Oil & Paradise
Ad NuisBetween 2008 and 2013, photographer Ad Nuis travelled to Baku, the capital of Azerbaijan no fewer than ten times. Each of these visits would last about 25 days. With Oil & Paradise Nuis portrays the absurd contradictions between the lives of the nouveaux riches in Baku and the ordinary citizens of Azerbaijan. In 2012 Azerbaijan, a country under strict dictatorship, hosted the Eurovision Songfestival. It turned out to be an unabashed display of new wealth in the country that also competed to host the football World Cup and the Olympics.
Andrea Stultiens, Deo KyakulagiraEbifananyi is the title of the series of at least four, probably five and possibly more publications by History In Progress Uganda (HIPUganda). Each book will start from one photocollection in Uganda and explore its narrative possibilities in images supported by words.The noun Ebifananyi (which is the plural, singular is Ekifananyi) comes from the verb Kufanana, and means to be similar to. It is the Luganda word not only for drawings, or paintings or photographs, but for every two dimensional likeness.
Kadir van LohuizenIn Vía PanAm, Kadir van Lohuizen investigates the roots of migration in the Americas. By seeking answers to questions such as 'Why do people migrate? Where to and for what reasons? What is the fate of the different indigenous populations in the Americas', Van Lohuizen taps into a phenomenon that is as old as humanity but is increasingly portrayed as a new threat to the Western world. The book includes an essay by acclaimed Colombian writer Juan Gabriel Vásquez.
Koos BreukelMe We is Koos Breukel's magnum opus so far: a book and an exhibition bringing together pictures from the first 30 years of his career, focusing on the circle of life. In Me We, he tells a universal but highly personal life story. From birth and joy to sickness and death: Breukel shuns no aspects of life and treats them equally in this project that can be understood as an alternative, universal family photo album. Me We is Koos Breukel's ode to life.
Go No Go
Ad van DenderenGo No Go is photographer Ad van Denderen's acclaimed project on contemporary migration and European border politics. In 1986, while shooting a story in eastern Turkey, he saw a then brand new phenomenon: the start of the great contemporary migration. In Go No Go Ad van Denderen leads us along the edges of Europe where immigrants try to reach the West along smugglers' paths, with varying success.
Carel van HeesPowerlessness, vitality, love, aggression, expression...
>Play is about what it is like to be young, anywhere and in all eras. For three years the Rotterdam photographer Carel van Hees turned his camera on the youth of Rotterdam. He focused on their character, their aura and energy. His intense black and white photography is rooted in the strong Dutch documentary tradition of human interest photography. In >Play Van Hees fulfilled his long-cherished wish to combine photography with other media.
The Netherlands - Off the shelf
Hans van der MeerWhat do we see around us when we go to get money out of a cash machine in Boskoop? Or when we fetch a supermarket trolley in a car park in Breukelen? What do we see when we meet up with friends in a cafe in Steenwijk, or eat chips with our kids in a snack bar in Enkhuizen?
Poppy - Trails of Afghan Heroin SOLD OUT
Robert Knoth & Antoinette de JongIn the 21st century, globalisation has opened up the world for better and for worse. While we all welcome the virtues and advantages of an open society, Poppy tells a different story: of a world facing destabilisation as a result of multiple threats.
OFFSIDE - Football in Exile
Dirk-Jan Visser & Arthur HuizingaThe geopolitical conflict in the Nagorno Karabakh region is a forgotten one. Even as the war raged between 1991-1994, it received little attention from the West but it remains a reality for up to hundreds of thousands Azerbaijani and Armenian refugees. OFFSIDE tells the story from the perspective of two football teams: FK Qarabag Agdam and FK Karabakh Stepanakert.
The Last Days of Shishmaref
Dana LixenbergPhotographer Dana Lixenberg stayed in Shishmaref for several weeks during the winter and summer of 2007. She explored the intricate relationship between the inhabitants and the rough, bleak and beautiful landscape that surrounds them. Using her 4x5-inch field camera makes the act of photographing more formal than hand-held photography, resulting in an intimate collaboration between the photographer and her subjects and in carefully composed still-lives.
Ad van Denderen
Occupation: Soldier is a documentary on the Dutch armed forces. Since the end of the Cold War in 1990 and the expected conclusion of the Uruzgan mission in 2010, almost 90,000 Dutch soldiers have been involved in peacekeeping operations. What do we remember of them, what remains in our collective visual memory? Precious little. Peacekeeping does not produce spectacular images. Except when it goes wrong. The fall of Srebrenica is an open wound in Dutch (military) history.
Various authorsWATW is short for We Are The World. The song (by Lionel Ritchie and Michael Jackson) was originally written for a 1985 campaign against famine in Ethiopia, later hijacked for a multitude of other purposes, focusing on issues of solidarity as well as mutual responsibility. In the framework of this 2009/2010 travelling exhibition, a collaboration between the Three Shadows Photography Art Centre (Beijing, CN) and Paradox (Edam, NL), it is referring to the latter notion: common responsibility for the highly complex, culturally, economically and socially interrelated world we are living in.
Home is a photographic document of the Staatslieden-buurt in Utrecht, a typical Dutch post-warneighbourhood. Today, the remaining urban districts from this post-war reconstruction period no longer reflect the fabric of society. Municipal officials describe the neighbourhood in terms of condemned housing, social problems, crime and nuisance. For its residents, however, the Staatsliedenbuurt is something else entirely: Home.
Thuis is een fotografisch document van de Utrechtse Staatslieden-buurt, een typisch Nederlandse wederopbouwbuurt. De idealen van toen bleken achterhaald; 20 jaar geleden besloot de gemeente tot herstructurering. Het beeld van de buurt bestaat uit afgeschreven woningen, sociale problemen, criminaliteit en overlast. Maar dat strookt niet met het gevoel van bewoners. Thuis schetst de ideologische planologie en toont hoe mensen zich hun omgeving toe-eigenen: de Staatsliedenbuurt als voorbeeld van oude Nederlandse stadsbuurten.
Elisabeth - I want to eat
Mariken WesselsThe book was initially self-published by the artist in 2008 in a small edition and was widely acclaimed. It won the Silver Medal Book Award at the Fotofestival di Roma and was recently acquired by the MoMA collection in New York.
Queen Ann. P.S. Belly cut off
Mariken WesselsMariken Wessels' second artist book is titled Queen Ann. P.S. Belly cut off. The photographs in this book are sourced from an existing person, a middle-aged woman wringing with her self-image in an endless stream of manipulated photographs of herself, making them into a true cabinet of curiosities. The authentic arrangement of the discovered material, with its strange mixture of old and new photographs, film material and collages is strikingly deceptive.
MADE IN CHINA
Johan NieuwenhuizeThe photography project MADE IN CHINA is the result of the time Johan Nieuwenhuize spent as an artist in residence at the Three Shadows Photography Art Centre in Beijing. He was situated in the area of Caochangdi, where he often worked in the homes of migrant workers from the rural areas of China.
The project is a dynamic combination of the three genres landscape, still life and portrait. Nieuwenhuize combines abstract pictures of the sky with more documentary still lifes and self portraits.
The backbreaking work on this 415 kilometre rail- way began in June 1942 and ended 16 months later in October 1943. Some 178,000 Asian forced labourers and 61,811 prisoners of war worked on this project. More than 99,000 people died from exhaustion, disease or malnutrition. It is now 65 years since the Japanese surrendered and this hell ended. Much of the original railway has disap- peared or changed over the past decades and any remaining traces will soon cease to exist, as will the people who were forced to work on it. A piece of history threatens to be lost. This publication makes the railway visible, again.
Luuk Kramer, Siebe Swart, Saskia Janssen & George Korsmit, Korrie Besems
The Wars (DVD)
Oscar van Alphen
In The Wars, photographer Oscar van Alphen combines an adapted version of Georges Bataille's text Madame Edwarda with images drawn from his archive. Madame Edwarda (published in 1941 under the pseudonym Pierre Angélique) is a story without beginning or end, in which a a male first-person narrator and a prostitute encounter each other in Paris by night. Madame Edwarda is about lust, power, anxiety, desire and humiliation. Van Alphen uses Bataille's text as a metaphor for the perversity of social structures, for the uncontrollability of political and economic power, and the effects these have on human dignity. He juxtaposes pictures from the decaying and almost deserted industrial regions in northern France and of the 1968 student rebellion in Paris, with the pornographic text that came into being during the first years of WW II.
Greenhouse is an installation about the history of the Greenhouse e Wieringermeer, a polder drained in the 1930s now developing a new future as the location for a gigantic greenhouse complex. The project focuses on the building site of a greenhouse the corporation Agriport is building by the A7 highway, near Medemblik, some 60 kms North of Amsterdam. The structure is around 800 meters long, its surface more than 250.000 square meters. It will be ready for full production in the course of 2007.
Flemish Fields (DVD)
Hans van der Meer
In September 1995 Hans van der Meer started taking photographs of lower division amateur football games in The Netherlands (later extending to Flanders and other countries). He went out looking for football in its original form, as it had started more than hundred years ago: a plot of ground, 22 players, hardly any spectators around the pitch, just a horse in the next meadow.