Artists: Invisible Stratum
Ghost 1, 2012
Silver Gelatine Prints
Courtesy the artists,
RaebervonStenglin and Sies+Höke Gallery
©Taiyo Onorato & Nico Krebs
from the series Ghosts
Ghosts, a continuation of one of their Light Of Other Days series' strings, was produced in 2012 by constructing a wooden sculpture with a rotating device, made from a bicycle's part and an adjustable power drill, and photographing the slowly rotating sculpture with a long time exposure on 8x10 inch negatives. The result, partly unpredictable for the artists too, is somewhat Kafkaesque, as the movement of light produced eerie images of seemingly giant ghosts of imaginary insects. While they evoke an homage to the tradition of spirit photography, which was introduced by William Mumler in the 1860s to persuade sitters whose relatives died in the American Civil War that photography could capture their dead beloved ones, by producing images where spirits had a human-like appearance, Ghosts, with its modernist approach to mediumistic reproduction conjures up the occult more as a paranormal accident of nature not necessarily related with the world of the dead.
Swiss, b. 1979, Switzerland, based in Berlin, Germany. The winner of Foam Paul Huf Award (2013), as well as Grand Prix winner of Festival International de Mode et de Photographie à Hyères, their works are widely exhibited in Europe and America, including the recent solo exhibition "EURASIA" at Fotomuseum Winterthur in Switerland and many more. They are also nominated for Deutsche Börse Photography Foundation Prize 2017 for their exhibition at Fotomuseum Winterthur.
Drape I, Courtesy of the artist
from the series Drape
Drape, an on-going series that started in 2011, consists of 1950s and 60s digitally manipulated pin-up photographs by unknown photographers of women posing in semi-domestic interior sets in front of curtains or drapes. Stenram extends the curtains or drapes in order to partially obscure the women. "This digital manipulation – explains Stenram – causes a rupture within the scene. Once the backdrop falls in front of the model, showing just parts of her body, our voyeuristic desire becomes clearer". By redirecting the viewer's gaze, Stenram plays with multiple layers of the visible and the invisible intertwine, to explore the connections between seeing and desiring. She controls our attention, making it focus on the rest of the scene, hence moving the source of the fantasy to parts of the image that often remain overlooked.
Negatives, slides, magazines, images from the Internet and photographic prints are Stenram's source of inspiration as well as working material. These photographs are sometimes scanned, sometimes re-photographed, and subsequently changed through digital, analogue or physical manipulation. By muting and mutating her material, the original functions of the photographs are disrupted and often subverted. Stenram has participated in numerous exhibitions worldwide and has recently had solo exhibitions at Ravestijn Gallery (Amsterdam, 2016), Siobhan Davies Dance (London, 2015), and Open Eye Gallery (Liverpool, 2013), amongst others. In 2017, her work is exhibited in 'Golden Sunset' at Moderna Museet, Stockholm and 'A Handful of Dust' at the Whitechapel Gallery, London.
Sign at the entrance of the Swiss territory
from an outlying border,
2016. Courtesy of the artist.
from the series, How To Secure A Country
Switzerland is one of the safest yet most seriously armed countries in the world. The on-going series How To Secure A Country, which Vitale started in 2015, explores the Swiss' obsession with such an elusive and abstract concept as safety, whose lack, unlike its presence, is very tangible and visible. By scrutinizing the country's security system in an aseptic and forensic manner, which intentionally echoes the country's mentality, Vitale reflects on notions of protection and procedures, attempting to reveal their most invisible and immaterial mechanisms. His experience as a migrant from Italy has encouraged him to dedicate much of the attention to the idea of border control. "I rarely portray people in my images – he admits - because it is more important for me to show the dynamics of the system, to analyse something so abstract and make it visible".
Salvatore Vitale is a Swiss-based artist and editor born and raised in Palermo, Italy. After his studies in Communication, in 2014 he attended the International Center of Photography—ICP's class with Allen Frame and was selected for the ISSP International Masterclass by Andrei Polikanov and Yuri Kozyrev. In 2015 he was named among Die Besten 2014 at Swiss Photo Awards. He is also the co-founder and editor-in- chief of YET magazine, an international photography magazine and platform which showcases works by both emerging and established photographers as well as critic and in-depth content focusing on the evolution of photography with a particular eye on the contemporary field. He has been featured and published internationally, and also runs workshops and gives lectures and talks about his work.
Male Milk #2.
From the series Milky Way, 2015.
(Archival pigment print 45 x 45 cm.)
represented by East Wing.
from the series Milky Way
Tammi has been defined as 'the photographer who sees space in semen' for her 2015 'cosmo-sexual' series, Milky Way. What at first glance might appear to be views of lunar surfaces, planets and constellations are actually images of male milk – semen – and female milk – breast milk – shot close up on a table. It begs the question: how to identify which liquid is coming from the female body and conversely the male one, without the images' titles? These images, with their blissful ambiguity and optical illusion, take us beyond the usual binary and competitive relationship between the opposite genders. In Tammi's series, partly inspired by the people of Papua New Guinea's belief that 'humans are containers through which sexuality flows in the form of male milk and female milk', these liquids are mutually dependent 'seeds of life', collaborating in expanding and travelling everywhere in the universe.
Maija Tammi (b. 1985) is a Finnish artist, whose photographs and sculptures converse on topics around disgust and fascination, science and aesthetics. She regularly collaborates with scientist and musicians. In her latest work she has been growing and experimenting with biologically immortal hydra, which are small fresh-water polyps, in a laboratory in Syracuse, USA. Tammi's work has been exhibited in Europe, North America and Asia, and her book Leftover/Removals was published by Kehrer Verlag in 2014. Tammi has a solo exhibition at Kana Kawanishi Gallery in Tokyo this summer, and she also has a new book coming out.
Courtesy of Taka Ishii Gallery
Born in 1963 in Shingu city, Wakayama, Japan. Graduate from Tokyo College of Photography Research Department in 1987. Received the Kimura Ihei Award. Books include SAKURA, White (both by edition nord), Between the Sea and the Mountain – Kumano (by amanasalto), Kumano, Yuki, Sakura (by Tankosha), Atelier of Cézanne (by Nazraeli Press) et al. Associate professor, Department of Intermedia Art, Tokyo University of the Arts since 2006.
Le Corbusier's Glasses
- Viewing his Paris lecture notes,
L'Habitation Moderne (2003), courtesy of ShugoArts
© Tomoko Yoneda
Tomoko Yoneda currently lives and works in London. She has always explored memory and history as her main theme. Participated international exhibitions; Discordant Harmony (Hiroshima / Taipei, 2015 - 2016), SeMA Biennale (Seoul, 2014), Aichi Triennale (2013), Arsenale 2012 (Kyiv, 2012). Recent solo show; We Shall Meet in the Place Where There is no Darkness (Himeji City Museum of Art and Tokyo Metropolitan Museum of Photography, 2013 - 2014). Upcoming solo shows; Maison de Japon (Paris) and Fundación MAPFRE, Madrid, Barcelona.
Leaf of Electric Light
gelatin silver print
Courtesy of Yumiko Chiba Associates
Born in Tochigi, Japan, 1986. In 2011, he has won the Excellence Award at "Canon New Cosmos of Photography 2011". He holds MA from Tama Art University. His selected solo exhibition includes "Drawing a Line" (photographers' gallery, Tokyo 2013), "Desired Forms -The Deep Shadows of Vessels-" (NADiff Gallery, Toyo 2014), "Simi Some Siwa" (Yumiko Chiba Associates, Tokyo 2016). His work has been shown both nationally and internationally such as London, Paris, and Amsterdam at group exhibitions and photography fairs.
Nihonmatsu Castle, 2012.
Gelatin silver print. Courtesy of the artist.
Born in Fukushima, Japan in 1982. Takeda currently resides and works in Sendai, Japan. His recent exhibitions include A Different Kind of Order: The ICP Triennial (International Center of Photography, 2013), In the Wake (Museum of Fine Arts, Boston, 2015), About Time: Photography in a Moment of Change (San Francisco Museum of Modern Art, 2016), and Emanations (Govett-Brewster Art Gallery, New Zealand, 2016). His work is in the collection of the International Center of Photography, San Francisco Museum of Modern Art, Museum of Fine Art Boston, Amana Photo Collection, among others.
《Hayashi Yuriko, Hiroshima_2014》
Hayashi Yuriko, Hiroshima 2014 /
c-type print /
©USAMI Masahiro, Courtesy Mizuma Art Gallery
Born in 1972 in Chiba, Japan, in 1997 graduated from Musashino Art University (B.A in Visual Communication Design). The "Manda-la" project is something Usami began at art school and which has evolved for over 20 years. Each individual photograph features a central figure, all of whom come from different regions and standpoints, and then distributed in their environs are the people and things that express the world of that particularly figure, just like the form of a Buddhist mandala painting.
Some of his major exhibitions include "Manda-la" (Mizuma Art Gallery, Tokyo, 2015), "Daegu Photo Biennale" (Daegu Culture & Arts Center, Korea,2016), "Why are we doing what we are doing?" (Mizuma Gallery, Singapore, 2016)、"The 70th Anniversary of the Atomic Bombings on Hiroshima and Nagasaki: War and Peace" (Hiroshima Prefectural Art Museum, 2015)
"Through her series, Bénédicte Vanderreydt explores different levels of constructions of female identity from adolescence to adulthood while considering the successive roles that women are able to embody: child, wife, mistress, mother ...
Each of her projects meets a singular aesthetics where the place of the staging is strong. Revisiting with extremely cinematic images that haunt the viewer for a long time.
She questions the permanence of certain ancestral rites of passage in our contemporary societies like the carnival in her series "I Never Told Anyone." Social networks, various facts and family mythology are often the starting point of her photographic reflections but the photographer is not limited to the transcription of a reality but constantly seeking to sublimate it, to interpret it. Nourished by her theatrical training, her work redoubles the illusionistic power of masks- those that are being created in social networks, those with whom we dress at the Binche carnival for example - being flush with the mystery of the characters, as a silent link reminiscent of paintings by Paul Delvaux."
Heloise Conesa - Director of engravings, and Photography Department - BNF (Bibliothèque François Mitterrand, Paris).
Graduated from the IHECS University in Brussels and then from the drama school Xavi Gratacos in Barcelona, Bénédicte Vanderreydt eventually deepened her knowledge in photography at Gobelins School in Paris.
View of Amaseia,
(Girls playing during a Pontic Festival in
Athens and Amasya landscape, Turkey)
Eliza Tamo (b.1980) is a London based artist working predominantly with photography. She holds an MA in Photography from the London College of Communication. She works between the UK, Greece and Anatolia. Her work has been exhibited at the Athens Photo, The Photographers' Gallery in London and the Benaki Museum in Athens amongst others. She is also known as Elisavet Tamouridou.
Andrea Foligni was born in Prato, Tuscany, Italy in 1965 and still live there.
I am enthusiastic about hiking and excursions and I imagine my photographic path as being a new journey on foot: slow, full of thoughtfulness and curiosities with long stops and detours.
A previous work experience in digital graphics introduced me, self taught, to the study of images and visual communications.
My first serious approach to photography immediately blossomed into commitment and studies, in 2012.
My practice has focused to social and environmental problems, I'm very attracted to the study of landscape and the man-made changes which leave their signs, having critical impact on natural resources.
I don't "always have my camera with me", I believe that photography cannot be auto referenced: a piloted approach with a project in mind, must be the method for gathering the fruits of an idea, a place and encounters.
My journey has just begun.
Yoshiki Hase began his career in New York. Through the ongoing projects, the author attempts to create new landscape by blending human characters and self-made ornamentations into natural scenery. The projects are based on the universal themes such as space, land, nature and human being. Since 2014, his projects have been presented in Unseen (Amsterdam), fotofever (Paris), Wonder Foto Day (Taipei) and other galleries in the world.
Vicki Reed, a former newspaper photographer and magazine art editor, uses plastic cameras as well as vintage, pinhole and digital cameras to explore the natural environment and her personal life. She loves experimenting with alternative processes including lith, hand coloring, photogravure, encaustic, lumen and cyanotype. She has won numerous awards and has been widely published in books and international journals including The World of Lith Printing (UK), Fuzion Magazine (UK), Fine Art Photo (Germany), and She Shoots Film (Australia). An image from her series The Growing Season, was purchased by the Racine Art Museum for their permanent collection and a short video was acquired by both the National Geographic Channel and the Weather Channel in the UK. She has participated in over a hundred juried shows in the United States and Europe including; Altered Views, Lightbox Photographic Gallery (Second Place), Alternative Processes, Center for Fine Art Photography at Fort Collins, Colorado, Alterations, A Smith Gallery, Johnson City, Texas (Director's Choice Award), All Things Big and Small, Cedarburg Cultural Center, Cedarburg, Wisconsin (Best of Show in 2010 and 2012), 4th Bienennial of Fine Art and Documentary Photography (Berlin), as well as group and solo shows sponsored by the Edinburgh Botanical Gardens (UK), Unlimited Grain Gallery (Netherlands), New York Center for Photography, Rayko Gallery (San Francisco), Soho Gallery (NYC), New Century Artist Gallery (NYC), Minneapolis Photography Center, TCC Photo Gallery
44×55 inches. Pigment Print
Kai M. Caemmerer (b.1988) lives and works in Los Angeles, California. His current work explores aspects of urban space and its perpetual development. He earned his BA in photography from Western Washington University and his MFA in photography from Columbia College Chicago. He has recently received recognition and support from the Stuart R. Abelson Foundation, the People's Government of Shangrao City, the Luminarts Foundation, and the Dave Bown Projects grant.
WANGZ 'N' THANGZ
RESTAURANT IN CLARKSDALE
MAGDALENA SOLÉ is an award-winning social documentary photographer. Whether richly saturated or time worn, Magdalena uses color to encapsulate a range of feelings. She is known for her sensitive expressions of culture through distinctive color artistry. Visual language has been her life's work. In 1989 she founded TransImage, a graphic design studio with offices in New York City and San Francisco. In 2002 she graduated with a Masters of Fine Art in Film from Columbia University. Her last film, "Man On Wire", on which she was the Unit Production Manager, won an Academy Award in 2009.
Her projects span the globe. Her work in Japan includes: "Kamagasaki" — a photo documentary on the shunned elderly day laborers of Japan, and "Since that Day", an exploration of the aftermath of the 2011 Great East Japan Earthquake. Currently she is working on a book on Cuba: "Hasta Siempre", a photographic journey of a country on the brink of change. Her photographs of the Mississippi Delta have been published by the University Press of Mississippi in the book "New Delta Rising", released in February, 2012. It has won the Silver Award in 2011 at PX3 Prix de la Photographie, France.
The Wall Street Journal in February 2012 called her images: "lushly colorful, formally striking, restless, and electrifying."
Exhibits from 2016-2012 include: "Cuba. Hasta Siempre", the Vermont Center for Photography, Brattleboro, VT. "Since That Day", Itochu Aoyama Art Square, Tokyo, Japan; "Cuba Then and Now", Sous Les Étoiles Gallery, New York, NY; "After The Water Receded", Soho Photo Gallery, New York, NY; "Mississippi Delta", Griffin Museum of Photography, Winchester, MA; Barcelona International Photography Awards Exhibition, BIPA, Spain; "Behind the Lens: Women Photographers on the South and Appalachia", Tipton Street Gallery, Johnson City, TN; "Next" — New Photography Visions curated by Elizabeth Avedon, Castell Photography Gallery, Asheville, NC; "A retrospective", Leica Gallery in Soho, New York, NY; "The Delta", Cassidy Bayou Art Gallery, Sumner, MS; "The Mississippi Delta", Leica Gallery, New York, NY; "Voices from Japan", IDEA Gallery at Colorado College, Colorado Springs, CO; "The Mississippi Delta", South East Museum of Photography, Daytona Beach, FL; "The Delta" Sous Les Étoiles Gallery, New York, NY; "The Delta", WilJax Gallery in Cleveland, MS; "Dante and the Delta", Doma Gallery in Charlotte, NC; "Voices from Japan", Cathedral Church of Saint John the Divine, New York, NY; "After the Water Receded", Sidney Mishkin Gallery, New York, NY.
Westernstadt Pullman City,
Eging as See, Germany, 2010
Canadian born NAOMI HARRIS is primarily a portrait photographer who seeks out interesting cultural trends to document through her subjects. Personal projects include HADDON HALL in which she documented the lives of the last remaining elderly residents at a hotel in South Beach. For this work she received the 2001 International Prize for Young Photojournalism from Agfa/ Das Bildforum, honorable mention for the Yann Geffroy Award, and was a W. Eugene Smith Grant in Humanistic Photography finalist.
For her next project AMERICA SWINGS, she documented the phenomenon of swinging over the course of 5 years (from 2003 to 2008) all over the United States. This project was realized in her first monograph "America Swings" released by TASCHEN in 2008 as a limited collectors edition and again in 2010 as a trade edition. Artist Richard Prince interviewed Ms. Harris for the book and it was edited by Dian Hanson.
She recently completed EUSA which is a reaction to the homogenization of European and American cultures through globalization and is releasing a book by the same title in early 2017. It is currently on the shortlist for Luma Rencontres Dummy Book Award in Arles, France.
Other accolades include being awarded a New York Foundation for the Arts (NYFA) Fellowship in Photography in 2013, a Long-Term Career Advancement Grant from the Canada Council in 2012 and participating in the World Press Photo Joop Swart Masterclass in 2004.
In June 2012 after living in New York for 15 years she decided to leave and live in her car traveling around America with her dog Maggie in preparation of becoming a US citizen, which she did in August 2013. After a couple of years of rubber tramping she has decided to plant some roots and call Los Angeles home. For now.
"One Day I Will" / "What We Share"
by UN Office for the Coordination of Humanitarian Affairs (OCHA)
Vincent Tremeau, born in1984, is a French photographer. After studying Law, he undertakes several missions as a humanitarian worker in crises-affected countries. From 2014, Tremeau pursues his commitment as an independent photographer, and starts documenting several humanitarian crises across Africa and Asia. Combining an artistic approach to a documentary purpose he starts his One Day, I Will project on youth, which takes him around the globe. His What We Share series, commissioned by OCHA in 2016, highlights solidarity in times of displacement.