Digital Manipulation

Foam Talent Digital 2024-2025

center

Foam proudly presents the work of a new generation of artists in the group exhibition 

. The 20 participating photographers address the pressing problems of our times. Together, they explore and extend the boundaries of what photography is today.   

As a diverse group of artists, each of them presents their own visual language. Through their works, they critically look at the world around us. They use the photographic medium to question collective affairs and ongoing issues happening in the world. At the same time, they explore how these issues have an impact on a personal level, moving between a local, historical, symbolic, emotional and bodily perspective. 

This group of artists uses a wide range of photographic genres to tell their stories. With portraiture and documentary photography, digital created images and archival material, the talents create a space for the viewer to sit with situations and current events, to reflect and respond to.   

Complementing the physical experience at Foam, this digital exhibition offers a deeper look at the Talents and their works. What goes on behind the surface? What is the inspiration? What techniques are used? This exhibition combines artistic context with educational perspectives. Read, see, and hear more about the themes and topics and explore, engage, and interact with the works! 

 are: Marwan Bassiouni, Myriam Boulos, Olgaç Bozalp, Laura Chen, Kata Geibl, Lina Geoushy, Marvel Harris, Alexandra Rose Howland, Ange-Frédéric Koffi, Czar Kristoff, Yushi Li, Carla Liesching, Seif Kousmate, Pavo Marinović, Diego Moreno, Donja Nasseri, Ghazaleh Rezaei, Linn Phyllis Seeger, Ritsch Sisters, Donavon Smallwood.

Talent issue of Foam Magazine are supported by the Deutsche Börse Photography Foundation.

The exhibition is made possible by Kleurgamma Fine-Art Photolab and Oschatz Visuelle Medien.

Foam is supported by the VriendenLoterij, Foam Members, De Brauw Blackstone Westbroek, the VandenEnde Foundation and the Gemeente Amsterdam. 

In 2022 Foam receives additional support from the Mondriaan Fund and receives a contribution through the Mondriaan Fund from the Ministerie van OCW.

The Feast Inside, from the series Paintings Dreams and Love

Graphic Foam Talent 2022

How to...

Czar Kristoff

Audio fragment for To Destroy Is To Build

from the series To Destroy is To Build

The momentary monument 'To Destroy Is To Build' is not only a web-to-print project but web-to-print-to-monument-to-publication-to... It leaks and flows like new media, like the flood, like the architecture of future society.

from the series To Destroy Is To Build

Myriam Boulos

Audio fragment for Tell the Trees to Smile by Myriam Boulos

Tell the Trees to Smile

from the series Tell the Trees to Smile

I remember Andrea's tears while we were walking towards his destroyed house that he was seeing for the first time since the explosion.

“All the war memories rushed back...
We
rushed to the corridors to hide which was exactly our moves and practice during the Lebanese civil war when the bombing would start.”

Zeina
worked on a rescue mission with a Chile team for 3 days.
The Chile team thought that someone was stuck under the ruins of a building.
“During these
3 days, the hope of finding someone was controlling us.”

Michel lost
his hearing aid during the explosion.
When he wants to listen to music, he puts the radio against his ear.

On August 4, Walid was at home with me. He was on this same balcony when the explosion happened. (...) (I cried in his room and in his arms every day for a few months after the explosion.)

When I gave her this tiny flower, my grandmother told me “Dis aux arbres de sourire”, which means tell the trees to smile.

Marwan Bassiouni

Audio fragment for New Western Views by Marwan Bassiouni

from the series New Swiss Views

from the series New British Views

from the series New Dutch Views

Ghazaleh Rezaei

'Lamentation' from the series The Martyrs

'The Pieta' from the series The Martyrs

'Carrying of the Martyr's Portrait' from the series The Martyrs

Bringing to Light

'Burial' from the series The Martyrs

Kata Geibl

from the series See Daylight

from the series Nothing New Under the Sun

Audio clip for Kata Geibl - There is Nothing New Under The Sun / See Daylight

from the series There Is Nothing New Under the Sun / See Daylight

Donja Nasseri

from the series Woman, who would be King

Audio clip for Donja Nasseri - Woman, who would be King

Alexandra Rose Howland

Audio clip for Alexandra Rose Howland - Leave and Let Us Go

from the series Leave and Let Us Go

Pavo Marinović

Audio clip for Pavo Marinovic - Marble Ass

Marble Ass

Talent Digital 2022

Maryam, 2020, Leave and Let Us Go

Twenty years ago 9/11 took place, leading the United States to announce its 'War on Terror' and involving Iraq in an ongoing conflict. This war was deemed as the first 'smartphone war' due to the introduction of the smartphone as an object of mass consumption in 2007. The widespread use of digital cameras enabled millions of users to capture the conflict from angles which had previously been out of sight. What formerly had been the domain of photojournalists and governmental agencies, became a limitless stream of images shared on the internet. This gave digital media a vital role in portraying the confrontation's countless layers.

Digital Layers of War - Alexandra Rose Howland & Wafaa Bilal

Podcast

Foam 3h: Alexandra Rose Howland Leave and Let Us Go

Digital Layers of War with Alexandra Rose Howland & Wafaa Bilal

Vier de lancering van Foam Talent 2021 | Digital samen met Foam. Op 26 en 27 augustus lanceren we de nieuwe online tentoonstelling met een feestelijk online programma.

<a href="/nl/museum/programma/foam-talent-2021-digital">Foam Talent 2021&nbsp;| Digital</a>&nbsp;is een multimediaal platform met het werk van 20 kunstenaars die zijn geselecteerd via de jaarlijkse Foam Talent Call. Hun projecten worden vertaald naar de digitale wereld, ondersteund door audio, video en interactieve elementen. Door de foto's uit hun kader te halen en ze buiten de museummuren te plaatsen, verlegt de tentoonstelling de grenzen van het medium en verkenen we nieuwe mogelijkheden.
<a href="https://talent.foam.org/?utm_source=foam.org&amp;utm_medium=programme_page"><img src="https://a.storyblok.com/f/113697/500x110/b7db03e951/ft-digital-button-nl-2.jpg" alt="" width="250" height="55" /></a>
<iframe width="560" height="314" style="border: none; overflow: hidden;" src="https://www.facebook.com/plugins/video.php?height=314&amp;href=https%3A%2F%2Fwww.facebook.com%2FFoamAmsterdam%2Fvideos%2F615872126064518%2F&amp;show_text=false&amp;width=560&amp;t=0" scrolling="no" frameborder="0" allow="autoplay; clipboard-write; encrypted-media; picture-in-picture; web-share" allowfullscreen="allowfullscreen"></iframe>PROGRAMMA
18.30 hrs CET donderdag 26 August
Op donderdag lanceren we Foam Talent Digital | 2021. Doe mee met de FB Livestream waarin de uitgelichte Foam Talents de tentoonstelling en hun werk introduceren met een persoonlijke boodschap. Daarnaast geeft Foam-curator Hinde Haest een rondleiding door de online tentoonstelling.
13.00 hrs CET on vrijdag 27 August
Op vrijdag wordt de lancering van de online tentoonstelling gevolgd door een live screening van vijf video-interviews met Foam Talents Sarker Protick, Silvia Rosi, Daniel Castro Garcia, Hajar Benjida en Leonard Suryajaya.
<a href="https://fb.me/e/3G1xMMF4k">-&gt; Meld je aan voor het FB Live evenement en krijg een notificatie zodra de livestreams van start gaan.</a>
&nbsp;
Het Foam Talent programma en het jaarlijkse Talent-nummer van Foam Magazine worden ondersteund door The Deutsche B&ouml;rse Photography Foundation en de VandenEnde Foundation.
Foam wordt ondersteund door de VriendenLoterij, Foam Members, De Brauw Blackstone Westbroek, de VandenEnde Foundation en de Gemeente Amsterdam.
Foam wordt in 2021 aanvullend gesteund door het Mondriaan Fonds en het Kickstart Cultuurfonds

<div class="sidebar__content">LAUNCH FESTIVAL 
PROGRAMMA
&nbsp;
18.30 hrs CET 26 August⁠
Introducing Foam Talent 2021
Scrolling with... virtuele rondleidingen
 ⁠ 13.00 hrs CET 27 August⁠ Live screening van vijf video-interviews met Foam Talents
&nbsp;</div>

Feestelijk Opening: Foam Talent 2021 | Digital

Launch Festival: Foam Talent 2021 | Digital

Na de bekroonde eerste editie in 2020 presenteert Foam een ​​gloednieuwe online tentoonstelling waarin een nieuwe generatie beeldmakers wordt gepresenteerd.

Image from the series Quarantine Blues

From the series Atlanta Made Us Famous

From the series Wish You Were Here

From the series Encounter

From the series If Spring Could Feel Ache

From the series The Mind is a Voice, the Voice is Blind

From the series Portraits in Madness

From the series Last Letters A Photographic Investigation of Taiwan White Terror

From the series Ghost Island

From the series Oil and Moss

From the series Golden Boy

From the series Heimat (in Quarantine)

From the series I Peri N Tera

ARTIS Zoo, the Netherlands, 2019

From the series Neuromantic

From the series Study of Cyclical Thoughts on My Leg

from the series Rasmi

From the series Turunç

From the series Facades

From the series Family Album

Foam Talent 2021 | Digital

The Foam Talent programme and the annual Talent issue of Foam Magazine are supported by The Deutsche Börse Photography Foundation, the VandenEnde Foundation and the Niemeijer Fund.

Foam Talent is made possible by Kleurgamma Fine-Art Photolab, Starframe, Oschatz Visuelle Medien and the Swiss Arts Council Pro Helvetia.

Foam Magazine is sponsored by Igepa Netherlands BV, supplier of excellent paper.

Foam is supported by the VriendenLoterij, Foam Members, De Brauw Blackstone Westbroek, the VandenEnde Foundation and the City of Amsterdam.

In 2021 Foam receives additional support from the Mondriaan Fund and Kickstart Cultuurfonds.

Dit najaar presenteert Foam een unieke online tentoonstelling die een nieuwe generatie hedendaagse fotografen in de spotlights zet.

 Foam Talent 2020 | Digital

Students of Tsinghua University showing their prestige with an a4 white paper.

Xin Li

Aby Fulani

"Every age has its great loss – for modernism, it was the coherence of the self; for postmodernism, the stability of master narratives – and now, in the 21st century, there is an increasing pressure on the notion of a shared reality."

Mugshots.com, N8, from the series Obscurity, 2016

Mugshots.com, N, from the series Obscurity, 2016

Mugshots.com, N2, from the series Obscurity, 2016

”There is a new way of understanding our times.. a new wave of realism, a new wave of artists who are engaged in political issues. “Evidential Realism” is the realism of today… “

Liz Johnson Artur - of life of love of sex of movement of hope, 2021

Paolo Cirio: Artist of the Post-Panopticon Era

Mario Klingemann, The Butcher’s Son, 2017, Giclee printon paper, 80x57cm

Helena Sarin, AI Candy Store, 2018, Fine art print on paper, 20x20cm

David Young, (b38, 4016,16) from Learning Nature series, 2018, Fine art print on paper, 30x30 cm

Harold Cohen, Arnolfini Series, 1983, Plotter drawing, 60x80cm

Obvious, Portrait of Edmond de Belamy, 2018, Inkjet print on canvas, 70x70cm

Roope Rainisto, Emergent Culture from Excessize series, 2022

Spread from Morehshin Allahyari's portfolio in Foam Magazine #66

Foam
Magazine
#66 Missing 
Mirror


our annual print edition

From Innovation to Art: The History of AI Images

From the Archive:  Establishing Eden by Persijn Broersen & Margit Lukács

Open Garden Days 2025

Op donderdag 4 september organiseert Foam, in samenwerking met 

Tijdens dit symposium, gehost door Ahmet Polat, onderzoeken we de kracht, kwetsbaarheid en toekomst van het (online) fotografisch archief – in het bijzonder dat van de Tweede Wereldoorlog en erfgoedinstellingen — samen met gastsprekers 

Re-Enactment

Foam

Archief foto's

Preservation is Power: AI in the Archive

Opening Hiền Hoàng

Foam presenteert met trots de tentoonstelling 

 van het Nederlandse kunstenaarsduo Blommers & Schumm, die een diepgaand kijkje biedt in meer dan 25 jaar van hun speelse en provocerende beeldvorming.

Op vrijdag 19 September wordt de tentoonstelling geopend in aanwezigheid van de kunstenaars. Je bent van 18.30 tot 21.00 uur van harte welkom voor deze feestelijke opening met gratis entree, een dj-performance met 

. Hij is een in Londen gevestigde creative-director, uitgever en curator, en de drijvende kracht achter de onafhankelijke kunst- en lifestylemagazines 

Carcy Magazine Styling Hannes Hetta ,2018

Ciara, 1998. Styling by Suzanne Koller

Opening Blommers & Schumm

 Foam neemt je mee in het eigenzinnige archief van het Nederlandse duo Blommers & Schumm en biedt een diepgaande terugblik op ruim 25 jaar speels en prikkelend beeldexperiment.

De tentoonstelling toont hoogtepunten uit hun indrukwekkende carrière, waaronder iconische foto's die verschenen in toonaangevende publicaties als Fantastic Man, The Gentlewoman, Dazed & Confused, Self Service, Purple, AnOther Magazine en The New York Times Magazine. 

Josefine wearing Bless, Styling Georgia Pendlebury for Exhibition magazine 2018

Blommers & Schumm

Gemaakt door Betty Ras in 2006. Het kunstwerk is een inkjetprint op FinArt Baryta van Hahnemühle en heeft een afmeting van 50 x 50 cm.

Betty Ras is een van de fotografen die heeft deelgenomen aan 

, een langdurig project om de bouw van het Amsterdamse zakendistrict de Zuidas aan het begin van de jaren 2000 vast te leggen. Elk jaar werden weer andere fotografen gevraagd om hun interpretatie te geven van het steeds veranderende bouwterrein. De Zuidas kenmerkt zich door zijn hoogbouw waar grote multinationals en de topaccountants- en advocatenkantoren hun kantoren hebben. Op 

 tekent zich het silhouet af van een van de eerste kantoortorens in de wijk vanuit het perspectief van een nabijgelegen park. Ras heeft bij deze foto in zwart-wit gewerkt, wat de foto een tijdloze uitstraling geeft. Door het contrast met de donkere omgeving van het park springt de lichte cut-out eruit.

Beatrixpark

 is the well-known Photoshop selection tool of the same name. For Xin Li, the tool is much more than a handy feature to edit images. It becomes a means to draw parallels with societal control and censorship during the COVID lockdowns in China.  

The magic wand tool selects areas of images based on colour and hue—allowing smart selection and quick manipulation of images. Enforced with machine learning, it nowadays easily predicts which objects a user would like to see selected. Xin Li uses the tool to distort images, obscuring their original meaning behind layers of other images, often of other artworks.  

For Xin Li, this process symbolises the mechanisms of hiding and revealing facts and fake news, regulating the flow of information and controlling the dominant narrative. Metaphorically captured in the overwhelming fusion of shapes and colours, the visually explosive works tempt the viewer to look what lies beneath the apparent chaos. 

 weaves together several historical routes: that of his mother, growing up in Botswana after escaping the Apartheid regime of South Africa with her parents. That of his great-uncle, Zephania Mothopeng, the anti-Apartheid activist, imprisoned on Robben Island. And that of his grandfather, and his love for music, inspiring Makepe to pursue a creative career.

What at first glance may appear as a personal family narrative, in fact reveals the painful, racist and discriminatory political history of South Africa and the remnants of its colonial regimes. The series unfolds as a multi-dimensional, visual journey along these historical paths, touching on land dispossession, activism and colonialism.

includes striking portraits of his close relatives, sometimes re-enacting historical scenes, documentary photographs of important landmarks, as well as documents from Makepe’s family archive. Accompanying the visual material is a playlist of music, curated by the artist himself—connecting the work beautifully through the shared love for music. 

Sentlhane, 2022, from the series We Didn't Choose to be Born Here

Monna Wa Mmino III, 2020, from the series We Didn't Choose to be Born Here

Re A Hlopela Tombstone Unveiling from the series We Didn’t Choose to be Born Here, 2019

Archival footage from the series We Didn't Choose to be Born Here

Hippolytus Mothopeng [left] (1958), from the series We Didn't Choose to be Born Here

Hippolytus Mothopeng Citizenship, from the series We Didn't Choose to be Born Here

The Metronome Swing Orchestra in Botswana (1966), from the series We Didn't Choose to be Born Here

Garden, 2022, from the series We Didn't Choose to Be Born Here

The Aunt I Almost Had, 2021, from the series We Didn't Choose to be Born Here

Wait, 2021, from the series We Didn't Choose to be Born Here

Kgomo Tsaka Deile Kae, from the series We Didn't Choose to be Born Here

Kereke, 2019, from the series We Didn't Choose to Be Born Here

Sello, 2021, from the series We Didn't Choose to be Born Here

Martha and Hippolytus Mothopeng (1982), from the series We Didn't Choose to be Born Here

Robben Island University, 2020, from the series We Didn't Choose to be Born Here

Mama Mo Metsi, 2019, from the series We Didn't Choose to be Born Here

Under Surveillance, 2021, from the series We Didn't Choose to be Born Here

Thero Makepe

Stuck at home during the COVID-19 lockdown, Shwe Wutt Hmon was unable to visit the hospital for her regular check-ups and scans, necessary because of a life-long health issue. Coming to terms with this limitation, she started scanning her body, as well as flowers and medical records, by herself with an ordinary at-home scanner, creating a variety of abstract self-portraits. 

 that emerged from these experiments, reveal a poetic and symbolic documentation of the ongoing assault of medical procedures and operations on her body. Hmon’s image-making practice strongly ties together process and concept: the withering flowers symbolise the decay of the body and dark colours reflect somber emotions experienced right before scheduled operations.  

Another dimension was added when she moved from Myanmar to Thailand in 2022. Printing her work on local Saa paper, the works received an almost skin-like texture. Again, restrictions–this time due to the delicate paper type–required her to improvise, causing her to print the works small scale at home. The final accumulated process turned out to present a healing capacity: by carefully printing, cutting and sewing her works together, Shwe ultimately was also mending herself.

From the series I Do Miss Hospital Visit

Shwe Wutt Hmon

From the series (Inter)Faces of Predictions

, Sheung Yiu looks into different practices of face reading, facial prediction and facial recognition. For this multi-medial series, consisting of a video essay, a series of self-portraits and an extensive research notebook of visual references, he submitted his own face as a test case: scanning, screening and analysing his features in order to understand the processes behind it. 

In his practice, Sheung Yiu combines East-Asian traditions of facial readings, promising to predict one's future based on facial features, with contemporary facial recognition technologies, drawing a striking parallel between Eastern and Western practices around facial studies.  

On a deeper level, the project questions the way different technologies, whether digital or analogue, algorithmic or esoteric, shape the perceptions and biases connected to our faces. Through this, he recognises that a face is never just a face: it is what we, or the systems we use, want to read into it. 

Animation

Notebook scan, from the series Interfaces of Prediction

Facial landmarks (2023), from the series Interfaces of Predictions

Twisted Face (2023), from the series Interfaces of Predictions

Fortune in My Thirties from the series Interfaces of Predictions, 2023

Faceless (2023), from the series Interfaces of Predictions

Scan (2023), from the series Interfaces of Predictions

Between Two Charts (2023), from the series Interfaces of Predictions

Old and new moles (2023), from the series Interfaces of Predictions

Face Mesh (2023), from the series Interfaces of Predictions

Ancient Prediction (2023), from the series Interfaces of Predictions

Sheung Yiu

How does a photograph shape our understanding of the past? 

 is a series of A.I.-generated images, combined with archival images, questioning the construction of memory and masculinity through our image culture. 

In an attempt to grasp the full story of his deceased grandfather and his Indonesian heritage, Sander Coers turned to the artificial intelligence programme 

Feeding archival family photos into its system, he asked the programme to describe them, specifically listing their technical details such as dominant colour tones and type of camera, film and lens. Altering these descriptions allowed Sander to prompt the programme to create new images, yet maintain the exact visual look and feel of the family snapshots. Finally, by blending multiple A.I.-generated images together with the originals, he created a surprisingly intimate, genuine, yet completely fictional family album. 

The way the photos are cropped stands out. Coers used an element of collaging when assembling the final images, in order to emphasise the constructed nature of the photographs, and ultimately, the constructed nature of one’s memory, too. 

 alludes to the ‘afterlife’ of his grandfather, through the photo albums he left behind, as well as to the realm of post-photography: a space where images can be generated without the use of a camera.  

Adobe Stock image

From the series POST, 2023

Image from the series POST, 2023

From the series POST

Sander Coers

Ricardo Nagaoka presents a series of intimate portraits that addresses the prevailing societal ideas on what makes a man a man. Born in Paraguay to Japanese parents, Ricardo found himself stuck between the macho culture of Latin America and the strict patriarchal norms of his family.  

The photographs, all black and white, vary in crop and position: sometimes up close, cutting off certain body parts and revealing others, whilst others zoom out and show the portrayed head to toe. All images carry a quiet, timeless atmosphere, yet they express a distinct softness. Together, they call for a more inclusive understanding of gender, away from masculine stereotypes—largely based on Ricardo Nagaoka’s own experiences and desires. 

Nagaoka’s projects are not only about breaking down the ruling ideas on masculinity, but more so about building up what this term can include in the future.  

Digital

Digital Manipulation

Foam Talent Digital 2024-2025

Talent Digital 2022

Digital Layers of War with Alexandra Rose Howland & Wafaa Bilal

Feestelijk Opening: Foam Talent 2021 | Digital

Foam Talent 2021 Digital

Foam Talent 2020 | Digital

Xin Li

Paolo Cirio
Artist of the Post-Panopticon Era

From Innovation to Art:
The History of AI images

From the Archive: Establishing Eden by Persijn Broersen & Margit Lukács

Wie bewaart, bepaalt: AI in het archief

Opening Blommers & Schumm Mid-Air

Blommers & Schumm Mid-Air

Beatrixpark

Xin Li

Thero Makepe

Shwe Wutt Hmon

Sheung Yiu

Sander Coers

Ricardo Nagaoka

Rehab Eldalil

MAryam Touzani

Marisol Mendez

Jaclyn Wright

Digital

Digital Manipulation

Foam Talent Digital 2024-2025

Talent Digital 2022

Digital Layers of War with Alexandra Rose Howland & Wafaa Bilal

Feestelijk Opening: Foam Talent 2021 | Digital

Foam Talent 2021 Digital

Foam Talent 2020 | Digital

Xin Li

Paolo CirioArtist of the Post-Panopticon Era

From Innovation to Art: The History of AI images

From the Archive: Establishing Eden by Persijn Broersen & Margit Lukács

Wie bewaart, bepaalt: AI in het archief

Opening Blommers & Schumm Mid-Air

Blommers & Schumm Mid-Air

Beatrixpark

Xin Li

Thero Makepe

Shwe Wutt Hmon

Sheung Yiu

Sander Coers

Ricardo Nagaoka

Rehab Eldalil

MAryam Touzani

Marisol Mendez

Jaclyn Wright

Paolo Cirio
Artist of the Post-Panopticon Era

From Innovation to Art:
The History of AI images