burn magazine

Muhammad Hidayat – The Sounds Of Dream

Muhammad Hidayat

The Sounds Of Dream

[ EPF 2018 SHORTLIST ]

In that dream they came like shadows, voices, songs, light and gasp, they were so close, even closer than the clothes I wore. I felt like I was back to the beginning where I was walking alone in the middle of a crowd and felt cold in the middle of the blazing heat. Those dreams were so real and so clear that it made me constantly think about them.

In those few days a word always came to my mind, the word was “intuition”. I tried to find out more about that word and finally I got that intuition is an ability to understand something without rational or intellectual reasoning, it’s more about an understanding that comes suddenly, out of the awareness. Intuition is also a whisper from the heart that feels like a push to do something that sometimes even out of the ordinary and awareness of our minds.

So in that time I tried to rethink about the dreams that came a few times and appeared clearly. By following the whisper in my heart, I tried actualizing those dreams into photographs because I was pushed by this feeling of thirst to reach pleasure even though pain is unavoidable. Was it just a dream that was impossible to reach or a time to pass through the phases in those dreams themselves?

This might be an emotion, but it was actually about feelings. There were sorrow, loneliness and even the most important one which was the pleasure of love that came from the Creator.

I started to think that photography was the best way to let go all of the things that were buried inside my mind. Fear, sadness, disappointment and the things outside my awareness.

Short Bio

Muhammad Hidayat (b. 1982) lives in Aceh, Indonesia. where he works as a finance section staf for a government sector. He began to pursue photography seriously in 2015 and is currently focused on expressionistic photography. His photographs are very personal, lifting the story from his life experiences. For him, photography is more than just pressing the shutter button, but a means for pouring out one’s feelings and imagination as well.

Irina Werning – Dear Long Hair

Irina Werning

Dear Long Hair

I search for them everywhere, I travel to forgotten towns

I put up signs

I organise long hair competitions

Till i find them

And i always ask them: why do you have long hair?

“because i like it, cause my dad looks after it…”

but the true reason is invisible

and passes from generation to generation

its the culture of Latin America,

where our ancestors believed that cutting hair was cutting life, that hair is the physical manifestation of our thoughts and our souls.

Short Bio

Irina grew up in Buenos Aires. She studied a BA in Economics and an MA in History. She began to travel in Asia and Middle East and ended up in London where she studied an MA in Photojournalism and lived for 7 years. She’s now back in Buenos Aires and focuses on personal long term projects. She loves to build sets and invent stages for her subjects. She can spend hours in a tool shop.

Alfonso Fonseca – It Could Have Happened Here

Alfonso Fonseca

It Could Have Happened Here

[ FUJIFILM / YOUNG TALENT AWARD 2018 SHORTLIST ]

“It Could Have Happened Here” is a project where I find crimes that have occurred in the Phoenix, Arizona area; Research them, Photograph the places they have occurred at, and then create a narrative with those photos along with archival photos and others I find. This lets me explore time, place, narrative, and the relationship between all three. The crimes I research usually take place before the 1980s, some of the events are well known, while others are crimes that not many know about. The photos depict crime scenes as they are today often with no trace of the crime that was committed and any deviation from the original site will be indicated through handwritten text on the photographs. The photographs will function as signposts for invisible histories. Then the series of photos will be sequenced for a book, each crime being it’s own volume.

The photos are shot in similar ways that forensic and newspaper photos were shot. High contrast black and white photos shot usually with some kind of flash. This creates images similar to Weegee and other newspaper photographers. I then write on the prints in a similar fashion influenced by Jim Goldberg and Bill Burke’s work. I also do this to the archival photos I find online, using the handwritten text as a way to share more information. I then try to create a narrative with all this. I try to create a sequence that makes the viewer feel like they are discovering this information, as if they stumbled upon it. I use the information from my research to create a compelling story about what happened.

Short Bio

Alfonso Fonseca was born in Palm Springs California and lived in the Coachella Valley for most of his life. As a child of Mexican immigrants he had an understanding of culture and place, as frequent trips to Mexico to see his family helped him to start seeing how one place and its history can be drastically different from another. As an artist he began to be interested in how someone can document with photography, whether it has to do with everyday occurrences or finding interesting sub-culture to investigate. Influenced by photographers like Bruce Davidson, Alec Soth, Jim Goldberg, Alex Webb, and many more he began shooting in a formal documentary style to then investigate the connection and conflicts between past and present. Sometimes a historical or even personal past, either way he documents these through landscapes, portrait, and sometimes even uses archival materials. Alfonso currently studying for his B.F.A in photography with a minor in film at Arizona State University.

Snezhana von Buedingen – Meeting Sofie

Snezhana von Buedingen

Meeting Sofie

[ EPF 2018 SHORTLIST ]

In my series “Meeting Sofie,” I depict the life of a 19 year old girl with down syndrome born into a German emigrant family in Denmark. For the last eight years Sofie has been living with her family on a small farm in east Germany but grew up in the care of a successful Antiques dealer.

Since completing school Sofie spends most of her life on the farm. She enjoys being alone as well as with the few people with whom she has built close relationships –– her family, the farm animals, and her boyfriend Andy. The series gives the viewer a glimpse into the life of Sofie and her family. It shows Sofie’s emotional world, which may be akin to ours.

Short Bio

Snezhana von Buedingen, born in 1983 in Perm, Russia, studied Photography at the Fotoakademie Cologne, finishing her Diploma in 2016. Characterized by her international background, Snezhana focuses on documentary and portrait photography.
Snezhana lives and works as an independent photographer in Cologne/Germany.

Marius Ionut Scarlat – From East to West

Marius Ionut Scarlat

From East to West

[ EPF 2018 SHORTLIST ]

Romania generates the greatest migratory flow of the European Union. After the revolution of ’89 and the death of Ceausescu, the Romanians were anxious for an immediate improvement. However this improvement did not happen and everything was even worse. The opening of the Schengen area and the entry of the country into the European Union, there has been a process of depopulation with serious consequences for the country. Romania has around 20, 000,000 million inhabitants and almost 4 live abroad.

This is a documentary project that talks about the emigration of my parents from Romania to Spain. This project talks about the experience or the new meaning that acquires everything that has been left behind. For me, this series of images means to get closer to that past. And also means to rediscover latent past which is still present in my house, in my family, in the landscape, in those objects that still decorate what it was my home and rediscover, through the camera, all the emotions and memories that, apparently, no longer existed. What was my childhood place, my home, my family… that comfortable and happy place had suddenly become a much more raw reality.

Short Bio

Marius I. Scarlat is a photographer who was born in 1993 in a village in Romania, where he spent his childhood. At the age of 11 he moved to Spain with his family. He studied a degree in Audiovisual Communication at the University of Alcal? and a master’s degree in Art Photography and Narrative Documentaries at the TAI School. His work seeks to reflect on concepts such as the passage of time, the trace and memory.

During this last year he has received several awards: La maquina grant 2018, 1st prize; selected to participate in the Students Canon 2018 program at Visa pour l’image; selected in the open call of exhibition proposals HACER organized by the Community of Madrid to produce and exhibit his project From East to West during the festival PHotoEspa?a; Roberto Villagraz grant 2018, finalist; talent scholarship from the TAI School (2018).

Juan Pablo Bellandi – The Tale Nobody Tells

An officer points his finger as a capture signal of another individual during a night patrol in one of the slums in the city of Merida/Venezuela.

Juan Pablo Bellandi

The Tale Nobody Tells

[ EPF 2018 SHORTLIST ]

My job as a Photographer of the pólice in Venezuela for more than two years has taught me through crude lessons to see myself as a policeman, with the particularity that I possess a camera.

Venezuela faces an extremely deep crisis; absurd and improbable situations occur. In a collective language we constantly repeat to ourselves and to others: how can one live like this?

More than 450 cops were killed in 2016 by the hands of delinquency , 13 October night was not an exception, the officer Rivera received multiple shots. with an altar in every comando all colleagues remember him.

Anibal Peña 47 years old, with 25 years of service to the police of Merida – Venezuela in 2003 was seriously injured with one FN FAL assault rifle during a robbery in one bank of the city, Anibal lost his left lung and still continued serving the police with passion. Now 13 years later he is asking for his resignation due to the low salary danger and few benefits of being part of this tropical madness that we live.

But Venezuelan reality has other shores, tales that nobody tells. It is very difficult for the police to maintain public order. The government has diminished to almost zero all the supplies for the proper functioning of the department. There aren’t working tools, protective equipment, basic goods or spare parts for their vehicles. There aren’t any police cars or motorcycles for tracking and surveillance.

In addition, the poor salaries of the police officers worsen the situation, promoting a vicious cycle of corruption. Therefore, extracting money from citizens through non-legal practices becomes more profitable and necessary for police officers to achieve their survival and to provide for their families. This is considering a country where a day of work is not worth a single dollar, when converting to our currency.

The Police officer Henry Araque has three childrens and his wife Helen is now waiting for his fourth daughter isabella. Araque always tells how difficult it is being a cop these days and advance with his salary , always says how difficult is coming back home safe from danger, Araque it is also mechanic because he need another income to go on with his life .In the picture the Baby shower of Helen in Chama Slum on December 2016 Merida State, Almost all essays conclude with a funeral, while I will close off mine celebrating a new life a hope.

On december 9th 2016 66 students graduated as Police Officers in Merida State , in 2015 there were almost 200 and in 2014 450, little by little the situation with the police become more dramatic, nobody feels respect towards police forces because they are related with corruption and government. In the picture the recent graduates clap to the governor Alexis Ramirez one of the strong and millionares of Nicolas Maduro group and Venezuela.

After documenting crime on a daily basis, which is one of the main problems of my country I realized that there is a background story to which I have belonged and to which I owe as a photographer. It is the story of the uniformed people who stay behind the conflict, who are often called guilty, who have a life that we do not know and that are a fundamental part of the disaster in which we find ourselves.

What does it mean to be a policeman in a country as Venezuela? A country with a comatose economy, a destroyed health system and a sunken education system. Bluntly a country living a humanitarian crisis. Families, pressures, obligations, acting evilly, stealing, saving or not saving their own lives.

Short Bio

Juan Pablo Bellandi born in Mérida, Venezuela in 1990. Studying photography at the Escuela Argentina de Fotografía in Buenos Aires, majored in photojournalism. The political situation in his homeland is the theme of his long-term projects: ‘En la Intimidad con el Levantamiento’ (Intimate with the Uprising) documents the demonstrations of Venezuelans against their government. The serie was short-listed for the 2015 Ian Parry Scholarship, and was exhibited in London. In 2016 Juan Pablo was one of the 12 photographers as a finalist in the Leica Oskar Barnack Award with his work Chasing HAMPA. Also he won the mentorship grant of the first masterclass organized by MeMo Agency. In 2017 have been a nominee for the Joop Swart Masterclass of World Press Photo,his work have been published by The Sunday Times Magazine, Photonews Germany, Lensculture, LFI, Doc!Photomagazine, Sueddeutsche Zeitung among others..

Ignacio Colo – At the Same Time

Ignacio Colo

At the Same Time

[ EPF 2018 FINALIST ]

Eduardo and Miguel Portnoy are two 50-year-old twins from Buenos Aires, Argentina. They live together, they have never been apart since they were born, and today they are all alone in this world. Their family passed away with time: their parents, their only brother, also their uncles. They don’t have any close friends. They do everything alone. But they are never alone, because they have each other. The only support they have, their last safety net, is the Jewish community, that gives them employment, helping them materially but also, to a certain extent, emotionally. But, all in all, their main support is the love they have for each other and that symbiosis so typical of twins. The two of them are their only shelter, built upon love, loneliness and vulnerability.

Eduardo y Miguel son dos hermanos de 49 años que viven y trabajan juntos en la ciudad de Buenos Aires, Argentina.

Todos los días se despiertan muy temprano y salen a caminar.

Los dos nacieron con 7 minutos de diferencia el 1ero de mayo de 1968. A pesar de que físicamente son casi idénticos, tienen rasgos de personalidad diferentes.

Miguel es el menor de los dos (por 7 minutos). Es también el más irreverente y atrevido.

Eduardo es el mayor (por 7 minutos). Como buen hermano mayor, es el responsable y el que siempre está atento a las reglas.

Aunque llueva, salen a caminar todas las mañanas.

La ropa que habitualmente utilizan para Shabat.

Todos los días se despiertan muy temprano y salen a caminar.

En su casa llevan a cabo todas las tareas domésticas sin ayuda de nadie: limpian la casa y se lavan su ropa todos los días.

La complicidad entre los dos hermanos gemelos es total y absoluta.

El espejo perteneció a su madre, que fue el principal sostén de los gemelos hasta su muerte en 20xx. La partida de su madre los obligó a crecer de golpe y emanciparse a la fuerza.

Short Bio

Ignacio Coló is a photographer and photo editor born in Buenos Aires, Argentina, in 1980.

He lived in Paris, where he specialized in Photography History at the Sorbonne University. Back in Buenos Aires, he completed photography studies at the Escuela Argentina de Fotografía (EAF) and studied Cinematography at SICA, the union of filmmaking professionals.

He currently works at the Sunday Magazine of La Nacion, a major Argentinian newspaper, as a photographer and photo editor. His photographs are regularly published in media such as Financial Times (UK), Le Monde (France), L´Equipe Magazine (France), France Football (France), Society (France), El Mundo (Spain), Papel (Spain), de Volkskrant (Netherlands), Art Magazine (Germany), among others.

His photographs have been exhibited in individual and collective shows.

Massimo Nicolaci – I Carusi

Massimo Nicolaci

I Carusi

Sicily, for its past history and for its multiple influences and contaminations, is a place that preserves and sends forward a long tradition of faith, linked to Christianity, which has a large pagan and theatrical part connected to the populations that live there.

The man, the Sicilian, needs a hold on something extra terrain. He needs something that goes beyond everyday life. This manifests the theatricality of a people, shows its traditions and highlights its popular culture.

It is a physical manifestation, a staging, made of flesh and sweat, of cyclical rituals and appointments. Where the individual, together with his own community, detaches from the everyday, leaves his social situation and becomes something else, where he comes close to something higher, even for just a moment.

It is a great excuse to seek one’s own redemption on earth.

From 3rd to 5th of February, Catania dedicates a great celebration to the Saint, a mixture of faith and folklore. According to the tradition, when the news of the return of the Saint’s relics arrived in 1126, the bishop went out in procession through the city with bare feet and a night robe, followed by the clergy, nobles and the people. The origin of the traditional dress that devotees wear in the days of the festivities is controversial, the Sacco agatino: white coats and gloves with a black skullcap on their head. A deep-rooted popular legend is related to the fact that the citizens of Catania, awakened in the middle of the night by the sound of the bells when the relics were returned to the city, poured into the streets in a nightgown.

Other typical elements of the feast are the silver reliquary where the relics of the Saint are placed in turn on a chariot or Vara, also this one in silver.

Tied to the vehicle are two cordons of over 100 meters to which hundreds of “Devoti” cling, who untiringly pull the cart until the 6th of February. The reliquary is carried in procession preceded by the twelve candelore or “cannalori” each belonging to the corporations of the city craftsmen.

Everything happens between the wings of a crowd waving white handkerchiefs and shouting “Cittadini, cittadini, semu tutti devoti tutti”. It is considered one of the three most influential Catholic festivals worldwide.

Since many years out to Sicily, I was back in Catania, in the city where I was born, to take pictures at the sant’Agata festival.

There are many legends around this festivity, which are the “Candelore”, the votive candles that precede the Saint in the procession.

It is said that there is a use of money from the mafia around this celebration, that the bearers use drugs to support the effort and that there are clandestine bets around that.

I had the possibility to be put, in natural way, near the butchers candelora (à cannelora ri chianchieri) arround 2011.

My intention is to narrate the human world, i Carusi (the guys), that keep moving around this big candle. Is a material ritual, bodies, fisicitys, a men’s world, that have eyes only for one woman, the lovely, Agata.

This project represents the reconnection to my origin and to the culture that I left, to then return to Sicily and try to understand some parts of me.

I found myself in everyone of them, in every single Caruso.

Short Bio

Massimo Nicolaci (Catania, 1989), since 2006 attended several workshops by Obiettivo Granieri: Lorenzo Castore (2006/2007), Michael Ackerman (2007/2008), Morten Andersen (2011). In 2008 he moved to Rome from Sicily. On 22 June 2009, one of the young photographers chosen to participate in the “First Impression” portfolio reading organized by Magnum Photos in collaboration with the Photography Gallery in London. In March of 2010 he moved to New York. At that time, built a small photographic project called NYC. It prefers the work of wide-ranging, including: Catania (since 2006), Rome (since 2008), Paris (2015 / 2017), Berlin (since 2009), New York (2010). In 2013 he photographed the Conclave with Christopher Morris (VII agency) for Time Magazine in Rome. In 2015 he is still photographer in the new film by Alessandro Comodin, “Happy time will come soon”. Since 2008 collaborates closely with Lorenzo Castore.Since 2010 collaborates with Michael Ackerman (Camera Obscura Gallery – Paris). In July 2017, he released his first book LA CERVA BIANCA – La Biche Blanche published by LUCE and Shellac Sud. Now he lives in Berlin.

(Untitled)

[ 2018 FUJIFILM / YOUNG TALENT AWARD SHORTLIST ]

My Grandmother’s father and brother were both beheaded by the Japanese during the occupation of Malaysia from 1941 to 1945 during WWII for being Chinese. This meant she had to flee the country with her mother at the age of 3. With this leaving of the country, all ties to her heritage were severed. In 2016 I went out to Malaysia to explore how atrocities have many indirect effects, including myself not feeling as having ties to Chinese or Eastern culture. From this trip I managed to find long lost family through a common ancestor and was able to fill in their family tree for them as well as add to my own. Through these connections I tried to find out as much as I could about my Grandmothers father and brother, where they would have lived and worked. Also exploring the myth that my Grandmother believes her brother is still alive. While exploring my family history I also look at the locations of atrocities and the inspection centres which led to these atrocities to contemplate wether my family would have been subject to these locations. I also look at Singapore as an important amount of the Japanese occupation was carried out there. An interesting aspect about this work is that prior to the Japanese, the British had occupied Malaysia so for me to come as a British citizen to make work here draws up interesting parallels which I am yet to explore further.

This project explores indirect effects of war on a personal scale which is something that I have not yet encountered. With my previous work I have looked at indirect effects from war and tried to keep an objective outlook on the happenings that I made work on. This work combines my examination of war with the question of identity as I have such a diverse heritage, it seems that war, like millions of others, has shaped my life without it being evident at all to me bringing me to question myself as well as the development of civilisation.

Short Bio

With an interest in the spectacle of modern warfare, I explore spaces in which conflict occur particularly interested in the indirect effects on war; how they surface in the everyday and how these issues are dealt with in absence of mainstream media. Using a simple, unintrusive approach to many of the projects, I attempt to make invisible subjects visible through the use of landscape and context. Photographing in a slow and quiet manor, I try to force the viewer to study the image to extract the most information they can to then be reinforced by their own contextual knowledge and personal views. Consciously realising my place as a western spectator of modern conflict issues, I try to make work which aims to resonate with the western viewer in a non-confrontational way, believing empathy is most effective when the viewer pieces the puzzle together for themselves.

Mathias Depardon – Gold Rivers

Mathias Depardon

Gold Rivers

[ EPF 2018 SHORTLIST ]

The history of the Mesopotamian rivers and their presence in our own cultural history may be one of the oldest continuously inhabited settlements in the world, spanning some, 10,000 years of world heritage. In the 4th millennium BCE, the first literate societies emerged in Southern Mesopotamia, often referred to as the Cradle of Civilization. What was once considered to be the Garden of Eden is now in danger of disappearing.

The Euphrates and Tigris rivers occupy a central place in the daily life, ecology, and history of millions of people living around them. The Euphrates is the longest and one of the most historically important rivers of the Middle East flowing over 1,700 miles from eastern Turkey through Syria and Iraq.

Commuters on a ferry boat traveling across the Keban dam on the Euphrates river located in eastern Anatolia. Keban, Turkey

The Göksu is a tributary of the Euphrates, joining it from the north some 20 km downstream of the Atatürk Dam, east of the village of Kızılin. Turkey

Local girls from the village of Hasankeyf are meeting over a tea together. By 2018, the Ilisu dam project will start flooding 80% of the ancient monuments of Hasankeyf along with 52 other villages and 15 small towns. It will destroy 400 kilometers of the Tigris’s ecosystem and force the relocation of about 60,000 persons among the people of Hasankeyf. Turkey

Local tourists visiting the former village of Savaçan flooded by the reservoir lake of the Birecik Dam in 1999 located on the Euphrates river. Turkey

A woman working in a local cafe is looking at a tourist boat arriving in the former Savaçan Village flooded the Birecik Dam on the Euphrates river in the late 90’s. The town was among those settlements, ancient and contemporary, that would remain under the rising water levels of the local dams and rivers following the execution of the GAP project. Until the area was flooded in 1999, the people lived from fishing in the Euphrates and farming on the riverbank. Savaçan, Turkey

Local tourists visiting the village of Halfeti partly flooded by the reservoir lake of the Birecik Dam on the Euphrates river.The dam was built on top of the ruins of the ancient city of Zeugma. The inhabitants of Halfeti and Savaçan were displaced to the city of Karaotlak built by the Housing Development Administration of Turkey in 2000. Halfeti,Turkey

A beekeeper is standing by his beehives in a field near the town of Halfeti. The town of Halfeti partly flooded by the reservoir lake of the Birecik Dam on the Euphrates river.The dam was built on top of the ruins of the ancient city of Zeugma. The inhabitants of Halfeti and Savaçan were displaced to the city of Karaotlak (also called New Halfeti) built by the Housing Development Administration of Turkey. Halfeti,Turkey Halfeti, Turkey

A herd of cattle are walking back towards the village by the banks of the Tigris river. Hasankeyf, Turkey

Young farmers are standing on top of a hill dominating the banks of the Tigris river. The Ilisu dam project due in 2018 will flood 80% of the ancient monuments of Hasankeyf along with 52 other villages and 15 small towns by 2018. Kesmeköprü, Turkey

Sait and Turan are teachers in a local High School near the dam of Ataturk. They are overlooking at the artificial lake of the biggest dam in Turkey, located on the Euphrates River on the border of Adıyaman Province and Şanlıurfa Province in the Southeastern Anatolia Region of Turkey. Built both to generate electricity and to irrigate the plains in the region, it was renamed in honour of Mustafa Kemal Atatürk (1881–1938), the founder of the Turkish Republic. The construction began in 1983 and was completed in 1990. Turkey

The town of Hasankeyf in southeast Turkey is the only place in the world that has met nine out of ten criteria for Unesco’s world heritage sites. However, the Turkish government has made no effort to bid for its inclusion in the coveted world heritage list, or to promote tourism in the ancient town located along the Tigris River. Any effort to do so would harm the development of the Ilisu dam — a state project that is supposed to entirely flood Hasankeyf, along with 52 other villages and 15 nearby towns, by 2019.

Already, a number of towns and villages located on the Euphrates River have been flooded as part of Turkey’s controversial Guneydogu Anadolu Projesi — or Southeastern Anatolia Project. GAP, as it is known, is currently Ankara’s most significant territory planning project, involving eight provinces, and will irrigate 1.7 million dry hectares of earth from 22 different dams all fed by water from the Tigris and the Euphrates rivers.

A villager from Hasankeyf is sitting at a café. The Ilisu Dam project due in 2018 will flood 80% of the ancient monuments of Hasankeyf along with 52 other villages and 15 small towns destroying a unique historical site where a mix of Assyrians, Roman and Ottoman monuments belong. Hasankeyf, Turkey

View from the dam construction site of Ilisu. Planned in 2018, the dam of Ilisu on the edges of the Tigris, will become the second biggest reservoir of water and the fourth hydro electrical power station of Turkey, with an annual production of 3,8 billions of kW / h. His expense is estimated at 1,2 billion euro. Ilisu, Turkey

A shepherd is walking with his sheep on the banks of the Tigris river near Hasankeyf. The river is predominant in the life of the inhabitants of the village of Hasankeyf. The Ilisu Dam project due towards the end of 2018 will flood 80% of the ancient monuments of Hasankeyf along with 52 other villages and 15 small towns destroying a unique historical site where a mix of Assyrians, Roman and Ottoman monuments belong. Hasankeyf, Turkey

View on the new settlement of Karaotlak. Halfeti is a small farming district on the east bank of the river Euphrates partly submerged in 1999 under the waters behind the dam on the Euphrates at Birecik. The town was therefore removed to the village of Karaotlak (also called New Halfeti) where the residency of the new town is now complete. Karaotlak, Turkey

Men are refilling water from a small spring on the side of the road between Siverek and the city of Sanliurfa.Turkey

A fisherman is fishing long the stream of a tributary river to the Euphrates across a cement factory.Turkey

Leyla is picking up grape leaves for her traditional dolma recipe in the fields of Harran. The Atatürk Dam and the Şanlıurfa Tunnel system are two major components of the GAP project. Irrigation started in the Harran Plain in the spring of 1995. The impact of the irrigation on the economy of the region is significant. In ninety percent of the irrigated area, cotton is planted. Irrigation expansion within the Harran plains also increased Southeastern Anatolia’s cotton production from 164,000 to 400,000 metric tons in 2001, or nearly sixty percent. With almost 50% share of the country’s cotton production, the region developed to the leader in Turkey. Harran, Turkey

A man is paddling in a boat across the Keban Lake in eastern Anatolia. The Keban Dam was the first and uppermost of several large scale hydroelectric dam to be built on the Euphrates by Turkey. Although the Dam was not originally constructed as a part of the Southeastern Anatolia Project (GAP), it is now a fully integrated component of the project, which aims to stimulate economic development in Southeastern Turkey. Keban Dam Lake, reservoir created by the Keban Dam is reputedly the fourth-largest lake in Turkey after Lake Van, Lake Tuz and the reservoir created by the Atatürk Dam. Keban, Turkey

A restaurant terrace on the Tigris river during a summer day. The river is predominant in the life of the inhabitants of the region of Hasankeyf. The Ilisu Dam project due in 2018 will flood 80% of the ancient monuments of Hasankeyf along with 52 other villages and 15 small towns by 2018 destroying a unique historical site where a mix of Assyrians, Roman and Ottoman monuments belong. Hasankeyf, Turkey

A man sits by the road facing a 12th century bridge leading to Hasankeyf over the Tigris River which will soon be flooded along with the town itself by the Ilisu Dam. Hasankeyf, Turkey.

View on a terrace of a restaurant above the Tigris. The Old Bridge is a ruined four-arch bridge spanning the Tigris River in the town of Hasankeyf. It was built by the Artuqid Turkmens in the mid-12th century, between about 1147 and 1167, and at the time its central arch was one of the largest in the world, if not the largest. The town along with the bridge will be flooded by the Ilisu dam within the year 2018. Hasankeyf, Turkey

Both residents of southeastern Turkey and international observers continue to question the Ilisu dam, which will destroy a unique historical site, where Assyrians, Roman, and Ottoman monuments exist in close proximity. Yet the Turkish government maintains that the project will aid the impoverished region, allowing the creation of 10,000 jobs and the development of local farming and agriculture.

Along with environmental and social risks, the geopolitical impact of the dam cannot be ignored either. The development of Ilisu has been severely criticized by neighboring Iraq and Syria, who accuse Turkey of appropriating waters of two rivers that connect to their territories, which are already hit by arid conditions and drought.

Short Bio

b. 1980 France. Mathias Depardon was raised between France, Belgium and the USA. After studying communication and journalism in Brussels, Mathias briefly joined the Belgian national newspaper Le Soir before devoting himself to reportage and feature work. His immersive process and slower approach to journalism allow for comprehensive bodies of work that reveal and frame important social, economic and political issues in territories under tension such as Turkey and Iraq where he question the idea of border and territory. Through series of portraits and landscapes, Mathias Depardon probe a Turkey torn between modernization and the reminiscence of the ottoman values evoking the notion of Pan-Turkism in the neighboring countries. In 2018 he is the finalist of the Grand Prix de la Photographie Documentaire in Sète and laureate of the Grant for Contemporary Documentary Photography (Centre National des Arts Plastiques). Exhibitions have included the Musée des Archives nationales and Arles.

Sébastien Van Malleghem – Nordic Noir

Sébastien Van Malleghem

Nordic Noir

An artistic residence in Norway (Halsnoy Cloister, 2013) ignites a passion with the North. Iceland, then Scandinavia further fuels the flame, revealing a personal confrontation with an endless space, a passionate and brutal encounter.

Captivated by the Scandinavian lands from a residence in Norway, Sébastien Van Malleghem has since advanced his travels from Denmark to Iceland, passing through Finland and Sweden. Nordic Noir is the visual recital of this contrasting trek. With breath-taking and timeless landscapes, scenes of life and harsh portraits, the series is closer to a constellation than a linear path. In the explosion of emotions that is the series, the photographer finds the right balance between the sublime and the banal, between the grandiose and the intimate. Leaning towards reverie in this work, Sébastien Van Malleghem’s eye remains sharp and keen; just as well when the scenery lends itself to pure contemplation, to the exhilaration of large spaces, to the experience of solitude where he captures a carefree and unbridled youthfulness that lays itself unreservedly open in front of the lens.

CONVERSATION WITH DIEGO ORLANDO

Sébastien, i know for you this has been a deep personal project, a sort of “personal long love story” as you described it, so i want to know more what keeps you close to this work and how you see it after years. The way you are looking at it has changed?

No, not at all. Nordic Noir, made me look deeper. That work I started in 2012 gave me the guts to do what I love to do and to believe in it. So far, making these photographs made me extremely happy and more confident. I didn’t change my way to look at the world, that work didn’t change it either, at the opposite: it confirmed it.

And are the pictures telling new things to you after years? I mean are they showing some secondary layer you didn’t see at the time?

I don’t think so, everything became clear when I looked at the book and when we made it. If my photographs would mean something new, it would just be my mind going in different mood looking at them, but I know their origin and what surrounds them – when I made them, why I made them, and how I presented them. Nordic Noir is a big part of my life and what’s going on in my mind when I’m looking at reality. It is presented with exactitude in the photography book « Nordic Noir » published at the end of 2017.

Do you miss the way you were looking at world at that time?

That questions sounds like you can have a way to look at the world and then change it. As it is a style or a filter. That is totally not the case for me. Nordic Noir is exactly how I feel and sense the world that surrounds me. Yes, I love black in my photographs, yes most of my reports are about the people in the margins, yes these are important reports that deserves attention; and Nordic Noir is my own wild run.

I can’t « miss » this way to look at the world, because it is inside my DNA. Going to the extremes, with Nordic Noir was deep honesty towards love, photography, and the main themes that I’m questioning. I can’t miss my way to look at it cause I’m still shooting there. I still need it, it became a necessary part of my life: a balance. I’ll be back in Iceland in few month, and later on in winter 2019 I have been invited to an Artist Residency in North Norway: Vesteralen. I never stopped being up there, even after the book was published I was making photographs in Norway…

I explain my question in a different way.. sometime when a project is finished we close that chapter inside us and we start exploring different directions opening deeper level of our perceptions. Yet, after a while, sometime after years, the immediate and first way of looking and capturing moments that we had on our first big project is something that we miss because we realize we cannot replicate.

The key is that Nordic Noir isn’t my first big project. Nordic Noir was made in parallel of my work of reporter. So when I was documenting the Mexican Morgues, or the Heroine crisis in North of France, and other reportages in EU I needed to breathe. Therefore I would head up to Scandinavia and just photograph what I was personally interested by, and confront myself to quiet places. That is why that work is personal and spread over 5 years. Because it’s not a first, and after 11 years of being a photographer I know how to close a reportage, but personal works are limitless. It just depends of your mood and feeling to continue it or end it, but in anyway it sticks to your soul.
Now I’m working on this new personal project and reportage in the USA, I evolved from Nordic Noir, and I can do the distinction with the new project and the one still running.
It’s a personal choice to continue something with will and desire or to start something new.

Short Bio

His long-term projects focus on the idea of justice in contemporary Europe. For four years he followed the daily job of police officers and their interaction with the public, then he decided to enter inside Belgian prisons for more than three years from 2011 until 2014. Sébastien went in Libya in 2012 to work on the ruins of the power after the death of Kaddafi. He covered the daily life of the people living in the streets of Berlin during five months in 2013. Van Malleghem focused on the Mexican Morgues in 2017, Heroine addicts in North of France in 2018 and went back to Belgium to photograph asylums in Flanders. Next to his European reportages, Sébastien started another long-term project in 2012 focused on Scandinavia, which has been published in 2018 under the name of Nordic Noir and selected has one of the most captivating photo-book of the year by the independant magazine Mother Jones (USA)

Andrew Sullivan – Endangered Species

Andrew Sullivan

Endangered Species

Mexico’s murder rate went up 16% in the first half of 2018, a grim statistic that suggested this year would be the bloodiest in the country’s history. Time magazine approximated that someone was killed every 15 minutes in May. Where I live in Mexico has the reputation of being a safe haven. In travel around the country, I have seldom been in danger, yet I worry about personal safety. Reconciling my daily life with the headlines I see in the “prensa amarilla” leads to thoughts that I’m living in a fantastical bubble while a war rages closer than I want to believe.

While I recognize that I am not a target of the violence between rival criminal cartels, that sense of unease provided the idea for this project. I thought of looking over my shoulder on a quiet street in a strange town, and noticed Mexicans doing the same as I would pass in the street. I sensed a certain vigilance, and started to photograph scenes that seemed to signify something other than what was depicted. I didn’t want to photograph blatant violence. I wanted the photos themselves, and the relationships between pictures, to suggest that something was awry, that something lay beneath the surface. Mexico blends beauty with the sinister, joy with despair, and mystery with the mundane. It’s those contradictions that interest me- and make me uncomfortable.

Short Bio

Andrew Sullivan has worked as a photographer in Kenya, Latin America, the Caribbean, and the United States. His work has been published by the Massachusetts Institute of Technology, the United States Olympic Committee, and many publications around the world. He has exhibited at Universidad Veracruzana, and other galleries in Mexico, Italy, and the United States. Based in San Miguel de Allende, Mexico, he uses photography as a tool for trying to understand daily life. He believes that photography can investigate truths in a way no other medium can.

Yorgos Yatromanolakis – The Splitting of the Chrysalis & the Slow Unfolding of the Wings

Yorgos Yatromanolakis

The Splitting of the Chrysalis & the Slow Unfolding of the Wings

‘The Splitting of the Chrysalis & the Slow Unfolding of the Wings’ arose from my unforeseen return to my homeland and my residence there for four years. Isolated in the countryside of the island, I was constantly confronted with my traumatic past, my memories and myself.

Gradually, through wandering in nature, a conceivable field of action was created within me, an intermediate space full of transformative dynamics, a place of becoming. I surrendered to the fluidity of this space, to a paradoxical and cosmogenic ceremony. I was faced with the most enigmatic aspects of myself; I was searching for a new reality in which I would be able to exist. These photographs are part of a notebook, constructed through this experience, attempting to capture the cycle of an internal process of metamorphosis.

Short Bio

Yorgos Yatromanolakis lives and works between Athens and Crete. He works on long-term photography projects and turns them into books, experimenting with storytelling, materials and design. He has published three books, ‘Roadblock to Normality’ (2016), ‘Not provided’ (2016) and ‘The Splitting of the Chrysalis & the Slow Unfolding of the Wings’ (2018). He is co-founder of artist- run space ‘Zoetrope’, in Athens.

M.H. Frøslev – Unsettled City

M.H. Frøslev

Unsettled City

Unsettled City is a journey of a human in a metropolis. It portrays despair and love in a place where life at times can be very uncertain.

The book is a personal depiction of a claustrophobic environment with the cityscape as framework, captured in the cities of Saint Petersburg and Moscow over the last ten years. Through ninety-five photographs in contrast monochromes and dusty colours the book unfolds the night as a motif. Here we meet bulldogs, street fights and abandoned roads alongside loving glances, intimate moments and faded buildings, all quietly standing still, waiting for the night to die down and the light to rise again. Through disquieting atmospheres and raw sensitivity Unsettled City shows us how the people of the night alternately love and fear both the city and each other. With this book M.H. Frøslev portrays feelings of alienation, inequality and pain on a par with love, intimacy and fascination.

“As a narrator, I am looking for a place I can relate to and that moves me. These photographs are based on my own life and relations. The book is my encounter with the metropolis, but it is also a rediscovery of myself, and an examination of the feelings and relations that are associated with being connected to another person, a time and a place. I photograph my longing, my presence, my love and my fears. I photograph because it helps me understand my feelings. For me Unsettled City is about people finding love in the dark streets of a metropolis, where the night will either save or destroy you.” – M.H. Frøslev

Short Bio

Born 1988 in Copenhagen, Denmark. M.H. Frøslev worked in 2008 as photographic assistant for Danish Magnum photographer Jacob Aue Sobol in Copenhagen but moved initially in 2010 to Moscow and later to Saint Petersburg where he started the project Unsettled City. His infatuation with making pictures is what led M.H. Frøslev to explore the silent and haunting experience of walking after dark in the streets of Saint Petersburg and Moscow. Here he developed his photographic sense and his intimate relationship with the Russian cities.

Yiota Tsokou – The Distance

Yiota Tsokou

The Distance

I don’t need you – please stay.

I keep at arm’s length, as though I were a ghost stuck between two worlds. I linger in this moment and time is frozen. I have overanalyzed reality – cut it into little pieces – and now everything lies shattered; deformed.

The Distance story deals with that very state; how one’s experience of the human condition leaves its mark. It is a story which explores both closeness and togetherness, leaving plenty of room for definitions.

Short Bio

Yiota Tsokou is a Greece-based self-taught photographer. Her interest in photography sparked in 2014, when she started experimenting with analog photography. Her work has been published in a number of publications such as Agitate (Australia, October 2015), Photoklassik (Germany, September 2016), Adore Noir Magazine (Canada, October 2017), Click Magazine (Italy, December 2017), Photographize (USA, February 2018).

Jake Borden – In Ruins – Displaced Georgians in Tbilisi

Jake Borden

In Ruins – Displaced Georgians in Tbilisi

[ FUJIFILM / YOUNG TALENT AWARD 2018 SHORTLIST ]

On the outskirts of Georgia’s capital, Tblisi, an abandoned military hospital from the bygone Soviet era serves as a refuge to some one hundred and fifty families unable to find jobs and affordable housing. Tweny-five years after the fall of the Soviet Unions, the occupants represent a fraction of the nearly quarter million internally displaced people inside Georgia, who in 1993 were forced from their homes during government clashes with Russian backed separatists in Abkhazia and South Ossetia.

Local government pays little attention to the building, and when they do it’s to cut off electricity and water which residents have diverted through a jerry-rigged lattice of wires and pipes. Two decades after the conflict, many hold out hope that they will one day be able to return to their homeland and reunite with long lost family members.

Short Bio

Jake Borden is an American photojournalist based in Beirut, Lebanon. In 2015, Borden began assisting VII founder and National Geographic photographer John Stanmeyer, managing his extensive archive in the Berkshires and assisting him while abroad. Inspired by Stanmeyer, Borden set out to tell stories of that had the possibility for social impact at home and abroad. He is currently working on a longterm project in Lebanon exploring the lasting social impacts of conflict through the VII Masterclass program, and has had work published by international news outlets such as the BBC and Vice News.

Anneke Paterson – Growing Pains

Anneke Paterson

Growing Pains

[ FUJIFILM / YOUNG TALENT AWARD 2018 SHORTLIST ]

These are the things I wish to keep, though I know I can’t. My generation is saying goodbye to its favorite places, even entire neighborhoods with cultural significance; the remnants of our childhoods are an Austin that seems too far gone. Some say that these changes which are overtaking our city, though they harm some, will benefit many. We’re not so sure: the changes are certainly capturing us all, though not equally. This trajectory is comparable to my own precipice of adulthood, which just as unsettled and dubious, unrelentingly pushes me onward. The boom is stretching us thin and wedging and an even deeper divide in a city whose infrastructures are deeply rooted in segregation; the city itself was designed for those who wished for it to be divided: us apart from them.

Now, areas of Austin which were designated for people of color are being overtaken by developers and corporations looking to exploit cheaper and vulnerable properties and persons. In my mid-twenties, I witnessing the effects of Austin’s historical segregation: historically Black and Latino neighborhoods are being stipped of their cultural and sentimental value just as I’m parting ways with my childhood and watching their physical spaces be replaced with novelty.

Though I am a native Austinite, I was naive to believe in the myth of the exceptionality of Austin, for which many others know as well: The Live Music Capital of the World, the place built on creatives and music and small-town sentiments. This identity does not speak for us all. Austin must confront its changing identity just as I must confront mine, what I thought of myself, of the city, no longer holds true, for better and for worse. My work explains my coming of age, expanding identity, and their parallel with the changing scape of this American city. These are friends, ex-lovers, strangers, all Austinites, connected by the experience of our remaining care-free days as adulthood and inescapable change looms.

Short Bio

Born and raised in Austin, Texas, Anneke Paterson is an early career photographer of humanity with a distinct interest in youth culture. In her work, Anneke considers the dynamics between what and who she photographs and her role as the image creator. Currently, she is focusing on personal narratives as a way of establishing a better understanding of the adapting world around her. Her photographic essay, Bitten by the Moon, which examined access to surgical healthcare for those with physical malformations or conditions in El Salvador, was published by Burn Magazine in 2017. Other works have been published by National Geographic Travel and National Geographic Books. Anneke is an undergraduate student of cultural anthropology at Texas State University, with a desire that this degree will serve her photographic perspective and guide narratives which include sensitive topics, such as the effects of urban development. Anneke is a member of The Photographic Museum of Humanity and Women Photo

Abhishek Basu – The Rum Diary

Abhishek Basu

The Rum Diary

[ EPF 2018 SHORTLIST ]

The Rum Diary adopts the tone of a scrapbook whose dog-eared pages are found yellowing inside the baggy jeans pocket of many a photographer searching for their decisive moments. How long do you hold out your fishing rod in still water without conjuring up images of smoked salmon in your head at the slightest tug on the string (read: stirring of the heart)? Does the reality of the common carp you finally catch by dusk, not satisfy the tastebuds of the mind which have already feasted on the grilled slivers of the hyper-real?

It is out of this desire to relish life to its optimum best is borne a journey traced by this series of images. With the name providing an entry point into Thompson’s fictional universe, characters in the diary too are captured as at once flawed, haphazard, crooked and stumbling through life as they are extraordinary, silver-screened, charismatic and surreal. Taking from phrase ‘killing your darlings’ often used by writers, the diary delves into the voyeuristic tendencies that might have led to their creation in the first place. Till how far do I allow my intrusion to lead me by the hand? Does she ask me out for a dance? Do I buy her a drink? The quick-sand-like subjectivity of my darlingsmakes it difficult for me refrain from sinking. They say one is always a toe-dip away from being sucked in.

This tension between the two worlds weaves dialogues of ‘to dip or not to dip’ with every flip of the diary’s pages. This slippery slope of stance is traversed through questions of belonging, love, intimacy and desire, till before you know it your darling kills you.

Breathing life into memory is all the option one is left with to cling onto. Nostalgia is personified. A photographer’s dilemma is eulogised.

But after all, the heart longs to thump. And so begins again a plunge into the unknown or the casting of the fishing rod back into the murky waters of the pond.

Short Bio

Abhishek was born in 1990 in Tatanagar, Jharkhand, India . He uses the photographic medium within a wide range of reasons such as comprehending his own anxieties, to bridging social barriers. This is the main topic of discussion in his ongoing and work-in-progress book, The Rum Diary. In 2017, he received a scholarship from Burn Magazine to attend a workshop in Puerto Rico with Magnum photographer David Alan Harvey. Abhishek is a freelance photographer, and he works for various publishing houses on experimental story telling techniques, book design, curation and multimedia. Taking to Abbas’s advice, “buy a pair of shoes and fall in love with it”, Abhishek’s subjects span the wide variety of where life and his understanding of it has taken him. One can say that the photographer in him attempts to make the most out of the power of his lens every day.

Fatima Abreu Ferreira – How to disappear completely

Fatima Abreu Ferreira

How to disappear completely

[ EPF 2018 SHORTLIST ]

How to disappear completely is a work of struggle, obsession and complete hallucination.
I´ve worked as a psychologist for over a decade. I had a steady job, a long-time boyfriend and solid expectations about my future: I would marry, have kids, continue to help other people and get older next to my loved ones.
But, around my 33rd birthday something changed. My partner’s father died the day after my birthday due to lung cancer and our entire world collapsed. The loss made me rethink my entire life and I decided to change my path.
A month after my 33rd birthday I had quit my job and the life I had to return to my childhood home to study and work on photography.

Life has it was had stopped being, and this was a scary notion but not as scary as what came afterwards.
Upon my return, I realized how my family had changed: my nephews grew up, my sisters turned into two estranged women and my mother shrank her soul into her old age. We had all started to loose ourselves after my father passing 10 years before but now, we had no understanding of each other nor of ourselves.
I realized I had also lost track of my friends as they had grown into new families and goals that I didn’t have and my hometown morphed into such a senseless touristic destination that I felt that I could only photograph the surroundings or at night.

SONY DSC

I felt displaced. A strange body on a foreign dimension, trying to find myself, lost between the one I should become and the person I used to be. All my memories had lost their meaning so I began trying to register them again. I photographed my daily life, my family, my friends, I went back to my family photo albums and one thing I´ve discovered is that for me, memory is only relevant as it relates to the present. So, instead of trying to be realistic about what I remembered, I morphed these memories into my present nightmarish sense of self. My displacement. My dream within a dream.

Short Bio

Fatima Abreu Ferreira is a Portuguese photographer, born in Guarda, in 1983. In 1988 she moved to the north of the country and became a psychologist. In 2016 Fatima abandoned psychology to work and study photography.
Fatima is mainly a self-taught photographer but has always developed training and workshops with her main influences such as Anders Petersen and Jacob Aue Sobol. In 2018 she completed the Artistic Photography Master at IPCI and started an independent publishing house called Red String. She has multiple publications and has exhibited nationally and internationally. Fatima’s body of work has a strong humanistic view as a way of approaching life in both public and private contexts and her aesthetics is predominantly black and white with a dark and grainy style providing an intense, visceral and dramatic view of the subject.

Liza Ambrossio – The rage of devotion – La ira de la devoción

Liza Ambrossio

The rage of devotion – La ira de la devoción

[ FUJIFILM / YOUNG TALENT AWARD 2018 FINALIST ]

Some time ago I decided to change my life in the most extraordinary way possible. I looked in and without intending it I remembered the phrase with which my mother said goodbye the last time I saw her at sixteen years old – “I wish you well, and believe me I hope you’ll become strong and brave, so you can be merciless when the time comes to destroy your body and crush your soul the next time we see each other”- After an overwhelming emotional breakdown, I started this series of images intermingling with pictorial canvases and photographs of my family archive to impel the observer to immerse themselves in my psychology.

I stumble, but in the same way freeing myself, finding their lascivious looks, my fear of touch and the instinctive repulsion that represents for me the concept of “family”. In “The rage of devotion” I discover that although I look, I don’t want to see, because what lives inside me, looks and it is completely monstrous.

I am a being led by demons. After leaving home at sixteen I decided never to return to the family home, but I needed a powerful symbolic connection with my Mother. To acquire the old photo file that I included in my project, I spoke with the housekeeper of my mother’s house to steal the images of the old family albums while I paid for them during my student years between high school and university.

All my night images are photographed in the early hours when I worked for the police press or “Mexican red note” when I had just left my mother’s house. In them I discovered that all the chaos that was inside me was also the trace of the chaos that it was outside of me. In my country there is a war that is not talked about, and I started to face a war against the machismo exercised by the women of my family towards me. As for medical images or strange diseases such as -double iris in the eye-, are the consequence of my obsession with medicine and my almost four years of dedication to a specialist doctor of rare diseases.

Short Bio

Liza Ambrossio is a young Mexican artist based in Madrid, Spain. Her body of work combines photographs of macabre archive with cryptic paintings, performance, intervention, installations, videos, psychology, lucid nightmares, science fiction, ero-guro and witchcraft that come together in free association. Winner of the first prize in the Voies Off Award 2018 of Les Rencontres de la Photographie, Arles, France, as well as the FNAC New Talent Award, 2018. Liza is the invice of the scholarship portfolio review in the FotoFest of Houston 2018 and the 6th Edition of the (TAI) Photography Talent Grant. In 2017, she won the Discoveries scholarship of the PHotoESPAÑA festival and La Fabrica and the ‘Luz del Norte prize’ in Monterrey, México. Currently, she is nominated for the award Plat(t)form of the Fotomuseum Winterthur. She has been selected for New Visions 2018 in the Cortona On The Move festival, Italy and she had the first honorific mention for the Emerging Prize within the ‘Encontros Da Image festival’, Portugal 2018. In 2018, she presented her first photobook “The rage of devotion”.

Annalisa Natali Murri – A Respectable Family (The Murri’s Affair)

Annalisa Natali Murri

A Respectable Family (The Murri’s Affair)

[ EPF 2018 FINALIST ]

This project comes out from my urge to put back together the pieces of an infamous story that has accompanied my family since September 2nd, 1902. That day Linda Murri, daughter of my great-grandfather, had her husband, count Bonmartini, stabbed to death in his house in Bologna. For this crime my great-grandfather Tullio, Linda’s brother, was unjustly accused and served a sentence several years in prison, marking the life of my family forever. This ongoing project, centered in identity, intimacy and memory, roots itself in my own family archives, official documents and other family heirlooms, and aims to preserve the thread between past and present: my wish is to recover connections within my own family heritage, inquiring about memory and how the events experienced by my ancestors have been affecting subsequent family generations, including myself.

Short Bio

Annalisa Natali Murri, freelance photographer, approached for the first time to photography at age 27, while attending Architectural and Urban Photography School in Valencia (Spain). After completing her studies in engineering, soon she began to alternate her work to photography, focusing on personal research works and documentary projects, mainly inspired by social issues and their psychological consequences.

In 2014 she was selected as an attendee for LOOKbetween mentorship program and in 2015 she was named one of the 30 emerging photographers to watch at PDN’s 30.

Her works have been awarded and highlighted in several international contests and awards, including 70th and 71st POYi, Sony World Photography Award, Burnmagazine Emerging Photographer Fund, Catchlight’s Activist Awards and PHM Women Photographers Grant.

Muhammad Hidayat

The Sounds Of Dream

[ EPF 2018 SHORTLIST ]

Short Bio

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Irina Werning

Dear Long Hair

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Alfonso Fonseca

It Could Have Happened Here

[ FUJIFILM / YOUNG TALENT AWARD 2018 SHORTLIST ]

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Snezhana von Buedingen

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[ EPF 2018 SHORTLIST ]

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Marius Ionut Scarlat

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[ EPF 2018 SHORTLIST ]

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[ EPF 2018 SHORTLIST ]

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Ignacio Colo

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[ EPF 2018 FINALIST ]

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Nicholas Constant

(Untitled)

[ 2018 FUJIFILM / YOUNG TALENT AWARD SHORTLIST ]

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Mathias Depardon

Gold Rivers

[ EPF 2018 SHORTLIST ]

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Sébastien Van Malleghem

Nordic Noir

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Andrew Sullivan

Endangered Species

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Yorgos Yatromanolakis

The Splitting of the Chrysalis & the Slow Unfolding of the Wings

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M.H. Frøslev

Unsettled City

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Yiota Tsokou

The Distance

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Jake Borden

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[ FUJIFILM / YOUNG TALENT AWARD 2018 SHORTLIST ]

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Anneke Paterson

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[ FUJIFILM / YOUNG TALENT AWARD 2018 SHORTLIST ]

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Abhishek Basu

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