Now in its seventh edition, Unseen Amsterdam has confirmed itself as one of Europe’s most dynamic photography events. Featuring over 300 emerging and established artists, the release of the complete 2018 programme brings together the international photography community to discuss and debate the future of the medium. Running from 21-23 September in Westergasfabriek, Unseen Amsterdam will host over 85 photographic debuts. 50 galleries from 17 countries will be present, showcasing new work from emerging artists such as Mustafa Saeed from Somaliland, whose work explores war, environment and conflict; Keyezua from Angola, who revisits clichéd representations of African women, and France’s Elsa Leydier, who examines and reconstructs exotic environments. Inez & Vinoodh (NL), Rafal Milach (PL), and Isaac Julien (UK) will also premiere unseen work over the weekend. Also present at Unseen is CO-OP, a platform for international artist collectives to present their ideas and work in new and innovative ways. In its second year, collectives involved include the Migrant Image Research Group, exploring Mediterranean migration to Europe, 280-A from Vienna who challenge the concept of …
On 7 September 2017, just before midnight, a magnitude 8.1 earthquake hit Mexico’s southern coast, the second strongest earthquake in the country’s history. It was felt by 50 million people across Mexico and, in the heavily affected states of Oaxaca and Chiapas, killed dozens of people and left over 100,000 homes damaged.
When the earthquake hit, Andres Millan was living in his hometown in Bogota, Colombia, preparing for a four-month residency that would start in November at Casa El Ocote, a gallery and cultural centre in Oaxaca. At quarter to midnight, alerts started to pop up on Millan’s mobile phone. When he switched on the news, the first image he saw was of the Mexican flag at the Municipal Palace in Oaxaca, lit up by lights coming from police cars.
My home is my castle references these first images that Millan saw from Colombia when the earthquake hit. “I wanted to recreate the light from the police car, so the photos are made with two flashes, one with a red filter and another with a blue one. The mixture of colours made the images acquire that pink colour,” he explains.
Rose Marie Cromwell went beyond the cliches to build an expressionistic homage to the Cuba she knows and loves. “I wanted to make images that investigated my complicated relationship to this specific place, rather than trying to document something ‘about’ Cuba,” she says.
Born in Tehran, Iran, in 1988, Hashem Shakeri studied architecture in TAFE (New South Wales Technical and Further Education Commission of Australia), and started his professional photography career in 2010. In 2015 he was Commended in the Ian Parry Scholarship, and in 2017 his images were included in the Rencontres d'Arles exhibition Iran, Year 38, alongside work by photographers such as Abbas Kiarostami and Newsha Tavakolian.
Shakeri's ongoing series on climate change in Sistan and Balouchestan looks at the effect of drought in the Iranian province, which is located in the southeast of the country, bordering Afghanistan and Pakistan. It has been suffering from drought for the last 18 years, which has created severe famine in a region once famed for its agriculture and forests. "Nowadays, the Sistan region has faced astonishing climate change, which has turned this wide area into an infertile desert empty of people," writes Shakeri.
Hundreds of people crowd in the city of Ukraine, wearing helmets and holding flags, while a fire breaks out. A person in white-gloves wipes the blood off the face of a young man. Police line up with their bulletproof shields; one stands on the bonnet of a van preparing to fire his rifle. Maxim Dondyuk is a documentary photographer. His 2013-2014 project, Culture of the Confrontation, showcases perspective-shifting images of Euromaidan, the three-month long protests that erupted in Ukraine against the government, characterised as an event of major political symbolism for the European Union.