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"This
exhibition is the result of 7 months of work in Japan.
I lived there from August 2001 to April 2002. The
main goal of my original project was to interact with
Japanese culture and to produce sound art works that
would be the result of this interaction. The emphasis
and focus on the discipline of listening is fundamental
in Japanese culture."
Manuel
Rocha
(51
color photographs,
19 QuickTime videos and 5 audio files) |
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"I
started this project in 1999 as a documentary about
the women of San Miguel Amatitlan in Oaxaca, Mexico,
who where building their own houses."
Marcela
Taboada
(18
black and white photographs) |
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Dominic Rouse
"One
thing the photographs all have in common and that
is impeccable craft. Many of the pictures had their
genesis in drawings years ago and the images are
constructed more like a sculptural work or a film
than a photograph"
Victor
H. Carroll
(20
black and white photographs) |
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"The
scars we leave on the land betray a wider addiction
to conquest and domination; a constant, casual recourse
to hypocrisy and denial. We benefit from the machinery
of plunder, but are ultimately trapped by it. No wonder
that in the end even our own captive, domesticated
landscape reproaches us..."
David
Stock.
(23
black and white photographs) |
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"Tetsuya
Tamano Developed this body of work during his residency
at Fábrica, Benettons communication research
and development centre. When asked to develop a visual
project to depict his view of contemporary society,
Tetsuya came up with these strong and often disturbing
images"
Fábrica
(12
color and black and white photographs) |
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Steve Pyke
I
remember in 1969 sitting with my mother and father
and watching Neil Armstrong and Buzz Aldrin walk
on the moon. The memory will never leave me. From
it came a desire to meet and photograph the principal
characters in this incredible story.
Steve
Pyke
(18
color and black and white photographs) |
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This
body of work which has taken up the last four years
has been spent with a group of people for whom there
is no doubt, only certainty, passion and an absolute
conviction dominate their lives. These are people
in whose name more wars have been fought and even
more have been oppressed and manipulated. The certainty
of those Christian pilgrims who I worked with for
FAITH, was something painful and at the same time
ecstatic, something deeply personal and mysterious.
Mike
Abrahams.
(24
black and white photographs) |
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This
project is meant as a contribution to the contemporary
presence of native cultures in Mexico, so that they
can be seen as creation rather than folklore or handicraft.
"The Inner Gaze: Photographers from Guelatao"
documents the habits and customs that are part of
the daily lives of the community. Photography becomes
the mirror through which the world of Guelatao is
approached in its most critical proximity: the inner
gaze.
Mariana
Rosenberg
(24
black and white photographs) |
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This
work is the result of my need to find my roots and
an identity. The process of making the book became
an exploration in many ways. I submerged myself in
my own diaries and those of my grandmother and once
again discovered that we share a profound need to
capture time through words, photographs, tapes, film
and videos. And these objects allow us to see our
life cycle.
Ana
Casas Broda
(84
color and black and white photographs) |
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Living
in the Desert was not created to denounce this situation
but as a documentary work, and also as a thought exercise.
When the people I take portraits of ask me what I
want the pictures for, I answer that I want to show
them to other people. I tell them that their life
and their way of life is interesting to other people
in other parts of the world. Basically, I seek to
recognize myself in others.
Jeronimo
Arteaga
(20
black and white photographs) |
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With
emerging, innovative, digital imaging technology, the
practice of photography has been extended to include
manipulation6 by digital tools in the post-photographic
stage. This has challenged notions of analogue photography
which argued that once an image was recorded by optical
means then the image became a physical (mechanical)
proof of origin of an event. King
Tong Ho
(19
color photographs) |
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Santiago Porter
The Absence
On
July 18, 1994, at nine fifty three in the morning,
a bomb exploded in front of the building of the
Argentine Jewish Mutual Association.
In
a way, the AMIA was the home of the Jewish community
in Buenos Aires. In the building, located in the
heart of the city, a whole set of social, cultural
and educational activities took place.
Santiago
Porter
(12
black and white photographs) |
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In
most cases, the life a dog is forced to lead with
us humans in society is not pleasant. These are suffering
beings. "A Dogs Life" attempts to
portray human consciousness as reflected by the life
conditions we have imposed on these living creatures
we call dogs.
Gerardo
Gonzalez.
(27
black and white photographs) |
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During
the period of time (April, 1999 to May, 2000)
when civil disobedience camps were established
within the Navy's restricted areas in Vieques, Puerto
Rico, there was a marked improvement in Nature's
greens, evident nesting of species in danger
of extintion and ever present feelings of unity and
spirituality among human beings.
Hector
Mendez Caratini.
(48
black and white photographs) |
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Berlin
1999 is a central part of an ongoing project about
memory in Europe, namely in citie,s like Moscow London
and Paris.
Berlin, being a unique city, was both actor and witness
of major events in the last century that changed the
map of Europe.
Guillaume
ZUILI.
(18
black and white photographs) |
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Effie Fotaki
Invisible City
Another
guiding element in this sequence of images is the
absence of the human factor; or to put it in other
words, the replacement of the human factor by human
representations.
A comment is made on how identity is now defined
by the gears and buildings that surround us; it
is a critique of the urban sprawl.
Effie
Fotaki
(12
black and white photographs) |
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Joe Rodriguez
Smoke
and ash billow into the sky after the last of the
two Twin Towers of the WTC collapses into rubble
after being rammed by two hijacked jetliners in
a terrorist attack on the United States.
Joe
Rodriguez
(62
black and white photographs) |
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Héctor
García
Héctor Garcías work as a photojournalist
acquired great significance at the time because of
his unwavering desire to express his ideology through
images. Unlike the majority of his colleagues, García
managed to combine a feel for information with the
distinctive thought of an age where the identity of
Mexican culture was a constant preoccupation of writers
and artist.
Alejandro
Castellanos.
(23
black and white photographs) |
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Jens
Görlich
CA/FL
I
can still recall the impression I had when I visited
California for the first time:
It seemed to me that up until that moment I had expected
to come to the Garden of Eden, which had been somehow
promised by glamorous pictures created in Hollywood.
Jens
Görlich.
(18
color photographs) |
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Mario
García Joya
(Mayito)
I will keep my images because at the moment I am in
fact thinking of collective memory and because I am
convinced that I was there by accident, that those
photographs do not really belong to me, that they
belong to my country and its memories. I will keep
them until history can be told just as it happened
or until, like now at ZoneZero, I am invited to exhibit
my photographs together with my own discourse.
Mayito
(33
black and white photographs) |
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A
few years ago, midway through 1994, I had the idea
of organizing an exhibition that would show the incursions
into the world of photography of Picasso, Miró, Dalí
and Tŕpies, to my mind the four most important engish
artists of this century.
Joan
Fontcuberta
(63
color photographs) |
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Pedro Meyer
I Photograph to Remember
As
a photographer, I have worked in many parts of the
world and in an array of circumstances that would
lead me to capture images of the other
facing situations all the way from birth to death.
I felt it a matter of integrity on my part that my
camera should be capable of grasping images of my
own family as much as I would photograph the lives
of those who I had never met before.
Pedro
Meyer
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It all began one day with a big scare. I wanted to have
the first one and the scare came with the second ones.
Then I only saw two points in the image of the ecosonogram.
Now they were three. They then became my admired ones
day after day. They kept on growing. They started taking
their first steps. I had eyes only for them. All my
time was for them too. I had to photograph them and
I began doing so.
(26
black and white photographs)
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Rafael Navarro
To
me photography is a medium. A medium that allows me
to speak when I cannot find the words. A medium through
which I explore my subconscious, bringing to the surface
contents, hidden feelings. A medium that allows me
to create objects containing subtle values intelligible
to others. A medium that lets me breathe my freedom.
Rafael
Navarro
(41 black and white photographs) |
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I
like to play with everyday elements creating new situations
that break the usual way of seeing the familiar. I carve
on the skin, I make ephemeral interventions which I
document with truthful, scientifically rigorous black
and white images.
(24
black and white photographs)
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Joel-Peter Witkin
Joel-Peter
Witkin has been called ‘part Hieronymous Bosch, part
Chainsaw Massacre.’ His photographic tableaux, carefully
arranged and painstakingly printed, offer us the chance
to transcend subject matter, and enter what Witkin
calls a world of love and redemption.
Parental
or teacher guidance for viewers
under 18.
(13 black and white photographs) |
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Let's
begin, safely, with an idea. An idea about a cataclysmic
fuck, Mexico's big bang. Half a century ago, Octavio
Paz wrote of the "masks" Mexicans have crafted
over time, mythic identities whose function is to
hide the trauma of "la chingada " (from
the verb chingar, "to fuck," literally and
figuratively), that is, the Conquest, which was essentially
a sexual act -the rape of native by conquistador,
from which modern Mexico's mestizo identity was born.
Parental
or teacher guidance for viewers
under 18
(30
black and white photographs)
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Christian Cravo
When
the minimum resources necessary to survival are denied
to mankind, even in precarious conditions, when isolated
over great territorial areas, desertlike or suffering
little influence from urban centers or a more modern
administrative power which would bring order to the
context as a whole, these populations take on, due
to abandonment which is very often secular, a form
of resistance with characteristics of mysticism, religiosity,
and unshakeable fervor. The cyclical pilgrimages are
the heartbeat of the coming together again of these
lost populations in the immense vastness of Brazil's
Northeast.
(20 black and white photographs) |
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This
project is about childhood experiences and identity.
When we leave childhood something dies within us.
First and foremost the immediate fantasy, the gift
of seeing the world in an irrational way, but also
the gift of shifting rapidly from sorrow to happiness.
Tina
Enghoff
(20
color photographs)
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