PREVIEW Foam Magazine #50, Water

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Carrier Barrier Source

FOCUS ESSAYS 20 Introduction 96 Carrier 156 Barrier 227 Source




















25 Masahisa Fukase 37 Elspeth Diederix 51 Boomoon 59 Gideon Mendel 69 Take Me To The Water 81 Katy Grannan 103 John Akomfrah 121 Benoit Aquin 133 Mandy Barker 147 Nadav Kander 165 Julio Bittencourt 173 Ola Lanko 183 Barbara Signer & Michael Bodenmann 201 Yoshiyuki Iwase 213 Meghann Riepenhoff 233 Nishant Shukla 249 Boris Mikhailov 259 Jan Rosseel

I’m starting to believe the ocean’s much like you... cause it gives, and it takes away ≈ open water, thrice

Water is as broad and vast as photography itself can be. This issue celebrates the beauty and vital role water plays in our everyday lives. It brings into focus the value that is added to this liquid, either as a ritualistic cleanser or as a forceful means of feeding the political and commercial interests of our time. If we can speak of a point of orientation or inquiry in this fluidity of images, meanings and critical thoughts, it is our triple axis of water as carrier, barrier, and source.


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INTERVIEW with Teju Cole by Adam Bell

by Marcel Feil

156 165

Text by Hinde Haest


Alessandro Calabrese Hannah Whitaker



Jason Evans Azu Nwagbogu Penelope Umbrico William Kentridge

of Lucy Kumara Moore



Text by Frank van der Stok


BOOMOON Text by Tim Clark






Text by William J. Simmons

CARRIER: Moving Seas Text by Stefanie Hessler

103 JOHN AKOMFRAH Text by T.J. Demos


BENOIT AQUIN Text by Mirjam Kooiman




NADAV KANDER Text by Mariama Attah


213 227

MEGHANN RIEPENHOFF Text by Caroline von Courten

SOURCE: When the Water Falls Text by Æsa Sigurjónsdóttir

233 NISHANT SHUKLA Text by Aveek Sen


Text by Ben Burbridge



Text by Oddný Eir

Text by Karin Bareman



Text by Anita Paz


Text by Eugenie Shinkle

Text by Thyago Nogueira

Text by Mark Sealy


BARRIER: Fluid Topographies

BORIS MIKHAILOV Text by Daria Tuminas


JAN ROSSEEL Text by Kim Knoppers

Marloes Krijnen Editor-in-Chief



The question of why we are devoting an entire issue of Foam Magazine to the subject of water is not easy to answer. A simple response would be that water is a prerequisite for life on our planet. Nothing can live without it. The history of water connects the cells of our bodies and all living creatures on earth to the oceans, rivers, icecaps, rain, and with water as it reliably pours out of the taps and, equally reliably, disappears down the drain. Water is taken for granted, a part of our lives about which we ask few questions, until we find ourselves without it. Humankind’s dealings with water have always represented one of our greatest challenges. Water has been responsible for both the creation and the destruction of civilisations, and this will be no less true in the future. Ultimately, every individual inhabitant of the earth needs to take a share of the responsibility for dealing wisely with this magical liquid. Because magical it is. Water is in motion, water is life, whether in the scientific context of major hydrological cycles or in the experience of a visitor making a pilgrimage to Lourdes, seeking holy water. Water is both nature and culture. Almost every creation story begins with water. It has biological, chemical, ecological, economic, political and ­social components. It is also inextricably bound up with religion and spirituality, with myths, legends and stories.

In the early research phase, we discovered a wealth of beautiful, emotional, nostalgic, provocative and political ­projects. We selected the ones that stood out the most to us, regardless of whether they were photographed in 1986 or 2018, in fact perhaps even because of their timeless quality. There is also an unintentional, but wholly embraced, Icelandic connection to the theme of water. Think of Roni Horn’s artworks, presented in the theme text, and the Library of Water that she initiated in Iceland or Boomoon’s exploration of the immensity of Icelandic glaciers and waterfalls. More literal is the portfolio when you travel in Iceland you see a lot of water, based on a rambling walking trip by Swiss artist Roman Signer and Icelandic artist Tumi Magnússon, and photographed by Signer’s daughter Barbara. We also tried to incorporate what you might call this Icelandic voice through Æsa Sigurjónsdóttir’s focus ­essay and a portfolio essay by renown Icelandic novelist Oddný Eir. This issue also sees the reintroduction of two editorial favourites: On My Mind presents images that have been playing on the minds of our contributors lately, while Bookshelf gives us the chance to share recently published and overlooked favourites from one of our friends in the photobook-loving world. The continuous flow of portfolios in this issue, which contrasts with the chapter

structure of previous issues, is a nod to the free nature of water itself. The three focus essays float in this steady stream of portfolios, offering a kind of contextual resting place. Taken together, the portfolios offer a powerful and varied impression of the richness of photography and of water. Even more importantly, they show how we humans have tried to relate to our ultimate source of life over the centuries. This issue raises questions and prompts further thought, but above all it provides a great deal of visual and reading pleasure.


Masahisa Fukase

Bukubuku For the last 20 years of his life, the work of Japanese artist Masahisa ­Fukase (1934, Hokkaido) remained largely ­inaccessible as a tragic accident left the artist in a coma until his death in 2012. The archives have since been gradually opened, revealing a wealth of material which had never been seen before. In addition to his seminal body of work Ravens, the Masahisa Fukase Archives contain a large number of important photo series, publications and documentation dating from the 1950s to 1992. Throughout the years, his second wife Yoko, his father, his artist friends, and beloved cat Sasuke featured in often playful, sometimes melancholic ­series, some of which developed over the course of several decades. Towards the end of his working life, the artist himself increasingly appeared in front of the lens. Among the materials that surfaced in the archive, in the form of prints, contact sheets, and negatives, were hundreds of self-portraits taken with a waterproof camera by the then nearly 60-year-old artist, in his bathtub. The unpretentious series title Bukubuku is the Japanese onomatopoeia for ‘bubbling’. We see the artist blowing ­bubbles and performing in his bathtub. The ­water acts as a mirror, doubling and distorting his face to form unusual compositions. The playfulness and uninhibited manner in which Fukase approached photography threads throughout his entire oeuvre. It is no coincidence that Fukase’s first publication was titled Yugi (Homo Ludence) (1971), presumably a ­ fter the famous 1938 book Homo Ludens by Dutch cultural theorist Johan ­Huizinga, in which the concept of play was presented as a pillar of civilisation. Bukubuku was shot daily over the ­ period of one month. As often in the later work of Fukase, the date is visible on the print, giving the sequence the feel of a somewhat peculiar diary. Yet the digital stamp also emphasises the

p. 25 passing days that Fukase spent in solitude and isolation, producing an incredible volume of images that verges on the obsessive. However playful Fukase’s images, their stories always contain an element of suffering. Death and the passing of time are wittily captured in earlier series such as Family, for which the artist photographed his family in his family’s photo studio year in year out between 1971–75 and 1985-89. For From Window (1974) Fukase photographed his second wife Yoko as she left the house on her way to work. The sequence of gay departures now reads as a painful premonition of their eventual divorce in 1976, which brought Fukase to start his famous ­Ravens series. In the life and images of Fukase, where there is love there is always loss. Wherever there is life, death invariably ­appears. Bukubuku was first exhibited as 119 prints during Fukase’s lifetime in an exhibition titled Private Scenes ’92 in Nikon Salon in Tokyo. Shikei, the Japanese word for Private Scenes, also means ‘death penalty’ or ‘capital punishment’. A morbid pun and a sinister omen

knowing now that the exhibition would open just months before Fukase’s fateful fall down a flight of stairs in a bar in the ‘Golden Gai’ area in Shinjuku. Without becoming symbolic or metaphoric, Fukase’s whimsical snaps embody universal and often paradoxical themes. The portraits in Bukubuku go beyond the self-validation that inspires the average selfie. In 1992, the year Fukase exhibited the series, the artist wrote: ‘For the past three years or so, I have included myself in all of the ­photographs I have taken. I did not intend these as self-portraits, but my interest was in the relationship, or the sense of distance, between me and the phenomena I was photographing.’ (­Aperture 129, 40th Anniversary issue, Fall 1992) Besides a spectacular volume of goofy private snaps and a comprehensive biographical document, the oeuvre of Fukase also holds as a conceptual and performative play on life itself. —— Text by Hinde Haest

All images from the series Bukubuku, 1991 © Masahisa Fukase Archives, courtesy of Michael Hoppen Gallery, London


Katy Grannan

Mystic Lake / Sugar Camp Road “Do not let me think of them too ­often, too much, too fondly,” I ­implored: “let me be content with a temperate draught of this living stream: let me not run athirst, and apply passionately to its welcome waters: let me not imagine in them a sweeter taste than earth’s fountains know.” — Lucy Snowe in Charlotte Brontë’s ­Villette (1853) An essay on Katy Grannan’s work might run the gamut from the Pre-Raphaelites to Sally Mann or, if you want to get abstract, Roni Horn, whose placid forms recall the embodied but glasslike surfaces of Mystic Lake or Sugar Camp Road. You could discuss documentary photography or tableaux photography, or the clichéd “liminal space” so favored by postmodern criticism. You might ­recall Caravaggio’s Narcissus (1597-1599) as a metaphor for the aspirational photograph. It would be hackneyed to compare Grannan to Diane Arbus or Nan Goldin, so you might return to Julia Margaret Cameron instead. However, all I can think about is Lucy Snowe, the heroine of ­Charlotte Brontë’s last novel Villette. Lucy ­endures some trauma to which we are not privy (which she likens to drowning in a recurring dream) and becomes a schoolteacher, as do so many bereaved women of the nineteenth-century. She falls in love with the handsome town doctor, Dr. John Graham ­Bretton, who pays her no mind because she is too plain, and he is too beautiful. So, as do so many bereaved women of the­nineteenth-century, and countless people I know today, Lucy feigns love for the first man who will have her — a fellow schoolteacher whose affection takes on the form of resentment. Like the photograph, Lucy is as aspirational as the rest of us. Archetypes have some truth.

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Lucy knows she is caught in an unrelenting ebb of desire. There will be no complementary flow, except perhaps the tears that dampen her pillow. She asks for temperance, and though she receives it, there is no doubt that the yearning for Dr. John remains. When one is not handsome or remarkable, that interminable gasping of Lucy’s dream becomes commonplace. It is a reversal of the melodramatic exhale of the youth overwhelmed by love. However, this feeling is not at all like drowning. It is rather as if you have never breathed true air. You have only struggled to suck enough sustenance into your lungs from water thickened with algae. You are probably the only person on earth who does not know what air tastes like. Archetypes have some truth. It is hard to know what Grannan’s ­models want, what they long for, and what the water that surrounds them wants. Some­ times the water dirties. It dissects. Other times, it alludes to baptismal p ­ urity, which is itself a transplanting of the body from this world into the s­ piritual world. The water is wholly present and wholly nostalgic, wishing always to be both here and elsewhere. I might d ­ escribe the most desirable lover in this way. He is as present and necessary as a life-giving river, and yet I can only split him or redirect him, but never ­materially alter him like one transubstantiates the Eucharist. In fact, there is often no transformation in photography. There is only the ­sullen and daily acceptance that memory brings nothing back to us and that people are not saviours but simply bodies that coexist with ours. To quote from Joan Didion, “Time passes. Yes, agreed, a banality, of course time passes” (Didion, Blue Nights, 2011, pp. 16-17). Didion ­ultimately comes to the conclusion that it is not so banal. Something about Grannan’s photographs give an impression of a tentative finality, which I know is a problematic fetish, especially

Katy Grannan

within the history of photography. The photograph is said to arrest something forever. Says Roland Barthes, “In the Photograph, the event is never transcended for the sake of something else: the Photograph always leads the corpus I need back to the body I see; it is the absolute Particular, the sovereign Contingency, matte and somehow stupid…” (Barthes, Camera Lucida, 1984 [1980], p. 4). Like Didion, Barthes realises that the photograph is anything but stupid, and Grannan must agree. Stupid is an important word, though, one we would use for the lover who tells us it is over or that it never really began, that lover who finally made us feel like a portrait. It is stupid to cling to glamour. It is stupid to want to be an individual and to dissolve into someone else like photographic emulsion. It is stupid to believe that any representation, any kind of effort indeed, can save me, you, or us. It is stupid to make hysterical metaphors in the service of hysterical hopes. Lauren Berlant sees some value in hysterical hopes, or at least she under­stands why they hurt so much “This view of ‘a life’ that unfolds intact within the intimate sphere represses, of course, another fact about it: the ­unavoidable troubles, the distractions and disruptions that make things turn out in unpredicted scenarios[…]” (­Berlant, ­Intimacy 2,000, p. 1). The photo­graph has always been the privileged vehicle for thinking through such attachments, and we return to photographs when those relation­ships are broken. But we do not return to photographs for truth; we return to confirm what we want to see or to relive what we wanted then. Thus tied more to the ­imagination and less to reality, to picture a life is to picture archetypes and stereotypes of intimacy; there is no way to get out of that. Abigail SolomonGodeau complicates this assertion, “It may well be that the nature [of photography] that speaks to our eyes can be


plotted neither on the inside nor the outside but in some liminal and as yet unplotted space between perception and cognition, projection and identification.” (Solomon-Godeau, ‘Inside/Out’ in Photography After Photo­graphy: Gender, Genre, History, Parsons (ed.), 2017, p. 26). I would argue that this space is liquid and inherently irrational, but not beyond comprehension. It is fluid but bounded, like a blister. Lucy Snowe feels herself drowning in a space between what she loves and what is available to her as someone who is not beautiful or normatively interesting (two privileged identities sought out by the camera). Didion recalls the ice floes that lumber by as she looks out at the river from her dying daughter’s hospital room and mulls over the expanding gulf between the self of now and the self of so long ago (the photograph becomes a reluctant memento). Grannan wraps her subjects in a landscape that seems at once amorous and indifferent (the photo­graph is a site of unrequited longing). Archetypes have some truth, and maybe binaries do too. —— Text by William J. Simmons

In order of appearance: —C orey, Quabbin Reservoir, Barre, MA from the series Sugar Camp Road, 2003 —C assandra, b. 1983 from the series Mystic Lake, 2004 —M eghan, Saw Kill River, ­Annandale, NY from the series Sugar Camp Road, 2002 — Mike, Private Property, New Paltz, NY from the series Sugar Camp Road, 2003 — Jada, Sugar Camp Road, Saxton, PA from the series Sugar Camp Road, 2003 — Jaime, b. 1970 from the series Mystic Lake, 2004 — Ken, b. 1961 from the series Mystic Lake, 2004 All images from the series Sugar Camp Road, 2002-2003 and ­Mystic Lake, 2004 © Katy Grannan, ­courtesy of the artist, Fraenkel ­Gallery, San Francisco, and Salon 94, New York

Mandy Barker


Beyond Drifting Mandy Barker’s series, Beyond ­Drifting: Imperfectly Known Animals draws inspi­ ration from a book by the English ­naturalist John Vaughan Thompson. Published in 1830, Zoological Researches, And Illustrations, Or, Natural History Of Nondescript Or Imperfectly Known ­Animals: In A Series Of Memoirs: I­ llustrated By Numerous Figures explored plankton and marine life in the Cove of Cork in Southern Ireland. Thompson is known as the inventor of the plankton net, a device that allowed him to collect creatures before making observations through a microscope. Darwin took a copy of his book aboard the second ­expedition of the HMS Beagle in 1831. Mandy Barker revisited the same stretch of Irish coastline 185 years later. Objects including coat-hangers, an electrical plug and wire, plastic bottle parts, a six-pack plastic yoke, plastic brush bristles, and a tricycle wheel were collected and photographed using a microscope. The resulting images exploit the strange beauty created by extreme enlargement. That quality is enhanced through the use of multiple exposures, ­creating a sense of movement and accentuate the impression of objects suspended in fluids. Out of date film, faulty cameras, and a deliberate enlargement of photo­graphic grain push the studies away from the clarity typically demanded of scientific illustrations. Contained within the circular frame created by the micro­scope’s ocular lens and illuminated against black backgrounds, the microscopic details take on a spectral, sometimes threatening appearance, like ghosts trapped in crystal balls. When plastics are produced from oil, a carbon-rich raw material resulting from a natural process occurring over millennia is transformed into long-lasting carbon-containing compounds. 10 million tonnes of plastic currently ends up in the oceans each year. By 2050 it is estimated that, when measured by

pressed by artist György Kepes in 1956, when he described an invisible world rendered visible via new imaging technology “The rapid expansion of knowledge and technological development has swept us into a world beyond our grasp the face of nature has grown alien once again. […] our new environment harbors­ strange menacing beasts; invisible ­viruses, ­atoms, meson, protons, cosmic rays, super­sonic waves are harboured by the new environment.” Barker’s series focuses on threats posed by technological production to the natural world.

p. 133 weight, there will be more plastic in the sea than fish. A short text in Imperfectly Known Animals explains that these “[…] particles are not normally visible to the human eye, and their contamination of the food chain reflects an unnatural threat to biodiversity on the planet.” The project is a study of place, but also of time. The pollution of water by plastic is reflected in the ‘imperfections’ in the title of Barker’s project. She explains that the multiple exposures, out of date film and faulty cameras not only eschew scientific precision, they “[…] mirror the compounding defects in nature, while simultaneously reflecting on pioneering discoveries made in our natural world before plastic was introduced.” If Imperfectly Known Animals uses material culture to invoke a sense of time and place, or of place through time, it falls to us to ask: what kind of place and time is this? Thompson’s series speaks of the wonder of nature, of hidden forms and invisible worlds, affectionately observed though microscopes but imperfectly understood. Barker’s series invokes sentiments closer to those ex-

Writing in 2016, Saskia Sassen observed that recent political economy has been characterised by a disturbing tendency towards ‘expulsion’. Late capitalism’s remorseless drive for increased profitability expels human beings from the socio-economic order in much the same way as it powers the destruction of the planet. We are confronted with the horror of the present moment. But we also glimpse the ­potential for an emerging political project, based on new kinds of solidarity. Naomi Klein maps the outlines of this ‘values-based vision’: a social, political and economic order “[...] based on coming together across racial, ethnic, religious, and gender divides, rather than being wrenched further apart, and one based on healing the planet rather than unleashing further destabilising wars and pollution.” For Klein, even “[...] the f­ irmest of nos has to be accompanied by a bold and forward-looking yes.” Viewers troubled by the bleak truths that power Imperfectly Known Animals could do worse than ­direct their sites towards these emerging political horizons. —— Text by Ben Burbridge All images from the series Beyond Drifting: Imperfectly Known Animals, 2017 © Mandy Barker, courtesy of the artist

Nadav Kander Dark Line — The Thames Estuary



Jan Rosseel

A Condensed Atlas of Water in Israel Every year, tens of thousands of Bible tourists travel to Israel to take a trip along the River Jordan, past the Sea of Galilee, also known as Lake Tiberias, to the Dead Sea. These water sources were once the setting against which, or in many cases in which, Bible stories took place. Jesus was baptised by his cousin John with water from the Jordan. He walked on the water of the Sea of Galilee, to reassure his fearful disciples who found themselves in a rickety boat during a storm. On the banks of that same sea, a miraculous catch of fish was made. After his resurrection, an unrecog­nisable Jesus asked his disciples for something to eat. Unfortunately they hadn’t caught any fish that night. Jesus suggested they cast their nets in an unexpected place. They made a bumper catch and the disciples realised it was Jesus standing before them. In A Condensed Atlas of Water in ­Israel, Belgian photographer Jan Rosseel (b. 1979) portrays the ancient basin of the biblical Jordan. When you see the photographs of the bare mountain landscape with that winding stream in the valley — looking in places more like a creek than a great river — the Six-Day War and the politics of water seem far away. Yet that political aspect has an important part to play, as it does in all ­Rosseel’s work. A Condensed Atlas of Water in Israel is a reflection of the journey Rosseel made down the Jordan, from the north of Israel to the south. On the way he crossed the Golan Heights and skirted the Sea of Galilee, ending up at the Dead Sea where the Jordan finally reaches its mouth, at 427 metres below sea level. As in his extensive project Belgian ­Autumn. A Confabulated History (2013), in A Condensed Atlas of Water in Israel Rosseel uses a combination of archive images that he has manipulated, his own documentary photos of the landscape, and pictures fabricated in the studio. The studio photographs show isolated

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plants and stones taken from the landscape he was investigating. As a result of the combination of the three categories of photographs, a visual story with a basis in truth is created that e ­ xists somewhere in between narration and documentation. Memories of h ­ istorical events, how those events live on and how they are shaped into myths are important themes in Rosseel’s oeuvre. They come to the fore in this work-inprogress, which was first presented in the exhibition Power of Water (2014) at Fotodok in Utrecht, the Netherlands. A Condensed Atlas of Water in Israel ­begins on the Golan Heights. Because of its strategic importance for the country’s national security, the modern state of Israel took the region from Syria during the Six-Day War in 1967. Water is of great importance here too. In previous

years the War over Water had taken place, a series of conflicts between I­ srael and its Arab neighbours over control of the Jordan as a source of water. Meltwater and rainwater from the mountains fed the rivers and underground wells with fresh water and was of ­considerable importance for all the neighbouring ­regions, including Israel, the West Bank, Lebanon, Syria and Jordan. The beginning of A Condensed Atlas of Water in Israel i­ s a black-and-white photo of a man who is almost impossible to identify. He turns out to be Eli Cohen, born in Alexandria, who is still regarded in Israel as one of the heroes of the Six-Day War. Cohen adopted a false identity as Kamel Amin Thaabet, and by holding notorious parties at his home he infiltrated the highest circles of Syria’s military and political apparatus. Through his intelligence work he forestalled a Syrian plan to divert the Jordan in a way that would have seriously impacted upon Israel’s water supply. The initiative by Cohen that captured the imagination more than any other was his suggestion that eucalyptus trees should be planted on the Golan Heights. He advised the Syrians to plant the young trees close to every underground bunker and m ­ ortar position, to protect their soldiers against the searing heat of the mountains. ­Because of those eucalyptus trees, the Israeli air force was able unerringly to locate and eliminate Syrian bunkers and mortar positions. Cohen’s cunning intervention made him one of the most appealing spies of the twentieth-century. The eucalyptus trees on the Golan Heights remain as silent witnesses to Cohen’s espionage network. It was in any case a period in which the secret services flourished. A number of the archive images in A Condensed Atlas of Water in Israel are from the Corona Satellite Program, initiated by the CIA, aimed at collecting images of areas that were difficult to access, such as the USSR and China, and indeed the


Jan Rosseel

­ olan Heights. The images were created G between 1959 and 1972 using a camera fixed to a satellite. They were not made public until the 1990s. Rosseel also uses photos from propaganda books about the Six-Day War. We travel with Rosseel past what may be Eli Cohen’s grave. We arrive by night at the Wadi Qelt in the desert of Judea on the West Bank near Jericho, where old irrigation canals can still be found. ­Moving further down the Jordan, we cross an agricultural area that runs parallel to the banks. In this region, more than 2,000 years after ­Jesus’ ­miraculous act, large numbers of tilapia are being farmed. In the impossible dryness of the desert, water from the Jordan is used to breed the fish on large farms in plastic ponds. ­Meanwhile, the desiccated earth cracks open. The landscape around the Dead Sea is ­becoming increasingly dry. Water flowing in from the Jordan largely evaporates there, making the sea a repository of minerals. We have reached the final destination of our journey along the Jordan, ­Israel’s second largest water resource. It’s a journey in which many different impressions and memories are squeezed ­together into a condensed and handy atlas of an area of huge historical, ­religious, cultural and political value, for which water is of essential importance, and about which there is still a great deal to tell. A Condensed Atlas of Water in Israel deserves to grow into An Extensive Atlas of Water in Israel. —— Text by Kim Knoppers

All images from the series A Condensed Atlas of Water in Israel, 2014 © Jan Rosseel, courtesy of the artist and The Ravestijn Gallery

Biographies JOHN AKOMFRAH (b. 1957, GH) is a British artist, film maker and writer. Akomfrah studied at the University of Portsmouth. His works are characterised by their investigations into memory- post-colonialism, temporality and aesthetics, and often explores the experiences of migrant diasporas globally. He was a founding member of the Black Audio Film ­Collective which started in 1982. Akomfrah has had numerous solo exhibitions at venues such as SeMA; Seoul, Museum of Modern Art; New York City and Barbican, London. BENOIT AQUIN (b. 1963, CA) lives and works in Montréal, Canada. He studied at the New England School of Photography. Since then, his work has been exhibited at The National ­Gallery of Canada, Somerset House in London, MOCA in San Diego, ­Montreal Museum of Fine Art, ­Moravieff-Apostal Museum in ­Moscow and Les Recontres de la Photographie, Arles. Aquin’s work is represented in a number of private collections in the United States, Canada, Switzerland and England. He has also participated in the publishing of over a dozen press stories, monographs or photographic essays in order to share his environmental and humanitarian concerns with a broad public and is the first Laureate of the Prix Pictet. He is represented by Galerie Hugues Charbonneau in Montréal. MARIAMA ATTAH (b. 1985, UK) is a photography curator and editor. With a BA in Photography and MA in Museum Studies, her interest in photography is centred on its ability to re-present visual culture and ­history. Before joining the editorial department of Foam Magazine, she was Programme Curator at Photo­works responsible for developing and programming exhibitions and events, including Brighton Photo Biennial and the Jerwood/Photo­ works Awards. She was also editor of ­Photoworks Annual magazine. She has worked with a number of ­national and international artists and previous work roles include Assistant Curator at Compton Verney, Exhibitions and Events Manager at Iniva, and Assistant Officer, Visual Arts at Arts Council England. KARIN BAREMAN (b. 1982, NL) is a London-based writer on photo­ graphy and Curatorial Project ­Manager at Autograph, London. She studied Anthropology and Visual Anthropology in Amsterdam and Manchester, focusing on the relationship between audio-visual ­culture and memories especially in relation to the former USSR. In 2015 she received the ­Milton Rogovin ­Research Fellowship from the Centre of Creative Photo­graphy in Tucson, Arizona for her forthcoming research into the photo­graphic representation of ­Appalachia. Alongside her role at ­Autograph she regularly writes about photography. Bareman’s articles have

been published in Unseen, Of the ­Afternoon, Photoworks, and ­American Suburb X to name a few. MANDY BARKER (b. 1964, UK) is a photographer whose work investigates marine plastic debris in attempt to raise awareness about ­plastic pollution within the oceans, highlighting the effect on marine life and ourselves. Barker is an award winning photographer and was nominated for the Deutsche Börse Foundation Photography Prize 2018 and the Magnum Foundation Fund, as well as being shortlisted for the Prix Pictet Award SPACE. Beyond Drifting: Imperfectly Known Animals is published by ­Mandy Barker’s work will be displayed with East Wing Gallery at Photo London, 17 – 20 May, 2018, and at the Triennial of Photography Hamburg from 7 June, 2018. JULIO BITTENCOURT (b. 1980, BR) is a photographer who grew up between São Paulo and New York. His work has been published in various esteemed magazines including ­Esquire, Financial Times, The Wall Street Journal and The Guardian. In 2017 Bittencourt was shortlisted for the Aesthetica Art Prize and in 2013 won the XIII Prêmio Marc Ferrez de Fotografia. He is represented by two galleries: Galeria Lume and Galeria da Gavea. MICHAEL BODENMANN (b. 1978, CH) is an artist who lives and works in Zürich and St. Gallen. He obtained a BA ­Media & Art in Photography and ­recently a Master of Fine Arts at the Zürcher Hochschule der Künste. Bodenmann has been the recipient of various awards and grants of which most recently the Appenzell Ausserrhodische Kulturstiftung grant. He is currently artist in residence at La Casa Suiza de la Boca in Buenos Aires. BOOMOON (b. 1955, KR) is a photo­ grapher living in Gangwon Province, South Korea. He studied at the photo­graphy department of ChungAng University. Since the 1980s ­Boomoon has produced large format photographs of vast expanses of sea, sky and land as a means of self-­ reflection, which Charlotte Cotton has described as contemplating “the unknowable and uncontrollable character of nature.” Boomoon’s work has been exhibited in both group and solo exhibitions internationally. His work is held in public collections including IBM Art Collection, New York; Borusan Contemporary, Istanbul and Yokohama Museum of Art, Yokohama. He is represented by Flowers Gallery, London and New York. BEN BURBRIDGE (b. 1981, UK) is Course Leader of the new Photo­ graphy: History, Theory, Practice MA, launching at University of Sussex in October 2018. He has curated exhibitions including Revelations: Experiments in Photography (Media Space/ National Media Museum, 2015) and

Agents of Change: Photo­graphy and the Politics of Space (Brighton Photo Biennial 2012). The editor of two publications ­Revelations; Experiments in Photo­graphy (MACK, 2015) and Photo­graphy Reframed (I B ­Tauris, 2018) he is currently completing his first monograph, provisionally titled Nothing Personal: Photography In, and After, the Age of Communicative Capitalism. TIM CLARK (b. 1981, UK) is a curator, writer and editor. Since 2008, Clark has been the Editor-in-Chief and ­Director of the online contemporary photography magazine 1000 Words. His writings have appeared in Time Lightbox, Objectiv, Photoworks ­Annual, The Sunday Times, The ­Telegraph, and The British Journal of Photography as well as in various exhibition catalogues. He was previously Associate Curator at Media Space, the Science Museum, London; and Guest Curator of Photo Oxford 2017 together with Greg Hobson. Clark has organised numerous solo exhibitions with artists such as Alec Soth, Martin Parr, Edgar Martins, Mariken Wessels and Peter Watkins. Group exhibitions have included ­Rebecoming (2014) and the twoperson exhibition, Lexicon of Crime: Russian Criminal Tattoos (2017). CAROLINE VON COURTEN (b. 1983, DE) works around the image/frame of photography. This is achieved through researching for her PhD ­dissertation on theoretical and ­material connotations of the photographic surface, or by curating exhibitions on paper (Foam Magazine) or in physical spaces (Stedelijk Museum Amsterdam, Nederlands Fotomuseum, Goethe Institute & the Dutch Culture Center Shanghai). With a background in Visual Culture Studies (University of Utrecht & Monash ­University, Melbourne) and a Master’s degree in Photographic Studies (­Leiden University) she followed her obsession for a medium reflective of understanding anything that shapes our visual surroundings. T.J. DEMOS (b. 1966, US) is Professor in the Department of the History of Art and Visual Culture, at University of California, Santa Cruz, and Founder and Director of its Center for ­Creative Ecologies. He writes widely on the intersection of contemporary art, global politics, and ecology and is the author of numerous books, ­including Against the Anthropocene: Visual Culture and Environment ­Today (Sternberg Press, 2017); ­Decolonizing Nature: Contemporary Art and the Politics of Ecology (Sternberg Press, 2016); The Migrant Image: The Art and Politics of Documentary During Global Crisis (Duke University Press, 2013) and Return to the Postcolony: Spectres of Colonialism in Contemporary Art (Sternberg Press, 2013). ELSPETH DIEDERIX (b. 1971, KE) lives and works in Amsterdam. She stud-

277 ied at the Gerrit Rietveld Academie, Amsterdam and later went on to study at the Rijksakademie van ­Beeldende Kunsten. Her work has been exhibited extensively across the Netherlands and has also been shown internationally at venues such as Aperture, New York; Gallery ­Ludovic de Wavrin, Paris; and ­Erasmus Huis in Jakarta. Diederix has published five books. She is ­represented by Stigter van Doesburg, Amsterdam. De Tuinen van Elspeth Diederix is on show at the Stedelijk Museum Schiedam, the Netherlands from June 23 – September 30, 2018. ODDNÝ EIR (b. 1972, IS) is an Icelandic author and part-time goat and sheepfarmer. Two of her works published in English are The Blue Blood and The Land of Love and ­ Ruins (translated by Philip Roughton), the latter won the European Union prize of literature and the Icelandic ­Women’s prize. Eir studied philo­ sophy and languages in Reykjavík, Stockholm, Budapest, and Paris. She dropped her thesis when she moved to New York and started writing for artists (among them Roni Horn and Hreinn Friðfinnsson) and to become a writer publishing novels, proses, and poetry. She collaborated with Björk on nature preservation projects and lyrics and she ran a visual arts space in New York called Dandruff Space with her brother, the archaeologist Uggi Ævarsson. Currently, Eir is involved in an artwork central to the notion of water, which is an ­installation by her mother, Guðrún Kristjánsdóttir in Finland. MASAHISA FUKASE (b. 1934-2012, JP) was a Japanese photographer born in the town of Bifuka. He graduated from the Nihon University C ­ ollege of Arts Photography Department in 1956. In the mid-1970s ­Fukase set up a photographic school, The Workshop, with Daido Moriyama and Shomei Tomatsu. His work has been exhibited widely at institutions such as MoMA, New York; Victoria and ­Albert Museum, London and Fondation Cartier pour l’Art Contemporain, Paris to name a few. Fukase has also won many prizes including the second Ina Nobuo Award in 1976 for his exhibition Karasu as well as the ­Special Award at the eighth Higashikawa Photography Awards in 1992. KATY GRANNAN (b. 1969, US) is a photographer renowned for her ­intimate portraits of strangers. She received her BA from the University of Pennsylvania and later went on to obtain her MFA from the Yale School of Art. Grannan has exhibited her work extensively in both solo and group exhibitions, she has exhibited at international venues including Kunsthalle Vienna, Austria; Fifty One Fine Art Photography, Antwerp; and the Guggenheim Museum, Spain. She is represented by Fraenkel ­Gallery in San Francisco and Salon 94 in New York.

278 HINDE HAEST (b. 1987, NL) is a curator at Foam who has worked on exhibitions including Hiroshi Sugimoto — Black Box and Anouk Kruithof — ¡Aguas!. Haest is also curating the exhibition Masahisa Fukase which will open at Foam Fotografiemuseum in September 2018. Previously, she worked on the Stephen Shore retrospective at Amsterdam’s Huis ­Marseille and as Assistant Curator of Photographs at the Victoria & Albert Museum in London and the Rijks­ museum in Amsterdam. She holds an MSc from SOAS and an MA from ­University College London. She ­authored two books on photography and has contributed to various ­magazines, among them Metropolis M and Aperture. STEFANIE HESSLER (b. 1987, DE) is a curator and writer who is based in London, UK and Stockholm, Sweden. She is the co-founder of the art space Andquestionmark in Stockholm along with Carsten Höller. Hessler writes widely for art publications including ArtReview and Mousse Magazine, and co-edits books such as Tidalectics. Imagining an Oceanic Worldview through Art and Science, published by The MIT Press in 2018, looking at the inter­ section between art, science and Oceanian philosophies. Recently curated exhibitions include Océans at Le Fresnoy in Tourcoing, France and Sugar and Speed at the Museum of Modern Art in Recife, Brazil. She is currently the curator of the ThyssenBornemisza Art Contemporary (TBA21)–Academy and co-curator of the 6th Athens Biennale. YOSHIYUKI IWASE (b. 1904 - 2001, JP) was a Japanese photographer. He was born in Onjuku, a fishing ­village on the pacific side of the Bōsō peninsula, enclosing Tokyo Bay on the east. He graduated from Meiji University Law School, and afterwards dedicated his life to the leading of his family’s sake distillery as well as the documenting of Japan’s coastal traditions, and especially the work of the Ama divers. During his lifetime, his photographs were shown in various solo exhibitions in Chiba and ­Tokyo. Many of them are now to be found in the collections of Tokyo and Onjuku historical museums. Upon his death at the age of 97 in 2001, he bequeathed his work to the local folk museum of his native village. NADAV KANDER (b. 1961) is a London based photographer. Kander is well known for his photographic portraits and bodies of work on landscapes including Yangtze – The Long River, winner of the Prix Pictet award in 2009; and Dust, which explored the vestiges of the Cold War through the radioactive ruins of secret cities on the border between Kazakhstan and Russia. He has exhibited extensively across international venues including Barbican, Musée de l’Elysée and Three Shadows Gallery in Beijing. His work is included in the collections of

Biographies the National Portrait Gallery, the ­Victoria and Albert Museum and the Museum of Contemporary Photography, Chicago, USA, amongst many others. He is represented by Flowers Gallery, London and New York; M97 Gallery, Shanghai; and Blindspot ­Gallery in Hong Kong. KIM KNOPPERS (b. 1976, NL) is an art historian (University of Amsterdam), and curator at Foam. Since 2011, she has worked on solo exhibitions, including those by Melanie Bonajo, Broomberg & Chanarin, JH Engström and Taiyo Onorato & Nico Krebs and group exhibitions like most recently Back to the Future. The 19th Century in the 21st Century. She discovered Jan Rosseel’s work when he was still at the Royal Academy of Art, the Hague and has been following his development ever since. She curated his solo exhibition Belgian Autumn. A Confabulated History at Foam 3h in 2014 and wrote the essay accompanying his work in the Talent issue of the same year. She lives and works in Amsterdam, but also stays in Istanbul on a regular basis. MIRJAM KOOIMAN (b. 1990, NL) is a curator at Foam, where she has worked on various shows including Ai Weiwei – Safe Passage, Romain Mader – The Following is a True Story as well as the Foam Talent exhibitions of 2015 and 2016. She holds a BA in Art History and MA in Curating from the University of Amsterdam, with a special interest in postcolonial approaches in the arts. She is currently researching the topic of photography related to digital and virtual realities, and is particularly interested in the human perception of nature in the Anthropocene. She previously served as a curator-in-training at the photography collection of ­Amsterdam’s Stedelijk Museum. LUCY KUMARA MOORE (b. 1981, UK) is Director of Claire de Rouen, a ­specialist fashion and photography bookshop. Moore is a writer and has curated projects for contemporary galleries and at the Museum of Contemporary Art in Sydney. She directed a book fair, Room&Book at the Institute of Contemporary Arts, London in 2014 and 2015, and recently set up a publishing imprint for Claire de Rouen. The first publication was released September 2017 in collaboration with artist David Lieske, designer Eric Wrenn and Artforum magazine. OLA LANKO (b. 1985, NL) studied ­sociology at the National University in Kiev and photography at the Royal Academy of Art in the Hague and the Gerrit Rietveld Academie in Amsterdam. Most recently she has com­ pleted a post academic course in ­Advanced Studies and Practise based research in Visual Arts, Belgium. In 2016, Lanko was awarded The Mondriaan Fund Stipendium for Depth Development Artistic Practise and in 2014 was nominated for the Aperture Foundation PhotoBook

Awards at Paris Photo. Her work has been ­exhibited extensively across the Netherlands and across Europe ­including Berlin and Ukraine. RUSSET LEDERMAN (b. 1961, US) is a writer, editor and photobook collector who specialises in Japanese ­photography. She teaches art writing at the School of Visual Arts in New York and writes on photobooks for print and online journals, including The Eyes, IMA, Aperture and the ­International Center of Photography’s library blog. She is a co-founder of the 10×10 Photobooks project, co-edits The Gould Collection, lectures internationally on photobooks, and has received awards and grants from Prix Ars Electronica and the Smithsonian American Art Museum. Lederman is based in New York. GIDEON MENDEL (b. 1959, ZA) has established his career with his photo­graphs of the final years of apartheid. In 1991 he moved to ­London, and continued to respond to global issues, especially HIV/AIDS. Since 2007, Mendel has been working on Drowning World, an art and advocacy project about flooding that is his personal response to climate change. Solo shows of Drowning World have been shown at many galleries and public installations around the word, most recently at Les Rencontres de la Photographie, Arles. In 2016, Mendel received the inaugural Jackson Pollock Prize for Creativity and the Greenpeace Photo Award. Shortlisted for the Prix Pictet in 2015, he has also received the ­Eugene Smith Award for Humanistic Photography, the Amnesty International Media Award, and six World Press awards. BORIS MIKHAILOV (b. 1938, UA) is a Russian photographer. Mikhailov became a prominent figure of informal art after the reign of the Soviet ­Union. Trained as a technical engineer, his experience of being fired from his factory job when the KGB discovered nude photographs he had taken of his wife, convinced him to take up photography as his lifetime’s pursuit. Mikhailov has had ­major solo exhibitions and his work has been exhibited widely including at MoMA, New York, Fotomuseum Winterthur, Saatchi Gallery and Tate Modern, London. He lives and works between Ukraine and Germany. THYAGO NOGUEIRA (b. 1976, BR) is a curator and editor of ZUM Magazine. He is the head of the Contemporary Photography Department at Instituto Moreira Salles in Brazil. Nogueira has curated exhibitions and edited catalogues of William Eggleston – The American Colour, Claudia Andujar – In the Place of Other and Mauro ­Restiffe – Beyond Reach. He has published work of Julio Bittencourt in the first issue of ZUM in 2011. ANITA PAZ (b. 1988, IT) recently received her PhD in Philosophy and Art

at the University of Oxford. She holds a BA in History and Conservation of Artistic Materials from the University of Florence, and a Master of Studies in History of Art and Visual Culture (Art Theory) from the University of ­Oxford. Her research focuses on the philosophical questions the photographic image may raise or help answer, focusing her inquiry on what photography does (rather than what it is). Paz has been researching at the Gabinetto Disegni e Stampe, Uffizi Gallery, was an Ashmolean Associate, and has published in various peerreviewed journals and online platforms. She is a founding editor and director of OAR: The Oxford Artistic and Practice Bases Research Platform. MEGHANN RIEPENHOFF (b. 1979, US) is an artist based in Bainbridge Island and San Francisco. She received a BFA in Photography from the University of Georgia and an MFA from San Francisco Art Institute. Riepenhoff’s work has been shown widely, including exhibitions at Higher Pictures, Photo Centre Northwest and at the Aperture Foundation. In 2014, ­Charlotte Cotton awarded her first place in the Camera Club of New York’s Annual Juried Competition and she also received honourable mention for the John Clarence Laughlin Award. She is represented by Yossi Milo Gallery, New York and Euqinom Projects. JAN ROSSEEL (b. 1979, BE) studied Documentary Photography at the Royal Academy of Art in The Hague and Photojournalism at the Danish School of Media and Journalism in Denmark. A notable achievement was him being the first artist to be awarded a research fellowship at the Netherlands Institute for Advanced Studies. He has been nominated for many outstanding awards including Prix Pictet 2015, Shpilman International Prize for Excellence in Photo­ graphy 2016 and as a finalist for Nannen Preis in 2017. Rosseel’s work resides in many private and public collections including the ING-bank Collection. He is represented by The Ravestijn Gallery in Amsterdam. MARK SEALY (b. 1960, UK) is Director of Autograph, London. Sealy has a special interest in photography’s relationship to social change, identity politics and human rights. In 2017 Sealy curated Gideon Mendel’s exhibition Drowning World at Les Rencontres de la Photographie, Arles. He obtained a PhD at Durham University England, with a focus on photography and cultural violence. Sealy has been the recipient of several important awards including the Hood Medal for services to photography in 2007 from the Royal Photographic Society, and in 2013 was awarded an MBE for services to photography. AVEEK SEN (b. 1965, IN) is a writer, educator and collaborator who works across art, literature, cinema, music and photography. He studied English

Biographies & Extended Creditlines literature at Jadavpur University, Calcutta, and as a Rhodes Scholar at University College, Oxford. He was a lecturer in English at St Hilda’s ­College, Oxford, and was Associate Editor of The Telegraph, Calcutta. He won the 2009 Infinity Award for Writing on Photography, given by the International Center of Photo­ graphy, New York. EUGENIE SHINKLE is a photographer and writer based in London. She holds an MA in Photography, Art ­History and Landscape Anthropology, and a PhD from the Slade School of Fine Art. She writes and lecturers widely on a range of topics including architecture, landscape, fashion photography, vision machines, and human/technology relations. She is Reader in Photography at the Westminster School of Media Art and ­Design in London. NISHANT SHUKLA (b. 1982, UK) is a visual artist and photographer based between London and India. He studied Photography and Digital Imaging at Thames Valley University and went on to study a Postgraduate Diploma in Photography at the University of West London. Alongside his photographic practice Shukla is also a ­co-founder of BIND, a platform for contemporary photography with a specialist interest in the photobook. He has been shortlisted for many ­esteemed awards including Unseen Dummy Award, Kassel Dummy Award, Steidl Asia Open Call, and was the winner of Alkazi Photobook Grant in 2016. BARBARA SIGNER (b. 1982, CH) is an artist who uses photography, video and installations to examine the boundaries and relationships of reality and fiction. She studied Japanese studies at the University of Zürich. Signer has exhibited her works in various venues such as Kunstmuseum St. Gallen, Helmhaus Zürich and at A307 in Beijing with Michael Bodenmann and Jiajia Zhang. In 2016, Signer received a studio grant from the city Zürich to stay in Kunming for seven months. ÆSA SIGURJÓNSDÓTTIR (b. 1959, IS) is an Icelandic art curator who ­specialises in contemporary art, photo­graphy and the history of photo­graphy. She currently teaches con­temporary art history, history of photography and art theory at the University of Iceland. In 2008 she ­curated Dreams of the Sublime and Nowhere in Contemporary Icelandic Art which showcased visions of I­celandic wilderness. Alongside her role, Sigurjónsdóttir regularly writes, her most recent is the essay ‘New Maps for Networks: Reykjavik FLUXUS – A Case of Connections’ in Narratives Unfolding: National Art Histories in an Unfinished World (ed. Martha Langford). WILLIAM J. SIMMONS (b. 1992, US) is Provost’s Fellow in the Humanities at

the University of Southern California and Mellon Fellow in Women’s ­History at the New York Historical Society. He is the author of numerous essays, reviews, chapters, and features for a variety of international publications. He lives and works in Los Angeles and New York. Simmons has a particular interest in the work of Katy Grannan and her compelling mysticism. FRANK VAN DER STOK (b. 1967, NL) is a curator, editor, tutor and writer. He studied art history at the University of Leiden majoring in photography and lens based arts. He set up The Past in the Present, which was a ­programme of lectures, exhibitions and commissions that examined the representation of history in the field of visual arts. Van der Stok is also ­co-founder of Radical Reversibility, a research-based art cooperation that investigates new horizons, alternative perspectives and different concepts towards a fundamental transformation of our looking and thinking (habits). He edited several books with Elspeth Diederix and represented her for the Amsterdambased artistic photography agency Solar in the period 1999–2009. TAKE ME TO THE WATER comes from the International Center of Photography’s collection of postcards and photographs of documenting the ­ritual ceremonies of river baptisms in the American South and Midwest between 1880 and 1930. The selection is drawn from a donation of over 200 images made by collectors ­Janna Rosenkranz and Jim Linderman in 2007. Take Me to the Water: Photographs of River Baptisms was exhibited at ICP in 2011. DARIA TUMINAS (b. 1984, RU) is a researcher, photographer and curator based in Amsterdam. She studied at St. Petersburg State University majoring in Russian Literature and ­Folklore, and obtained an MA in Film and Photographic Studies at Leiden University. From 2012 to 2014, she co-organised the Dutch Photo­ graphy Experience project in St ­Petersburg consisting of annual workshops as well as Undercover, a group exhibition on Dutch photobooks. She was the guest editor of The Photobook Review #12 published by Aperture in spring 2017. The issue focused on the relations between cinema and photobooks connected to a public event she ­co-curated at the Stedelijk Museum Amsterdam. Currently, Tuminas works as the head of Unseen Book Market at Unseen Amsterdam.

279 MEGHANN RIEPENHOFF Littoral Drift In order of appearance: — Littoral Drift Nearshore #502 (Bainbridge Island, WA 04.01.16, Two Waves and Salt, Scattered and Poured), 2016, dynamic cyanotype [continues on last page] — Littoral Drift #844 (Point White Beach, Bainbridge Island, WA 11.28.17, Five Waves), 2017, three dynamic cyanotypes — Littoral Drift #52 (Recto/Verso, R­odeo Beach, Sausalito, CA 09.01.13, One Wave, Poured and Buried), 2016, dynamic cyanotype — Littoral Drift Nearshore #765 (Diptych, Bainbridge Island, WA 09.05.17, Two Simulated Waves & Raining Ash from the Jolly Mountain and Eagle Creek Forest Fires), 2017, two dynamic cyanotypes — Littoral Drift Nearshore #209 (Springridge Road, Bainbridge Island, WA 02.12.15, Fletcher Bay Water Poured and Fletcher Bay and Fay Bainbridge Silt Scattered), 2015, Sixty-three dynamic cyanotypes — Littoral Drift #189 (Rodeo Beach, Sausalito, CA 09.05.14, Three Waves, Poured and Buried), 2014, three dynamic cyanotypes TAKE ME TO THE WATER: Photographs of River Baptisms (1890–1920) In order of appearance: — Curt Teich & Co., Negro Baptizing Scene, Greenville, Miss., 1920s. Courtesy International Center of Photography, Gift of Janna Rosenkranz and Jim Linderman, 2007 (2007.107.177) — Johnson Photo, [River baptism], 1907-18. Courtesy International Center of Photography, Gift of Janna Rosenkranz and Jim ­Linderman, 2007 (2007.107.162) — Detroit Photographic Company, A Southern Baptism, 1907. ­Courtesy International Center of Photo­graphy, Gift of Janna Rosenkranz and Jim Linderman, 2007 (2007.107.172) — Unidentified Photographer, [River baptism, Citronelle, Alabama], 1907. Courtesy International Center of Photography, Museum Purchase, 2005 (465.2005) — Unidentified Photographer, “A Negro Baptism,” New Bern, North Carolina, 1906. Courtesy International Center of Photography, Gift of Janna Rosenkranz and Jim Linderman, 2007 (2007.107.169) — John F. Wright, Baptismal Service by Rev. Banta, Crane, Missouri, October 9, 1914. Courtesy Inter­ national Center of ­Photography, Museum Purchase, 2010 (2010.5.6) —F G. Temme Co., Colored Baptism, Morris Canal, Newark, N. J., 1908. Courtesy International Center of Photography, Museum Purchase, 2010 (2010.5.9) —U nidentified Photographer, [­River baptism, Pibel, Nebraska], 1913. Courtesy International Center of Photography, Museum Purchase, 2005 (440.2005)

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288 ISSUE #50 / WATER EDITOR-IN-CHIEF Marloes Krijnen EDITORS Mariama Attah, Caroline von Courten, Marcel Feil, Marloes Krijnen MANAGING EDITOR Caroline von Courten (temp. replacing Elisa Medde) ASSISTANT EDITOR Mariama Attah EDITORIAL INTERN Lauren Jackson Jordane de Faÿ MAGAZINE MANAGEMENT Matthijs Bakker, Maureen Marck, Miranda Jonker ART DIRECTOR Hamid Sallali DESIGN & LAYOUT Ayumi Higuchi, Hamid Sallali TYPEFACES Haarlem AM (Adrien Menard), L15 Medium, L15 Medium (type), STORMVLOED (FRiso Blankevoort) CONTRIBUTING PHOTOGRAPHERS & ARTISTS John Akomfrah, Benoit Aquin, Mandy Barker, Julio Bittencourt, Michael Bodenmann, Boomoon, Elspeth Diederix, Masahisa Fukase, Katy Grannan, Yoshiyuki Iwase, Nadav Kander, Ola Lanko, Gideon Mendel, Boris Mikhailov, Meghann Riepenhoff, Jan Rosseel, Nishant Shukla, Barbara Signer, ICP Photography Collections FRONT COVER Image from the series ­Bukubuku, 1991 © Masahisa Fukase Archives, courtesy of Michael Hoppen Gallery, London BACK COVER Untitled #3886 from the series Waterfall, 2007-2018 Skogar, 2015 © Boomoon, courtesy of the artist and Flowers Gallery London and New York INSIDE BACK COVER From the series Seeking Moksha, 2011-2016 © Nishant Shukla, courtesy of the artist INSIDE BACK COVER SPREAD From the series A Condensed Atlas of Water in Israel, 2014 © Jan Rosseel, courtesy of the ­artist and The Ravestijn Gallery, Amsterdam

Colophon CONTRIBUTING WRITERS Mariama Attah, Karin Bareman, Adam Bell, Ben Burbridge, Tim Clark, Caroline von Courten, T.J. Demos, Oddný Eir, Hinde Haest, Stefanie Hessler, Kim Knoppers, Mirjam Kooiman, Russet Lederman, Thyago Nogueira, Mark Sealy, Anita Paz, Aveek Sen, Eugenie Shinkle, Æsa Sigurjónsdóttir, William J. Simmons, Frank van der Stok, Daria Tuminas COPY EDITOR Pittwater Literary Services: Rowan Hewison TRANSLATIONS Liz Waters UVA Talen SPECIAL THANKS Alessandro Calabrese, Teju Cole, Claartje van Dijk, Jason Evans, William Kentridge, Tomo Kosuga, Federica Mantoan, Lucy Kumara Moore, Frederic Lezmi, Azu Nwagbogu, Nina Poppe, Sally Stein, Penelope Umbrico, Caroline Vos, Hannah Whitaker, Geordie Wood PRINTING & LITHOGRAPHY NPN Drukkers Minervum 7250 4817 ZM Breda – NL Postbus 5750 4801 ED Breda - NL PAPER Igepa Nederland B.V. Biezenwei 16 4004 MB Tiel – NL EDITORIAL ADDRESS Foam Magazine Keizersgracht 609 1017 DS Amsterdam – NL T +31 20 551 65 00 F +31 20 551 65 01 SUBSCRIPTIONS For subscription inquiries, please e-mail DISTRIBUTION Foam Magazine is available at the best book shops worldwide. For distribution opportunities and conditions please contact: ADVERTISING Foam Magazine is looking to team up with like-minded brands and organisations. For information please contact: STOCKISTS Foam Magazine is available at the best book shops worldwide. For a full list of stockists look at ISSN 1570-4874 ISBN 978-90-70516-34-5

© Photographers, authors, Foam Magazine BV, Amsterdam, 2018. All photographs and illustration material is the copyright property of the photographers and/or their estates, and the publications in which they have been published. Every effort has been made to contact copyright holders. Any copyright holders we have been unable to reach or to whom inaccurate acknowledgement has been made are invited to ­contact the publishers at All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photo-copy, recording or otherwise without prior written permission of the publishers. ­Although the highest care is taken to make the information contained in Foam Magazine as accurate as possible, neither the publishers nor the authors can accept any ­responsibility for damage, of any nature, resulting from the use of this information. The production of Foam Magazine has been made possible thanks to the generous support of paper ­supplier Igepa Netherlands B.V.

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Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.