Sim Chi Yinis an artist from Singapore whose research-based practice includes photography, moving image, archival interventions and text-based performance, and focuses on history, conflict, memory and extraction. She is currently based in Berlin. Recent solo exhibitions include One Day We’ll Understand, Zilberman Gallery Berlin (2021), One Day We’ll Understand, Les Rencontres d’Arles (2021), One Day We’ll Understand, Landskrona Foto Festival, Sweden (2020), One Day We’ll Understand, Hanart TZ Gallery, Hong Kong (2019) and Most People Were Silent, Institute of Contemporary Arts, LASALLE College of the Arts, Singapore (2018), Fallout, Nobel Peace Museum, Oslo (2017). Her work has also been included in group shows such as Most People Were Silent, Aesthetica Art Prize, York Art Gallery, United Kingdom (2019); UnAuthorised Medium, Framer Framed, Amsterdam, The Netherlands; Relics, Jendela (Visual Arts Space) Gallery, Esplanade, Singapore (both 2018); and the Guangzhou Image Triennial ( 2021), the 15th Istanbul Biennial, Turkey (2017). Sim was commissioned as the Nobel Peace Prize photographer in 2017, nominated for the Vera List Center’s Jane Lombard Prize for Art and Social Justice 2020.
Bilbao 1963; living in Barcelona since 2001. For more than 25 years I have photographed current affairs related to Human Rights. Some of these stories, such as child labor exploitation or minors in jail. Since 2014 i am working in the project Anthropocene. Documental photography is, for me, a life-affirming attitude, a tool that lets me approach situations that captivate me, preoccupy me, and make me want to participate. Being a freelancer lets me work on personal projects over a long period of time. My photo stories/archive are distributed by photography agencies—Panos and Laif.
An Associated Press photographer and participant in the 2015 Venice Biennale, George Osodi employs the traditions of photojournalism to convey complex narratives about his native Nigeria. In a series investigating the culture of Nigerian monarchs, Osodi traveled around the country photographing kings and queens in their palaces. The monarchs lack constitutional power, but Osodi’s portraits and explanatory texts highlight the cultural legacy of the Nigerian kingdoms, celebrating the royals’ relationship to local history while revealing their entanglement with contemporary political issues. Osodi belongs to a generation of photographers who want to represent their country from a Nigerian perspective; authorship is therefore central to his practice. “I feel that it’shigh time we as a country see this diversity as a point of unity in Nigeria rather than something that divides us,” Osodi has said.
Luc Forsytha Canadian cinematographer and photographer with a strong background journalism and in documentary storytelling. After living and working in Asia and Latin American for over ten years, Luc returned to Canada where he now lives in Vancouver, BC. He works on everything that involves visual storytelling, including commercials, high-end documentaries, narrative films, and music videos, but is perhaps best known for stories that reflect the grittiness of the real world. Luc’s video and stills clients The New York Times, The National Geographic Channel, Netflix, Channel 4, ShowTime, HBO, ESPN, Quibi, and many others. Luc has also partnered extensively with non-profit organizations such as Handicap International, The United Nations Population Fund, CARE International, the Bill and Melinda Gates Foundation, and The Gapminder Foundation. Commercial clients include Cadillac, Marie Claire, Jaguar, Tourism Vancouver, and Tentree Apparel.
Nina Berman is a documentary photographer, filmmaker, author and educator. Her wide-ranging work looks at American politics, militarism, post violence trauma and resistance. Her photographs and videos have been exhibited at more than 100 venues from the security walls of the Za’atari refugee camp to the Whitney Museum of American Art. She is the author of Purple Hearts – Back from Iraq, (2004) portraits and interviews with wounded American veterans, Homeland, (2008) an examination of the militarization of American life post September 11, and, An autobiography of Miss Wish (2017) a story told with a survivor of sexual violence which was shortlisted for both the Aperture and Arles book prizes. Additional fellowships, awards and grants include: the New York Foundation for the Arts, the World Press Photo Foundation, Pictures of the Year International, the Open Society Foundation, the Center for Documentary Studies at Duke University, the MIT Knight Science Journalism Fellowship and the Aftermath Project. She is a Professor at Columbia University Graduate School of Journalism where she directs the photography program. She lives in her hometown of New York City
Sebastião Salgado nació en 1944 en Minas Gerais, Brasil, y comenzó su carrera como fotógrafo profesional en 1973 en París, trabajando con varias agencias de fotografía. En 1994, él y Lélia Wanick Salgado fundaron Amazonas images, una agencia creada exclusivamente para difundir su trabajo. Humanista y viajero incansable, su carrera le ha llevado a más de 100 países para realizar sus proyectos fotográficos. En 2004, Sebastião Salgado comenzó un proyecto llamado Génesis, con el objetivo de presentar los rostros inmaculados de la naturaleza y de la humanidad. Consiste en una serie de fotografías de paisajes y vida silvestre, así como de comunidades humanas que continúan viviendo de acuerdo con sus tradiciones y culturas ancestrales. Este cuerpo de trabajo se concibe como un camino potencial para el redescubrimiento de la humanidad en la naturaleza. Más allá de las publicaciones en la prensa, sus principales trabajos fueron presentados en libros. Las exposiciones itinerantes de estas obras han sido y siguen siendo albergadas en museos y galerías de todo el mundo. Actualmente, Salgado está trabajando en un proyecto fotográfico sobre el tema de la selva amazónica brasileña y sus habitantes, las comunidades indígenas. Esta obra se presentará en forma de libros y exposiciones en 2021.
She was born and raised in Lebanon and moved to the U.S. in 1984. As a Lebanese-born American woman and mother, Matar’s cultural background, cross-cultural experience, and personal narrative inform her photography. She has dedicated her work to exploring issues of personal and collective identity, through photographs of female adolescence and womanhood. She works both in the United States where she lives and the Middle East where she is from, in an effort to focus on notions of identity and individuality all within the context of the underlying universality of these experiences. Rania Matar’s work has been widely published and exhibited in museums worldwide, including the Museum of Fine Arts, Boston, the Carnegie Museum of Art, National Museum of Women in the Arts, and more. A mid-career retrospective of her work was recently on view at the Cleveland Museum of Art, and at the Amon Carter Museum of American Art, in a solo exhibition: In Her Image: Photographs by Rania Matar. She has received several grants and awards including a 2018 Guggenheim Fellowship, 2017 Mellon Foundation artist-in-residency grant at the Gund Gallery at Kenyon College, 2011 Legacy Award at the Griffin Museum of Photography, 2021, 2011 and 2007 Massachusetts Cultural Council artist fellowships. In 2008 she was a finalist for the Foster Award at the Institute of Contemporary Art/Boston, with an accompanying solo exhibition. Her work is in the permanent collections of several museums, institutions and private collections worldwide.
Manuel Rivera-Ortiz photographs the poor and disenfranchised around the world. His photographic stories of hardship and hope in some of the world’s poorest nations serve as a testament to the life he himself experienced growing up in backwater barrios of Guayama, Puerto Rico. Current events, popular culture and mass media tend not to play a role in Rivera-Ortiz’ images. Instead, his work has more to do with the universality of poverty, the presence of hope in adversity and the dignity of people living in distress. The landless, the forgotten, all play an integral role in the greater message of Rivera-Ortiz’ images: that no matter what, all life is sacred and every human on earth deserves the opportunity of a healthy, happy existence. Manuel Rivera-Ortiz has traveled many corners of the world from India to Kenya, Bolivia to Cuba, Thailand to Turkey and beyond. His major projects include the Mumbai slums Dharavi and Baiganwadi in India, the indigenous Aymara in the Andes and Altiplano regions in Bolivia and his breakout collection on tobacco workers of the Viñales Valley in Cuba.
Ed Kashi is a renowned photojournalist, filmmaker, speaker and educator who has been making images and telling stories for 40 years. His restless creativity has continually placed him at the forefront of new approaches to visual storytelling. Dedicated to documenting the social and political issues that define our times, a sensitive eye and an intimate and compassionate relationship to his subjects are signatures of his intense and unsparing work. As a member of VII Photo Agency, Kashi has been recognized for his complex imagery and its compelling rendering of the human condition. Kashi’s innovative approach to photography and filmmaking has produced a number of influential short films and earned recognition by the POYi Awards as 2015’s Multimedia Photographer of the Year. Kashi’s embrace of technology has led to creative social media projects for clients including National Geographic, The New Yorker, and MSNBC. From implementing a unique approach to photography and filmmaking in his 2006 Iraqi Kurdistan Flipbook, to paradigm shifting coverage of Hurricane Sandy for TIME in 2012, Kashi continues to create compelling imagery and engage with the world in new ways. Along with numerous awards from World Press Photo, POYi, CommArts and American Photography, Kashi’s images have been published and exhibited worldwide. His editorial assignments and personal projects have generated nine books. In 2002, Kashi in partnership with his wife, writer + filmmaker Julie Winokur, founded Talking Eyes Media. The non-profit company has produced numerous award-winning short films, exhibits, books, and multimedia pieces that explore significant social issues. In 2019, The Enigma Room, an immersive installation, premiered at NYC’s Photoville festival, and has since been seen in Israel, the Netherlands, South Korea, and New Mexico, USA. The Enigma Room is an experimental multimedia projection created in collaboration with Brenda Bingham, Michael Curry, and Rachel Bolańos.
Fernando Moleres es un fotógrafo vasco, nacido en 1963 en Bilbao, que vive en Barcelona y realiza fotografía documental socialmente comprometida. Enfermero de formación, en 1991 publico sus primeras fotografías en un medio de comunicación. Viajó en 1987 por trabajo a Nicaragua, durante el período sandinista, y allí comenzó a apreciar el valor de la fotografía y aprendió por sí mismo cómo hacerla. Hasta 1994 combino sus reportajes gráficos con la enfermería para dedicarse posteriormente de lleno a la fotografía documental. Cambio su residencia de Orduña por la de Barcelona y desde entonces sus viajes y premios profesionales se han sucedido. Desde hace más de 20 años ha fotografiado temas de actualidad relacionados con los derechos humanos. Algunas de estas historias, como la explotación del trabajo infantil o de menores de edad en la cárcel, muestran la incuestionable evidencia de situaciones que deben ser eliminadas o, al menos, perseguidas. La fotografía documental es, para él, una actitud que le afirma en la vida, una herramienta que le permite abordar las situaciones que le cautivan, le preocupan y que le dan ganas de participar. Por otra parte, como fotógrafo, trabaja y profundiza en temas que trascienden el tiempo presente, y que le intrigan por su experiencia y que le permiten exponerse a otros tipos de vida. Ser un fotógrafo freelance le permite trabajar en proyectos personales durante un largo período de tiempo.
Claudia Andujar came to Brazil, passed through São Paulo, then Brasília, then Boa Vista, and then to the Yanomami lands. She arrived at the Catrimani mission. She was thinking about her project, what she was going to do, what she was going to plant. The way one would plant a banana tree, the way one would plant a cashew tree. She wore the clothes of the Yanomami, to make friends. She is not Yanomami, but she is a true friend. She took photographs of childbirth, of women, of children. Then she taught me to fight, to defend our people, land, language, customs, festivals, dances, chants, and shamanism. She explained things to me like my own mother would. I did not know how to fight against politicians, against the non indigenous people. It was good that she gave me the bow and arrow as a weapon, not for killing whites but for speaking in defense of the Yanomami people. It is very important for all of you to see the work she did. There are many photos of Yanomami who have already died but these photos are important for you to get to know and respect my people. Those who do not know the Yanomami will know them through these images. My people are in them. You have never visited them, but they are present here. It is important to me and to you, your sons and daughters, young adults, children to learn to see and respect my Yanomami people of Brazil who have lived in this land for many years
My first steps in photography began as a teenager, when digital photography was emerging. At that time, for me, the pleasure of taking pictures was driven by the possibility of discovering immediately the result on my screen, as well as the fact of exploring infinite creative ways of composing images. After studies in documentation, I decided to deep my knowledge in picture working, by doing an internship at Magnum Photo Agency Archive Service. This experience motivated me to be a professional photographer, starting afterwards a school-working contract in a press agency. I covered my first topics and defined my interest in political photo. In 2011, I joined IP3 team and since then I have covered economical, political and society issues. An important part of my work is also based on illustrative photography. I’m convinced that daily life offers me a real variety of possible pictures and it is the reason why I always feel like shooting. For me, photography is not only my profession, but also a way to enjoy life and have fun everyday
Annie is a freelance photographer, journalist and educator. Their work primarily focuses on gender, sexuality, identity and trauma in the United States. Annie received a Master of Science from S.I. Newhouse School of Public Communication at Syracuse University.
Thurston Hopkins was born in 1913 in Sleaford in Sussex and died in October 2014. As a younger man he was Godfrey Thurston Hopkins but dropped the Godfrey while at school.
He studied at Brighton College of Art and when he left, he found work as a graphic artist and later, after being made redundant he joined a news picture agency, PhotoPress.
He didn’t work for long in the cut throat business of news journalism and left to set up his own photography business in Brighton.
When the second world war came along, he joined and served with the RAF photography unit.
After the war Thurston Hopkins travelled around Europe, hitch hiking and taking photos with his newly acquired Leica camera, a souvenir of the war.
Retuning to the UK he got a job with Camera Press a picture agency started in 1947 by Tom Blau and still a force in the picture agency business today.
Thurston Hopkins started work for Picture Post in 1950 and left in 1957. One of the first series of photos he undertook was ‘’Cats of London’’, an observation of the many homeless cats that populated London after the blitz.
A set of pictures taken in Liverpool in 1956 is considered by many to be his finest work. He photographed those living in the slums but the content showing the poverty, deprivation and misery was so disturbing that the publication of the pictures was prevented by Edward Hulton, the owner of Picture Post and the pictures were never published.
It was while he worked at Picture Post that he met and married Grace Robertson, in the 1950’s she was a rare thing, a female professional photographer. So rare that Grace determined to get work adopted a male pseudonym, Dick Muir, in the early part of her career to enable her to pursue the work she wanted.
When the Picture Post came to an end Hopkins set up a studio in Chiswick and became one of London’s most successful commercial photographers, He later returned to Brighton and taught photography at the Guildford College of Art.
Arif Aşçı was born in Adana in 1958. He graduated from the Department of Art in the Istanbul Fine Art Academy in 1982. Between 1984 and 1986 he worked as an instructor at the engraving studio of the Istanbul Fine Art Academy. In 1986 he resigned from Academy and started travelling to Asian countries and taking photography. In 1989 Aşçı prepared the 12 episode TV documentary film, entitled “Turquoise” which was based on his three years journey in Asian countries. In 1996 he prepared and directed an exhibition on Silk Road, which showed his trip across the ancient Silk Road from China to Turkey with his team (4 people) by camel caravan for 18 months. In 1998 the book of Silk Road journey, “The Last Caravan on the Silk Road”, was published by the Kaleseramic Cultural Publications. The documentary of his journey was shown on TV in over 20 countries. In 1999, he presented “Silk Road” photographs during the Photo Journalism Festival in Perpignan, France. In 2000, his book, “Bahtabakan (Chameleon)”, which shows a portfolio in black and white was published by the Kaleseramic Cultural Publications. In 2003, Aşçı presented “Silk Road” photographs during Turkish Octoberfest in Munich, Germany. He presented a documentation in the 22nd International Architects Congress in 2005. The Album “Many Colors, One City” was published by the Kaleseramic Cultural Publications. Aşçi was a representative of Amsterdam Photo Agency during 1997 and 2007. Cover stories and photo stories were published worldwide in such magazines: Geo, Grands Reportages, Holland Herald, Res, Terra, VSD and Expressen. During 2003 and 2007, Aşçı took photographs of Istanbul with a 6×17 panoramic camera. Some of his photographs of this long term project were exhibited in the Museum of Istanbul Modern, Brussels and Seoul.
Villa 15, el corazón de Buenos Aires
Todos tenemos un motivo para sentir la ciudad como nuestra, vení a descubrir cuál es el tuyo”, se escucha en el video publicitario de Argentina. Y un bombardeo de imágenes del Obelisco en la 9 de Julio, bailarines de tango y los mejores lugares de la capital hipnotizan a los turistas.
Villa 15 fue censurada visualmente por los porteños con la construcción de dos muros para evitar que esos turistas vean pobreza durante el Mundial de fútbol de 1978. Entonces se la bautizó como Ciudad Oculta.
El eslogan se me viene a la mente al llegar a la ciudadela. Aquí no existen obeliscos ni bailarines de tango, sólo un monumento al abandono que se llama Elefante Blanco, edificación del gobierno de Juan Domingo Perón que tenía que ser el hospital más grande de Latinoamérica. Nunca se concluyó y con el tiempo fue tomada por cartoneros y gente sin techo.
La sola idea de pisar Ciudad Oculta tiene malos augurios: muchos delincuentes viven también en esa villa.
Las imágenes de esta serie grafican mi visita. Como una turista conocí sus tradiciones y conviví con sus habitantes: las personas que encontré y que me acogieron nunca me pidieron nada a cambio. Me mostraron su mundo y me cuidaron de los peligros de la villa. Ahora puedo afirmar que descubrí cuál es mi motivo para sentir la ciudad de Buenos Aires como mía.
Pepi Merisio was primarily inspired by the 1950s growing up. New York City became the focus for modernism on an international scale during the Post-War period. Many artists had travelled to the city during the Second World War, fleeing in exile from Europe. This led to a substantial pooling of talent and ideas. Influential Europeans such as Piet Mondrian, Josef Albers and Hans Hoffmann provided inspiration for American artists whilst in New York, and influenced cultural growth in the United States for many later decades. Jackson Pollock, Willem de Kooning, Mark Rothko, Frank Kline, Barnett Newman, Clyfford Still and Adolph Gottlieb were influential artists of this time. The male dominated environment has been subsequently revisited to recognise the contributions of female artists such as Lee Krasner, Joan Mitchell, and Louise Bourgeois, amongst others
The focus of this body of work is on the Middle East, on women and children especially. Lebanon in particular is interesting to me because of its key location between the West and the Arab world, witnessing a blend of Western and Arab cultures, of Christianity and Islam, of tradition and modernity all coexisting side by side.
The images shown here are a selection from four interrelated bodies of work: The Aftermath of War a photographic essay of life in Lebanon after the numerous wars the country has gone through, The Veil: Modesty, Fashion, Devotion or Statement studying the recent spread of the veil and its meanings among Muslim women in Lebanon, The Forgotten People representing life in the Palestinian refugee camps and The Arab Christians an often underrepresented and forgotten minority in the Arab World, but a minority with strong traditions and roots. These images do not have the intention of representing Lebanon as a country, a country with more facets than I can begin to describe, or to be political in any way, but to primarily focus on ordinary people going on with their daily lives in this complicated part of the world.
Throughout my work in Lebanon, be it after the war, in the refugee camps, in the suburbs of Beirut or in Southern Lebanon, I was welcome in people’s homes and I was humbled by people’s resilience, kindness and hospitality. As such, in these photos I focus mainly on the people who did not lose their humanity and their dignity despite what they have been and were still going through. I avoided the obvious images of grief and calamity, preferring to set my focus on the indomitable ability of the human spirit to continue with the minutiae of life – from the joyful to the mundane – even amid the most difficult of circumstance.
The faces of the Native American people I photograph reveal a profound sense of the sacred. The people in these photographs are descendants of those I first encountered in images by the great photographer Edward Curtis that I admired in a photo history class I attended long ago. I remember being deeply moved by what I saw projected on the screen that day. Curtis’s photographs reveal something awesome (in its truest sense)—something that is majestic and universally human and beyond words. I believe there is a flow of energy in the great photographer’s images that brings them into the present and in turn makes them timeless. It is that sense of awe, dignity and connection to the past that I want to bring to light in the photographs I make.