| | | | | | | | | | | | Plat(t)form 2022 | | | | Emerging artists and photographers present their portfolios | | | | | | | 9 – 11 September 2022 | | | | At the annual event Plat(t)form, 42 selected international photographers and artists offer an insight into their work. During the portfolio viewing event, the artists present their works to the public and a team of experts – an opportunity to discover the latest tendencies in photography as well as young talents and meet them personally. | | | | | | | | | | | | | | | | | Plat(t)form 2020 © Fotomuseum Winterthur / Philipp Ottendörfer | | | | | | Emerging artists and photographers present their portfolios
Programme
Friday, 09.09.2022, 19:00–20:30
Talk – the experts and Pro Helvetia guests present themselves and their work
Saturday, 10.09.2022, 11:00–19:00
Portfolio Viewing – visitors and experts in dialogue with the photographers
Saturday, 10.09.2022, 20:00–24:00
Dinner party at the museum bistro George with food, music and talks
Sunday, 11.09.2022, 11:00–17:00
Portfolio Viewing – visitors and experts in dialogue with the photographers | | | | | | | | | Hiền Hoàng, Under an Ideology, 2020
from the series Asia Bistro © Hiền Hoàng | | | | | | Experts
Tim Clark, editor in chief and director of 1000 Words (GB) and artistic director at Fotografia Europea (IT)
Marco De Mutiis, digital curator at Fotomuseum Winterthur (CH)
Marina Paulenka, director of exhibitions at Fotografiska Berlin (HR/DE)
Anne Szefer Karlsen, professor Curatorial Practice at The Art Academy of the University of Bergen (NO) and chair of the board of Fotogalleriet (NO)
Bindi Vora, artist and curator at Autograph (UK)
Nadine Wietlisbach, director at Fotomuseum Winterthur and others
Pro Helvetia guests
rana elnemr, artist, photographer and co-founder of Contemporary Image Collective (EG)
Renée Akitelek Mboya, writer, curator and filmmaker (KE)
Linh Pham, photojournalist and writer at Matca (VN)
Yin Shuai, curator (IT)
Anshika Varma, photographer, curator and artist (IN)
Sarah Waiswa, photographer (KE)
Nominators
Gosbert Adler, Emma Bowkett, Susanne Brügger, Nassim Daghighian, Elvira Dyangani Ose and Claudia Segura, Anna Ehrenstein, Marta Gili, Geert Goiris, Clare Grafik, Stefan Gronert, Rainer Iglar, Verena Kaspar-Eisert, Milo Keller, Kim Knoppers, David Korecký, Susanne Kriemann, Reinis Lismanis, Anna Planas and Pierre Hourquet, Charlotte Præstegaard Schwartz, Anna-Kaisa Rastenberger, Miriam Rutherfoord and Roman Surber, Nicolas Savary, Rico Scagliola, Amélie Schneider, Iris Sikking, Heidi Specker, Jules Spinatsch, Stefano Stoll, Wolfgang Tillmans, Vincent van Velsen, Salvatore Vitale, Michèle Walerich, Andreas Wellnitz | | | | | | | | | Felipe Romero Beltrán, Untitled, 2020,
from the series Dialect © Felipe Romero Beltrán | | | | | | Participants
Aàdesokan (NG/NL), Georgs Avetisjans (LV), Sara Bastai (PT/CH), François Bellabas (FR/US), Felipe Romero Beltrán (CO/ES), Anna Breit (AT), Anna-Tia Buss (CH), Zoé Clémence (CH), Thaddé Comar (FR), Alexandra Dautel (FR), Tamara Eckhardt (DE), Rozafa Elshan (LU/BE), Agnes Essonti Luque (ES), Julie Folly (CH), Lenka Glisníková (CZ), Jette Held (DE), Assaf Hinden (DE/IL), Hiền Hoàng (VN/DE), Josephine Jatzlau (DE), Pablo Jomaron (FR), Laila Kaletta (DE/CH), Fritz Enzo Kargl (AT), Vytautas Kumža (LT/NL), Youqine Lefèvre (BE), Pavo Marinovic (CH/FR), Thi My Lien Nguyen (CH), Jaya Pelupessy (NL), Victoria Pidust (UA/DE), Michelle Piergoelam (NL), Robin Plus (FR), RAKE (CH/UK/PT), Ieva Raudsepa (LV), Jana Rothe (LU/CH), Damla Şahinbaş (TR), Muhammad Salah (SD/DE), Emma Sarpaniemi (FI), Cédrine Scheidig (FR), Manuel Sékou (DE), Matilde Søes Rasmussen (DK/SE), Valentin Wedde (DE), Olivia Wünsche (CH), Lucrezia Zanardi (IT/DE)
TO THE PARTICIPANTS AND WORKS | | | | | | | | | Emma Sarpaniemi, Two Ways to Carry a Cauliflower, 2021
from the series Two Ways to Carry a Cauliflower © Emma Sarpaniemi | | | | What does society expect of women’s self-portraits? And what does it take to subvert these expectations? Finnish photographer and visual artist Emma Sarpaniemi (*1993/FI) investigates these questions. In her playful work, which can be read as an expanded form of self-portraiture, Sarpaniemi embodies a wide variety of female roles while also exploring, together with her models, particular aspects of intimacy and companionship. Inspired by historical self-depictions of women, her work shows just how diverse definitions of femininity can be. | | | | | | | | | Aàdesokan, Untitled, 2018,
from the series PVC Meatway © Aàdesokan | | | | In his documentary series PVC MEATWAY (2018), Nigerian artist Aàdesokan (*1994/NG) sheds light on the poor hygiene standards on the so-called Bloody Meat Highway in Lagos. In this open meat market, butchers are known to prioritise sales, while health aspects are a background concern. In October 2018, Aàdesokan began observing the butchers in the market and their work with the goal of improving the hygiene standards on the highway. With the help of a designer, the artist started producing functional clothes made of polyvinyl chloride (PVC) and distributed them to different groups of butchers, whom he then documented at work. His series thus combines fashion and photography and shows how the introduction of simple measures can enable food to be processed more hygienically. | | | | | | | | | RAKE, In Plain Sight, 2021,
from the series Police State © RAKE | | | | Surveillance systems like facial recognition technologies play an ever-increasing role in our society. Through their series Police State (2021–), the collective RAKE, founded by multi-media artists Nuno Guerreiro de Sousa (*1993/PT), Nancy Hurman (*1991/UK), Flora Thomas (*1993/UK) and Vera Zurbrügg (*1994/CH), explores the ever-expanding network of surveillance in the UK. Initially focusing on London, one of the most surveilled cities in the world, the series investigates how surveillance technologies are implemented politically and how they influence the city’s population. Works like In Plain Sight (2021) for example, show Google Street View images of protests in which the protesters have been replaced by the police. By turning surveillance authorities back on themselves, Police State draws attention to the power structures behind the surveilling gaze and questions who ultimately benefits from surveillance systems. | | | | | | | | | Jaya Pelupessy, Collage #6, 2021,
from the series Manufactured Manual © Jaya Pelupessy | | | | In his work, Dutch artist Jaya Pelupessy (*1989/NL) explores photographic reproduction processes by creating elements in his images that continuously repeat themselves. These elements can be restricted to specific parts of the image or even include the entire image. Pelupessy uses this approach to reflect on how the process of reproduction affects the autonomy of an image and thus to question, ultimately, the artistic status of photography itself. | | | | | | | | | Damla Şahinbaş, WE ARE REA #01, 2021,
from the series WE ARE REA © Damla Şahinbaş | | | | Gender inequality and discriminating social body norms are central themes in Damla Şahinbaş’s (*1995/TR) photographic practice. In her series WE ARE REA (2021), the Turkish artist focuses on LGBTQIA+ and female subjects who are directly affected by conservative body and gender politics in Turkey. Oppression, violence and the negligence of official authorities often make it hard for such people to find a place in society. Instead, many are forced to create safer and more accepting spaces of their own. In her experimental black- and-white series, Şahinbaş reflects on this process. By ‘deforming’ her images, she reinvents them and, in doing so, tells stories of breaking with conservative Turkish society and of reorienting towards safer micro communities. | | | | | | | | | Robin Plus, MAX 3, 2021,
from the series Tira Lenso © Robin Plus | | | | | | unsubscribe here
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