It is first of all necessary to identify the features of the discourses and the desires which have led us to this grim and demoralizing pass, where class has disappeared, but moralism is everywhere (more…)
Imane Djamil is a Moroccan photographer and poet based between Casablanca and Paris. Having ventured into solo travel at the tender age of 15, she finds interest in beautiful, however forgotten Tarfaya, a Saharian city in which Antoine de Saint Exupery lived for eighteen months while working for former French mail company Aéropostale. Through a fictional approach, Tarfaya becomes a protagonist in Imane’s photography series Où’harmonisent le pin, la frayeur et moi-même (Where pine, fear and myself harmonise), in tribute to the poet Sohrab Sepehri. With multiple exhibitions under her belt, both in Morocco and Europe, the young artist adresses social issues and injustices which are portrayed through her metaphorical photographs. Imane has spent years reflecting, challenging and questioning the boundaries of her body in relation to nature and culture. Printemps Barbare, one of her early works, primarly tackles the process of investing public space in Morocco, where a naive topic becomes a subject of perversion triggering an uproar extolling good morals and common decency. At age 18, she was the youngest exhibitor, with series Printemps Barbare at Le Maroc Contemporain, a five months exhibition at the Arab World Institute in Paris.
Imane is currently self publishing a book of poems influenced by her relationship to photography, in which she draws personal and political parallels between spaces, territories and her own body. She has been working since 2016 with French theater company Compagnie du Crépuscule on an adaption of her subversive poetry, for Imane is strongly convinced that poetry, as speaking out experience, intimacy, desire, anger and so on, is a major act of resistance.
It is first of all necessary to identify the features of the discourses and the desires which have led us to this grim and demoralizing pass, where class has disappeared, but moralism is everywhere (more…)
These are the moments that will be etched into history, this year 2020 has been a year dominated by disaster, unrest, and uncertainty, seen through the lenses of National Geographic photographers. (more…)
Sinziana Velicescu’s work is a minimalist and abstract approach, a modern chronicling of a quiet land surveyor, completely separated of sentimentality. The publication of her series is a documentation of time, bracketed in images of framed surfaces of space.
The Design Museum presents Beazley Designs of the Year: Discover the most innovative designs across fashion, architecture, digital, transport, product and graphic design, as nominated by the public and design experts from around the world. (more…)
Whether creating an acid portrait of Sweden, representing the nightmarish world of business offices, tapping into the desolate uniformity of petrified, petit-bourgeois neighborhoods, Lars Tunbjörk has totally forgotten his black and white beginnings.
Artpil is accepting submissions of Profiles, Articles, and Announcements. With a focus on modern + contemporary arts, Artpil provides stories, event news, exhibition guides and interviews, featuring profiles of artists of all disciplines (more…)
Darkest Hour, this pearl of stylish and emotive documentary was directed by Thomas Ralph, just after the initial Brexit referendum over four years ago (more…)
For six decades, World Press Photo has been expanding its mission as an independent nonprofit, drawing on experience to guide visual journalists, storytellers, and audiences around the world.
Alec Soth’s work is rooted in the distinctly American tradition of ‘on-the-road photography’ developed by Walker Evans, Robert Frank, and Stephen Shore. From Huckleberry Finn to Easy Rider there seems to be a uniquely American desire to travel and chronicle the adventures that consequently ensue. (more…)