A FADING LANDSCAPE

 

A FADING LANDSCAPE

BY MARTIN CREGG

Martin Cregg is an Irish photographer and educator living in Dublin. He has exhibited in Ireland and Internationally - recently at 'Illuminations' NUIM, PhotoIreland (2013) Les Rencontres d'Arles (July 2012), the Natural History Museum in Leeuwarden (July 2012) and in Shanghai as part of the 'Postcards from The Celtic Tiger' Group show. Cregg is a member of the international Reflexions Masterclass - presenting work in Basel, Paris, Venice and Lugano in 2010-2011. In 2010 he was one of the Irish nominations for the Prix Pictet. In 2011 his 'Photo Course' project was shortlisted for the FOAM Talent Call. Further in 2012, he is nominated for the Irish Contemporary Award - SHOWCASE at The Gallery of Photography and his ongoing work 'Suspended State' was selected for the FORMAT festival in the UK. Cregg’s work has been published in a variety of magazines and books including ‘Ireland and Photography’ by Dr Justin Carville; ‘Photographies 2002 – 2012’ published by Actes Sud; Magazines such as Source and Irish Arts Review, as well as a list of internationally successful on-line blogs and magazines. His 10 year project 'MIDLANDS' has just been released as a self-published book.

synopsis

‘A Fading Landscape’ is part of an ongoing personal work, which explores my complex relationship to my rural background, a personal sense of heritage and the obligation of tradition connected to the landscape.  Since the early 19th Century, generation after generation of my family have maintained the tradition of farming on this land. The work expresses an uncomfortable balancing act between belonging and disassociation. I find myself longing to connect, or reconnect, to the place or to the landscape. But, the overriding impression is one of departure - an ever-unfolding distance and increasing separation.

 

A FORM OF VIEW

 

A FORM OF VIEW

BY YOAV FRIEDLÄNDER


My Grandfather Kurt fled Austria to Israel immediately after the Kristallnacht, served in the British Brigades during WWII and later in the Israeli Army. After High School I’ve joined the Israeli army myself for a mandatory service as a paratrooper, and became the fourth generation of army soldiers. I grew up in the valleys of the Judean Desert between Jerusalem and the Dead Sea. I am native to Israel but uprooted from my past. I’d got my B.A in photography from Hadassah College Jerusalem (2011), and an MFA from the School of Visual Arts. Selected exhibitions: Belfast Photo Festival (2011); NY Photo Festival (2013) ; Flash Forward (2013) ; Local Testimony – Eretz Israel Museum, Tel Aviv (2013) ; Duesseldorf Photo Weekend (2014) ; International Photography Festival, Israel (2014) ; UNICEF photo Benefit Auction, Aperture Gallery, New York (2014) ; Fresh Paint 7, Tel Aviv (2014) ; Bronx Museum of the Arts Biennial, New York (2015) ; Chinese New Year Festival, Javits Center (The Chief Curator’s Choice Award, 2016)

URL
http://www.yoavfriedlander.com/


Synopsis

My work presents a chaotic perception of an “Americanized Israeli”; composed of American culture, desert landscapes and war. It is based on the recognition that reality is mediated through images as we experience many aspects of our world through photographs and not in person. In this body of work I mix images of Scale models I build with landscapes I photograph. The models are recreations of memories, collective and personal, places I saw only through photographs and other places I could only see in photographs due to restricted access. Like photographs this scale models share an indexical relation to the origin. I make them, and photograph them with the intent that they will echo the realism of the original and bare the illusion of the photograph. While Photographs refer to reality my models refer to the images that represent that reality. Both enable external observation of a reality through its copy.  
At times we find ourselves confused when the real seems to be different from how it should be according to its own image. It seems as if ever since the invention of the photograph, reality has become augmented by its own image.

 

THE THINGS WE CARRY

 

THE THINGS WE CARRY

BY ESTHER RUTH MBABAZI

`The Things We Carry' is a photography project that explores the things people choose to carry with them when leaving their homes behind in times of conflict and war. One cannot walk long distances with heavy items, and so the majority of ones home is left behind – in most cases never to be seen again. In these images I document South Sudanese refugees in Bidi Bidi refugee camp in Yumbe District, Northern Uganda, and asked them what is the most important thing they carried with them on their journey, and what it means to them. Their stories, and the items they choose, are a reminder of the individuality of each refugee, and the weight borne by those forced to abandon their homes.


Portrait of Kideni Mary, 16, in her home in Uganda's Bidi Bidi, the world's largest refugee camp, and the bible and graduation card she carried with her from South Sudan, on November 2, 2017. 

When asked why these were the items – both gifts from her father – that she chose to carry with her when fleeing South Sudan's ongoing conflict, Kideni said: "My father was a hardworking man, and having evidence of his success encourages me to work hard and achieve mine."

Portrait of Nada Sara, 25, in her home in Uganda's Bidi Bidi, the world's largest refugee camp, and the cooking pans she carried with her from South Sudan, on November 2, 2017.

When asked why these were the items that she chose to carry with her when fleeing South Sudan's ongoing conflict, Nada said: "It's hard to survive on the road without food. I have young children."

Portrait of Christine Kideni, 7, in her home in Uganda's Bidi Bidi, the world's largest refugee camp, and the teddy bear she carried with her from South Sudan, on November 2, 2017.

When asked why this was the item – a gift from her parents for her 6th birthday – that she chose to carry with her when fleeing South Sudan's ongoing conflict, Christine said: "Because it is mine."

Portrait of George Thaban, 64, in his home in Uganda's Bidi Bidi, the world's largest refugee camp, and the photos of his wife he carried with him from South Sudan, on November 3, 2017.

When asked why these were the items – photos of his wife on a solar educational trip to India – that he chose to carry with him when fleeing South Sudan's ongoing conflict, George said: "For my wife, going to India was a big achievement in her life. I couldn't leave the memories behind."

Portrait of Mary Sunday, 17, in her home in Uganda's Bidi Bidi, the world's largest refugee camp, and the bed sheets she carried with her from South Sudan, on November 2, 2017.

When asked why this was the item that she chose to carry with her when fleeing South Sudan's ongoing conflict, Mary said: "Back home, most girls my age design their own bed sheets. This was my first design and the one I love the most."

Portrait of Nema Sunday, 23, in her home in Uganda's Bidi Bidi, the world's largest refugee camp, and the traditional outfit she carried with her from South Sudan, on November 2, 2017.

When asked why these were the items that she chose to carry with her when fleeing South Sudan's ongoing conflict, Nema said: "I love to dress up nicely, especially on Sundays."

More images of the project  click 


About the author

Esther Ruth Mbabazi is a Ugandan photographer whose work focuses on the social, physical and emotional aspects of daily life, especially in rural areas and amongst minority groups with an interest in Public Health.    Esther is a VII Photo Agency Mentee. In 2017, she was a Magnum Foundation Photography and Social Justice fellow. The year before Esther was selected for the 2016 World Press Photo Masterclass East Africa, and won the inaugural Young Photographer Award presented by the Uganda Press Photo Award. Her work has been published in international publications such as Time Magazine, The New York Times and The Africa Report, and she frequently collaborates with organizations such as Comic Relief, Farm Africa and Let There Be Light International, among others.  Recognized for her nuanced approach to social issues, Esther's work draws on her own experiences to reflect more varied and underrepresented stories from the African continent and beyond.

website : http://www.esthermbabazi.com/

 

CATALOG I - FOUR HANDED

 

CATALOG I - FOUR HANDED

BY ANA PAISANO

Ana Paisano is an architect that uses the photography as a tool in the Architecture process. She studied Architecture in FAUL (Lisbon, Portugal) and she did the last year of Mater’s degree in Tokyo University (Japan) with AUSMIP scholarship. Currently employed at Studio Mumbai Architects and living in Mumbai (India), she engages in parallel research on the architecture/craft interface.


Synopsis

This catalog is an informal study exploring the use of human feet in craft, manual labor and daily life in India. The people photographed have learned to employ their whole body in their labor.
The four-handed people of India have developed unique processes linking thought to production and performance, that most urban  societies seem to have forgotten.
Learning a skill does not happen through verbal teaching but rather by the transference of the skill from the muscles of the teacher directly to the muscles of the apprentice. It is an act of simultaneous perception through the senses and bodily mimesis, or imitation. People learn by doing. The use of feet as hands is an unconscious process. For the people documented in this catalog, feet act as “extra hands” in a natural, instinctive way.
This document is an attempt to re-discover through the ingenuity and resourcefulness of Indian people, what it means for a human to be “four-handed”.

 

ZENITH

 

ZENITH

BY PETER BOBBY

The "Zenith" images are a key part of the overall body of work High-rise and play a central role in extending the visual approach and overall discussion. In its entirety, the project examines the socio-political, architectural and visual discourse surrounding high-rise constructions and the recording of them, using a combination of both interior and exterior still and moving imagery. The project is positioned at the discursive crossroads between art, architecture, photography and subjects relating to the urban built environment.

Shown here, publicly for the first time as a discrete series of images in their own right, rather than interspersed with the interior images and video works that make up High-rise, "Zenith" presents an alternative view of these constructions. Taken from street level, our gaze is directed upwards towards dramatically illuminated building summits, separating these corporate constructions from other forms of high-rise developments. Through their illumination, these buildings quite literally crave our attention and compete for their place as significant structures within the hierarchical visual identity of our contemporary cities. They become demonstrations of corporate and individual power through their outward facing exterior image, which in turn points to the suggested social status associated with occupying such spaces.


"The decision by Bobby to photograph only the very tops of these tall buildings from below, presents them as inadequate beacons set against the dense, inky black void that dominates the picture frame. Importantly, the photographs are printed onto a specially selected heavyweight matte paper that presents the blackness as an absolute absence of light, offering the viewer a highly un-photographic referent. The high-rises in this series become mysterious citadels offering no outward suggestion of their function. They become instead lonely follies in their self-imposed isolation from the practices of everyday life that animates the more complex human activities and encounters of street level."1

1. Liam Devlin, “In sight. In visible. In situ…” in High-rise, Peter Bobby (Cardiff: Ffotogallery, 2015), 90.

 

SOMEONE WAS HERE

 

SOMEONE WAS HERE

BY  VALE & CALVETE

The series "Alguém Esteve Aqui (Someone was here)" portraits the relationship between the Portuguese territory and its inhabitants. Despite the absence of human presence in the photographs, they are felt through gestures and specific intentions left in these places. These are records of a naive ability to organize a portion of the world that belongs to them. Therefore, indirectly, they are creating architecture, presenting others with their spatial honesty, without labeling any forms or methods. The captured photos seek to reveal these anonymous creations.

 

About the author
Ana Rita Vale (Guimarães, 1992) e André Calvete (Figueira da Foz,1991) are the duo of architects Vale & Calvete. Both hold a Master in Architecture in Faculdade de Arquitectura da Universidade do Porto since 2016. Co-founders and curators of the recent event "20x20: Ideias em Confronto (Ideas in Confrontation)" and assistants in other architectural activities. Since 2015, they have developed projects as a team, with some of their works being published in several printed and digital publications, in Portugal and overseas.

 

website

email
 

 

SLEEPING TOWNS

 

SLEEPING TOWNS: BIBIONE AS A NON-PLACE

BY LARA BACCHIEGA

Lara Bachiega was born in Venice in 1989. 
She has a degree in Visual Art and Performing (IUAV University in Venice). Her work has already been shown in some individual and collecttiveexhibitions and published in photography publications.

Synopsis

The project analyzes the concept of non-place. Considering the definition provided by the French anthropologist Marc Augé in 1992 as a starting point, the concept is applied to the contemporary landscape, recognizing in particular the seaside town of Bibione, in the province of Venice, as the appropriate area of research for this investigation. Bibione is considered in the sense of large non-place as a place of transition, frequenting by masses in the summer season while suspended and empty during the winter months, to the point of assuming the aspect of a ghost town. The work highlights some of the features identified by Augé about these particular spaces, as their standardization and uniformity, their anonymity, their being untied from the context they physically occupy and their nature of a not-truly-lived environment: these places are seen just temporarily, without a real awareness.

Editor´s note

The presented project was selected from a spontaneous submission made by Lara Bacchiega. Our aim is to disseminate and bring to light telling work of emergent or young photographers.

 

REAR WINDOW

 

REAR WINDOW

BY JORDI HUISMAN

 

Jordi Huisman was born in The Netherlands in 1982. After a BSc at Engineering, Design & Innovation, attended the KABK art academy in The Hague to study photography. Has been working as a freelance photographer since 2005.

The series about the proposed US missile defense system in Czech Republic was published in Vrij Nederland in 2008. Portraits Jordi took of football dads were published in Volkskrant Magazine, also in 2008. From 2006 to 2010, toured through Europe and Japan with Amsterdam based hip-hop duo Pete Philly&Perquisite.

Since 2011, Jordi photographs lifestyle reportages for online interview magazine Freunde von Freunden. Prints of my work are for sale at UP-Editions in Amsterdam and Babel Art Collections in Brussels. The editorial work is available at Hollandse Hoogte and Offset. Jordi's commercial work is represented by Mrs. Robinson in Amsterdam.

 

Synopsis

The view from the rear of a residential building in an old city exhibits the ways in which people influence their surroundings. When a new building block is designed and built as a single structure and concept it acquires a uniformity and alignment; in older cities a much more fragmented and spontaneous architecture emerges. This architectural informality is in direct contrast with the façade of a building, which is much more aware of its appearance.

The Rear Window series focuses on the rear of buildings in capital cities. While one balcony becomes home to a large satellite dish, the neighbouring balcony becomes storage space; a small tree once planted in the courtyard has grown into a massive obstacle. There is also an element of the voyeuristic: meticulous exposures resolve small details in the houses and lives of their residents which were never meant to be outwardly visible.

By photographing these scenes in different capitals, national differences and global chaos are captured.

 

O NADO-MORTO

 

o nado-morto

BY mariana barreirA

 

Conclui o Mestrado Integrado de Arquitetura na FAUP em 2014/2015, tendo ganho Menção honrosa na Edição Archiprix 2016 com o projeto UM PROJECTO PARA UM CAMINHO. Ampliação da sede dos escuteiros do grupo Lac-Bleu, La Tour-de-Peilz, Suiça. Sob orientação do Prof. Dr. Marco Ginoulhiac, da Faculdade de Arquitectura da Universidade do Porto.

Synopsis

Pensamento fotográfico espontâneo e pouco ponderado sobre o edifício morto.

Spontaneous and unmindful photographic thinking about the dead building.

 

Editor's note

Our aim is to disseminate and bring to light telling work of emergent or young photographers.

 

XINJIANG: RE-CONSTRUCTION

 

XINJIANG: RE-CONSTRUCTION

BY TAHIR ÜN

 

Tahir Ün was born in Turkey in 1960. He holds a BA degree from Language and History-Geography Faculty of Ankara University, where he studied History of European Arts.


He worked in advertising and public relations between 1985–1995 and gave lectures of photography at the Center of Contemporary Arts in Ankara and at the Vocational College in Kara Elmas University in Safranbolu between 1995-1999.


He is a co-founder of Institution of Photography Art (FSK) since 1994. His photographs are published in many magazines such as “Foto” Magazine by Revista Foto S. L. , Madrid, Spain, “Zoom Inter_national” Magazine by Progreso Fotografico Editrice, Italy and “Foto Kino Magazine tillage International Photography” by Konkordia Kvissel, Denmark since 1983 and accepted to some collections such as Polaroid Collection, Ransom Center Photography, State Museum of Majdenek and Rhizome Artbase.


Tahir Ün published three books titled “Imagined Views/Moments of Revulsion” Photographs (1990) and “The Poetic Introduction of Representation of the Hidden Photograph” Poems (1995) and “Xinjiang : My Ancestral Land” photographs (2012). In addition, his articles about image theory are published in various Turkish art magazines since 2000. His works have been displayed in numerous worldwide events including 24 one-man exhibitions.
Tahir Ün is currently active also in new media arts and an instructor in the Communication Faculty of Yasar University at Izmir.

 

synopsis


Chinese government and private investors make significant investments for the urban transformation, development and modernization of this region. The new public spaces, public housing and industrialization change considerably to the lifestyle in the region. My project describes the conflict between identity and modernization.
I gathered the environment, human and architectural elements with collage technique after I completed my conceptual project.



 

editor's note

The presented photographic project was awarded with an honourable mention at the 4th edition of scopio International Photography Contest. The winner and honourable mentions will be exhibited at the contest's exhibition: Crossing Boarders, Shifting Boundaries at RIBA, on May 26th, 2015. For more information about this subject, click here.

 

THE NEAR SPACE

 

THE NEAR SPACE

BY GIULIA FLAVIA BACZYNSKI

 

Giulia Flavia Baczynski was born in Verona (1982) and graduated in Architecture at the Polytechnic in Milan. She works for several architects and cultural associations.

 

Synopsis

Space around us is a no neutral space, not unbiased: it is the space we create in our mind. This imagination allows us to produce a map of the word where every element is placed with the correct distance to us. “The near space” unveils monumental architecture taking its inspiration from the concept of personal distance investigated by Proxemics, the subject studying the way people occupy the space during a conversation. The ‘personal distance’ is that distance in which we can reach out our arm and grab it. It turns the architectural space we live in, we move in, careless. To grab does not mean to touch, to catch, rather to create a link to the object, to the place, to the space we are in. This is an attempt to understand our relationship and our position toward architecture.

The project has been commissioned by Polytechnic of Milan and took part in “Space_Photography_Architecture, Mantua School of Architecture”. Photographic section was curated by Marco Introini and Giulia Flavia Baczynski, Casa del Mantegna, 9-18 may 2014, Mantova.

 

SWAY

 

SWAY

BY EOIN O'CONNAIL

Eoin O’Conaill is a photographer and educator who works on long-term projects alongside commissioned work.  He has contributed to publications such as New York Times, Financial Times, Irish Times, International Herald Tribune, Le Monde, Telerama and has completed jobs for numerous commercial and fashion clients. 
His personal projects have been exhibited in solo and group exhibitions both nationally and internationally and his work has been nominated for the Foam Paul Huf Photo Award, Prix Pictet 2011 & ‘13 and the project “Common Place” was the recipient of the Gallery of Photography Artist Award in 2009.
Eoin is a lecturer in photography  at Griffith College Cork and holds an MFA in Photography from the University of Ulster and a BA in Documentary Photography from the University of Wales, Newport.

synopsis 

This work documents a recurring physical and psychological environment that exists on the suburban fringes of the modern city, exploring the relationship between people and the built world around them. Extending from locations in Ireland, to the UK and Europe, Sway highlights an increasingly homogeneous cityscape of indistinct housing estates, architecture and periphery businesses where streets merge into each other and one town drifts into the next. Sway sets out to explore this familiar urban environment, looking to a landscape where the consequences of urban planning, economic and political decisions meet with human lives head on.

editor's note

Our aim is to disseminate and bring to light telling work of emergent or young photographers.

 

SHANGRI-LA

 

SHANGRI-LA

BY ALNIS STAKLE

Alnis Stakle (b.1975) lives and works in Latvia. He holds PhD in art education from Daugavpils University, Latvia. Since 1998, his works has been exhibited in Latvian Museum of Photography, Latvian National Museum of Art, The Latvian Centre for Contemporary Art, Modern Art Oxford (GB), Langhans gallery in Prague (CZ), Art Center ‘Winzavod’ in Moscow (RU), ‘Gostiny Dvor’ Museum and Exhibition Complex in Archangelsk (RU), Regional Art Museum in Tjumen (RU), Museum Center in Krasnojarsk (RU), Russia State Center of Photography in St. Petersburg (RU), Contemporary Art Museum in Santo Domingo (E),Museo Nacional de Bellas Artes in Buenos Aires (AR), Museum of Modern Art Carlos Merida of Guatemala City (GT), Centre for Fine Arts BOZAR in Brussells (BE). Stakle is represented by Grinberg Gallery in Moscow and Inde/Jacobs Gallery, San Antonio, Texas.

synopsis

Shangri-La is an imaginary place in China, described as a mystical and utopian valley shielded from the world by a chain of mountains – a true paradise on Earth.
At present, China is right there among the world’s most booming economies. It is estimated that over the next ten years its population growth will reach skyrocketing proportions. This will result in unprecedented levels of industrialisation and urbanisation – a reality of life that billions of Chinese will be facing already in the coming decade. In contemporary China, cities populated by millions have become a magnetic promised land for hordes of gold-diggers as well as people fleeing rural poverty. According to current estimates, by 2030 the urban population of China will reach one billion. To house all these people, 50000 new skyscrapers will need to be built – an amount that equals 10 New York Cities.
This series focuses on China’s hot zone of economic activity, exploring contemporary cityscape transformations in Shanghai, Suzhou, Hangzhou, Shenzhen and Guangzhou. Special attention is paid to territories with semi-cleared old buildings in preparation for construction of new skyscraper precincts. At night, the cityscape reveals how urban planning, housing, tearing down and construction transpire on an apocalyptic scale, which is particularly fascinating in view of the fact that semi-cleared buildings continue to be inhabited.

editor's note
The presented photographic project was awarded First Prize at the 4th edition of scopio International Photography Contest. The winner and honourable mentions will be exhibited at the contest's exhibition: Crossing Boarders, Shifting Boundaries at RIBA, on 26 of May, 2015. For more information about this subject, click here.

 

SUBTOPIA 2006-2008

 

SUBTOPIA 2006-2008

BY PAULO CATRICA

Paulo Catrica (born 1965, Lisbon; lives Lisbon) studied Photography (Ar.Co., Lisbon, 1985) and History (Lusiada University, 1992). He took an MA on Image and Communication at the Photography Department of Goldsmith’s College and an Audio Visual PhD Studies at the School of Art and Media (University of Westminster), researching The New Towns Program / UK 1946-1970s. He has exhibited at the Portuguese Center of Photography, at the Finnish Photography Triennal and the Calouste Gulbenkian Foundation in London, among other locations. He has published his work in national and international books and magazines, participated in several individual and group exhibitions, and has collaborated several times with scopio Editorial Line: invited author in the section Projects of scopio magazine aboveground city, speaker at the congress ON THE SURFACE: Public Space and Architectural images in debate and invited speaker for the second session of the Conference Cycle CFM + DTW, with "The making of urban & architectural photographs Nineteenth century photographs and the discourses of architecture and urban planning.".

Paulo Catrica´s work on urban landscapes and architecture is an original synthesis that offers a fresh and insightful perspective of the recent past and present realities of our hybrid city. The diverse series he published in scopio aboveground city shows clearly how Paulo Catrica is focused on the subject of public space and city life, understanding critically the rich multi-faceted world that exists in the cities. It is clear his insightful understanding of architectural spaces and their uses through time. He is a photographer with a strong interest in history and his subject of election is urban landscape, especially city spaces and architecture and his interesting work has a postmodernist strand of its own.

Subtopia proposes to build a cognitive map on the contemporary condition of the New Towns in the United Kingdom. Assuming
 a descriptive mood the photographs endorse landscape as a cultural construction. They look into urbanism and architecture as ideological epitomes, seen through the organization of public spaces.

Operating as visual fragments of a non-existent whole, Subtopia intends to create an imaginary New Town by assembling photographs from five different towns, chosen according to the different historical and political phases of the New Towns program: Stevenage (1946), Harlow (1947), Cumbernauld (1955) Runcorn (1964) and Milton Keynes (1967). Reclaiming an allegorical condition, as palimpsests, the photographs trace other layers beneath the image surface.
They affirm their arbitrariness and contingency, refusing any intention to impose a unitary vision upon the subject. In their subjective task they aim to further another possibility to quest the significance of suburban space in post-war British culture and collective memory.

This project was published in scopio magazine, aboveground: city.

 

PORTRAITS FROM HOME

 

PORTRAITS FROM HOME

BY SARAH MALAKOFF

 

Sarah Malakoff (Wellesley, Massachusetts in 1972). Her work has been widely exhibited in both solo and group shows nationally and are included in several public and private collections. She has been awarded Fellowships from the Massachusetts Cultural Council in 2001 and 2011 and a Traveling Fellowship from the School of the Museum of Fine Arts, Boston in 2011. She is Assistant Professor of Photography at the University of Massachusetts Dartmouth.

 

Synopsis

For as long as I can remember, I have had a preoccupation with domestic interiors.  As a child, I constantly rearranged the furniture, rugs, and even functions of the rooms in my house.  My long-term photographic project looks at the ways we arrange our most intimate spaces.  Our tastes, personalities, quirks and culture are expressed through our décor choices – sometimes intentionally, but often without realizing bits of our most authentic selves have seeped to the surface.  

In this body of work, I look closely at the portraits we display within the home. These diverse but venerated paintings and photographs of family, ancestors, historical figures, pets, and even celebrities seem to point to a longing for connection to community both past and present.  They resonate, often humorously or uncannily, with the other objects and architecture that surround them.  This collection of private spaces asks the viewer to imagine the people who inhabit them and their relationship to the portraits’ subjects.

These are digital C prints at 20" x 24" made from scans of 4x5 film.

 

Editor´s note

The presented project was selected from a spontaneous submission made by Sarah Malakoff. Our aim is to disseminate and bring to light telling work of emergent or young photographers.

 

NACHIBAR

 

NACHIBAR

BY JUAN ABALLE

Juan Aballe studied photography at the School of the International Center of Photography (NYC), and earned a MA in Photography at EFTI School (Madrid). He has been awarded grants from institutions such as the Spanish Ministry of Culture or Fundación Botín and his work has been exhibited and published internationally.

His photography combines a documentary background with a strong formal exploration of the medium and its ability to generate narratives and emotions beyond reality itself. He is deeply interested in how the subjective and ambiguous nature of photography can combine fact and interpretation, reality and imagination.

He has lived several years in Germany and the U.S.A. and is currently based in his hometown, Madrid. 

SYNOPSIS

The NachIbar project (neighbor in german) started when I discovered the old man living in the building in front of my flat in Berlin. I noticed how he used to spend some time everyday at his window, and started to observe him.

I became more and more intrigued by this lonely man and his daily routine, feeling increasingly close to him. For over a year, I photographed his moments at the window, developing a relationship without ever meeting him.

Almost five years later, I self-edited the Nachbar book, which includes 36 of those photographs, as well as texts in spanish and german. 

 

MIRAFLORES

 

MIRAFLORES

POR MIGUEL HENRIQUES

Miguel Henriques é um fotografo Português, concluiu em 2013, o Curso Avançado de Fotografia da AR.CO de Lisboa. Nos últimos anos dedicou-se ao estudo e levantamento fotográfico dos bairros de Lisboa. Realizou diversas exposições individuais e colectivas e publicou, recentemente, o livro "Olivais", pela editora Pianola.

sinopse 

Nos últimos anos dediquei-me a fotografar bairros da periferia da Grande Lisboa resultantes de planos originais coesos (Olivais, Parque das Nações, Portela de Loures e Encarnação), mesmo quando sofreram alterações posteriores significativas (como é o caso de Miraflores). Mais do que um mero levantamento topográfico, procuro um aspecto genuíno em cada bairro. Miraflores principia com uma urbanização promovida por Juan Mechó, com base num projecto multidisciplinar de 1965 destinado a famílias de rendimento alto. A construção inicia-se em 1969, com um prazo de conclusão de 8 anos. De génese modernista, o plano segue o modelo das periferias de Madrid: auto-suficiente, com infra-estruturas desportivas e comerciais próprias. Cada prédio tem um parqueamento subterrâneo próprio, o que é pouco usual na época. O novo quadro político da revolução de 25 de Abril produz obstáculos: o bairro é considerado elitista e as obras são suspensas. Juan Mechó morre na segunda metade dos anos 80 e a família retoma o projecto, aproveitando uma época de crescimento económico. A estratégia consiste em vender os terrenos ainda disponíveis, inseridos num novo plano da Câmara de Oeiras que permite um volume de construção maior do que o inicial. O realojamento da população da Pedreira dos Húngaros - bairro clandestino anexo - alarga o terreno para a construção de fogos de habitação. Nesta série de fotografias, interessou-me principalmente o desenvolvimento do bairro numa encosta que proporciona amplas panorâmicas, contrastantes com os aglomerados de torres de volumetria impressionante, criando sensações opostas, de expansão e de clausura. Esta oposição prolonga-se na paisagem, bem para lá dos limites do bairro, como que dominando toda a periferia. Outro aspecto importante resulta das diferenças entre os vários aglomerados de edifícios, adivinhando - nas suas diferenças arquitectónicas - o lapso temporal entre as diversas épocas de construção.


editor´s note

The presented project was selected from a spontaneous submission made by Miguel Henriques. Our aim is to disseminate and bring to light telling work of emergent or young photographers.

 

MÉMOIRE

 

MÉMOIRE

BY SONIA MANGIAPANE

Sonia Mangiapane is a professional photographer whose areas of interest include architecture, spaces, landscape, art & design related projects. She has worked for a number of years for architectural, commercial and editorial clients while also pursuing my own personal work.

In 2012 she relocated to Amsterdam (The Netherlands) from her hometown in Melbourne (Australia). Recently she was shortlisted for the 2014 Arcaid Images Architectural Photography Awards.

synopsis

The initial aim of this series was simply to document temporary structures, all of which, at the time of shooting, were in a state of transition. I felt a sense of urgency; that these buildings ought to be recorded in some way, lest they be erased from collective memory.

Today some of the structures I have photographed no longer exist. In time some will cease to exist; while others will have elements retained, but their original state will be transformed in a fundamental way.

“Mémoire” explores two themes in parallel; one for the head and one for the heart as it were…

On the one hand, it aims to provoke discussion relating to the sustainable regeneration and adaptive reuse of our existing buildings. Regeneration of the urban environment is critical to a sustainable future. However, confronted with a multitude of social, environmental, financial & political issues to consider, the path we should take is not always clear-cut.

On the other hand, as the series developed I found that it wasn’t the structures themselves that were the most interesting aspect of this project. Rather, the fact that the spaces housed by the structure once had people inhabiting, occupying, visiting or passing through them. These “shells” are embodied with the history and memories of those people. I consider this series a tribute to those memories.

Shot mainly in Melbourne’s inner urban area throughout 2008 to 2010, “Mémoire” captures fleeting moments in our changing urban landscape.

editor's note

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