How do young Dutch-Turkish image-makers and that same generation of Turkish image-makers give shape to the worlds they live in? With shared heritage as the starting point, multi-year project Kısmet explores the complex and rich perspectives of emerging talents.

Kısmet - Cemre Yeşil & Ahmet Polat

Podcast with Cemre Yeşil and Ahmet Polat

Kısmet

The mounted life

Untitled by Harley Weir

On Earth Video Tour - Introduction

Still from the On Earth Tour: Mishka Henner

On Earth Video Tour - Mishka Henner

Still from the On Earth video tour: Drew Nikonowicz

On Earth Video Tour - Drew Nikonowicz

Still from the On Earth tour: Lucas Foglia

On Earth Video Tour - Lucas Foglia

Still from the On Earth video tour: Mark Dorf

On Earth Video Tour - Mark Dorf

visible in

Lilac from the series Flamboya

Vanishing Lands

Stories of Migration - Johanne Affricot

Stories of Migration - Edmund Clark

Foam is proud to present the Netherlands' first solo exhibition by Belgian artist Geert Goiris. Very few people in the Netherlands are familiar with his unconventional visual language and serious tone.

Goiris occupies a unique position in the field of contemporary photography. His layered photos of sublime landscapes, modernist architecture and reserved portraits possess a strange, unreal beauty with no perception of time and space, and are vaguely reminiscent of the visual language of post-apocalyptic feature films. And yet everything that Goiris photographs is real. Nothing is photoshopped. Many of his photos feature reminders of man's attempts to domesticate nature.
Goiris creates powerful images, in which he combines an almost universal perception of beauty with a subtle frisson of danger. As well as being mental images, his photos are records of reality that generate room for stories, associations and suspense in the area of tension between fact and fiction. The exhibition is entirely without daylight, and the oppressive atmosphere is intensified by spatial interventions and interaction between slide shows, framed photos of varying dimensions and enormous prints.
ABOUT GEERT GOIRIS Since&nbsp;Reconstruction&nbsp;(Geert Goiris' first exhibition in the FoMu in Antwerp in 2000), solo exhibitions of Goiris' work have been held in Museum M in Leuven (2013), Hamburger Kunsthalle (2010) and during Art Basel (2009/2014). His work has also been included in various group exhibitions, such as in MUHKA, Antwerp, the Gallery of Modern Art in Brisbane, BOZAR in Brussels, Palais de Tokyo in Paris and Manifesta 5 in San Sebastian. In addition, his photos feature in several international collections. Geert Goiris is represented by Galerie Art: Concept in Paris and Galerie Catherine Bastide in Brussels.
SIDE PROGRAMME As part of Flashbulb Memories, Ash Grey Prophecies, Foam, in association with the Royal Academy of Fine Arts, Antwerp and EYE Film Institute, has organised an evening of lectures in Foam on 16 April, and film screenings in EYE of The Thing on 30 April, Mad Max II on 7 May, The Last Wave on 14 May, and The Road + 28 Days Later on 29 May. <a href="https://www.eyefilm.nl/films-en-exposities/cinema-egzotik-night-of-post-apocalyptica?program_id=11737732" target="_blank">More information and tickets on the website of EYE Film.</a>
This exhibition is organised in co-production with the Flemish-Dutch House <a href="http://www.deburen.eu">deBuren</a>.
Foam is sponsored by the BankGiro Loterij, De Brauw Blackstone Westbroek, Delta Lloyd, Gemeente Amsterdam,&nbsp;Olympus and the VandenEnde Foundation.

Geert Goiris

Regine Petersen (Germany, 1976) was selected by an international jury as the most promising photographer at the Unseen international photography fair in 2014. As winner of the Outset | Unseen Exhibition Fund, Petersen has been awarded an exhibition in Foam's 3h space for young talent. Foam is proud to present her long-term project Find a Fallen Star in this space. 

Petersen is inspired by stories about falling meteorites and makes use of her strong narrative qualities in her work. With her approach she creates a multi-layered narrative in which she integrates science and art, building a bridge between the past and the future. &nbsp;She thus investigates both how memory works versus history, and the relationship between the ordinary and the inexplicable. In her publication with the same name, Find a Fallen Star, which appears with the exhibition, she combines her own photos with historic and found images, texts and space-related objects.
In Find A Fallen Star, Petersen uses stories about falling meteorites as a starting point for her multilayered narrative works: a rock which crashed through the roof of a house in Alabama and stuck a woman, a group of children in post-War Germany who found a meteorite and a recent event in India. Petersen visited these places, interviewed eyewitnesses and elaborated on their stories. She supplements her photographic observations with found documents and interviews. Petersen views her work as chapters in a greater story. Just as a meteor can be considered a time capsule, each of her chapters alludes to a specific place and time.
The first chapter of the project, Stars Fell on Alabama, won the Alfried Krupp von Bohlen und Halbach Prize for Contemporary German Photography in 2012. She was also selected as a finalist for the Prix HSBC prize for photography in 2014. In 2009, Petersen completed a Master's degree in Photography from the Royal College of Art in London. Since then, her work has been shown in several international solo and group exhibitions, including the Rencontres d'Arles, France (2012) and the Science Operations Center, UA Lunar &amp; Planetary Lab, Tucson, USA (2011).&nbsp;
OUTSET | UNSEEN EXHIBITION FUND This exhibition has been organized as part of the the Outset | Unseen Exhibition Fund. The Outset | Unseen Exhibition Fund is a unique partnership between Unseen Photo Fair and Outset Netherlands, providing a new institutional platform for emerging talent. Scouting the fair before opening hours, each year the selection committee selects one artist exhibiting at Unseen for a solo exhibition at Foam.
The Foam 3h exhibitions are supported by the Gieskes-Strijbis Fund and the Van Bijleveltstichting.

Regine Petersen 

For their solo exhibition To Photograph the Details of a Dark Horse in Low Light, internationally acclaimed artists Adam Broomberg (South Africa, 1970) and Oliver Chanarin (Great Britain, 1971) lead viewers through a meandering and disturbing history lesson on the relationship between photography and race.

In response to a commission to 'document' Gabon, Broomberg &amp; Chanarin made several trips to the West African country to photograph a series of rare initiation rituals, using only Kodak film stock that had expired in the 1960's. In the late 1970's the French-Swiss filmdirector Jean Luc Godard famously claimed that this early colour film was inherently racist, because it was better at depicting white rather than black skin. Using outdated chemical processes Broomberg &amp; Chanarin salvaged just a single frame from the many rolls of expired film they exposed during these trips. This piece called Ektachrome 78 serves as a starting point for the exhibition.
Another key work in the exhibition is a billboard-sized photograph of Shirley, a 1950's model for the Kodak Eastman Company. Her portrait was distributed to photography labs all over the world as a visual reference for correct exposure. Shirley became a benchmark for 'normal' Caucasian skin. In the eighties, Kodak eventually developed a colour film that was capable of rendering darker tones. The company director described this film as being able to "photograph the details of a dark horse in low light."
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ABOUT THE EXHIBITION Kodak Ektachrome 78 and Shirley are presented alongside works whose parameters were dictated to Broomberg &amp; Chanarin by archival material of their deceased family friend, amateur photographer and anatomist, Dr. Rosenberg. After their trips to West Africa they inherited his darkroom equipment. Some of his notes were about making photographic test strips to determine the correct exposure time. Broomberg &amp; Chanarin followed these instructions to produce a series of oversized darkroom experiments they call Strip Tests.
The connection between photography and racism is further explored in the Polaroid Revolutionary Workers Movement series. In 1970, Caroline Hunter, a young chemist working for the Polaroid Corporation based in the United States, stumbled upon evidence that her company indirectly supported the apartheid regime in South Africa. Polaroid was able to provide their ID-2 camera system to the South African state, to efficiently produce images for the infamous passbooks, which the black population was required to carry with them. The camera included a boost button designed to increase the flash when photographing subjects with dark skin, and two lenses which allowed for the production of a portrait and profile image on the same sheet of film. Hunter and her partner Ken Williams formed the Polaroid Workers Revolutionary Movement, and successfully campaigned for a boycott of the apartheid government. Broomberg &amp; Chanarin's series of Polaroids, made with a renovated Polaroid ID camera, considers the proposition that prejudice might be inherent in the medium of photography itself.
ABOUT THE ARTISTS Adam Broomberg and Oliver Chanarin recently won the Deutsche B&ouml;rse Photography Prize and the ICP Infinity Award. They have published nine monographs and have had numerous international exhibitions including the Museum of Modern Art (New York), Tate (London), Gwagnju Biennale, Stedelijk Museum (Amsterdam), the International Center of Photography (New York), KW Institute for Contemporary Art (Berlin), The Photographers' Gallery (London), Mathaf Arab Museum of Modern Art (Doha) and the Shanghai Bienale. Broomberg &amp; Chanarin are Visiting Fellows at the University of the Arts London. Their work is represented in major public and private collections including The Museum of Modern Art, Tate Modern, the Stedelijk Museum, Victoria and Albert Museum, Musee de l'Elysee and the International Center of Photography. They are represented by Lisson Gallery, London and Goodman Gallery, South Africa.
Foam is sponsored by the BankGiro Loterij, De Brauw Blackstone Westbroek, Delta Lloyd, Gemeente Amsterdam, Olympus and the VandenEnde Foundation.

Kısmet

Through the lens of Turkish visual culture

Podcast with Cemre Yeşil and Ahmet Polat

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