Lavinia Parlamenti & Manfredi Pantanella – An Atlas of Countries that Don’t Exist

Lavinia Parlamenti & Manfredi Pantanella

An Atlas of Countries that Don’t Exist

[ EPF 2019 FINALIST ]

Political charts of the world are very fluid realities. Countries are created and countries die. In today’s world, globalization hasn’t killed the concept of Nation-State, but has certainly tore down its importance. A world once defined by borders and supervised by the static power of national governments, has been replaced by a more dynamic kind of transnational reality, in which the power is no longer connected to a single State, but takes the form of NGOs, banks and societies who rule by collecting global data. In this ever-changing scenario, little attention is paid to the fact that the map of the world is still hiding today a huge number of unrecognized States.

 

 

Our “Atlas of Countries that Don’t Exist” is an imaginary journey in real territories that uses documentary photography to show the paradox of those portions of the world that self-declared their independence but – for different reasons – haven’t been recognized by the UN. By documenting and conceptualizing some aspects of the reality of these places,our work in progress aims at stimulating a reflection on the subject of personal and national identity, at a time in which this seems to us more than necessary. The physical place where one is born, where one is guarded after death, the family; these are elements defining our personal identity. On the other hand, the culture of a place (arts, monuments, traditions, food), its history and politics, the fauna and the flora, make up the identity of a “Nation”. That’s why we are dealing with tracing these elements in the 12 territories we have chosen to portray: Transnistria, North Cyprus, Catalunya, Republic of Artsakh, Isle of Man, Iraqi Kurdistan, Greenland, Somaliland, Sahrawi, Lakota, Taiwan and Ryukyu. Having already visited the first 3 territories, the Burn Emerging Fund would allow to carry on our research including the maximum variety of global situations into the Atlas, which we hope will take the form of a book and an interactive exhibition.

 

 

Short Bio

Lavinia Parlamenti and Manfredi Pantanella met each other in Tahrir Square at the end of 2011, during the second wave of the so called Egyptian Revolution. Their collective research mainly focuses on geopolitical paradoxes and aims to combine documentary photography with the dimension of surreal and fantastic. Meeting point of their different personalities is, with no doubts, a common ironical approach to life (therefore to photography) and the great value that they give to imagination inside reality. Their first collective project, “Roundabout#Cyprus” (2012), has been transformed into a book and self-published in 2013. In the last years, Lavinia and Manfredi also realized several editorial works in Italy, Europe and the Middle East, collaborating with newspapers and magazines as LaRepubblica, Le Monde, The New York Times, Time, Internazionale, IoDonna, Vanity Fair, Panenka football magazine.

Related Links

www.laviniaparlamenti.com

www.manfredipantanella.com

 

—–

 

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

Magnum Foundation

Daniel Kovalovszky – An Infernal Play

Daniel Kovalovszky

An Infernal Play

[ EPF 2019 FINALIST ]

In 1945 Mátyás Rákosi, the leader of the Hungarian Communist Party, following the Soviet example, introduced a new Stalinist dictatorship in which human rights were severely violated.  As a result of show trials, several hundred thousands of political convicts were sent to forced labor camps, were imprisoned and hundreds were executed based on fictional charges. In most cases the charges consisted in supplying data to western powers and secretly organizing a revolt against the people’s power. Having found the memoirs of the political prisoner a very dreadful and unknown world opened up for me. I decided to start a visual collection to shed light on a segment of what was happening during these obscure years that is unknown to many but still significant: the world of prisons in Hungary between 1945 and 1963.

 

 

This world is disappearing unnoticed, and with the last old surviving witnesses and scenes. There is a time pressure for my work as there are fewer and fewer former prisoners who are still alive, and the places themselves also continuously disappear or change their function. The scenes will be holding the remembrance of the physical and mental suffering of thousands for a long time. This is the time to record what happened in the past for the next generations, because it will not be possible to do this in 3-4 years.

 

 

My work (2016-2019) is about the old survivors who spent long years in the ‘darkest’ prisons and labor camps of the dictatorship I documented. They live privately, hidden from publicity, carrying this heavy historical burden for which they no time left in their lives to process and they still haven’t received proper moral or financial compensation for their sufferings. I made long interviews with the old political prisoners which have significantly changed my personal approach to the 20th century history of Hungary. I hope my work will also become historically meaningful at one point and can show something to the future generations.

 

 

Short Bio

Daniel lives and works in Hungary. After graduating from high school, he studied portrait photography and photojournalism in Budapest and has been working as a photographer since 2001. Between 2001 and 2010, he made several documentary photography essays, mostly about aging in Hungary. Over the last few years, he has become deeply interested in landscape and portrait photography, working on long-term and conceptual projects. His works have been exhibited in several galleries and museums in Eastern Europe and the United Kingdom.

Related Links

www.kovalovszky.com

 

—–

 

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

Magnum Foundation

 

Ingmar Björn Nolting – Somaliland

Ingmar Björn Nolting

Somaliland

[ FUJIFILM/YOUNG TALENT AWARD 2019 FINALIST ] 

The Horn of Africa is regarded as one of the continent’s most war-torn regions. Somalia in particular crashed into an ever deeper chaos of civil war and terror after the disempowerment of the Somali dictator Siad Barre in 1991. There is still no end in sight. Despite all resistance, however, an island of peaceful coexistence emerged in the north of the country. Somaliland. The borders of Somaliland go back to the area of the former British protectorate, which united with Italian-Somaliland to Somalia in 1960. Under the dictatorship of Barre, who seized power through a putsch in 1969, the inhabitants of the north felt increasingly deprived. The resulting fights of the guerilla group “Somaliland National Movement” against the Barre regime culminated in the overthrow of the Barre regime, the adoption of a declaration of independence and the founding of the Republic of Somaliland on 18 May 1991.

 

 

During my work in Somaliland, I have focused on issues of migration, climate change and aspects of democracy and state-building to create a portrait of the often overlooked region, which has been seeking international recognition for 28 years and where nothing seems more important than the young peace. The project is ongoing.

 

 

 

Short Bio

Ingmar Björn Nolting (1995) lives and works as a freelance documentary photographer in Leipzig, Germany. After finishing his A-levels, he volunteered to help the homeless and blind. Since then, Ingmar’s photographic work has focused on social documentary issues, in which he sets his sights on people and their habitats, which have disappeared from the public eye. With a slo­wer approach to his work process, he tries to understand how his protagonists think, feel and interact with each other, to absorb and understand what makes their lives. Ingmar is a founding member of „DOCKS Collective“ for humanistic photography. – Shortlist, Athens Photo Festival 2019 – Honorable Mention, New Generation Priza at Phmuseum Grant 2019 – Honorable Mention, PDNedu 2019, Portraiture – Winner, Emerge Visual Journalism Grant 2018 – Finalist, Vonovia Award of Photography 2018, Newcomer Award – Finalist of the LuganoPhotoDays Emerging Award, 2018 – Selected for Canon Masterclass, Visa pour l’image, Perpignan 2018 – Winner of Vonovia Award of Photography 2017, Newcomer Award – Shortlisted for Felix Schoeller Photo Award 2017, Best Emerging Photographer – Finalist for Kolga Award 2017, Newcomer Award – Nominated for Kolga Award 2017, Best Documentary – Awardee, German Youth Photography Award 2016 – Scholarship, granted by the German Ministry for Education and Research – Participant NikonNOOR Workshop, C/O Berlin

 

Related Links

www.ingmarnolting.de

 

—–

 

The Fujifilm/Young Talent Award is supported by Fujifilm

 

FujiFilm_Basic-Black

Turjoy Chowdhury – Genocide ’71- A Memory Map

Turjoy Chowdhury

Genocide ’71- A Memory Map

[ EPF 2019 FINALIST ]

Though still unrecognised internationally as genocide, many researchers have studied and different studies have mentioned different numbers of people killed in 1971 by the Pakistani Military with their collaborators. The government of Bangladesh puts the number at 3 million. 200,000 to 400,000 women were raped. It’s the price Bangladesh had to pay for its independence. The massacre and the subsequent war that ended with the birth of an independent Bangladesh, started with ‘Operation Search Light’ on 25th March, continued for 9 months. An estimated 7000 people died only on the first night. 10 million people fled and took refuge in India. Hindus, students, Awami League sympathisers, intellectuals and influential leaders were targeted and killed. Countless people were inhumanly tortured to extract information about freedom fighters. Hindu settlements were destroyed. The Pakistani Army and their supporters systematically abducted, killed and dumped bodies in different killing sites.

 

 

These killing sites, mass graves and torture cells are scattered all over the country. Unfortunately, very few obvious visual evidence of this horrors have been documented, as foreign journalists were forced to leave the country and most of the prominent local journalists were killed or were forced to go in hiding. After independence, only some of the major mass graves were protected and declared as part of national heritage and other places have changed drastically. This project reveals those horrific stories by exploring these mass graves, killing fields and torture cells through visuals, captured of their present condition with the goal of finding traces of the past in a conceptual manner and mapping the genocide. Portraits and testimonies of eyewitness and survivors, archival letters, documents, articles, family and other artefacts or objects connected directly or indirectly to the genocide is also included as authentic evidence.

 

 

 

Short Bio

Turjoy Chowdhury is an independent Documentary Photojournalist and Multimedia Artist from Dhaka, Bangladesh. He works internationally mostly on humanitarian issues and crisis. He did his graduation in Architecture. His work has been exhibited globally and published in National Geographic, The Guardian, The Sunday Times, The Wall Street Journal, The Huffington Post, BBC, CNN, MSN, Al Jazeera, WNN, Feature Shoot, Life Force Magazine, Zone Zero, Foto8, Feature Shoot, Ethic Magazine, Aksgar magazine, Foto Evidience, Fotovisura, ND Magazine, Private Magazine, Dodho Magazine, CFYE Magazine, Fotoritim Magazine, F- stop Magazine, The Alternative, etc. He also got several awards and honors : UNICEF photo of the Year 2018 (2nd Prize), Joop Swart Masterclass nomination 2018; IPA (Invisible Photographer Asia) award finalist, 2018; NPPA (National Press Photographers Association) Award 2018; LensCulture Emerging Talent Award 2017; Picture of the Year International 2016; Mro Foundation Grant Finalist 2016; Photography Grant Finalist 2016; Ian Parry Scholarship 2016; Lucie Foundation Scholarship 2015; Eye Time photo competition winner 2015; Future Voices Jury Award 2014; Jessica Lum Award 2014; Photocrati Fund Finalist 2014; Photophilanthropy Activist award 2014; Carnegie Council’s International Student Photo Contest 2013.

Related Links

www.turjoychowdhury.com

 

—–

 

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

Magnum Foundation

Giovanni Cocco – Plantarium

Giovanni Coco

Plantarium

The Garbatella and its flora are a well-kept Roman secret. It is an exotic and unique neighbourhood – founded in February 1920, so next to its centenary – known for its architecture based on lots, a particular kind of public housing with buildings designed according to “Barocchetto romano” style and to English Garden City Movement model.

 

 

The neighbourhood is an un-imitated little urban island, with the highest ratio, in Italy of those years, between built-up surface and “private” green spaces, that are, for generations, social sites and still live on only thanks to the care of its residents.

Hence the choice to photograph plants, because they represent a kind of aesthetic, behavioral, architectural and vegetational exoticism of the entire physical place.

 

 

With this series I want to offer a glimpse of this treasure unveiling the neighbourhood’s flora and vegetations – its enthralling green spaces. Trying to preserve its mystery while giving movement to still life.

 

 

Short Bio

Born in Sulmona, Italy, 1973.

I started to take pictures because my father was an amateur photographer. His photos surrounded me since I was a kid – they were everywhere, on the tables, in the closets, in the bookcases. He used to bring me in his dark room and he encouraged me to use it and his cameras. It was inevitable to approach photography so I started taking pictures very soon. It was like a game, for years, but in 2004, when I started to confront myself with a story which involves me in an emotional way, the Monia’s project, I realized that the camera was a powerful medium to observe and get in touch with the world and a tool to communicate my own view of the world around me in the most immediate way.

Related Links

giovannicocco.it

 

Lyu Geer – The Mountain of Qiang

Lyu Geer

The Mountain of Qiang

[ FUJIFILM/YOUNG TALENT AWARD 2019 FINALIST ] 

“The Mountain of Qiang” is a plan based on Lyu Geer’s hometown, Wenchuan, Qiang ethnic minority. The construction after the 2008 earthquake has accelerated the process of modernization in the mountains, and the regional communication became more intense and the boundary became blurred. He went through a similar field work to the local area in the early days in a process of “re-familiarity”, the anxiety about identity gradually amplified. So he took this question to the behavior of “Finding the sea up the mountain”(Chapter 2). During the Triassic period, the Wenchuan area was in the coastal environment, he asked if the Qiang people had memories of Wenchuan and the sea. He also went up the mountain to find traces left by the sea. On the way, he met snowmen with arms open, painted white stones, fake horses, pandas……These scenes have a subtle connection with the first chapter, “The mountain of Qiang”. “Finding the sea up the mountain”, this pointless behavior seems to be like climbing trees to catch fish. Beginning to turn to more poetic, the search for geographical and identity images. After that, he collected sand from the mountains, sprinkled on film in dark room. Getting the original image of “Star sea” (Chapter 3). And referring to large number of images of the stars, he painted a color that looks as real as possible for “Star sea”. He also seems to find the answer.

 

 

 

Short Bio

Lyu Geer, b.1995, Sichuan,China, graduated from Lu Xun Academy of Fine Arts, majoring in digital media art at BUPT. His works focus on the exploration of boundaries, identity and history. He has been awarded the Sony Young Photographer Program Award, New Talent Award, The Young Photographer Growth Plan of China Photographers Association, China Photography Annual List. On the shortlist of the Lucie Foundation Emerging Artist scholarship, Magnum Foundation’s Abigail Cohen documentary photography.His Self-published “The mountain of Qiang” awarded the Best Chinese Photography Books in 2018.

 

Related Links

lyugeer.com

 

—–

 

The Fujifilm/Young Talent Award is supported by Fujifilm

 

FujiFilm_Basic-Black

Janne Korkko – The Song of the Riverside

Janne Korkko

The Song of the Riverside

[ EPF 2019 FINALIST ]

We need to understand where we are and how we got here. Once we are clear on these issues we can move forward…. (Thomas Berry) Rivers have river rights as well as humans have human rights. People, communities, environments, and nature have deep interrelated connection. A connection that is more complex than an ownership of land, a fishing permit, a cottage on the riverside, or a beautiful sundown on the opposite shore of the river. The name of the river in these photos is Iijoki. The name comes from an ancient word of Sami (’iddja’, ’ijje’), which means ’night’. So, the name of this river is Night. Night- River flows through Yli-Ii, the riverside village, which belongs now to bigger city of Oulu. It means that there are no public services any more. The village is disappearing. Night-River is full of songs of memories, and its riverbanks are full of people with these memories. Some of them are sacred, silenced, or even untold. Usually it seems that nobody wants to remember the song of the unforgotten village – and the blocked river. But some of the songs are still alive, or they are waking up through the people, who are starting to re-member the song of the wild, free-flowing river.

 

 

The landscape of the village, and the diversity and ecology of native nature, changed totally during the 1960s, when the river was dammed – and there were built many hydroelectric power-plants in it. The damming of the river was one of the biggest eco catastrophes in the area of North Finland. But it was also catastrophic for the whole society of the village and its families in many – maybe still unidentified and unconscious – ways. Nowadays the eco catastrophes is still going strong – in clearcutting and swamp ditching. But the second longest river in Finland – with its 150 rapids – is still alive under all the constructions, destructions of riverbeds, and hydroelectric dams. It lives also in peoples’ minds and bodies, in their eyes and destinies.

 

 

Short Bio

Photography means more to me than just doing it: it is as important as breathing and living. I switched in documentary shooting seven years ago. Image has always been an important form of narrative but I wanted it to show the touch of life and humanity that define my ideas. Socially important and difficult topics that are approachable make me work. I feel I have a mission. I’ve been professionally acclaimed for my work. For example my photo was chosen in The European photography 100 book in 2016. I am proud and humbled as well as grateful. Things that have touched me, touched them, too. That is the stories, the interaction with people that developed to the eye to see. I have received more than one project to photograph the New York Times, LES JOURS Magazine, Suomen Kuvalehti, Kaleva.

Related Links

www.jannekorkko.com

 

—–

 

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

Magnum Foundation

Robin Friend – Bastard Countryside

Robin Friend

Bastard Countryside

[ EPF 2019 FINALIST ]

“At the bottom of the hill where we used to live, a creek had been realigned to prevent it from flooding. Huge concrete banks on either side created a narrow canal that stretched as far as could see. With the creek on our right and the city behind us, we set off on our bikes – until eventually the sewers, motorways, backyards and industrial sites gave way to the flora and fauna of the Victorian bush.” (Me, aged 9). To this day, I’m still drawn to places where the natural and human worlds clash, interact and splat into each other. However, the innocent excitement I once felt for these sites has given way to unease. Made all over the UK, these pictures possess a magical sadness and inhabit what Victor Hugo described as “that kind of bastard countryside, somewhat ugly but bizarre, made up of two different natures…the end of the beaten track, the beginning of the passions, the end of the murmur of things divine, the beginning of the noise of humankind”. Hugo also described how observing a city’s edge “is to observe an amphibian”; thinking of the Paris periphery as a living, breathing creature pushing out and changing everything in its wake, blurring the city/countryside divide. Fast forward two hundred years and Hugo’s amphibian has grown tentacles on steroids and is not just devouring everything in its path, but shitting and puking incessantly as well.

 

 

The “Bastard Countryside” is no longer found in the fringe areas, it’s everywhere you look. My Bastard Countryside is the struggle between humanity and nature, two contrasting forces fighting for control. But there’s also a part of it that resides someplace else; in a fictive realm that gestures towards some unknown, a less certain landscape. With a feeling of things left behind and what is still to come, these pictures tap into our cultural anxiety of what the future holds and how we are leaving this planet broken for generations to come.

 

 

 

Short Bio

Since graduating from the Royal College of Art in 2009 I have been practicing full-time producing, work in London, where my studio is located. In 2012 I spent a year in the USA meeting and photographing a hundred of the nation’s most prominent artists for the Thames & Hudson’s book ‘Art Studio America’. I got to photograph one of my heroes, Hiroshi Sugimoto. In spring 2018, the National Gallery staged MANOD, an exhibition of my work. This explored the remarkable wartime history of the Gallery’s history when the national art collection was stored in a disused slate mine in Wales. In parallel the BBC commissioned me to write and direct a 30 minute film in which I collaborated with Wayne Macgregor, the UK’s leading contemporary choreographer, to create an immersive dance narrative of moving images illuminating the MANOD story. In December last year, my monograph Bastard Countryside was published by Loose Joints. This series of work explores the edgelands of the United Kingdom, dramatising the beauty, mystery and sublime elements of its 21st century backwaters. I would love dearly to exhibit this project in the USA some day. My latest project Blink of an Eye explores the knife epidemic and unprecedented level of youth violence that is currently happening in London. The subject is often discussed using generalizations – this work will blend personal, real-life testimonies of those affected with analysis of many different causes and issues. It will take me a year to make.

Related Links

www.robinfriend.co.uk

 

—–

 

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

Magnum Foundation

Jansen van Staden – Microlight

Jansen van Staden

Microlight

[ EPF 2019 FINALIST ]

After the death of my father in 2011, I discovered a letter, written to his psychotherapist, about his time in the Border War. He dedicated his life to sustainable projects and education in African countries, and what I read in the letter took me by surprise. It was not the man I knew. The letter detailed horrific incidents he took part in, as a 17 year old boy.

One paragraph from the letter, bothered me the most: “…she stated that I joined and did what I did, because I wanted to kill people. It is truer than true.”

Questions started harassing me. How was he raised? What influence did the apartheid regime and it’s ideologies have on the family? What circumstances could lead a 17 year old boy, to have such murderous intent? Where does all this violence stem from?

 

 

Through this journey, I discovered just how much my life has been influenced by my father’s trauma. How my father’s siblings are still affected by the ideologies of their father. Generations of trauma, ignorantly passed on, even through our genes. My generation, is the first of South Africans not to experience war. We have the opportunity and the responsibility to observe all this within ourselves. To ensure that it does not continue.

 

 

After the war, my father turned against everything the knew. He left his father, and family. He craved resolve. He wanted so badly, to be free from his shadows. But the consequences of his actions haunted him his whole life. He tried his best to keep it from his children, and his wives. Ultimately, it slipped though the cracks. Microlight is a collection of anecdotes. And through telling these stories, I hope to open this discussion. I yearn for healing. I want to understand, so that I can accept, and move on.

 

 

Short Bio

b.1986 Potchefstroom, South Africa Strongly influenced by his skateboarding background, Van Staden uses street photography as a conceptual entry point to reflect on personal imaginaries and social constructs of belonging and disconnect. Van Staden became a fellow at the Photographers’ Masterclass of the Goethe Institut in 2017 and graduated in 2018. His work was shown in Cities and Memory at Brandts, Odense as part of the Photo Biennale in Denmark (2016) and in Nimes, France as part of the South African show “Resiste” at NegPos gallery (2017). He recently received the CAP prize (2019) for his series “Microlight”, and the concurrent exhibitions and screenings have started traveling Europe and Africa. He lives and works in Cape Town. Represented by From here on, Johannesburg.

Related Links

www.jansenvanstaden.com

 

—–

 

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

Magnum Foundation

Eleana Niki Konstantellos André – The Art of Memory

Eleana Niki Konstantellos André

The Art of Memory

[ FUJIFILM/YOUNG TALENT AWARD 2019 FINALIST ] 

Memory is the faculty by which the mind stores and remembers information. Dementia is a set of symptoms that may include memory loss and difficulties with thinking, problem-solving or language. Experience changes in their mood or behavior. Dementia can be caused by Alzheimer’s disease or a series of strokes. This project started in 2015 when my grandfather, Alfonso, passed away. He and my grandmother, Esther, had shared their life together. I started photographing her to understand her grief. It would be extremely difficult for her to overcome this event as she was suffering from an important memory and eyesight loss. It was my way to accompany her and get to know her better. I found that in 1998 she had an important pool accident which led her to a severe memory loss. The family archive endowed me lots of photos, poems, diaries, and letters. I discovered her love, her dreams, and, her fears. The mechanisms of the memory and the materials I had found became detonators in a creative process: the reconstruction of my roots and my grandmother’s history.

 

 

To finish this project I would use this Found to continue a series of photographs with my grandmother in the places that were important through her life (Cocoyoc, Morelos; Acapulco, Guerrero; Colonia del Valle, Mexico City; etc). I want to revisit those places to talk about the “role” women are supposed to adopt. I would merge past and present, as I did in my self-portrait wearing her wedding dress. It would be a contemporary interpretation of her life. A photo book would be the ideal way to share this project. Music helps to minimize some of the symptoms of dementia. That is why I will integrate -through a QR code- her voice and the songs she remembers and sings. It would be as if the viewer could transport his-self to my grandmother’s home to spend some time with her. Our memory belongs inseparably to oblivion. We need to forget in order to live, to learn and create our memories.

 

 

 

Short Bio

Eleana Konstantellos André is a Franco-Greek-Mexican photographer born in 1995 in Paris, France and currently living in Mexico City. She graduated from the Active School of Photography (2013/2015) in Mexico City. In 2016 she worked three months with the Greek non-governmental company ARSIS doing field work, research and photographing refugee families from Syria, Pakistan and Iran in Athens. In 2017 she collaborated photographing the action of Operation Blessing International in Juchitan, Mexico, after the earthquake of Septembre, 8th. In 2017 she participated in a workshop on documentary photography and travel photography in Oaxaca, given by Brett Gundlock and Linsday Lauckner. In 2018 she was selected for a portfolio review from TransEurope Photo that took place in Athens, Greece. She was also selected to take part in a photographic clinic with the photographer Francisco Mata Rosas given in the UAM in Mexico City. That same year she received a scholarship to attend the fifth Boreal Bash in San Luis Potosi, Mexico. She has been adviced and her work has been curated by Martine Ravache, a well known French curator. Her work has led her to exhibit in different places in Mexico and Greece.

 

Related Links

eleanakonstantello.wixsite.com

 

—–

 

The Fujifilm/Young Talent Award is supported by Fujifilm

 

FujiFilm_Basic-Black

Matt Eich – Say Hello to Everybody, OK?

 

Matt Eich

Say Hello to Everybody, OK?

[ EPF 2019 FINALIST ]

In 2019-2020 I will be commuting from Charlottesville, Virginia to Washington, D.C. via train on a weekly basis. I also intend to walk the train line in intervals, photographing the scenes I encounter on its peripheries. I view the train line as an artery between my home in Charlottesville (where my heart stays), and Washington, DC, the seat of power in the United States. During my days in Washington, DC I will document the dichotomy between the powerful and the powerless. During my days in Charlottesville, I will photograph my own family, and my community. The background for these images are the final days of Trump’s first term in office, and the lead-up to the next Presidential elections. By juxtaposing powerful circles in Washington, DC with the recovering community of Charlottesville, VA, and the largely rural area in between, I will attempt to put my finger on the pulse of our country during this critical time.

 

 

This work will be absorbed into a larger series called “Say Hello to Everybody, OK?”, which looks at America in the years surrounding Trump’s time in office, beginning in 2014. The series will either conclude in 2020 or 2024, likely resulting in a monograph and exhibitions, but my primary intention is to disseminate the work through widely distributed free newsprint publications and pop-up installations in underserved communities. My goal is to find, or create, a connective visual tissue throughout our country during this divided time. With my work I am looking for the threads that connect us as families, as communities, as Americans and as humans. If we are at risk of forgetting too much of our world, and ourselves, photography is an antidote.

 

 

 

Short Bio

Matt Eich is a photographic essayist working on long-form projects related to memory, family, community, and the American condition. Matt’s work has received grant support from an Aaron Siskind Fellowship, a VMFA Fellowship and two Getty Images Grants for Editorial Photography. His prints and books 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. In 2013 Matt was an Artist-in-Residence at Light Work, and in 2019 he was an Artist-in-Residence at a Robert Rauschenberg Residency. Eich holds a BS in photojournalism from Ohio University and an MFA in Photography from Hartford Art School’s International Limited-Residency Program. His is the author of three monographs, Carry Me Ohio (Sturm & Drang, 2016), I Love You, I’m Leaving, (ceiba editions, 2017), and Sin & Salvation in Baptist Town (Sturm & Drang, 2018). He has two forthcoming monographs with Sturm & Drang scheduled for release in 2019 and 2020. Matt splits his time between Washington, DC and Charlottesville, Virginia, where he resides with his family.

 

Related Links

www.matteichphoto.com

 

—–

 

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

Magnum Foundation

 

 

Eva O’Leary – Happy Valley

Eva O’Leary

Happy Valley

[ EPF 2019 FINALIST ]

I grew up in a central Pennsylvanian town, nicknamed Happy Valley. It is home to Penn State University, a big ten party school that dominates the culture both economically and geographically. The town is homogeneous, 71% of the inhabitants are between the ages of 18-24 and 83.2% of the population is white. It is made up of two main streets, and prides itself on housing the forth largest stadium in the world. In 2008, it was named the largest party school in America by the Princeton review, and in 2012 it had the highest number of reports of forcible sex offenses on any campus in the nation (partially related to a child sex abuse scandal that made international headlines). My childhood and teen years were spent on the edge of Penn State’s campus, our home was down the street from the stadium and surrounded by student rentals. As a teenager, I had easy access to the campus and local party culture. My first experiences of adulthood were heavily impacted by the normalization of binge drinking, gendered power dynamics, patriotism and hook-up culture. For the last five years, I have been making photographs that reflect on my experiences growing up in this environment. In making this work, I’m referencing a personal archive of journals and documents from my young adult years and using this material as a conceptual map.

 

 

By constructing projects based on this material, I re-stage, re-experience and re-contextualize these events to make sense of them as an adult. Photography has given me permission to reflect on my experiences, and in doing so, study aspects of American culture I can locate within my hometown and my past. This process helps me attempt to understand and navigate larger structural and social systems that continue to perpetuate ideologies of fantasy, power and control.

 

 

Short Bio

Eva O’Leary graduated from Yale University’s masters of Fine Art program in 2016 and received a BFA from California College of the Arts in 2012. O’Leary is a recent winner of the Outset Unseen Exhibition Fund, which resulted in an exhibition at Foam, Amsterdam in 2019. She was the recipient of the Hyères Festival Photographie Grand Prix in 2018, The Vontobel Contemporary Photography Prize in 2017, and was named a Foam Talent in 2014. Her work has been featured in a range of publications, including ArtForum, Aperture, 1000 Words and The New Yorker. Her work has been exhibited in numerous solo and group shows both within the United States and abroad, including the CAFA Art Museum (Beijing), LTD Los Angeles (LA), Villa Noailles (Hyeres, France), l’Atelier Néerlandais (Paris), Benaki Museum (Athens), and Aperture Foundation (New York).​

 

Related Links

www.evaoleary.com

 

—–

 

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

Magnum Foundation

Pieter Bas Bouwman – Human & Wildlife Conflict

Pieter Bas Bouwman

Human & Wildlife Conflict

[ EPF 2019 FINALIST ]

During my stay in Kenya I witnessed the difficulty of life in various ways that different groups of people and animals daily face. Often people pity the wildlife such as Elephants, Hyenas, Monkeys and Lions for being harmed or killed by locals. However, people forget that Elephants are a large threat to locals. They often see their farms destroyed and crops eaten. As a consequence, families are ripped apart and forced to work in cities. For many of these farmers, taking away the threat is a common solution, meaning wildlife will be harmed or killed. This killing can also be part of tradition. For the Kamba Tribe this is the case. For ages they hunt on bushmeat to provide for their families and honor their tradition. However, due to Western pressure hunting bushmeat is now by law illegal. As a result, you take away long-standing traditions and deny specific cultures from existing. This is perfectly exemplified in America with the Indians, the traditions vanished because of the pressure of western civilization. The same thing will happen in Kenya. You can already see the Maasai slowly disappearing. There are still Kamba Tribesmen hunting on wildlife and on the other side you find the anti-poaching units that are just like the tribes providing for their families and improving their situation. Unfortunately, the improvement of both their situations is conflicting since they both perceive wildlife differently.

 

 

By spending time in Kenya I understand the actions of both the tribesmen and the anti-poaching units. I am not approving these actions, but as an outsider I feel their burden which is partly a result of Western paternalism. The tribesmen haven’t changed their attitude towards wildlife whilst the West has caused damage over the years and tries to resolve that now. The anti-poaching units have the luxury to worry for elements in life which are secondary in nature to survival. This make the perspectives and perceptions completely different and hard to unify.

 

Short Bio

A central theme often explored in Pieter Bas his photos is the balance and imbalance between humans and nature. It often appears in his photographs of animals, destroyed or decayed surroundings and any other traces of human intervention. This strongly relates to the transience and fleeting character of things. More specifically, it grasps a tiny piece of the most fundamental aspects of life, involving the passage of time, of nature and the world as a whole, that is slowly disappearing due to human intervention. Contrasts become more obvious under tense circumstances. By showing the effects on a micro level, the wider imprint feels more present. The transience and fleeting characters are visually translated by a blurry suggestion of movements and dynamics. Confronted with these impressions often goes together with a certain nostalgic and melancholic feeling about everything that’s lost, and for everything that will be lost… His images are slowly and carefully composed. Compositions are attentively considered, using colors and shapes while trusting basic intuition. Although, impressions appear to be seemingly perfect, they never fully are. To Pieter Bas, beauty is to be found in the imperfection of life.

 

Related Links

www.pieterbasbouwman.com

 

—–

 

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

Magnum Foundation

Paul Guilmoth & Dylan Hausthor – Sleep Creek

Paul Guilmoth and Dylan Hausthor are the recipients of the 2019 Fujilm/Young Talent Award for the essay. This honor recognizes photographers 25 and under, granting them $10,000 from Fujifilm to continue the work.

 

Paul Guilmoth & Dylan Hausthor

Sleep Creek

[ FUJIFILM/YOUNG TALENT AWARD 2019 RECIPIENT – $10,000 ] 

Sleep Creek i​s a landscape filled with trauma and beauty. It’s a place where animals are only seen when they’re being hunted​ and ​humans balance between an unapologetic existence and an abyss of secrecy. These images manipulate a landscape that is simultaneously autobiographical, documentary, and fictional: a weaving of myth and symbol in order to be confronted with the experiential. Following the rituals of those within it, ​​Sleep Creek​​ ​is an obsession between the subject and the photographer—a compulsion to reveal its shrouded nature.

 

Short Bio

Paul Guilmoth and Dylan Hausthor are a collaborative artist duo based in rural New England. Their practice is primarily focused on photographic and bookmaking art; experimenting with the boundaries of both. They co-founded the publication studio Wilt Press in the winter of 2015. Both graduated from Maine College of Art in that same year and together make work that centers around the myth of place and the complexity of image-based narrative. Hausthor and Guilmoth search for the sparkling beauty found in performances given for nothing and nobody amidst the intense silence of snow-covered spruce trees. Their work is simultaneously autobiographical, documentary, and fictional : weaving together staged portraits, manipulated natural and man-made environments, and tradtional photographic documentation.

 

Related Links

www.dylanhausthor.com

www.wilt.press

 

—–

 

The Fujifilm/Young Talent Award is supported by Fujifilm

 

FujiFilm_Basic-Black

 

Azadeh Besharati – Shima & Shiva

0

Azadeh Besharati is the recipient of the 2019 Emerging Photographer Fund and has been 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.

 

Azadeh Besharati

Shima & Shiva

EPF 2019 RECIPIENT – $10,000

Shima and Shiva, they fight to have a happy life, though happy life is hard to be achieved. Shima and Shiva are twins. They are 23. They were born in Masal in Guilan province, Iran. When they were one, their convulsions started because of genetic problems. They were unable to walk since then. At the same time, they lost their father in an accident. As they became older, their mother was unable to look after them so they were delivered to a nursing house for elderly and disabled. Shima and Shiva are very welcoming and friendly with the visitors because they need their help to leave the nursing home temporarily as the visitors’ guest and to see more of this world. These twins are not friendly with the staff of the nursing home because they can’t understand one and other. The nurses and the other patients can’t understand these twins because they are always planning to have fun. In addition, these twins don’t neglect their wishes and they try to fulfill them. They don’t understand the rules of the nursing home. They like sleeping late at nights and they believe this is their right to fall in love, travel, swim and ride their wheelchairs around the city in bazaars and streets. Authorities in Iran only pay attention to the basic needs of the handicaps such as food, clothing and shelter. This is the reason why these children and other handicapped babies are reluctant to think about their future. They can’t dream or enjoy their lives. Shima and Shiva are in that critical period of their lives that people become emotionally sensitive and they look for love all the time. They know that living is their obvious right and because they are twins they resist more severely not to let others topple their right. They are a combination of loneliness and togetherness. They are a combination of happiness and sadness…

 

 

Short Bio

Azadeh Besharati is a documentary photographer and poet, living in Rasht, Iran.

 

Related Links

azadehbesharati.com

 

—–

 

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

Magnum Foundation

The Emerging Photographer Fund 2019

The Emerging Photographer Fund 2019

 

Azadeh Besharati

Shima & Shiva

EPF 2019 WINNER – $10,000

Shima & Shiva speaks about two twins who suffer from a genetic disorder and are fighting for a happy life in Iran.

 

 

 

 

 

The Fujifilm Young Talent Award 2019

 

Paul Guilmoth & Dylan Hausthor

Sleep Creek

FUJIFILM/YOUNG TALENT AWARD 2019 WINNER – $10,000

Sleep Creek manipulates a landscape that is simultaneously autobiographical, documentary, and fictional. As described by the artists, it “is an obsession between the subject and the photographer—a compulsion to reveal its shrouded nature.”

 

 

 

 

The Emerging Photographer Fund 2019 –  Shortlist

 

Ute Behrend

Azadeh Besharati (winner)

Pieter Bas Bouwman

Andrés Cardona

Turjoy Chowdhury

Matt Eich

Robin Friend

Jaakko Kahilaniemi

Janne Korkko

Daniel Kovalovszky

Eva O’Leary

Lavinia Parlamenti and Manfredi Pantanella

Sathish Kumar

Jansen van Staden

 

The full essays of all winners and shortlisted entries will be published here on BURN magazine.

 

 

 

 

The Fujifilm Young Talent Award 2019 –  Shortlist

 

Chris Donovan

Lila Engelbrecht

Mariia Ermolenko

Lyu Geer

Paul Guilmoth & Dylan Hausthor (winners)

Anniina Joensalo

Eleana Niki Konstantellos André

Jimmy Lee

Ingmar Björn Nolting

Andrea Orejarena & Caleb Stein

Mafalda Rakoš

Ana Zibelnik

 

Their full essays will be published on BURN magazine.

 

 

Emerging Photographer Fund 2018 – Judges:

(in alphabetical order)

 

Alfredo De Stéfano | Director of the photography festival Luz del Norte

NayanTara Kakshapati | Curator, co-founder of the Nepal Picture Library and the photography festival Photo Kathmandu

Kosuke Ohara | Photographer

Kathy Ryan | Director of Photography for The New York Times Magazine

Kevin Wy Lee | Photographer, founder of Invisible Photographer Asia (IPA)

 

 

 

 

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’

In 2017 the Emerging Photographer Fund was awarded to Antoine Bruy for ‘Outback Mythologies’, and
the Fujifilm Young Talent Award to Aleksey Kondratyev for ‘Ice Fishers’

In 2018 the Emerging Photographer Fund was awarded to Shadman Shahid for ‘No Quarter’, and
the Fujifilm Young Talent Award to Tabitha Barnard for ‘Cult of Womanhood’

 

 

 

 

Editor’s note:

 

I cannot express my thanks enough to Alfredo, Nayantara, Kosuke, Kathy and Kevin. 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 heartfelt thank you also to Fujifilm for making it possible for the EPF to keep the 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 every day.

 

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 Mallory Bracken. 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.