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

From Innovation to Art: The History of AI Images

During Faking History, speakers will reflect on Panta Rhei, a project in which artist Daan Paans calls into question the assigned value of historical artifacts.

Alongside the artist himself, Martin Berger (curator Middle and South America at Museum of Ethnology, Leiden) and Saba Askary (researcher in the field of classical historiography and contemporary art) will introduce their unique perspectives to the discussion. Daan Paans will speak about his project and artistic practice in conversation with curator Mirjam Kooiman (Foam).
PROGRAMME
<ul>
<li>19.00 &ndash; 19.15 Spoken Column by Martin Berger</li>
<li>19.15 &ndash; 20.00 Daan Paans in conversation with Mirjam Kooiman</li>
<li>20.00 &ndash; 20.20 Lecture by Saba Askary</li>
<li>20.20 &ndash; 20.30 Questions &amp; discussion</li>
</ul>
<a href="/book-a-visit/public/faking-history/21-02-2019">&gt; Tickets</a>
ABOUT FOAM 3H: DAAN PAANS - PANTA RHEI In the opening scene of Indiana Jones &ndash; Raiders of the Lost Ark (1981), the fictional archaeologist Indiana Jones manages to obtain the coveted Golden Idol from a hidden temple deep in the Peruvian jungle. This magical film prop is based on a pre-Columbian statuette from the Dumbarton Oaks Museum in Washington, that allegedly represents the Aztec goddess Tlazolteotl. Research has revealed that this figurine is not pre-Columbian after all, but was most likely produced in Europe or Asia in the nineteenth Century. Paans was captivated by the confusion between replica and original, and how the museum assigned value to this object.&nbsp;The artist continued this cultural mutation in a kind of visual version of &lsquo;Chinese whispers&rsquo;: based on photos, Paans let artisans from various countries created a new replica, transforming the sculpture. Paans visualised&nbsp;how our interpretations change imperceptibly over time and questions the value we assign to artworks and historical artefacts.
<a href="/museum/programme/daan-paans">&gt; Exhibited at Foam 3h until 24 February 2019</a>
The project Panta Rhei by Daan Paans was developed with support from the Mondriaan Fund.
The Foam 3h exhibitions are made possible with support from the Gieskes-Strijbis Fund, the Van Bijlevelt Foundation and Kleurgamma Fine-Art Photolab.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, Foam Members, Gemeente Amsterdam, Olympus and the VandenEnde Foundation.
ABOUT SABA ASKARY Saba Askary is an Iranian born, U.A.E raised curator active in the fields of classical historiography and contemporary art in Amsterdam. Askary first received a BFA from OCADU in Toronto, CA and further achieved her post-graduate in History and Art World Practice from the University of Glasgow and Christie&rsquo;s Education. Currently Askary is Content and Development Manager at Unseen Platform.
&nbsp;
ABOUT MARTIN BERGER Martin Berger is curator Middle and South America. His research interest lies in global flows of people and objects, indigenous forms of representation, (ethnographic) museums and collections histories, and popular culture. Berger studied Latin American Archaeology and Ethnography at Leiden University and obtianed his PhD in 2016. Since then, he has curated numerous exhibitions all over the world.

<div class="sidebar__content">Event info 
Thursday 21 February 2019 19.00 - 20.30 hrs PRICE &euro;7,00 regular rate &euro;5,00&nbsp;<a href="/about/memberships" target="_blank" rel="noopener">Foam Fan</a>/<a href="/about/memberships" target="_blank" rel="noopener">Club</a>/<a href="/about/foam-fund" target="_blank" rel="noopener">Fund</a> *including&nbsp;museum admission
 LANGUAGE English</div>

Faking History

Spanish artist Laia Abril (1986) is the fourteenth winner of the Foam Paul Huf Award. With her work, Abril tells intimate stories that evoke uncomfortable and hidden realities and often deal with inequality between the sexes and oppression of women.

Foam

explore related

Chastity Belt, 2019, On Rape

Shrinky Recipe, 2019, On Rape

Laia Abril On Rape: A History of Misogyny, Chapter Two

From the series: Argania: Lack of Information Is My Family History

MAryam Touzani

About Cultuur Ferry

exhibitions & programme

plan your visit

about us

see more

Cultuur Ferry

 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

records the artist’s personal search for her heritage. With little to no information about her family history, MAryam Touzani sets off on a journey tracing the story of her Moroccan ancestry and multicultural upbringing. 

Using her teeth—carriers of one’s unique genetic encoding—as a starting point, MAryam Touzani photographs and assembles all the pieces of evidence she can collect: from dental X-rays and passport images, to her father’s death certificate and colonial maps omitting her ancestor’s region of origin. In her investigation where answers do not seem to come straightforward, photography becomes a poetic tool, allowing Touzani to reconstruct her past, in order to imagine her future.  

The title refers to the scientific name of the argan tree, one of the oldest existing trees growing in the Sous valley in southwestern Morocco. Traditionally, the fruits are processed into argan oil by women from the local Amazigh community. As an Amazigh woman, but born and raised in The Netherlands, MAryam Touzani uses the symbol of the argan tree to trace back her roots and honour her female ancestors. 

Smile

Denture

From the series Argania: Lack of Information is my Family History

If I take care of you, will u stay with me for a lifetime

Go fix it

From the series Argania: Lack of Information Is My Family History

Laugh MAryam laugh

Land of Afrika

Teeth bus stop

Behind the Abri

Traceable

After encountering the powerful texts of psychiatrist Frantz Fanon on the fight against colonial injustice, a series of questions emerged inside Issam Larkat’s mind. Who was Frantz Fanon and how did he become a crucial figure in the liberation of Algeria, as well as the broader movement of decolonialisation? How relevant are his words after seventy years? And, which questions would Fanon have asked in today’s society? 

Frantz Fanon (1925-1961) was an important figure in the global struggle against colonialism during the 1950s, also known under the adopted Islamic name Omar Ibrahim, and recognised for his publications 

(1961). Born on the Caribbean island Martinique, under French colonial rule, Fanon educated as a psychiatrist in France. After the Algerian Revolution in 1954, he joined the National Liberation Front and continued to fight for the freedom of many African nations, including Algeria, until his death in 1961.

Inspired by the profound legacy of Fanon’s visionary ideas, Issam Larkat’s series 

pays a tribute to his thinking by using a distinct style that combines photographs, archival images and hand-made drawings. Larkat cleverly translates his questions into critical collages that depart from his own experience in Algeria, yet simultaneously speak to the universal struggle against injustice and (neo-)colonialism, connecting the shared identities of Algerian, African and Arab people. 

From the series Frantz Fanon, Me, and The Questions

Issam Larkat

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

André Ramos-Woodard

, André Ramos-Woodard addresses the widespread anti-Black racism deeply rooted in American society. The work centres around the idea that to heal from the harm and pain caused by this, it's essential to acknowledge its history.

Critiquing the media's portrayal of Black individuals through stereotypical imagery, Ramos-Woodard takes a unique approach. He recreates illustrations of Black people, found throughout the history of cartooning, and blends them with his own photographs that celebrate Black identity, inspired by his personal experiences. 

Drawing from his lifelong love of comic books and anime, Ramos-Woodard seamlessly combines photography and illustration, creating a visual language that unites contrasting realities. Through this approach, he confronts the audience with the long-lasting effects of racial hierarchies, using the familiar and funny aspects of cartoons to turn them into a tool to advocate for change.

Authenticity (2 CHAINZ), 2022, from the series BLACK SNAFU

My people have had to cry, scream, and fight for respect for centuries, and we still have not gained what we deserve.

Trophies, 2020, from the series BLACK SNAFU

Buds, 2020, from the series BLACK SNAFU

BLACK SNAFU

Drawing Mickey in Melodrama

Coonin' and bafoonin', 2023, from the series BLACK SNAFU

Niggas at the park, 2021, from the series BLACK SNAFU

Hate monger, 2022, from the series BLACK SNAFU

United States education system, 2022, from the series BLACK SNAFU

To move past the damage [anti-Blackness] has done to our society, we can’t simply deny our history—we must recognize it.

BL!NG, 2020, from the series BLACK SNAFU

Zooted, 2020, from the series BLACK SNAFU

From the series Eyes Dazzle as They Search for the Truth

What is the relationship between the photographer and the one that is photographed? In an attempt to answer this question, Amin Yousefi turned to photobooks, documenting the Iranian Revolution of 1978-1979 in his home-country. Zooming in on archival images of large demonstrations, he looked for protestors who locked eyes with the camera. 

Anonymous faces stare into the photographer’s lens, clearly showing awareness of being captured, inviting the viewer to look. Interestingly, the photographer at the time was most likely 

 aware of the returning gazes—due to the size of the crowds and the limitations of a 35mm camera viewfinder. In this case, Yousefi argues, it seems that the photographed is in control of the image, rather than the photographer, as one might assume. 

With the help of a magnifying glass, he rephotographed each of them—connecting himself with these individuals across time and space and isolating them into a newly formed crowd. Consisting of fifty portraits, 

Eyes Dazzle as they Search for the Truth 

examines how our knowledge about the past is formed through archival images. By turning his camera to those who looked back, Yousefi tries to understand the impact of one of the most influential events in Iranian contemporary history.

Untitled from Eyes Dazzle As they Search for The Truth.

Untitled from Eyes Dazzle As they Search for The Truth

Amin Yousefi

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

, an exhibition that features work from Dutch photographers who captured the consequences of the German occupation during the 1944-45 ‘famine winter’ in Amsterdam. 

De verborgen camera van fotograaf Cas Oorthuys, mei 1945

Twee vrouwen op de terugweg van een hongertocht begin 1945

Illegale opname vanuit fietstas van commandopost Kriegsmarine, genomen vanaf het Emmaplein de Emmalaan in, Amsterdam, 1944

Afsluiting Jodenbuurt bij de Waag, Nieuwmarkt, Amsterdam, 1941

“The exhibition The Underground Camera captures the hunger and hardship in Amsterdam during the final year of World War II, but also sheds light on the untold stories behind the images, offering fresh perspectives.”

De Ondergedoken Camera

Created by Cristina De Middel in 2013. Using inkjet on cotton paper as the medium, the artwork is displayed at 100 x 100 cm. The work explores genres such as the 

The portrait potrays a Zambian man in a space uniform. The work is part of the series 

Untitled, from the series The Afronauts, 2012

visible in

The starting point for the project The Afronauts is derived from the history of Zambia. A space program started by a school teacher suddenly enlisted Zambia to join the United States and Russia in the space race. The hoped-for outcome was the first African on the moon. However, a lack of financial aid meant that this ambitious initiative was doomed to fail. Fifty years later, De Middel reconstructs this story, using her own imagination.

Untitled from the series Afronauts

selected artists

Welcome to Talent 2024-2025 – the digital exhibition.

Here, Foam proudly presents 20 selected Talents in their very own online universe. Out of a dazzling 2,480 submissions, this final curation of exceptional work defines the new horizons of the medium of photography, thematically and technically. Highlighting the connections, this interactive network brings all Talents together and maps out their distinct artistic viewpoints.

Spanning across the globe, the stories told by these artists reflect a universal yearning for belonging—a profound desire to anchor, to establish a connection with the past and carve out a sense of place. A driving force underpinning their work is the quest to trace heritage, untangle family lines, and explore personal identity.

Acknowledging the constructed nature of history, memory, or even their own thoughts, these artists boldly confront existing narratives. They embark on a journey of unlearning, challenging established stories, and turn to the expansive nature of photography to build new understandings and narratives, resonating more authentically with their lived experiences.

Noteworthy in their approach is the harmonious balance between tradition and innovation. The artists seamlessly blend traditional photographic techniques with cutting-edge developments, including the much-discussed realm of artificial intelligence, and other mediums such as moving image, embroidery and music. 

Select one of the filters to zoom in on these different techniques and mediums.

This digital exhibition presents the work in a truly multi-medial way, inviting you to 

about Foam Talent Digital

artists shaping the future of photography

Foam is supported by the VriendenLoterij, Foam Members, the VandenEnde Foundation and the City of Amsterdam.

The Foam Talent programme and the annual Talent Issue of Foam Magazine are supported by:

Overview

Created by Stefanie Moshammer in 2017. The artwork is a Photo rag mount on dibond and displayed at 160 x 106 cm.

Waves from the Web, 2009

Visible in

In Western media, Haiti is generally portrayed as a place plagued by poverty, natural disasters and corruption – a one-dimensional view that was reinforced by the devastating earthquake that hit the country in 2010. In her series 

, Stefanie Moshammer presents an alternative and more nuanced view that highlights Haiti’s unique culture, language and history without brushing aside the country’s issues. Moshammer’s photos poetically capture the Haitian people’s living conditions in close-ups of human figures that showcase both the country’s idyllic beauty and the struggles of living without a water supply or electricity. 

 has a certain dynamism and playfulness you don’t often find in portrait photography. Take another good look at the photo: what elements can you identify that strengthen this dynamic feel? 

Kawa from the series Tomorrow of Yesterday, 2017

Kawa, 2017

Created by Jack Davison in 2015. The artwork is mounted on PVC and displayed at 56,5 x 43 cm.

In this photograph, the subject’s back towers above us because of the low vantage point chosen by Jack Davison. The rain drops streaming down along the coat gain an almost dramatic quality, an effect reinforced by the lack of colour. The image therefore exudes a certain gloominess, even though we cannot see the face. Due to the minimalist composition and the choice for black-and-white, our eye is drawn to small details. See for instance the contrast between the wet and dry garment, the way the raindrops glisten as they slide down, and how the light falls across the creases in the coat. Davidson’s oeuvre is a journey through the history of photography, from avant-gardist experiments to objective documentation, and from early 20th-century portraiture to conceptual studies. 

Untitled, 2015. Kelso, Scotland from the series Personal work, 2006-2016

Untitled, 2015. Kelso, Scotland.

Created by Jack Davison in 2016. The artwork is mounted on PVC and displayed at 51 x 43 cm.

What catches your eye when strolling through a city? Do you mainly look at people, or the traffic, or the buildings? As a self-taught photographer, Jack Davison started carrying a camera to photograph his surrounding from the age of 15. He learned about the history of photography and the many different genres and styles on the internet, which forms a permanent source of inspiration for his work. Although Davison shoots in both black-and-white and colour, his colour photographs are often dominated by bright and lively colours, combined with sharp contrasts between light and shade. In 

 the viewer is not only intrigued by the combination of colours and shaded areas, but also by the variety of shapes and textures.  

Untitled, 2016. Kerala, India from the series Personal work, 2006-2016

Untitled, 2016. Kerala, India. 2

Created by Jack Davison in 2016. The artwork is mounted on PVC and displayed at 43 x 43 cm.

Ever since he was young, Davison has had a strong interest in literature and art. Much of his work is inspired in one way or another by the historical canon of photography. Which genre or school might have inspired this image, 

? Due to the short distance between the camera lens and the model, the viewer is brought up very close to the subject’s skin: we can see the individual eyelash and eyebrow hairs, as well as the tiny capillaries on the eyelid. The prickly fruit clashes with the dreamy image of the closed eye and recalls the surrealist photography from the 1920s and 30s, for instance by Man Ray. This work was part of the exhibition 

, from which several works are included in the Foam collection.  Davidson’s oeuvre is a journey through the history of photography, from avant-gardist experiments to objective documentation, and from early 20th-century portraiture to conceptual studies. 

Untitled, 2016. Kerala, India.

Created by Jack Davison in 2014. The artwork is mounted on PVC and displayed at 54,5 x 43 cm.

How does this photograph make you feel? Much of the work by the English photographer Jack Davison are aesthetical, autonomous images, such as this portrait of Agnes. Due to the short distance between the camera lens and the model and the tight framing of the image, the photograph exudes a sense of intimacy. Yet what stands out right away is the unique lighting. By placing a patterned screen between the model and the source of light, the face is covered by spots of light that seem to be mirrored by the dark sprouts on Agnes’ cheek and forehead. This interplay of light, combined with the unconventional perspective and the way the image was framed, creates a certain poetical abstraction. Davidson’s oeuvre is a journey through the history of photography, from avant-gardist experiments to objective documentation, and from early 20th-century portraiture to conceptual studies. 

Aggie, 2014. Kefalonia, Greece from the series Personal work, 2006-2016

Aggie, 2014. Kefalonia, Greece.

Created by Daniel Gordon in 2011. The artwork is a c-print and displayed at 105 cm x 92.5 cm.

A collage is an image created using shreds of existing materials, for instance by cutting up and pasting images, or editing them electronically. Although the collage technique is not new to photography, Daniël Gordon’s application is unique. Gordon starts the process by printing out images found on the internet. He then uses these images to build three-dimensional collages. The next step is to photograph the collages with an 8x10-inch camera, which is a large-format camera. Gordon is also keen to reuse materials. After photographing the collages, he cuts up the 3-D compositions to reuse different elements in other works.  

 from 2011 not only visualises the digital era while paying tribute to the rich history of photography and collage, but the colours and geometry are reminiscent of the cubist style of artists like Pablo Picasso. For his unique approach to classic genres within the art world such as the still life and the portrait, Daniel Gordon won the Foam Paul Huf Award 2014. 

Portrait with a Yellow Window, 2011from the series Still Lifes, Portraits & Parts, Wallspace, New York, 2010-2011

Portrait with a Yellow Window

Created by Cristina de Middel. The artwork is an inkjet print on cotton paper and displayed at 50 x 50 cm.

 marked the start of a new direction in the work of journalistic photographer Cristina de Middel. As a reaction to the one-sided Western coverage of the African continent with its stereotypical narratives about poverty and conflict, De Middel found inspiration in a true story from Zambia’s recent history. In 1964 the country launched an ambitious space flight programme to compete in the international space race. In 

, De Middel portrays a fictitious end to this true historical story, through which she also questions the established photo journalistic sector. In 

, De Middel captures a deserted otherworldly landscape with a solitary drifting cloud. In fact shot in Alicante, Spain, this photograph shows the surrealistic and mysterious atmosphere that De Middel uses to convey her message. 

Untitled from the series The Afronauts

Pulula

Created by Ahmet Polat in 2007. The artwork is part of the series 

Balancing on two ropes above the Bosporus Strait, two boys embody the playful and carefree spirit of the youngest Turkish generation. The photographer’s angle not only emphasises how high up the boys are, but their bodies cut a sharp silhouette against the bright sky. The scale of the ship and the city in the distance and how the image is framed, leaving unclear what the ropes are attached to, enhance the perception of height.  

As the son of a Dutch mother and Turkish father, in his series 

 Ahmet Polat reflects on his personal history and that of many others of his Turkish peers. Theirs is a generation that has grown up with their parents’ traditional norms and values, but is increasingly exposed to the western individualistic lifestyle. His series forms an intimate portrait of Turkish youngsters in the prime of their lives, seeking to find their way between these conflicting lifestyles.  

Bosporus, Istanbul, 2007 from the series Kemal's Dream

Bosporus, Istanbul, 2007

Created by Cuny Janssen in 2008. The artwork is a c-print and displayed at 36 x 29 cm.

How does the scarred history of Native Americans relate to the world of their youngest generation? This question led photographer Cuny Janssen to travel to Bartlesville, Oklahoma (USA), home to the Turtle clan from the matriarchal Delaware tribe. For her project, 

, Janssen photographed children with Native American roots and the environments in which they grow up, trying to capture the connection between the two. Critical of the stereotyped representation of Native Americans in popular media, Janssen portrayed the children and their environments in an uninhibited way.  

This resulted in a series of intimate portraits, such as the one of William Scott Burks, exploring the relationship between culture, society and upbringing. 

history

From Innovation to Art: The History of AI images

Faking History

Laia Abril On Rape: A History of Misogyny, Chapter Two

MAryam Touzani

Cultuur Ferry

Thero Makepe

MAryam Touzani

Issam Larkat

Cristóbal Ascencio

André Ramos-Woodard

Amin Yousefi

Aaryan Sinha

The Underground Camera

Untitled, from the series Afronauts

Overview

Kawa, 2017

Untitled, 2015. Kelso, Scotland.

Untitled, 2016. Kerala, India.

Untitled, 2016. Kerala, India.

Aggie, 2014. Kefalonia, Greece.

Portrait with a Yellow Window

Pulula

Bosporus, Istanbul, 2007

Bartlesville, OK, USA, 2008, William Scott Burks

Foam Paul Huf Award