Scrolling our projects page is always exciting. There is so much talent in our community! Here is this week’s selection of top projects.
By Obinna Obioma & Nafisa Bukar
This series and it’s creative direction was birth from themes of Identity, Individuality , Otherness and African Heritage using both conventional photographs and having fashion illustrations; drawing emphasis on the styling as a tool to further talk about Identity and African Heritage.
The work “Alter Ego, through still photographs investigates this phenomenon buttressed through the lens of fashion, the view of a woman showcasing and celebrating her dual cultural identities of being African and Western.
By Romeo Alaeff
“In der Fremde: Pictures from Home” is a haunting, cinematic survey of Berlin & the search for home. Framed by essays & stories by renowned writers, the photographs are tinged with a deep sense of longing & touch on themes of migration, belonging & the search for a home.
“Sous les claviers, la plage” (2018) is a participatory work in which the public is freely invited to deconstruct a barricade of engraved paving stones to express themselves by composing words, hashtags or other combinations. The installation summons both the imagination of May 68, to which it pays homage, as well as the new forms of mobilization of our contemporary digital societies. Behind the lapping of the keyboards, a silent revolution rises. By dint of hashtags, posts and tweets in TT, movements emerge and structure themselves at the heart of our digital agora.
The battle of words takes on its full meaning once again. The installation invites us to continue the emancipatory struggle begun 50 years ago, no longer in the street, but in the heart of this new public space that is the Internet.
History can be used to make sure mistakes aren’t repeated.
In “The History of the Decline and Fall of the Roman Empire”, Edward Gibbon describes in 7 books how the Roman Empire met its ultimate demise. Political, economical, social and environmental reasons contributed to the fall of the greatest empire of ancient times.
Surely, the Empire was convinced of its stability, and sure that it could never fall. The short-sightedness of its leaders led to problems piling up, and the entire Empire didn’t realise its life was crumbling around itself.
Confronting the images of Apt 22, we have the feeling we are in the midst of an unfolding narrative. The characters are absorbed in shadowy behavior that for us, the viewers, are charged with tension. Explanation is not forthcoming: firstly, do we have only one or several narratives? Is it the same protagonist in each image? Is this a victim of a crime or the perpetrator?
Adriana Granado produced self-portraits during the two years she lived in different apartments and rented rooms in the city of São Paulo. The series boldly follows the tradition of staged photography, cultivated by the likes of Cindy Sherman, Jeff Wall and Juno Calypso.
Similarly, Granado’s images tack heavily towards cinema, especially the suspense and thriller genres. However, while acknowledging cinema as reference, the peculiarity of Apto 22 must be reiterated and the pictures beg to be explored further. We cannot forget the fact that these are photographs and not film stills from a moving image. Such a condition translates into an inescapable difference in relation to the cinematic narrative – the murky character of the images does provide the possible closure of a solved mystery – there is no resolution. We remain immersed, suspended in a triad of inquiry: “What happened?” (Past), “What is happening?” (Present) and “What will happen next?” (Future). In addition to this static fluctuation in the suspense, there is the powerful plastic construction of the scenes. Intensity is heightened by the composition of strong colors, the lighting, the scenery and the staging. Their calculated weight carry the story, amplify the mystery and strengthen the images’ charge.
Text by Pedro Bonfim Leal/ Translation by John O´Donnell