"Memorie temporelle, comme un mirage" - "A temporary memory like a mirage"
City By the Sea is a collaboration between Kalpesh Lathriga and Emmanuelle Peri surrounding the ideas of perceived and real memories based in Mumbai. The title is taken from the first chapter of Rohinton Mistry's A Fine Balance.
Kalpesh Lathigra (1971, London, UK) studied at London College of Printing , and lives in London. Lathigra's work occupies the space between documentary and art. Recent exhibitions include Lost in the Wilderness at Webber Gallery, London, Return to Elsewhere for Photoworks/Brighton Photo Biennial 2014, National Portrait Gallery (UK), PhotoEspana and Noorderlicht. He has been awarded the W.Eugene Smith Fellowship, World Press Photo Award and Lightwork Residency. His first book “ Lost in the Wilderness” is a body of photographs with the Oglala Sioux and the Pine Ridge Reservation was published in 2015.
Under J.W. Anderson, Loewe has become known not only for its thoughtful designs redolent of its home base of Madrid, but also for the incredible hard-cover books the house puts out alongside its collections. For Loewe’s spring/summer 19 tome, Anderson once again turned to Duane Michals, the American artist and photographer known for his delicate exploration of gay men’s sexuality and mortality (among many other things). Michals shot a cast of eleven men in absurd situations at Casa Gallardo, a cavernous home in Madrid — each appears in the book accompanied by the photographer’s customary handwritten notes.
Turi Calafato was born in Italy in March 1979. He completed a Bachelor of Pharmacy with Honours in 2002 and worked as pharmacist for several years before working as a freelance photographer. He has always been very fond of visual arts and his interest in photography began in 2011. He is a self taught photographer and at the end of 2012 he began to work professionally in this field. His main interest is documentary photography. He has exhibited several times in Italy(in either solo or group exhibition), and Worldwide(in group exhibition). He has won several international awards, such as the World Press Photo, the Sony World Photography Award, the Center Choice Award, etc.
“I wanted to explore the beauty in naivety. That period in our lives when you can’t wait to grow up, but are still incredibly unsure about what the future holds,” explains Jacob John Harmer, the photographer behind arresting new photo series Lost Ones. Only recently beginning to explore analogue photography, London-based Jacob previously focused on filmmaking -- shooting the likes of A$AP Rocky and Adwoa Aboah, and for brands such as Nike and Vivienne Westwood. But looking for a way to forge a closer connection with the strangers he met, last year Jacob embarked on a photographic project that took him back to his hometown of Hastings, to document the local kids hanging out in the evenings. As day turned to dusk and a lambent glow fell across the sky, Jacob would wander out to cliff-faces of Hastings. The result is a document of teenage banality in beautiful, painful detail, against the still, epic backdrop of the Sussex coastline.
Spectators sitting in a circle, a dirt ground, saturated music, and two opponents (Fagnorolahy) facing each other. That is the atmosphere of the "Moraingy".
Originally this traditional combat practiced by the Sakalava (coastal ethnic group of Madagascar) was used as a game, as a means of defense, and as a training for war.The fights are held on Sunday afternoon and on holidays. Here fair play is required and the opponent is not seen as an enemy but a way to build themselves. Thus the Moraingy shows the Fihavanana, malagasy's philosophy of solidarity and friendship.Over time the Moraingy became a show generating money, some combatants are now Stars and some try to professionalize the sport.Fagnorolahy is an important figure, he comes and fights for his community but also for him. He dances, parade, shook his fist, and receives money from spectators when he fought well. He represents his village, but also himself, and his performance in combat. But Fihavanana does not allow arrogance, and impose humility.
Rinko Kawauchi> (b. 1972, Japan) has had major solo exhibitions at the Fondation Cartier pour l’Art Contemporain, Paris; The Photographers’ Gallery, London; Tokyo Metropolitan Museum of Photography, Tokyo; Aperture Gallery, New York; Contemporary Museum, Kumamoto; and the Kunst Haus Wien, Vienna. In 2013 she was awarded the the 29th Higashikawa Award, Domestic Photographer Award and received the Art Encourage Prize for New Artist from the Ministry of Education. Her works are part of the collection of the San Francisco Museum of Modern Art, San Francisco, Tokyo Metropolitan Museum of Photography, and the Foundation Cartier pour l’Art Contemporain, amongst others.
They’re exceptional pictures, taken between 1972 and 1981 by a young artist who was her own muse. But Woodman’s slow-burning self-portraits are the precise opposite of a glib selfie. Long exposures obscure her identity, which recedes as the figures migrate from body to blur. These pictures don’t give a damn about getting likes.
The Soldier portraits were made with the cooperation of the military at Fort Drum army base. The soldiers I met were between tours of duty in Iraq and Afghanistan. In making these portraits, I hoped to photograph the invisible. I thought that by looking in the face of a young person who had witnessed something unforgettable we might imagine what he had seen or done, or not done. Although the implication of being shot down was likely not lost on these young men and women, the pose is also a intimate - like seeing someone opposite you with his or her head on the pillow.
