Manuel Cosentino (b. 1980) studied at the Istituto Europeo de Design in Rome. Cosentino's work has been exhibited in numerous venues, including at Galerie Huit alongside Les Rencontres d'Arles, the Museo Diocesano Francesco Gonzaga and the Museo Civico G. Fattori among others.
Awards and accolades include being a Finalist for the Premio Combat Prize and a Top 10 for a Houston Center for Photography Fellowship. His work can be found in the permanent collection of the Bibliothèque Nationale de France. Manuel Cosentino lives and works in Italy.
Photographed over a two-year period, the eight photographs that form the series, depict a nondescript house—located on a hill in a non-disclosed location—with the changing wild and dramatic weather patterns serving as the backdrop. The modestly-sized photographs are nothing short of breathtaking, while at the same time being quiet and understated. Touching upon the themes of universality of home and of our place in the world beneath one sky, Cosentino has left the narrative open, so that the viewer can bring their own story to bear on the photographs.
Dino Kužnik is a New York based Photographer and Graphic Designer, originally from Slovenia, Europe. He uses photography as a medium to immortalize scenes that are aesthetically unique, with an emphasis on color and composition. Solitude is a driving factor behind Dino's photographs. His work reflects a peaceful state of mind, one only attainable after total immersion within the environment he works in. Experienced as a journalistic photographer and retoucher, he now mostly focuses on his personal body of work – a documentation of the American Landscape, whilst experimenting with different techniques.
Chris Lowell began a career in street photography in 2005, inspired by the photographic styles of the early street photographers: Frank, Erwitt, Evans, Ronis, Cartier-Bresson. He documented urban street scenes across the world – from Paris to Marrakech, Florence to Port-au-Prince – always trying to evoke a sense of relatability and humanity in his subjects. Taking pictures with the same 35mm rangefinders as his influences, Lowell became quickly versed in the ability to shoot without thinking, to let impulse snap the shutter.
In 2009, after re-discovering the early photographs of Robert Mapplethorpe and the library of southern portraits from Sally Mann, Lowell began turning the camera in on his own life. Portraits became his new focus. But rather than utilizing studio lighting and seamless backgrounds, he maintained the intuition-driven style he had been developing in his early work. Still working with film, swapping the Leica for a Hasselblad, embracing the clarity of medium-format, Lowell began photographing his “memories.” Much of his work feels at once ethereal and grounded, part of this world and too good to be true. Like photographs, memories are never the real thing; they’re richer, softer, more romantic. Lowell’s images carry us into the poetic world, while keeping our feet firmly planted in the real one.
Form, speaks of the human condition and our increasing alienation from our own bodies. In these photographs, what should be intimately familiar is transformed into an unfamiliar sculpture.
Photographed in this contorted fashion, the body becomes almost inhuman; it is a mindless mass of flesh, a growth. Although the figures are abstract they still retain many human qualities; foetal like poses, flecks of freckles and the subtle arc of the spine. The forms photographed are a stark contrast to our society’s concept of an ‘ideal body’. While their peculiarity and soft lighting intrigues us, a sense of the cadaver repels us.
Approaching the grotesque, the photographs appear to be digitally manipulated. Far from the sought after attractive body image, it is the raw and unaltered quality of these images that render them most potent. Form challenges mainstream conceptions of body image through capturing a fluidity of gender and identity. The anonymity and fragmented appearance allows us to focus on the colours in the skin, the imperfections, marks and contours. The bodies are situated in an inescapable bleak space that mirrors the boxy containers we live in. In an age when we are saturated with digitally altered and enhanced imagery, these real, fleshy sculptures stand out and challenge how we look at the human body.
“Reading is solitude,” Italo Calvino once said, embodying the inspiration behind this series. These temples of cultural worship gather communities, and yet the literary experience, and therefore the experience of a library, remains solitary. Giving groups of scholars and peers glimpses into the past, present and future of humanity, literature offers an unparalleled opportunity to explore one's self from within through the unique internal narrative that each reader develops. It is this internal narrative that forms us when we are young, matures with us, and grows when we feed it. It was the first means of travel offered to many and continues to be the most accessible form of escape for millions of people seeking knowledge, the world, themselves. It is with an eye towards this improbable bled of public space and private experience that Poirier displays some of the finest libraries, both classical and modern, across Europe.
Tania Franco Klein (b. 1990) started her photography praxis while gaining her BA Architecture in Mexico City, which took her to pursue her MA in Photography at the University of the Arts London.
Her work is highly influenced by her fascination with social behavior and contemporary practices such as leisure, consumption, media overstimulation, emotional disconnection, the obsession with eternal youth, the American dream in the Western world and the psychological sequels they generate in our everyday life.
The artist’s abstract photographs look inwards: exploring the rudiments of photographic processes and their potential to be used as a form of self-expression. The vast swathes of colour are a record of the physical gestures involved in their construction, but also suggest aspects of the body such as hair, or pigmentation of the skin.
Monty is an Argentinian artist and photographer based in Berlin.
My photography is a surreal and subjective anthropological documentation of our world. Our senses are mediated by our emotions, which tells us that are point of view of this life is not logical, but sentimental. With my work i seek to externalize my inner thoughts, feelings and fears by transforming scenes and subjects through manipulation of light, which be it natural or artificial, is a tool that is at the core of my creative drive. My photographs are all united to a certain mood and are about transferring emotion rather than telling a narrative story, so the viewer gets as close as possible to experience and feel the world through my eyes.