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).
Mónica Egido (b. 1994) has a background in physiotherapy. She is currently a student of the PHotoESPAÑA Master in Photographic Projects, led by Semíramis González. As well as several solo shows, she has exhibited her work in group presentations at Sara Caso Gallery, Madrid; Abartium Gallery, Barcelona; The Holy Art Gallery, London; and El Brocense Art Gallery, Cáceres. Her images have been published by the likes of Vogue Italia and FLAMANTES.
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/
The project 'The lost paracosmist' is an animated short film by multimedia artist Josephina van de Water. Using digital photography, printed celluloid film, paint, digital scans, video montage, cardboard and extreme patience, she brings a fictitious world to life in fascinating detail. The film was made in the traditional, time-consuming way that requires particular dedication, with each frame individually handcoloured as was done in the first colour movies.
The imaginary island of Paperland is inhabited by a colourful collection of talking animals. Josephina van de Water wrote and narrated the dialogue, giving each animal its own voice, tone and place in her universe. The chronicle guides us through a logical, yet fictitious, tale, in which we learn about Paperland’s geography, history, language, culture and religion.
As in every good fable, imagination is closely accompanied by reflection. While The lost paracosmist focuses on the irresistible charms of storytelling, it also warns the audience to beware of stories. They have the power to contort our perception of the world and disturb our relationship with reality.
The endearing cardboard animals in their warm, glowing colours, and the gentle, motherly voice of the narrator, are reminiscent of children’s programmes. However, the topics covered in this allegory are anything but childish: territorial disputes, political and religious authority and mechanisms of exclusion and esteem all make an appearance, allowing inequality and frustration to creep into this seemingly safe cosmos.
- Text by Geert Goiris (.tiff)
During Photo London in 2018, They were my landscape (MACK) was launched.
Kiely was nominated for the Paul Huf Award, the Paul Hamlyn Foundation Award and selected to be in the British Journal of Photography Ones to Watch, Talent issue (2018).
In 2020 Erien Withouck’s fascination for overlooked figures and myths led her to the Shetland Isles. Several islanders told her of the mythical “Selkie”, a hybrid creature which has the ability to remove its seal skin and take on human form. On Midsummer’s eve, a female Selkie emerges from a foaming sea and sheds her seal skin. A man sees her on the shore: he carelessly steals her skin and makes her his wife. Always longing for the ocean, the Selkie prefers the freedom as a seal to her expected role as a good mother and housewife, she eventually reclaims her skin and returns to her former home.
This myth is the sort of transient tale that chimes with Withouck’s aesthetic and sensibility. The antagonism between the fleeting nature of oral history and the desire to capture things permanently on film raises an important question: what do we wish to remember, and what would we rather forget? A literal reconstruction of the past is neither useful nor appropriate. The camera offers the chance to play, to intersect the paths of history and imagination.
Her photographs illuminate the traces of these unknown figures and mythical creatures which escaped the pages of history books, subtly capturing the unwritten habits, routines and cultures that still slumber on in remote communities. In scenes that beautifully evoke the fisherman’s world of pounding waves and craggy cliffs, the sea – with its continuous ebb and flow between eternity and fluidity – is clearly the protagonist. This ambiguity is exposed in the imagery of Erien Withouck.
- Text by Dagmar Dirkx (.tiff)
The photographs in an archive or collection often have no beginning or end, but they exist in layers. When moving in-between these layers, norms and structures emerge but also veins of emotion and sudden affects. These aspects co-play and turn “seeing” and ideas of how to see into a complex framework.
"I work project-oriented, and I often use somewhat divergent visual expressions in my work. The common thread is the type of material that usually work with and how I approach it."
In the last five years he has been working extensively in the valley of Kashmir, India, at first documenting the political conflict between the population and the Indian administration, and later trying to explore a more personal and oneiric approach to the issue. In 2020 Camillo was one of the selected artist for the FOAM Talent.Among the prizes received are Shortlist at PH Museum Grant, Best Rising Talent at Gomma Grant, Alexia Foundation Student Grant, LensCulture B&W, Shortlist Unseen Dummy Award, Fotoleggendo Award.
Camillo’s photographs has been featured in numerous exhibitions in Europe, USA, Asia, Oceania and published in Time, Der Spiegel, Polka, National Geographic, Internazionale, BuzzFeed, Mashable, Vanity Fair and many other international publications.
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.
Tengbeh Kamara is a Dutch-Liberian photographer (1996) based in Amsterdam. Their portrait and documentary work explores intimacy, memory, and identity.Tengbeh’s artistic practice balances between documentary, autobiographical and political fields. Being a black and queer photographer, Tengbeh often documents those experiences. However, Their curiosity also draws them to explore more identities and social issues than just their own.Tengbeh is part of a new generation of photographers characterized by their inclusive, daring and critical eyes. Tengbeh makes visible what has systematically been ignored, resulting in beautiful, powerful and colorful photographs.Portrait of Tengbeh Kamara by Sophie Engels
Michaela Nagyidaiová (b. 1996) is a Slovakian photographer based in Bratislava. Her work analyses connections between landscape, memory, identity, migration, and the topographies of Central and Eastern Europe. Interested in how ideologies and political systems influence layers of personal life – and drawing inspiration from both past events and contemporary issues – Nagyidaiová works on long-term projects that combine images with text, archival material and video. She holds an MA in Photojournalism & Documentary Photography from the London College of Communication, and is a member of Women Photograph. Her Transient Ties project was exhibited at Fotograf Festival in Prague’s National Gallery, and at a series of further shows in Czechia, Slovenia and Austria. In 2021, Nagyidaiová participated in the Wolf Suschitzky Photography Prize exhibition at the Austrian Cultural Forum in London & Fotohof in Salzburg, as well as in the British Journal of Photography’s Open Walls ’21: Then and Now exhibition at Galerie Huit in Arles.
Yu Shuk Pui Bobby (b. 1994) is a visual artist based between Hong Kong and Oslo. With a collaborative approach to her practice, her work conjures the physical, tangible and affective phenomena associated with biotechnology through combinations of video, text, installation, sculpture, and performance. She often uses speculative fiction to tackle questions of human genetic engineering, reconfiguring perceptions of gender, body and historical discourses of identity. Bobby holds a BA from Hong Kong Baptist University and an MFA from Oslo National Academy of Fine Art. Her works have been in Hong Kong, Norway, Japan, China, Iceland and the USA.