Room 1

swimming, pool, sea, diving, drowning, water, men, underwater

@anna_katharina_zeitler on Instagram

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In the midst of the uncertainty brought out by the coronavirus outbreak, in 2020, I found myself a witness to a deepening of the social and political polarisation in my homeland, Poland, and a consolidation of power of the governing right-wing nationalistic PiS party and its incumbent president A. Duda. Puzzled by the cultural wars and the erosion of hard-won democratic freedoms that took place there in recent years, outraged by the government's attack on women's rights, I wonder about the future of girls like Zosia, my eight-year old niece. I see the world in transition, my country somehow 'lost in transit'. Individuals and communities experiencing a massive shift on multiple levels. The pandemic reality with its rise of populism and acceleration of autocratic tendencies in Poland and Hungary feels grim, yet I am not losing hope. It is up to us not to stay indifferent.

@anna_rakocinska on Instagram

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"I don’t miss much about life before Covid, but coming from my home country I miss my friend a lot as I can’t travel to visit him. I miss university life, the classes and interactive         activities with others. Whatever happens I think happens for a reason, so it's all good.” - Sai

@benjaminbrooksj on Instagram

@BenBrooksj on Twitter

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“There’s a lot that I miss, but to narrow it down I miss physical contact with my friends and 
family. I have family all over England and in different countries. My granddad is in Spain, and I haven’t been able to see him for so long. However the silver lining is, when we can see each other again we will value the time we spend together more and not take for granted the people we have around us." - Violet

@benjaminbrooksj on Instagram

@BenBrooksj on Twitter

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But was it splendid?

@cath_muldowney_photography on Instagram

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"Where are we?" is part of my project "Fractioning of space into separate places". The project is an introspective journey through the year of covid-19 through reflections on how our lives have changed. This work was created through a 3d computer graphics software and tries to express the difficulty of physical encounters and consequently the need to live in the digital world as a palliative of real life.

@christian_velcich on Instagram

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Born during the 2020 pandemic, All That Glitters Is Not Gold is an ongoing project that blurs the line between portrait and storytelling, adopting photography as a coping strategy in this anxious age where visual information overload creates an unstable and insecure perspective of reality.
A blend of stories and relatively dark emotions have been collected and reconstructed adopting shiny, metallic and reflective materials to symbolise the fabricated deception of reality we are experiencing and to characterise the contrast between what we want to believe is real and what is actually real.

Project's website : https://claudiacantarini.me/All-that-glitters-isn-t-gold

All That Glitters is not Gold, G, 2021 is a portrait which represents G's story.
( https://claudiacantarini.me/Gyongy)

@claudia.cantarini on Instagram

@claudia.cantarini on Twitter

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Covered in white satin bodies form into figures. Their physicality reveals itself through the force of gravity to which the figures appear to be subject. Shadows, touches and directions of flow describe positions. In the image montage, several views are interwoven into one. Clear, recognizable figures dissolve in their duplication. The figures do not show any faces. Identification thereby remains denied. Where does identity begin and where does it end? Which gestures reveal a movement or shape to be human? The withheld look onto a face draws the focus onto something else. The hands become protagonists of the emerging figures. They operate the self-timer, they create the photograph. They ban the figures they entail. Hands too are witnesses of identity: It can be attested and insured via the narrow lines of the fingertips be it in crime or on smartphones. The hands hold a threshold function between the physical and the digital world. They translate the satin covered figures into a photograph triggering the shutter release. The resulting image visualizes this process. In the form of a photograph, the figure crosses the threshold from the physical world into the digital. The hands become the symbol of this transformation. Not only over the shutter release, but also on screens and displays they let two worlds touch. On the surfaces of screens dimensions merge and collide at their tips. Ten photographic montages, Fine Art Prints on high gloss photografic paper, mesurements between 100 cm x 150 cm and 200 cm x 300 cm

@francis_ost on Instagram

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Covered in white satin bodies form into figures. Their physicality reveals itself through the force of gravity to which the figures appear to be subject. Shadows, touches and directions of flow describe positions. In the image montage, several views are interwoven into one. Clear, recognizable figures dissolve in their duplication. The figures do not show any faces. Identification thereby remains denied. Where does identity begin and where does it end? Which gestures reveal a movement or shape to be human? The withheld look onto a face draws the focus onto something else. The hands become protagonists of the emerging figures. They operate the self-timer, they create the photograph. They ban the figures they entail. Hands too are witnesses of identity: It can be attested and insured via the narrow lines of the fingertips be it in crime or on smartphones. The hands hold a threshold function between the physical and the digital world. They translate the satin covered figures into a photograph triggering the shutter release. The resulting image visualizes this process. In the form of a photograph, the figure crosses the threshold from the physical world into the digital. The hands become the symbol of this transformation. Not only over the shutter release, but also on screens and displays they let two worlds touch. On the surfaces of screens dimensions merge and collide at their tips. Ten photographic montages, Fine Art Prints on high gloss photografic paper, mesurements between 100 cm x 150 cm and 200 cm x 300 cm

@francis_ost on Instagram

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Where does the increasing need of taking photographic self-portraits come from? How can the cultural phenomenon be classified? The human is the only living being conscious of itselfs own existence. This awareness is accompanied by the knowledge of the uncertainty of the future and thus the certainty of a loss of control that triggers fear. In order to regain control, the desire for self-assurance manifests itself in reverse. With the increasing mechanization and globalization not only the omnipresence and the variability of the already uncertain future increase. The need for reassurance of the own self manifests itself in the selfie culture. The image suggests „I recognize myself “ and the publication „I recognize myself in the eyes of others“. The often frivolously dismissed narcissistic phenomenon that shapes the generation of the millennials is therefore much more complex than it seems. Selfies are highly media-reflective. The photographers know that they make themselves become an image, and they use it as a communication strategy. By targeting multiple self-containing devices of past-self-duplications on smartphones on to myself, I communicate with versions of myself and allow the otherwise disconnected views to meet in the pictorial space of photography.

@francis_ost on Instagram

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3 Nuns

@jaimygail on Instagram

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Latishia

@jaimygail on Instagram

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Self portrait (naked) from the series 'Isolation (Self).  The series explores the anxiety, depression and loneliness experienced by the artist during the COVID-19 pandemic.

@joannaepstein on Instagram

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The photographer's hands, from the series 'Isolation (Self).  The series explores the anxiety, depression and loneliness experienced by the artist during the COVID-19 pandemic

@joannaepstein on Instagram

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Mori

@jaimygail on Instagram

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Taken from my series Nun Chi this image observes my long distance relationship through our time apart and the spaces that divide us- with this image pairing her absence from my bed and the blocked view from Moak mountain looking out towards her city,

@jonjoborrill on Instagram

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Chima mountain blanketed in snow during last winter and COVID-19- during the peak of Korea's 3rd wave of COVID-19 the harsh cold offered an escape from the built up areas.

@jonjoborrill on Instagram

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Ami

@jaimygail on Instagram

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 A heart-shaped hosta leaf on a black background. Printed in the chlorophyll is an empty hospital bed, lit by the natural light of a nearby window.

@m_e_g_g_i_e_b on Instagram

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A teardrop-shaped hosta leaf on a black background. Printed in the chlorophyll is a self-portrait while wearing a face mask. My face takes up the whole leaf and only one eye is visible through overgrown sweeping hair. The face mask is decorated with a vine and leaf patterns. 



@m_e_g_g_i_e_b on Instagram

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A golden and pink coleus leaf on a black background. Printed in the chlorophyll in dark green is my shadow while walking. On the bottom, left-hand side of the frame is my hand holding a cane.

@m_e_g_g_i_e_b on Instagram

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This is a self-portrait created at the very end of the first lockdown in 2020 here in Denmark. At that point I literally felt like I was crawling the walls after months of being a round-the-clock mum, home-school teacher, wife, and constantly worrying about my small art business crashing completely, with hardly any energy or drive to create art.

@mariafynsknorup on Instagram

@mafyno on Twitter

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Things that Lean (Diptych), 2020.

@ryleyclarke on Instagram

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Set in the ancient, dramatic Targangal (Mt Kosciuszko) region of the Australian Alps – Ngarigo country – the series Avalanche explores the psychological terrain of a world disrupted by pandemic and confronted by the intensifying impacts of global warming. It invites reflection upon the shock of disruption to our status quo, and fragility and transcience in the Anthropocene. This portrait from the series was made during a whiteout above Blue Lake, a rare amphitheatre-shaped lake carved out by a glacier during the last Ice Age, now a UNESCO biosphere reserve.

@sari.sutton on Instagram

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From the series ‘The Illusion of separation’

The greatest Illusion in this world is the illusion of separation and is ultimately the cause of the negative human impact we continue to have on our planet. In this series I am researching ancient wisdom from Sikh and Hindu theology to address these contemporary issues, such as the way we live, consume and act. The Goddess Maya means illusion, that which is temporary and is the one who blinds everything in illusion, but at the same time, she’s the one who shows the truth. She’s the source of all illusions, stating that we view life through a series of distorting veils that prevent us from seeing "actual reality" 

I am interested in exploring these veils of Maya (an illusion) where we consider our separateness from our environment and the universe as absolute. The problem lies with us and our own consciousness, we continue to deplete and destroy the very nature that we are so intrinsically a part of. Humankind is but one thread within the web of life so whatever we do to that web, we do to ourselves. All things are connected and all things are bound together. We are one of the many shapes nature has taken but Maya, the veil of illusion masks the truth of our reality. We need to address this disconnectedness and the damaging impact the human species is having on this planet of ours. To evolve past this illusion and our dominance over this planet in order to be beneficial to the whole.

@sonia.6bh on Instagram

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Anastasia and me at her grandmother’s house. We are modeling her grandmother’s old clothes.

@strapon_svinopas on Instagram

- on Twitter

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“There’s always someone more captive than I am” 

 Has it happened before? In Albert Camus’s ’the plague’ published in 1947, the narrator remarks,” The town was inhabited by people asleep on their feet…”. Have things changed now? Have you been watching? people succumbing to the virus, inequality, hunger or captivity. Do you think we played a part in it as well? Do you think it’ll happen again?

The above captions have been taken from "the plague" by Camus to show their resonance with our current circumstances, even a century later.  The story aims to dwell deeper into the psyche of it’s protagonists, in this recurring phenomenon of suffering with an aim to overcome the inertia of it’s audience with questions.

@tothinkornottonotthink on Instagram

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Taken from a photo project called "Socially Distant", which depicts the banality and social awkwardness that 2020 offered up to us all. This particular photo was taken whilst clearing out my grandparents house, after the first lockdown of 2020.

@willcorry on Instagram

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Through the hardships of life, the pain we endure both internal and external, it makes it all worth it to embrace the one you love. Over thirty years of love, my parents have endured many hardships from working dead end jobs, to wars, a pandemic and everything in between, but they continue to embrace everything the world throws at them together.

@williammarksommer on Instagram

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A narrative considering the escapist relationship and connection between the everyday reality and the realm of the imaginative. To withdraw, become divorced from the worldly realm and summon the subconscious in an effort to understand the density of unknown and unseen temporalities. 

Perambulating, meandering, flâneur to the imaginative, lost amongst the Essenes of the dream.

@reneemariekiangala on Instagram

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Home Inside is a photograph that was taken just at the beginning of the coronavirus pandemic, while my search for a permanent place to live that I can call home has been ongoing for 2 years because of many different reasons, and the social media was filled with "stay home" calls. Home Inside carries the observation of feelings on the concept of home, especially in the pandemic times, where we dive into solitude as species due to lack of physical communication. It is part of the project named `Antique Love` as a working title. Antique Love is a story that explores inner landscapes and is told in the photobook medium. It is conducted during a personal journey to cities from ancient times, and nature envelopes around them while researching the concepts of home, journey, time, and love just in the time of the beginning of the pandemic.

@0bapek on Instagram

@0bapek on Twitter

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Essence is an intuitive exploration of a collective state of tension. In 2020, grief overlapped with uncertainty and a global anxiety took hold on the human psyche in the form of a virus. During lockdown, part of my effort to maintain my mental health was to keep fresh flowers in my apartment. I find while they initially bring light, as they wilt, more and more they reflect my struggling internal psyche. Cut flowers represent humankind’s complicated relationship with nature. We desire it’s grace and to control it, all at once.

@angela.cornish.photo on Instagram

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Essence is an intuitive exploration of a collective state of tension. In 2020, grief overlapped with uncertainty and a global anxiety took hold on the human psyche in the form of a virus. Rubber gloves became a physical barrier between us and the virus. Lumen printing is one of the earliest forms of photography. Created without a camera, objects are placed directly onto expired photographic paper and then exposed to sunlight. The transparent and opaque qualities of the object intercept the sunlight manifesting a photograph.

@angela.cornish.photo on Instagram

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Essence is an intuitive exploration of a collective state of tension. In 2020, grief overlapped with uncertainty and a global anxiety took hold on the human psyche in the form of a virus. Masks appeared in the summer because we were suffocating from bushfire smoke. Now, they protect our lungs from influenza. The process of Lumen printing can be mastered but is ultimately untameable. Using items from isolation each photograph is a creation using the evidence from a catastrophe.

@angela.cornish.photo on Instagram

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Essence is an intuitive exploration of a collective state of tension. In 2020, grief overlapped with uncertainty and a global anxiety took hold on the human psyche in the form of a virus. Masks appeared in the summer because we were suffocating from bushfire smoke. Now, they protect our lungs from influenza. The process of Lumen printing can be mastered but is ultimately untameable. Using items from isolation each photograph is a creation using the evidence from a catastrophe.

@angela.cornish.photo on Instagram

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We have *all* been affected by COVID-19. This panel brings together 4 individual pieces that convey the hope & loss we have all experienced.

@caconym2 on Instagram

@colorlabs_io on Twitter

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First Lockdown-walk in London

@elenahelfrecht on Instagram

@elenahelfrecht on Twitter

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Saturday 18th April 2020. Taken during one of Newcastle Upon Tyne's Lockdowns. With leaving the house restricted to essential travel only, group video chats quickly became the new normal when connecting with friends. There's an odd sense of nostalgia when i think of the games we played to keep the video chats as lively as a group gathering would be, with nowhere to go and no dance floors to share, we ended up telling stories about ourselves we'd never shared before; ironically becoming closer friends from a greater distance. Here my girlfriend can be seen doing her makeup in preparation for the night ahead.

@austintweddle / @st.ill.lyfe on Instagram

@austin_tweddle on Twitter

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Homecoming

@elenahelfrecht on Instagram

@elenahelfrecht on Twitter

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Goodbye

@elenahelfrecht on Instagram

@elenahelfrecht on Twitter

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Abandoned photographs change hands. Old pictures of unknown people end up in my possession. The once protected memory loses its private context to a stranger. I appropriate the faces of the people pictured. I manipulate and invent them. In a blur I let them disappear, as they disappear in memory, I burn out faces and dye clothes white, I exchange how the pictures were exchanged when I bought them. I deny the depicted characters their individuality, the formerly radiant protagonists of told stories become anyone. I open them up to the identification of many, to collective memories. A woman in a white dress in front of a grey bush, a boat trip together on the sea, happy faces looking out the windows of a holiday home: all of these are potential memories of many. The images cannot be poured into the simplicity of the preceding sentences. At the same time the rudimentary descriptions evoke relatives of the images they capture. The pictures of this work are accompanied by texts. The texts also appear in frames on prints, as do the pictures. I approach the pictures with words. This opens up yet another perspective that not only reflects what is depicted, but also the medium that shows it, photography. The written observations themselves become pictures. The boundaries between the two media become blurred. 2019 Fourteen photographs, fine art prints framed, 15 cm x 20 cm

@francis_ost on Instagram

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Radiant Skin

@G.vazquezphoto on Instagram

GermanVazPhoto on Twitter

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Photographed in the summer of 2021 in a small pool under a waterfall. My friend and I hiked to find this secluded cave in central Scotland for an hour, across a wild landscape.

@garconjon on Instagram

@garconjon on Twitter

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From the series Messy Beautiful created in my studio during the 2020/21 pandemic lockdown.

@jessicaLedwich_artist on Instagram

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On 16/03/2020, in accordance to  the anti-covid 19 restrictive measures, I went to the rooftop of my house to install an homemade camera built from a tin can with a sheet of photographic paper on the inside. My goal was to capture the cathedral of Brescia (Italy). Once I have activated the camera, by removing the scotch tape, I left it there until 16/09/2020. This is the result of a 6 months long exposure.

@marcofogliafotografia on Instagram

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"You, unknown neighbor,
every day up to the roof
with your children,
made me smile,
despite the leaden mood
that surrounded us."

In Milan, during Covid-19 lockdown time, balconies, terraces and roofs have turned into playgrounds, gyms, solariums, libraries... becoming the only useful places to get our yard time. Borders of our personal freedom, but also escape routes from a monitor-like job, the only way to see our fellow and their fragmented identities.
One of the consequences of the pandemic will be to rethink the design of houses, especially with regards to common areas, in order to make cities with less barriers/borders and more resilient. In Italy the debate, involving architects, doctors and sociologists, has already begun.
Milano, 2020-2021

@matteogarzonio on Instagram

@GarzonioMatteo on Twitter

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"You, unknown neighbor,
every day up to the roof
with your children,
made me smile,
despite the leaden mood
that surrounded us."

In Milan, during Covid-19 lockdown time, balconies, terraces and roofs have turned into playgrounds, gyms, solariums, libraries... becoming the only useful places to get our yard time. Borders of our personal freedom, but also escape routes from a monitor-like job, the only way to see our fellow and their fragmented identities.
One of the consequences of the pandemic will be to rethink the design of houses, especially with regards to common areas, in order to make cities with less barriers/borders and more resilient. In Italy the debate, involving architects, doctors and sociologists, has already begun.
Milano, 2020-2021

@matteogarzonio on Instagram

@GarzonioMatteo on Twitter

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When the Corona crisis hit last year I found myself making long walks in Amsterdam, wandering the city. Normally I travel a lot to create my work. I get my inspiration from the direct experience of the reality. I have to go out and look to get ideas. Gradually I became fascinated by the concrete structures you encounter for example under highway overpasses and metro tracks, or structures such as concrete pillars and beams used to support buildings. The shape, mass and appearance of the surface of these functional concrete structures is an expression of the natural forces that act on it, gravity and the climate. The surface often leads it's own life. Weather, water and wind leave their marks. It is a foundation for growth of all kinds of mosses and fungi. And repairs also leave traces. Graffiti is also abundant in these functional non-spots. These are places of transgression and seem to have the same appeal as the cave walls where prehistoric man painted paintings. The work I'm submitting 'glitch' is a photograph of such a place. The photograph was taken at the start of the pandemic on March 22, 2020.

@mishaderidder on Instagram

@mishaderidder on Twitter

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During Lockdown I would often find my daughter Suki lying on the floor in a sunny spot, or staring out the window - I captured a lot of these moments, as they felt very poignant and evoke feelings of calmness and stillness, with slightly sad and morbid undertones.

@mrhughfox on Instagram

@hughfoxphoto on Twitter

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This photo in Mauritius was taken in February, just before lockdown. (And edited throughout the year). We heard about what was happening in China and had cancelled our trip. The night before our flight we changed our minds... 

This series of distorted photographs relate anxiety from our time of acceleration toward a cliff of singularity, through the slowness of isolation and social distancing, to the missing data of so many unknowns, (re)connection with nature, and spending more of our lives online.

Each photograph was taken in one continuous shot using the panorama feature on the iPhone, glitching with the movements of my hands and body, extemporally. The image is later enhanced to create high resolution, add post-apocalyptic colours, and/or animation.

The titles are based on health guidelines for COVID in Switzerland.

@nacoca.ko on Instagram

@NacocaKo on Twitter

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Luzern, Summer 2020.

This series of distorted photographs relate anxiety from our time of acceleration toward a cliff of singularity, through the slowness of isolation and social distancing, to the missing data of so many unknowns, (re)connection with nature, and spending more of our lives online.

Each photograph was taken in one continuous shot using the panorama feature on the iPhone, glitching with the movements of my hands and body, extemporally. The image is later enhanced to create high resolution, add post-apocalyptic colours, and/or animation.

The titles are based on health guidelines for COVID in Switzerland.

@nacoca.ko on Instagram

@NacocaKo on Twitter

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 First weekend of lockdown, finding a marsh at the border between Geneva and France. These were the actual colours- bright blue with dark clouds.

This series of distorted photographs relate anxiety from our time of acceleration toward a cliff of singularity, through the slowness of isolation and social distancing, to the missing data of so many unknowns, (re)connection with nature, and spending more of our lives online.

Each photograph was taken in one continuous shot using the panorama feature on the iPhone, glitching with the movements of my hands and body, extemporally. The image is later enhanced to create high resolution, add post-apocalyptic colours, and/or animation.

The titles are based on health guidelines for COVID in Switzerland.

@nacoca.ko on Instagram

@NacocaKo on Twitter

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A trip to Ibiza rerouted to the more local Mont Blanc, skinning uphill to avoid ski lifts, followed by self-imposed quarantine.

This series of distorted photographs relate anxiety from our time of acceleration toward a cliff of singularity, through the slowness of isolation and social distancing, to the missing data of so many unknowns, (re)connection with nature, and spending more of our lives online.

Each photograph was taken in one continuous shot using the panorama feature on the iPhone, glitching with the movements of my hands and body, extemporally. The image is later enhanced to create high resolution, add post-apocalyptic colours, and/or animation.

The titles are based on health guidelines for COVID in Switzerland.

@nacoca.ko on Instagram

@NacocaKo on Twitter

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Phantasmagoria is a series of experiments with film stills from a digitized super 8 film I made of the same title, using splicing, superimposing and dip dying negatives. Oneiric, unsettling and disjointed, phantasmagoria begins to deconstruct the spectre of media itself with a surrealist approach. Paying homage to the experimental, surreal cinema of the 20th century, the series began in quarantine, while grappling with the overwhelming feeling of anxiety, fear and loss.

@NasrahOmarPhoto on Instagram

@NasrahOmar on Twitter

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From the series ‘unsustainable’

@phillipa.bloom on Instagram

@bloom_phillipa on Twitter

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"CLOSETOPIA / MEET “GYPSET DJINNA” / AUTOPORTRAIT I"
The series of self-portraits “CLOSETOPIA” is shot on my balcony in Paris during lockdown, using only what i had at hand in the house closet(s). With these tokens from my past journeys, i travelled inside my experiences drawing inspiration from all the places and cultures i have encountered and which have shaped my multiple personalities, to discover new imaginary characters related to myself.
.
Gypset reigns as a merger of the hippie gipsy spirit and jet set, from Punta Allen to Phú Quốc. Djinns or genies on the other hand, are supernatural entities living in the collective perception from North Africa through the Balkans, across the Arab world to centralAasia and India. They can resemble humans but are able change their shape, move quickly, fly, possess humans and often reveal hidden truths. In the “1001 Nights” Djinns are credited with the ability of instantaneous travel : from China to Morocco in a single moment. A djinn is also believed to have the ability to transform and cause illness: modern interpretation associates them with microorganisms such as bacteria and viruses. 
Last but not least, the Quran references djinns as "smokeless fire" - so the entity could simply be understood as "energy”.
.
GYPSET DJINNA stems a bunch of RIMOWA suitcases, some of which travelled with me for 35 years. A traditional Uzbek padded and handprinted beksam chapat robe is worn inside-out over a djellaba from the Magrebh and tied together with a kimono belt from Tokyo’s Asakusa shrine. I bought the bucket hat and pin from Richard Nixon’s presidential campaign 1969 in Annapolis, Maryland. A Raf Simons special edition scarf for the Hyeres Fashion and Photo Festival, Dries Van Noten sweatpants, socks from Istanbul, workers gloves from Bangkok and Vans round up the look. The pompons in the back come from a Central Asian nomadic tent decoration.

@renehabermacher on Instagram

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"CLOSETOPIA / MEET "BUCKY THE BACHELOR BUCKAROO" / AUTOPORTRAIT VII"
The series of self-portraits “CLOSETOPIA” is shot on my balcony in Paris during lockdown, using only what i have at hand in the house closet(s). With these tokens from my past journeys, i travel inside my experiences drawing inspiration from all the places and cultures i have encountered and which have shaped my multiple personalities, to discover new imaginary characters related to myself.
.
BUCKY THE BACHELOR BUCKAROO rides the open range footloose and fancy free. In medieval latin 'baccalaris' means 'vassal' or 'field hand. The term 'bacheler' is first attested in the 12th century for a knight too young and too poor to gather vassals under his own banner. Meanwhile a buckaroo is just another english word for cowherder used in California and the great basin. But it is really a phonetic aberration from the Spanish word 'vaquero' for a horse mounted livestock herder of Iberian tradition. Cattle handlers in many other parts of the world, particularly Central Asia, South America and Australia, perform work similar to the best known stereotype, the 'cowboy'.
.
Bucky the Bachelor Buckaroo wears a customised coverall Boilersuit. In Ethiopia young men adorn their jackets with buttons to signify they are bachelors. The lambswool hat and high heeled leather boots are from Kyrgyzstan and are part of the traditional attire of a kok boru game horseback rider. The athletes fight in two teams over a decapitated goat's carcass. The belt is a part of a central asian horse briddle, the N95 mask from Tokyo, the bandana from Appenzell Switzerland and the rubber coated workers gloves are from Bangkok.

@renehabermacher on Instagram

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Patricia Silva, The Nearest Fjord, 2021. Digital Pinhole photograph

@senseandsight on Twitter

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Lockdown, Day 8

5th of April through the window view, Warsaw, PL 2020

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At the start of lockdown, I was looking for a way to cope with the overwhelming global anxiety lingering in the air. Shooting the sunset became of way to sit down and look at how the sun's position would change over the course of a year. It was the only moment of the day I would look forward to and it gave so much gratitude for being so lucky to have the best seat in the planet.

@valentina_jimenezr on Instagram

@valentinajr_ on Twitter

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Fetishising the longing for someone.
 
Interest in queer space that exists in the digital and liminal. These truths are removed from binaries and structures which derive from the physical world. 
 
Our question is to think about what queer spaces look like in a climate of control. What do queer safe spaces now look like?

Creating a new world that provides sanctity for community, one which doesn’t have place or name.  

Allowing the work to exist within its own truth.

To feel safe to explore queer love.

The poetic storytelling of digital romance - new ways of loving.

Privilege of intimate moments
 
Technology distorts sexiness - bittersweet realness but not realness.
 
This project poses the question of whether or not predictable narratives are even attainable when we exist within the limitations of a minoritarian identity.

We are used to reduction in the form of ‘othering’
 
 
This space is for breath.

@georgiasims_ on Instagram

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A digital love story of the artist, Georgia Sims, and transatlantic partner, Marley-Rose Liburd. We begin with a panning shot of the camera circling around a naked, shiny human figure. Using a 3D constructed land that exists suspended in its own sky, the pair demonstrate the intimate status of meeting each other online and how there is such sexiness that manifests through a screen .The camera then pans around the land and reaches the sky we are taken away from the action for a moment. Replaced is a new scene on the land, a large phone suspended portraying three sets of communication through FaceTime calls trying to promote sexiness, sadness and miscommunication. This part of the story, by using the phone, describes to us that this functions as a vehicle of longing for each other. With suspenseful, digital aged music in the background we are reaching the climax of the story. The camera pans round the space and once again reveals a new chapter to the story. A moment of embrace for the characters, they are finally together. The camera pans all around them as the characters embrace in a robotic kiss. A classic narrative you make think, but not for queer minoritarian identities; we see a happy ending finally, something we are not always so used to. We end with the title 'All You Have Left of Me' suspended high above the land and characters in a metallic 3D font which crumbles in suspense. The credits then appear similarly but read 'Georgia Sims, Marley-Rose Liburd and Frazer Healey'.

 Andermatt, Summer 2020. This image was also shown in a talk at the Musee d'Art Contemporain, Lyon, in "L'Éffondrement des Alpes."

This series of distorted photographs relate anxiety from our time of acceleration toward a cliff of singularity, through the slowness of isolation and social distancing, to the missing data of so many unknowns, (re)connection with nature, and spending more of our lives online.

Each photograph was taken in one continuous shot using the panorama feature on the iPhone, glitching with the movements of my hands and body, extemporally. The image is later enhanced to create high resolution, add post-apocalyptic colours, and/or animation.

The titles are based on health guidelines for COVID in Switzerland.

@nacoca.ko on Instagram

@nacoca.ko on Twitter

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ART3.io

Distorted mountain melting into green valley with purple sky