Greg Jundanian

In Their Footsteps…an Identity Fractured by Genocide | “In the Footsteps…” is the beginning of a personal exploration into my connection to Armenia, its history, and how genocide can fracture identity for generations to come. This visual journey focuses on the people and places surrounding Gyumri, Armenia’s westernmost city bordering Turkey, and Stepanakert, the capital of the Armenian breakaway republic of Artsakh.

As a second-generation Armenian-American I grew up unmoored from my ancestral history. It was filled with killings, suicides and grief. My ancestors had all but vanished beginning with a series of pogroms under Turkey’s Sultan Hamid in the 1890’s. This was followed by a genocide executed by the Young Turks that endured from 1915 through 1922. At this time more than a million and a half Armenians were systematically slaughtered. Entire villages and family lines were completely wiped out. For years afterward, Armenians found a homeland in the diaspora, or as William Saroyan put it, anywhere in the world when two Armenians met.

Beginning with the collapse of the Soviet Union, Armenians have only recently regained independence, though at a cost. Over the last thirty years Armenians have had to recover from the trauma of a devastating earthquake, suffered from fuel embargos and are still embroiled in an ongoing conflict with Azerbaijan...a conflict that is a natural outgrowth of a genocide that has never been acknowledged by Turkey.

I grew up in a small town in central Massachusetts filled with elderly refugees from this genocide. The sense of loss was pervasive. These neighbors and relations that somehow survived passed down their indelible memories, demonstrating to me how courage and grace can prevail over hate and fear.

Travelling to Armenia and Artsakh provided me with a fresh look at my identity, the damage that continues, how things have emerged, and some perspective as to what the future may hold. www.jundanianphotography.com

Mikhail Palinchak

The impossibility of rediscovering an absolute level of the real is of the same order as the impossibility of staging illusion.” - Jean Baudrillard

Bilateral Rooms | Bilateral Rooms series visualizes changeability and delusiveness of political systems symbolized by temporary architectural forms. It recreates dualism of reality through two-days makeshift rooms recreated in a completely identical manner, again and again.

Mikhail Palinchak has been working for a number of years as the official photographer of the President of Ukraine. Following the President in official missions, at the summits of international organizations such as NATO, the EU or the United Nations, he has often found himself in the premises where important decisions are made regarding the peace, future and prosperity of small and big countries.

The series opens the closed door to the negotiation rooms: minimalist interior with only those things one really needs; colors that don’t draw attention to themselves; flowers that seem to remind about a parallel living universe; pragmatic infrastructure with cheap, mass-market furniture—it is in this kind of temporary space that representatives of all nations hold crucial conversations, shape the future of millions of people, and develop long-term political strategies.

The artworks reflect the paradox of our time - temporary rooms for long-term strategy planning. The paradox of values - minimalist spaces with artificial light sources where the destiny of all countries is shaped. The paradox of social relations - a tight deadline to reach consensus, when there’s only one hour for a meeting. In this location behind closed doors, reality and illusion are tightly intertwined, even though visual identity is lost and everything follows protocol rules and a clear-cut scenario, with no room left to improvise. www.palinchak.com.ua

Elena Liventseva

Looking for my mother | My project is about closeness with mom. In my childhood, my mother almost never was near, then she completely disappeared. My childhood passed in an attempt to hide and protect myself from the label “orphan”. For 15 years I didn’t know about my mother, but I continued to look for her.

In my memory, she remained young. I didn’t recognize her when we met. Recognition of mother began with the recognition of her body. Everything changed when I found out about mom’s childhood trauma. At 12, she gave birth to a baby. But the girl drowned at the age of 6 months. It was a child’s sorrow over a child. Sorrow became family secret that couldn’t be mentioned. Mom didn’t forgive herself; harming herself was easier than forgiving. She hid her life in guilt, hopelessness, alcohol. Now our closeness with mom continues to grow, although the past still interfers us. www.elenaliventseva.com

Carolina Echeverri

Like Purity, Like Gravity | This series is a visual antonym to control. It’s a purity dance between paired images, yet not a “purity” related to immaculacy, but one related to innocence contained in natural attributes, in instinct. It is also a dance that hopes we could be born into this world and allowed not only to exist under these natural and free premises just by birth, but also for a continuous self-evolution that would allow us to be the most true and crude version of our human selves.

For example:
Why can't girls sit with their legs open? Why can't women go jogging at night? Why do I need to evaluate if my cleavage is too low? Why can't my daughter be a catholic priest? Power and authority have tried to domesticate females since the Neolithic. And why are apple trees bent and weaved? Why can't wolves roam free in Jutland? Why is my cucumber so straight? Why is the Dutch landscape almost entirely flat? And why on earth do pugs exist?
Power and authority have also tried to domesticate nature since the Neolithic.
How did we get here? Was Cauvin* right in proposing that it was the birth of religion that led humans to separate themselves from nature, thus domesticating it? Was it survival or was it ego. Or paradoxically, did the Gods need to create chaos and unbalance between us humans, and within the nature we are part of, in order for them to justify their existence?
Can we just sit in our couches and cancel religion? When one removes the natural chaos, the beautiful freedom we were born into, and then creates a fabricated, controlled and manipulated disorder, beings will not be able to realize that they are already in heaven as part of nature, as one with it. No, they will be blinded, self imprisoned, self destructing. Instead, they start to look for happiness externally, believing that through guilt and control you can earn a piece of a far away cloud-filled heaven. With time humans have stopped acknowledging, or even knowing, that heaven exists with our feet in the soil, muddy and raw. Instead, we have fictionalised it in the skies above, always looking up, yet unable to really see the big infernal hole we are slowly yet steadily stepping into. www.carolinaecheverri.com

Ryan Frigillana

Visions of Eden | Visions of Eden presents a historical account of a family’s journey as first-generation Filipino immigrants in America. Through the process of re-contextualization, the project weaves together original photography, archived materials, video stills, and illustrations, mimicking a narrative loosely structured on the Hebrew Bible—the artist’s response to a heavy religious upbringing.

Veiled illustrations appropriated from children’s Bible-story books serve as conflicting acts of preservation and erasure, holding on and letting go. The barely legible images—informing much of Frigillana’s childhood—personify dissociation, distance, and the perishing of memory. Paired with a repurposed family archive and laden scenes of domesticity, the resulting body of work evokes an Eden in decay, questioning the fallible notion of paradise upheld by the mythos of both the American Dream and Christian doctrine.

A meditation on familial identity, religion, death, and aging—this hybrid ‘portrait’ contemplates history while examining the values being fostered in the home today. ryanfrigillana.com

Bianca and riel Sturchio

Chasing Light | Chasing Light is an ongoing (circa 2011) collaborative medium format color film photography project between twin siblings Bianca and riel Sturchio. Chasing Light embodies the belief that representation, visibility, autonomy, and truth-telling can promote personal empowerment, and open up access to spaces that foster meaningful dialogue and community. Bianca and riel utilize photography as a means to delve into the complications of their respective non-normative identities and health-related challenges. Bianca and riel were both born premature with severely delayed developmental milestones, which doctors later diagnosed as cerebral palsy (CP). With the help of rigorous physical therapy and medical interventions, riel and Bianca learned how to adapt to their bodies. riel’s body endured less trauma and therefore responded more rapidly to therapy, however, riel lives with the consequences of invisible chronic illness related to prematurity. Currently, riel’s CP remains nearly undetectable, while Bianca lives with the physical and social consequences of her visible disabilities.

The photographs included in Chasing Light capture activities of daily living, intimate partners, personal spaces, family, and moments of joy, pain, and frustration. Bianca and riel both identify as non-normative in body and identity, but in different ways. riel is non-binary, queer, and someone who lives with invisible chronic illness, and Bianca lives in the intersection of physically disability and queerness. Bianca and riel strive to reject the 'disability-as-inferior' narrative and invite a perspective that considers disability and non-normativity as an extension of human body-variance, which possesses unique potential for creativity, growth, and adaptability.

The project offers raw and unfiltered moments to illuminate the more challenging aspects of identity and disability, which contain many moving parts. Chasing Light serves as a conduit to consider riel's position as lead photographer or observer, and how riel's gaze both filters and complicates the narrative. The project also makes space for an ongoing dialogue, where riel strives to make sense of the complex dynamics between her identity, body, and environment--namely the privilege and guilt associated with recognizing her ability to access particular social opportunities and pass as non-disabled. Bianca similarly aims to re-frame how she and others imagine the human body and strives to challenge society's narrow perception of what constitutes as valuable, worthy, and deserving of visibility.

riel and Bianca intentionally photograph in natural light for its ability to show detail, provoke emotionality, and reveal the authenticity of aging and the fragility of skin. Moreover, they employ the metaphorical dichotomy of light and dark, representing the uncertainty in seeking physical, mental, and emotional stasis.

Bianca and riel unanimously maintain that social connections create the foundation for community, and that knowledge is a source of power. Thus, they intend to use Chasing Light as a platform for and by disabled artists, as well as allies who share a desire to challenge dominant narratives of health, (dis)ability, illness, LGBTQ+, and non-binary identities. www.chasinglightproject.com

Dan Moga

Simple Angles | My first camera I found it in my Grandmother’s closet, in a tin box, where she kept the old family photos and letters. Maybe that’s why, ever since I found myself holding a camera in my hand, my grandmother Cornelia, for me Buni, was always the favorite subject of my photography.

When I was a child, Grandma’s universe felt limited and monotonous, but today, I recall the fragments of the past through a different lens: “Simplicity of her daily life fills the well-being of my universe”.

The traditional and colorful house of Cornelia, with a style that tries to integrate modern perceptions, is the place where light and time speak differently every time you go in. That’s why, when I come back from that place, I have a worldly feeling and I look at new angles and perspectives of approaching my life and work.

These fragments from my grandmother’s daily life are a modest tribute to elderly people, which for me, time didn’t make them old, but made them more simple, balanced and nourishing human beings. www.danmoga.com

Zuzanna Szarek

Humans Do Not Rule This Land | Traveling through the empty space we move in slow motion. The monumental landscape scales us in a way that even if we move abruptly we look as though we just woke up from the deepest dream. Time passage is inscribed within the accretions of lava, the never-ending deluge of water and decay of man-made structures scattered throughout the land.

The nature that surrounds us is changing rapidly, unpredictably and beyond anyone's control. From time to time there is a house or a car looking like an abandoned toy. A road sign warns about stones lurking on the steep slopes. Finally, in the middle of nowhere, a spill of concrete next to a piece of a metal bridge which was destroyed during the flood a few years back. Humans do not rule this land. Raindrops ferociously hit the rooftop, and the wind swings the metal tin. It’s dark outside. We stop for the night. www.zuzannaszarek.com

Gianluca Morini

A LONG JOURNEY THROUGH NOTHING NEW | Twenty-five years ago, my parents decided to leave Brazil. I was born in a land that should have welcomed me as a native but kept its distance instead. I was born in a land that relegated me to the position of the perpetual tourist, that never let me understand why I was linked to it, or how to have an active interaction with. That saudade sentiment, of something lost – that perhaps was never owned – so nuanced and inexplicable, often revealed itself while I tried to connect to my everyday life there.

Starting in 2018, I decided to cross the boundaries of my homeland, Lombardy, one of the most Northern Italian region, looking for analogies.

In an attempt to dialogue with a land that I never felt belonging to, trying to shape the involved relation with my routine, I collected the fragments of visual experience, familiar or not, that I felt could contribute to the forming of a genuine perception of reality, no longer distant and idealized, but present and in continuous change, of everything that falls within the normality of my daily and that for many, is nothing new. www.gianlucamorini.com

Salman Sam Daliri

Caspian Sea | Lake Caspian is one of the largest lakes in the world which is jointly located in Golestan, Mazandaran and Gilan provinces. The lake, which is one of the most important habitats for birds and other animals, in recent years due to the drying up of wetlands and a lot of construction on these beaches has experienced many problems in its environment, which has caused the destruction of a large number of habitats.

Birds and other animals whose lives depended on these wetlands and habitats were forced to migrate. On the other hand, the existence of ports and residential buildings has polluted the water entering the lake. The discharge of sewage and toxins into the lake has had detrimental consequences for the environment and for the natives.

The presence of humans in these habitats has increased the production of plastic waste by building industrial and residential towns, which is one of the worst damage to the environment. Thousands of tons of plastic and garbage are collected from these habitats every year.

The most important reason for the destruction of wetlands and the settlement of these areas is the transfer of people from the capital and from the southeast of Iran to the Caspian Sea. In this series, I tried to investigate the devastating effects of this migration to north of Iran and the destruction of the lake's habitats.

Sebastian Alten

LANDSCHAFT | LANDSCHAFT collects photos of landscapes that have been shot all across Europe, from the south of Sicily to the north of Norway. Even though they are only loosely interconnected, in my view they share a rather existential approach of grasping the world around us. Looking at nature always makes me feel small. It changes the perception of time and puts our human existence and sorrows into perspective.

The poem that concludes the series has been stolen from the cycle Feberdikte (Fever Poems) by Norwegian author Knut Hamsun. Since I couldn’t find an English translation, I made one up myself:

I called and asked the foam of the sea,
And screamed to forests and moor,
To stone and storm, to the heaven’s space:
The life into which I was born -
Have I ever craved it or chosen?
Yet mute remained stone
and the storm
and the space.

My translation might not be perfect, but I do hope that the images will be able to do justice to the existential reflection that was addressed. All of these photos have been taken with a Hasselblad 500C/M analog medium format camera and an 80mm f2.8 T* Zeiss Planar lens on black & white negative film. www.zum-quadrat.com

Alice Zilberberg

Meditations | In this series, Zilberberg creates animal montages as an expression of self-therapy. As an urbanite, functioning day-to-day in a fast-paced, built environment can be emotionally unsettling. The artist regrounds herself in the sense of calm issued by these animals. These creatures reinstate a presence, a tranquility, and a grander perspective.

The works are an amalgam of many photographs from different locations around the world, put together seamlessly by the artist in post-production. Their minimal aesthetic is metaphorical of striving for simplicity. Rather than ruminating on the past, or hypothesizing the future, Zilberberg’s works invite a meditative state, encouraging the viewer to stay still and find happiness in the moment. alicezilberberg.com

Dennis Schnieber

The following selection is part of an ongoing body of work, in which I try to find modest compositions, that exceed the sheer representation of the objects within, but rather emphasize a somewhat offbeat interplay amongst, uncover inconspicuous shapes or study the fusion of light and surface.

While sometimes the images might concentrate on an abstract detail or texture, I often look for a wider assemblage, as an aesthetic atmosphere pulling it all together, thus keeping the objects recognizable as what they are. This method leads to a documentation of the familiar with components of irritation or surrealness.

Even though the scenes are devoid of people, they never seem to me to be lifeless, as every piece in it transforms itself over time and is influenced or even designed by humans, adding an implicit, sometimes even visible social sediment to it.

Ultimately I understand the process as working on some sort of exhibition catalogue, gathering aesthetic by-products, occasionally short-lived or entirely dissolving in their down- to-earth embedment. www.instagram.com/dennisschnieber

Alexia Villard

HOME STORIES | These images were taken in Berlin during the recent Covid- 19 lockdown. During 3 months we have isolated ourselves with my young daughter and partner. Our apartment has only two separate rooms: our daughter's room and an open space including a kitchen, living space and bedroom.

Throughout this period of time personal space was substantially altered and while we were pressured to mainly stay inside, our behavior changed — the way our bodies circulate, move and connect shifted; By contact, we were compiled to realize our human being texture and feel ; To be read as an archive of human resilience. www.alexiavillard.com

Hugo Henry

Becoming a Man | The body changes, so do the desires. The body becomes more robust and above all it becomes an asset of seduction. Becoming a man is a series that I did for a few months with my little brother who becomes more and more adult as soon as I see him again.

Adolescence is the age of confrontation, it's the age of rebellion. Tom, only wishes to become an adventurer. Lulled by the novels of Jules Vernes and more recently by the expeditions of Mike Horn, he never stops wanting to sculpt a body and an image that his heroes send back to him.

At a time of identification and loss of certain points of reference, nature and adventure remain for Tom an escape route, an environment where he can be himself, without feeling out of step with people his own age. To be 16 today is to seek digital socialization, to debate digitally, to stay hours behind a screen to live shared adventures live on the networks. Testimony of a pivotal period, the identity path of a young man in the making. www.hugohenry.work

Sutapa Roy

Wish My Butterfly Would Live Forever | The more I started to feel losing control of my outer world, the more I started to hold inside me the person whom I love the most. I started taking picture of her – my daughter. During the Corona pandemic and lockdown thereof, I got perfect opportunity to spend lot more time with her, who has just stepped into teenage life. I got a chance to observe and understand her even more deeply. Initially the purpose of my image making was just to nourish my curiosity and seeing her adapting (or not) the new lifestyle away from school in the tough hours of social distancing. As I started to spend more time with her and being around her every moment, I started to explore her visions, so sublime and pre-eminent. “I would be a protector of the nature to safeguard forests, seas and sky. I would have my own place way far from these concrete jungle, under the blue and starry sky; butterflies will be my friends and flowers my finery” – she said. My initial thought of images took a new direction from here onwards. The new path I chose was an attempt to represent the girl and her thoughts visually; the images went back and forth between the person and her vision and the story made its trail somewhere in between accordingly.

The improvement of global health and seeking for a better earth is an emergency now and it is not possible for one or two to make any change which is so badly needed in the present global health situation. And from a different stand point, we are facing the ultimate question – what are we leaving for our future generation? Who is responsible for all these chaos and who is going to heal it? Eventually “Wish my butterfly would live forever” develops to be more like a fantasy of the girl that questions all our concern and desire to act for healing of mother Earth. Conceivably the story is an attempt to picture the girl lost in her imagined world. Images are fusion of organic and staging moments, along with lines written by her, taken only at my home in Kolkata during pandemic lockdown.

I believe apart from the perspective of a mother daughter relationship this story has the potential to give us a realization that we can certainly heal our world if we earnestly want to, and for that, we have to have a dream to achieve or to protect our own planet, just like maintaining safety of our homes during the pandemic. I hope this journey has helped me to grow as a person and has allowed me to explore different ideas to implement my feelings.

As another day just passed by and the sun touching the horizon, saying a warmth good bye for another bright morning. The wounded butterfly Suhani caught yesterday and treated it with all her care and tenderness, just flew away. She said, “Ma, wish my butterfly would live forever”. www.sutaparoy.com

Annemiek Hofer

Wild Rose | These photographs were taken while I was stuck in Canada during the pandemic. I went beginning March to visit my dad, and made it back to Belgium (where I live) early May. During my stay, we drove around the Alberta province. I was amazed at the ruins of the old farming towns. Being from Europe, it was completely different from anything I had ever seen before. And it all seemed very apocalyptic, especially considering the situation of the current event. Almost every day we went on long drives to observe the Albertan ladnscapes and «Landfills» of the western era. After several months I collected a lot of images that conveyed to me a lonely and ghost like atmosphere. It is a side to Canada that we don't see very much, but a very real side that is relevant to its history.

Vikesh Kapoor

See You at Home​ | My ongoing project ​See You at Home​ (2017 - present) ​is a personal narrative that centers on family, memory and the myth and melancholy surrounding the American Dream.

My parents, Shailendra and Sarla Kapoor, immigrated from India in 1973, settling in a small town of 10,000 people in rural Pennsylvania. They are one of only a few immigrant families in the region. While they left India for a better life, the shift from a collectivist nation to an individualistic one led to isolation just as much as it led to freedom. As they grow old in Pennsylvania with​ ​my sister and I no longer living nearby, their isolation only becomes more apparent to me. ​

I began making work about my family during a trip to India with my father, fifteen years ago. I hadn’t visited since I was a child, and it was my father’s first time in sixteen years. It was important for both of us. Questions of family, identity and personal history were born out of that trip and continue to inform ​my work and this project today.

See You at Home​ ​explores the dichotomy of home and homeland, freedom and isolation, collectivism and individualism, through images I make of my parents’ current life in America imbued with memories of their past.​ ​Although this personal narrative began as an examination of diaspora, aging and the unique duties that fall to the only son of Asian immigrants, my hope is that ​​See You at Home​​ will resonate with other first-generation Americans and those interested in the myth of the American identity, seeking to find place and purpose here. vikeshkapoor.com

Sandra Mickiewicz

Proud of the Origin | As the Gyps and Travellers community is a small minority in the hugely diverse British society, my intention was to portray them as sympathetic and sociable people as opposed to the typical stereotypes. I hope this project will contribute to changing the dominant point of view and our thinking about Gypsies and Travellers.

Most importantly, I want the audience to realise that the subjects I photograph are valuable members of society. This body of work is still in progress and my aim is capture the resolute, spirited nature of the people I have met and the pride they rightly feel towards their ancestry. I’ve always been interested in the community as I find their lifestyle very interesting. I am really inspired by their culture, clothes they wear and their faces. To me these people stand out from the crowd, even in our everyday life.

Because of their backgrounds and “typical stereotypes”, most Gypsies and Travellers had to face the racism and discrimination towards their culture and beliefs. Most of them are forced to hide their identity in order to attain employment or send their children to school. In this project, I want to explore their life traditions, and other aspects in their culture. www.sandramickiewicz.com