Percy Bartle

Cecile Smetana Baudier - Costa Chica

“In 2015, the Mexican government finally recognized its 1.38 million citizens of African descent in a national survey signifying a tremendous victory for the Afro-Mexican community who had up to that moment largely gone unnoticed on the margins of Mexican society.This long overdue recognition of the Afro-Mexican community will hopefully lead to an increased academic interest in their cultural history as well as subsequent cause to greater commemorate their legacy as part of the country's overall history. In addition, this new shift towards inclusion might finally provide a much needed impetus for improving the social services currently available to these communities. Costa Chica, mostly famous for its beautiful beaches and surf spots, is also the home of many Afro-Mexicans.Here, in the center of the national park of Chacahua, lies the small fishing village of El azure.Ngola, an older gentlemen who has lived here all of his life says “I know that we came here from Africa, but that is all I know”. He fantasizes of what it might be like living there, if it’s dangerous or safe, if it’s rich or poor.The history of the Afro-Mexican people is not taught in school and in this particular village, Afro-Mexican culture is close to nonexistent. Connection to the outside world is limited. Though most people have mobile phones, the network is spotty at best, and the internet as well as even newspapers are things that have yet to make their debut in the daily lives of the inhabitants. The limited exposure to the outside world comes via television when families gather after dinner to watch the night time soap operas with mexican casts that look more like Californians than anyone from the region. People of color are simply not represented in the mexican media landscape so the notion of dark skinned mexicans has no place in the present white washed pop-culture manifestations of what an authentic mainstream mexican society is thought to look like. In a country that idealizes the anything with a 'western aesthetic', Afro-Mexican's are often considered too black to be considered ‘real’ Mexicans.Nicolasa, a generous and proud woman in her sixties, still dyes her greying hair black. She looks straight into the camera and says, “ We are not used to people thinking that we are beautiful”. Diaspora is the start of a long-term photo project, focusing on the African Identity within Afro-communities in the Americas and Europe. This project was made possible from the help of The National Park of Chacahua “

Boris Snauwaert - Svartdal 1 & 2

Daniel Suares - Night shifts

Bego Anton - Everybody loves to chachacha

Lukas Berger - Circus

“The photographs of the series "Circus", which were photographed in Pakistan, Germany and Ethiopia, tell us not only of different places, but also of opposing mentalities and the passion for the circus. Through his work, Lukas Berger has created a great combination of these worlds. With snapshots from the Circus Day and with staged portraits, the photographer lets us look behind the scenes and the painted faces of the artists, clowns and fairgrounders.”

Daniel Castro Garcia - I Peri N'Tera

Lara Gasparatto - Ask the Dusk

Miren Pastor - Bidean

“Miren Pastor’s images look like they come from another time, from when explorers would photograph lands that had never been trodden before by man, from when the world was seen for the first time; but her photographs are recent and have not been taken in faraway places. The reason they look alike is that if those old explorer photographs showed an unknown world, those taken by Pastor show beings as they are inside, and this is an equally hidden space. The three steps that constitute Bidean are the allegory of a perfect communion: Man as Nature and Nature’s human part; cycles are shared, whatever change affects one part also affects the other. […] This is true for hominids as it is for papilionidae, ranidae and delphinidae. To see the world for the first time or to see the world as children do is to be amazed both by what is huge and by what is tiny, to observe and think that one is hallucinating; but what happens if we look at it with our eyes turned inside out, looking within?” Iván del Rey de la Torre

Thomas Prior - Bomba

“Every February in the Mexican town of San Juan de la Vega, its people gather together to commemorate a four-century-old battle that occurred between the town’s namesake and the area’s landowners.The traditional celebrations see the townspeople gather on an empty football pitch to watch on as hundreds of local men strap homemade potassium chlorate fertiliser-based explosives to the heads of sledgehammers and slam them against the lengths of steel rail. Photographer Thomas Prior travelled to the small town to capture the festival and the bizarrely violent activity.” It’s Nice That

Thomas Prior’s website

Baptiste de Ville d'Avray - L’apparition d’un lointain si proche, Maroc (2012-2016)

“Le projet L’apparition d’un lointain si proche rassemble un parcours de 7 années sur un territoire réel, en plein essor urbanistique, résolument contemporain, et pourtant photographié hors du temps.C’est au départ à travers des allers-retours que Baptiste de Ville d’Avray approche le Maroc. Très vite, c’est sa singularité bien atlantique et sa côte de milliers de kilomètres, partant de la frontière algérienne à la frontière mauritanienne, qui l’attire. Ce pays devient un personnage à part entière de l’univers de Baptiste de Ville d’Avray. Une matière ciselée et re-visitée pour décrire avec précision une contrée sortie de son imaginaire. Ainsi ce sont des moments de vie, des ambiances qu’il transforme en fictions avec son appareil. La lumière y est toujours douce. Les personnages sont comme des acteurs muets, semblant jouer dans un décor inventé par et pour le photographe.”

Viviane Sassen - Parasomnia

Jesse Chehak - Fool's gold

“What's known means nothing on this trying path of light and dust before finding the place to park a car, shut her down, gather what’s mine, and cover the last ¼ mile by foot. Here you can easily meandor along and inside the trench where chunks collide, like a long geo-dynamic palimpsest.The air feels spotty while the ringing of my eardrums becomes perverse. The rawness grows and I can hear the blood moving in my body. It is holding on as long as you can until the pull is too much. So you let go to the extent that integrity will allow and resume enduring and imagining all the time what a total release might offer.”

Knut Egil Wang - Southbound

“Each year, a large number of Norwegians spend at least a few weeks in Syden, a term for the Mediterranean beach towns to the South, to escape the cold. The Norwegian photographer Knut Egil Wang decided to attempt to capture “a country that doesn’t exist,” taking pictures in Cyprus and the Canary Islands. Prior to this project, Wang had never participated in the ritual. He found that Norwegian vacation customs share some common threads: “The sweet quirkiness many Norwegians seem to be equipped with from nature stands out more clearly in a foreign landscape,” Wang said.” From The New Yorker

Roberta Sant'Anna - Parque aquatico

Chris Dorley Brown - Corners

Janet Delanay - South of Market 1978-1986

“These photographs were taken at the cusp of a remarkable transformation. Part of the South of Market District of San Francisco had been altered structurally: 5000 residents and 700 hundred businesses were displaced to make room for a new convention center. An even larger part of the transformation of South of Market would be the restructuring of the use of existing space. As light industry moved out, artists moved into the warehouses. As families with children migrated to the suburbs, the gay community moved into the wood framed apartments that lined the alleyways. Urban flight in the 1950s was in motion across the country. In response to this exodus redevelopment projects became a common sight in abandoned and blighted inner city neighborhoods during the 1960s and 1970s. I moved to the South of Market in 1978, as the first posts were being poured for San Francisco’s redevelopment project now known as the Moscone Center. I began to ask who had lived and worked in this ten-block area that had been clear cut and was now a massive hole in the ground? How would this new development affect the lives of my neighbors who had lived South of Market for many years? These photographs and the accompanying interviews were my way of giving a voice to those who remained at the edges of the site, but were about to be immeasurably impacted by rising rents brought on by the arrival of the conventioneers.”

Terje Abusdal - Radius 500 metres

Radius 500 Metres is a photobook made from the archives of Åsmund Abusdal, told by his grandson Terje Abusdal.Portrayed through a series of personal photos from the Setesdal Valley, the book offers glimpses of everyday life inrural Norway in the 1970s and 80s. A time before wealth of the oil industry transformed the country and way of life forever.In that way, Radius 500 Metres is a visual testimony from a period that marked the end for the post-war social democraticwelfare model and the shift to neoliberalism. Åsmund Abusdal was a self-proclaimed journalist and photographer. Many of the pictures, accompanied by stories he wrote,were published in the local newspaper, Setesdølen. The photographs are spontaneous – wonderful examples of the snapshot-aesthetics that had its golden age around the same time these were taken. They are unintended historical documents andNorwegian contributions to a glorious era of colour photography.