His work has been recognized by several public and private institutions, such as the Salomon R. Guggenheim (USA) or the Sasakawa Foundation (Japan-Scandinavia). He has exhibited in numerous countries like: Spain, Portugal, Italy, France, Germany, UK, Slovakia, Norway, Russia or Singapore.
His practice is focused on new approaches to the idea of contemporaryy landscape, he has develop different bodies of work such us Metropolis (2018-2019), De Magnete (2016-2018), Environments (2014-2016), Velocidad de las Ventanas (2015) or Almost Black (2011-2015).
Gorospe combines his work as an artist with the study and understanding of the image from a theoretical point of view.
He collaborates in different projects as a curator and photo-editor.
Pavo Marinović (b. 1995) is a photographer and visual artist who lives and works between France, Switzerland and the Balkans. In 2020, he graduated with a BA in Photography from Lausanne’s ECAL. His work has since been shown at Foam Fotografiemuseum Amsterdam, Fotomuseum Winterthur, and Paris Photo, amongst others. Traversing fields of identity, conflict, and collective memory through photography, video and installation, Marinović’s practice explores the state of a territory in transit, as well as its social effects.
My photographic work is structured around a single series: Gravity and Grace. The staging is the main focus of my research. It coordinates my relationship with the subject and my desire for images. I photograph my relatives and the objects I surround myself with. I seek to provoke the tensions that coexist or confront each other in the domestic space and that of the staging.
Peters Jurgis (b. 1991) is a new media artist currently based in Riga, Latvia. He holds both a BSc in Digital Media Technology and an MSc in Cyber Security from the University of Birmingham, and an MA in Audiovisual Arts from the Art Academy of Latvia. His work comprises visual explorations into the impact of various phenomena caused by advances in technology. As such, a main focus of his work is Artificial Intelligence (AI) – both as a medium and on a conceptual basis. New developments in AI have sparked a series of heated debates, ranging from whether we can entrust critical tasks to AI, to conversations on the role of the human creator in an age of AI-generated content. With a background in machine learning algorithms, Jurgis believes that the future will bring AI and human co-creation – where algorithms are used to enhance a human artist’s capabilities. In his own practice, Jurgis applies new technologies as tools for visual storytelling, and as a means to speculate on future scenarios.
Iben Gad (b. 1997) is a Danish documentary photographer based in Copenhagen, Denmark. Her work deals with identity and personal stories and, in her work, she is experimenting with different formats such as archive material, photography, graphic elements and text.In 2021 she graduated from the Danish School of Media and Journalism. She did an internship at the Danish daily Kristeligt Dagblad, studied abroad at Pathshala South Asian Media Institute in Bangladesh and participated in the Canon Student Development Programme at Visa Pour l’Image. Currently she is working as a freelance photographer.
Renée Lorie lives and works in Brussel. She graduated in art history, filmstudies and photography.
Renée captures the light, she show her experience of the world around her. It’s a world full of contrasts. Her images show disharmony, memories in nowadays. Vulnerability, white against deep black backgrounds, day and night, emptiness and fullness. Coolness and heat, burning ice. The present and the absent. She’s looking for attachment, but displacement too. Themes are the mystery, the uncanny, abjection and the enigmatic. Creaking discomfort in down, a sensory touch in a flat image. She shows a glimpse, an error, disturbance, the lyrical. She’s showing distance, yet close framing. She uses the dark room, groping for light. Light traversing trees and water, that lives on the tide during spring tide. Everything is strange, yet daily and known. Trees, water, horse and dew, rustle, a man in a suit, sand mountains and a statue. She’s look around, capturing an image and imagining immediately another image, a walking écriture automatique, a photo novel, a same story. She likes to see the past in the present.
Erola Arcalís (Menorca, 1986) graduated from MA Photography at the Royal College of Art (2017) and is currently based in London. Recent exhibitions include: Rehearsing the Real, Peckham24, London, May 2019; Paisajes Esenciales, JustLX, Lisbon, May 2019; A Corner With Erola Arcalís, solo, A Corner With, London, May 2018.
Arcalís uses the lyricism of the black and white photograph to create fictional narratives that navigate between the stage and the encountered. Her practice combines abstract landscapes and sculptural still life to generate different voices. Arcalís’ images are inspired or make use of poetic text to construct fictions that revolve around myth, dream and personal experience. Central to her process is the materiality of the large format analogue print and the slowness of the 5x4 camera.
Laure has exhibited her work internationally in Berlin (DE), Reykjavik (IS), Brussels (BE), Paris (FR), and soon in Stockholm (SE), Luxembourg (LU), and Osaka (JP). Her work has entered the collection of several foundations, such as the Fondation des Arts du Luxembourg and the Palais de Liège (BE).
Lucas Leffler revisits the past. Starting with stories rooted in reality, his projects focus on silver as a source of inspiration and discovery.
Zilverbeek (or Silver Stream) (2017–2020) is a dreamlike investigation of a man who collects mud from a stream in order to extract the precious white metal from it. The silver was the result of years of photosensitive emulsions being discharged into the water from the Agfa-Gevaert factory. The artist documents, deconstructs then reconstructs, history, brilliantly reshaping time and our perception of it to give us an oblique look at photographic materials.
His second work, Crescent (2019–2020), is a speculative study of the scientific and esoteric significance of silver. Here, the artist delves into something that fascinates him: the moon’s influence on the metal. His attempts to synthesise it result in photograms of sculptural objects and the sky — as though the heavens were being radiographed.
For Lucas Leffler, the shoot provides tangible evidence that a fantastical story — the pretext and context for his journeys — is true. He subjects this evidence to an experimental process involving chemicals and manipulation of the film and the subjects, thus creating a synthetic version of reality: one that transcends facts, muddies the path, and allows viewers to come to their own conclusions.
- Text by Emilia Genuardi (.TIFF)
Lisa Bukreyeva (b. 1993) is a photographer based in Kyiv, Ukraine. Since her journey with photography began in 2019, her works have been presented at a range of museums and festivals, including Photo Elysée, Lausanne; Noorderlicht Festival, Groningen; and Deichtorhallen – Internationale Kunst Und Fotographie, Hamburg. Meanwhile, her images have featured in the likes of Der Spiegel, Zeit, The New York Magazine and Blind Magazine. Bukreyeva is a member of the Burn My Eye collective.
His work often revolves around territory. In Ramo it was his ancestor’s Calabria, in Jardin the mythical space of the garden, found in the streets and parks of Madrid. In his new project, Massao is working on around the Mediterranean coasts, cradle of many civilisations, using the journey of Ulysses as a loose guideline. The scope of his work is profoundly political, as it is rooted in the need to explore how humans relate to the spaces (both cultural and geographical) they inhabit.
The work Jardin was awarded the BOZAR Nikon Monography Series Award 2016. In 2017, he was nominated and be part of the .TIFF by FOMU Antwerp.
In July 2019 his first book Jardin has been published by Witty Kiwi and L'éditeur du dimanche.
Massao'work is part of the prestigious collection of the Foundation A Stichting. He is currently a fellow of the Fondation A Stichting for a project around the Mediterranean which will be exhibited there in September 2020.
From September 2019 Massao started as teacher in the Brussels Royal Academy of Fine Arts.
Arian Christiaens (°1981) has been working as a photographer, artist and photography teacher since graduating as a Master at KASK (Ghent, Belgium) in 2004 and participated in masterclasses with Max Pinckers, Paul Kooiker, Laura El Tentawy and Vincent Delbrouck from 2017 onwards.
Her work is centered around investigations of her family relations and the constructed nature of their identities.
In 2019 Christiaens published her first artist book ‘Xenia’ through APE (Art Paper Editions) in which portraits of her sister, who used to be her brother, float between documentary and fiction. The publication was shortlisted for the Arles Photobook Award.
Her most recent work ‘In Camera’, is the result of Christiaens comparing her own relationship, her own person and her own intimate photographical archive with the one of her mother. She questions the relation between man and woman, photographer and model, over time and within her own family history.
‘In Camera’ will be on show in FOMU (Fotomuseum Anwerpen) this summer as part of the exhibition ‘TIFF Emerging Belgian Photography’ and will be published as an artist book in 2022.
Mónica Egido (b. 1994) has a background in physiotherapy. She is currently a student of the PHotoESPAÑA Master in Photographic Projects, led by Semíramis González. As well as several solo shows, she has exhibited her work in group presentations at Sara Caso Gallery, Madrid; Abartium Gallery, Barcelona; The Holy Art Gallery, London; and El Brocense Art Gallery, Cáceres. Her images have been published by the likes of Vogue Italia and FLAMANTES.
Maria Leonardo Cabrita lives and works in Lisbon, where she is currently a PhD candidate at the University of Fine Arts. She holds an MFA in Multimedia Art from the University of Fine Arts, Lisbon; a Diploma in Photography from the Art Academy of Munich; and a BFA/BA in Sculpture from the Faculty of Fine Arts of Lisbon. Cabrita’s practice engages a range of subjects, from history and science to other non-artistic practices. She often seeks to question the nature of photography, inverting the relationship between the referent and the referenced, and between what’s seen and what’s perceived. Her current project questions the interconnectivity between optical mirages, images and the act of seeing. Her works have been exhibited throughout Europe and beyond.
Her photographs have been shown and published in different media and communication such as El Diario.es, La Marea, ABC, El País, Vice, Grupo EFE, RTVE and TVG. Her work has been exhibited in cultural institutions such as the Cultural Center of Spain in Lima, Landkreis Galerie in Germany, Museum of Memory in Argentina, La Casa Encendida, National Calcografía, Círculo de Bellas Artes, Conde Duque Cultural Center, and Matadero in Madrid, Cristina Enea Foundation in Donostia or Cidade da cultura in Santiago de Compostela.
She has also exhibited in galleries in Madrid: Galería Zero, Galería Liebre, La New Gallery and Noestudio. International galleries such as Galería Moproo in Shanghai and Galería Ruby in Buenos Aires. Her work has been selected in different competitions, as well as national scholarships and artistic residences. Standing out the Resident Culture 2020, Best Photo Essay Lifestyle of the Ottawa International Vegan Film Festival 2019, 2017 VEGAP Creation Grant, Scholarships Abroad at the Museum of Contemporary Art (MAC) of A Coruña 2015 and finalist in Fotopres La Caixa 2015.
Herrity’s current area of interest relates to the wider subject of childhood sexual abuse, speciıcally trauma responses, implicit memory and the grooming process. Much of this work is brought about by research into literature, personal histories and psychology theory. Herrity works with photography, the written word and archival material as a means to unpack and examine these complex histories. Exploring these themes through critical writing is also central to Herrity’s practice.
He deals with social issues and the people‘s connection to history and their surroundings. With his photo-essays he wants to raise questions that follow the viewer and contribute to an examination of the topics and thus to a better mutual understanding.
He was awarded for PDN Student Contest, World Report Award, PDN Emerging Photographer and was nominated for the W. Eugene Smith Student Grant. In 2019 he was selected for the screenings at Visa Pour l’Image. His work was featured in Neue Zürcher Zeitung, FAZ Woche, Tortoise Media and others.
He is a founding member of DOCKS, a collective of five documentary photographers who act upon shared humanistic values.
Marcel Top is a 26 years old Belgian visual artist and photographer. Alongside his traditional use of photography, Top also explores the limits and boundaries of the medium through his practice. In other words, he applies his documentary practice to his experi-mental work. Top has always been fascinated by the power of technology, by the ambiguity of its doublefaced nature. Breach of privacy, mass surveillance, and the collection of personal data are between Top’s recurring topics. Throughout the last year, the photographer rethought his practice to capture that part of technology he could not frame with a camera. By doing this, he was able to address his worries related to a future dominated by technology. Research represents a fundamental part of Top’s creative process; while creating, the artist constantly rethinks and readapts the original idea to the outcomes of his research. By doing this, he creates a space for the evolution and growth of his own work.
Laura San Segundo (b. 1990) studied Fine Arts at Madrid’s Complutense University, followed by an MA at Efti International School of Photography and Cinema. Her personal projects have since run alongside commissioned work and a series of teaching roles. A recipient of various scholarships and residencies, Segundo’s projects have been exhibited internationally. With a playful but thoughtful methodology, her work makes conceptual connections between different image types, exploring their many layers of meaning – and how their meaning can be altered by visual strategies like cropping, fragmenting and decontextualising.
Visual artist, performer, author of installations and video art. PhD fellow at the Jan Matejko Academy of Fine Arts in Cracow. Resident at the International Studio and Curatorial Program in New York City in 2023. MFA graduate of the Studio of Spatial Activities of prof. Mirosław Bałka at the Academy of Fine Arts in Warsaw (2020). Also studied at the Gerrit Rietveld Academie (2010-11) in Amsterdam and during an internship at the Studio of Performance at FaVU VUT in Brno led by Julie Béna and Jakub Jansa (2021). Received the Europe Beyond Access award granted by Zachęta National Gallery of Art in Warsaw and British Council in 2021 and the Grand Prix at the 10th Biennale of Young Art Rybie Oko (Baltic Gallery of Contemporary Art in Słupsk, 2022). Presented her works and performances at, among others, Museum of Modern Art in Warsaw (2023), Kunsthalle Bratislava (2022), Galeria Miejska Arsenał in Poznań (2022), Zachęta National Gallery of Art in Warsaw (2021), Sto Lat Gallery in New York (2021).
She graduated from the Belarusian State University (2013) where she studied philology.
Masha debuted in 2017 with a solo exhibition “Kurasoushchyna, My Love” in Minsk, Belarus.
Her work has been shown internationally, including the festivals Circulation(s) in Paris (2020); Fotofestiwal Lodz (2020); Vintage Photo Festival in Bydgoszcz, Poland (2020); Month of Photography in Minsk (2019); Batumi Photodays (2019); Kolga Tbilisi Photo Festival (2018); Obscura Festival of Photography in Malaysia (2018); Fotopub Festival in Novo Mesto, Slovenia (2017); Queering Yerevan festival (2017); Warsaw Photo Days (2017) etc.
In 2018, she received the Best Photographer award from the Month of Photography in Minsk festival.
Masha works on personal long-term art projects relating to contemporary issues, post-soviet history, society, identity. In her latest projects, the artist creates works, using official photos from magazines published in the USSR and her own photographs. Newly created images, based on communist symbols and typical forms of propaganda messages, show the Soviet culture in a surrealistic mirror.
Her works are sometimes on the verge of kitsch and absurd. Thanks to the combination of elements from different historical and aesthetic orders, the artist focuses on eccentricities and paradoxes of everyday life in modern Belarus. She builds a critical message and encourages the viewers to go beyond their own habits and preconceptions, to take a better and closer look.
Website: www.mashasvyatogor.com
Instagram: @svyatogormasha
Pauline Hisbacq was born in 1980.
After a master's degree in philosophy, she joined the ENSP in Arles, from which she graduated in 2011. She continued the same year with a post-graduate degree at the ICP in New York.
Since then, her work has been presented at the Rencontres de la Jeune photographie Internationale de Niort (2014), at the Ecureuil Foundation for Contemporary Art in Toulouse (2019), at the Image Satellite in Nice (2018), at the friche belle de Mai in Marseille (2017), and in Paris at Jeune Création (2013), at the Photo Paris Saint Germain festival (2017), at the Bal (2019), at the Rouen Normandie Photographic Center (2021).
She published Natalya at 7 Editions (2016), Le feu at September books (2017), Amour adolescente (chants d'amour) at Rayon Vert . édition (2019), Cadavre Exquis, fanzine co-published by Le Bal Books and September Books (2021), Songs for women and birds at September books (2021).
In 2017, she was awarded the CNAP's Soutien à la photographie documentaire contemporaine grant for the project La fête et les cendres. In 2021, she received the Aide Idividuelle à la Création from the Drac Ile de France for the project Rimorso. She is also the winner of the national commission Les Regards du Grand Paris initiated by the CNAP and the Ateliers Médicis, with the project Pastorale.
She is currently a photographer at the Rodin Museum, and editor at September Books.