REPUBLIC OF KOREA: Land art seeking a fresh perspective on Nature freed from notions of territory and property.
Social Critique
INTERNATIONAL: Eleven artists reflect on what they learned during the pandemic, picking just one thing they would reimagine for the better in the future.
AUSTRALIA: Distinctive ways of being and knowing, experienced through a queer perspective on expanded photography.
USA: Pulitzer-prize-winner Renée C Byer reveals how photography and journalism used together can catalyse action in the face of escalating inequality at home and abroad.
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.
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.
UNITED KINGDOM: Going beyond the clichés and prejudices about homelessness by facilitating each participant to create their own self-portrait.
ISRAEL: An exploration of the equivocal transition from child to adult in portraits of adolescents in Ukraine, Russia and Spain.
USA: Past and present converse in an archive of American life shot from a refreshingly tangential perspective.
INTERNATIONAL: Nine photographic artists from across five continents reflect on what motivates them to create photographs.
UKRAINE: The artistic trope of the male nude re-imagined as emblem of a new generation of young Eastern European men.
BELGIUM: The Belgian spirit of whimsical individuality found hiding in plain sight at the edge of suburbia.
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.
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.