"A Ticket to Baghdad" is a cultural visual project after a long tour of Iraq in 2002. It consists in a serie of interviews to students and young artists of the Baghdad Art Academy about their "dreams" for the future and in a series of photographic
images on the city and its architectures.
The artistic work indicates a hypothetical terrain in which Iraqi intellectuals have had to practice the culture of necessity, over the past three decades, as an act of salvation. It is a culture that does not belong to any aesthetic, ethnic or political category;
it belongs only to itself. The creation of this series of "collages" reveals a degree of complexity and a critical attitude of the authors towards contemporary society.
born and raised in Lebanon, a country that has been continuously in conflict since 1975. Dalia always avoided documenting Lebanon’s conflicts until she got deeply involved in it when in 2005 she worked as the photo editor for the Associated Press in Beirut.
In summer 2006, during the 34-days Israeli offensive on
Lebanon, Dalia saw the conflict through the lens of other photographers she was editing. End of 2006, she quit mhery job to go back to photography documenting the aftermath of the war. In Dalia’s "Abandoned Spaces" she aimed at documenting the peace she discovered in every house or mosque, even in the presence of chaos; she wanted to represent the space in the most dignified way.
Born and raised in Brooklyn, New York, Damaso has worked for institutions and his work has appeared in publications including: The United Nations Development Programme, The Associated Press, The Wall Street Journal, Vanity Fair Germany, Der Spiegel and Time Asia. Previous assignments and projects have taken him to countries including Rwanda, Iraq, Indonesia, Tanzania and throughout the United States.
He is the recipient of several awards and fellowships including a Fulbright and Arthur F. Burns Fellowship and two first place awards for international reporting from the New York Association of Black Journalists.
Damaso is also the principal photographer on The Europeans, a long term photographic documentary project examining the changes that Europe and its people are experiencing as the European Union expands and continues to integrate.
My life is a journey with many differnet paths…..when I look closly into my path I have different emotions that increase my curiosity , sometimes I forget through my self discovery and the best when I find myself again and the journey coninues…
The life in 21st century explores the impact of 21st century politics and culture on humanity and art production. Technically, the work explores the impact of digital tools on current art photography production, highlighting the transition that occurs in photography from analogue to digital by adopting and mixing the two techniques.
The life in 21st century presents a series of large digitally manipulated photographic prints comprise beautifully composed photographs, scanned, digitally treated and manipulated. At their heart, the images are classic portrait photography, but with a montage of extra objects in a surrealistic twist on the digital retouching techniques of modern marketing and advertising.
Kids dream represent my view of the current Western politics, media and society on non-Westerners, training boys for violence and war, and Sexualising girls at a much younger age. iPod nano influenced by the obsession of my wife, the filmmaker, in collecting empty jars and in making pickle and olive juxtaposed with elements from our contemporary culture.
After six years of war in Iraq, the number of Iraqis displaced either internally or forced to flee across borders to neighboring countries is estimated at close to 5 million. This is the statistical equivalent of nearly 50 million Americans, making it one of the greatest refugee crises in modern history. These masses of displaced victims of war have become unnamed, anonymous non-entities, statistically relevant yet individually insignificant. Hiding amongst the displaced is a group of Iraqis who have been forced from their homes because they helped the United States. They signed up to serve as interpreters for the American Armed Forces or as experts with the U.S. Government, NGOs, and American companies working in Iraq. Now, they are the most hunted class in Iraq. The lethal stigma they bear as “collaborators” transcends sect or tribe, and they are being systematically targeted for assassination. Resettlement is considered by the United States government as the “option of last resort” for the most vulnerable refugees. In this project, a sequel to my series on Iraqi refugees living in Damascus, Syria, I interview and portray Iraqi refugees who have been resettled to the United States and are living in the Washington D.C. area. This project focuses on these refugees as they encounter the intricate, challenging, and often frustrating and disillusioning process of transitioning to life in America.
Still fearful for their own safety and the safety of family members in Iraq, many refugees have asked that I not reveal their faces or names.
George Haddad is a freelance photographer based in Beirut, Lebanon.
He specializes in feature and documentary photography but also works in the commercial side of things. In his spare time he enjoys photographing more artistic types of images from abstracts to still life.
George loves symmetry, lines, curves, and dimension. He tries to concentrate on these in his images.
A group of famous and acknowledged Latvian photographers, Gunārs Binde, Pēteris Korsaks, Vilhelms Mihailovskis, Leonīds Tugaļevs, Varis Sants and Juris Kmins united under the company "Dizaina Manufaktūra" and organized the photo campaign "Cēsnieks 2006". Its main goal was to portray people during the anniversary celebration of the Latvian town Cēsis 800 anniversary celebration.
“The main emphasis of the particular project was placed on people and the elements that surrounded the person. The aim of this project is to create and to form the testimony about the people of the present time."
The attention paid to those who participated in the campaign reminds of a noble gesture from the ancient times’ culture, when only noblemen and prosperous townsmen could afford to order their portrait.
These photos will reveal the future generations what the 21st century residents looked like, what they wore, how behaved, and possibly will stir up the imagination exactly in the same way as it happens to us now, when we see the photos taken in the beginning of the 20th century."
Harold Naaijer is a self taught photographer from the Netherlands, born in 1964 in the university city of Delft. He started full time photography after working 11 years for the trade unions. Life itself is his theme and he tries to capture it by spending loads of time on the streets, in people’s houses (where he sometimes get invited) and at gatherings where people have time to be bothered by a photographer.
Together with his friend and writer Donald Niedekker he published 4 books with stories playing in Berlin, Marseille, Liverpool and Rotterdam. With Jan Keulen he created a book about Iran, 10 years after the revolution. Naaijer’s images appeared in several exhibitions in the Netherlands, Syria, Portugal and soon in Finland and India. Currently living in Lisbon, Portugal, Naaijer works for two magazines and is also involved in corporate photography.
His new show is about woman from different parts of Europe. It is about beauty, expectations of life, dreams, power and hope.
The Quiet after the Storm:
Croatia’s displaced Serbs
The Croatian war of Independence displaced over 300,000 Croatian Serbs between 1991 and 1995. It was towards the end of the war that 200,000 of them were uprooted by a Croatian military offensive known as Operation Storm. This was the single largest displacement of people in Europe since World War Two.
Thirteen years later people are still trickling back despite the odds, in order to reclaim houses and rebuild lives in their homeland. This body of work follows the journeys of several Croatian Serbs who have returned from living in exile, and some of those who still remain as refugees in Serbia.
Buddhism says that everything is an illusion. China seems to move from one to another.
Utopia or Dystopia? China is both and neither. In sheer
numbers, the gulf between rich and poor is greater than at any time since the Communist Revolution and it shows no signs of stopping any time soon. It has also been centuries since this country has approached its true potential in global influence.
The Middle Kingdom has returned to the center of the global stage.