Polaroid’s Post

May 25 & 26 | Saturday & Sunday | 2:00 PM A Home in the Constant Flux RSVP: https://shorturl.at/cmtD9 The exercise to retrace the intangible memories entwined with tangible objects is what created the research-based series of thirty-six photos A Home in the Constant Flux: A Call to the Verb Memory. The central idea of this photo-series is that during migration of people across geographies, the objects of love and necessity undergo the arduous ordeal, and that these, bearing the patina of age, create a desire to develop an understanding that personal histories are not isolated from the political selves. The technique of cyanotypes, which is used to print the archival maps for A Home in the Constant Flux: A Call to the Verb Memory metamorphoses into a metaphor of capriciousness – endured by refugees. As the cartographic lines, in various shades of blue and white, overlap the digital images of the objects, they gesture at the fluidity of the memory only to find itself resistant to the burden of confinement around the refugees. The aesthetic of distortion – in the form of borders, the viscosity of the blues and whites, and the ballet of letters – epitomises the inevitability of embracing impermanence as one of the few constants in a life on the move. The element of distortion serves as a bridge between abstract and representation to encourage the viewer to navigate and map the photo series in order to question the boundaries of perception. The panel discussion on the second day of the event will delve into the influence of visual representation on refugee narratives, particularly in light of the surge of imagery overpowering the social and print media in recent years. This influx frequently drowns out the individual voices of refugees, maintaining stereotypical visual stereotypes that confine visual language of that of a destitute ‘other’. Furthermore, the conversation will confront the inherent tendency to marginalize migrants through photography, highlighting the disparity between mainstream portrayals and the more empathetic and authentic depictions found in the research-based project A Home in the Constant Flux: A Call to the Verb Memory. #artexhibit #bangaloreart #artinbangalore 

Yesterday, I had the profound experience of attending BORNO STATE OF MIND, a solo photography exhibition by the incredibly talented Motheo Moeng at Path Nomad. Motheo’s work takes us into Chibok, Borno State, Northern Nigeria, a region that made international headlines for the tragic abduction of schoolgirls by Boko Haram. Yet, what stands out in his photography is not just the narrative of trauma, but rather one of resilience, hope, and the continued vibrancy of life in the face of devastation. His images reflect the strength of the human spirit, showing that despite everything, communities endure, rebuild, and find joy in small moments. It is a powerful reminder of how easily stories fade from public consciousness, especially when they involve marginalized groups. If these young girls had been from a different background, perhaps their story would still be headline news. But here we are, years later, with so little being done to address the ongoing reality of their lives. Motheo’s exhibition reminds us that it is our responsibility to keep these stories alive, to amplify the voices of those too often forgotten, and to challenge the world to care about the lives of all people equally. I encourage you to reflect on these issues and support work that seeks to tell important, underrepresented stories. We must ensure that we don’t turn away from these moments of crisis simply because they don’t dominate the news cycle anymore. #MotheoMoeng #BornoStateOfMind #Photography #Chibok #Resilience #Storytelling #Humanity #SocialJustice #LinkedInCommunity

The destruction of #Arada is something that should concern us all. It is about the tragic impact of large-scale demolitions on communities, livelihoods and individuals. This is unfortunately a common story These kinds of interventions in the urban form are the result of a lack of imagination about how we can make our cities more just and liveable for residents. This exhibition is an attempt to re-imagine our cities by listening to the experiences of those who lived in Arada, a place where generations of people have experimented with meanings and ways of being urban. By portraying what once was, remembering Arada becomes an act of resistance https://lnkd.in/gujxmi6i

The Vibrant World of African Paintings: Significance and Cultural Impact African paintings are a vivid expression of the continent's rich heritage, diverse cultures, and profound creativity. From ancient rock art to contemporary canvases, African paintings offer a window into the soul of the continent. Let’s explore the significance of these artworks and their impact on both African societies and the global art scene. Contemporary African Art Modern African artists draw on this rich heritage while also engaging with contemporary themes and global art movements. This fusion of old and new creates Dynamic and thought-provoking works. Urban Art Cities across Africa, from LAGOS to Johannesburg, are vibrant centers of contemporary art. Artists use murals and street art to comment on social issues, celebrate cultural identities, and Beautify urban spaces. Gallery and Museum Exhibitions African paintings are increasingly featured in international galleries and museums, highlighting the continent’s contribution to the global art world and challenging outdated perceptions of African art. The Significance of African Paintings 1. Cultural Identity and Heritage African paintings play a crucial role in preserving cultural heritage and passing down traditions to future generations. They are visual records of stories, myths, and histories that might otherwise be forgotten. These artworks foster a sense of pride and unity within communities, celebrating the Unique aspects of their cultural identities. 2. Economic Empowerment The art market provides significant economic opportunities for African artists. By selling their works locally and internationally, artists can support their families and contribute to their communities’ economic development. Art exhibitions and cultural festivals attract tourists, boosting local economies and promoting cultural exchange. 3. Social and Political Commentary Many African artists use their paintings to address social and political issues, from corruption and inequality to environmental concerns. Their works provoke thought and inspire change, making art a powerful tool for advocacy. Through their art, painters bring attention to important causes and Amplify marginalized voices, fostering a more informed and empathetic society. The Global Impact African paintings are gaining recognition and appreciation worldwide, influencing global art trends and fostering cross-cultural dialogue. Art Markets African art is becoming increasingly popular in international art markets, with rising demand from collectors and enthusiasts. Cross-cultural collaborations between African and international artists are creating exciting new works and perspectives, enriching the global art Scene. Artworks Painting #exhibition #artwork #painting #culture #marketing #entrepreneur #design #branding #economicgrowth #businessstrategy

"Pandora by Cristina De Middel" Part of SIPF 2024 highlights, we are delighted to welcome Cristina de Middel in Singapore for her guided tours and public lecture on 22 and 23 Nov https://sipf.sg/pandora/ Pandora consists of three projects The Afronauts, Party and Gentlemen's Club to explore the unspoken and forgotten, blending discomfort and curiosity with 3 repurposed container space at DECK Open Ground till 24 Nov 2024. The Afronauts In 1964, still leaving the dream of their recently gained independence, Zambia started a space program that would put the first African on the moon, catching up with the USA and the Soviet Union in the space race. Edward Makuka Nkoloso, the passionate brain behind the project, had a hard time convincing both the national and international institutions to fund a visionary space program that challenged the manichean vision of a world completely immersed in the Cold War. For a year he trained a group of students to become astronauts in the headquarters of the Zambian National Academy of Science, Space Research and Philosophy that he built outside of Lusaka. With no financial support and one of his most advanced students getting pregnant, the project vanished and was set to become one more exotic episode in African History. PARTY “If there is to be a revolution there must be a party”. This is how one of the most iconic and politically engaged book of the century would start if we applied an intentional filter. The filter would hide the parts of the slogans and sentences that got eventually obsolete in the last decades and the book is the Little red one: “Quotations from Chairman Mao Tse- tung”, the second most printed book in History (alter the Bible) but a book that can only be found nowadays in China at some tourist shops. In an attempt to build a documentary object that to pushes the limits of documenting with images, the series “Party” presents a deliberately personal approach to the contemporary Chinese society and adds layers of significance by choosing a loaded platform. Gentlement's Club Prostitution has traditionally been presented and explained focusing on those who sell their body. Whether it is to open the debate around the boundaries of women's rights or to insist on the condescending attribution of prostitution as the oldest profession (when there are doubts that it is even a profession and certainty that it is not the oldest), the truth is that it is a reality that is still half understood because the other half, the clients, has hardly been explained.  For 7 years, Cristina traveled to the cities that have a link with the business to collect a total of 100 images and interviews in which the men share their motivations and opinions about paying for sex. The cities are Havana, Mexico City, Paris, Bangkok, Los Angeles, Lagos, Kabul, Amsterdam and Mumbai, some are well known for their sex tourism industry, others for their contribution to the romanticization of sex work.

I believe 1 plus 1 adds to more than 2. I believe it adds to 2.024 or 2.6 and sometimes to 3. I believe in the unique contribution of each individual in adding to the collective advancement of a larger cause. And in that, I believe the summation of the whole is always greater than the sum of the parts. And this is the ethos that has philosophized my creative journey since I started. In 2015, I knew that the city of Dar es Salaam had to be archived. Everything was changing, and it was everywhere and every day. The city started to undergo major and rapid transformations that I have never witnessed in my three decades of living in Tanzania. To preserve and reflect on these transformations, I started to photograph the people, their living conditions, the culture they have and the everyday life of everywhere I went in the city. In 2019, collectively with local storytellers from various parts of the city with whom I shared the same vision, we started contributing to archiving the city through Striti za Bongo. Striti za Bongo is the way we claim, celebrate and share the growth of the city of Dar es Salaam, and the larger narrative of 'Africa is Rising'. It's also the way we are stepping forward to participate in the emergence of contemporary art in Africa. Explore Dar es Salaam and Striti za Bongo here >>>https://lnkd.in/dc6zTut8 . . . . . . . #winifridluena #stritizabongo #contemporaryphotography #contemporaryart #daressalaam #tanzania

Other images in the project were more abstractly about the idea of history or the way we use (and abuse) it. This photo just shows a bench leg in Budapest, which has been repeatedly moved, pressing itself into the tarmac below and creating this remarkable scattering of past positions. It felt like an odd visual metaphor for the way we all use history, reaching a consensus (or not) about something which for many of us is ultimately unknowable. I’m currently sharing bits from my project and book The Memory of History (2012) which looked at the re-emergence of unresolved history in the context of the 2012 European Euro and sovereign debt crisis. #politics #experimental #photobookjousting #photobook #design #photography #euro #eurozone #crisis #documentary

"Under the theme Indigenous Peoples’ Ways of Healing and Well-Being: Honoring Our Ancestors’ Wisdom and Knowledge, Indigenous Peoples' youth are invited to use photography to tell the world how their communities' lifestyles, beliefs and cultures are fundamentally related to their health and well-being. Eligibility Criteria 1. Participants must: a) be members of Indigenous Peoples located in one of WIPO’s Member States; b) be between 18 and 35 years old on the closing date for entries (July 15, 2024); c) have taken the photographs and prepared the brief descriptions themselves; d) secure consent to display traditional knowledge and/or traditional cultural expressions of their community in the photograph, in accordance with domestic and/or customary laws. 2. The photograph and its description should not contain any sacred, secret, or sensitive content that could potentially disclose information meant exclusively for members of the community. 3. Materials can be submitted in Arabic, Chinese, English, French, Portuguese, Russian or Spanish. Copyright in the submitted materials remains with the participants. The evaluation criteria for entries are the expression of the theme; originality, creativity, and artistic expression; inspirational power; visual appeal; and community-related impact. Winners will receive photography equipment of a total value of up to: • USD 4,000 (1st place), • USD 3,000 (2nd place), • USD 2,000 (3rd place). Closing date for entries: July 15, 2024, at 23:59 (Geneva time)." For more information please visit https://lnkd.in/dFkwX85J #WIPO #PhotographyPrize #IndigenousYouth #AncestorsWisdom #AncestorsKnowledge #officiopontoambientegmailcom - Repost by Officio Ambiente Ltda. http://goo.gl/GCk5pL

London crowd, this is happening today, Palestinian artist Inas Halabi will be giving this talk at UCL, "To confront slow violence is to take up, in all its temporal complexity, the politics of the visible and the invisible. What happens when we are unsighted, when what extends before us, in the space and time that we most deeply inhabit, remains invisible? In this talk, Inas will discuss her film practice which is centred on finding new ways of working to address colonial power structures that continue to define our current global condition." https://lnkd.in/eAvSim2s

As a development practictioner with 15 years experience and counting, I've often grappled with the ethical implications of capturing human suffering and documenting evidence of the impact of our work. This video clip I came across today has reignited this debate in my mind. We’re often so eager to capture the perfect image to share with donors and partners, seeking recognition for our work. But are we truly understanding the impact of our actions? Are we prioritizing the needs of the communities we serve, or are we more concerned with crafting compelling narratives? How can we balance the need to document human stories with the responsibility to protect dignity? Let's discuss: 1.Ethical Guidelines: What principles should guide our photography? 2.Informed Consent: How can we ensure that individuals understand the implications of being photographed? Please share your thoughts and experiences on how we can have a more ethical approach to humanitarian photography! Henry Oliver Hakulandaba Kudzai Tinago Shiela Chikulo Tawanda Mthintwa Hove (PHD) Dagobert. Musiwa. Grame Mureriwa Dorothy Mavhiri #humanitarianphotography #ethicalphotography #dignity #empowerment #socialimpact