The Fumes of Mars, 2025<\/strong>
Valokuvakeskus Nykyaika
Katerina Angelopoulou (b. 1982, Athens) is an artist whose lens-based practice explores the tension between private memory and public record, grounded in two decades of work in performance design and dramaturgy across theatre, dance, opera, and film. Through long-term research into oral histories and archival material, she recovers silenced pasts, weaving them into elliptical, non-linear narratives that question institutional power and the construction of collective memory.
\u2018A large wildfire has a very distinctive sound. No one can tell you unless they have been in one. It is a sound that can haunt you\u2026\u2019
On 23 July 2018, one of the deadliest wildfires ever recorded swept through Mati and neighbouring areas, just 30 kilometres from Athens. Over a hundred lives were lost. Artist Katerina Angelopoulou survived the fire, fleeing with her mother and three-year-old daughter.
The Fumes of Mars<\/em> is a counter-archive, a forensic and deeply personal investigation into how official narratives of catastrophe are constructed and enforced, and how governance failures and the climate crisis converge in collective trauma. It brings together photographs from the day of the event and the aftermath, survivor testimonies from public archives and the artist\u2019s own, aerial maps, weather and aircraft reports, CCTV footage, and personal artefacts recovered from the ruins: jewellery, books, glasses. The work challenges the official narrative \u2014 one that persists \u2014 in which facts were concealed and victims held culpable.
Black-and-white photographs of interior and exterior landscapes, devoid of human presence, shot in the aftermath, convey a soot-permeated world. They give way to colour images taken on the day itself: entering a space of heightened reality. The personal artefacts \u2014 what one decides to save and what to leave behind in the face of having to abandon one\u2019s home \u2014 are photographed as archaeological remains, fragments through which the story of a life can begin to be reconstructed.
Its structure is non-linear, mirroring how trauma fractures narrative, fragmentary, refusing easy resolution. Though rooted in a specific catastrophe, the work raises urgent questions: who controls the narrative of disaster and who is silenced in its aftermath. It speaks to something universal: the failure of institutions, the invisibility of survivors, and the struggle for accountability in an era of compounding climate catastrophe.<\/p>\n\n\n\n
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<\/a><\/figure>\n\n\n\nJO DUCK (Australia)<\/strong> Artist and researcher Adam Harvey explored a timely version of this with his 2010 project CV Dazzle, using hair and makeup to confuse facial recognition by inverting the face’s natural light and dark areas. His work proved early algorithms could be fooled through creative intervention.<\/p>\n\n\n\n Since then, the stakes have increased. During the 2019 Hong Kong protests, students used umbrellas and masks not just for protection, but to create visual barriers against technology used to identify demonstrators. In 2026, with mass protests continuing globally, ICE has implemented a facial recognition phone app federal courts have deemed too inaccurate for arrest warrants. Facial recognition is riddled with what Joy Buolamwini of the Algorithmic Justice League calls “the coded gaze\u201d, racial, ableist, and gender profiling baked into the algorithms. Women of colour aged 18-30 are the least recognisable and most wrongly identified.<\/p>\n\n\n\n Worldwide, more people are urgently concerned with maintaining anonymity in public spaces. Razzle Dazzle<\/em> is a series of photographic portraits of people trying, with varying degrees of success, to evade this technology through absurd, analogue methods. I’m interested in bringing Scooby-Doo hamminess to a genuinely frightening topic and find there’s something enjoyable about responding to absurd problems with absurd solutions.<\/p>\n\n\n\n Everywhere we go, we are recorded via dash cams, Ring doorbells, public transport and supermarkets armed with hundreds of cameras. We’re told this is for our safety, that it’s just how the modern world works. What we’re not told is what happens to our biometric data once collected, who has access, how long it’s stored, or what it might be used for in an uncertain future.<\/p>\n\n\n\n Try to opt out and you’re pushed to the fringes and labeled a conspiracy theorist, unable to travel, shop or move through the world freely. Choice has been taken away. My characters are attempting, often poorly and absurdly, to take some back. Through comical disguise and deceit, Razzle Dazzle offers deeply human responses to our changing world. My subjects use whipped cream pie crusts, venetian blind costumes, portable waterfalls, bandages and streamers , all completely analogue methods acknowledging their own futility. Most assessments of wildlife populations use 1970 as their starting point. With vast populations already extinct by that time – including the passenger pigeon, great auk, aurochs, and very nearly the plains bison – it is difficult today to imagine how the wild world may have looked before humanity’s Great Acceleration. Generationally shifting baselines have obscured our understandings of the Earth\u2019s capacity for abundance.<\/p>\n\n\n\n But we do have history’s photographs to remind us\u2026frozen moments granting us glimmers of now almost unimaginable natural abundance, artifacts recalling forgotten responsibilities. In 1939, German sculptor Arno Breker (1900-1991) crafted a statue titled Bereitschaft<\/em>, portraying a male, nude warrior drawing a sword, symbolizing preparedness for the impending call to arms faced by the German people. In 2023, this sculpture became an obsession on TikTok. Through their video work and accompanying photography series, the artists delve into the glorification of the \u2018sculpted\u2019 male physique and the advocacy of self-discipline within TikTok fitness trends, examining how these inclinations mirror fascist tendencies and serve as symptoms of a right-wing ideological shift. When he was well, my father spent his days tending to the flowers in our garden and caring for a hummingbird that visited the red feeder he placed. After his death, my mother told me that the hummingbird continued appearing whenever she walked through the garden.<\/p>\n\n\n\n She explained that, in Costa Rican folk belief, hummingbirds carry the souls of the dead and return to greet those they love; a belief handed down through generations and influenced by the cosmology of the Boruca, an Indigenous community in Costa Rica whose spiritual traditions are entwined with the natural world.<\/p>\n\n\n\n Glimmers, feathers and staring skies <\/em>explores the hummingbird as a migratory body that transgresses dominant knowledge systems, moving between science and myth, between the earthly and the celestial. Engaging with personal archives alongside colonial and ornithological materials, the project interrogates how photography has attempted to capture, verify, and classify a fleeting body.<\/p>\n\n\n\n In an age of ecological fragility, the project considers how we attend to and relate to more-than-human others. Conceived as a practice of care shaped through interspecies relationships, it opens alternative ways of experiencing grief and memory. In doing so, it becomes a means to reconnect with my father, reimagining his still body through the language of flight. Using these songs as a map, I began to sculpt a new, amorphous personal identity: one not inherited by birth, but through love. I travelled to her corner of India, a region bordering Bangladesh, inherited by me through marriage and bifurcated by the colonial borders of Assam and Bengal. The elision of this identity is visible in colonial documents. In The People of India, a nineteenth-century British ethnographic album compiled after the 1857 revolt, the caption beneath an elderly Rajbanshi man reads: \u201cRajbansi. Aboriginal. Now Hindoos.\u201d The description is both pejorative and inaccurate, since the Rajbanshis were never entirely Hindu. Their folk culture, language, songs, and traditions were slowly pushed into obscurity, absorbed into larger regional and religious identities.<\/p>\n\n\n\n People of Clay <\/em>attempts to pick at the remnants of this folk psychogeography as though following a folktale already beginning to unravel. Presented as an assemblage of photographs, archival material, text, lyrics, and terracotta forms, the work moves between documentary evidence and myth, between what is remembered, misnamed, sung, and forgotten.<\/p>\n\n\n\n The work is also a reminder that we are all people of clay: shaped, broken, remade, and never entirely chained to the borders we inherit. Like me, one may sometimes find identity not through blood or land, but through love. In Black Snafu<\/em> (Situation Niggas: All Fucked Up), I appropriate various depictions of Black people that I find throughout the history of cartooning and juxtapose them with photographs that celebrate and line up more authentically with my Black experience. The photographs I create vary in subject matter; I seek to include celebratory portraits, didactic still lives, and representational documentations of places rich in their relation to Black community, allowing me to fight back against the history of the racist caricature that I reclaim in my work. By combining these ambivalent visual languages, I intend to expose to viewers America\u2019s deplorable connection to anti-Black tropes through pop culture while simultaneously celebrating the reality of what it means to be Black. Taking the 2018 stabbing of Brazilian presidential candidate Jair Bolsonaro as a catalyst, the work traces how a single event was amplified through social media into a foundational myth. Bolsonaro\u2019s self-staging as victim-turned-saviour opened the floodgates for an unprecedented wave of networked propaganda, where falsehoods, memes, and doctored images were used not just to convince, but to confuse, destabilise, and dominate. At its core, this project is a visual investigation into the weaponisation of media and contemporary political mythmaking.<\/p>\n\n\n\n Through staged imagery, appropriated material, archival fragments, and meta-fictional strategies, Tropical Trauma Misery Tour builds a three-act theatre of political farce. It reflects on how digital populism blurs the lines between fact and fiction, individual and collective authorship, emotion and evidence. While rooted in the Brazilian context, the project resonates with broader European and global realities: the manipulation of truth in wartime narratives, the emotional spectacle of strongmen politics, and the urgent need for media literacy in the age of algorithmic persuasion.<\/p>\n\n\n\n What happened in Brazil did not stay in Brazil. The tactics of confusion, the elevation of political figures into untouchable martyrs, the saturation of digital space with falsehoods masked as truth\u2014these have travelled fast and far. From the disinformation trenches of Gaza to the echo chambers of the American alt-right, from manipulated media in Eastern Europe to AI-generated propaganda seeping into everyday feeds, the chaos strategy is now transnational. In this moment, where images no longer simply represent but actively shape our political and emotional realities, Tropical Trauma Misery Tour calls for critical seeing and for an urgency to read between the layers of performance, emotion, and digital distortion.<\/p>\n\n\n\n Rafael Roncato proposes a visual practice that doesn’t just reflect the world back to us, but invites us to decode it. To recognise how illusion becomes infrastructure. To ask: What does it mean to witness? To believe? To resist? And perhaps most importantly\u2014how do we keep our eyes open when truth is constantly rewritten before our eyes? I\u2019m a political exile from Belarus. In my homeland, a repressive dictatorship prevails, suppressing freedom of expression. The government-controlled media conceals information regarding the increasing count of political detainees, the alarming rate of disappearances, and the ineffectiveness of laws and the constitution in safeguarding the rights of individuals.<\/p>\n\n\n\n In my project, I explore the phenomenon of digital everyday life through the interaction between human and media channels. Contemporary society, which is filled with countless distractions vying for our attention has become commonplace to avert our gaze from images that evoke discomfort.<\/p>\n\n\n\n The body of work is divided in two parts. The first part contains selection of absolutely absurd and scary stories of detentions from Belarus. I researched them and created staged photographs based on those stories. In a country ruled by a dictatorship, people are put in jail for speaking Belarusian language, praying, carrying flowers, wearing white-red-white clothes \u2014 the colors of our historical flag, now labeled extremist.<\/p>\n\n\n\n In a second part, I use the news titles that came out on the specific date of these arrests. The neural network utilized the title of each news item as input to generate corresponding images. Numerous irrelevant and peculiar news articles emerged coinciding with the dates of arrests. For each case, I selected 12 headlines published on the day of the arrest\u2014to show how, in moments of crisis, propaganda generates visual and informational noise.<\/p>\n\n\n\n I aim to demonstrate how the agenda seeks to redirect our focus away from the crucial issues. Additionally, I want to explore our tendency to evade problems of significance and instead occupy our minds with superfluous entertainment content. Search and Destroy<\/em> is a series of works exploring how different algorithms perceive our visual world. The centrepiece is a video in which a custom-made algorithm analyses a short documentary, made specifically for this project, about public and private surveillance and gaze.\u2028\u2028The viewer never sees the original footage \u2014 only renditions of extracted information against a white background: tracked faces, bodies, camera movement, compression artefacts, objects, and more.<\/p>\n\n\n\n The work begins playfully \u2014 familiar, even lighthearted \u2014 before gradually revealing something more unsettling beneath the surface.<\/p>\n\n\n\n Mobile phone camera filters, self-driving cars, passport control machines and other everyday technologies make our lives easier, yet they share much of the same underlying technology as AI warfare systems and surveillance networks \u2014 tools of control hiding in plain sight.<\/p>\n\n\n\n The project comprises a single-channel experimental documentary, a series of prints, and a book. SHEUNG YIU (Hong Kong\/Finland) In The Ouroboros of Faces<\/em>, I reset the framework of facial recognition by recontextualizing archival images and diagrams of face reading alongside contemporary datasets and algorithmic outputs. I put my own face through various predictive regimes \u2013 Western physiognomy, Chinese face reading, facial recognition, facial phenotyping, facial generation and synthetic facial data. <\/p>\n\n\n\n By placing the esoteric alongside the high-tech, the project reveals their shared logics, exposing how magical thinking is automated in machine vision. It asks whether facial recognition is a form of Western face reading \u2013 or whether face reading has become a form of facial recognition \u2013 and suggests that the true art of deception may lie in wrapping old beliefs in a shiny technological shell. <\/p>\n\n\n\n Sheung Yiu (b. 1991, Hong Kong) is an image-centred artist and doctoral researcher based in Helsinki. Working across photography, video, installation and artist books, his practice explores imaging technologies at the intersection of photography and large-scale computation, examining how photographs become predictions.\u00a0\u00a0 The work intervenes in the textbook on two levels. Selected pages are reproduced and annotated with corrections, darkroom notes and handwritten markings, shifting the language of instruction into a clinical register and revealing how institutional power operates through procedures that resemble care. A second component reenacts poses from the manual through three-dimensional scans, exposing the gap between institutional representation and lived embodiment. <\/p>\n\n\n\n Working across photography, annotation and reconstruction, Defensive Readiness: Revised Edition<\/em> reflects on how institutions script bodies and how lens-based media can reveal the mechanisms that produce compliance. The project asks what it means to question, refuse and re-inhabit images designed to instruct. <\/p>\n\n\n\n Amin Yousefi (b. 1996, Iran) is a London-based writer, curator and image-based artist. Working across photography, text and installation, his practice examines the social and political dimensions of photography, with a particular focus on archives, state-produced images and the ways visual culture shapes power, memory and perception. FIONA AMUNDSEN Fiona Amundsenin (s. 1973, Aotearoa-Uusi-Seelanti) ty\u00f6 tutkii dokumentatiivisten valo- ja filmikuvien tapoja luoda kytkeytynyt, aktiivinen ja v\u00e4litt\u00e4v\u00e4 suhde nykyhetkess\u00e4 el\u00e4viin menneiden tapahtumien kivuliaisiin seurauksiin. H\u00e4n tahtoo luoda suhteita tiettyjen historiallisten tapahtumien, todistamisen sosiaalisen vastuun, ja dokumentatiivisen valo- ja filmikuvauksen v\u00e4lille. H\u00e4n editoi julkisiksi tehtyj\u00e4 armeijan tuottamia arkistokuvia yhteen omien nykyp\u00e4iv\u00e4n\u00e4 otettujen valokuvien ja filmiens\u00e4 kanssa, ja tutkii n\u00e4in kuvamateriaalin mahdollisuuksia toimia visuaalisena kuuntelun muotona ja todistaa dokumentatiivisesti kolonialistista ja imperialistista v\u00e4kivaltaa, oli se historiallista tai ei. <\/p>\n\n\n\n An Ordinary Life<\/em> tutkii Yhdysvaltojen vuonna 1945 toteuttamaa Japanin atomipommitusta. T\u00e4m\u00e4n tarinan kertoakseen taiteilija Fiona Amundsen on tehnyt yhteisty\u00f6t\u00e4 Kanariya Eishin, Aotearoalla el\u00e4v\u00e4n rokugo-esiintyj\u00e4n kanssa, jonka perhe on Nagasakista. K\u00e4ytt\u00e4en rokugolle tyypillisi\u00e4 kerrontatapoja Eishi muistelee pommien aiheuttamaa tuhoa puhuen isois\u00e4ns\u00e4 kummituksen kanssa, joka oli sotilas pommituksen aikaan.<\/p>\n\n\n\n Fiona Amundsen on taiteen teorian ja historian sek\u00e4 valokuvauksen dosentti Uuden-Seelannin Yliopistossa Aucklandissa. Kanariya Eishi (s. 1976, Japani) on japanilainen rokugo-esiintyj\u00e4 ja n\u00e4yttelij\u00e4 joka toimii Aotearoa-Uusi-Seelannissa.<\/p>\n\n\n\n SOLMAZ DARYANI<\/strong> Solmaz Daryani (s. 1985, Iran) on dokumentatiivinen valokuvaaja joka toimii vaihtelevasti Iranissa ja Iso-Britanniassa. H\u00e4nen ty\u00f6lleen tyypillist\u00e4 on ilmastonmuutoksen ja vesikriisien tutkiminen, keskittyen ihmisiin ja heid\u00e4n suhteisiinsa ilmaston, yhteis\u00f6jen ja kulttuurien kanssa. Uransa alusta alkaen h\u00e4n on luonut useita p\u00e4iv\u00e4kirjamaisia t\u00f6it\u00e4 pitkill\u00e4 aikav\u00e4leill\u00e4 ymm\u00e4rt\u00e4\u00e4kseen ihmisk\u00e4yt\u00f6st\u00e4 ja -ajatuksia niiden sosiaalisissa, kulttuurisissa, uskonnollisissa ja poliittisissa konteksteissa. VELI GRAN\u00d6<\/strong> N\u00e4yttelyn jokainen kuva ja esine on osa sen pirstaloitunutta narratiivia. Traktorinrengas yritt\u00e4\u00e4 yhdist\u00e4\u00e4 polkuja. Se kertoo jatkuvuudesta - ehk\u00e4 my\u00f6s maanviljelyst\u00e4 - mutta Harvesting Moments<\/em> on my\u00f6s metafora el\u00e4m\u00e4lle ja valokuvaukselle.<\/p>\n\n\n\n T\u00e4ysimittainen sota on taas saapunut Eurooppaan. Olemme uskoneet v\u00e4\u00e4riin profeettoihin ja t\u00e4ten joudumme taas kohtaamaan ihmiskunnan kamalimmat kysymykset - kysymykset joiden luulimme jo j\u00e4\u00e4neen historiaan. Ehk\u00e4 historia ja meit\u00e4 ennen el\u00e4neet puhuvat nyt meid\u00e4n suillamme. He ohjaavat k\u00e4si\u00e4mme ja tahtojamme, vaikkemme toivoisi sit\u00e4. Mist\u00e4 paha tuli - ja onko se t\u00e4\u00e4ll\u00e4kin?<\/p>\n\n\n\n Videoty\u00f6 Neighbors Grannar<\/em> osoittaa ohikulkijaan. Onko viattomuutta olemassa?<\/p>\n\n\n\n Pieni, viaton lapsi yritt\u00e4\u00e4, kuvassa nimelt\u00e4 The Face I Showed<\/em>, n\u00e4hd\u00e4 samean perint\u00f6peilin sis\u00e4\u00e4n. Lapsi tahtoo ymm\u00e4rt\u00e4\u00e4 todellisuuden luonteen - miss\u00e4 on raja meid\u00e4n tiedollemme ja ymm\u00e4rryksellemme?<\/p>\n\n\n\n Voiko \"profeetta\" n\u00e4ytt\u00e4\u00e4 meille vaihtoehtoisen tien, polun pois itsetuhoisesta kulttuurista?<\/p>\n\n\n\n HNV COLLECTIVE<\/strong> Atomic<\/em> kertoo er\u00e4\u00e4n tietyn korun tarinan. Pieni, atominmuotoinen hiuskoriste suunniteltiin mittatilausty\u00f6n\u00e4 Yhdysvaltojen armeijan pyynn\u00f6st\u00e4. Se tehtiin kullasta, palladiumista ja trinitiitti-nimisest\u00e4 materiaalaista - New Mexicossa hein\u00e4kuussa 1945 suoritetun ensimm\u00e4isen ydintestin, Trinityn, sivutuotteena luodusta aineesta. Noin kuukausi t\u00e4m\u00e4n j\u00e4lkeen Yhdysvallat pudottivat kaksi atomipommia Japaniin.<\/p>\n\n\n\n T\u00e4m\u00e4 koristeellinen esine edustaa t\u00e4ydellisen v\u00e4kivallan yhdistymist\u00e4 kauniiseen muotoiluun ja kalleisiin, yleviin ja erityisiin materiaaleihin. Korua on k\u00e4ytt\u00e4nyt Hollywood-t\u00e4hdet ja seurapiirikaunottaret tanssiaisissa ja muissa tapahtumissa, ja toisen maailmansodan j\u00e4lkeen Miss USA valokuvattiin t\u00e4m\u00e4 eritt\u00e4in radioaktiivinen, eritt\u00e4in vaarallinen koru yll\u00e4\u00e4n. Valokuvat levisiv\u00e4t ymp\u00e4ri maailmaa sanoma- ja aikakausilehdiss\u00e4. N\u00e4yttely tutkii naiselliseksi kauneudeksi puetun propagandan eroa pommien todellisten seurausten kanssa. Koristeen ja sen historian kautta n\u00e4yttely tutkii my\u00f6s kauneutta, v\u00e4kivaltaa, ja katsomisen voimaa.<\/p>\n\n\n\n Video on runollinen matka joka alkaa ja loppuu trinitiitin syntym\u00e4paikassa: New Mexicon aavikossa jossa ydintesti repi atomeja kappaleiksi, pys\u00e4ytti kaikki kellot ja aloitti uuden ajan ihmiskunnan historiassa. Trinitiitin luomishetki oli my\u00f6s merkitt\u00e4v\u00e4 tapahtuma inhimillisen ja ep\u00e4inhimillisen historian suhteessa. Nopea ydinr\u00e4j\u00e4hdys on j\u00e4tt\u00e4nyt pitk\u00e4vaikutteisia radioaktiivisia vaikutuksia koko planeetan ekosysteemiin. Atomic<\/em> tutkii n\u00e4it\u00e4 tapahtumia geologisella mittakaavalla sek\u00e4 ajan ett\u00e4 tilan kontekstissa esitt\u00e4m\u00e4ll\u00e4 meille kuvia ihmistekojen vaikutuksista ja ymp\u00e4rist\u00f6n sinnikkyydest\u00e4.<\/p>\n\n\n\n HNV Collectiven muodostaa kolme Helsingiss\u00e4 toimivaa taiteilijaa: Felicia Honkasalo, Akuliina Niemi<\/strong> ja Sinna Virtanen<\/strong>. Kollektiivi k\u00e4ytt\u00e4\u00e4 erilaisia mediamuotoja ja materiaaleja tutkiakseen taidetta, historiaa ja tiedett\u00e4 yhdist\u00e4vi\u00e4 aiheita. Heid\u00e4n tutkimuspohjainen ty\u00f6tapansa keskittyy historiallisiin kerrontatapoihin ja tieteellisten faktojen, myyttien ja mielikuvituksen vuorovaikutukseen.<\/p>\n\n\n\n SUSANNE KRIEMANN<\/strong> library for radioactive afterlife (uraninite cycle)<\/p>\n\n\n\n Arkistomateriaaleja, valokuvadokumentteja, kirjallisuutta ja l\u00f6ydettyj\u00e4 esineit\u00e4 yhdist\u00e4v\u00e4 Pechblende<\/em> tutkii mittakaavojen, l\u00e4heisyyden ja et\u00e4isyyksien ilmi\u00f6it\u00e4 suhteessa radioaktiivisuuteen ja kehoon. Pechblende (saksankielinen sana uraniniitille) -mineraaliin keskittyv\u00e4 hanke j\u00e4ljitt\u00e4\u00e4 tieteellisten ja valokuvallisten prosessien historiaa laboratorioty\u00f6n, arkistoinnin, museoty\u00f6n ja kaivaustoimien toisiinsa liitt\u00e4vien paikkojen kautta. Eritt\u00e4in radioaktiivista ja uraanirikasta uraniniitti\u00e4 louhittiin itsepintaisesti entisen Saksan demokraattisen tasavallan \"Malmivuoristossa\" vuosina 1946-1989, mik\u00e4 lopulta kiihdytti ydinaseiden kehitt\u00e4mist\u00e4 Neuvostoliitossa. Kaivosten myrkyllisyydest\u00e4 ja kaivoksissa toimineiden ty\u00f6ntekij\u00f6iden kohtaamista terveysuhista huolimatta Malmivuorten maisema on nyt muuttumassa rauhalliseksi vuoristomaisemaksi, jossa on vain v\u00e4h\u00e4n tunnistettavia j\u00e4lki\u00e4 edelleen s\u00e4teilevist\u00e4 teollisuusty\u00f6maista.<\/p>\n\n\n\n Oltuaan jo pitk\u00e4\u00e4n huolissan radioaktiivisuuden kirjaimellisesta ja poliittisesta n\u00e4kym\u00e4tt\u00f6myydest\u00e4, Kriemann p\u00e4\u00e4tti ty\u00f6skennell\u00e4 tutkijoiden kanssa useissa museoissa ja arkistoissa Yhsyvalloissa tuottaakseen erilaisia versioita ainutlaatuisesta valokuvan lajista, autoradiografiasta, joka syntyy altistamalla valoherkk\u00e4\u00e4 paperia suoraan uraniniittin\u00e4ytteille. T\u00e4m\u00e4 kameraton valotus tuottaa indeksisen mutta eritt\u00e4in abstraktin kuvan, jossa kummittelevat ikonisen ydinasepilven ja sen sokaisevan valon vaikutelmat.<\/p>\n\n\n\n Galleria Nykyajan katutasossa esill\u00e4 olevassa Pechblende (Prologue) -sarjassa Kriemann k\u00e4ytt\u00e4\u00e4 analogisia valokuvausmenetelmi\u00e4, mukaan lukien autoradiografiaa, yhdist\u00e4en ne arkistomateriaaleihin. Tavoitteena on visualisoida sit\u00e4, mik\u00e4 on n\u00e4kym\u00e4t\u00f6nt\u00e4 ja silti l\u00e4sn\u00e4 olevaa: radioaktiivisuutta.<\/p>\n\n\n\n Gallerian alakerrassa esill\u00e4 oleva Pechblende (Chapter 1) -kokonaisuus sis\u00e4lt\u00e4\u00e4 joukon museoesineit\u00e4, kuten ty\u00f6kaluja, ketjuja ja vaatteita, jotka yhdess\u00e4 viittaavat uraanin loihinnan myrkylliseen historiaan ja sen vaikutuksiin kaivosty\u00f6ntekij\u00e4n kehoon. Valaisemalla n\u00e4it\u00e4 esineit\u00e4 k\u00e4\u00e4rteisen camera obscuran kautta Kriemann pohtii radioaktiivisuuden aikaperusteista n\u00e4kyvyytt\u00e4 ja pitkittyneit\u00e4 altistusprosesseja.<\/p>\n\n\n\n Susanne Kriemann (b. 1972, Saksa) el\u00e4\u00e4 ja ty\u00f6skentelee Berliiniss\u00e4. H\u00e4n on taiteellisen valokuvauksen professori Karlsruhen taide- ja muotoiluyliopistossa (2017-2023) ja yksi Berliinin ABA-taidehankkeen perustaja.<\/p>\n\n\n\n Kriemann tutkii valokuvauksen v\u00e4linett\u00e4 yhteiskuntahistorian ja arkistok\u00e4yt\u00e4nt\u00f6jen n\u00e4k\u00f6kulmista. Ajatellen valokuvaa perinteist\u00e4 laajemmin, h\u00e4n pohtii maailmaa analogisena \"tallennusj\u00e4rjestelm\u00e4n\u00e4\" ihmisen aiheuttamille prosesseille. T\u00e4m\u00e4 on johtanut kysymyksiin radioaktiivisuudesta ja kaivostoiminnasta, arkeologiasta ja hitaasta v\u00e4kivallasta. Kriemannin hankkeissa keskeist\u00e4 on ekologiaan keskittyminen. Saastuneiden alueiden n\u00e4keminen laajoina valoherkkin\u00e4 ryhmin\u00e4 on avain h\u00e4nen ymm\u00e4rrykseens\u00e4 maisemasta. H\u00e4nen ty\u00f6skentelyns\u00e4 poikkeuksellisia piirteit\u00e4 on pigmenttien erottaminen tutkitusta aineesta ja niiden k\u00e4ytt\u00f6 kuvien tuottamiseen.<\/p>\n\n\n\n NOELLE MASON<\/strong> Noelle Mason (s. 1977, Yhdysvallat) on medioita yhdist\u00e4v\u00e4 taiteilija, jonka ty\u00f6 k\u00e4sittelee valokuvien riitt\u00e4m\u00e4tt\u00f6myytt\u00e4 kommunikoida t\u00e4rkeit\u00e4 koettuja tasoja jotka monimutkaistavat keskusteluja Amerikan kulttuurissa esiintyvist\u00e4 traumaattisista tapahtumista. Mason on valmistunut taiteen maisteriksi Chicagon School of the Art Institutessa ja toimii t\u00e4ll\u00e4 hetkell\u00e4 kuvanveiston dosenttina Etel\u00e4-Floridan yliopistossa.<\/p>\n\n\n\n X-Ray Vision vs. Invisibility on ty\u00f6kokonaisuus, joka k\u00e4sittelee miten n\u00e4k\u00f6teknologiat vaikuttavat fenomenologisesti dokumentoimattomiin maahanmuuttajiin suhtautumiseen. Projekti sovittelee Amerikan rajalla otettuja kuvia k\u00e4sintehdyiksi esineiksi paljastaakseen miten uudet n\u00e4k\u00f6teknologiat kierr\u00e4tt\u00e4v\u00e4t kartesiolaisia n\u00e4k\u00f6kulmia tarkastellessaan maata ja kehoa, ja siten vahvistavat Amerikan neokolonistista sosiaalista ja poliittista suhdetta Meksikoon.<\/p>\n\n\n\n ALI AKBAR MEHTA<\/strong> Enemm\u00e4n kuin min\u00e4\u00e4n muuna hetken\u00e4 historiassa, kohtaamme nykyaikaisia rajoja vankileirien, ty\u00f6siirtoloiden ja pakolaiskeskusten muodossa. Hiljalleen maat muuttuvat vankiloiksi, jotka rajoittavat ja pid\u00e4ttelev\u00e4t ep\u00e4toivottuja kehoja. Kansalaisten ja ymp\u00e4rist\u00f6n j\u00e4tet\u00e4\u00e4n sivuun turvallisuuden ja riskienhallinnan nimiss\u00e4. Konfliktit ovat en\u00e4\u00e4 vain ty\u00f6kaluja, joilla neoliberaali kapitalismi kierr\u00e4tt\u00e4\u00e4 tuskaa. T\u00e4llainen v\u00e4kivalta johtaa pitk\u00e4aikaiseen traumaan, avuttomuuteen, ja ep\u00e4varmuuteen, joilla on merkitt\u00e4vi\u00e4 negatiivisia vaikutuksia sosiaalisessa kulttuurissa. Silti, hyperdigisoidussa maailmassa, eri v\u00e4kivallan muodot pysyv\u00e4t n\u00e4kym\u00e4tt\u00f6min\u00e4 tai tunnustamattomina. T\u00e4llaisten kokemusten tunnistaminen ja selitt\u00e4minen on vaikeaa ellemme l\u00f6yd\u00e4 tapoja ymm\u00e4rt\u00e4\u00e4 miten v\u00e4kivalta m\u00e4\u00e4ritell\u00e4\u00e4n ja miten sit\u00e4 toteutetaan mikro- (interpersonaalisella), meso- (instituutionaalisella) ja makro- (transsosietaalisella) tasolla. Jotta n\u00e4m\u00e4 prosessit voidaan tuntea, niit\u00e4 t\u00e4ytyy tutkia, visualisoida, satirisoida ja haastaa.<\/p>\n\n\n\n Aikana jona v\u00e4kivalta, konflikti ja trauma ovat normalisoitu arkip\u00e4iv\u00e4isiksi tapahtumiksi, Ali Akbar Mehtan ty\u00f6 toimii kriittisen\u00e4 historiallisten narratiivien tarinankertojana. Mehta tuo yhteen paikallisia ja maantieteellisesti kaukaisia n\u00e4k\u00f6kulmia poliittisen maisemamme rakentavista historiallisista narratiiveista, ja n\u00e4in kehottaa yleis\u00f6\u00e4\u00e4n miettim\u00e4\u00e4n uudelleen mit\u00e4 tarinoita kerromme ja miten meid\u00e4n tulisi kertoa ne. T\u00e4m\u00e4 tekee yleis\u00f6st\u00e4 passiivisen katsojan sijaan kriittisen todistajan.<\/p>\n\n\n\n Backlight 2023 -valokuvafestivaaleilla on kaksi toistaan vahvistavaa ja t\u00e4ydent\u00e4v\u00e4\u00e4 arkistoteosta:<\/p>\n\n\n\n Purgatory Archive<\/strong> Purgatory Archive on v\u00e4kivaltaa ja konflikteja representoivan liikkuvan kuvan arkisto. Sen l\u00e4htein\u00e4 on sotienaikainen arkistomateriaali, elokuvat, dokumentit, mainokset, uutisp\u00e4tk\u00e4t, maisemapanoraamat ja kotivideot jotka esitt\u00e4v\u00e4t v\u00e4kivaltaa kategorioittain erilaisissa muodoissa. Installaatio ja siihen liittyv\u00e4 avoin tietokanta muodostavat jatkuvan arkiston joka kritisoi olemassaolevia mediarepresentaatioita ja v\u00e4kivallan glorifioimista, ja tutkii hegemonisen representaation voimaa visuaalisessa ja elokuvallisessa kieless\u00e4.<\/p>\n\n\n\n Purgatory Archive on osa Purgatory EDIT -projektia, joka on \"kokeellinen k\u00e4ytt\u00e4j\u00e4generoitu koostepohjainen elokuvallinen kokemus\", ja jota kehitet\u00e4\u00e4n t\u00e4ll\u00e4 hetkell\u00e4 virtuaalitodellisuusprojektina.<\/p>\n\n\n\n War List CODEX<\/strong> War List CODEX on laatuaan ensimm\u00e4inen arkisto. Se on kokonaisvaltainen lista kaikista \"sodista, taisteluista, ry\u00f6st\u00f6retkist\u00e4, piirityksist\u00e4, kapinoista, vallankumouksista, pommituksista ja vastarinnoista\" maailmassa vuodesta 3100 eaa. nykyp\u00e4iv\u00e4\u00e4n. Antiikin Egyptin konflikteista Yl\u00e4-Niilin alueella nykyp\u00e4iv\u00e4n sotiin Gazassa, Syyriassa, Sudanissa, Kashmirissa ja Ukrainassa - War List CODEX esitt\u00e4\u00e4 ihmiskunnan historian jatkuvana v\u00e4kivallan ja konfliktin tarinana; planeetanlaajuisena sis\u00e4llissotana.<\/p>\n\n\n\n War List CODEX, sen monissa muodoissaan - arkistona, esityksen\u00e4, julkaisuna, ja nyt verkossa tutkittavana tietokantana - on WAR ROOM ECHO Regarding the Pain of Other Cyborgs -projektin keskeinen komponentti, joka on suunniteltu hybridimuoseoksi, joka on milloinkin arkeologinen kaivaus, sotamuistomerkki tai hauta. Projektin nimi viittaa Susan Sontagin kirjaan \"Regarding the Pain of Others\", jossa Sontag kyseenalaistaa kontekstistaan riistetyn k\u00e4rsimyksen ja tuskan esitt\u00e4misen \"sotavalokuvaamisessa\".<\/p>\n\n\n\n Molemmat arkistot ovat jatkuvia, avoimia verkkoprojekteja ja niit\u00e4 voi tutkia ilmaiseksi mist\u00e4 vain. https:\/\/cruelradiance.aliakbarmehta.com\/<\/a><\/p>\n\n\n\n ANASTASIA MITYUKOVA<\/strong> Anastasia Mityukova (s. 1982, Sveitsi) on Genevassa toimiva visuaalinen taiteilija. H\u00e4n sai valokuvauksen kanditutkintonsa Sveitsin ECAL-yliopistossa vuonna 2018 ja valmistui nykytaiteen maisteriksi HEAD-yliopistossa vuonna 2021. H\u00e4nen taiteellinen ty\u00f6ns\u00e4 tutkii valokuvauksen v\u00e4lineen v\u00e4linpit\u00e4m\u00e4tt\u00f6myytt\u00e4. H\u00e4n haastaa t\u00e4t\u00e4 v\u00e4linett\u00e4 dokumentoimista l\u00e4hestyv\u00e4ll\u00e4 tavalla, k\u00e4ytt\u00e4en ker\u00e4\u00e4misen, vertaamisen ja kentt\u00e4tutkimuksen tapoja ja yritt\u00e4\u00e4 purkaa ymm\u00e4rryksemme tietyist\u00e4 tarinoista ja tapahtumista.<\/p>\n\n\n\n Vuonna 1959 Yhdysvaltain armeija rakensi Gr\u00f6nlannin j\u00e4\u00e4tik\u00f6n alle tukikohdan josta l\u00e4hett\u00e4\u00e4 ohjuksia. Ilmastonl\u00e4mpenemisen vuoksi tukikohdan hylk\u00e4\u00e4misen j\u00e4lkeen paikalle j\u00e4tetty ydinj\u00e4te alkaa nousta taas pintaan, ja uhkaa Thulen inuiittien ekosysteemi\u00e4. Mityukovan installaatio purkaa osiin tapahtumia ja rikkeit\u00e4: siirtomaa-asennetta, tuhoa ja saasteita, n\u00e4ytt\u00e4en saavuttamatonta ja n\u00e4kym\u00e4t\u00f6nt\u00e4 todellisuutta.<\/p>\n\n\n\n SUSAN SCHUPPLI<\/strong> Susan Schuppli (s. 1959, Iso-Britannia) on Iso-Britanniassa toimiva tutkija ja taiteilija, jonka ty\u00f6 tutkii ilmastonmuutoksen ja sotien materiaalisia todisteita. Schupplin t\u00e4m\u00e4nhetkinen ty\u00f6 keskittyy oppimaan j\u00e4\u00e4st\u00e4 ja kylm\u00e4n politiikasta. H\u00e4nen luovia projektejansa on ollut esill\u00e4 ymp\u00e4ri Eurooppaa, Aasiaa, Kanadaa ja Yhdysvaltoja. Schuppli toimii johtajana Lontoon Centre for Research Architecture, Goldsmiths Universityss\u00e4<\/a> jossa h\u00e4n on my\u00f6s taiteilija-tutkijakumppani ja Forensic Architecture -osaston hallituksen j\u00e4sen. <\/p>\n\n\n\n Schupplin projekti Cold Cases on yhdistelm\u00e4ty\u00f6 videoita ja siihen liittyvi\u00e4 materiaaleja. N\u00e4m\u00e4 videot ja materiaalit tutkivat kylmyyden poliittisia merkityksi\u00e4 eri tapahtumien ja asiayhteyksien kautta, joissa l\u00e4mp\u00f6tilaan liittyv\u00e4t eri\u00e4v\u00e4t kokemukset ja vaikutukset sekoittuvat juridisiin kysymyksiin, ihmisoikeusrikkomuksiin, mutta my\u00f6s vaatimuksiin sosiaalisesta ja ymp\u00e4rist\u00f6llisest\u00e4 oikeudenmukaisuudesta. Analysoimalla sek\u00e4 nykyaikaisia ett\u00e4 historiallisia \"kylmi\u00e4 tapauksia\" n\u00e4m\u00e4 videot tutkivat l\u00e4mp\u00f6tilan taktista roolia tapahtumissa, ja spekuloivat uuden, kylmyyden m\u00e4\u00e4rittelem\u00e4n l\u00e4mp\u00f6politiikan noususta. Jokainen n\u00e4ist\u00e4 \"kylmist\u00e4 tapauksista\" paljastaa, miten l\u00e4mp\u00f6tila toimii v\u00e4kivallan rekisterin\u00e4 - v\u00e4kivallan, johon sis\u00e4ltyy ymp\u00e4rist\u00f6kolonialismin, pitk\u00e4aikaisten sosioekonomisten ep\u00e4tasa-arvoisuuksien ja jatkuvan rakenteellisen rasismin perinn\u00f6t.<\/p>\n\n\n\n ANA\u00cfS TONDEUR Yhteisty\u00f6 ilmastomallintajien Rita van Dingenenin & Jean-Philippe Putaudin, JRC:n, ja Euroopan komission kanssa<\/p>\n\n\n\n Teollisuuden poissaolosta huolimatta Fairin saaren asukkaan k\u00e4rsiv\u00e4t tukehtumisesta. Kun Ana\u00efs Tondeur saavutti saaren, h\u00e4n l\u00e4hetti maantieteelliset koordinaattinsa ilmastomallintajille Rita van Dingenenille ja Jean-Philippe Putaudille (JRC, Euroopan komissio), jotka selvittiv\u00e4t h\u00e4nen kohtaamiensa hiukkasaineiden kulkumatkan. Tutkimalla aineiden kulkurataa ilmakeh\u00e4ss\u00e4 taaksep\u00e4in ja analysoimalla ihmisist\u00e4 johtuvien ilmansaasteiden p\u00e4\u00e4st\u00f6j\u00e4 he kykeniv\u00e4t m\u00e4\u00e4ritt\u00e4m\u00e4\u00e4n hiukkasten luomispaikan. T\u00e4m\u00e4n kulkusuunnan p\u00e4\u00e4piirteitt\u00e4inen m\u00e4\u00e4rittely johti taiteilijan yli tuhannen kilometrin matkalle, jossa h\u00e4n k\u00e4vellen, lautalla, kalastusveneell\u00e4 ja autolla tutki n\u00e4iden antrooppisten meteorien matkaa.<\/p>\n\n\n\n Tondeur kiteytti joka p\u00e4iv\u00e4n valokuvaan taivaasta sek\u00e4 filtter\u00f6im\u00e4ll\u00e4 mustia hiilipartikkeleja joita h\u00e4n l\u00f6ysi maskeista. My\u00f6hemmin tieteilij\u00e4 Putaud otti n\u00e4m\u00e4 partikkelit talteen ja muutti ne musteeksi. Musta hiili on itse asiassa noen sivumuoto, ja nokea on k\u00e4ytetty vuosisatojen ajan intialaisen musteen p\u00e4\u00e4komponenttina. N\u00e4in valokuvat printattiin osittain musteella joka oli luotu kuvaushetkell\u00e4 taivaalla olleista partikkeleista. Ana\u00efs Tondeur (s. 1985, Ranska) valmistui Central Saint Martinin koulusta (2008) ja Royal College of Artsista (2010) Lontoossa. H\u00e4nelle my\u00f6nnettiin Prix Art of Change 21 (2021) ja Ars Electronica Cyber Arts Honorable Mention (2019). H\u00e4nen t\u00f6it\u00e4\u00e4n on ollut esill\u00e4 kansainv\u00e4lisiss\u00e4 instituuteissa kuten Center Pompidoussa Pariisissa, Serpentines Galleriesiss\u00e4 Lontoossa, Bozaissa Brysseliss\u00e4, Biennale Di Veneziassa, Pavillon Frenchiss\u00e4, Kr\u00f6ller-M\u00fcller Museumissa Hollannissa, Dortmund U:ssa ja Museum F\u00fcr Kunst und Gewerbess\u00e4 Saksassa, Spencer Art Museumissa Yhdysvalloissa, Choi Centeriss\u00e4 Kiinassa ja Nam June Paik Art Centeriss\u00e4 Koreassa.<\/p>\n\n\n\n TOSHIO FUKADA<\/strong> 6.8.1945 Toshio Fukada (1928-2009, Japani) kuuli r\u00e4j\u00e4hdyksen l\u00e4heiselt\u00e4 armeijatarvikevarastolta. H\u00e4n n\u00e4ki kiehuvan atomipilven. H\u00e4n kiirehti hakemaan kameransa ja etsim\u00e4\u00e4n hyv\u00e4n paikan, josta tarkkailla tapahtunutta. N\u00e4m\u00e4 kuvat otettiin hetki\u00e4 r\u00e4j\u00e4hdyksen j\u00e4lkeen 2,6 kilometrki\u00e4 sen syd\u00e4mest\u00e4. Fukada oli kuvan ottaessaan kuusitoistavuotias.<\/p>\n\n\n\n Sodan j\u00e4lkeen Fukada py\u00f6ritti kamerakauppaa ja liittyi valokuvaajaryhm\u00e4\u00e4n nimelt\u00e4 Hiroshiman Atomipommituhon Valokuvaajaliitto, joka perustettiin vuonna 1978. H\u00e4n valokuvasi armeijatarvikevaraston rakennuksia, kun niit\u00e4 purettiin. Fukada lahjoitti negatiivit, joista h\u00e4n oli pit\u00e4nyt kotonaan tarkasti huolta, Rauhan muistomerkkimuseolle vuonna 2004.<\/p>\n\n\n\n EIICHI MATSUMOTO<\/strong> Toisen maailmansodan aikana Eiichi Matsumoto (1915-2004, Japani) toimi valokuvaajana Asahi Shimbun Tokyon p\u00e4\u00e4toimiston julkaisuosastolla, jossa h\u00e4nen ty\u00f6ns\u00e4 k\u00e4sitteliv\u00e4t useiden japanilaisten kaupunkien pommittamista. Sodan loputtua sanomalehti p\u00e4\u00e4tti julkaista erityisnumeron atomipommeista lehdess\u00e4\u00e4n Scientific Asahi<\/em>. Asahin toimittaja ja Matsumoto matkustivat Hiroshimaan ja Nagasakiin ottamaan kuvia. Vuonna 1945 he valokuvasivat Nagasakia 25.8.-15.9. ja Hiroshimaa 18.-25.9. Matsumoton valokuvien levityst\u00e4 rajoitettiin s\u00e4\u00e4d\u00f6ksill\u00e4, jotka koskivat graafisen materiaalin julkaisemista ihmisuhreista. Yhden Matsumoton hautapaikasta ottaman kuvan vuoksi prefektuuri suoritti paikalla kaivauksen ja l\u00f6ysi ihmisj\u00e4\u00e4nteit\u00e4 Shukkeienin puutarhassa hein\u00e4kuussa 1987. <\/p>\n\n\n\n Valokuvassa Atomic Shadow n\u00e4kyy Nagasakin armeijatukikohdan puusein\u00e4lle vuonna 1945 ikuistunut sotilaan ja tikapuiden varjo.<\/p>","protected":false},"excerpt":{"rendered":" Backlight 2026 KATERINA ANGELOPOULOU (Greece)The Fumes of Mars, 2025Photographic Centre Nykyaika Katerina Angelopoulou (b. 1982, Athens) is an artist whose lens-based practice explores the tension …<\/p>","protected":false},"author":6,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-4253","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/backlight.fi\/fi\/wp-json\/wp\/v2\/pages\/4253","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/backlight.fi\/fi\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/backlight.fi\/fi\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/backlight.fi\/fi\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/backlight.fi\/fi\/wp-json\/wp\/v2\/comments?post=4253"}],"version-history":[{"count":40,"href":"https:\/\/backlight.fi\/fi\/wp-json\/wp\/v2\/pages\/4253\/revisions"}],"predecessor-version":[{"id":4592,"href":"https:\/\/backlight.fi\/fi\/wp-json\/wp\/v2\/pages\/4253\/revisions\/4592"}],"wp:attachment":[{"href":"https:\/\/backlight.fi\/fi\/wp-json\/wp\/v2\/media?parent=4253"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Razzle Dazzle: Hiding in Plain Sight<\/strong>
Vooninki
Driven by an appreciation for all things camp, joyful, and absurd, Jo Duck’s photography centres on crafting unique characters who live confidently in worlds of their own. Duck\u2019s work radiates a humour that contributes to a distinctive style, one that is simultaneously strange and heartwarming.
In World War One, Allied Forces discovered that if you can’t hide, you might as well be ostentatious. They painted wild geometric patterns onto the hulls of their ships. Not to conceal them, but to make them unreadable. Enemy submarines could see the vessels but couldn’t judge their speed, direction, or location. The strategy was called Razzle Dazzle – hiding in plain sight by scrambling the information observers could extract.<\/p>\n\n\n\n
<\/p>\n\n\n\n<\/a><\/figure>\n\n\n\n
DAVID ELLINGSEN (Canada)<\/strong>
Days of Plenty: An Archive of Abundance Various, 2025<\/strong>
Vooninki
David Ellingsen is a Canadian photo-based artist working through long-term projects focusing on forests, biodiversity and climate. His work draws upon a colonial family history, one often embedded within British Columbia\u2019s troubled forest industry, and reflects on the impacts of resource extraction and consumption on past, present, and future eco-systems.
Through historical reinterpretation…a counter history…Days of Plenty<\/em> speaks to biodiversity loss, ecological grief, and the Rights of Nature through photographic history and archives.<\/p>\n\n\n\n
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GANSLMEIER&ZIBELNIK (Slovenia \/ Germany \/ Netherlands)<\/strong>
Bereitschaft <\/em>| How TikTok became obsessed with a fascist statue, 2025<\/strong>
Vooninki
Ganslmeier & Zibelnik (b. 1990, Munich, and 1995, Ljubljana) are an artist duo working with photography and video, focusing on youth identity formation, particularly the influence of radical ideologies on young people. Their practice seeks to dismantle the visual language of radical ideologies and investigates how visual art can counteract radical political narratives while fostering sensitivity toward social issues shaped by conflicting perspectives.
Bereitschaft <\/em>is an ongoing photograpy and video-based project by the artist duo Ganslmeier & Zibelnik that examines how far-right ideologies are normalised and disseminated through the mainstream visual language of social media.<\/p>\n\n\n\n
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JOEL JIMENEZ JARA (Costa Rica \/ Spain)<\/strong>
GLIMMERS, FEATHERS AND STARING SKIES, 2025-2026<\/strong>
Valokuvakeskus Nykyaika
Joel Jimenez (b. 1993, Costa Rica) is an artist and filmmaker based in Madrid, Spain. Working across photography, installation, and moving image, his practice examines the politics of memory and the ways power and ideology are inscribed in space. Through research-based projects, he explores landscapes, architectures, and archives as carriers of shared histories, engaging with themes of erasure, displacement, and the instability of historical narratives. His work often moves between documentation and speculation, bringing together archival materials, environmental observation, and mythological references, with a growing focus on non-human forms of memory and communication.
Hummingbirds are the only birds capable of flying backwards; their suspended motion mirrors the process of grief, moving into the past while still held in the present. A few years ago, I left my home country, Costa Rica, finding my own migratory route across the ocean. During that time, my father passed away from a neurodegenerative disease that slowly took his movement and his voice.<\/p>\n\n\n\n
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AKSHAY MAHAJAN (India)<\/strong>
People of Clay<\/strong>
Vooninki
Akshay Mahajan (b. 1985, India) is an artist, photographer, writer, teacher, and curator based in Goa. His practice uses photography as a way to think through culture, collective memory, folklore, myth, and the afterlives of colonial histories. Moving between documentary, archival research, staged images, text, and installation, his work often examines how postcolonial realities remain haunted by precolonial memory, and how landscapes, cities, objects, and communities carry the traces of unresolved histories and failed futures.
It took me many years to notice that in quiet moments, when no one was listening, she would sing. Simple tunes, carrying haunting notes of melancholy. I would try to grasp the words of a language I did not yet know how to place \u2014 folksongs of a forgotten people.<\/p>\n\n\n\n
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ANDRE RAMOS-WOODARD (USA)<\/strong>
BLACK SNAFU<\/strong>
Vooninki
Raised in the Southern states of Tennessee and Texas, Andr\u00e9 Ramos-Woodard (he\/ they) is a photo-based, mixed-media artist who uses their work to emphasize the experiences of marginalized communities while accenting the repercussions of contemporary and historical discrimination. By combing photography with illustration, text, and digital manipulation, his art conveys ideas of communal and personal identity, influenced by their direct experience with life as a queer African American. Focusing on Black liberation, queer justice, and the reality of mental health, he aspires for his art to help bring Power to the People.
Anti-Blackness seems inescapably mixed into whatever context I place it into; literature, science, government, health, art… look into any \u201cfield\u201d and see for yourself. My people have had to cry, scream, and fight for respect for centuries, and we still have not gained what we deserve. To move past the damage this has done to our society, we can\u2019t simply deny our history\u2014we must recognize it. We must acknowledge the many ways in which this country has perpetuated a racial hierarchy since these lands were first colonized and stripped from indigenous peoples, and Black people were stolen from their native land and brought to America.<\/p>\n\n\n\n
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RAFAEL RONCATO (Brazil \/ Netherlands)<\/strong>
Tropical Trauma Misery Tour, 2018-2023<\/strong>
Vooninki
Rafael Roncato (b. 1989, Brazil) is an interdisciplinary visual artist, editor, and educator working between Brazil and the Netherlands. His practice examines colonial memory, media myths, and the politics of representation, focusing on how images construct belief systems and shape collective perception. Grounded in documentary photography and expanded through archival research, video, and editorial strategies, Roncato develops semi-fictional, non-linear narratives that interrogate contemporary media landscapes and historical power structures. Inspired by comics, cinema, and Brazilian (post)modernism, his work moves fluidly across formats, from artist books to exhibitions and multimedia projects.
Tropical Trauma Misery Tour<\/em> is a speculative documentary photography project that unpacks the farcical spectacle and digital chaos of Brazil\u2019s far-right populist rise, while interrogating the global strategies of misinformation, martyrdom, and narrative manipulation that define contemporary politics.<\/p>\n\n\n\n
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SASHA VELICHKO (Belarus \/ Poland)<\/strong>
State of Denial<\/strong>
Vooninki
Sasha Velichko (b. 1993, Slonim, Belarus) is a research-based artist whose practice spans photography, installation and new media. Her work investigates propaganda, post-truth, manipulations, collective and individual trauma. With a master degree in radiophysics she integrates scientific thinking into her artistic practice. After being politically convicted and persecuted in Belarus and forced to flee, she relocated to Warsaw.<\/p>\n\n\n\n
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TIMO WRIGHT (Finland \/ Japan)<\/strong>
Search and Destroy, 2026<\/strong>
Vooninki
Timo Wright is a media artist and filmmaker based in Helsinki, Finland and Tokyo, Japan. His artistic practice combines deeply personal topics with larger political and societal questions. His aim is to create works that look at the world not only through personal experience, but across the different forms of politics, society, customs, and memory. As an artist, he is interested in working across different platforms and formats, and in many works he has wanted to push technical boundaries.
What if we could see the world through the eyes of an algorithm?<\/p>\n\n\n\n
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The Ouroboros of Faces, 2025<\/strong>
Vooninki
Through the machinic eye, a facial recognition algorithm is looking. It claims to have the power to predict my sexuality from facial landmarks. Across Eastern and Western cultures, society has long developed ways to predict a person’s character through facial features. Today, the forgotten pseudo-science of physiognomy re-enters our lives through facial recognition algorithms, where societal biases and individual prejudices continue to perpetuate.\u00a0<\/p>\n\n\n\n
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AMIN YOUSEFI (Iran\/UK)
Defensive Readiness: Revised Edition, 2025<\/strong>
Vooninki
Defensive Readiness: Revised Edition<\/em>\u00a0examines the body as a political field shaped through institutional images and state pedagogy. Working with a state-issued military and civil defence textbook once distributed to Iranian high school students, the project explores how bodies are trained to become legible, obedient and operational.\u00a0<\/p>\n\n\n\n
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An Ordinary Life, 2021<\/strong>
Tampereen Taidemuseo 17.6.-15.10.2023<\/p>\n\n\n\n<\/a>
The Eyes of Earth, 2014-22<\/strong>
Tampereen Taidemuseo 17.6.-15.10.2023<\/p>\n\n\n\n
H\u00e4nen k\u00e4ynniss\u00e4 oleva projektinsa, The Eyes of Earth<\/em>, on eritt\u00e4in henkil\u00f6kohtainen tarina Luoteis-Iranissa sijaitsevan Urmiaj\u00e4rven ymp\u00e4rist\u00f6katastrofista. Joitain vuosikymmeni\u00e4 sitten suositusta lomakohteesta on viimeisen kahdenkymmenen vuoden aikana kuivunut noin 80 prosenttia.
Solmaz Daryani valmistui Azadin yliopistosta tietojenk\u00e4sittelytieteen tutkinnon kanssa vuonna 2011. H\u00e4n jatkoi opintojaan Tanskan media- ja journalismiopistossa (DMJX) vuonna 2020. H\u00e4n alkoi tutustua valokuvaukseen itseoppineena valokuvaajana vuonna 2012 opiskeltuaan itsen\u00e4isesti elokuvataidetta.<\/p>\n\n\n\n<\/a>
V\u00e4\u00e4r\u00e4 Profeetta<\/strong>
Galleria Koppelo 3.6.-2.7.2023
N\u00e4yttely V\u00e4\u00e4r\u00e4 Profeetta<\/em>, kuten monet Veli Gran\u00f6n edelliset n\u00e4yttelyt, tutkii todellisuuden moniluontoisuutta. Se on tietynlainen visuaalisnarratiivinen essee. Monet n\u00e4yttelyn osat viittaavat vuosia sitten olleeseen aikaan. Tarinan vanhimmat osat voidaan l\u00f6yt\u00e4\u00e4 perint\u00f6kirjaston sivuilta kuvasarjassa Uni on<\/em>.<\/p>\n\n\n\n<\/a>
Atomic, 2020<\/strong>
Galleria Saskia 3.6.-2.7.2023<\/p>\n\n\n\n<\/a>
Pechblende (Prologue)
Pechblende (Chapter 1)<\/strong>
Valokuvakeskus Nykyaika 3.6.-31.7.2023<\/p>\n\n\n\n<\/a>
X-Ray Vision vs. Invisibility<\/strong>, 2020\u201321<\/strong>
Tampereen Taidemuseo 17.6.-15.10.2023<\/p>\n\n\n\n<\/a>
Galleria Saskia 3.6.-2.7.2023<\/p>\n\n\n\n
2016 - jatkuva<\/p>\n\n\n\n
2014 - jatkuu<\/p>\n\n\n\n<\/a>
Project Iceworm<\/strong>, 2019\u2013<\/strong>
Tampereen Taidemuseo 17.6.-15.10.2023<\/p>\n\n\n\n<\/a>
Cold Cases<\/strong>, 2022<\/strong><\/p>\n\n\n\n<\/a>
Carbon Black, 2017-18<\/strong>
Galleria Saskia 3.6.-2.7.2023<\/p>\n\n\n\n
Ekologiseen ajatteluun nojautuen Ana\u00efs Tondeur etsii uutta poliittisen taiteen muotoa. Antropologiaa ja luonnontieteit\u00e4 sek\u00e4 myytinluontia ja uusia mediaprosesseja yhdist\u00e4en h\u00e4n luo tarkkoja narratiiveja ja toimii interaktiivisesti tutkimuksissa joiden kautta h\u00e4n tutkii muita olemassaolon muotoja maailmassa. Valokuvien, installaatioiden tai videoiden kautta h\u00e4n etsii uutta estetiikkaa, jolla uudistaa tapamme n\u00e4hd\u00e4 asioita, ja tutkii syv\u00e4luotaavasti luonnon ja kulttuurin eroja sek\u00e4 ihmisten suhteiden muotoja ei-ihmisten kanssa.<\/p>\n\n\n\n<\/a>
The Mushroom Cloud<\/strong>, 1945<\/strong>
Tampereen Taidemuseo 17.6.-15.10.2023<\/p>\n\n\n\n
Atomic Shadow<\/strong>, 1945<\/strong>
Tampereen Taidemuseo 17.6.-15.10.2023<\/p>\n\n\n\n