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For the 26th edition of the International Festival of Fashion and Photography at Hyères, the villa Noailles received more than 300 entries from young designers, and over forty different nationalities. The selection took place over two stages. An initial pre-selection took place at Hyères, resulting in 53 entries being chosen, following which, these entries were presented in Paris for a final selection by the jury. Under the direction of the head judge, Raf Simons, the members of the jury chose ten designers.
Émile Hyperion Dubuisson
France / USA
My first experience of fashion photography. I like to get inside the very pores of its skin; they are like film grain. The light is full and harsh, direct and enveloping. White devours the image; the greys blossom. The decisive moment captured, the curves positioned, the poem is constructed. I am always interested in combining the simple and the subtle. The mysterious evidence of a rare alchemy. At a more basic level, my photographs embody the idea of bringing together in a single picture calmness and upheaval. On a film set from the 1930s, lit by my ‘point and shoot’ 35 mm camera, Bryson, model and muse, is a character from The Great Gatsby. The photographs are printed on newsprint paper; the image may alter and even, after a certain time, disappear altogether.
France / USA
My first experience of fashion photography. I like to get inside the very pores of its skin; they are like film grain. The light is full and harsh, direct and enveloping. White devours the image; the greys blossom. The decisive moment captured, the curves positioned, the poem is constructed. I am always interested in combining the simple and the subtle. The mysterious evidence of a rare alchemy. At a more basic level, my photographs embody the idea of bringing together in a single picture calmness and upheaval. On a film set from the 1930s, lit by my ‘point and shoot’ 35 mm camera, Bryson, model and muse, is a character from The Great Gatsby. The photographs are printed on newsprint paper; the image may alter and even, after a certain time, disappear altogether.
Andrey Bogush
Russia / Finland
My current interests in photography are linked with perception of objects and Gestalt theory. These are very formalistic studies of still life and pseudo still life through the medium of photography with moments of interference from editing software. The rainbow—an overused visual symbol— has provided varied meanings and interpretations in different contexts (design, gay movement, classical art, contemporary photography, family snapshots, etc.). In the ‘Rainbow’ project, I digitally overlaid rainbow gradients on photographs to enrich these with new visual features but also to suggest the variegated array of contextual meanings. My subdued pallet splits with color—alternately drawing attention to the reliability of photography and the hyper-reality of color processing.
Russia / Finland
My current interests in photography are linked with perception of objects and Gestalt theory. These are very formalistic studies of still life and pseudo still life through the medium of photography with moments of interference from editing software. The rainbow—an overused visual symbol— has provided varied meanings and interpretations in different contexts (design, gay movement, classical art, contemporary photography, family snapshots, etc.). In the ‘Rainbow’ project, I digitally overlaid rainbow gradients on photographs to enrich these with new visual features but also to suggest the variegated array of contextual meanings. My subdued pallet splits with color—alternately drawing attention to the reliability of photography and the hyper-reality of color processing.
Kim Boske
The Netherlands
In my work, I try to capture an illusive reality by exploring the mutability of things. My images reveal phenomena that are impossible to see with the naked eye. I view my pictures as constructions in which layers upon layers of ideas take on a meaning of their own. The Time system is both my source of inspiration and the apparatus that enables me to show this rich, multilayered world. This manifests itself in my work in many ways. In Kanazawa and I go walking in your landscape, I investigate how physical movement in time and space continually alters our perspective on the world. By letting go of the individual perspective and bringing together multiple perspectives in one image, a new layered reality comes into existence.
The Netherlands
In my work, I try to capture an illusive reality by exploring the mutability of things. My images reveal phenomena that are impossible to see with the naked eye. I view my pictures as constructions in which layers upon layers of ideas take on a meaning of their own. The Time system is both my source of inspiration and the apparatus that enables me to show this rich, multilayered world. This manifests itself in my work in many ways. In Kanazawa and I go walking in your landscape, I investigate how physical movement in time and space continually alters our perspective on the world. By letting go of the individual perspective and bringing together multiple perspectives in one image, a new layered reality comes into existence.
Katarina Elvén
Sweden
Photography and film have a huge impact on how we create and think about time and space. Our perception of those fundamental parameters is affected by the imagery itself. I am interested in how we read and interpret images, how pictures produce value and manufacture myths. Using film and photography, I explore questions about aesthetics, surface and style, how the construction of the image is used to provoke feelings such as desire or a sense of uncanniness. I am also interested in photography as a technical medium, with its conventions and limitations. This work attempts to tackle visual representations of the object and the ambiguous relationship between image and object. The objects used in these photographs are taken from the commercial sphere. They are objects that relate to the consumption of commodities, but they are not in themselves the actual commodity. I have based the aesthetics on the early advertising photography that developed in Europe in the late 1920s and early 1930s, a visionary aesthetics created by the modernist avantgarde with a strong belief in the close connection between visual form and ideology.
Sweden
Photography and film have a huge impact on how we create and think about time and space. Our perception of those fundamental parameters is affected by the imagery itself. I am interested in how we read and interpret images, how pictures produce value and manufacture myths. Using film and photography, I explore questions about aesthetics, surface and style, how the construction of the image is used to provoke feelings such as desire or a sense of uncanniness. I am also interested in photography as a technical medium, with its conventions and limitations. This work attempts to tackle visual representations of the object and the ambiguous relationship between image and object. The objects used in these photographs are taken from the commercial sphere. They are objects that relate to the consumption of commodities, but they are not in themselves the actual commodity. I have based the aesthetics on the early advertising photography that developed in Europe in the late 1920s and early 1930s, a visionary aesthetics created by the modernist avantgarde with a strong belief in the close connection between visual form and ideology.
Émile Hyperion Dubuisson (France, 1976) studied photography at the International Center of Photography (New York). He has exhibited at the New York Photo Festival (2009), and in 2008 was selected for the Descubrimientos (competition for young photographers), at the Photo España festival. He lives in New York. www.emilehyperiondubuisson.com
Andrey Bogush (Russia, 1987) lives in Finland. Following psychology studies in Saint Petersburg, he studied visual arts at Saimaa University of Applied Sciences / Fine Arts, Imatra in Finland.
Kim Boske (The Netherlands, 1978) studied art at the Royal Academy of Art in The Hague. She took part in the group exhibitions ‘Quickscan NL#01’ (Nederlands Fotomuseum, Rotterdam, 2010) and ‘Mapping’ (FOAM, 2009), as well as the 2009 Plat(t)form (annual selection of 42 portfolios by European photographers) at the Fotomuseum Winterthur. She lives and works in Amsterdam.
Katarina Elvén (Sweden, 1972) studied set design at the School of Design in Denmark, then photography at the University of Gothenburg (Sweden), finishing off her studies with a masters in art and architecture. She recently completed a commission for a video for the Gothenburg Concert Hall.
Ina Jang
South Korea / USA
I make images that are minimal and two-dimensional by layering people, places and things to precisely execute ideas, but with the intention of discarding information. As I want the ideas to be tangible, the process becomes rigorously physical and related to my personal experience in terms of making photographs; it often contains cutting, gluing and pasting mundane objects from real life, such as paper and cotton balls. The photographs are often figurative and unidentified, casting a suspicion upon the photograph’s agenda. I allow the viewers to question whether they are truly subjects or merely objects. I strive to depict an image that remains pristine and foreign to the viewers. My works explore concepts of photography and its physicality, while their contents rely hugely on a playful mind, inspired by the time I spent with my sister when we were isolated from family and friends. During this time, I developed a way of escaping from the desolation and existential ennui.
South Korea / USA
I make images that are minimal and two-dimensional by layering people, places and things to precisely execute ideas, but with the intention of discarding information. As I want the ideas to be tangible, the process becomes rigorously physical and related to my personal experience in terms of making photographs; it often contains cutting, gluing and pasting mundane objects from real life, such as paper and cotton balls. The photographs are often figurative and unidentified, casting a suspicion upon the photograph’s agenda. I allow the viewers to question whether they are truly subjects or merely objects. I strive to depict an image that remains pristine and foreign to the viewers. My works explore concepts of photography and its physicality, while their contents rely hugely on a playful mind, inspired by the time I spent with my sister when we were isolated from family and friends. During this time, I developed a way of escaping from the desolation and existential ennui.
Ina Jang (South Korea, 1982) lives and works in New York. A graduate of the School of Visual Arts in New York, she has exhibited her work in the New York Photo Festival 2010 and in the 2010 Humble Arts Foundation group show. www.inaphotography.com
Anouk Kruithof
The Netherlands / Germany
The Daily Exhaustion is a small newspaper (48 pages, 19.5 x 27.5 cm), which contains 23 self-portraits of an obsessed workaholic artist who has reached the sweaty emotional state of exhaustion. When you browse through the publication, you will pass through a gradual colour spectrum, which I see as the stratification of human energy. The Daily Exhaustion confirms that a photo or a photo series is invented as a conscious construct, but simultaneously converts that statement into a question, because the pictures are credible and honest. This causes confusion and raises the question of what The Daily Exhaustion actually is.
The Netherlands / Germany
The Daily Exhaustion is a small newspaper (48 pages, 19.5 x 27.5 cm), which contains 23 self-portraits of an obsessed workaholic artist who has reached the sweaty emotional state of exhaustion. When you browse through the publication, you will pass through a gradual colour spectrum, which I see as the stratification of human energy. The Daily Exhaustion confirms that a photo or a photo series is invented as a conscious construct, but simultaneously converts that statement into a question, because the pictures are credible and honest. This causes confusion and raises the question of what The Daily Exhaustion actually is.
Anouk Kruithof (The Netherlands, 1981) studied photography at the St. Joost Academy of Art in Breda. She settled in Berlin following an artist’s residency at the Künstlerhaus Bethanien in 2008–2009. She recently exhibited her work at the Nederlands Fotomuseum, Rotterdam (‘Quickscan NL#01’, 2010). www.anoukkruithof.com
Mårten Lange
Sweden / United Kingdom
There is an inherent surrealism in photography that interests me. At first glance, most photographs seem to make perfect sense. But where everything in a photograph is accounted for, nothing is really explained. The medium that was created to give us answers about the world has created a world of its own.
In my photographic practice, I gather pieces of the material world and translate them into photographs. Using these fragments, I construct a narrative of sorts, exploring my experience of reality. I am interested in the medium itself and the pleasure of looking. For me, photography is a tool both for questioning and celebrating the material world.
Sweden / United Kingdom
There is an inherent surrealism in photography that interests me. At first glance, most photographs seem to make perfect sense. But where everything in a photograph is accounted for, nothing is really explained. The medium that was created to give us answers about the world has created a world of its own.
In my photographic practice, I gather pieces of the material world and translate them into photographs. Using these fragments, I construct a narrative of sorts, exploring my experience of reality. I am interested in the medium itself and the pleasure of looking. For me, photography is a tool both for questioning and celebrating the material world.
Mårten Lange (Sweden, 1984) lives in London. A graduate of the University of Gothenburg (photography), he is currently studying at the University for the Creative Arts, Farnham (United Kingdom). He has exhibited at the SI FEST in Savignano, Italy (2010) and at the Hasselblad Center, Gothenburg, (2009), and has had four books published by Farewell Books (Crows, Anomalies, Machina, Woodland). www.martenlange.com
Marie Quéau
France
I work with the limits of photography, and play with its indicial character. Thus, this work presents images of an island that I have never visited and of which there are only a very few representations. This body of images is built around my fantasies as a Westerner about the Japanese island of Oshima, home of the Gojira monster. In Japanese movies from the 1960s, this prehistoric lizard served both as a metaphor of the United States and an allegory of nuclear weapons in general. The frightening beast was the product of nuclear testing and embodied the
fear of numerous Japanese people towards the bombings that occurred in 1945. This series deals with my personal vision of the island through its myths, its history and its landscapes. By means of assembly, editing and collage, I am able to create the right image of a place I have never been to. In my work, I especially try to focus on questions of scale and proportion, which is a way of reminding us that the atomic bomb connects the very small to the very powerful. Each picture offers no context at all: an air strike and simple darts, a sunset or bomb hitting the ground, tourists bathing in a corner of the sea, and victims of a shipwreck caused by the monster. This work uses a variety of styles and cultural references to sketch the outlines of the island of Oshima, home to the Gojira monster, and its history.
France
I work with the limits of photography, and play with its indicial character. Thus, this work presents images of an island that I have never visited and of which there are only a very few representations. This body of images is built around my fantasies as a Westerner about the Japanese island of Oshima, home of the Gojira monster. In Japanese movies from the 1960s, this prehistoric lizard served both as a metaphor of the United States and an allegory of nuclear weapons in general. The frightening beast was the product of nuclear testing and embodied the
fear of numerous Japanese people towards the bombings that occurred in 1945. This series deals with my personal vision of the island through its myths, its history and its landscapes. By means of assembly, editing and collage, I am able to create the right image of a place I have never been to. In my work, I especially try to focus on questions of scale and proportion, which is a way of reminding us that the atomic bomb connects the very small to the very powerful. Each picture offers no context at all: an air strike and simple darts, a sunset or bomb hitting the ground, tourists bathing in a corner of the sea, and victims of a shipwreck caused by the monster. This work uses a variety of styles and cultural references to sketch the outlines of the island of Oshima, home to the Gojira monster, and its history.
Marie Quéau (France, 1985) lives and works in Arles. A graduate of the Ecole Nationale Supérieure de Photographie, Arles, she was awarded a distinction at the Prix de la Ville de Levallois in 2009. www.mariequeau.com
Awoiska van der Molen
The Netherlands
My photography focuses on situations and locations remote to the hurlyburly of everyday life. I photograph mostly at night, when my senses are not distracted by the daily influences of an urban environment. Under such circumstances, an intangible, ethereal aura of a certain location can catch my attention. A present absence of elements that is not easy to define. A kind of genius loci. I try to translate the intensity of such atmospheres into black and white images, images that are simultaneously topographical and psychological landscapes. I move along the edges of anonymous cities, or let myself be absorbed by remote, exotic, natural landscapes, landscapes devoid of almost any architecture. I focus on earth and soil: the essence of our origin. Later, the printing of gelatin silver prints in the darkroom becomes an important part of the process. This way, the isolation and concentration I experience while photographing are transferred to the darkroom.
The Netherlands
My photography focuses on situations and locations remote to the hurlyburly of everyday life. I photograph mostly at night, when my senses are not distracted by the daily influences of an urban environment. Under such circumstances, an intangible, ethereal aura of a certain location can catch my attention. A present absence of elements that is not easy to define. A kind of genius loci. I try to translate the intensity of such atmospheres into black and white images, images that are simultaneously topographical and psychological landscapes. I move along the edges of anonymous cities, or let myself be absorbed by remote, exotic, natural landscapes, landscapes devoid of almost any architecture. I focus on earth and soil: the essence of our origin. Later, the printing of gelatin silver prints in the darkroom becomes an important part of the process. This way, the isolation and concentration I experience while photographing are transferred to the darkroom.
Awoiska van der Molen (The Netherlands, 1972) is based in Amsterdam. She studied architecture at the ABK Minerva school in Groningen, then photography at the St. Joost Academy of Art, Breda. She recently took part in the group exhibitions ‘A Touch of Dutch’ (DZ Bank, Frankfurt), ‘Stip 2010’ (Centraal Museum Utrecht) and ‘Quickscan NL#01’ (Nederlands Fotomuseum, Rotterdam). During 2011, her work will be exhibited as part of the Alt.+1000 festival in Switzerland. www.awoiska.nl
Marc Philip van Kempen
The Netherlands / Germany
In my work, I try to explore the border between photography, new media nd sculpture. In this exploration I’m searching for overlaps between angibility and virtuality. Much of my work consists of mages that I take from various sources, such as the internet and television.
I make life-size, three-dimensional reconstructions of these images in order to take them out of their virtuality, and to give them a more physical relation to their surroundings. I then make (analogue) photographs of these settings. An important question in my work is how an image relates to its surroundings. In many contemporary media, it seems like images have no principle relationship to their surroundings. In contrast to cinemas, theatres, galleries, museums and churches, it can seem as if the images on television, internet, iPhone/Pod/Pad and other contemporary media and mobile supports exist in an autonomous zone within the fluctuating surroundings of the mass media. But I believe that strong emotional ties are constantly forged and broken between the image and the spaces it pops up in and disappears from.
I would like to address these ties in my work.
The Netherlands / Germany
In my work, I try to explore the border between photography, new media nd sculpture. In this exploration I’m searching for overlaps between angibility and virtuality. Much of my work consists of mages that I take from various sources, such as the internet and television.
I make life-size, three-dimensional reconstructions of these images in order to take them out of their virtuality, and to give them a more physical relation to their surroundings. I then make (analogue) photographs of these settings. An important question in my work is how an image relates to its surroundings. In many contemporary media, it seems like images have no principle relationship to their surroundings. In contrast to cinemas, theatres, galleries, museums and churches, it can seem as if the images on television, internet, iPhone/Pod/Pad and other contemporary media and mobile supports exist in an autonomous zone within the fluctuating surroundings of the mass media. But I believe that strong emotional ties are constantly forged and broken between the image and the spaces it pops up in and disappears from.
I would like to address these ties in my work.
Marc Philip van Kempen (The Netherlands, 1979). A graduate of the Gerrit Rietveld Academie and the University of Amsterdam, he lives in Berlin. His work was recently exhibited at the Huis Marseille (‘AAP-lab’, 2010) and the Salon 2060, Antwerp (2010). www.mpvk.org
2011 Jury
Magdalene Keaney
is a curator and writer. Formerly a curator at the Australian National Portrait Gallery, she held a research fellowship with the photography collection at the Victoria & Albert Museum and subsequently worked with the fashion photography agency M.A.P (Management and Production). She has written widely on photography including for Acne Paper, Aperture, Chinese Vogue, Portfolio, Photofile and Exit magazines. Her first book, World’s Top Photographers: Fashion and Advertising was published by RotoVision in 2007. Keaney was Associate Curator of Photographs at the National Portrait Gallery, London, where she curated Irving Penn Portraits (2010) and was the author of the catalogue accompanying the exhibition. She is currently Curator and Creative Director of the Fashion Space Gallery at London College of Fashion.
Winfried Heininger
lives and works as a designer and publisher in Baden, Switzerland. He has a long-time experience in the different fields of the publishing industry, namely design, editing, and publishing. He was the co founder and co-owner of Schaden.com in Cologne. In 2000 he won the Swiss Expo.02 competition and co designed and developed the uniforms/outfits for the entire staff. In 2007, he established Kodoji Press in Baden, a new publishing house devoted to photography and art. Currently, he regularly conducts workshops in editing at the ECAL, University of art and design Lausanne, Switzerland, and lectures at various other schools. His books have been awarded such as The Most Beautiful Swiss Books, Prix du Livre, Rencontres d‘Arles, Best Book Design from all over the World, German Photo Book Prize and in 2010 Kodoji Press received the Publisher Prize at Salon Light in Paris.
Tom Watt is the art director of the contemporary art publication ArtReview. He commissions and directs fashion and art photographers alike, recognizing the cultural crossovers and bringing together the energy of both in the creation of an aggressively contemporary publication. Working with an established network of artists and photographers, alongsideemerging talent, Tom has proven experience creating iconic imagery and identities for leading brands and magazine titles.
Jennifer Pastore
is the Photo Director of Teen Vogue Magazine, which she joined in 2008 after working for T: The New York Times Style Magazine as the Associate Photo Editor. In addition to her work at Teen Vogue, Jennifer is on the board of The Society of Publication Designers and was recently the Photography Chair of the SPD biennial photography and illustration auction. In addition, she teaches in the BFA photography program at Parsons The New School for Design. Her work has been recognized by American Photography, The Society of Publication Designers, Graphis, The American Society of Magazine Editors, Photo District News and the Society of Newspaper Design.
Exhibition curator and art historian Nathalie Herschdorfer specialises in photography. She is director of the Alt. +1000 (Switzerland) film festival and exhibition curator for the Foundation for the Exhibition of Photography (Minneapolis, Paris, Lausanne), and has been curator of the Musée de l’Elysée, Switzerland, for twelve years. Her numerous exhibitions have led her to collaborate with renowned photographers (Leonard Freed, Ray K. Metzker, Valérie Belin, etc.) and prestigious museums (the Kunsthaus in Zurich, the Jeu de Paume in Paris, the Museo Nacional Reina Sofía in Madrid, the Fondation Aperture in New York, etc.). Her projects include several contemporary photography group exhibitions (‘Teen City, l’aventure adolescente’; ‘Faire Face, la mort du portrait’; ‘reGeneration, photographes de demain’). She is the author of the book Afterwards: Contemporary Photography Confronting the Past, to be published by Thames & Hudson, London, in 2011. She is currently working on a large fashion photography exhibition organised by the Foundation for the Exhibition of Photography, a show will tour in Europe and the United States in 2012
Colette Olof
has been working as a curator at Foam since 2002 and in this role she has initiated successful exhibitions such as the retrospectives by Guy Bourdin, Lee Miller & Man Ray (2004), Henri Cartier-Bresson (2005) and Ari Marcopoulos (2009). She has also been responsible for group exhibitions such as The Kate Show (2006) and Photography – in reverse (2009). Together with the French photographer JR and fashion designer and photographer Hedi Slimane (2007) she produced exciting installations inside and outside of the museum. Her qualities as a curator lie with signalling new trends in photography and new media, and scouting for young and talented photographers. In Foam 3h Olof shows every six weeks a young and promising m(inter)national talent. She is responsible for the collection and the library of Foam as well. Olof is also much in demand as a speaker, jury member and portfolio reviewer at photography events, such as the Steenbergen Stipendium, Photo Espana and Picture Berlin.
Yannick Bouillis
is the founder of Offprint (Amsterdam & Paris), an Artist book fair for photo-publications. After having studied philosophy (Tuebingen, Germany), he became journalist for Asahi Shimbun, leading japanese daily newspaper, in Paris. Bouillis’ speciality was Politics and Foreign policies. In 2007, he started Shashin.nl, an online bookshop specialised in Dutch publications from independant publishers and Academies. In May 2011, he will launch an Art book fair for Contemporary art publishers in Amsterdam. He gives lectures about Contemporary photography, Artist books and Publishing strategies. He lives currently in Amsterdam.
Faye Dowling
is the photographic editor of Dazed & Confused. where she works with both emerging and world renowned photographers across fashion, editorial and art. Faye has also worked as a photography editor and art buyer for Winkreative, Frieze, Varoom, Eye and Pictured, as a photography lecturer at London College of Fashion and as a curator of projects such as the New Photographers showcase and exhibitions such as This Modern Life at Senko Studio. Her forthcoming title The Book of Skulls will be published by Laurence King in Autumn 2011.
Magdalene Keaney
is a curator and writer. Formerly a curator at the Australian National Portrait Gallery, she held a research fellowship with the photography collection at the Victoria & Albert Museum and subsequently worked with the fashion photography agency M.A.P (Management and Production). She has written widely on photography including for Acne Paper, Aperture, Chinese Vogue, Portfolio, Photofile and Exit magazines. Her first book, World’s Top Photographers: Fashion and Advertising was published by RotoVision in 2007. Keaney was Associate Curator of Photographs at the National Portrait Gallery, London, where she curated Irving Penn Portraits (2010) and was the author of the catalogue accompanying the exhibition. She is currently Curator and Creative Director of the Fashion Space Gallery at London College of Fashion.
Winfried Heininger
lives and works as a designer and publisher in Baden, Switzerland. He has a long-time experience in the different fields of the publishing industry, namely design, editing, and publishing. He was the co founder and co-owner of Schaden.com in Cologne. In 2000 he won the Swiss Expo.02 competition and co designed and developed the uniforms/outfits for the entire staff. In 2007, he established Kodoji Press in Baden, a new publishing house devoted to photography and art. Currently, he regularly conducts workshops in editing at the ECAL, University of art and design Lausanne, Switzerland, and lectures at various other schools. His books have been awarded such as The Most Beautiful Swiss Books, Prix du Livre, Rencontres d‘Arles, Best Book Design from all over the World, German Photo Book Prize and in 2010 Kodoji Press received the Publisher Prize at Salon Light in Paris.
Tom Watt is the art director of the contemporary art publication ArtReview. He commissions and directs fashion and art photographers alike, recognizing the cultural crossovers and bringing together the energy of both in the creation of an aggressively contemporary publication. Working with an established network of artists and photographers, alongsideemerging talent, Tom has proven experience creating iconic imagery and identities for leading brands and magazine titles.
Jennifer Pastore
is the Photo Director of Teen Vogue Magazine, which she joined in 2008 after working for T: The New York Times Style Magazine as the Associate Photo Editor. In addition to her work at Teen Vogue, Jennifer is on the board of The Society of Publication Designers and was recently the Photography Chair of the SPD biennial photography and illustration auction. In addition, she teaches in the BFA photography program at Parsons The New School for Design. Her work has been recognized by American Photography, The Society of Publication Designers, Graphis, The American Society of Magazine Editors, Photo District News and the Society of Newspaper Design.
Exhibition curator and art historian Nathalie Herschdorfer specialises in photography. She is director of the Alt. +1000 (Switzerland) film festival and exhibition curator for the Foundation for the Exhibition of Photography (Minneapolis, Paris, Lausanne), and has been curator of the Musée de l’Elysée, Switzerland, for twelve years. Her numerous exhibitions have led her to collaborate with renowned photographers (Leonard Freed, Ray K. Metzker, Valérie Belin, etc.) and prestigious museums (the Kunsthaus in Zurich, the Jeu de Paume in Paris, the Museo Nacional Reina Sofía in Madrid, the Fondation Aperture in New York, etc.). Her projects include several contemporary photography group exhibitions (‘Teen City, l’aventure adolescente’; ‘Faire Face, la mort du portrait’; ‘reGeneration, photographes de demain’). She is the author of the book Afterwards: Contemporary Photography Confronting the Past, to be published by Thames & Hudson, London, in 2011. She is currently working on a large fashion photography exhibition organised by the Foundation for the Exhibition of Photography, a show will tour in Europe and the United States in 2012
Colette Olof
has been working as a curator at Foam since 2002 and in this role she has initiated successful exhibitions such as the retrospectives by Guy Bourdin, Lee Miller & Man Ray (2004), Henri Cartier-Bresson (2005) and Ari Marcopoulos (2009). She has also been responsible for group exhibitions such as The Kate Show (2006) and Photography – in reverse (2009). Together with the French photographer JR and fashion designer and photographer Hedi Slimane (2007) she produced exciting installations inside and outside of the museum. Her qualities as a curator lie with signalling new trends in photography and new media, and scouting for young and talented photographers. In Foam 3h Olof shows every six weeks a young and promising m(inter)national talent. She is responsible for the collection and the library of Foam as well. Olof is also much in demand as a speaker, jury member and portfolio reviewer at photography events, such as the Steenbergen Stipendium, Photo Espana and Picture Berlin.
Yannick Bouillis
is the founder of Offprint (Amsterdam & Paris), an Artist book fair for photo-publications. After having studied philosophy (Tuebingen, Germany), he became journalist for Asahi Shimbun, leading japanese daily newspaper, in Paris. Bouillis’ speciality was Politics and Foreign policies. In 2007, he started Shashin.nl, an online bookshop specialised in Dutch publications from independant publishers and Academies. In May 2011, he will launch an Art book fair for Contemporary art publishers in Amsterdam. He gives lectures about Contemporary photography, Artist books and Publishing strategies. He lives currently in Amsterdam.
Faye Dowling
is the photographic editor of Dazed & Confused. where she works with both emerging and world renowned photographers across fashion, editorial and art. Faye has also worked as a photography editor and art buyer for Winkreative, Frieze, Varoom, Eye and Pictured, as a photography lecturer at London College of Fashion and as a curator of projects such as the New Photographers showcase and exhibitions such as This Modern Life at Senko Studio. Her forthcoming title The Book of Skulls will be published by Laurence King in Autumn 2011.
Photography
- Artists' Opportunities
April 2011
