© Albarrán Cabrera (both b. 1969, Spain)
#54, from the series The Mouth of Krishna, 2009.
Valid Foto BCN Gallery, Unseen Photo Fair.
In any part of the universe there is a whole universe –Hamlet saw the infinite space in a nutshell; William Blake saw a world in a grain of sand, a heaven in a wild flower, and eternity in an hour.
© Ryota Kikuchi (b.1981, Japan)
KANA KAWANISHI GALLERY, Unseen Photo Fair.
Utilising his skills as a free-climber, Ryota Kikuchi creates photography and video artworks where he climbs, holds, or hangs down from various structures in the environment. By observing the meanings of the spaces and of time, his artworks go beyond a simple documentation of his actions, connoting a brand new suggested vision of the landscapes and urban constructions surrounding us.
© Kim Boske (b.1978, The Netherlands)
AANDO FINE ART, Unseen Photo Fair.
Kim Boske is fascinated by the passing of time. She composes her work by capturing and assembling different visual fragments lost during the passage of time. The result is the collection of afterimages taken from past and present, together constructing an image of ‘now’, revealing a phenomenon that is impossible to see or witness with the naked eye.
© Annemarieke van Drimmelen (b.1978, Australia)
Untitled (Drake), 2015.
Webber Gallery Space, Unseen Photo Fair.
Annemarieke’s work is a quest to portray real intimacy and experience. Through hints of posture and composition, she teases out subtleties of personality that reveal authenticity in the moment.
© Krista van der Niet (b.1978, The Netherlands)
Konijn in hoed, 2015.
LhGWR, Unseen Photo Fair.
Still life photographer Krista van der Niet glides along the lightness of things, grasping the beauty of pure objects. During her process of creating new work, objects form a synergy, gain a metaphysical layer of meaning or clash in such a way that you see them in an entirely new context.
© Piotr Zbierski (b.1987, Poland)
Untitled #44 Poland, from the series Love Has To Be Reinvented, 2013 .
Kehrer Galerie, Unseen Photo Fair.
Piotr Zbierski studied at the State University for Film, Television and Theatre in Lodz, Poland. Since then his work has appeared frequently in publications and exhibitions. Zbierski uses photography as a form of intimacy in order to both forget and remember.
© Tom Lovelace (b.1981, UK)
Monteluco Sole #1, 2013.
Flowers Gallery, Unseen Photo Fair.
Working at the juncture between photography, sculpture and performance, Tom Lovelace’s interdisciplinary practice explores the fundamentals of photography by extending beyond traditional notions or boundaries of the medium. The Monteluco Sole works collapse the notion of the object’s usefulness altogether - their formal reduction showcases what Lovelace has called a further ‘controlled slippage’ into a minimal, abstract image plane.
© Nicolás Lamas (b.1980, Peru)
Untitled, from the series Raw Material, 2015.
CINNNAMON, Unseen Photo Fair.
In his recent digital prints Lamas uses images of different art works and exhibition spaces found on the internet as a starting point. He manipulates such images by removing data, or by creating collages, transforming existing documentation into new work.
© Henning Rogge (b.1977, Germany)
#71 (Ölper Holz), from the series Bombenkrater, 2011.
Galerie Jo van de Loo, Unseen Photo Fair.
The series Bombenkrater shows traces of World War II air strikes throughout the German landscape.
During the last 70 years these bomb craters have morphed into being a part of the ecology, often transformed into small, circular ponds.
© Naoyuki Ogino (b.1975, Japan)
Untitled, from the series Womb of the Myth, 2010-2015.
IBASHO, Unseen Photo Fair.
The series Womb of the Myth was photographed on the site of the movie studio at Uzumasa Kyoto, Japan, which is one of the last places where the practice of traditional Japanese movie craftsmen remains. The repeated construction and destruction - birth and delivery - of movie sets in the womb of the studio over a period of 60 years, has become a kind of simulacrum; the atmosphere of the place is filled with the ancient Japanese gods of the past, and with those of the future.
© Clémentine Schneidermann (b.1991, France)
Souvenir shop, Elvis Presley Boulevard, Memphis Tennessee, from the series I called her Lisa-Marie, 2014.
Galleri Tom Christoffersen, Unseen Photo Fair.
I called her Lisa-Marie is a journey between Memphis Tennessee and South Wales, portraying the love for Elvis Presley.
© Andrew Moore (b.1957, USA)
Piano, Lee Plaza, Detroit, 2010.
Galerie Alex Daniëls - Reflex Amsterdam, Unseen Photo Fair.
Over the past 35 years, Moore has travelled for months at a time to track down secret places around the world that are often the sad consequences of modernisation or political turmoil. There is a strong painterly quality to Moore’s photographs, both in scale, texture and use of colour. The vitality of his palette, and his carefully chosen tonal combinations provide the building blocks of his work.
© Mehrdad Naraghi (b.1978, Iran)
City #1, from series The City, 2014.
Ag Galerie, Unseen Photo Fair.
Taken from various locations of high elevation in the north of the city, the image captures its polluted air and its suffocating atmosphere. A city at above one thousand metres and a population of fourteen million people, Tehran’s air is both thin and thick.
© Kyoung-Jae Cho (b.1979, Korea)
Gana Art, Unseen Photo Fair.
Kyoung-Jae Cho creates a unique space by composing everyday objects, after which he observes them through photographs. The geometric space created intuitively and spontaneously presents unconventional visual impacts.
© Sarker Protick (b.1986, Bangladesh)
Gunfight, from the series Love Me or Kill Me, 2015.
East Wing, Unseen Photo Fair.
Love Me or Kill Me offers a look at the film industry in Sarker’s home country, Bangladesh. Much like what happens with Bollywood in India, bad guys and good guys fight each other in the name of love; Bengali films keep much the same formula.
© Isabelle Wenzel (b.1982, Germany)
Field Studies 2/3, from the series Field Studies, 2014.
Galerie Bart, Unseen Photo Fair.
Isabelle Wenzel discovers something new by leaving the studio and using her contortionist background to manoeuvre herself into intricate and complex positions. She often attracts an audience who cannot help but observe her actions. Passersby probably wonder what this woman is doing: repeatedly pressing the auto-timer on her camera and then running to position.
© Thorbjørn Andersen (b.1977, Denmark)
Light Diffraction, 2014.
South Kiosk, Unseen Photo Fair.
Light Diffraction, 2014 continues Thorbjørn Andersen’s work with paintographs. Through a continued process of extended camera-less techniques Andersen produces a series of rhythmic yet abstract images exposed directly on to light sensitive paper.
© Bownik (b.1977, Poland)
10th Day of Summer, 2013.
Starter Gallery, Unseen Photo Fair.
The photo 10th Day of Summer is part of a series on both youth and the artificiality of photography. It invokes and uses cinema-like enactment and settings that enhance the sense of conventionality. Here, the photo shows the ambiguous moment of a girl sitting on a mock-up roof covered by felt, gazing at the particles of felt that have stuck to her hands.
© Virgilio Ferreira (b.1970, Portugal)
Untitled, from the series Fluctuations, 2014.
Galerie Madé, Unseen Photo Fair.
This ongoing project attempts to reflect on the nature of variable forces of life - the interactions of energy and matter - as a fundamental property and flux of the Universe. What Virgilio Ferreira is attempting to depict here are inscriptions (on objects, people and landscapes) that suggest the presence of this radiation and transmutation are not directly observed in our physical world.
© Linelle Deunk (b.1967, Germany)
James, 16 years, from the series THIS WORLD IS [NOT] MINE, 2014.
Kahmann Gallery, Unseen Photo Fair.
The work is part of the series THIS WORLD IS [NOT] MINE, which was inspired by the life of a 16 year old boy named Paul who Linelle met in Uganda. His appearance, his glance and his tone of voice struck her immediately. The perseverance of the people in Uganda inspired Deunk to shoot her series.
© Lorenzo Vitturi (b.1980, Italy)
Caco Twisted Balloon and Falling Mango, 2013.
The Photographers' Gallery, Unseen Photo Fair.
Formerly a cinema set painter, Lorenzo Vitturi has brought this experience into his photographic practice, which revolves around playful site-specific interventions at the intersection of photography, sculpture and performance.
© Sybren Renema
1500 meters of human ambition, 2014.
Dürst Britt & Mayhew, Unseen Photo Fair.
The practice of Dutch artist Sybren Renema has various manifestations, but often relates to 19th century Romanticism, which has played an important role in the development of (cultural) nationalism. In the work 1500 meters of human ambition the viewer has to come very close to see what exactly is depicted: further inspection reveals an accumulation of small thumbnail Google images of the 10 largest flagpoles in the world.
© Filippo Luini (b.1982, Italy)
Dogali #4, 2014.
METRONOM, Unseen Photo Fair.
Dogali reflects on the inclination of power to find its glorification in big architectures and public works. The
photos are taken within a building in Modena, Italy, which dates back to the first decades of the 20th century
and shows recognisable Fascist architecture. In this space, the past and the present merge.
© Ola Lanko (b.1985, Ukraine)
Exercise # 2 , 2012.
Seelevel Gallery, Unseen Photo Fair.
The series to which this work belongs are still lifes constructed to serve as exercises in visual literacy skills. All of them have their inner structure and logic. Objects are chosen and arranged according to certain rules in order to explore the principles and rules of visual grammar which Lanko establishes in her project Required Reading. This project focuses of the concept of visual literacy.
© Kazuhito Tanaka (b.1973, Japan)
Zoo #2, 2013.
G/P gallery, Unseen Photo Fair.
For this series, the artist photographed animals and visitors at the zoo. Through re-photographing and metabolising the colour information of the images, the original photos are turned into beautiful abstract images, which are a visualisation of his distant childhood memories.