║ Keren Assaf ║

© Karen Assaf, Untitled (42), 2007

© Karen Assaf, Untitled (40), 2007

“Keren Assaf is showing color prints of different sizes. She is trying to define in her works the “Israeli”, an utopian model deeply connected to the place, memories and identity. Assaf’s work relates to the family album, a central narrative in the Israeli photography. The photographs depict the Israeli dream of a house in a village, a happy family, a green lawn.

The setting is staged, styled and meticulously performed, while each detail receives the maximum attention in order to achieve perfection. However, Assaf does not strive to represent the dream, but rather to observe, criticize and expose other disturbing sides of this dream that are interwoven with the idyllic picture.”
Source: Noga Gallery

║ Edouard Levé ║

© Edouard Levé, La Blessure, from the series Tranferts, 2004

© Edouard Levé, La Dette, from the series Tranferts, 2004

“Pas de « remake », toutefois, au sens où le pratique Jeff Wall. Ni même d’interrogation critique des fondements de notre culture sur un mode postmoderniste, à la manière d’une Karen Knorr : Transferts stipule avant tout l’engendrement d’une image par une autre. Rien donc, ici, du débat sur les rapports de la photographie avec la peinture, mais plutôt l’interrogation des effets du déplacement temporel d’une iconographie. Sollicitant les lieux et les modèles afin de transférer la représentation du tableau historique dans notre environnement quotidien, Édouard Levé sait la difficulté à laquelle expose l’anachronisme. L’artifice s’y fait tellement sentir, qu’il gâche l’image. Peu sont parvenus à mettre en scène l’iconographie chrétienne, si présente ici, dans un décor d’aujourd’hui : Pier Paolo Pasolini, notamment dans Théorème, est un modèle difficile à dépasser. « Théorème », mot singulièrement ajusté à l’entreprise réflexive de Levé : expression d’un système formel démontrable à l’intérieur de ce système (Larousse).”
Michel Povert

More of Edouard’s work can be seen here

║ Caitlin Atkinson ║

© Caitlin Atkinson, Chapter 22, August, 2004

© Caitlin Atkinson, Chapter 14, August, 2005

“A few nights ago, I locked myself out of my apartment for the third time this year. While I sat trying to decide what to do, I was overwhelmed with the thought that my life seems composed of one mistake after another; that I am living through a seemingly endless series of disappointments. No matter how hard I try, I can’t seem to get it right.

Whether it is an awkward public interaction, unreal crisis, or moment of social disconnection, ordinary life is full of abrupt occurrences that create discomfort and isolation. It is often shocking and painful to discover how unsympathetic and harsh the world can be when we fail. The consequences of our transgressions, however small, leave us feeling inept and alone.

The photographs I create are all constructed scenes inspired by my own encounters with this fear and failure. My interest is focused on these breakdowns of everyday life and the subsequent relationship with defeat. The sad humor and vulnerability in the situations I stage allow viewers to identify with the character I portray. In exposing my own shame and seclusion, I am giving name to the anxiety that plagues us all. The images then serve not simply as an illumination of the feeling of embarrassment, but as representations of undisguised human nature.”

Caitlin Atkinson
More of her work can be seen here.

║ Tracey Baran ║

© Tracey Baran, Run, 2006

© Tracey Baran, Suck and Blow, 2002

“For the last ten years Tracey Baran has focused her camera on herself and her close circle of family and friends who live in Bath, a small town in upstate New York. The result is a visual journal of intimate portraits and self-portraits, which blur the line between truth and fiction, snapshot aesthetic and staged compositions. Whether photographing her thirtieth birthday, a hole in her pantyhose or deer hunters from her hometown, Baran’s photographs, instead of being a detached social documentary or the cool treatment of an outsider, are permeated by a tenderness and complicity with her subjects.
Source: Arratia, Beer Gallery

║ Oskar Schmidt ║

© Oskar Schmidt, Self with Mirror, 2006

© Oskar Schmidt, Girl with Book, 2005

“A young girl in a short summer dress is kneeling on the bare floor, consumed in a book. Every fibre of the body appears tensed. The pose is somewhat artificial in distinct contrast to the otherwise relaxed pastime of reading. The large format work Mädchen mit Buch (girl with book) can be seen as exemplary of Oskar Schmidts creative method. With his meticulously arranged image worlds the photographer emancipates himself from the function of empirical demonstration that still adheres to the medium. The focus of interest is not on the reproduction of material reality but on the poetic transcending of the motif. The young girls pose is worked out in singular detail, lending the figure an enormous physicality within the image. Nevertheless, this conscious emphasising of the bodily presence in its near perfection in no way leads to a sexual provocation und still less to desire. Instead, in contemplating the pure, almost idealised forms, the observer is thrown back upon herself. The uptake of the image passes through the recognition of the pictured ephemeral state to become a self-reflective act. Behind the painful witnessing of an irretrievably lost sensation may lie a tentative notion of eternity, detached from material space and perceptible time.”

Thilo Scheffler

More of Oskar’s work can be seen here

║ Nick and Sheila Pye ║

© Nick and Sheila Pye, Heavy Bodies, 2005

© Nick and Sheila Pye, Standing Lovers, 2004

“Nick and Sheila Pye’s marriage is hell—if their art is anything to go by, that is. The Toronto-based couple’s photographs and films, in which they are the sole performers, portray a series of elemental, absurdist tugs-of-war. Often confined to such claustrophobic spaces as bathroom stalls, the Pyes struggle persistently and wordlessly to unite—in order, perhaps, to make amends, have sex or simply tear each other limb from limb.”

By David Balzer

To view more of Nick and Sheila’s work click here.

║ Mitra Tabrizian ║

© Mitra Tabrizian, Untitled #1, from the series Lost Time, 2002

© Mitra Tabrizian, Untitled #8, from the series Lost Time, 2002

“It’s hard to say which is the most mysterious: Mitra Tabrizian’s photographs, or Tabrizian herself. In her extraordinary, light-filled London flat – from a window you can see the glass towers of the City, a landscape she has sometimes used in her pictures – she is telling me how she came to Britain from Iran. It was 1977, shortly before the Revolution. While her cousins moved to America, Tabrizian attended first an international school in Exeter and later the then Polytechnic of Central London, where she studied photography. Did she come alone? ‘Yes.’ She must have been very young. ‘Yes!’ A teenager? ‘Ye-es.’ So why Britain? ‘I was curious about Europe. I was told it was hard to join the British establishment. It was a challenge.’

How did she get interested in photography – does she have an artistic background? ‘Well, my uncle was a painter… It was almost by accident. I’d always been interested in class divisions in Tehran. They were severe. I started taking pictures. But you take pictures of the poor, and then what? Do you put them on a wall? Gradually I became familiar with critical theories, with how you read an image. I realised that regular documentary work might not necessarily be the answer.”

By Rachel Cooke

To view more of Mitra’s work click here.

║ Mike Reinders ║

© Mike Reinders, Snow, from the series Never Never Land, 2006/07

© Mike Reinders, Bunker, from the series Never Never Land, 2006/07

“These photographs depict fictional landscapes inhabited by human clones after a catastrophic and extinctive event. Digital manipulation is used to ‘clone’ one man from the other by merging sequential images together on top of one another. The final result is an image that explores multiple identities and time through the use of photography.Themes about identity and masculinity surround the figures in the photographs and reveal specifics about a certain type of man; one that must explore and navigate but also one that must defend. Within the narrative of the images the clones must explore and struggle against their own for survival.Historical notions of the land and exploration also play a role in the photographs. The grandness of the landscape references themes from the 19th century; the Hudson River School painters and photographers from geological surveys. Although the narrative is fictional, the photographs of these scenes show land that exists in the 21 st century, idealized but devoid of real life.”

Mike Reinders

To see more of Mike’s work click here.

║ Lisa Lindvay ║

© Lisa Lindvay, Bottles under bed


© Lisa Lindvay, Game Room

“These photographs depict the lives of my father, sister and two brothers, as they take on the burden of my mother’s deteriorating mental state. This work represents an extended look at the physical and emotional currents within their home to question the sanctity of family life and domestic comfort.”
Lisa Lindvay

To vie more of Lisa’s work click here.

║ Ryan McGinley ║

© Ryan McGinley, Untitled (Black Bear), 2007

© Ryan McGinley, Coley (Running Rainbow), 2007


“The inspirational images for the project were culled from the kinds of amateur photography that appeared in nudist magazines during the 60s and early 70s. McGinley would sit with his models and look through all of the ephemera of the period that he had collected, discussing with them the mood that he was hoping to capture that day. McGinley had chosen a very specific itinerary that would bring his troop through the incredible range of landscapes that are available across the US and carefully planned a battery of activities, sometimes orchestrating the use of special effects. He has always been quite fond of fireworks and fog machines and in this new work they play a major
role.”

source: team gallery
More of Ryan’s work can be seen here

║ Jari Silomäki ║

© Jari Silomäki, from the Series My Unopened Letters

© Jari Silomäki, from the Series My Unopened Letters

“In “My Unopened Letters”, Silomäki creates a kind of fictive reality: the tales of a fictive self and network concerning the self’s relationships with other people in the past, present and future. Over the years, he has received letters from different people, which he has left unopened. The letters thus contain countless attempts to contact him, messages from those who wrote them and conceptions of relations between the self of the narrative and the writers. They have all remained clouded in secrecy. The unopened letters are arranged in piles on shelves according to their senders, forming a balanced installation of chromatic beauty, which Silomäki has photographed and printed in large format. This installation is the core of the series. The other small groups of works belonging to the series consist of images depicting situations in the relationships between the writers of the letters and self of the story. They are complemented with text panels commenting on the situations in the images. Jari Silomäki plays with the concepts of document and fiction and their mutual relationship, and the characters of his tales deal with problems and emotions that are true and characteristic of man. In terms of colour, the works are linked through green: the images employ different tones of green lending a kind of distanced, cinematic mood to them.

(from the Anhava Gallery)

To see more of Jari’s work click here.

║ Michael Schnabel ║

© Michael Schnabel, Elephants/Rinoceri, Stuttgart, 2000

© Michael Schnabel, Monkeys, Stuttgart and Hannover, 2000


“German photographer Michael Schnabel’s large-format images of zoo interiors in Germany and Switzerland resonate with a minimalist beauty, which oddly emphasizes their mid-century modernist architecture.[…]
Like Elephants/Rhinoceri, Stuttgart, some of the spaces Schnabel photographed resemble indoor spas rather than cages. Some even have elements that suggest a posh lifestyle, such as an ornately tiled floor or wood slatted ceiling. In other pictures, even the metal bars form appealing, grid-like patterns.[…]
For one thing, there’s an overwhelming feeling of empty space, leading one to notice the conspicuous absence of the animals that are supposed to be living there. There are traces indicative of their presence–food troughs, bales of hay, wading pools, simulated habitats with logs and foliage. The photographs’ titles don’t give away what types of animals inhabit these spaces; one can only guess. Schnabel photographed in the early daylight hours when they were asleep. The stillness is soothing but unnatural, so you begin to wonder what it would be like to live there.”

Anne Martens

║ Jyrki Parantainen ║

© Jyrki Parantainen, 57 Optional Spots to Crack the Bone, 2004

© Jyrki Parantainen, Alphabet of Possibilities, 2004


“Serie “Dreams and Disappointments” explores man´s physical and psychological vulnerability. Representations of the human body are marked, at their perceived points of vulnerability, by push-pins and attached strings. The strings, pulled tight to a point outside the frame of the image, allude to the presence of an unknown, dominant force.
Events in the images are describing individual´s relation to himself and other people. There are social situations that use to be repeating in human life: the field of understanding or missunderstanding between male and female or the confusion of a child on the front of expectations.
In cinematical set ups they are usually represented in the moment when they are facing their history, future, dreams and their fears.
In spite of the tragical tones of the serie the meaning of it is anyhow strongly to questionize this unsure, random and sometimes even threatening quality of our everyday life. As an opposite, with soft irony, colours, details and visual richness the collection points to the warm and optimistic atmosphere. After all, the meaning of these works is to lead audience to the comforting experience that there is anyhow always a chance to the happy end.”
Jyrki Parantainen

To view more of Jyrik’s work click here.

║ Sanna Kannisto ║

© Sanna Kannisto, 2006
© Sanna Kannisto, 2001
© Sanna Kannisto, 1998

“My work explores the relationship between nature and culture. In my artistic work I aim to study the methods, theories and concepts through which we approach nature in art and in science. As an artist I am attracted by the idea that when I am working in a rain forest I am a ‘visual researcher’. In my series Private Collection and Field Studies I was interested in borrowing methods of representation, as well as working methods, from the natural sciences, from anthropological and archaeological practices and from still-life painting tradition to use in my photographic work.”
Sanna Kannisto

To see more of her work click here.

║ José Nuno Lamas & Valter Ventura ║

© José Nuna Lamas & Valter Ventura, A Longa Marcha (9 de Outubro de 2007), 2007


© José Nuna Lamas & Valter Ventura, A Longa Marcha (28 de Julho de 2007), 2007

More of their work can be seen here and here.

║ Duarte Amaral Netto ║

© Duarte Amaral Netto, Growing Into

© Duarte Amaral Netto, Rumor

“In the new photographic series of works by Duarte Amaral Netto, the end of time seems near, doom and gloom awaits. Demolished office furniture in ruined interiors, by the hands of vandals maybe, or lvacated bya company now bankrupt or having moved to better locations. These photographs by Netto create a sense of nostalgia the seventies when all was still flourishing in that space.
Another series of works is about people and their relationships. In these images one gets the same emotional feeling as with the photos with the demolished office interiors. There was happiness once, but this has passed. Do the photos pretend that nothing is wrong with what we see: a party scene on a balcony but with guests standing on their own, a couple next to the swimming pool, sitting very close to each other but seemingly discontent. This is perhaps their one last effort at finding happiness, or resign themselves to a hopeless situation. Who knows…

More about his work can be seen here and here