Kadir Van Lohuizen – Vía PanAm

Kadir Van Lohuizen

Vía PanAm

In 2011, Kadir started a visual investigation on migration in the Americas.

In 12 months, he traveled along the Pan-American Highway from Terra del Fuego in Patagonia to Deadhorse in Northern Alaska.
Vía PanAm is a unique social documentary MULTI MEDIA project made into an iApp for the iPad.




Before Kadir van Lohuizen (The Netherlands, 1963) became a photographer, he was a sailor and started a shelter for homeless and drug addicts in Holland. He was also an activist in the Dutch squatter movement.

He started to work as a professional freelance photojournalist in 1988 covering the Intifada. In the years following, he worked in many conflict areas in Africa, such as Angola, Sierra Leone, Mozambique, Liberia and the DR of Congo. From 1990 to 1994 he covered the transition in South Africa from apartheid to democracy.

After the collapse of the Soviet Union, Kadir covered social issues in different corners of the former empire. He also went to North Korea and Mongolia. In 1997 he embarked on a big project to travel along the seven rivers of the world, from source to mouth, covering daily life along these lifelines. The project resulted in the book “Rivers” and “Aderen” (Mets & Schilt).

In 2000 and 2002 Kadir was a jury member of the World Press Photo contest.

In 2004 he went back to Angola, Sierra Leone and the DR of Congo to portray the diamond industry, following the diamonds from the mines to the consumer markets in the Western world. The exhibitions that resulted from this project were not only shown in Europe and the USA, but also in the mining areas of Congo, Angola and Sierra Leone. The photo book “Diamond Matters, the diamond industry” was published by Mets & Schilt (Holland), Dewi Lewis (UK) and Umbrage editions (USA) and awarded with the prestigious Dutch Dick Scherpenzeel Prize for best reporting on the developing world and a World Press Photo Award.

In that same year, Kadir initiated a photo project together with Stanley Greene and six other photographers on the issue of violence against women in the world.

In 2006 he launched a magazine called Katrina – An Unnatural Disaster, The Issue # 1, in collaboration with Stanley Greene, Thomas Dworzak and Paolo Pellegrin with an essay by Jon Lee Anderson.

After hurricane Katrina destroyed New Orleans, he has made several trips to the USA to document the aftermath of the storm. In the summer of 2010, to mark the fifth commemoration of Hurricane Katrina, Kadir exhibited images of Katrina’s devastation and the aftermath in a truck-exhibition that drove from Houston to New Orleans, a project in collaboration with Stanley Greene.

Kadir is a frequent lecturer and photography teacher; he’s a member and co-founder of NOOR picture agency and foundation and is based in Amsterdam.


Related links

Vía PanAm




10 Responses to “Kadir Van Lohuizen – Vía PanAm”

  • I bought the iPad app at the beginning of this project, and while there were some functional issues at first, it turned out to be an incredible journey and app. There is no way to do it justice in a slide show, though.

    Kadir is one hard working photographer!

  • “When we undertake the pilgrimage, it’s not just to escape the tyranny at home but also to reach to the depths of our souls. “-Orhan Pamuk

    If migration and movement (that most real and fundamental drive in each living creature) is the undeniable force that defines each of us, then it is Space to which we must first find our terrifying reflection and with that space its confrontation, comes the truth of the journey as well as the price afforded the effort to search out, to move out, to river away toward home….

    little for me to add to the pictures themselves, nor the project. Beautiful and humble, these photographs. Heroic not in their attention to self, but in their generous giving up to all that space, in the frame, in the faces, in the land, the space which could also be named soul. It is there, space, in each and every one of these images for really more than land change comes the awesome conflict and travail of managing that, our walkabouts and our songlines and our shiftchanging paces.

    Kadir is a great photographer (as is Noor filled with brilliant light-talkers) but what I’ve always loved best about his work (this slideshow and the project itself) is its humility and its ‘simplicity’. In other words, pictures that call less attention to himself but to the ‘world’ that surrounds these migrations…and all that awesome, overwhelming space. Classic in its appearance, for sure, but eternal in its story and humanity. Hope others actually take the time to flesh out the entire project, that this ‘brief’ slideshow points toward. Great to see his work here!

    My only question for Kadir would be an aesthetic one: why (at least as it appears in this sequence) the movement from monochrome to color to monocrhome to color, etc…(within the context of this specific presentation) (i get it in a wider presentation, for example)…

    beautiful, thoughtful work Kadir.

    Thanks for sharing!

  • I bought the app when Kadir was dowm there in Patagonia. Arriving at the Northern tip of the North, I was not disappointed once. To this date it is the ultimate app to view a photo story. It brings every possibility you might think of for now: good photography, interesting stories, sound, a very clever usage of movie clips, interactivity, use of social media during the trip. Buy it. It is still available on iTunes at https://itunes.apple.com/us/app/via-panam/id435137234?mt=8

    Don’t have an iPad? Buy one, just to have Via PanAm on it… (it’ll pay back part of the huge budget and it’ll boost the members of his considerable team…)

  • Bob, switching from B&W to colour, from stills to movie is not an issue on the app. It brings elements of surprise which keep you hooked. In the slideshow it is indeed another story, doesn’t work that well. But then this slideshow is 15% of the experience you get with the app.

  • Wow, so stunning. All of them but I think shorter edit would be impactful as far as seeing them as a group like this. Super beautiful though, of the highest standards certainly. Impossible to pick a favorite but I find #27 especially touching in regards to how much pain there is in separation of families.
    Agreed, Bob Black, on Noor. It is an amazing group and with my idols.

  • JV :))

    Hi john: yes, i’ve seen larger parts of this, though sadly, not the entire think because i dont own an IPAD (i still cant understand why, if i own a MAC, these apps cant be bought and played on my MAC, just as i want to buy Quest for Land)…this frustrates me immeasurably…and i wish i were a programer to kick some major butt…and of course, no money for an ipad, but alas, i hope folk, not aware of the project, get behind it to support it financially…

    yes, i totally understand all the switching (monochrome/color/video/voice etc) in a larger project :))..i was thinking outloud how a photographer goes about choosing what/how they show ;))…i get this all the time from my students and when i show my own work, so the hope was more too that Kadir would jump in…i guess the conversations are more on the Road Trip part…i still wish (as i did with Bones) that more of the photographers would jump in with their voice :))…

    anyway, very happy to see Kadir here and this work…

    now, i’m willing to be a mop salesman if it’ll mean extra coin, so i can by an Ipad ;)


  • Bob: iPad mini will soon be available at around 250$…

  • Phenomenal piece of work. I originally downloaded the app from the village of Kaktovik on Barter Island about 115 air miles east of Deadhorse at the very top of the Arctic National Wildlife Refuge. Although I ran into many technical glitches, I was greatly enjoying the journey and then one day, back home in Wasilla, I tried to open my iPad and even though I had never put a password lock on it, it suddenly demanded one. I was locked out of my own iPad. To get back in, I had to take it to the ATT store and they wiped out all my apps. When I plugged it into iTunes, just about everything came back up but not Via Pan Am – probably because I had downloaded it directly onto my iPad in Kaktovik and it had never made it into my iTunes.

    There must be a way to get it back, but I never did. I am glad to see it here; happy to see the journey completed successfully. If I must, then I will purchase Via PanAm again so I can restart the journey from the beginning and follow all the way from Terra del Fuego to Deadhorse and the little hop to the west to Helmericks, which, before I crashed it, I flew over in my little airplane a number of times and have passed by in boat on a few occasions, but never stopped in.

    Someday, I must drop in and pay the Helmericks a good visit.

    Now I must correct a couple of mis-impressions contained in the caption for photo 39:

  • “The residents of Deadhorse are almost all migrant workers from the US and Latin America who work in the oil. The population numbers around 5000.”

    Deadhorse is not a community in the traditional sense and very few of the people who work there consider themselves residents. They tend to live in, be voting citizens and consider themselves residents of communities like Anchorage, Fairbanks and my hometown of Wasilla, and places even beyond Alaska. They fly back and forth to work shifts of varying length, approximately two weeks on and two weeks off and stay in warm, well-fed camps. There are no schools or churches in Deadhorse/Prudhoe Bay. For a time, I built Uiñiq magazine circulation off the registered voter list of the Utah-sized North Slope Borough. I don’t remember the exact number of registered voters in Deadhorse/Prudhoe Bay, but as I recall it was about 10.

    “The oilfields are being leased and are mostly based on native land…”

    This is true in the spiritual sense as the Iñupiat held aboriginal title to every square inch of land within the Arctic Slope, including the giant Prudhoe Bay/Kuparuk oil fields served by the Deadhorse airport. They never agreed to surrender, sell, or in any way divest themselves of these lands, yet, Congress took the land from them when it passed the Alaska Native Claims Settlement Act of 1971 and gave legal title, along with all the royalties to follow, to the State of Alaska and the Federal government. The Iñupiat were “left in the cold.”

    To hang on to at least some of the wealth that was about to be taken from their homeland by outside interests, the Iñupiat formed the Utah-sized North Slope Borough. State and industry fought them all the way to the Alaska Supreme Court, where their right to form the Borough and therefore to tax the physical property of the oil industry – such as drilling rigs, pipelines and workers camps – was upheld. In this way, the Iñupiat were able to gain significant benefit from the outside exploitation of their aboriginal homeland.

    van Lohuizen may have become confused by the fact that in more recent times, Iñupiat owned corporations formed under provisions of ANCSA have been able to secure title to smaller, satellite fields very near to Helmericks, such as Alpine. But, as far as the original, giant, “elephant” discoveries at Prudhoe Bay – no, title is held by the State and feds and not one penny in royalties has been paid to the original land owners who never consented to the taking of their land.

  • Well I think you have me sold on the app. It is apparent to me from this slide show that the project is incredible… but this loose edit and the switching back and fourth from B/W to Color is seems… hasty. A short and sweet tease would have been better, but then again I’m buying the app so maybe this slideshow worked as intended! Such wonderful images. What a photographer!

Comments are currently closed.