Join us on Saturday 18 November for a talk connecting art and nature as we dig deeper into the current exhibition 

 by Hira Nabi and the latest issue of Foam Magazine #64: EXTREMES—

A still from Wild Encounters, 2023

Foam

Art and environment in the Anthropocene

Foam Magazine #64 Extremes - The Environmental Issue. Cover: Abundance, 2023

Foam Magazine #64 Extremes - The Environmental Issue Cover: Scarcity, 2023.

Image from the series Theatre of Authenticity

From the series Waste Identity Passport for Plastics & Bola Bola Living

"The portfolios and essays on this side address the growth, excess, overproduction, overconsumption, and greed that drive the Anthropogenic engine to continue grinding."

Presenting Foam Magazine #64: Waste Identity: Passport for Plastics & Bola Bola Living by Aàdesokan

Waste Identity: Passport for Plastics & Bola Bola Living

PORTFOLIO – Waste Identity: Passport for Plastics & Bola Bola Living by Aàdesokan

Presenting Foam Magazine #64: Crisis of Storytelling by Gem Fletcher

LONG READ – Crisis of Storytelling by Gem Fletcher

Presenting Foam Magazine #64: Theatre of Authenticity by Natacha de Mahieu

PORTFOLIO –  Theatre of Authenticity by Natacha de Mahieu

Page 144-145 in Foam Magazine #64: EXTREMES

From the series The Eyes of Earth

From the series Master Rock

"This side shows the impact, the disintegration, and the lack of connection to native knowledge, capturing the decrease in different ways."

Presenting Foam Magazine #64: Master Rock by Maria Fusco

PORTFOLIO –  Master Rock by Maria Fusco

Presenting Foam Magazine #64: Radical Inclusivity, Relationality and Indigenous Photography by Wanda Nanibush

LONG READ – Radical Inclusivity, Relationality and Indigenous Photography by Wanda Nanibush

Presenting Foam Magazine #64: The Eyes of Earth by Solmaz Daryani

PORTFOLIO –  The Eyes of Earth by Solmaz Daryani

Foam Magazine #64 Extremes - The Environmental Issue Cover: Abundance, 2023

EXTREMES – The Environmental Issue: New ways of visualising climate change in Foam Magazine

Aby Fulani

Aspromonte - Guilty Grounds, 2023

The barrel – Guilty Grounds, 2023

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

Silent Chronicles. About the work of Steffi Reimers

"At a certain point I lost track of you. 
They make a desolation and call it peace. 
when you left even the stones were buried: 
the defenceless would have no weapons." 

"When the ibex rubs itself against the rocks, 
who collects its fallen fleece from the slopes? 
O Weaver whose seems perfectly vanished, 
who weighs the hairs on the jeweller’s balance?"

"If only somehow you could have been mine, 
what would not have been possible in the world?" 

‘In the lake the arms of temples and mosques are locked in each other’s reflections.  
Have you soaked saffron to pour on them when they are found like this  
centuries later in this country  
I have stitched to your shadow?’ 

How to Love a Tree: Wild Encounter. About the work of Hira Nabi

Gigapedia: Haatsymboliek en Online Codetaal

Bereitschaft, 2024

Gigapedia: Exhibition Glossary. About the work of Jakob Ganslmeier and Ana Zibelnik

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

Page 144-145 in Foam Magazine #64: EXTREMES.

Page 138-139 in Foam Magazine #64: EXTREMES

Page 142-143 in Foam Magazine #64: EXTREMES

Presenting Foam Magazine #64: EXTREMES—The Environmental Issue

Time to change perspective.

On Transience – The Ebb & The Flow

 by non-fiction artist and photographer Khashayar Javanmardi. Javanmardi, who grew up in this region, has spent the last decade documenting the deterioration of the southern shore of the Caspian, which borders Iran.

His ongoing project captures the deterioration of the south shore of the Caspian Sea and underscores the need to connect political and structural change to everyday life in response to the mismanagement of the region and global climate crisis.

Caspian, Breakwater, May 2019

Caspian, Qezel Ozan River, February 2022

Foam 3h: Khashayar Javanmardi

Khashayar's home studio in Lausanne, 2025. Courtesy of the artist

Khashayar's home studio in Lausanne, 2025

Archival material: digitising negatives from The Caspian

From the series The Caspian by Khashayar Javanmardi

Studio Visit: Khashayar Javanmardi

Where Colours Breathe, June 21, 2024 from the series Heavenly Bodies by Temiloluwa Johnson. Courtesy of the artist

On Our Radar: Temiloluwa Johnson

The Fairmont Victim, 2021, from the series 'This Image Did Not Leave Me For Days' by Malak El Sawi, commissioned by Al Hayya Magazine #1. Styling by Ahmed Srour.

On Our Radar: Malak El Sawi

 by non-fiction artist and photographer Khashayar Javanmardi. His ongoing project captures the deterioration of the south shore of the Caspian Sea and underscores the need to connect political and structural change to everyday life in response to the mismanagement of the region and global climate crisis.

Join us on Thursday, 24 July from 17.30 - 21.00 hrs. The exhibition will be opened at the Foam Café with a Q&A between Foam Curator Claartje van Dijk and the artist.

Foam Café

Opening Foam 3h: Khashayar Javanmardi

The West Desert, located on the western shore of the Great Salt Lake in Utah (USA), is the ancestral home of the indigenous Goshute people. Though officially public lands, managed by the Bureau of Land Management, this area is largely used for various privatised or military purposes, ranging from mining operations, testing grounds for weapons and improvised gun ranges.  

, Jaclyn Wright visited these cluttered sites, full of discarded targets and shattered clay pigeons. The bullet-holed remains, which she collected, photographed and filmed, are pieced together into performative installations, that reflect on the colonisation of ancient lands by bureaucratic systems.  

By inserting herself into the scene, wearing a skintight bodysuit made out of orange clay pigeons, Wright comments on the hyper-masculine culture of land dominance and cowboy fantasies. The synthetic orange colour becomes symbolic: used to enhance visibility, it signifies the strong opposition and rejection of its natural environment. 

Untitled (BLM arrows I)

From the series High Visibility (Blaze Orange)

Antelope Island (Utah) Buffalo Hunt photograph collection, Digital MSSC782, No. 6, Altered

L. Clyde Anderson photograph collection (1910- 1959), P0158, Box 1, Folder 27, Altered

Charles James Neal photograph collection (1900 - 1920s), P0694, Box 1, Folder 4, Altered

The West Desert is located on the western side of the Great Salt Lake [UT, United States]. Historically, this area has been documented through photography and land surveys, supporting the violent exploitation of the landscape. 

Archives, II

Untitled (grid)

Nearly one-third of the West Desert's 7.7 million acres are used as biological and chemical weapons testing grounds. The remaining areas of the West Desert are open to various uses, including improvised gun ranges.

Collected Targets

Collected Targets, from the series High Visibility (Blaze Orange)

L. Clyde Anderson photograph collection (1910- 1959), P0158, Box 1, Folder 6, Altered

Stansbury Island, the second largest island in the Great Salt Lake, echoes with gunfire and is littered with bullet holes, clay pigeons and improvised targets. The Bureau of Land Management refers to this detritus as "trigger trash".

Found Clay Pigeons

Archives, V

Jaclyn Wright

from the series Las Flores Mueren Dos Veces

 is a personal exploration of loss, grief and reconciliation following the death of the artist’s father. Through various tools of digital creation and manipulation, Cristóbal Ascencio created a poetic exploration of his personal memories, altering family photos and recreating the last garden his father worked on.  

Fifteen years after his father passed away, Cristóbal Ascencio learned that his death had been a suicide. The last words of Margarito’s farewell letter stated: “Forgive me and communicate with me.” This new piece of information triggered Ascencio to revisit the images, places and memories connected to his family history.  

In an attempt to answer his father’s final request, he digitally recreated a collection of plants based on his father’s instructions as well as an immersive garden, where the plants function as a bridge between past and present. Using different digital techniques, such as ‘data bending’, photogrammetry and 3D modelling, Ascencio plays on the idea that our memories are manufactured, manipulated and corrupted over time.  

Margarito, from the series Las Flores Mueren Dos Veces. Data bending on archival photography.

Nacer, from the series Las Flores Mueren Dos Veces. Databending on archival photography.

Bromelia, from the series Las Flores Mueren Dos Veces. Digital photography and photogrammetry

Wedding, from the series Las Flores Mueren Dos Veces. Databending on archival photography.

Letter, from the series Las flores mueren dos veces

Monstera Deliciosa, from the series Las Flores Mueren Dos Veces. Digital photography and photogrammetry

Burial, from the series Las Flores Mueren Dos Veces. Data bending on archival photography.

Birthday, from the series Las Flores Mueren Dos Veces. Databending on archival photography.

Tagetes Erecta, from the series Las Flores Mueren Dos Veces. Digital photography and photogrammetry

Lucha Libre, from the series Las Flores Mueren Dos Veces. Databending on archival photography.

from the series Las floren mueren dos veces

Cristóbal Ascencio

Dream-like figures appear in dense forests, dancing and floating around smoke and fires like magical figures. For 

Cansu Yıldıran collaborated with fellow queer artists based in Turkey to create a fantastic world where they could feel safe and sheltered —a feeling that is often lacking in their daily life.

The dreamy visuals are fittingly accompanied by a fairytale, written by Yıldıran themselves, which tells about the heavy norms enforced on the queer community by society and how this collaborative project helped them to believe in another world, a deep mysterious realm within them.

 offers an escape: inspired by their dreams and childhood fairytales, Yıldıran’s images unravel a certain state of mind, a deeper meaning of what it means to be queer within a hostile environment. The photographs are all analogue—a technical yet vital element of the project. Not knowing anything about the visual outcome during the process, it allowed Cansu Yıldıran to approach each portrait intuitively and independent of the rest. 

From the series Fathom

Cansu Yıldıran

In 1947, when the British left India after 89 years of colonial rule, the land was divided into two countries: Pakistan and India. Known as the Partition of India, this enforced and hastily drawn line sparked a violent mass migration of fifteen million people, changing the course of history on the subcontinent for generations to come.  

, Aaryan Sinha documented his journey across five Indian states bordering with Pakistan. The photographs capture his travels in an intuitive and poetic way, and together investigate how historical events, like the partition, influence the Indian landscape and the identity of its people, including his own. 

At the core of the project lies Aaryan’s attempt to depict a version of India that is truer to his experience, one of similarity and connection, rather than division and opposition. Through this, his project also exposes the relationship between photography and colonialism—aiming to revoke the stereotypical perception of a poor, overpopulated nation held by many in the West. 

In a Sandstone Mine

A Dream from Childhood

Portrait of Time

From the series This Isn't Divide and Conquer

Stillness

Scars Run Deep

Escape

Reinforcement

Aaryan Sinha

 in 2004. The artwork is an analogue c-print and is displayed at 61 x 80 cm.

System 8, from the series Kosmos, 2011

visible in

is the main business district of Amsterdam, located south of the inner city. Starting in 2001, every year two to four photographers and visual artists received an assignment to capture this area and its rapidly changing environment. The ten works by Jasper Wiedeman that feature in 

 are a documentation of the garden that he created in the middle of the Zuidas.

06.09.2004

 in 2018. The artwork is an ice photogram digitally printed on glass, and is displayed at 33 x 40 cm.

In an attempt to minimize the devastating effect of global warming on the glaciers of the Swiss Alps, each summer they are covered with geotextile blankets that are designed to keep the ice cool. Douglas Mandry journeyed his native country, intrigued by this desperate attempt to prevent the receding glaciers from further melting. The artist collected disused pieces of geotextile from the mountains, and later processed them as a base for found photographs of early twentieth-century alpinism in the region. Mandry also took bits of broken ice from the glacier with him in a cool box. In the darkroom, he put the ice in the enlarger, where it started to melt and drip onto the photo paper, creating a colourful aura of the glacier. Mandry then reproduced these photograms on glass plates. 

could be considered an index of the vanishing glaciers of Switzerland: frozen time, captured in an instant by the principles of photography.

Monuments, Aletsch #2, 2018

Depredations, from the photobook Radiations of War, 2025, by Yana Kononova. Courtesy the artist.

Test of Time: Daria Tuminas

Foam Magazine is an international award-winning photography publication.

Foam Magazine is published once a year. Each issue is dedicated to a specific theme that is explored through work by both world-renowned image makers and newer, emerging talents. Accompanying essays, interviews and opinions by experts in the field come together to shape an in-depth and critical conversation.

Crafted with distinct editorial choices, Foam Magazine has been the recipient of several awards for its high-grade graphic design and quality of content.

Phone showing Foam magazine

Image from the series Playing with Visual Fragments

Title

Foam Magazine #59: Histories - The Archival Issue, 2021 

Image from the series After Hours

title

Image from the series Collection of Unjust Enrichment

Image from the series Where We ve Been, Where We re Going Why

Stockists

Foam Talent Call

Contact

Foam Magazine

Magazine

Created by Lucas Foglia in 2015. The artwork is a pigment print on Archival Epson Premium Semimatte paper and displayed at 86.4 x 111.8 cm.

Waves from the Web, 2009

Visible in

How important is nature for human health? In his series 

, photographer Lucas Foglia examines the relationship between humans and the natural wilderness. He for instance follows a group of neuroscientists who are studying the soothing effects of being immersed in nature. The image of a sitting woman, clutching her knees, surrounded by an awe-inspiring landscape, while hooked up to a computer via electrodes in her head, create a science fiction-like atmosphere. This person is in fact participating in an actual study conducted by the University of Utah (US), in which researchers measure the participants’ brain activity while being exposed to different natural environments. The contrast between the high-tech equipment to which participant Kate is attached and the vast wilderness in the background create a visual tension. Perhaps Foglia wants to emphasise how far-removed humans have become from their natural environment?

Kate in an EEG Study of Cognition in the Wild, Strayer Lab, University of Utah, Utah 2015 from the series Human Nature

Kate in an EEG Study of Cognition in the Wild, Strayer Lab, University of Utah, Utah 2015

, photographer Lucas Foglia examines the relationship between humans and the natural wilderness, starting from the observation that the average American spends 93% of time indoors, while climate change is severely impacting our life environment and food security. As extreme weather conditions are forcing farmers to protect their crops, this photograph shows a brightly coloured orange, surrounded by luscious green, all covered in ice. It is an almost surrealistic image, since growing oranges is generally associated with a warm and sunny climate. Using ice is however a tried and tested method applied by farmers in California to protect their oranges against the cold – however paradoxical that may seem. 

Ice to Protect Orange Trees from the Cold, California, 2015 from the series Human Nature

Ice to Protect Orange Trees from the Cold, California 2015

Ice to Protect Orange Trees from the Cold, California, 2015

Created by Pieter Hugo in 2005. The artwork is a digital c-print and displayed at 152.4 x 152.4 cm.

The young man in the image, Mallam Mantari Lamal, is part of a group of traveling troubadours in Nigeria known as the 'Hyena men'. In addition to taming and performing with hyenas, they sell traditional medicines as they tour the country. The heavy chain and sturdy muzzle covering the hyena's mouth reveal the strength of the predator at the end of the leash. However, Mallam strikes a confident pose as he stands next to the calmly reclining hyena.  

Pieter Hugo’s photographs are a blend of documentary and portrait photography. They not only portray the people he encounters, but also introduce their culture, lifestyle and environment. Through this series, Hugo highlights the paradoxical relationship between the men and their animals: both caring and cruel.  

(The portrait of Mallam Mantari Lamal with the hyena, Mainasara, is part of Pieter Hugo’s larger series

, a project for which he was awarded the 

Mallam Mantari Lamal with Mainasara,  Nigeria, 2005 from the series The Hyena & Other Men

Mallam Mantari Lamal with Mainasara, Nigeria, 2005 

Created by Daniëlle van Ark in 2005-2007. The artwork is a c-print on aluminum and displayed at 60 x 75 cm.

What happened a minute before this photo was taken? Did a loud ringtone disturb the quiet art space? A woman has taken a step back from the group to take a call, unaware of the annoyed look by one of the other visitors. 

 is part of Daniëlle van Ark’s series, 

, in which she captures the upper classes of New York society as they visit gallery openings. Chelsea is a bustling neighbourhood in New York City, located on the far end of Manhattan's West Side. Although it only covers 6 blocks, this neighbourhood is home to over 300 art galleries. The gallery’s sterile environment forms a stage for the comic scene that takes place in front of van Ark’s lens. The only touches of colour come from the painting on the wall and the bright pink skirt. As a sociologist, van Ark likes to observe people’s behaviour, subtly capturing how they interact in theatrical scenes. 

environment

Art and environment in
the Anthropocene

EXTREMES – The Environmental Issue:
New ways of visualising climate change in Foam Magazine

Silent Chronicles
About the work of Steffi Reimers

How to Love a Tree: Wild Encounters
About the work of Hira Nabi

Gigapedia: Hate Symbols and Online Codes
Exhibition Glossary

From Innovation to Art:
The History of AI images

On Transience – Theme Text Foam Magazine #64: EXTREMES–The Environmental Issue

Foam 3h: Khashayar Javanmardi
The Caspian ‘Lake’

Studio Visit: Khashayar Javanmardi

Where Colours Breathe by Temiloluwa Johnson

The Fairmont Victim by Malak El Sawi

Opening Foam 3h:
Khashayar Javanmardi The Caspian ‘Lake’

Jaclyn Wright

Cristóbal Ascencio

Cansu Yıldıran

Aaryan Sinha

06.09.2004

Monuments, Aletsch #2, 2018

Test of Time: Depredations by Yana Kononova

Foam Magazine

Magazine

Kate in an EEG Study of Cognition in the Wild, Strayer Lab, University of Utah, Utah 2015

Ice to Protect Orange Trees from the Cold, California 2015

Mallam Mantari Lamal with Mainasara, Nigeria, 2005

Untitled (Pink Skirt vs. Brown Pants)

environment

Art and environment inthe Anthropocene

EXTREMES – The Environmental Issue: New ways of visualising climate change in Foam Magazine

Silent ChroniclesAbout the work of Steffi Reimers

How to Love a Tree: Wild EncountersAbout the work of Hira Nabi

Gigapedia: Hate Symbols and Online CodesExhibition Glossary

From Innovation to Art: The History of AI images

On Transience – Theme Text Foam Magazine #64: EXTREMES–The Environmental Issue

Foam 3h: Khashayar JavanmardiThe Caspian ‘Lake’

Studio Visit: Khashayar Javanmardi

Where Colours Breathe by Temiloluwa Johnson

The Fairmont Victim by Malak El Sawi

Opening Foam 3h:Khashayar Javanmardi The Caspian ‘Lake’

Jaclyn Wright

Cristóbal Ascencio

Cansu Yıldıran

Aaryan Sinha

06.09.2004

Monuments, Aletsch #2, 2018

Test of Time: Depredations by Yana Kononova

Foam Magazine

Magazine

Kate in an EEG Study of Cognition in the Wild, Strayer Lab, University of Utah, Utah 2015

Ice to Protect Orange Trees from the Cold, California 2015

Mallam Mantari Lamal with Mainasara, Nigeria, 2005

Untitled (Pink Skirt vs. Brown Pants)

Art and environment in
the Anthropocene

EXTREMES – The Environmental Issue:
New ways of visualising climate change in Foam Magazine

Silent Chronicles
About the work of Steffi Reimers

How to Love a Tree: Wild Encounters
About the work of Hira Nabi

Gigapedia: Hate Symbols and Online Codes
Exhibition Glossary

From Innovation to Art:
The History of AI images

Foam 3h: Khashayar Javanmardi
The Caspian ‘Lake’

Opening Foam 3h:
Khashayar Javanmardi The Caspian ‘Lake’