliana%20Michali_Papa%20De%20Residency_00005%20-%20dimensioni%20grandi-300x450.webp",12326,"Iliana Michali_Papa De Residency_00005 - dimensioni grandi-300x450.webp",{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},{"id":595,"blockName":20,"blockType":544,"qa":596},"6ab13101ee738752c69d3f98",{"question":597,"answer":598},"NS: You’ve worked across street photography, staged portraiture, and now archival collage and installation. How do you know which form a story needs to take: when does something want to be a photograph, and when does it want to become an object? ",{"root":599},{"type":9,"format":10,"indent":11,"version":4,"children":600,"direction":20},[601,605,607],{"type":14,"format":551,"indent":11,"version":4,"children":602,"direction":20,"textStyle":10,"textFormat":11},[603],{"mode":17,"text":604,"type":19,"style":10,"detail":11,"format":11,"version":4},"PD: Myself, I’m a constant becoming so I also don’t want to limit any shapes or forms that might want to reveal themselves through the process. The residency work kept evolving, which let me stop controlling it and just be intuitive. It was the first time I mixed disciplines. My first solo show in Berlin was the catalyst, indirectly: that's where I first used sculpture. I felt: there's more to explore there. ",{"type":14,"format":551,"indent":11,"version":4,"children":606,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":551,"indent":11,"version":4,"children":608,"direction":20,"textStyle":10,"textFormat":11},[609],{"mode":17,"text":610,"type":19,"style":10,"detail":11,"format":11,"version":4},"During the residency I really pushed outside my comfort zone. I was a blank canvas, and I let the work paint on me. ",{"id":612,"blockName":20,"blockType":544,"qa":613},"6ab13117ee738752c69d3f99",{"question":614,"answer":615},"NS: Belonging, memory and the body under scrutiny return again and again in your work. Are you circling the same questions from new angles each time, or does each project change what you believe about them? ",{"root":616},{"type":9,"format":10,"indent":11,"version":4,"children":617,"direction":20},[618],{"type":14,"format":10,"indent":11,"version":4,"children":619,"direction":20,"textStyle":10,"textFormat":11},[620],{"mode":17,"text":621,"type":19,"style":10,"detail":11,"format":11,"version":4},"PD: I keep going back to the same questions and getting different answers from myself each time: we're not the same people we were yesterday, and as the world shifts, systemically and economically, what these topics mean shifts too. Even in interpersonal relationships I've been told I repeat the same questions over and over again. Not because I expect a different outcome, I just believe in the art of inquiry and how time influences responses. 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And what possibilities emerge when limits become part of the creative process?",{"type":14,"format":10,"indent":11,"version":4,"children":997,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":999,"direction":20,"textStyle":10,"textFormat":11},[1000],{"mode":17,"text":1001,"type":19,"style":10,"detail":11,"format":11,"version":4},"Curated by Julia Rajacic, the exhibition brings together five photographers whose practices engage with ecological limits through material experimentation, site-specific approaches and alternative ways of working.",{"type":14,"format":10,"indent":11,"version":4,"children":1003,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":1005,"direction":20,"textStyle":10,"textFormat":11},[1006],{"mode":17,"text":1007,"type":19,"style":10,"detail":11,"format":11,"version":4},"Their work spans plant-based photographic processes, images made from polluted flora, self-built photographic equipment, collaborations with scientific research and projects exploring biodiversity and the relationships between humans and other species.",{"type":14,"format":10,"indent":11,"version":4,"children":1009,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":1011,"direction":20,"textStyle":10,"textFormat":11},[1012],{"mode":17,"text":1013,"type":19,"style":10,"detail":11,"format":11,"version":4},"Together, these practices address photography’s ecological paradox: its capacity to make environmental crises visible while remaining part of the systems that contribute to them.",{"type":14,"format":10,"indent":11,"version":4,"children":1015,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":1017,"direction":20,"textStyle":10,"textFormat":11},[],{"tag":912,"type":893,"format":10,"indent":11,"version":4,"children":1019,"direction":20},[1020],{"mode":17,"text":1021,"type":19,"style":10,"detail":11,"format":4,"version":4},"An eco-designed exhibition",{"type":14,"format":10,"indent":11,"version":4,"children":1023,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":1025,"direction":20,"textStyle":10,"textFormat":11},[1026],{"mode":17,"text":1027,"type":19,"style":10,"detail":11,"format":11,"version":4},"The project also considers its own environmental impact. Guided by the curator’s commitment to eco-design, the exhibition prioritises reducing its footprint across travel, shipping, exhibition staging, material choices and catering.",{"type":14,"format":10,"indent":11,"version":4,"children":1029,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":1031,"direction":20,"textStyle":10,"textFormat":11},[1032],{"mode":17,"text":1033,"type":19,"style":10,"detail":11,"format":11,"version":4},"Presented during the bicentenary of photography and ten years after the ratification and entry into force of the Paris Agreement, the project connects a reflection on the medium’s history with the environmental conditions shaping its future.",{"type":14,"format":10,"indent":11,"version":4,"children":1035,"direction":20,"textStyle":10,"textFormat":11},[],{"type":944,"version":4},{"type":14,"format":10,"indent":11,"version":4,"children":1038,"direction":20,"textStyle":10,"textFormat":11},[],{"tag":912,"type":893,"format":10,"indent":11,"version":4,"children":1040,"direction":20},[1041],{"mode":17,"text":1042,"type":19,"style":10,"detail":11,"format":4,"version":4},"THE ARTISTS",{"type":14,"format":10,"indent":11,"version":4,"children":1044,"direction":20,"textStyle":10,"textFormat":11},[1045],{"mode":17,"text":1046,"type":19,"style":10,"detail":11,"format":11,"version":4},"Five photographers approach ecological constraints through distinct practices and methods.",{"type":14,"format":10,"indent":11,"version":4,"children":1048,"direction":20,"textStyle":10,"textFormat":11},[],{"tag":912,"type":893,"format":10,"indent":11,"version":4,"children":1050,"direction":20},[1051],{"id":1052,"type":90,"fields":1053,"format":10,"indent":11,"version":95,"children":1055,"direction":20},"6ad09472d8c9944ba9db64ac",{"url":1054,"linkType":94},"https://a-baumgartner.com/://",[1056],{"mode":17,"text":1057,"type":19,"style":10,"detail":11,"format":11,"version":4},"Alexandra Baumgartner",{"id":1059,"type":918,"value":1060,"fields":20,"format":10,"version":95,"relationTo":940},"6acfa503a617045aa261bc08",{"id":1061,"alt":1062,"originalUrl":20,"uploaded_by":20,"updatedAt":1063,"createdAt":1064,"url":1065,"thumbnailURL":20,"filename":1066,"mimeType":163,"filesize":1067,"width":1068,"height":1069,"focalX":167,"focalY":167,"sizes":1070},16928,"Artwork by Alexandra Baumgartner","2026-10-14T15:51:30.893Z","2026-10-14T15:51:29.854Z","https://futures-backend-unstated-int.vercel.app/api/media/file/FullCycle_AlexandraBaumgartner_HowLikeALeafIAm_7.webp","FullCycle_AlexandraBaumgartner_HowLikeALeafIAm_7.webp",68390,1429,2000,{"thumb":1071,"medium":1076,"large":1081},{"url":1072,"width":171,"height":1073,"mimeType":163,"filesize":1074,"filename":1075},"https://futures-backend-unstated-int.vercel.app/api/media/file/FullCycle_AlexandraBaumgartner_HowLikeALeafIAm_7-300x420.webp",420,4634,"FullCycle_AlexandraBaumgartner_HowLikeALeafIAm_7-300x420.webp",{"url":1077,"width":177,"height":1078,"mimeType":163,"filesize":1079,"filename":1080},"https://futures-backend-unstated-int.vercel.app/api/media/file/FullCycle_AlexandraBaumgartner_HowLikeALeafIAm_7-1200x1679.webp",1679,41472,"FullCycle_AlexandraBaumgartner_HowLikeALeafIAm_7-1200x1679.webp",{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},{"type":14,"format":10,"indent":11,"version":4,"children":1083,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":1085,"direction":20,"textStyle":10,"textFormat":11},[1086],{"mode":17,"text":1087,"type":19,"style":10,"detail":11,"format":11,"version":4},"Working across photography, sound and installation, Baumgartner explores biodiversity, agriculture and the relationships between people and plants. Her work includes seed keepers and agronomic activists whose practices contribute to the preservation of biodiversity.",{"type":14,"format":10,"indent":11,"version":4,"children":1089,"direction":20,"textStyle":10,"textFormat":11},[],{"tag":912,"type":893,"format":10,"indent":11,"version":4,"children":1091,"direction":20},[1092],{"id":1093,"type":90,"fields":1094,"format":10,"indent":11,"version":95,"children":1159,"direction":20},"6acfaf08a617045aa261bc17",{"doc":1095,"linkType":1158},{"label":1096,"value":1097,"relationTo":248},"Benedetta Casagrande",{"id":1098,"profile_types":1099,"is_member":153,"name":1096,"slug":1100,"archived":153,"created_on":1101,"updated_on":1102,"published_on":1102,"biography":1103,"e_mail":1119,"profile_image":1120,"website":1121,"instagram":1122,"first_name":1123,"last_name":1124,"kind_of_profile":218,"tags_profession":1125,"tags_identity":1126,"tags_location":1127,"tags_practice":1128,"tags_topics":1132,"born_in":1136,"street_address":10,"city":1137,"country":1138,"corresponding_member":1139,"member_additional":1141,"corresponding_art_projects":1142,"corresponding_selected_year":1144,"reference_residency":1146,"date_of_residency":20,"date_since":20,"date_ended":20,"linkedin":20,"corresponding_artist":1147,"curation_reference":1148,"past_member":20,"approved_courses":1149,"tutor_courses":1150,"guest_expert_courses":1152,"updatedAt":1154,"createdAt":1155,"email":1156,"collection":248,"sessions":1157},742,[198],"benedetta-casagrande","Mon Feb 03 2025 17:22:15 GMT+0000 (Coordinated Universal Time)","Thu Jan 15 2026 09:36:49 GMT+0000 (Coordinated Universal Time)",{"root":1104},{"type":9,"format":10,"indent":11,"version":4,"children":1105,"direction":1118},[1106,1110,1114],{"type":14,"version":4,"children":1107},[1108],{"text":1109,"type":19,"version":4},"Benedetta Casagrande (she/her) is an artist and educator working across photography, writing and sculpture, with a focus on regenerative practices and co-authorship with more-than-human agents. Starting from an interest in political ecology and critical studies, she develops a biocentric practice where photography is used to look-at and sit-within interspecies relationships and more-than-human life in times of extinctions, working through ecological grief, forming multi-species alliances and nurturing relationships based on principles of kinship, reciprocity and shared health. Working with darkroom chemistry made with locally foraged plants, scavenged iron and waste products, reclaiming silver from spent chemistry and applying a circular economy between the darkroom and the land through appropriate waste disposal processes, that allow for chemical waste to be composted and used as fertiliser, she approaches the practice of photography as a process of contaminations and encounters, trying to learn how to better live and die together.",{"type":14,"version":4,"children":1111},[1112],{"text":1113,"type":19,"version":4},"Benedetta graduated with a BA in Photography from the University of Brighton (2016) and with an MA in Art History and Museum Curating with Photography from the University of Sussex (2019). In the past years she has regularly engaged with the teachings and knowledge on ecological practices shared by The Sustainable Darkroom and Curioso Lab. Currently, she is part of the cohort of the postgraduate programme Alternative Ecologies with the Institute for Postnatural Studies (2026-2027).",{"type":14,"version":4,"children":1115},[1116],{"text":1117,"type":19,"version":4},"She is the winner of the Luigi Ghirri Award (2024) and the FE+SK Book Award (2024), and received a special mention from the jury at the 13th edition of the Francesco Fabbri Prize. Her first book, All Things Laid Dormant (Skinnerboox, 2024), is a finalist in the Arles Authors Book Award and the Singapore International Photography Festival Book Award, and has received the special mention of the Marco Bastianelli Photobook Award (2025). Her work has been exhibited in national and international institutions, including Photo Ireland (Dublin, 2019), 副本 INSTANCE (Shanghai, 2021), Fotografia Europea (Reggio Emilia, 2024), Photo Brussels (2024), PhMuseum Days (2024), the Italian Institute of Culture Stockholm (2025), Prague Photo Festival (2025), L’Imagerie Centre d’Arte (2025), Triennale (Milan, 2025) and Almanac (Turin, 2026).","ltr","benedettacasagrande@proton.me",12444,"https://benedettacasagrande.info/","https://www.instagram.com/benedetta_casagrande/","Benedetta","Casagrande",[99,220,229,231],[],[477,487],[1129,483,1130,1131],15,6,18,[1133,1134,1135,224],30,31,24,"1993","Milan","Italy",[1140],1455,[],[1143],54,[1145],16,545,[],[],[],{"docs":1151,"hasNextPage":153},[],{"docs":1153,"hasNextPage":153},[],"2026-10-09T09:43:27.959Z","2026-03-26T15:08:43.214Z","benedettacasagrande@gmail.com",[],"internal",[1160],{"mode":17,"text":1096,"type":19,"style":10,"detail":11,"format":11,"version":4},{"id":1162,"type":918,"value":1163,"fields":20,"format":10,"version":95,"relationTo":940},"6acfa486a617045aa261bc07",{"id":1164,"alt":1165,"originalUrl":20,"uploaded_by":1098,"updatedAt":1166,"createdAt":1167,"url":1168,"thumbnailURL":20,"filename":1169,"mimeType":163,"filesize":1170,"width":1171,"height":1172,"focalX":167,"focalY":167,"sizes":1173},16926,"Artwork by Benedetta Casagrande","2026-10-14T15:49:52.623Z","2026-10-14T15:49:25.126Z","https://futures-backend-unstated-int.vercel.app/api/media/file/Title%20TBC%204%20(2026)%2C%20silver%20gelatin%20print%2C%20developed%20with%20kitchen%20waste%20developer%20%2B%2C%20nettle%20developer.webp","Title TBC 4 (2026), silver gelatin print, developed with kitchen waste developer +, nettle developer.webp",153154,911,1220,{"thumb":1174,"medium":1179,"large":1180},{"url":1175,"width":171,"height":1176,"mimeType":163,"filesize":1177,"filename":1178},"https://futures-backend-unstated-int.vercel.app/api/media/file/Title%20TBC%204%20(2026)%2C%20silver%20gelatin%20print%2C%20developed%20with%20kitchen%20waste%20developer%20%2B%2C%20nettle%20developer-300x402.webp",402,24858,"Title TBC 4 (2026), silver gelatin print, developed with kitchen waste developer +, nettle developer-300x402.webp",{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},{"url":20,"width":20,"height":20,"mimeType":20,"filesize":20,"filename":20},{"type":14,"format":10,"indent":11,"version":4,"children":1182,"direction":20,"textStyle":10,"textFormat":11},[],{"type":14,"format":10,"indent":11,"version":4,"children":1184,"direction":20,"textStyle":10,"textFormat":11},[1185],{"mode":17,"text":1186,"type":19,"style":10,"detail":11,"format":11,"version":4},"Casagrande explores interspecies relationships through photography, writing and sculpture. For the exhibition, she presents silver gelatin prints developed using foraged plant matter, alongside ceramic sculptures incorporating reclaimed silver from spent darkroom chemistry.",{"type":14,"format":10,"indent":11,"version":4,"children":1188,"direction":20,"textStyle":10,"textFormat":11},[],{"tag":912,"type":893,"format":10,"indent":11,"version":4,"children":1190,"direction":20},[1191],{"id":1192,"type":90,"fields":1193,"format":10,"indent":11,"version":95,"children":1243,"direction":20},"6acfa90fa617045aa261bc0f",{"doc":1194,"linkType":1158},{"label":1195,"value":1196,"relationTo":248},"Diana Lelonek",{"id":534,"profile_types":1197,"is_member":153,"name":1195,"slug":1198,"archived":153,"created_on":1199,"updated_on":1200,"published_on":1200,"biography":1201,"e_mail":1216,"profile_image":1217,"website":10,"instagram":10,"first_name":1218,"last_name":1219,"kind_of_profile":218,"tags_profession":1220,"tags_identity":1221,"tags_location":1223,"tags_practice":1224,"tags_topics":1225,"born_in":10,"street_address":20,"city":10,"country":20,"corresponding_member":1226,"member_additional":1228,"corresponding_art_projects":1229,"corresponding_selected_year":1231,"reference_residency":20,"date_of_residency":20,"date_since":20,"date_ended":20,"linkedin":20,"corresponding_artist":1233,"curation_reference":1234,"past_member":20,"approved_courses":1235,"tutor_courses":1236,"guest_expert_courses":1238,"updatedAt":1240,"createdAt":1241,"email":1216,"collection":248,"sessions":1242},[198],"diana-lelonek","Mon Oct 14 2024 13:29:58 GMT+0000 (Coordinated Universal Time)","Fri Oct 03 2025 12:11:10 GMT+0000 (Coordinated Universal Time)",{"root":1202},{"type":9,"format":10,"indent":11,"version":4,"children":1203},[1204,1208,1212],{"type":14,"version":4,"children":1205},[1206],{"text":1207,"type":19,"version":4},"Diana Lelonek (b. 1988) graduated from the Faculty of Multimedia Communication at the University of Arts in Poznań. Her practice is based on photography combined with other media. She is interested in activities related to BioArt.",{"type":14,"version":4,"children":1209},[1210],{"text":1211,"type":19,"version":4},"Lelonek won several international competitions, among others: Show Off during the Kraków Photomonth Festival and ReGeneration 3 at the Musée de l’Elysée in Switzerland. 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Her work includes cyanotypes made through extended solar exposures and unfixed anthotypes created using pigments gathered from plants growing in an urban nature reserve.",{"type":14,"format":10,"indent":11,"version":4,"children":1272,"direction":20,"textStyle":10,"textFormat":11},[],{"tag":912,"type":893,"format":10,"indent":11,"version":4,"children":1274,"direction":20},[1275],{"id":1276,"type":90,"fields":1277,"format":10,"indent":11,"version":95,"children":1325,"direction":20},"6acfa91ba617045aa261bc10",{"doc":1278,"linkType":1158},{"label":1279,"value":1280,"relationTo":248},"Santiago Martinez Benedetti",{"id":1281,"profile_types":1282,"is_member":153,"name":1279,"slug":1283,"archived":153,"created_on":1284,"updated_on":1285,"published_on":1286,"biography":1287,"e_mail":1294,"profile_image":1295,"website":1296,"instagram":1297,"first_name":1298,"last_name":1299,"kind_of_profile":218,"tags_profession":1300,"tags_identity":1302,"tags_location":1303,"tags_practice":1305,"tags_topics":1306,"born_in":1308,"street_address":20,"city":1309,"country":20,"corresponding_member":1310,"member_additional":1312,"corresponding_art_projects":1313,"corresponding_selected_year":1314,"reference_residency":20,"date_of_residency":20,"date_since":20,"date_ended":20,"linkedin":20,"corresponding_artist":1315,"curation_reference":1316,"past_member":20,"approved_courses":1317,"tutor_courses":1318,"guest_expert_courses":1320,"updatedAt":1322,"createdAt":1323,"email":1294,"collection":248,"sessions":1324},1412,[198],"santiago-martinez-benedetti","Sun Feb 01 2026 15:02:59 GMT+0000 (Coordinated Universal Time)","Wed Mar 04 2026 14:18:11 GMT+0000 (Coordinated Universal Time)","Tue Mar 17 2026 11:04:00 GMT+0000 (Coordinated Universal Time)",{"root":1288},{"type":9,"format":10,"indent":11,"version":4,"children":1289},[1290],{"type":14,"version":4,"children":1291},[1292],{"text":1293,"type":19,"version":4},"I was born in Cali, Colombia, and moved to Switzerland at the age of four. My early interest in photography emerged through BMX culture, shaped by a raw, spontaneous, and DIY mindset.  This curiosity led me to study photography at ECAL, in Lausanne where I got a Bachelor in Photography in 2020.\r\n\r\nSince then, I have worked across different fields of photography, balancing applied practice with the development of a personal artistic body of work. In 2024, following a residency as part of the Verzasca Foto Festival, I initiated the project Torbola 31, which marked a turning point in my artistic practice. The project combines the DIY, instinctive heritage of my beginnings with a more structured and conceptual approach. 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FUTURES currently uses ",{"mode":17,"text":2416,"type":19,"style":10,"detail":11,"format":4,"version":4},"Google Analytics",{"mode":17,"text":2418,"type":19,"style":10,"detail":11,"format":11,"version":4}," for website analytics and ",{"mode":17,"text":2420,"type":19,"style":10,"detail":11,"format":4,"version":4},"YouTube",{"mode":17,"text":2422,"type":19,"style":10,"detail":11,"format":11,"version":4}," for video content.",{"type":469,"version":4},{"type":14,"format":10,"indent":11,"version":4,"children":2425,"direction":20,"textStyle":10,"textFormat":11},[2426,2428,2429,2431,2433],{"mode":17,"text":2427,"type":19,"style":10,"detail":11,"format":11,"version":4},"Where required, non-essential cookies and similar technologies are used only after the relevant consent has been obtained.",{"type":469,"version":4},{"mode":17,"text":2430,"type":19,"style":10,"detail":11,"format":11,"version":4},"For further information about the cookies and similar technologies used by the FUTURES website, please see our ",{"mode":17,"text":2432,"type":19,"style":10,"detail":11,"format":4,"version":4},"Cookie Policy",{"mode":17,"text":1676,"type":19,"style":10,"detail":11,"format":11,"version":4},{"type":14,"format":10,"indent":11,"version":4,"children":2435,"direction":20,"textStyle":10,"textFormat":4},[],{"type":14,"format":10,"indent":11,"version":4,"children":2437,"direction":20,"textStyle":10,"textFormat":4},[2438,2440,2441,2443,2445,2446],{"mode":17,"text":2439,"type":19,"style":10,"detail":11,"format":4,"version":4},"11. Newsletter",{"type":469,"version":4},{"mode":17,"text":2442,"type":19,"style":10,"detail":11,"format":11,"version":4},"FUTURES operates a newsletter for people who wish to receive news, articles, interviews, events, Open Studios, educational opportunities and other updates relating to FUTURES. The newsletter is distributed using ",{"mode":17,"text":2444,"type":19,"style":10,"detail":11,"format":4,"version":4},"Mailchimp",{"mode":17,"text":1676,"type":19,"style":10,"detail":11,"format":11,"version":4},{"type":469,"version":4},{"type":14,"format":10,"indent":11,"version":4,"children":2448,"direction":20,"textStyle":10,"textFormat":11},[2449,2451],{"mode":17,"text":2450,"type":19,"style":10,"detail":11,"format":11,"version":4},"You can subscribe to the newsletter by providing the information requested through the newsletter sign-up form. You can unsubscribe at any time using the unsubscribe option included in the newsletter or by contacting FUTURES.",{"type":469,"version":4},{"type":14,"format":10,"indent":11,"version":4,"children":2453,"direction":20,"textStyle":10,"textFormat":11},[2454],{"mode":17,"text":2455,"type":19,"style":10,"detail":11,"format":11,"version":4},"Further information about cookies or similar technologies associated with the FUTURES website and newsletter services is available in our Cookie Policy where applicable.",{"type":14,"format":10,"indent":11,"version":4,"children":2457,"direction":20,"textStyle":10,"textFormat":4},[],{"type":14,"format":10,"indent":11,"version":4,"children":2459,"direction":20,"textStyle":10,"textFormat":4},[2460,2462,2463],{"mode":17,"text":2461,"type":19,"style":10,"detail":11,"format":4,"version":4},"12. 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