For five years the photographer Rob Hornstra and journalist Arnold van Bruggen travelled through the Caucasus and recorded the building of the most expensive winter Olympic Games to date. To put it better: they have recorded historical, social, cultural and political “behind-the-scenes” of the 2014 winter Olympic Games in Sochi – focusing on the regions of Sochi, Abhazia and Northern Caucasus
The article analyses the photographic oeuvre of Borut Krajnc as a result of talks with the author working with his extensive archive. Among Slovenian photographers, Borut Krajnc currently surely occupies the position of being one of the most prominent and experienced documentarians. He mostly works as a documentary photographer and photojournalist.
The internet and the community have the power to transform “ordinary” people into celebrities. Something similar could be said for the Rich Kids of Instagram, only that they are not just ordinary people. This is a group of children whose parents are amongst the 1% of the wealthiest people on Earth. And their children are not ashamed of the money that is given to them.
The article explores the symbolic status of the insurgent barricade and its curious visual marginalisation or absence in photographic representation of recent political and economic protests from Gezi Park to Maidan Nezalezhnosti. The insurgent barricade is a potent visual icon, a symbol of revolutionary tradition and a metonymy of a failing society.
The Shilo Group are three younger generation Ukrainian photographers (Vladyslav Krasnoshchok, Sergiy Lebedynskyy and Vadym Trykoz), which in its work deals with current and past social conditions of Ukraine. Their most prominent project, Euromaidan, 2014, received numerous awards and nominations, e.g. ranking among the top twenty photobooks of 2014, according to the Paris Photo and the Aperture Foundation.
This article aims to present how Greek photography has interpreted the recent financial crisis. To do so, it focuses on a series of projects which reject easy claims about their documentary value. Instead of being concerned with the events of crisis alone, these works attempt to portray the Greek social landscape, examining issues of national identity which, for most of them, is also “in crisis”.
Can photography have the same effect as film? What is the relationship between them when they deal with the same subject? How does it change when the first is the result of the latter? Must a spectator of a photo-story also see the film to understand its message or can the same message be delivered through the photograph, separated from the narrative?
Ahlam Shibli’s Phantom Home is a tribute to the immersion of the Palestinians in the constant denial of their individual and collective existence by the Israeli regime – in fact it is a tribute to the Palestinian death and it’s omnipresence in Palestinian everyday life.
The press photographs are the visualization of political discourse: from visual symbols and metaphors to statements on banners that range from insightful political analysis to witty jokes.
While searching through Brecht’s legacy, Broomberg and Chanarin found his personal copy of the Holy Bible – the cover of which Brecht had decorated with an image of a car. And then they had an idea… They designed their own version of the Holy Bible.
Since (capitalist) market is an abstract concept, photographic narratives about it are by necessity indirect, focusing on visual representation of its many manifestations. Through most of the 20th century, photographers have continuously been focusing on its most evident manifestation – labour.
Empty stages is a photographic project consisting of a series of digital prints that have been taken since 2003 and comprises of more than 100 photographs. Authors document empty stages in various parts of the world, such as conference halls, city and amateur theatres, concert stages, workers’ clubs or hotels.