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Fri 11 Sep 2026 08.00 CEST
From the series An Exploration of Resilience and Resistance (ongoing)
Kali Spitzer’s long-term project brings a profoundly historic awareness to the medium, through her perspective as an Indigenous queer woman living on the traditional unceded ancestral lands of the Musqueam, Squamish and Tsleil-Waututh peoples. Mobilising analogue processes, her work reignites the strong sense of presence so powerfully felt in early photographic portraiture. At the centre of this work are collaborators; friends, family and members of the native community who have agreed to participate in this exchangePhotograph: Kali Spitzer
On War & Displacement (2023-ongoing)
‘This project emerges from my own personal experience of war, one that extends beyond a singular event into an ongoing condition, reshaping my relationship to place, body and memory,’ writes Hashim Nasr. ‘War is approached not as a distant political moment, but as a force that continues to reorganise life even from afar, while displacement becomes an internal state carried within the body. In this context, the idea of home shifts from a fixed geography to a fragile psychological space, constructed through memory, longing and imagination. The work does not attempt to recover what has been lost, but instead reflects on how one lives alongside absence’ Photograph: Hashim Nasr
Majd Arandas (1994-2023) A Memorial in Fragments
Palestinian photographer Majd Arandas was killed by an Israeli airstrike near his home in Deir al-Balah in central Gaza on 1 November 2023. Arandas’s posthumous images, retrieved by his brother, offer fragmented glimpses of his life up until his tragic death. Here, traces speak to a life marked by the quiet gestures of affection and the subtle exchanges of carePhotograph: Majd Arandas
The Salt Ate Away Her Eyes
A documentary project that intimately traces the lives of the blind parents of artist Amera Elnaal in Tripoli, Libya. It stems from her childhood practice of narrating the world to them, describing colours, films and faces, offering them stories in place of sight. Through quiet yet powerful scenes, she documents their daily rhythms and their resilience in the face of a world that has often ignored or misunderstood themPhotograph: Amera Elnaal
From the series Brabant (2025–ongoing)
Eva Roefs was born and raised in Loosbroek, a small village in Brabant in the Netherlands, with just 1,020 inhabitants. Returning to her birthplace 20 years later, Roefs connects her own memories with observations of contemporary Brabant. She turns her gaze to its inhabitants, with particular attention on the young people growing up there now.It is this group who experience uprooting while searching for connection, where generational shifts and new identities become visible. The outcome is a visual story hovering between reality and the imaginationPhotograph: Eva Roefs
Los Hijos de Pariacaca (Sons of Pariacaca) (2018–ongoing)
The story of Pariacaca’s adventures and those of his children are told in the Huarochirí manuscript, which was compiled towards the end of the 16th century, under Spanish colonialism. Originally written in Quechua, it represents the only surviving record documenting pre-Hispanic cultures and belief systems. Within this photographic series, Prin Rodriguez imagines Pariacaca’s children’s adventures into the present, across generations, within the territory that is now PeruPhotograph: Prin Rodriguez
Sonechko, Yak Ty? (Sunshine, How Are You?) (2023–2024)
The project traces childhood memory and post-Soviet identity through staged photographs and reworked family archives. Born in Dnipro, eastern Ukraine, five years after the collapse of the Soviet Union, Varvara Uhlik grew up among the remnants of Soviet influence with an evolving sense of self. The work represents that process of emotional and cultural renewal in the face of a lingering pastPhotograph: Varvara Uhlik
A Mind in the past, Eyes on Tomorrow (2025)
‘On 8 December 2024, the Assad regime fell in Syria. After decades of dictatorship and years of intense war, it was a day that, like many Syrians, I never expected to witness,’ writes Fouad Hallak. ‘I left Syria in 2016 because of the regime’s violence and came to the Netherlands seeking refuge. For years, I could not go back. But when the regime fell, I knew I had to return. Returning was not just a physical journey; it was an emotional one. I wanted to reconnect with the streets, memories, people, and places from my past’Photograph: Fouad Hallak
The Clear Image of Paradise
This series of photographs centres on the parallel worlds children create to escape reality. Although inspired by Judit Gyuricza Osváth’s personal memories, the scope is broader, aiming for familiarity and shared experience. She draws on the different ways children build their fantasy worlds: dressing up, constructing hideouts and inventing stories. The backdrop is the artist’s childhood garden, understood as both a physical place and a symbolic shelter. It is an inner world to retreat into when the real world feels unpredictable and overwhelmingPhotograph: Judit Gyuricza Osváth
Seance, (2001–ongoing)
For over two decades, Shannon Taggart has been documenting the legacy and lived experience of spiritualist practices across the US and Europe. The story of spiritualism has mostly been told with a mix of fascination, fear and even ridicule. Yet Taggart approached the subject with boundless curiosity and an eye for the uncanny. Her photographs show ongoing practices including mediumistic seances, the paraphernalia of psychic research and the use of telecommunications technologies to send and receive messages to and from the afterlifePhotograph: Shannon Taggart
27 Drafts, 2024
‘In 2006, while in the United States during an exchange year in high school, I was sexually abused by two of my peers,’ writes Simone Engelen. ‘For years, I tried to bury everything connected to that experience. In 2022, I returned to the US with my mother, retracing the journey as a road trip. It was only through the lens that I found the courage to confront an event that had shaped my life so profoundly. The title refers to 27 unfinished letters, each addressed to the boys who abused me. The work traces a fragmented process of remembering and confronting something that had remained unspeakable for years’Photograph: Simone Engelen
Nowruz Sayadeen
Once a year on the Iranian island of Qeshm, a magical spectacle unfolds. The celebration of Nowruz Sayadeen or the fishermen’s new year. On this day the village’s primary source of livelihood comes to a standstill out of respect for nature’s bounty. The spectacle brings a cast of extraordinary characters. Together they tell a story that has no specific plot, yet is understood by all those present. Huda Abdulmughni captures the various characters, offering us a glimpse of how the community finds solidarity and resilience in tradition, community and naturePhotograph: Huda Abdulmughni
It Means Everything Because This is Who I Am, 2025
Yvela Jessica was born in Haiti and adopted by a white family in the Netherlands. Growing up as a Haitian adoptee in a predominantly white environment left her with questions about her identity. The seriesis an ongoing exploration of identity and human connection, driven by curiosity and shaped by experiences of loss. By re-examining romanticised narratives around adoption, the work speaks to people who question where they truly belongPhotograph: Yvela Jessica
Tadween
‘Tadweenis an Arabic word meaning both “to record” and, colloquially in Sudan, “shelling”,’ writes Mosab Abushama. ‘This is an ongoing multimedia project documenting everyday life during the war in Sudan. Through photographs, audio recordings, videos and personal diaries created between 2018 and 2024, the project traces the transformation of ordinary life through revolution, displacement, conflict and migration. I document moments of resilience, community kitchens, family gatherings, weddings and acts of mutual aid that persist amid violence and uncertainty’Photograph: Mosab AbushamaExplore more on these topics
