Mickalene Thomas (lives and works in Brooklyn, NY) makes paintings, collages, photography, video, and installations that draw on art history and popular culture to create a contemporary vision of female sexuality, beauty, and power. Blurring the distinction between object and subject, concrete and abstract, real and imaginary, Thomas constructs complex portraits, landscapes, and interiors in order to examine how identity, gender, and sense-of-self are informed by the ways women (and “feminine” spaces) are represented in art and popular culture.
The team behind Where Love Is Illegal believes that stories have the ability to connect people, transform opinions, open minds, and change policies. Led by photographer Robin Hammond and his non-profit organization Witness Change, Where Love Is Illegal documents and captures personal testimonies of survival from the LGBTQI+ community around the world.
Nick Turpin was born in London, UK in 1969, Studied ‘Art and Design’ at the University of Gloucestershire then ‘Photography, Film and Video’ at the University of Westminster until 1990 when he left to work as a staff photographer with The Independent Newspaper leaving in 1997 to pursue a second career in Advertising and Design photography. In 2000 Nick was the founder of the international street photographers group in-public and in 2010 he established Nick Turpin Publishing. Nick has also taught and lectured on contemporary street photography at Museums, Universities and on TV.
Richard Misrach is one of the most influential photographers of his generation. In the 1970s, he helped pioneer the renaissance of color photography and large-scale presentation that are in widespread practice today.
Geert De Taeye is a creative and multifaceted photographer who shoots advertising campaigns, portraits, landscapes, painting, movie-inspired pictures and Artworks. This diversity has been essential for the young photographer to distinguish himself and forge a place within a culture dominated by ‘the image’. Geert’s approach is subtle and clever; he photographs and rearranges what he sees, reinventing and manipulating what is actually taking place at a given moment in time. He combines flawless techniques with the force of persuasion, irony and empathy. The truth is not always apparent and his work never ceases to captivate.
Our habitat is part of what we experience. It affects us and leaves its mark on us, just like we leave our mark on it. The eponymous Northern Rivers is a region of the Australian state of New South Wales, Famous for its white beaches, wild nature and perfect surfing conditions.This land has harboured hippie communes and communities looking for alternative ways of living. This is where the characters depicted in Lola Paprocka and Pani Paul’s "Northern Rivers" live. A group called "Our Strong Brotherhood" is a family of boys, a small community brought together by friendship and growing up together. The portraits of the young men were taken against the background of their homes and nature whose awe-inspiring beauty determines who they are and who they will become. It is hard to tell when the images were made as their hair- styles and clothes provide little information. One thing is certain – the hot summer will last forever - Lukasz Rusznica
Photography by Lola Paprocka & Pani Paul Curated by Lola Paprocka & Pani Paul Design by Moonmadness.eu Original Artwork Hand Printed in London by Daren Catlin September 2018, Printed in the EU First Edition 500 Copies Film by Lola Paprocka & Pani Paul Edited by Sirus F Gahan
A nation is a community of individuals united by a collective memory of the past, but the European Union is a community built on collective amnesia. Countries joining the Union over the past two decades have traded their difficult memories of past rivalries, wars and genocides for peace and prosperity, but when good times end the past returns.
Made during travels through ten countries during the height of the European debt crisis, The Memory of History explores the use and abuse of the past in the context of recession. At the same time, it reflects on historicist conceptions of time as linear and of history as narrative, ideas which underpin the western belief in continuous progress which contributed to the crisis.
Rejecting a fixed narrative structure, The Memory of History consists of a box of fifty-six prints and an experimental essay, The History of Memory, composed of twelve short texts chapters on history, memory and time. Images and text are mixed freely, resulting in a unique viewing experience every time the box is opened as new connections form, emulating the way the past reconstitutes itself differently each time we attempt to return to it.
Gustav Willeit - The mountains, depicted in their architecture of incredible variants and infinite chromatic shades, unveil another essential yet invisible element: silence – the kind of silence inviting the viewer to listen to it. This silence is not disturbed by the presence of the human figure, which is placed in these landscapes like an attempt to present a familiar and graspable element. Yet the effect is quite the contrary: the human figure is not reassuring but escapes reason by raising a feeling of senselessness and impotence.
Japan's southernmost prefecture hosts a concentration of US military bases unlike anywhere outside the continental US. More than half the 50,000 troops stationed in Japan are stationed in Okinawa. This large military footprint, and the legacy of Okinawa's history as a US-administered territory until 1972, means that the social and physical landscape is shaped by this relation with the US like few other places. Hotel Okinawa looks at this unique world, on-base and off, separate and yet conjoined, the result of decades of living in close proximity with the US military.