IPFL expositiegids 2018

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feliciteert alle winnaars van Photo Festival Leiden!

Partner van Photo Festival Leiden en uw foto’s.

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Lauren Greenfield

15 september 2018 – 3 februari 2019

Generation Wealth

preface Welcome to the 4th edition of the International Photo Festival Leiden.

index 4 about/organization 5 the jury 7 20 emerging european photographers

31 daniĂŤlle celie:

winner of the hans gillis people’s choice award 2015

This 4th edition marks a new era for the IPFL. Held for the first time in April, the IPFL has moved to a brand-new location right in the cultural heart of Leiden, the Lammermarkt.

A new location dedicated to a new generation of international talents with an extensive and freely accessible outdoor exhibition. But like previous editions, the IPFL is not just about showing great photography.

Together with the photographers, a great team of volunteers and loyal sponsors, the festival offers an in-depth side program consisting of workshops, presentations, portfolio reviews and masterclasses. An informative and educational program that caters to everybody with an interest for photography, whether professional or amateur.

This captures the true essence of our festival, to offer emerging European photographers a stage to show their work and get into contact with a broad and international photography-loving audience.

Martijn van Delft, Chairman Janet Keukelaar, Creative Director and Curator

32 photoville: photo

festival new york city

33 head on: photo festival sydney

35 acknowledgments / sponsors / partners / colophon

Ph t Festival Leiden

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international photo about

organization

The 4th edition of the International Photo Festival Leiden (IPFL) is held from 7-15 April 2018 and takes place this year at a brand-new location: the Lammermarkt in Leiden, The Netherlands. The aim of the festival is to introduce new talented photographers to the public and provide them with a stepping stone for their international career.

Foundation for Talented Photographers The International Photo Festival Leiden is organized

by Foundation for Talented Photographers (Stichting Talentvolle Fotografen) founded by Hans Gillis (†) and Pierre Luiten in 2013, as a follow-up of the 90th anniversary open-air exhibition of the Leiden Amateur Photography Club LAFV in 2012, of which they both were board members. This led to the idea of having a larger and professional photo festival in Leiden.

This year, twenty emerging European photographers have been selected by a jury consisting of international photography experts. Their photographs are on display in the main open-air exhibition, including the photo series ‘Veiled’ by Saskia Aukema, the unanimously elected winner of the 4th edition.

The festival is unique in its kind as it promotes photo exhibitions ‘without borders and walls’. Our festival collaborates with two well-known photography festivals: Photoville New York and Head On Australia. Through this collaboration we have been able to present emerging photographers from around the globe in Leiden, and at the same time show our European talents in New York and Sydney.

In addition, the festival offers both amateurs and professionals a diverse and high-quality fringe program with workshops, portfolio reviews, interviews and lectures. Guided tours are given on a regular basis by our photographers and photography students.

The festival site is the place for the new generation of top photographers to meet with the public.

members of the board Martijn van Delft – chairman Ritsaert Mulderije – treasurer Janet Keukelaar – creative director and curator Caroline Rijks – secretary Annegien Lucas – board member

festival team Niki van Gemerden – curator and program manager Annegien Lucas – social media Caroline Rijks – marketing, communication and PR Cynthia van der Brugge – editor Sjoerd Kleijheeg – webmaster Frans Wiersma – communication and audiovisuals Anna Derksen – communication and PR Evita Marchena – program manager Cobie Hijma – program manager Poppy Savenije – press and publicity

the jury Wim van Sinderen (chair) Senior curator of The Hague Museum of Photography and curator of the photography collection of the Gemeentemuseum Den Haag. Before this, he worked as a curator for the Kunsthal in Rotterdam.

Rein DeslĂŠ Curator at FoMu (Fotomuseum Antwerp).

Jean-Jacques Almanza Teacher at the Royal Academy of Art, The Hague, Department of Photography and Fine Arts (until 2012).

Jury member of the Zilveren Camera, the Dutch annual national photography award.

Monique Beijaert Graphic designer at the Netherlands Institute of Ecology (NIOO-KNAW), Department of Science Communication, designer and art director of newspapers and magazines, and former chair of the jury of the VVAA Photo Contest.

Philippien Noordam Art adviser at the Ministry of Foreign Affairs, jury member of the National Portrait Award (an initiative of the Dutch National Portrait Gallery) and chair of the Netherlands Association of Corporate Art Collections.

From left to right: Wim van Sinderen, Philippien Noordam, Rein DeslĂŠ, Monique Beijaert and Jean-Jacques Almanza.

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festival leiden

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INTERVIEWS

GEAR

20 emerging european photographers

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photo festival leiden presents

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saskia aukema veiled / 2016

Saskia Aukema created a series of photographs around one of the most controversial garments in the Western world: the niqab. The niqab is a veil that covers the entire face, except for the eyes. Several countries have introduced laws that ban the garment. The Dutch government is currently devising a law that will ban the niqab in certain sections of the Dutch society. This made Aukema wonder: who are the women who choose to wear this piece of cloth, despite all the controversy? What about it do they enjoy? She also asked questions that dig a little deeper into the personalities of these women: what is beauty to them and what is it they laugh about? She decided to portray them, not as the ‘black boxes’ many people see them as, but as colourful individuals, showcasing the garments they prefer to wear at home with their families or at a party among other women. The photos were taken in 2,5 years’ time in Great Britain (where many niqabi women live) and the Netherlands. The images from the series Veiled are remarkable, because they show us the women wearing their niqab, holding their favourite dresses, shoes and pants in their own homes. Our natural curiosity to see the person beneath the niqab, is met with total openness. But not the kind we think we need.

We still do not see a face, but are shown each personality through another piece of fabric we all so closely attach our individuality to. Can we truly see a person beneath what they wear?

Fotovakschool Amsterdam 2013 / The Netherlands / www.zazquia.nl

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bastiaan van aarle un-titled / ongoing Bastiaan van Aarle’s series UN-TITLED is about the dominant role of advertisement in public space. Slogans illuminate our streets both day and night, and light boxes force their images on us. Our daily environment is saturated with messages, with meaning. Photography plays a big role in this phenomenon. The photographic image is often packed with meaning and reality fades and becomes unbelievable in contrast to these images. A photographic material absorbs light which creates a chemical reaction. In the series UN-TITLED, Van Aarle employs this principle to absorb ‘commercial’ light, thereby reflecting on the medium of photography itself. This way he destroys the message of the advertisement, because his process turns the neon signs into a white emptiness that the viewers can fill in themselves.

For Van Aarle, photography is not a way to create images that are saturated with meaning, but a medium to create ‘emptiness’ in photographs. He researches how light can be used as a means of communication in several ways. Van Aarle sheds his light on the identity of the photographic image in our current image-filled environment. The images from UN-TITLED show parking lots, gas stations and other buildings with very radiant white fields as the centre of attention. The images are monochrome, making the white spaces stand out even more. The presence of the white spaces is ambivalent: it is no longer obvious why they are there and what their purpose is.

Sint-Lukas Brussel 2014 / Belgium / www.bastiaanvanaarle.be

z-axis / 2014 / ongoing In his series Z-Axis Chan Clement focuses on the city of Hong Kong, which is situated on a hilly and mountainous terrain. Because of the lack of natural flat land, Hong Kong simply does not have the prerequisite to have been designed into a grid system – an architectural urban planning method which is found in many other cities in the world such as New York. According to the Hong Kong Planning Department, about 47% of the city area lies above 100 mPD (i.e. 100 meters above Principal Datum, or 1.23 meters below mean sea level), which means almost half of the city has to be built on uplands, resulting in what is commonly known as a multi-level urban design. In Z-Axis, Chan aims at documenting this type of multi-level urban design in Hong Kong. In mathematical terms, Z-axis refers to the depth of an object in a three-dimensional coordinate system. His photographs show the divergence and different levels in height between the tops of the tower blocks and bottoms of the urban valleys with its stores, markets, roads and construction sites. Looking at the Hong Kong cityscape along the Z-axis, Chan creates more understanding of the way in which the topographical factor impacts Hong Kong citizens’ habitation, and to what extend the land has been altered in an attempt to adapt to the natural environment.

College of Art and Design Savannah (USA) 2015 / Hong Kong / www.holditorloseit.com

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chan hong yui clement

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jasper walter bastian a road not taken / 2015-2016 In his series A Road Not Taken, German photographer Jasper Walter Bastian portrays the lives of the people living along the border between Belarus and Lithuania. The border between these two countries, both previously part of the Soviet Union, once was nothing more than a little thin line on a map. People living in this area freely interacted with each other and bonds of communal life were strong despite national diversity. Families often intermarried, creating a common social identity. However, after the collapse of the Soviet Union in 1991 and the erection of the European external border between Lithuania and Belarus in 2004, many of these border towns were divided. The territorial re-alignment not only separated the two countries, it also disrupted the once harmonious lives of the people living there. Families were torn apart and spouses, siblings, and close friends now live an entire world away, even though their houses are actually only a few meters on the other side of the border. Those who remain in the towns along the Lithuanian border are now, for the most part, secluded and forgotten. The majority of the people long for the ‘good old days’, when the borders were open and the Soviet collectives were still in operation. These mostly elderly people carefully cultivate their traditions, while being forced to face the demands of changing social and economic conditions. Because of their solitude and the lack of urban amenities, they depend principally on what nature provides.

University of Applied Sciences and Arts Dortmund 2015 / Germany / www.jasperbastian.com

down to my bones / 2017 Dutch photographer Camille Renée Devid strongly believes in the power of the image to reveal a part of the photographer’s identity. Within her photographs she shares her personal thoughts and feelings and treats them as presents for the viewer. In her series Down to my Bones, Devid shows the mental and physical journey of a woman pursuing her dream of having a child. Getting pregnant and having children is not always naturally given for women.

As hard as it is to learn that she is not able to have children the natural way, she experiences yet another level of reality when she goes through years of fertility treatments. Devid portrays her personal thoughts, emotinos and struggles of this period in her life, expressing the feeling of constant insecurity, of being a failing machine, of losing her identity due to all the supplemented hormones, and foremost the mourning of losing a dream. Her photographs show both the woman’s mental and physical vulnerability, almost fading within the image, as well as the rawness of the body being treated as an object. Her photographs are almost like carefully made black and white charcoal drawings, or sketches, portraying a story which may challenge the feelings and imagination of the viewer. With this project Devid wants to reach out to women going through the same process, reminding them they are not alone, presenting this very personal portrait of a women who is feeling the despair to her bones when life does not go as planned.

Fotoacademie Amsterdam 2013 / The Netherlands / www.camilledevid.com

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camille renée devid

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sander du floo red landscape / 2012 Breda-based photographer Sander du Floo has an unconventional approach to photography. For the series Red Landscape he let ‘light’ be the leading factor in the retouching of the images. The retouching process is a very important part of Du Floo’s photographic workflow. He only used his camera to take photos of certain artefacts and textures, such as doors, cracks in walls and rubbish on the street. He then set up a personal digital database of all these pictures and used them to create collage-like images, also using sketches and models. Du Floo calls his way of working ‘sculpture’, which he feels is needed to create characteristic, extraordinary work. The photographer characterizes his work as ‘magic realism’, combining ordinary-looking city landscapes with animals, shifting the focus to the collateral beauty of decay. Red Lanscapes is a series of unsettling images, which are gloomy and seem a little ‘off ’. Du Floo’s characterization of ‘magic realism’ therefore makes perfect sense, given that he first photographs ordinary objects and structures and then combines them into fairy tale-like images that tell a story on their own. The images are obviously manipulated, but it is not immediately clear what is ‘off ’ about them.

Fotovakschool Boxtel 2012 / The Netherlands / www.sanderdufloo.com

carnival! / 2016 Sacha Goossens’ Carnival! is a series of photographs about children, celebrations and traditions. ‘To be honest… I was a little ashamed to say that I was going to make a series about Carnival in the Netherlands. Many people giggle, calling it superficial and a feast of dumb entertainment. At the same time I found this prejudice also very exciting to investigate. There should be more. The party is also packed full of dedicated practices, traditions and rituals. The feeling of togetherness is very strong and that fascinates me immensely,’ says Goossens about her series Carnival! The Dutch Carnival is a centuries-old celebration of three days. Traditionally, it is a Catholic celebration preceding Easter, where nowadays people wear fancy costumes and drink loads of beer to escape from daily life for a while. Carnival is a festivity of disagreement, but also full of tradition and rituals. ‘Oeteldonk’ (’s-Hertogenbosch) is one of the cities with the most varied Carnival traditions of the country. Goossens researched this characteristic for her series: how would these traditions develop? What will be passed on to the next generation? How to continue this celebration in the future? Goossens joined the ‘Oeteldonkse Jeugdprinsengroep’, a group of eleven year olds, throughout Carnival and tried to find out what the rules, habits and rituals are. These children learn the rules of Carnival in this group and are prepared to carry them out when they grow up. Goossens’ immersion in the tight schedule of the festivities exhausted her. There was never a moment to think about the way she wanted to portray something, it was all intuitive shooting.

To be part of this for a few days was a special experience to her, feeling the love and care that was given to these children and the respect for the traditions and the solidarity among them. In Goossens’ photography, kids always have a leading role. Children intrigue her, for they are original, primitive and uninhibited. Children see something special in small everyday things and fantasize without getting lost.

Fotovakschool Boxtel 2016 / The Netherlands / www.sachagoossens.com

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sacha goossens

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kiki groot searching eyes – 2013 / ongoing In her series Searching Eyes, Dutch photographer Kiki Groot documents the first four years of the life of Mikey. Since Groot first met Mikey, when he was six months old, he showed worrying signs of overactivity and quick frustration in combination with high spirits and a remarkably high pain threshold. He wore a helmet because his head was growing disproportionally to his body, and he had the most intense eyes. When Mikey grew older, he became fascinated with Groot’s camera, especially with the flash. Groot decided to give him disposable cameras every few weeks and Mikey flashed away. Meanwhile, Mikey was diagnosed with ADHD, autism, Tourette syndrome, and developmental delay. He is attending special education, has few friends and lives in his own small world. Searching Eyes is a combination of both Groot’s own photographs as well as photographs made by Mikey in which he documents the world seen from his point of view. Taken together the project has resulted in an intimate search into the world of Mikey. Groot intends to continue documenting Mikey’s life until he will reach the age of 18.

Fotoacademie Amsterdam 2014 / The Netherlands / www.kikigroot.com

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ko hage

from fantasy to reality / 2015 From Fantasy to Reality features the Dutch city of Almere, one of the largest cities in the Netherlands. In the 1970s Almere literally emerged from the bottom of the sea, being part of a new province of the Netherlands, which also is the largest artificial island in the world. Because the city is built from scratch, it did not have to deal with history: it has no canal houses, stepped façades, or old churches well-known from historic Dutch city centers such as Amsterdam. Starting with a clean slate, it could therefore be designed and built as an ideal city, or Utopia. Now, forty years later, Dutch photographer Ko Hage reflects on the city of Almere as a place that for him had been an unknown area of the Netherlands, as it is for many Dutch people – a so-called terra incognita. Hage wanders around all the different areas of this widespread city (over 250 square kilometers) to capture the things that surprise and amaze him.

He strolls around streets with great names, such as ‘Fantasy’, ‘Reality’, and ‘Simplicity’, almost resembling poetry. He roams through different neighborhoods built in different styles and decades over the last forty years, as if traveling through time by a time machine. The difference in construction periods is clearly visible in the urban planning and architecture of the city, expressing the Dutch zeitgeist as nowhere else in the Netherlands, almost as an open air museum depicting the illusion of feasibility.

Fotoacademie Amsterdam 2015 / The Netherlands / www.kohage.nl

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laura hospes ucp / 2015

In her series UCP, Dutch photographer Laura Hospes portrays herself going through difficult times, dealing with severe depression and suicidal thoughts. Her self-portraits are a direct representation of her emotions, which she is not able to show in the so-called real life. For Hospes, her camera is a companion, listening to her moods and offering her comfort better than anyone else. In her photographs, she shares the heavy emotions and loneliness she experiences, allowing the viewer to feel her pain and anxiety, even if it is just a fraction her emotional state, and a snapshot of a single moment. She feels driven by the necessity to connect with people, making herself feel a little less alone. She uses the medium of photography in a therapeutic way, to accept and process the many struggles in her life.

The resulting black-and-white images are intense and arresting. Portraying her bodily misery, she lets the viewer get a glimpse of her mind. Currently, two years after UCP, Hospes is looking back on this difficult period in her life and working on a photographic project about healing, caring for herself and growing into the woman that she is and what that means to her in terms of strength, beauty and femininity. And being proud of that.

Fotoacademie Amsterdam 2016 / The Netherlands / www.laurahospes.com

suzanne, living with the prader-willi syndrome / 2013 In the series Suzanne, Living with the Prader-Willi Syndrome, Dutch photographer Peggy Ickenroth portrays twelve year old Suzanne living with the Prader-Willi syndrome. Due to Suzanne’s frequent anger attacks and constant hunger, everyday activities such as going to the supermarket or going out for dinner have become challenging, if not impossible. The syndrome is a rare genetic disorder which occurs in 1 out of 50.000 people and manifests itself in a strong obsession with food, weak muscles, intellectual impairment, malformation of the spinal column which causes problems with breathing, and many others. Although seemingly healthy, people with Prader-Willi syndrome do not function the same as healthy people. Suzanne emotionally functions as a five year old girl and cannot interact normally with other girls her age. She does not go out much because she prefers to stay at home, at school or judo, where she feels safe and where she can predict the course of the day. Her parents and brother dedicate all their time and love to let Suzanne live a life as normal as possible. Although this sometimes leads to tensions in the family, it is worth it because they love Suzanne so much and they get so much love in return. Ickenroth documents how the syndrome affects the lives of Suzanne and her family, showing Suzanne’s craving for food, her need for order, and her fierce personality to reveal both the syndrome’s struggle and it’s beauty.

Libera Accademia di Belle Arti Florence (Italy) 2014 / Ireland / visura.co/user/PIckenroth

IPFL 2018 / 19

peggy ickenroth

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gabriëlle de kroon father / 2016

Gabriëlle de Kroon is a cultural anthropologist and teaches Dutch language and social education to children who fled from war zones, but first and foremost she is a photographer. In January 2016 she graduated with honours from the Fotovakschool Amsterdam with the series Father. Father is an ongoing project with the theme ‘generational transfer’, in other words, the interaction between different generations. In De Kroon’s case, this concerns how three generations of a family deal with the legacy of war. De Kroon’s grandfather was held prisoner in several Nazi camps during World War II, in the Netherlands as well as in Germany. After the war his marriage ended and he married De Kroon’s grandmother, who at this time was a single mother of eleven children. Together they had another child, De Kroon’s father, the only child from this marriage. The question that stands central in the photographer’s research is what consequences these violent events that took place during the war had on the upbringing of her father and later on herself and what she will pass on to her own children. As De Kroon’s grandfather was not able any longer to give the answer to these questions, she sought to find it through the images of the series Father. De Kroon combined several layers: documentation from her grandfather’s captivity, images from her father’s family album, and her own visual interpretation of what happened to her grandfather. The images that represent De Kroon’s own interpretation are highly stylized photographs of objects, which are more aesthetic than explanatory. In combination with the documents and vernacular photographs from her father’s albums, however, they become part of the story about the remembrance of war.

Fotovakschool Amsterdam 2016 / The Netherlands / www.gabrielledekroon.com

garzweiler ii / 2016 Garzweiler is a brown coal mine situated in Germany, next to the border with the Dutch province of Limburg. In this vast area, the earth has been torn open and transformed into an enormous crater. The excavations will continue until 2044. Tim Meijer is fascinated by the transition and decay of the landscape caused by this process: surrounding villages are being swallowed up by the brown coal mine, slowly but surely they become deserted. The photographs Meijer took in this area are about memories and places left behind, which he wants to bring back to life. The fact that this area will be gone in 28 years is fascinating to him. The series Garzweiler II consists of images of the coal mine, but also of the deserted streets in the surrounding villages and the empty backyards and interiors of the abandoned homes. The pictures radiate a quiet and serene atmosphere, there is no human activity visible in any of them. The images are aesthetically pleasing without diminishing the loaded subject.

AKV | St. Joost Breda 2016 / The Netherlands / www.timmeijerfotografie.nl

IPFL 2018 / 21

tim meijer

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annabel miedema the weather is for free / 2016

In her photographic practice, Annabel Miedema wants to shed a new light on outdated, daily things and moments that everyone experiences, but nobody pays too much attention to. She wants to bring these things to attention in a fresh and colourful way, trying to make the viewer aware of these things, or maybe even convince them of the beauty of everyday life. In the series The Weather is for Free, she focuses on outdated, typically Dutch visual elements, such as the infamous salted herring. Miedema shows us her contemporary view on these elements, to prove that there is beauty and excitement in everything you see around you, if you are willing to view the things you know so well in a different way. The images from the series The Weather is for Free are highly stylized and highlight one specific colour in every image, be it bright blue, orange, white or green, matching the portrayed product. These are food products that you can find in almost every Dutch home, but Miedema photographed them in a way that draws our attention to them.

She aestheticized these ordinary objects by putting them in a very slick new environment.

Koninklijke Academie van Beeldende Kunsten Den Haag 2016 / The Netherlands / www.annabelmiedema.com

encounter / 2012-2016

In their series Encounter, German photographers Anne Müchler and Nico Schmitz conduct visual research on how a myth develops with and through the medium of photography. They question the way in which images show or express the changeability and the fragility of myths and how images serve as a proof of the myths’ existence. Starting point for their research is the village of Bugarach and the mountain Pic de Bugarach in the south of France. New Age followers believed the mountain had mystical powers, leading to the myth that the village would be spared in the 2012 apocalypse. Encounter comprises both photographs of the village and the mountain itself, as well as photographs of photographs of the mountain and the village. It shows specific sites of the mountain and the village in black and white in combination with spatially shaped objects, almost like abstract sculptures, of the black and white photographs treating the concept of the image as both a representation as well as a material object. In the accompanying book of the project, the photographs made by Müchler and Schmitz are incorporated within a context of images of film stills and literature on the village and the mountain, adding yet another level to their research. Using the very medium of photography itself, Müchler and Schmitz reflect on the way in which the myth of the village is constructed through and affected by images in different media such as photography, film and literature. Encounter becomes a presentation of both a cultural and spiritual concept of place as well as a reflection on the medium of photography.

University of Applied Sciences and Arts Dortmund 2013 / Germany / muechlerschmitz.com

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anne müchler / nico schmitz

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patricia nauta

ontheemden (the displaced) / 2012-2016 Dutch photographer Patricia Nauta is especially interested in portraying people, by which she wants to capture a person’s passion, feelings and living situation. In her series Ontheemden (translated to English as: The Displaced), she portrays children who recently came to the Netherlands as refugees. The portraits are made within the particular period these children were awaiting their residence permit for the Netherlands. Nauta believes children have the ability to, on the one side, easily adapt to their surroundings, while at the same time showing great strength and vulnerability – something which inspires and touches deeply. By using black-and-white photography, Nauta touches upon the essence of the individual portrayed child in its timeless simplicity, capturing the sincerity and the innocence in his or her eyes. These children are more than just refugees, they are individuals with their own story to tell.

Fotoacademie Amsterdam 2013 / The Netherlands / patricianauta.nl

the fall / 2016

Samuel Otte created the series The Fall – my father, faith and I, guided by the question: how can I make contact with my religious father, who is fighting a religious struggle on his death bed with the prospect of heaven? In this project Otte researches the meaning of the Protestant Orthodox belief in relation to who his father was, who Otte was to him and who the photographer is now: an apostate secular man. Faith created a division between Otte and his father, because it promises a heaven for believers who live their lives in the right way, but it promises a hell for those who do not believe. Emotional binding, meaning truly understanding Otte’s view on life, would shake his father’s faith, something he could not deal with just before his death. The result of this inquiry by Otte is a biography of a family history through Otte’s great-grandfather, who was a founder of a Reformed Community called De Gereformeerde Gemeenten, his grandfather, his father and himself, who left the Christian faith behind. Additionally, Otte made three films in which he investigates how he can still connect with his father. Together, the book and the three films form a multimedia installation.

Koninklijke Academie van Beeldende Kunsten Den Haag 2016 / The Netherlands / www.samuelotte.nl

IPFL 2018 / 25

samuel otte

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emma smids untitled / 2016

This untitled series by Emma Smids is all about memories. For her, memories hold a special fascination, because they are like dreams: an unconscious flow of moods, images and representations. Smids uses a technique of double exposures to create layers in her images, representing the layers our memories have. Memories always harbour other memories. They always entail a mystery or a desire. We carry our memories with us, but they never share their secrets.

The double exposure technique Smids employs leaves room for coincidence, because memories are not created deliberately either. This way, her work gains layers of meaning which are never fixed. The results of this process are monochrome, two-dimensional works without a clear perspective. The images are made up of chaotic black, white and grey lines and planes. These are cut-outs, because these realities do not only exist within the images, but continue outside the frame. Ever since Smids was a child, she designed worlds of her own made of scraps and objects she found on her grandmother’s farm. The viewer wanders through these landscapes of memories the photographer constructed, amidst assembled fragments and anonymous and still objects. We change and therefore our memories change.

Sometimes this gives us the eerie feeling that the past does not exist. Because of Smids’ experience of researching this topic for years, this series can be seen as a personal diary, in which she looks at herself with amazement. Smids’ work shows many similarities to abstract and monochrome traditions, as well as early cubism.

Academie Minerva Groningen 2016 / The Netherlands / www.emmasmids.nl

silver sound / 2014 The series Silver Sound consists of images of musicians and bands, created by means of the intricate collodion process. Uivel uses a large-format plate camera and a mobile darkroom, working in his studio and on site at music festivals and other venues. Through these images Uivel offers an insight into the life of musicians: how they prepare themselves for a performance or how tired they are after a show, the exhaustion in their eyes after five months of intensive touring or the pressure they feel right before they go on stage. This series is ever-growing, including portraits of Wolfmother, Sigur RĂłs, Interpol and Foals, but also lesser known (Dutch) bands are included, such as Indian Askin and Blaudzun. Silver Sound consists of single portraits or group shots of the musicians Uivel likes to listen to, thus creating a kind of visual playlist while using a photographic technique that resembles the fast and unforgiving way of playing live in front of thousands of fans. The images from the series Silver Sound show us the hands-on way a Collodion image is produced, with cracks and tears in the emulsion. This gives the images a lovely personal touch. The shallow depth of field in the images blurs the background and draws all attention to the faces of the artists, hinting at their personal stories.

Koninklijke Academie voor Schone Kunsten Antwerpen 2013 / Belgium / www.atelierjunn.com

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jĂšnn (matthijs uivel & margot everts)

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julie van der vaart beyond time / 2016-2017

In her third participation to IPFL, Dutch photographer Julie van der Vaart returns to the subject of the human body.

In her previous series Le Sentiment De L’Éphémère (2013-2014) and Spleen (2014), she focuses on personal notions of loss and fleeting moments in life, and more universal concepts of transience and melancholia. In Beyond Time, she repurposes her earlier work by experimenting with chemicals in the darkroom, creating new photographic prints.

Inspired by the idea of imaginary time in which the flow of time is non-linear, she shows the object of the human body dissolving into the cosmos. Simultaneously appearing and disappearing, the body is represented as something tangible yet elusive. She treats both the representation of the naked body as well as the image itself as objects which are changeable in its materiality, relative to the passing of time. In this manner, Van der Vaart reflects on the awareness of our position in relation to time, which passes slowly at a pace we cannot always comprehend yet will always continue.

LUCA School of Arts, KHLim Genk 2013 / Belgium / www.julievandervaart.com

Flevoweg 27 2318 BZ Leiden 071-5226771

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exposities musea retail matrix frame banners panelen sign

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Fotografiecursussen Het Leids Academisch Kunstcentrum biedt fotografie voor beginners en gevorderden aan. Tijdens de fotografie cursussen verken je de mogelijkheden van de camera en leer je de principes van het diafragma, sluitertijd, scherpte (diepte) en elementaire vormgevingsaspecten zoals verlichting en compositie. Deze kennis is van belang om de creatieve mogelijkheden van de fotografie ten volle te kunnen benutten. Aan het eind van elke les wordt een opdracht gegeven waarvan het resultaat in de eerst volgende les wordt besproken. Tijdens de gevorderden cursus ontdek en ontwikkel je een eigen handschrift.

FOTOGRAFIE

Vanaf begin april komen de zomerworkshops fotografie online. Vanaf juni kun je je inschrijven voor de 8-weekse cursussen die in het najaar starten.

Leids Academisch Kunstcentrum www.lakcursussen.nl

winner of the hans gillis people’s choice award 2015 In the last edition of the International Photo Festival Leiden, visitors selected Daniëlle Celie as winner of the Hans Gillis People’s Choice Award, named after the late co-founder of the IPFL, for her photo series Pyramid of Today: Portrait of a Vanishing Town about the Swedish mining town Pyramiden. Her wonder for and interest in historical events provides Daniëlle Celie with great inspiration for making narrative photography. The images create a tranquil moment. The viewer may freely associate upon seeing the stories that are filled with secrecy and drama. To tell these stories, Daniëlle Celie uses a combination of different analogue techniques.

the first oil adventure In his efforts to find a Northern trade route, Willem Barentsz discovered Spitsbergen. His expedition was of great importance: By recording the trip and mapping the area, sailors felt more confident to navigate these waters.

During subsequent expeditions, enormous quantities of whales were spotted near this island. This provided new opportunities when in Europe, at the beginning of the 17th century, a period of shortage of vegetable oils and fats arose and the prices of grain were extremely high.

Dutchmen found an alternative in the train oil of the whale.

Of this period, of which we are little conscious, remnants are still present on Spitsbergen. These are well conserved by the permafrost. Caused by the change of the climate, the warming of the Earth and the melting of the permafrost, this Dutch cultural heritage is threatened to get lost.

Photographer Daniëlle Celie wants to share her fascination for the whaling in the 17th century with her photography. She wants to make people aware of the beauty of this vulnerable area and the heavy sacrifices the Dutch adventurers made, often even giving their lives…

Fotoacademie Amsterdam 2011 / The Netherlands / daniellecelie.com

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daniëlle celie

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photoville new york the featured artists city presents of the 2017 edition emerging american Amr Alfiky, Kirsten Leah Bitzer, Cinthya Santos Briones, photographers Adriana Loureiro Fernandez, Emily Macinnes, Andres Photoville - New York City’s FREE premier photo destination, produced by United Photo Industries – is a modular venue built from re-purposed shipping containers. Photoville’s seventh edition will take place on September 13-23, 2018 in Brooklyn Bridge Plaza and will feature more than 75 indoor and outdoor exhibitions, as well as over 30 panels, workshops and night tie events all free to the public to attend and will see over 90,000 visitors.

Photoville is nominated and curated in partnership with James Estrin & David Gonzales, co-founders and photo editors of The New York Times Lens Blog.

Millan, Eloghosa Osunde, Charmaine Poh, Aron Simeneh, Biko Wesa, and Austin Willis.

Information about each of the projects and the photographers: photoville.com/emergi-cubes

Inspiration and innovation, story-telling and imagination. Australia’s most prestigious photography event and one of the world’s leading photography festivals filters photography down to its finest. Held across Sydney each May, Head On Photo Festival creates unique spaces to exhibit excellent photography across all genres. From exhibitions in galleries and parks to public photo-art installations in the shopfronts and streets of Sydney and a program of workshops, talks and discussions, Head On Photo Festival has something for everyone.

Reviewers select artists to exhibit in the festival without seeing the artists’ names – the focus is on the merit of the work and each year presents the work of hundreds of international, dynamic and diverse photo-artists at all career-stages.

Presented by the not-for-profit Head On Foundation, no other Australian arts organisation provides the same opportunity for so many artists, audiences and the creative industry.

The 9th edition launches on 4 May 2018 with another fabulous program packed full of exciting exhibitions, workshops and talks presented by a mix of Australian and international talent.

the featured artists of the 2018 edition Zalmai Ahad, Coco Amardeil, Jan Breckwoldt, Paula Bronstein, Marcio Cabral, Susan Copen Oken, Hubert Czajkowski, Samantha Everton, Roberto Falck, Kate Geraghty, Emma Hack, Ingerid Jordal, Zoe Lawson, Jon Lewis, Marcus Lyon, Sami Parkkinen, Pamela Pauline, Thom Pierce, Alain Schroeder, Jarrad Sengg, Peter Solness and James Whitlow Delano. www.headon.com.au

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head on sydney presents australian and international talent

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Burgy adv_IPFL 0318.qxp_Opmaak 1 16-03-18 12:16 Pagina 1

www.burgy.nl

van kozijn tot kathedraal

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The festival would not have been possible without the help of our volunteers, friends and anyone else who was willing to spend a little bit of their time helping, advising and supporting us.

Text Janet Keukelaar / Niki van Gemerden / Anna Derksen / Caroline Rijks Editors Anna Derksen / Caroline Rijks Graphic Design John Stelck Cover Photo Saskia Aukema Printing Puntgaaf drukwerk, Leiden Edition 3.000 copies

Indispensable advisors, help and contributors Sandro Bax, Tim Beemer, Ton Hendriks, John Stelck, Michel Nivard, Myrjam Flik, Jeroen Vreeken, Cor Klein, Marcel Nieuwenhuys, Kasper Burgy, Cara Burgy, Steven van der Toorn, Johan Luykx, Ben de Kok, Richard Berlijn, Gea de Rie, Sam Barzilay, Dave Shelley, Ingrid Leonard, Esther Munsters, Theo Niehus, Caroline O’Breen, Petra Stavast, Frank van der Stok, Denise Woerdman, Manon Funcke, Ross Moriarty, Nicole Robbers, Nicole Roepers, Narda van’t Veer, Bas Vroege, Koen Hauser, Rixt Bosma, Niels Coppes, the City of Leiden and all the other people involved, who helped us out before, during and after the festival, we are deeply grateful for your help.

Committee of Recommendation (the following people support the festival in its goals) Ruud Visschedijk, director of the Netherlands Photo Museum, Rotterdam Prof. dr. C.J.M. (Kitty) Zijlmans, professor for Art History (Modern Fine Arts), Leiden University Sandra Smallenburg, editor for fine arts at the Dutch newspaper NRC Handelsblad Koen Hauser, artist and owner of the honorary title ‘national photographer of the Netherlands’ 2014 Alexander Pechtold, Dutch politician. Party leader and parliamentary group leader of the Democrats 66 (D66) party, former municipal executive councillor for Sports and Culture in the Leiden City Council Erik Kessels, creative director of the Amsterdam-based communication agency KesselsKramer, photography collector and curator Jimmy Nelson, photographer and global citizen Vincent Mentzel, photographer

Nothing in this catalogue may be reproduced without explicit permission of the photographers and the Foundation of Talented Photographers. © Stichting Talentvolle Fotografen, March 2018 www.photofestivalleiden.com info@photovestivalleiden.com

sponsors & partners The International Photo Festival Leiden would not have been possible without the support of our loyal sponsors and partners who endorse photography, culture and the city of Leiden.

Partners De Fotoacademie Historische Vereniging Oud Leiden Leiden Marketing Leiden University, Film and Photographic Studies (MA) Leiden University, LAK Courses Stichting voordekunst PictureThis Stichting Stadsfotograaf Leiden

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acknowledgments

Design: Ăœppig Image: Suzanne Ranzijn

programma’s voor de startende en professionele fotograaf. kijk op fotoacademie.nl.