I think by now it is really no surprise how governments, state and corporate sponsored institutions are purposely ignoring any support for the plight of Palestinians. Their silence and complicity are nothing short of disgusting. In the face of witnessing this wholesale murder these entities cite national security and human rights but clearly in a […]
I get a rapturous effect when I search through early twentieth-century illustrated books on archaeology. I know that it is a relatively niche endeavor, but there is something otherworldly about the effort that allows my imagination to stir in ways that are not easy to equate. Some of this is because the images are fantastical. […]
Some photobooks are detailed by their direct exercises in story building. In contrast, others ask that the viewer read them holistically as an environment, a stage in which ideas are distributed, but with fewer absolutes regarding their nature. Hints are dropped, and some images carry the conceptual load of what the press release suggests as […]
Moises Saman is one of the most substantive and accomplished conflict photographers working today. A member of Magnum since 2014, he is best known for photographs he has been making for more than two decades working throughout the Middle East, during which time he covered the Iraq War and the Arab Spring. Many of the […]
I am quite taken with the text in Thana’s excellent new book, How Shall We Greet the Sun, published, like her last book, I Don’t Recognize Me in the Shadows, by Lecturis. I am uncertain exactly how she is engaging with the concepts of sentimentality and nostalgia, being that she seems to be using […]
Thana Faroq’s I Don’t Recognize Me in the Shadows is a book of complicated subjects. First, there is the subject at the heart of it all, namely Thana and her experience as a Yemeni Refugee who found her way to the Netherlands through the gruelling and heart-wrenching ordeal of leaving her family in Yemen where […]
“The phrase “necessary fictions” both characterizes state-created realities, whether simulation in the military training context or the deployment and consumption of fictions in civilian society, and also comments on the documentary form.”
“In contrast to the concrete metaphors in the urban architecture and the materiality of construction, the bodies and flesh of the workers on the beach refer to something humane: of the flesh, tactile and intimate, something that is deeply lacking in these isolated lives.”