Photo exhibitions

This photographic series is a continuous process documenting the mother of Elise Corten and the relationship she has with her. She tries to show us, through her photographic narrative, the dialogues, moments of intimacy and her great closeness with her subject. The artist uses her camera as a pretext for redefining the maternal link. By drawing on her daily rituals, she looks at her mother as she is – in other words, a woman in her own right and not just a mother.

The pictures show the desire that a mother has to reveal to her daughter, a photographer, the physical and emotional changes she is going through. The project is both personal and universal, exposing mother to daughter and daughter to mother and self to self. An intimate and sensual mother-daughter relationship is revealed through the succession of portraits and still life works.

Elise Corten (BE 1994°) is a photographer based in Belgium. Elise’s practice primarily explores themes of intimacy, identity and memory through long term photo projects.

Her work has been shown in various international exhibitions and publications including Portrait of Humanity (UK), Hangar Photo Art Center (BE) and Helsinki Photo Festival (FI) amongst others.

Aquest projecte rendeix homenatge a un tipus de dona molt específic. La “bata” és el vestit de treball que utilitza. Aquesta dona era la matriarca en una societat fortament patriarcal. Criada per a cuidar de la seva família, poques vegades pensava en els seus propis somnis. Parlem d’un grup poc representat i poc apreciat. Vull donar-li una veu i l’homenatge que es mereix. Aquest tipus de dona està en perill d’extinció, igual que la “bata”. A Espanya són la darrera generació. Les sessions de fotos de la sèrie són una aventura creativa on aquestes dones entren en un estat de joc sense ni tan sols adonar-se’n. Les retrato en els seus pobles, dins de les seves cases i llocs de treball. Trenquen les seves fortes rutines mentals i de temps. Es transformen i, a la vegada, transformen el seu entorn.

Crec en una zona màgica durant les nostres sessions en les que les “dones de bata” se senten lliures d’expressar la seva bogeria creativa. El projecte és en sí mateix una experiència d’apoderament. Aquest és el veritable homenatge i no només les imatges finals. La bata és el punt entorn al qual gira el meu estudi. A partir d’aquí, analitzo qüestions de gènere, canvis sociopolítics en la societat i paisatges humans. Aquestes dones han format part de la meva infància. La força i l’afecte són les qualitats que les defineixen. La meva generació ha estat criada per elles. Però nosaltres, les dones modernes, hem canviat els nostres rols. Cada pas endavant necessita una mirada cap enrere per a veure allò que estem deixant enrere i entendre cap a on volem anar. L’humor és un component important al meu treball. És la porta d’entrada per arribara diferents nivells d’interpretació. Per a aquest projecte documental vaig viatjar a un poble de l’Espanya profunda: Villarmienzo, perdut entre les planúries de blat i pràcticament deshabitat per la despoblació i l’èxode rural. Vaig convèncer a sis dones locals de 80 anys per a que es deixessin retratar per mi. Les vaig vestir amb les clàssiques “bates” i també vaig incloure algunes elegants dissenyades per mi. És un projecte documental a l’estil del que jo anomeno “Antropologia Fantàstica”. Aquest terme es refereix a la ciència de l’estudi del ser humà, barrejat amb una aproximació conceptual (fantàstica). Els personatges són reals però hi ha una intervenció des de l’exterior i cert nivell de participació i joc amb l’auto-representació. Aquí veiem el capítol u d’un projecte en curs,tot i que independent en sí mateix, ja que s’exhibeix i publica com una història consistent. L’estudi està destinat a créixer a través de diverses ubicacions geogràfiques, narrant diferents històries i experimentant a cada capítol un estil diferent de representació.

Lucía Herrero va estudiar Arquitectura, Fotografia i Teatre Físic. La seva obra fotogràfica ha guanyat premis internacionals i el seu estil en fotografia documental / artística ha interessat comissaris i editors de tot el món. Les imatges de Lucia s’exhibeixen a nivell internacional en museus, galeries i festivals de fotografia. Durant els darrers anys ha desenvolupat un enfocament de la fotografia documental anomenat per ella “Antropologia Fantàstica”. És una barreja entre ciències socials i intervenció artística. Retrata persones i cultures amb elements dramàtics i fantàstics.

Destiny is a photographic project that stems from a personal experience.
As kids, we used to play football a lot in the neighborhood where I grew up. When we arrived to middle school, we got separated. However, the story of a close friend had left a deep impression on me. His father came to see him one day to explain that he could no longer provide for the family. He asked him to leave school and start working as an apprentice butcher.
My friend was just 14 years old and his choice of career, and therefore of life, was already sealed by social and economic determinism.

M’hammed Kilito (Marroc)
The work of M’hammed Kilito addresses issues relating to cultural identity and the human condition. He is a National Geographic Explorer and a member of the African Photojournalism Database. He contributes to Everyday Middle East and North Africa. M’hammed work has been presented in many countries and published in famous journals around the world.

To say life moves fast in a city is an understatement.
People go through life in an uncompromising, chaotic pace,
overcoming and absorbing anything in their path.
Time in the city seem to flow quicker, memories in the city
tend to fade away faster.
Nothing seems to stand still in a city.
A UN report suggested that by 2050, the world’s population would reach 10 billion, with three-quarters of humanity living in our already swelling cities.
This project examines the intense and chaotic environment of one of the most densely populated cities in the world, Hong Kong.
Zhou HanShun (Singapur)
Zhou HanShun is a Photographic Artist and Art Director. He uses photography as a way to explore, investigate and document the culture and people in the cities he has lived in. His work has been exhibited internationally.

En la exposición “El reencuentro de las almas”, Jorge Delgado-Ureña y Christelle Enquist hacen hincapié en el Nepal mas desconocido, compartiendo su experiencia de asistir a la inauguración del monasterio conmemorativo a Milarepa (figura importante de la historia del Budismo) en Manang, inaugurado el pasado 4 de noviembre 2019 por el venerable Choje Lama Phuntsok Rinpoche. Si bien es un documento del evento, el trabajo fotográfico también representa la visión personal de estos dos fotógrafos de la esencia del budismo, que a menudo va más allá de los estereotipos.

Jorge y Christelle son fotógrafos con sede en Barcelona, España. En 2016 viajaron a Nepal por primera vez y se inspiraron tanto en el país, la cultura y su gente, que fundaron Raw Photo Tours. El objetivo principal de sus viajes era traer fotógrafos internacionales a Nepal y guiarlos tanto en fotografía como en descubrir el país que les robó el corazón. Desde entonces, han organizado viajes fotográficos a Nepal dos veces al año y han ampliado ese concepto a países como Marruecos, Cuba, India e Indonesia.

Una selección de las fotos están en venta en: https://www.rawphototours.com/fine-art-prints/

Este trabajo es una contribución al ejercicio prospecto de la memoria de Chile. La violencia de estado y la respuesta de un pueblo desarmado o equipado con artillería hechiza, fue el espacio en donde encontré una retórica importante para registrar y resignificar. La fotografía se volvió entonces la trinchera desde donde elegí denunciar y combatir. Este documental es un registro de la memoria de un gobierno que declaró la guerra y actuó en consecuencia. De un pueblo en silencio que despertó y que hoy sigue en la lucha.

Diseñador gráfico, documentalista y profesor de diseño. Nacido en 1989, Santiago de Chile.

Instagram: @andrievmechowski

Portafolio: https://andresmellado.myportfolio.com/

Wars are without doubt one of the worst hiccups humanity has always had. In addition to the deaths and destruction they generate, they often have far more lasting consequences, such as poverty, hunger and illnesses; and finally a scar that crosses several generations.

The Middle East has been, because of its strategic importance, the scene of different bloody wars between territories or due to the intervention of great powers in the name of safeguarding world peace. That is why it has become one of the most unstable regions on the planet.

Some witnesses like the author have lived the war and have taught us one of the worst faces of humanity.

During the first years of my career as a photographer, I focused on the religious imagery of some traditional cultures, especially from the perspective of archetypal psychology. In the last twenty years, I have worked with more than thirty-five cultures from the five continents (including the Sami of Northern Europe and the Maori of New Zealand).

In 2000, I found out, fortuitously, that my paternal grandmother had been an indigenous person. She belonged to a group completely disappeared, either by direct extermination or by crossbreeding. An urgency arose in me to inquire about their beliefs, their mythology, their cosmogony. But there was no trace. That is why I started a life project: to investigate the mythologies of original American groups that have survived to date and to propose an iconography for their gods before they completely disappear. These groups are in remote areas, usually quite isolated and for the development of the project I had the support of the shamans, teachers and wise people of the communities in which I have been.

So, from 2001 to the present, I have included 11 indigenous cultures in six countries and I have done more than 80 images based on the myths, legends and beliefs of these groups. All the images have subsequently been sent to the communities where I worked, for their schools or community sites. Every person I portrayed has received his image.

My purpose has been to investigate the mythologies of the groups I will work with starting from the texts written by anthropologists. Then, in the communities, my allies have been the wise men and teachers, who have been describing for me and advising me how to make each icon: they told me what people in the community could be best suited to represent each deity and what attributes or elements would be the most indicated to integrate the image. Thus, field work consists in making the portraits that I digitally assemble later in my workshop.

In less than twenty years, I have seen communities disappear under the waters of a great dam (A’ukre, Kayapó community in Brazil); be threatened by mining and tourism (communities Quero del Perú), by drug trafficking (Huichol, Mexico) or evangelization (Piaroa and Pemón, Venezuela). The Gods of America are disappearing at a faster rate than I initially believed and, with them, an essential part of mankind – of all of us – will go down irrevocably into oblivion or, still worse, in ignorance. My work is against the clock and the road is still long.

Antonio Briceño
June 2018

The space changes around the railway lines that remain, generations after their construction.
Flowing into the distance or cutting through an image, the rails leave us amazed; and yet their confident line anchors us to our path. Once busy, the stations feel abandoned, objects of an aesthetic pride forgotten.
Elsewhere, the tracks flow through immutable mountain passes. The photo series “Railroad Landscapes” examines the forgotten environment of US railroad tracks.
From urban to rural, Sanderson set out to examine how pathways exist as a narrative force within the framework, while also looking at places that describe our collective history.
Rooted in his passion for architectural and historical design, this project has been underway for twelve years.
The photographs were taken with a traditional 8×10-inch viewing film camera during a long journey through the United States of America.

John Sanderson is a photographer from the United States born in 1983, whose main interest lies in wide topographic landscapes that are characteristic of the American landscape. He finds the most creative inspiration in such places. His photographs reconcile American themes of impermanence and expansiveness with the contemporary landscape.
Sanderson’s projects focus on themes such as transportation, leisure, residence, industry, and decay. His passion for architectural design is rooted in his upbringing in Midtown Manhattan, NY.
For each project, he captures photographs with different large format film cameras. His works have been published in various magazines and newspapers, including PDN Magazine, Slate Magazine, BBC News, The Wall Street Journal, Lenscratch, and NBC News. His photographs are part of numerous private and public collections.

john-sanderson.com
@johnsandersonphotographer

In collaboration with VM Foto