The COVID-19 outbreak has imposed restrictions in movement. As part of an ongoing initiative, photographers of Magnum Photo are sharing information and new work made in these strange and difficult times.
Tomasz Liboska lives in Chorzow in Upper-Silesia, Poland. He graduated from Anthropology of Culture at Silesian University in Cieszyn, Poland, and Institute for Creative Photography in Opava, Czech Republic. He’s been working on his projects on Silesia for over 10 years. In his works he tries to find how people exist in society. That is why anthropological background is a clue for him. In his personal work the visual language is based on his own memories and experiences. Most important exhibitions were presented during Photomonth in Krakow, Hereford Photography Festival, New York Photo Festival, Athens Photo Festival, Belfast Photo Festival. His photographs were published in The New York Magazine, GEO, Newsweek, LaRepublica, Polityka, Duży Format, VICE, Feature Shoot, LensCulture, among others. He is a winner and finalist of many internationally recognized awards and grants such as LensCulture Visual Storytelling Awards, Leica Oscar Barnack Award, Photo District News, Photo Annual, Photolucida Critical Mass, among others.
Upper Silesia is the largest industrial region in Poland. After World War II, during the communist era, the region turned into a local El Dorado – a land of mineral riches. Tens of thousands of people were hoping for work and better lives here. Alas, the socialist economy turned out to be a hidden time bomb for the region. When communism collapsed and Poland become a free market economy, it was Upper Silesia that suffered the harshest consequences. Many coal mines and steel plants were shut down, and people faced unemployment and lack of prospects. The smoking chimneys quickly disappeared from the horizon, and with them, many residents. Today, the region still exists as the industrial hub of our country yet it is also intensely searching for a new identity. Dynamic socioeconomic changes are giving Upper Silesia a new character. And yet not everybody benefits equally from these changes. If you turn around for a moment, you can still see the past prowling right behind you.
The COVID-19 outbreak has imposed restrictions in movement. As part of an ongoing initiative, photographers of Magnum Photo are sharing information and new work made in these strange and difficult times.
A striking new photographic voice engages with street portraiture to create dark, interior psychological spaces exploring the relationship between public and private lives. (more…)
UPHA Made in Ukraine is the first book published by BOOKSHA. The work on the project started in 2017. The book is the result of creative work by the participants of the Ukrainian Photographic Alternative group. (more…)
Lu Guang was born in 1961, in Zhejiang Province, China. He has been passionate about photography since he held a camera for the first time, in 1980 when he was a factory worker in his hometown in Yongkang County. (more…)
How is technological innovation dependent on raw materials? This question is center-stage in the exhibition Charging Myths by On-Trade-Off. This artists-collective traces the origins of lithium by starting from Manono, Democratic Republic of the Congo. (more…)
The work of Dineo Seshee Bopape is characterized by the use of organic and highly symbolic materials that allude to the concepts of memory, identity, and belonging. Soil is one of the most recognizable materials in her practice, and it is often mixed with other substances such as coal, ash, and clay (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.
Anonymous, this is not about any one person or a particular artist. This project is akin to finding fading pages from an anonymous diary and placing them in a time capsule for future generations.
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.