USA: Timeless portraits made in collaboration with the inmates of three penitentiaries in the northeast of Louisiana, the US state with the largest per capita prison population.
Social Critique
REPUBLIC OF KOREA: Exploring the liminal space at the threshold of realty and simulation, original and replica, fact and fake.
MALAYSIA / SINGAPORE: Apparently whimsical images that critique community erasure in Malaysia and the re-wilding of a hyperreal city-state in lockdown.
COLOMBIA: An artist using clay figures to tell the stories of real people – stories of homelessness and social invisibility.
FRANCE: For Denis Darzacq, the body is an instrument of social critique with which to explore the constraints and barriers suffered by people marginalised by materialist society.
USA: Emerging from person crisis, these images unfold a domestic conversation around the paradox of family ties and the quest for redemption.
FRANCE: As the old civilisation collapses generating crisis, illusion and corruption, the paradox of the real echoes through the imaginative lens of memory.
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.
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.
USA: Employing the symbolic and physical qualities of water, Wendy Sacks makes photographs that speak of the complex nature of human relationships, both light and dark.
MEXICO: Dulce Pinzón creates latter-day visual fables that address real social issues: racial prejudice, low-paid workers, environmental damage.
BANGLADESH: Asia’s longest-running photo festival, founded on a powerful vision of social justice and driven by a tenacious dynamism, it forms one arm of a tripartite structure including a news picture agency and a media school.
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: Documenting the dysfunctional, the dispossessed, and the dogged hope that lingers amid the ashes of failure.
BELGIUM: The Belgian spirit of whimsical individuality found hiding in plain sight at the edge of suburbia.
