JAPAN: The photo-booth, the class portrait, the high-street studio, the job-applicant’s mugshot… hundreds of photographs and beneath them a single artist–model.
AUSTRALIA: Distinctive ways of being and knowing, experienced through a queer perspective on expanded photography.
CANADA: a satirical retelling of familiar stories as Disney princesses, deities, and US presidents tumble into the real world like Alice in reverse.
THAILAND: Scathing satirical tableaux critiquing the country’s turbulent socio-political scene, created by one of Southeast Asia’s leading artists.
USA: One woman’s experience of the stifling control of a patriarchal religious fundamentalism and the processes of artmaking that helped her escape.
MEXICO: Named one of the top twenty talents worldwide by FOAM magazine, Diego Moreno’s monsters have much to show us about familial love and about domestic abuse.
USA: Patty Carroll’s ‘Anonymous Women’ parody and personify the frenetic consumerism and suffocating domesticity of ‘idealised’ notions of femininity promoted in the post-war era.
REPUBLIC OF KOREA: Satirical imagery that critiques the impact of colonialism in Korea and its enduring legacy of historical trauma.
ISRAEL: An exploration of the equivocal transition from child to adult in portraits of adolescents in Ukraine, Russia and Spain.
BELGIUM: The Belgian spirit of whimsical individuality found hiding in plain sight at the edge of suburbia.
NEW ZEALAND / AUSTRALIA: A visual storyteller exploring the interior world of the mind through the shared imagination of the community.
MEXICO: Obscure rituals that blend the contemporary with the timeless, the personal with the collective, to suggest imaginary states and real-world paradoxes.
REPUBLIC OF KOREA: Creating a fluid and ambiguous aesthetic space between painting, sculpture and photography, Hyunmi Yoo challenges our understanding of the relationship between visual representation, ‘truth’ and ‘reality’.
REPUBLIC OF KOREA: Exploring the liminal space at the threshold of realty and simulation, original and replica, fact and fake.
IRAN / AUSTRALIA: Poetically perceptive imagery that engages the layers of displacement, difference and marginality that define what it means to be ‘other’.
REPUBLIC OF KOREA: Constructing from the catalogue of British oil painting ironic self-portraits that situate the alienated Asian man in the midst of Britain’s aristocratic past.
REPUBLIC OF KOREA: Bohnchang Koo finds in the simplest of objects and surfaces a nuanced expression of traditional Korean values of humility, practicality and acceptance of the imperfect nature of being.
AUSTRALIA: Alasdair Foster, a curator, researcher, and writer who draws on an array of experiences from around the world, offers his perspective on photography – and where it’s going next. Interview by Alexander Strecker.
NETHERLANDS: Knighted by the Dutch Government, Erwin Olaf has earned a world-wide reputation for his immaculately choreographed tableaux that subtly suggest the ultimate uncertainty of being.
UNITED KINGDOM: Throwing the paradoxes of the domestic environment into sharp relief, Sian Bonnell uses absurdity to critique the socially constructed role of women in the home.
AUSTRALIA: Rather than illustrating an idea, Christophe Canato’s images propose a paradox that animates questions around gender, sexuality and the transition from child to adult.
AUSTRALIA: The only Australian in the celebrated Magnum collective, Trent Parke’s work is acclaimed around the world for its innovation and originality.
CANADA: Combining humour with cultural critique; history with psychology, Diana Thorneycroft constructs visual stories of the anxiety and contradiction embedded in the dark subsoil of Canadian national mythology.
GUATEMALA: Luis González Palma grew up during thirty years of civil war, but while his images evoke sadness, they neither sentimentalise nor do they counsel despair. Rather they affirm the transcendent nature of the human spirit.
UNITED KINGDOM: Quintessentially British in their rigorous formality, these allegorical tableaux grow from the personal experience of an intergenerational life partnership condemned to the margins of ‘otherness’.
INDIA: Described as “the most entertaining artist-iconoclast of contemporary Indian art”, Pushpamala N’s pioneering and influential feminist–conceptual photographic performance works seek to subvert the dominant cultural and intellectual discourse in India.
BANGLADESH: A photographer with a strong social conscience and a deep concern for the welfare of the marginalised members of her society.
AUSTRALIA: An unconventional approach to portraiture that subverts clichés and stereotypes to emphasise the value of real human relationships over fantasy or caricature.
UNITED KINGDOM: An exploration of Scotland’s cultural and historical figures through an innovative hybrid of photography, painting, sculpture and installation.