Manon Lanjouère – Bleu Glacé

Manon Lanjouère

Bleu Glacé

[ EPF 2017 – YOUNG TALENT AWARD / FUJIFILM FINALIST ]

 

Bleu Glacé is a cabinet of curiosity, a “scientist” study synthetically rebuilding the Icelandic landscape. The use of synthetic material is to question our daily use of plastics, resins and polymers in an exponential way, and how it can change the geological landscape of the surrounding world in a long term. If Iceland magnetizes our attention, it is essentially because of its geology.

“Those landscapes are a wonderful geological lesson, the La Redoute catalog of the volcanic and ice form,” wrote Michel Tournier in his novel, Les Météores.

 

 

Bleu Glacé is this catalog of landscapes that everybody imagines to meet in Iceland, a catalog for an immobile traveller, a lounge traveller.

 

 

The imagination makes the object we’re thinking about and desiring appears before our very eyes in order to take possession of it.

The resulting image is an interiority synthesis, rebuild in studio. The object is absent but all of its qualities are in front of us, the impression is here, as well as the characters certainly looking like human beings but who definitively are characters without any intentionality.

In those objects that I produce, everybody is free to see a waterfall, an iceberg, a plastic bag or polystyrene. The imitation is only partial, as only few components are replicated. However those components are sufficient to give the form a representative value. The concept is then appearing.

 

 

The images created this way summon and question the “primary ardour of water, wind, clouds, and sheer colours projected on the sky and the horizons” that Samivel describes in his book L’Or de l’Islande.

Bleu Glacé has for ambition to represent this mystical elsewhere, land still unknown.

 

Short Bio

Manon was born in 1993. She lives and works in Paris. After receiving an undergraduate in Art History at the Sorbonne University in Paris, she decided to dedicate herself fully into photography and joined Gobelins School of Image in 2014 from which she graduated top of her class in 2017. Through a parallele evolution among a theater in Paris, her practice of photography is characterised by directing and settings. Her work influenced by litterature is focusing to depict fictional worlds. Worlds in which she tries to understand the interraction between the landscape ant the human.

Her work bleu Glacé has been exhibited in 2017 in several festivals in France (Itinéraire des photographes voyageurs in Bordeaux, Festival la Gacilly in la Gacilly, les Rencontres d’Arles in Arles, Nuits photographiques de Pierrevert in Pierrevert, les Rencontres photographiques du 10eme in Paris) and was a finalist of the Price QPN (Nantes, France) and a finalist of the Bourse du Talent Studio.

 

Related Links

 

manonlanjouere.com

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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Ian Hananto – Futile

Ian Hananto

Futile

[ EPF 2017 – YOUNG TALENT / FUJIFILM RUNNER UP ]

The project is a reflection on my question about happiness. People said that everybody needs a dream, so they could see something to pursue in life, and a dream was one of the sources of happiness. On the way pursuing their dream, some could get what they want and some could not. I did enjoy the process, but I never felt close to my dream, it always went further. It was a long run, and we needed to take a rest sometime. While we rested, we could see our friends still ran strong and passed us. We could also see that we left a lot of things behind, home and family. I started thinking, “Is it the cost for my dream?” I lost friends, not because I was bad, but they also had something to catch, and I lost my family, I left them behind for something to which I could not even get closer. Whose dream is it? Who tells me to have a dream? Why do I listen to them so much? Is it the dream I am? If only I could choose my own dream, my own happiness, would my life be better?

 

 

Short Bio

Ian Hananto (b.1992) is a photography enthusiast born and living in Solo, Indonesia. Since 2013, he has pursued photography as self-healing for his bad experiences with his past. Exploring the darkness of his life affected by his fear and failure on his own dreams in order to accept it. In 2016 he received the chance to attend Angkor Photo Workshop in Cambodia mentored by Newsha Tavakolian and Sim Chi Yin.

 

Related Links

 

ianhananto.wordpress.com

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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Joel Karppanen – Finnish Pastoral

Joel Karppanen

Finnish Pastoral

[ EPF 2017 – YOUNG TALENT AWARD / FUJIFILM FINALIST ]

 

Georg Simmel wrote about the relieving power of the ruins. According to him the ruins help us to appreciate everything “incomplete, shapeless and what shatter the frames”.

Finnish Pastoral is a photo series that offers its viewers new means to indeed shatter the set up models we have for perceiving our surroundings. It is a story of the village of Karinkanta, in the region of Northern Ostrobothnia, with a population of just under 200 people: a ruin yet to come. It gives an honest look beyond romantic nationalism, into Finnish countryside and the changes it is facing in the 2010’s postindustrial era when not only the reformation of livelihood, urban-rural fusion and migration, but also disparity, externality and echo chambers keep the countryside in a constant tension.

 

 

Almost every Finn, including me, has their roots on the countryside so we tend to have a pretty black and white mental image on reality. I have followed the daily life in the village for over two years in order to redefine my relationship with countryside. Therefore the series is also a study about the modern humans yearn for the rural life.

 

 

In Karinkanta nothing but everything happens and my democratic camera captures that all timeless stagnation. The in-depth personal series consist of understated portraits, landscapes, frozen moments and details made on medium format camera.

Without any nostalgia Finnish Pastoral paints a portrait of the bygone Finnish Dream.

 

Short Bio

Joel Karppanen (b. 1993) is a self-taught Finnish artist whose photographs and videos, conversing on topics around human environment, common people and the urban-rural dichotomy, stem from the tradition of social realism. He is strongly influenced by literature and cinema. When working, he strives to find magic in moments most would describe as ordinary. In 2017 Karppanen received Young Hero / Jouko Lehtola Foundation Award for a Young Documentary Photographer. His works can be found in various public and private collections. Karppanen lives and works in Northern Finland.

 

Related Links

 

joelkarupanen.com

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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Mario Wezel – Do You Sometimes Dream of America?

Mario Wezel

Do You Sometimes Dream of America?

[ EPF 2017 – FINALIST ]

 

“The cinema and TV are America’s reality.” – Jean Baudrillard

Growing up as a european in the 90’s, America was like a big brother that had already moved out of the house. His heroic stories had surpassed his absence, his emotional presence was still physically sensible. Big brother America. No matter if it was my first NBA Jersey or the McDonalds burger, that I would only be allowed to have once a year returning from a family vacation, America was always there. My view on this country has been shaped and influenced by the pop cultural exports. Movies were just as defining as books or music. The net of media imperialism has been spun for decades and is by today finely woven and impenetrable.

 

 

For this project I have travelled 20.000 miles by plane, train, car and bus within the the last two years and have visited 25 States. I had set out to portray a country who’s fiction has long exceeded its reality. I was looking for the shiny facade but couldn’t stop noticing the cracks in it.

 

 

Long before a potential candidacy of now President Trump I walked the streets that once promised great opportunities and equality but encountered nothing but an indescribable vastness, an ubiquitous amount of capitalism and a deep feeling of loneliness. Still I kept going only to realize that those cracks had even become deep ditches and that they would change the American myth forever.

 

 

Short Bio

Mario Wezel (b.1988) is a documentary photographer based in Hannover, Germany. He studied photojournalism in Germany and Denmark and has since published and exhibited several personal projects worldwide. His work has been recognized by the Ian Parry Scholarship, Sony WPA and he was named the 2014 College Photographer of the Year and one of Magnum 30 under 30. He is a co-founder of MINT Collective.

His projects are tightly connected to questions arousing from his everyday life as an average European male. He examined the idea of home and family between 2012 and 2015, in his project “1in800.” During a three month internship at National Geographic Magazine in 2015 Wezel’s love-hate to the United States resurfaced. “Do you Sometimes Dream of America?” has been on show at the GAF as well as the GoetheExil, Hannover, as a single show at the Copenhagen Photo festival and in his hometown Nürtingen as well as in a joint exhibition at Museum Hilversum, the Netherlands.

 

Related Links

 

mariowezel.com

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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Neha Hirve – Full Shade / Half Sun

Neha Hirve

Full Shade / Half Sun

[ EPF 2017 – FUJIFILM / YOUNG TALENT AWARD RUNNER UP ]

 

Tamil Nadu, India. This land was a desert, once upon a time. The soil dried up and the water ran off until nothing would grow because the people had cut the trees to build their cities. Men and women journeyed here from the ends of the earth, people for whom ordinary life wasn’t enough anymore, and they planted acacia trees to shelter them from the burning sun, and built their lives together and found meaning in the world once again. The acacia covered half the soil from the sun and the thorniest plants began to grow in their shade.

 

 

Now, the jungle is a womb. The air in the tropics is like warm honey, viscous, sticky, filling the ears until the sounds of the outside world are far away. In the still light of the afternoons, hours pass like days and the trees stand sentinel.
Because every year, the summer comes, and with it, the distant memory of when there was nothing.

 

 

Blending the genres of documentary, the archive, and fine art, Full Shade / Half Sun is not so interested in journalistic fact, but attempts to bring up philosophical and existential questions of the ways in which we find meaning in the land we live on.

 

 

Short Bio

I am a long-term project photographer based in Stockholm, and interested in man’s relation to the natural environment, and the photographic archive. With a degree in filmmaking, the cinematic and the performative influence my photographic work. Recently I was the recipient of the Women Photograph Grant, have work in publications such as Tidningen ETC and National Geographic, and have participated in exhibitions in Sweden and New York.

 

Related Links

 

nehahirve.com

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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Sigurður Páll Pálsson – Minds at Large

Sigurður Páll Pálsson

Minds at Large

[ EPF 2017 – YOUNG TALENT AWARD / FUJIFILM FINALIST ]

 

” …each one of us is potentially a Mind at Large.”
– Aldous Huxley; The doors of Perception.

I would like to take long expeditions visiting the last shamans and spiritual philosophers of the world. From the Shamiis of Norway to the Yogis of India, Hmongs of China to the indeginous people of Australia, Jodorowskys tarot readings to the Ayahuasqueros in Peru, the Buryat of Siberia to Jon Kabat Zinn in North America and Baekyangsa Buddhist temple in South Korea to attending a Tibetan Funeral to name a few.

 

 

Although by the documentative nature of such a project, my plan is not to portray the journey in an anonymous stand off-ish impersonal way but transparently and honestly portray and document a personal discovery rather than your average photojournalistic documentary style. Not to look at them, but to be with them.

 

What Im after is that after years of being obsessed with the surreal lying and distortion of reality in all photographs, which i still agree with, I’ve found that by creating your own world right you can reveal an absolute truth and real sincerity in your expression and the subjects through this fictional medium. And that’s what I’d like to achieve with these people; gather their teachings on life alternative to our way of thinking. An interconnectedness through all things and a deep respect of the earth. In an honest way portray these people. To learn about life.
A spiritual narrative through dream like state photos.

 

 

Scrambled with photographs, honest notes and writings, it would be presented in a “dummy” way. As if found in the jungle. To tell what happened. To photograph the unphotographable. To photograph a state of mind. To photograph life itself through the Minds at Large.

The dream would be to eventually publish the massive book which would be an art piece in itself but also I could, after every trip, perhaps contribute to Burn and ask you to publish each story on a regular basis.

 

 

Short Bio

My name is Sigurður Páll Pálsson and I am a 25 year old boy from Reykjavík, Iceland currently living in Copenhagen, Denmark. Starting skateboarding at the age of 12 and the ideology of it led me to quit school (which i hated) at the age of 17 after an offer to go skate and meet my heroes in San Francisco. The story seems irrelevant I’m sure, but it has shaped my way of living and thought beyond words and which would ultimately catapult me into the strange world of photography and passion for this project. I saw there were no limits or constructed rules to photography at all and I was free to wander, express and tear up the format as freely as I pleased. Since then Ive been doing it non-stop, publishing DIY zines, having shows, board graphics, numerous collaborations and recently graduated from the renowned Fatamorgana the Danish school of art photography.

 

Related Links

 

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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Michele Palazzi – Finisterrae

Michele Palazzi

Finisterrae

[ EPF 2017 – FINALIST ]

 

“Finisterrae” means so much as: end of the road. That is more or less how it feels when moving around Southern Portugal or, more precisely, the region that in the ancient Roman era was known as “Lusitania.” The residents of this outskirt of the European Union seem to be forgotten, as if they are living at the end of the road of Europe’s prosperous past. For this project, Michele Palazzi resided in this region for a consistent amount of time in order to get a grip of the situation and to find a visual translation for it. Altogether, the landscapes and portraits are documentary by intent, be it is not so much to inform the viewer about the subject on a rational level. Instead, they hint at a more transcendent “mystique”; a specific mood as felt when traveling around the region struggling for its survival.

 

 

In a way, the people who live in this region haven’t changed that much over time. There is still an omnipresent esoteric fume that surrounds former “Lusitania,” as reflected in the minds of its inhabitants; in the myths and beliefs that are being passed from one generation to the next. Yet, they also have to deal with the harsh facts of contemporary life: The centralisation of economic power and wealth sustained by EU governments has resulted in poverty and abandonment of areas that were already disadvantaged – a process that completely destroyed social and economic structures of rural communities. Those who have been located here over centuries are now forced to leave or, alternatively, to live outside the system. As a consequence, abandoning the land of their ancestors, families are becoming disconnected from each other, and the few who decided to stay put – mainly the elderly and the poor – slowly but steadily slide down in a state of alienation. This process of social marginalisation and desertification of the soil is destructive, be is seemingly unstoppable for this bereft district.

Text: Erik Vroons

 

 

Short Bio

 

Michele Palazzi is an Italian documentary photographer. Born in Rome in 1984, he gained a masters degree in Photography at the Scuola Romana di Fotografia at 23 years old. In the beginning of his career, he worked on the project “Migrant Workers Journey,” recipient of the Project Launch Award 2011 at Center Santa Fe. Afterwards, he started working on “Black Gold Hotel,” a long-term project about the modernization impact in Mongolia, recipient of the First Prize of Environmental Photographer of the Year Award. In 2015, the project was also awarded the First Prize in the Daily Life category Stories of the World Press Photo. Afterwards, he worked on the project “Fade Away,” focusing on the Chinese migrations from rural areas to cities. He lives in Rome and is represented by Contrasto agency.

 

Related Links

 

michelepalazziphotographer.com

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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Sebastian Liste – The Refuge

 

Sebastian Liste

The Refuge

[ EPF 2017 – HONORABLE MENTION ]

When I was seventeen I fell in love with Laura.

Then I met her family and the way they lived fascinated me. Twenty years ago, Laura’s parents, Anne and Ben, came to a small village in the Spanish countryside. There they began to build a house from the ruins of an abandoned stable, deep in a valley, just below a threatening ridge called “The Crag.” They built their home stone by stone, expanding it as the family grew, using rocks that fell from the mountain to construct not only the house but a corral for animals and ponds to irrigate their land. They live in perfect harmony with their environment, respecting their place in nature and altering the landscape as little as possible.

 

 

Here, I made my first photographic experiments and this place has always been where I returned after every trip documenting different social and political issues around the world.

Here I always found my family, my love and my refuge.

 

With this project I wanted to take an introspective turn into my work, documenting my immediate environment, exploring the strong relationships between love, family, and land. My objective was to make a poetic and visual map of my surroundings, recognizing fragments of memory not yet written while collecting the moments I hold close, those that make us reflect on our own lives.

Last year Laura and I became parents and we are currently building our own house for our growing family. Now, I want to develop the second chapter of this ongoing project in our own place hidden in the wild nature. I hope that with the support of this grant I will able to finish this intimate journey in form of a book, where hidden little dreams and tragedies are waiting to inspire anybody looking for their own refuge.

 

 

Short Bio

 

Sebastián Liste (Spain, 1985) is a documentary photographer and sociologist devoted to document the profound cultural changes and contemporary issues in Latin America and the Mediterranean area. In 2010, while getting his Masters degree in Documentary Photography in Barcelona, he won the Ian Parry Scholarship for his project “Urban Quilombo” and was named young editorial photographer of the year at the Lucie Awards. In 2011 Sebastián was selected for the World Press Photo Joop Swart Masterclass. In 2012 was announced as the Young Reporter of the Year at Visa pour l’Image festival. He was the recipient of the Magnum EF Grant, the Getty Editorial Grant and the Alexia Foundation Grant. He also received the Fotopres Grant in Spain to develop a project in Venezuela, and a World Press Photo prize in 2016 for his story “Citizen Journalism in Brazil’s Favelas.” He is a frequent lecturer at universities and he is currently based between Spain and Brazil. Sebastian Liste is a member of NOOR Images

 

Related Links

 

sebastianliste.com

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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Lily Zoumpouli – Selinophilia

Lily Zoumpouli

Selinophilia

[ EPF 2017 – FUJIFILM / YOUNG TALENT AWARD RUNNER UP ]

 

Capturing glances of the moments that passed us by, in times when we were

maybe too young to realise that they weren’t there to stay until eternity

would have torn us apart.

But still old enough to know they were worth noticing.

The need for a way of connecting through a medium with my own feelings and surroundings became the catalyst of this works existence.

Each photograph has a background story that carries on its shoulders the reason

for its own memory.

 

 

The distance that separates us from our subject is the one that needs to be walked, in order to find the reflection of our inner selves and others

combined into one image, forming a mixture of selves.

A connection being conceived within a captivating atmosphere that was inspired by the desire of transferring into another reality, forming a duality through the final outcome of the photograph.

The intense element of nude is depicting the return to an innocent comfort of being bare naked, but mostly of being pure towards yourself and towards the observer- displaying a self and its shadows.

 

 

Every so often there are staged moments representing a personal dive within every part that belongs to a past or a present, trying to be revealed through a newborn subject so to keep on recreating itself.

An autobiographical documentary combined with allegorical aspects give a sense of spontaneity along with the subconscious, and slowly take over during the process of discovering a world out and within our own individuality.

 

 

Short Bio

She took part in the Young Greek Photographers exhibition at The Benaki Museum as part of the Athens Photo Festival 2015.In 2015 she was offered a lifelong membership to exhibit her work on LensCulture professional worldwide photographer’s website. In 2016 her photographic project entitled “Discoloration” was selected as one of the ten favourite projects for 2015 by the editors of LensCulture “Favourite Conceptual and Fine Art Photo Series from 2015.” She became part of Atonal Photography Collective and had a group exhibition in Rome, Italy on Interzone Gallery curated by Michele Corleone 06.10.2016 | 29.10.2016. Selected To Be Presented At Photo Boite |30 Under 30 Women Photographers Of 2017. Followed by a photography exhibition of all the women photographers selected works on September 30th, 2017 on The Popping Club in Rome, Italy. She was short-listed for Gomma Grant Award 2016. She has an upcoming solo exhibition at Hillsboro Fine Art Gallery at Dublin 2017 July 20th – August 19th.

 

Related Links

 

lily-z.com

 

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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Mayumi Suzuki – The Restoration Will

Mayumi Suzuki

The Restoration Will

[ EPF 2017 – FINALIST ]

 

My parents, who a owned photo studio, went missing after the 2011 tsunami. Our house was destroyed. It was a place for working, but also for living. I grew up there. After the disaster, I found my father’s lens, portfolio, and our family album buried in the mud and the rubble.
One day, I tried to take a landscape photo with my father’s muddy lens. The image came out dark and blurry, like a view of the deceased. Through taking it, I felt I could connect this world with that world. I felt like I could have a conversation with my parents, though, in fact, that is impossible.

 

 

The family snapshots I found were washed white, the images disappearing. The portraits taken by my father were stained, discolored. These scars are similar to the damage seen in my town, similar to my memories which I am slowly losing.

 

 

I hope to retain my memory and my family history through this book. By arranging these photos, I have attempted to reproduce it.

 

 

Short Bio

 

Born in 1977 in Onagawa, Miyagi and now resides Tokyo, Japan. I work as a visual storyteller to find and create personal narratives. I was born and raised in a family who ran a photo studio founded by her grandfather in 1930 in the town of Onagawa. I studied at Nihon University, College of Art Department of Photography.

March 11, 2011. On this day an incident which changed my life has occurred. My hometown Onagawa was destroyed by the tsunami and my parents went missing. So I decided to start as photography artist to tell the story. I capture them as an individual and not just a faceless figures and leave the photographs as proof of their lives.

In 2014-2015, I had supported with Alejandro Chaskielberg as local location coordinator and professional support assistant in “Otsuchi Future Memories.” In 2016, I participated a workshop “Photobook As Object” by Yumi Goto and Jan Rosseel. I have developed a book with them.

 

Related Links

 

mayumisuzuki.jp

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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Mariya Kozhanova – Declared Detachment

 

 

Mariya Kozhanova

Declared Detachment

[ EPF 2017 – HONORABLE MENTION ]

 

The series “Declared Detachment” represents a generation of Russians which was born in times when well organized society and established identity fell apart. All myths and beliefs that were the driving force for generations before were destroyed. Children came into our time absolutely ideologically naked.

 

 

Now a lack of base and missing of foundation in society opened them a life which they could not trust. Forces for creating their own identity from the beginning were missing. In this moment, their society could not offer them any deserved faith, ideals or any other meaning. This young generation of Russians started to borrow it from totally different cultures.

 

Some of them declared their way through Japanese mass-culture of “cosplay” where in a simple, catchy, bright, spectacular, superficial world of anime heroes with attractive idols and colorful looks you could become any of those figures yourself. This generation escaped into a different ideology and tried to build their illusive world on the ruins of the past. But are their beliefs true enough for a new establishment or just a temporary detachment from troubles and imperfections of everyday life?

 

Short Bio

Mariya Kozhanova was born in 1986 in Kaliningrad, Russia. She is a member of the Kaliningrad Union of Photographers.

From 2007 to 2017, she exhibited with her photo projects in Russia, Lithuania, Germany, United States, Slovakia, South Korea, United Kingdom, Italy, Brazil, Japan, Denmark, and Finland. Mariya participated in the Houston FotoFest (2012) with a group exhibition of the Young Generation of Russian Photography. In the year 2013 and 2015, she was chosen for the Young Portfolio of the Kiyosato Museum of Photographic Arts. She was a World Press Joop Swart Masterclass 2016 student and 2017 she was awarded third place with her first book dummy “Two Sisters” during the Vienna Photobook Festival.

“Declared Detachment” was exhibited at the Singapore International Photography Festival (2014), at Tokyo Metropolitan Museum of Photography (2014), during Kaunas Photo (2015), at a solo show during the Festival de la Luz (2016) and recently during Backlight Festival (2017).

 

Related Links

 

 

mariyakozhanova.com

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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Elena Anosova – Out of the Way

Elena Anosova

Out of the Way

[ EPF 2017 – FINALIST ]

The project was created on the far away territories of the Extreme North of Russia, where bad accessibility and isolation, special relationship with nature, and following the century-long ways of life involve unique mythology of the region where the fictional things are very often more important than modern reality. These lands are immersed into the flow of their own life activity, where the past and the present surprisingly interlace. My ancestors were hereditary hunters in a small settlement near Nizhnyaya Tunguska River. Almost 300 years ago they came to colonize Siberia, then assimilated into the Evenkis and founded a village in taiga. They lived in an old house as a large family with more than 15 children. 

 

 

Nowadays the population of the village is 100 adults, and all of them are distant relatives: those who are not brothers, are related in a neighbourly way. Life of this part of my family, my father’s siblings and numerous cousins and nephews, has not changed for centuries in that remote area surrounded with pristine wilderness. Modern civilization penetrates slowly and fragmentarily in there, it is intricately woven into the local way of life. The closest town is 300 km away, and the transport connection functions only in winter time. Local and family legends and traditions are still mighty in the settlement.

 

 

Short Bio

Originally hailing from the picturesque region of Baikal, artist Elena Anosova (born in 1983) is currently based in Moscow and Irkutsk. Anosovass work is centered around lives in closed institutions, isolation, social stigmatization. The impulse of research of such communities arose in a reflection of her teenage period spent at the closed rehabilitation boarding school. She would like to takes a closer look at the dynamic interplay of processes of isolation and surveillance, at unique qualities of emotional and social relationships within restrictions of artificially insulated societies. Also Elena Anosova works with subjects of borders, identity and collective memory in the territory of Siberia, Extreme North and Russian Far East.

 

Related Links

 

anosova.com

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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Matt Eich – I Love You, I’m Leaving

Matt Eich

I Love You, I’m Leaving

[ EPF 2017 – FINALIST ]

My introduction to photography was in childhood, as my grandmother was dying of Alzheimer’s disease. The hopelessness of her plight triggered something within me, and when my grandfather handed me a camera, making photographs became a way of stabilizing the insecurity of memory and accessing emotional resonance. If we are at risk of forgetting too much of our world, and ourselves, photography is the antidote.

I created this work during a time of general domestic unease, when my parents separated after 33 years of marriage, my siblings all experienced drastic changes in their lives and my wife, children and I moved to a new city.

The title of this series, I Love You, I’m Leaving, stems from the constant rhythm of my peripatetic life. It holds true when I leave my family to photograph strangers, and leave strangers to return home.

 

 

 

This series borrows from personal experience, and the visual language of the everyday in order to create a fictional account that mirrors my reality. Photographs are reductions, distillations, half-truths and complete fabrications. They can only describe the surface of things, while I am interested in the intangible – memory and emotional resonance.

 

 

Despite our intimacy, the people I am closest to are unknowable, and will always remain a mystery to me. I photograph with the knowledge that our place in this world is tenuous, comprised of little more than memory and story. Memory is fragile; the moments are fleeting and have to be wrestled into a permanent state.

 

 

Short Bio

Matt Eich (b. 1986) is a portrait photographer, and photographic essayist working on long-form projects about the American condition. He is a Professional Lecturer of Photography at George Washington University and lives in Charlottesville, Virginia with his wife and two daughters.

Matt’s work has been widely exhibited and received numerous grants and recognitions, including PDN’s 30 Emerging Photographers to Watch, the Joop Swart Masterclass, an Aaron Siskind Fellowship, and two Getty Images Grants for Editorial Photography. Matt’s prints are held in the permanent collections of The Portland Art Museum, the Museum of Fine Arts Houston, The New York Public Library, Chrysler Museum of Art and others.

Eich studied photojournalism at Ohio University and holds an MFA in Photography from Hartford Art School’s International Limited-Residency Program. He has published two monographs, with three book publications scheduled between 2018 and 2020.

 

Related Links

 

matteichphoto.com

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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Marta Giaccone – Systems of Harmony

Marta Giaccone

Systems of Harmony

[ EPF 2017 – FINALIST ]

Systems of Harmony is a personal portrait of 2016 suburban America. In the 19th century a large number of Europeans and Americans went to great lengths to establish small utopian communities throughout America. They were preachers, social reformers, industrialists, philosophers, anarchists, journalists and socialist thinkers who attracted large crowds to their intentional colonies. Nevertheless they were exclusive establishments, some religious in character, that saw in the vastness of the American wilderness a favorable economic, political and social environment. They didn’t last long: some a few months, others a few years.

I traveled to many of these former utopias drawn by their often evocative and tenderly pretentious names such as Utopia, New Harmony or Modern Times, out of curiosity for what those places look like now and wondering where America is, 150 years later.

 

 

There was German Pietist preacher George Rapp who created the Harmony Society (1805-1906) and, together with his Harmonites, aspired to be worthy of Christ and prepare for his return by purifying himself through celibacy, which turned out to be the main cause of their failure, as it prevented new members from within.

 

 

In Welsh industrialist Robert Owenss model working community (1826-1828), work and the enjoyment of its results should be experienced communally. In his idea of reorganization of society there was no private property, which, together with no individual sovereignty, again led to failure.

And then there was John Humphrey Noyes’ sect of Perfectionists (1848-1880), who created the practice of “stirpiculture” by which the male members should obey to continence and only the most spiritually advanced ones, first of all Noyes himself, were encouraged to procreate in order to produce superior offspring.

I used these and many more background stories as the basis to create my own trip around America.

 

 

Short Bio

 

Marta Giaccone (1988, Milan, Italy) received an MA in Documentary Photography at the University of South Wales, UK, in 2014 and a BA in English and Hispanic American Literatures at the University of Milan, Italy, in 2011. Her work focuses on issues related to family and youth with a particular interest in the feminine perspective. She is also drawn to the juxtapositions of cultures and ideologies found within contemporary American society. Her practice evolves through long-term documentary projects shot on medium and large format film for a more intimate approach. She has worked for Richard Mosse as a production assistant for “Incoming”; for Magnum Photos NYC, Bruce Davidson, Alessandra Sanguinetti and Mary Ellen Mark as an intern; for Mark Power and Olivia Arthur as a translator. She has been among the finalists of many prizes and taken part in group shows in England, Wales, Italy and the US. Her first solo show “Ritorno all’Isola di Arturo” opens in Procida, Italy, in Sept 2017.

 

Related Links

 

martagiaconne.com

—–

 

The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Wiktoria Wojciechowska – Sparks

Andriy, 27, astronomy graduate, picture was taken after he spent 9 months in the war zone, March 2015, Ukraine.

Wiktoria Wojciechowska

Sparks

[ EPF 2017 – HONORABLE MENTION ]

Sparks is a multi-dimensional portrait of a contemporary war in Europe, forgotten but still actual, the war in Ukraine. Ukrainians are fighting against the separatists, who are Ukrainians as well, driven by Russia’s influence and support. The core of the project is meeting victims of the war and dealing with aspects of the conflict like its influence, the impact on the environment and the lives of ordinary people, from late 2014 until 2016.

 

 

The title Sparks refers to the burning pieces of missiles that mercilessly pierce the walls of people’s homes. The light of explosions reflects in faces and memories of the victims. History is told in unconventional way using documentary photography, portraits, collages, videos and collected materials from the soldiers.

 

Portraits of young, non-professional soldiers form the backbone of the project. They went to fight in their sneakers, with weapons stolen from a museum, with all the fears and problems that any of us may encounter. They left their previous identities and occupations: philosopher, mechanic, astronomer, music DJ, bank assistant or high school students – none of them were prepared for what they were to experience. Whoever survives, is no longer the same person.

Sparks is still an ongoing project with the aim to depict next the changes which are happening in the country, consumed by war.

 

 

 

Short Bio

Photographer and Multimedia artist, Born in Lublin, Poland. Graduated from Academy of Fine Arts in Warsaw, Poland. In 2015 she became the Winner of Oskar Barnack Leica Newcomer Award and received awards for her project “Short Flashes” – portraits of drenched cyclists captured on the streets of metropolises in China. Nominated for: Joop Swart Masterclass 2016, Unseen Young Talents, Lucie Foundation Emerging Artists, Visura Grant, Deutsche Börse Photography Foundation Prize and Foam Paul Huf Award. She took part artist residencies in Iceland, China and France. Her works were presented during the solo exhibitions and international art and photo festivals, published in magazines: British Journal of Photography, L’Oeil de la photographie, Vice, Leica Fotografie International, FT Weekend Magazine, Guardian.

Her first book “Short Flashes” published by Bemojake came out in May 2016.

 

Related Links

wiktoriawojciechowska.com

—–

 

The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Sarah Pabst – Zukunft

My grandmother 1938, 18 years old.

Sarah Pabst

Zukunft

[ EPF 2017 – HONORABLE MENTION ]

I was still standing on a northern corner.
Moonlit winter clouds the color of the desperation of wolves.
Proof of Your existence? There is nothing but.
(Franz Wright)

Between 1933-1945 Germany and many parts of Europe were dominated by Nazism and World War II. 72 years later, the traumatic experiences of this period are still present in Europe. Memories are associated with pain, violence and threat. In Germany in particular, this legacy took the form of guilt in post-war generations, ashamed by the events and their place in history. This work is traversed by that history. My grandparents survived the war and just as many of their generation they have passed away and now their memories will soon be part of the past.

I always ask myself, what if. What if I had been born at the same time as my grandmother, what if the Waffen-SS had hanged my grandfather for running away with young Rumanian prisoners of war, what if the US-troops had arrived some hours later? Future is unpredictable, things can turn either way. What if my sister had been married to a jew not now but 80 years ago? And questions one can’t answer – Why are people capable of deporting children, men, women, entire families to their sure death?

 

 

My project is a series of questions, of a past that lives in us, of wounds we inherit from our forefathers. I heard their stories of life, suffering, hunger, guilt and death, and not only obedience but also resistance against the Nazi regime. Finally, these memories, their memories, became part of mine. Through them, I build and shape my own ones, the past, the present and thereby, also the future.

 

In September 2016 my brother died of sudden cardiac death. Suddenly, future came down on us. This project is dedicated to him.

 

Short Bio

Sarah is a German-born (1984) documentary photographer and painter based in Buenos Aires, Argentina since 2013. Besides her personal intimate work she mainly focuses on women and identity topics. Her work has been exhibited both nationally and internationally.

Her work has received international recognition being a finalist in Arles’ Voies Off, Athens Photo Festival, Organ Vida Festival, Nano Festival and the Gomma Grant, all 2017. She was nominated for the JS Masterclass twice. She was a winner of the Portfolio Revisions at FoLa and selected twice for Descubrimientos Photo España. In 2015 she won a 3rd Prize at the POY LATAM and the Canon Profifoto Grant 2014. Her work was published in California Sunday Magazine, GUP, Bloomberg, Vice, Lensculture, Le Monde Dipl., and Juxtpoz, among others.

She owns a masters degree in Fine Arts and Spanish (University of Cologne and Wuppertal, 2011) where she also worked as an adjunct lecturer from 2012-15.

 

Related Links

 

sarahpabst.com

—–

 

The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Aleksey Kondratyev – Ice Fishers

 

Aleksey Kondratyev was the recipient of the 2017 Fujifilm/Young Talent Award for this essay. This honor recognizes photographers under 25 and grants $5,000 from Fujifilm to continue the work.

Aleksey Kondratyev

Ice Fishers

[ FUJIFILM/YOUNG TALENT AWARD 2017 WINNER ] 

For generations, Kazakh fishers have set out on to the frozen Ishim River in the hope of catching fish beneath the ice. The Ishim flows through the country’s capital, Astana, a high-rise, futuristic city that was built essentially from scratch in the 1990s when Kazakhstan started to benefit from the exploitation of its oil reserves. It’s supposed to be an emblem of post-Soviet modernity, a hallmark of the country’s nationhood.

Many of these fishermen venture on to the ice, braving temperatures that often reach -40 degrees (north-central Kazakhstan is the second coldest populated region in the world, after Ulaanbaatar, Mongolia). While they fish, they protect themselves from the harsh weather with salvaged pieces of plastic, patched together from discarded packaging or rice bags that you can find outside markets selling western, Chinese and Russian goods.

 

 

I was interested in examining the aesthetic forms of these improvised protective coverings and the way in which they functioned as inadvertent sculptures. I chose to focus on the materials and their surfaces as signifers of underlying global in influence and the improvisation that occurs as a result of economic necessity.

Kazakhstan was once a nomadic country, and vestiges of that way of life still exist despite the country’s embracement of modernity. These ice fishers improvise and adapt to their environment in ingenious ways, just as their forebears did.

 

 

Short Bio

Aleksey Kondratyev (b. 1993 in Bishkek, Kyrgyzstan) is a photographer based in Los Angeles. His work examines the cultural conflation and diversion between the West and post-Soviet spheres of identity. Kondratyev’s work has been exhibited at the Neue Schule für Fotografie, Berlin, Germany, the Benaki Museum in Athens, Greece, the Museum of Contemporary Art Rome, Rome, Italy, and Galleria Foto-Forum in Bolzano, Italy. He recently completed a fellowship at FABRICA, Benetton’s Communication Center and is a current M.F.A. candidate at the University of California, Los Angeles

 

Related Links

alekseykondratyev.com

 

—–

 

The Fujifilm/Young Talent Award is supported by Fujifilm

 

FujiFilm_Basic-Black

Antoine Bruy – Outback Mythologies

Hole, Coober Pedy, Australia.

 

Antoine Bruy was the recipient of the 2017 Emerging Photographer Fund and was granted $10,000 for this essay. Burn Magazine revolves around the EPF and it is our most important curatorial contribution to the oftentimes chaotic landscape of photography today. Most importantly, our mission is to give recognition to the finest emerging authors out there and to provide some funding to keep going and to continue making a mark.

Antoine Bruy

Outback Mythologies: The White Man’s Hole

[ EPF 2017 WINNER ]

Everything starts about hundred years, in 1915, when the New Colorado Gold Prospecting Syndicate, consisting of a Mr Jim Hutchison, his 14 years old son William and two other men had been unsuccessfully prospecting for gold out in the middle of nowhere in South Australia. The young Willie had been left in camp to look after their supplies but disobeyed orders and wandered off to search for water around the foothills of a nearby range. There was a degree of apprehension among the men when he failed to turn up after dark. But a short time later, he strode into camp with a grin on his face. Over his shoulder was slung a sugar bag full of opal. The catalyst for the existence of the future town of Coober Pedy had been discovered.

 

 

Today in Coober Pedy, the work is secluded. Climatic conditions almost unbearable. Each prospecting gives place to an uninterrupted broom of machines of all kinds and noises coming to populate the emptiness of the land. In an iterative way, men dig white mountains to draw most of the time only a few precious dust. The Australian town of opal is isolated on the edge of the red lands of the Outback. The hamlet experienced the golden age of rock mining in the 60s to 80s, when the price of diesel was cheap.

 

 

Today, the mining enclave seems totally disaster-stricken. And yet, some of its inhabitants have taken up residence underground, in artifact concretions called dug-out. The population is the guardian of myriad holes like as many thousand stories. It is estimated that around 750,000 to 3 million holes have been dug around the city. The town tries hard to reconvert itself in the tourism by forging a past and hosts from time to time shooting of international films. Coober Pedy makes a clean sweep of personal past to create a collective story.

“The White Man’s Hole” is the second chapter of an on-going project titled “Outback Mythologies” consisting of six chapters all taking place in the Australian Outback.

 

 

Short Bio

Antoine Bruy (1986) is a french photographer graduated from the Vevey School of Photography in Switzerland in 2011. His work studies people and their relationship to privacy, their physical environment, and to the economic and intellectual conditions that determine them. His work has been shown in group shows: Los Angeles, New-York, Paris, Dhaka, Barcelona, Seoul, Angkor. Bruy has been awarded LensCulture Emerging Talent Awards, Getty Images Emerging Talent Awards, Critical Mass 2014 and PDN’s 30 in 2015. His photographs have been featured in publications including The New Yorker, The Washington Post, The Guardian, WIRED, Slate, The Huffington Post and Le Monde. He is currently based in Lille, France.

 

Related Links

antoinebruy.com

 

—–

 

The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

EPF 2017 – The Winners

 

The Emerging Photographer Fund 2017

 

Hole, Coober Pedy, Australia.

Antoine Bruy

Outback Mythologies

EPF 2017 WINNER – $10,000

Everything starts about hundred years, in 1915, when the New Colorado Gold Prospecting Syndicate, consisting of a Mr. Jim Hutchison, his 14 years old son William and two other men had been unsuccessfully prospecting for gold out in the middle of nowhere in South Australia. The young Willie had been left in camp to look after their supplies but disobeyed orders and wandered off to search for water around the foothills of a nearby range. There was a degree of apprehension among the men when he failed to turn up after dark. But a short time later, he strode into camp with a grin on his face. Over his shoulder was slung a sugar bag full of opal. The catalyst for the existence of the future town of Coober Pedy had been discovered.

 

 

Honorable Mentions:

 

My brother Milan and his youngest daughter. My grandmother had lost two brothers in the war. As a child I listened to her stories, saw her grief and was always scared my brother would not come back. Many years later one of my biggest horrors would become reality. He died of sudden cardiac death in September 2016.

Sarah Pabst – Zukunft

 

 

 

"The squad of nine killed and eight wounded.? Most of the voluntary soldiers during the first months of the war were not registered. Therefore it is hard to estimate the actual number of deaths and injuries. Collage on picture from the mobile phone's archive of one soldier. 2015, Ukraine.

Wiktoria Wojciechowska – Sparks

 

 

 

Emerging Photographer Fund 2017 – Finalists:

(in alphabetical order)

Elena Anosova
Antoine Bruy
Matt Eich
Marta Giaccone
Mariya Kozhanova
Sebastian Liste
Sarah Pabst
Michele Palazzi
Alexey Shlyk
Mayumi Suzuki
Mario Wezel
Wiktoria Wojciechowska

 

 

 

 

The EPF FujiFilm/Young Talent Award 2017

 

Aleksey Kondratyev

Ice Fishers

FUJIFILM/YOUNG TALENT AWARD 2017 WINNER – $5,000

 

 

FujiFilm/Young Talent Award 2017 – Runners up:

(each win a FujiFilm camera)

Caleb Stein – Down by the Hudson

Neha Hirve – Full Shade / Half Sun

Lily Zoumpouli – Selinophilia

Ian Hananto – Futile

Jeroen Bocken – The Celebrated Remedy for the Cure of Disorder

 

 

FujiFilm/Young Talent Award 2017 – Finalists:

(in alphabetical order)

Jeroen Bocken
Karim El Maktafi
Jordan Gale
Ian Hananto
Neha Hirve
Joel Karppanen
Aleksey Kondratyev
Manon Lanjouère
Sigurður Páll Pálsson
Caleb Stein
Lily Zoumpouli

 

 

The full essays of the winners and finalists will be published here on BURN over the next few weeks. Stay tuned!

 

 

Emerging Photographer Fund 2017 – Judges:

(in alphabetical order)

 

Alessia Glaviano | Senior Photo Editor, Vogue Italia

Wayne Lawrence | Photographer

Newsha Tavakolian | Photographer, Magnum Photos

Teun van der Heijden | Photobook Designer, Heijdens Karwij

James Wellford | Senior Photo Editor, National Geographic

 

 

 

 

Previous EPF Winners

 

The 2008 Emerging Photographer Fund grant was awarded to
Sean Gallagher for his essay on the environmental Desertification of China.

The 2009 Emerging Photographer Fund grant was awarded to
Alejandro Chaskielberg for his 8×10 format essay on the Parana River Delta ‘The High Tide’.

The 2010 Emerging Photographer Fund grant was awarded to
Davide Monteleone for his essay ‘Northern Caucasus’.

The 2011 Emerging Photographer Fund grant was awarded to
Irina Werning for her essay ‘Back to the Future’.

In 2012 three Emerging Photographer Fund grants were awarded:
one major to Matt Lutton for his essay ‘Only Unity’ and
two minors to Giovanni Cocco for his essay ‘Monia’ and to Simona Ghizzoni for her essay ‘Afterdark’.

In 2013 four Emerging Photographer Fund grants were awarded:
one major to Diana Markosian for her essay ‘My Father The Stranger’ and
three minors to: Iveta Vaivode for her essay ‘Somewhere on Disappearing Path’,
Oksana Yushko for her essay ‘Balklava: The Lost History’ and
Maciej Pisuk for his essay ‘Under The Skin; Photographs From Brzeska Street’.

In 2014 two Emerging Photographer Fund grants were awarded:
one major to Alessandro Penso for his essay ‘Lost Generation’ and
one minor to: Birte Kaufmann for her essay ‘The Travelers’.

In 2015 the Emerging Photographer Fund was awarded to Danila Tkachenko for ‘Restricted Areas’, and
the FujiFilm Young Talent Award to Sofia Valiente for ‘Miracle Village’.

In 2016 the Emerging Photographer Fund was awarded to Annie Flanagan for ‘Deafening Sound’, and
the FujiFilm Young Talent Award to Aleksander Raczynski for ‘Views’

 

 

Editor’s note:

 

I cannot express my thanks enough to Alessia, Newsha, Teun, Jamie and Wayne. They worked together to finely tune their choices, looked at the finalists from every angle and awarded the EPF grants to the photographers they felt most deserving. Of course, once it got down to the finalists, choices became extremely difficult, but that is a given… and they did an admirable job. Thank you.

 

A heart felt thank you also to Fujifilm for making it possible for the EPF to keep focus on the future generations, the young ones, the ones with a vision already making a mark now… and just might make another jump soon…

 

FujiFilm_Basic-Black

 

Burn Magazine revolves around the EPF. Our most important curatorial contribution
to the oftentimes chaotic landscape of photography today. By choosing a jury whose lifetimes have been spent in looking
at photographs and making photographs, we try to give our Burn readers a distilled version of the best work of all that
flows before their eyes everyday.

 

Most importantly our mission is to give recognition to the finest emerging authors out there and to provide some funding to at least
a few to keep going and to continue making a mark. Our previous winners prove this is not in vain.

 

Many thanks especially to my EPF team Anton Kusters, Diego Orlando, and Francesca Gennari.
First off, they must deal with me!! Never easy. In all seriousness, they all show amazing dedication to the spirit of
doing something which just feels good. To provide a platform for the up and coming.
 

 
Special thanks to Susan Meiselas of the Magnum Foundation. Nobody on the planet is more dedicated to allowing new talent to develop.
 
 
Special thanks also to Michael Loyd Young, EPF funder and BURN Magazine board member.

 

-dah-
 


The Emerging Photographer Fund was created and is directed by David Alan Harvey,
curated and produced
 by Anton Kusters & Diego Orlando.

 

Igor Coko – Living Behind Bars

Igor Coko

Living Behind Bars

What is happening behind bars and closed heavy iron doors of the prison cells? Is it like we used to see at the movies? Or not? Researching daily life of the prisoners at the famous  Belgrade County Jail, you can meet and feel energy of the other dimension. Where the piece of sky above the backyard is the only freedom prisoners can see. For a long time. I was making this story almost three years together in cooperation with Belgrade County Jail Treatment service, as a regular activity in the treatment of the prisoners through art…. Belgrade County Jail is the biggest of that type at the Balkans, located couple of miles from Belgrade downtown. Jail include prison section with 300 inmates serving their sentences for various type of crimes. I was making my story at the restricted cell block called “5-1”, were prisoners are locked for 22 hours including two hours they can spend at the fresh air. This story is the first in the history of Serbian photography that showcase prison life without censored details, identities… Real life behind bars, as it is.

 

 

 

 

Bio

Igor Čoko was born in Knin, Croatia in 1975.  He holds a degree in Ethnology and Anthropology. In his role of visual anthropologist, he uses his camera to capture and explore the sensibility of the street life, its people and life of stigmatized social groups. He is a editor in chief at the Grain photo magazine that showcase street and documentary photography. His photographs are published in leading magazines and newspapers from former Yugoslavia states and Europe, and thematic street photography e magazines and websites around Globe. He exhibited his work in Serbia, Croatia, Macedonia, Italy, Greece, USA, Spain, Portugal, France and Romania. He lives and works in Belgrade, Serbia

 

Related Links

Igor Coko

Álvaro Aponte-Centeno – Loíza

Álvaro Aponte-Centeno

Loiza after Maria

The strong, penetrating sound of a whistle created by the wind entering the windows of the shelter would never leave my head. It will forever stay in my ears. The streets became rivers. I have lived in Puerto Rico my whole life and I have lived through other strong hurricanes that hit Puerto Rico during my lifetime, but I had never seen anything like Maria. 

Loíza, a coastal town in Puerto Rico, where 298 houses were totally destroyed, and it is estimated that Hurricane Maria, the strongest hurricane in the last 100 years to hit Puerto Rico, affected an estimated one thousand homes.

Houses were suddenly flooded with water because of heavy rains and the raging, overflowing rivers. Wooden houses were totally destroyed. Huge lines formed, taking six hours to buy 20 dollars of gasoline, frustrated attempts to get water, the lack of communication because the majority of the cellular antennas fell and the collapse of the whole electric power service in the country brought Puerto Rico the world’s attention.

The sun begins to beat down hard on the exposed skin, while some of the inhabitants of this town enter their roofless houses. The sheets from a baby’s crib flutter in between pieces of glass from a door that exploded, books everywhere, walls streaked with mud, people with watery eyes, but smiling. These are some of the descriptions of what life is now like in the town of Loíza. Founded by “cimarrones” (African slaves and descendants of escaped African slaves), it is one of the 78 municipalities of Puerto Rico; it is one of the poorest towns with the largest black population and a high crime rate.

As I walked through the flooded streets I felt something on the floor, then I realized that there were electric wires lying on the floor covered by rainwater that is now mixed with black sewage. The only vehicles that can pass through the streets are pick-ups and high buses, or you can walk with boots to avoid cutting yourself with debris from the hurricane.

The lack of oxygen for those who have respiratory problems, the lack of medicines and the lack of professional medical services is the current living situation of patients bedridden in Loíza’s shelters.

Between leafless trees and large deforestation, a group of children in Los Richard neighborhood stop me and ask me to photograph them. I tell them to keep playing, so they continue passing a ball to each other, full of energy and happiness without any apparent worries.

Some people stop in the middle of a river, the Rio Grande de Loíza, with the hope of getting a phone signal so that they can call their relatives to let them know they are alive.

After the hurricane, peace does not reign, problems begin to bloom and the discomfort increases. Not having any clothes to change, sleeping in a space that is not your home (if you’re lucky), and if the mosquitoes let you sleep, because there is no fan that can somewhat protect you from the them, then having to lay awake thinking that at any moment downpour could fall, as is the norm in the tropics, and soak your house roofless again.

This is how they now exist. When everyone knows that they are people who feel, drink, starve and smile, nonetheless.