Yael Martinez – La casa que sangra

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It was getting dark when I got the call. Luz, my wife, was telling me that they had killed her brother Beto. She was uncontrollable — I had never heard her speak like that. Her voice was shaking, breaking. I could not sleep all night. “Beto was killed, hanged,” resonated in my head, “he was beaten, burned, but they told us that he committed suicide.” Her other brothers, David and Nacho, had been missing for over 3 months.

My wife Lucero Granda taking a shower at home. The trauma of Mexico’s missing is an open wound in the nation’s psyche. Families who can’t grieve for their loved ones spend the day alternating between doubt and despair, praying for, and dreading, the blessing of certainty.Taxco Guerrero Mexico on November 23,2014.

The trompi working at the slaughter House. Acapulco Guerrero. He has one missing brother. But his family decided not to filed their case with the PGR (Attorney General’s Office). Acapulco Guerrero. On Saturday April 15, 2016.

Bedroom of the Cruz’s family in the community of Santiago Temixco, Guerrero Mexico On december 14,2014.

A person burning grass near his house in the community of Chilapa in the mountain region. This region has declared itself in crisis due to violence, disappearances and forced displacement due to organized crime and lack of rule of law. Guerrero, Mexico 2018.

Tania Fernandez at her boyfriend house. She has one missing family member. Guerrero Mexico on March 14, 2019.

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A man burns a torito (fireworks) to celebrate a birthday . Guerrero Mexico. December 29,2018

(my wife) & Me at home after the lose of her Brother Beto. Taxco Guerrero México. Guerrero is one of the Mexican States that have been most affected by organized crime; It is the second poorest and most violent state in the country. The condition of social and economic marginalization of Guerrero is becoming more evident. The crisis of the rule of law is increasingly alarming and forced disappearances are only one of the symptoms that prove it. In 2013, three of my brothers-in-law died. (They used to live in Iguala, the place from where the Ayotzinapa students disappeared). One of them was killed; the other two disappeared.) After these events I began documenting my family, and the families of other missing people, in order to capture in photographs the psychological and emotional breakdown caused by the loss of family members, especially for parents, children, and siblings. I am working with the concepts of pain, emptiness, absence, and forgetting.

After these events in 2013, I began to document my family and the families of other missing people as well as fractured communities that are immerse in violence in Mexico; I am trying to create work that represents the connection between absence and presence, and this state of invisibility in a symbolic manner, working with the concepts of pain, emptiness, absence, and forgetting. The symbolic construction of the territory where violence penetrate all and this violence crosses the physical and spiritual space of those who inhabit it. The territory as an analogy to a body / space that can be a house, a person, a family, a community or a country.

Ruined house in the comunity of Santiago Temixco, Guerrero Mexico.In 2013 we lose 3 brothers-in laws. One of them was found killed at jail. Two of them still disappear. They used to live at Iguala Guerrero, the same place where the Ayotzinapa students disappeared. After that event happened we went to some places where some traces were found. We did not found anything. Guerrero Mexico on December 14,2014

Blanca Gonzalez watching t.v. after a labor day. she works on the cocine of a school in the comunity of. She is the wife of Jose Angel campos one of the 43 missing students of Ayotzinapa. Tixtla Guerrero.

Digno Cruz (My grand-father-in-law) was crying at home while he was talking about his missing grandsons. Guerrero Mexico. The discovery of several mass graves during the search of the 43 normalistas Ayotzinapa, Guerrero, shows the magnitude of the crisis of enforced disappearances in the country. The goverment have found 60 clandestine graves in the cities of Iguala-Taxco with at least 129 bodies (20 women and 109 men). None of them belonged to the 43 normalistas missing in Iguala during the month of September 2014. Official figures show that in recent years there have been 30 000 disappearances and Guerrero is one of the Mexican States that have been most affected. Guerrero Mexico on November 3, 2014.

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Adriana Garcia poses for a portrait in her home in Cuajinicuilapa Guerrero Mexico on May 25th 2019.

Dried roots of Cactus on a wall in the comunity of Tixtla Guerrero Mexico.Tixtla is where the normal Isidro Burgos of Ayotzinapa is settled. Its been more than a year and still no results of the 43 missing students. Guerrero Mexico On november 7th 2015.

Itzel Martinez playing at grandparents house in the community of Santiago Temixco. In 2013 3 of her uncles disappeared, the most affected were the children. Guerrero Mexico on November 15 2014.

A crime scene. (self-portrait) Zautla Mexico. After the loss of my brother-in-law. I Try to represent symbolically his death and the death of thousands people in Mexico because of organized crime. Zautla Mexico on September 20, 2013./Escena del crimen (autorretrato) Después de la pérdida de mi cuñado. Intento representar simbólicamente su muerte y la de muchas personas en Guerrero a causa del crimen organizado. Zautla México el 20 de septiembre de 2013.

Landscape at dawn Oaxaca Mexico. on March 9, 2019.

My daugther Itzel Martínez at home in Taxco Guerrero.She is 9 years old. In 2013 three of my brothers in-laws died. After these events I began documenting my family and tried to capture the psychological and emotional breakdown caused by the loss of a family member.Guerrero Mexico on February 18, 2019

Bio

Martínez is based in Guerrero, Mexico. His work has explored the connections between, poverty, narcotraffic, organized crime, and how this affects the communities in his native Guerrero in southern Mexico. He is trying to represent the relationship of absence and presence and this state of invisibility in a symbolic manner working with the concepts of pain, emptiness, absence, and forgetting.

He received the Magnum Emergency Fund, Magnum On religión, and was named one of the PDN’s 30 new and emerging photographers to watch 2017. In 2015 he was selected in the Joop Joop Swart Master Class Latinoamerica. He was a finalist in the Eugene Smith grant in 2015 and 2016. He was nominated to the Foam Paul Huf Award, the Prix Pictet and the Infinity award of the ICP.

Giorgio Bianchi – Donbass Stories

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Giorgio Bianchi

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Several tens of thousands of dead and wounded, over a million refugees. The civil war in Donbass has literally erased entire cities and villages from the map, staining with blood the soil of the European continent for the first time in the twenty-first century.

These are two chapters – Alina and Blind Pit – of my Donbass Stories, which came to life with the idea to portray as main characters those invisible actors affected by the civil war in that region.

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Despite power cuts, a shutdown of all businesses, curfews, and nearly daily shelling, residents of the rebel-held city of Donetsk flock to the Opera and Ballet Theater on weekends in search of respite from the reality of life within a battle zone. When war broke out around a third of the theater’s performers fled, including key singers and all four of its conductors. A further setback occurred when a wayward missile destroyed the warehouse where most of the stage sets were stored.

The opera house was forced to close in July 2015 because of heavy clashes, then it recruited new staff and was again operative the following September. Despite the ongoing hostilities and challenging circumstances, audience figures at the 960-seat theater have been impressive since its reopening. In the ground floor cloakroom, camouflage military jackets hang among civilian furs and overcoats.

Alina is a professional dancer from Donetsk and a member of the Donbass Opera and Ballet Theatre chorus. She has been studying at the theatre academy since she was a girl and throughout the entire war period she has continued to dance, convinced that keeping performances alive was one of the few ways to make sure the inhabitants of her city would not think about the horrors of war, if only for a few hours.

The rhythm of Alina’s life follows the timings of the theater: from Tuesday to Friday she has ballet lessons and rehearsals, on Saturday and Sunday the performances; Monday is the only day off the performers have and she goes to visit her maternal grandparents with whom she is very close, or she meets up with her ballet girlfriends to take a walk around town or go to the disco. Even if she doesn’t intend to leave her hometown at the moment, she doesn’t rule out the possibility of moving to Russia in case of an escalation of the war.

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Sasha is a sightless 31-year-old miner. He works in one of the many independent (kopanki) mines located around the small town of Torez. Raised with three brothers in a dysfunctional family, Sasha lost his sight when he was 11, because of a very bad accident.

Nonetheless, Sasha remained unemployed for a long time, because nobody would trust hiring a blind man – least of all mine managers – even if his determination and high productivity were widely known. Then, one day he met a Tartar called Ildar, owner of a kopanko, who offered him a job. Since then, Sasha has gone to the mine every day, at 6:30 a.m., led by his father, a miner as well, and goes back home eight hours later with his wife, or one of his elder children. From his house to the mine it’s a 30-minute walk, through fields and woods.

The mine where Sasha works is a thick net of underground tunnels that are never higher than 4 feet and in some places are less than 1.6 feet. These tunnels run under a small natural pond and go as deep as 300 yards. This means that in many places the mine is flooded, which makes it even harder for Sasha and his colleagues to reach the mineral vein. Sasha can go down the mineshaft as quickly and as nimbly as his colleagues. Despite his disability, he has learned to navigate confidently the underground maze, to avoid obstacles and to dodge dangers posed by the uneven beams of the roof, the puddles of water, the slippery clay and the extraction devices placed along the path. His mental map of the mine is made of a continuous flow of sensations that take him, one orderly step after another, to the mine’s core. Sasha’s task is to pour with a shovel the coal, that’s been broken to pieces with a jackhammer, into steel tanks that will bring it to the surface. Sqeezed in a cavity less than 15 feet high, surrounded by the deafening noise of pneumatic drills, covered with coal powder, and immersed in total darkness, made even deeper by his blindness. Accidents are extremely frequent, as it’s well known despite the fact that there are no available official statistics; in the same fashion, there is no available documentation regarding the disease and mortality incidence – well above national average – among miners due to poor working conditions. Nonetheless, kopankas remain the only source of income for thousands of families.

According to specialists who have visited him through the years, Sasha’s blindness is reversible and could be cured with a corneal transplant. Recently, Sasha has decided to go for the surgery that could help him regain his sight. He and his wife went to the Fyodorov clinics, in Krasnodar and then in Moscow, to undergo preoperative testing. Unfortunately, his healing process is slow and full of uncertainties because of the high cost of the treatment. Maybe one day, upon exiting the mine, Sasha will be able to smile along with his collegues, on seeing the sunlight again, after eight hours spent in darkness.

With director Federico Schiavi, Bianchi is working to create a documentary from Sasha’s story. In order to maintain maximum independence and freedom of movement, they are running a crowdfunding campaign to raise the necessary funds to develop this work.

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Giorgio Bianchi is an Italian photojournalist, documentarist, writer and filmmaker (Rome in 1973). In his work Giorgio has always paid particular attention to political and anthropological issues, and has undertaken a freelance career to focus on a combination of long-term personal projects and client assignments. He has covered stories in Syria, Ukraine, Burkina Faso, Vietnam, Myanmar, Nepal, India, and throughout all of Europe.

Since 2013, he has made several trips to Ukraine, where he followed closely the Ukrainian crisis from the Euromaidan protests until the outbreak of war between the government army and the pro-Russian separatists. Thanks to his robust archive of footage and pictures about the Donbass conflict he is making a documentary film entitled “Apocalypse Donbass”. In 2016 he started covering the Syrian conflict.

Giorgio has won several international prizes and has received many public recognitions, and his pictures are regularly published in newspapers and magazines, both paper and online. His work has been exhibited in many international and national festivals.

Joel Pulliam – Springtime Nightmare

Joel Pulliam

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I moved to Tokyo with my family in 2018. For nearly two years, life was happy. Then, without warning, my young daughter died.

Can art begin to convey a father’s grief? Over three hundred years ago, the haiku poet Raizan Konishi wrote after the loss of his own child:

I must be crazy

to not be crazy in this

crazy springtime nightmare

Springtime nightmare, indeed. Outside, the pandemic widens, and emergency orders quiet the city. Snow falls out of season, blanketing the cherry blossoms. Human contact fades. The streets near my home, once so familiar, appear alien. I wander them, point my camera, and press the shutter. The only images I seem able to capture are those that reflect my own inner state.

Bio

Joel Pulliam was born in the United States in 1974. He studied history and literature at Harvard College, then law at Harvard Law School. Until 2018, he worked at the United States Department of the Treasury. Currently, he lives in Tokyo, where his black-and-white photography of the city has been recognized by publications such as the Asahi Shimbun newspaper and Asahi Camera magazine. His long-term projects center on various areas of Tokyo that have been neglected by other photographers.

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joelpulliam.com

Published on May 17, 2020 by burn magazine. 3 Comments

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2020 this foul year of our lord. Disease, death and decay now plague the world. Rising nationalism, right-wing popularism, global economic fallout and political dogma are not the only virus to scourge this earth. The pandemic has spread globally, causing mass hysteria between the World Health Organization (WHO) and nations, causing mistrust and resentment. World leaders point fingers throw accusations playing the blame game like giddy little school children, seeming to forget that there is more at stake than a false ego and the pride of a nation.

Lest we forget it is human lives that are being played with, we are living in desperate times. Have we lost our humanity, our compassion, our humility for our fellow beings? After all, it was Confucius that said: “Under the sky’s and heavens we are all but one family”.

China had put a blanket ban on gathering and large ceremonies such as weddings and funerals, during the first months of the pandemic to prevent further spread of the disease. As of March 25th, parts of China eased up on these restrictions. Each province and city govern themselves under a local municipal government, which is tightly monitored and complies with the laws and regulations of the central government. This makes things more manageable for smaller provinces and cities to resume business as usual under the proper measures in comparison to its counterparts across the country like Beijing, Shanghai, Guandong and Sichuan.

Shandong was one of these provinces that eased up on its restrictions rather quickly, due to its low level of recorded cases of Covid-19. Shandong is 746km away from the outbreak with a documented 788 confirmed cases and only 7 deaths.

Luckily enough for two traffic officers from ZaoZhuang in Shandong province, a population of 4.18Million people and only 24 reported cases and no deaths. Sun Meng, 27, and his bride to be Xu FeiFei, 31, were worried that their big day might not go ahead as planned. However, as luck has it, the ceremony was able to take place.

Sun Meng and Xu Fei Fei, despite their apprehensions, were over the moon to be able to spend their magic moment with their honored guests.

Putting politics and this cold-blooded bummer, which we find ourselves aside and taking a moment to appreciate this beautiful moment between two human beings, for what is a marriage. Love, compassion, tolerance and unity. Everything that makes us human. This wedding serves as a beacon of hope of the future. Shining its light through the darkness at the end of the tunnel.

Bio

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I have a profound belief that the still image has the ability to change people’s minds. Even in today’s modern forever changing fast paced world of now! now! now! and limited concentration spans. The access that your subjects allow me when working is imperative to the work that I create. I treat my subjects with complete respect and photograph them with dignity and complete diligence in order to help tell the truth and bring their stories to life.

My work is intended to bring about understanding of different cultures, races, religions and bridge the gap between humans rather than extending it. Bringing people closer to create a more thoughtfully educated world.

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danhinksphotography.co.uk

Published on 怎样才能浏览国外网址 by burn magazine. comments closed.

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At first, we bought some food, I’m a stocker by nature so I already had most of the food in that picture.

Irina Werning

怎么爬墙外国

It’s the new normal ! Lockdowns are being championed as a solution to the spread of the number one enemy: the coronavirus. In developing countries like Argentina, where 40% of the population lives in poverty, it’s difficult to just stay fixated on the fear of infection when one realizes how daunting the economic setback of these strict lockdown policies are for most of the population. In these economies so many more workers carry out hands-on work which is incompatible with the new moral high ground of social distancing. So many more are also likely to be employed informally and thus are clinging to cash payments in exchange for the type of daily work which the government has black-listed and penalized. It’s hard to buy much time with lower income and lower saving or to wait for hand-outs from bankrupt governments. In addition, experts advise that the peak of the virus spread should fall in June, precisely as winter hits South America. When you add to this the fact that developing countries have less old population and less “diseases of civilization” like diabetes or heart problems, this makes you wonder if the solution is worse than the disease.

Behold! My family in full lockdown in Buenos Aires (41 days and counting…)

I wish I could say I’m one of those great moms who creates an activity for their kids to play and heal in such difficult time, but I’m not. I just can’t survive without a project.

As we all know, we are caged.

I must confess I love trashing my kid’s art work when they are asleep but these days I treasure it. On Day 20 we did a little exhibition on our front door – for no one actually.

Hurray! We celebrated my 44th birthday.

On the 7th day…it was still boiling hot down in south America, so we had to get away somehow and the beach seemed like such a splendid idea. Fun’s over, now we’re into autumn

The kids, of course, know everything about the coronavirus, news, fakenews, science, pseudoscience, and conclusions from all that big data…

Sometimes I give them undivided attention for hours, sometimes I hide in the bathroom, but I have to say…the kids are all right.

Day 26 : Lars (my son) woke up with a swollen eye. We consulted the Eye doctor via text message.

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Gianmarco Maraviglia – Winter Came in Spring

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Winter Came in Spring

We’ve seen the masks. We’ve seen hospitals and cemeteries. As always happens as reaction to a dramatic event there are different stages, different approaches. Then there is the everyday life. The search for a new normal, new rhythms, something to hold on to pretend that everything is fine.

Most of our life certainty is nothing more than repetitions. The alarm clock that rings at the same time, children go to school, cooking in the evening, going to bed knowing what is going to happen the next day. A kind of rhythm of existence. But when rhythm breaks down, it turns out how fragile is the balance we base our lives on. On the other side, leaving this safety zone forces you to find new dynamics, to search for new geometries from chaos.

As in an unexpected chemical reaction, the elements seek a new stability, a new order. Covid has already brought about enormous changes in our society, and the humans appear again capable of adapting with extreme speed, in search of a new balance. The same dynamics are found in a family, closed at home for two months, looking for a new form of everyday life.

Here in Milano, Lombardia, Italy – perhaps the most affected area in the world by the new coronavirus – this year here winter came in spring. Italy has been in a lock down situation for two months now. The emergency laws enacted by the government are among the most restrictive in the world. You cannot leave the house without a self-certification, and only for urgent reasons. As a photojournalist I worked on the news, on the empty streets, on the masks … But as a narrator I could do nothing but visually tell the changes that were happening quickly around me.

Bio

A humanistic background allows me to get closer to the stories I tell with the respect that every person deserves, respect for being told for what they really are, avoiding the path of visual spectacle of pain or poverty. I believe in the value of information as the first thing, for this reason my research does not stop only to the dramatic stories, because our world is fortunately still able to offer stories of great redemption, of rebirths, stories not yet told but that give hope for the future. I have the pleasure of working with magazines like Der Spiegel, Washington Post, CNN, Corriere Della Sera, Io Donna, Mare, Cicero and many others. I’m the proud founder of the non-fiction communication and brand journalism collective Jolly Jolly Grog. I’m also a teacher of photojournalism at IED Milano and Officine Fotografiche. I hope to leave a better world to my two kids, Olivia and Yago.

Sissie Chang – Don’t Throw Away Your Daughters

Sissie Chang

Don’t Throw Away Your Daughters

My grandmother just celebrated her 98th birthday. She’s lived with my two aunts for as long as I can remember. Growing up, I don’t recall having any long, meaningful talks with my grandfather. One of the few things I do remember is a statement I overheard him telling my mother when I was a little girl: “Why are you spending so much money on her education? She’s only going to run off to get married when she turns eighteen.” I was told that sons were prized because they carry on the family name. Daughters… Well, they’re just “guests.” It’s how traditions are, and I understood not to ask certain questions.

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Meanwhile, a few time zones away, I’m suddenly living back at home, taking care of my own mother as she undergoes cancer treatment. It’s funny, none of us have run off yet. We’re still here.

As the years passed, I watched the prized sons of the family become more and more distant, and I couldn’t help but start to question that notion about daughters being unimportant.

I guess my grandfather was wrong. Don’t throw away your daughters.

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Sissie Chang is a documentary photographer based out of Orange County, California. At one time, she was a firm believer that the most intriguing stories, and those with the best backdrops, required a passport. She eventually discovered that the most engaging human stories are actually the ones you see on a daily basis.

Her first self-published book, Don’t throw away your daughters, is slated for release Spring 2020.

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Mafalda Rakoš

A Story to Tell

[ FUJIFILM/YOUNG TALENT AWARD 2019 FINALIST ]

“You don’t really fit in… You don’t fit into the group of normal people, because you’re anorexic. And you don’t fit with those affected by anorexia, because you’re a man.“ – Thomas, 21. Our process always starts with a conversation. What does it look like, your mental cage? What do you feel, see, think, hear, taste and smell? And where shall we go to take that picture of it? 怎样才能浏览国外网址 resulted from many encounters with ten men affected by anorexia, bulimia and binge eating. Being well-aqcuainted with the topic myself, I was wondering: how is it to be affected as a male? The protagonists of this project, many of them trans*, gay, bisexual or otherwise associated with a genderdiverse community want to show: everyone can be affected.

3 - Untitled, 2019 - 852ed16f-6c24-437d-a4b2-81d28505d963

7 - Video Stills_ _Loss fears“ - 526637d5-8b7a-4f0e-bc42-9281bbde7dc2

Very often, it was shocking to listen. They told us about the shame, invisibility and unrecognition that they experience, not rarely resulting in serious self–harm and even suicide attempts. Their stories were more extreme, more violent and more painful than I would normally hear it from women. Yet, together with journalist Ruben de Theije, we kept drilling towards the true conflicts in the intersection of social expectations and big emotions; conflicts that lie at the heart of the stories they wanted to tell.

8 - Leroy, 2018 - b814f691-c4fe-42f3-a555-5d8bbba6afa9

9 - Florian, 2019 - 50632d6c-06a4-4132-9dba-0ca5f49aa473

10 - Christan F., 2009 - 1aa37330-4dc0-4469-9f78-adcb675fb63f

12 - Leroy, 2019 - acc5b760-4ac8-4611-b38e-2a037853b833

14 - Daniel, 2019 - bfc92646-bdbe-4a02-aacc-435e4c459d29

15 - Elias, 2019 - 6732507f-a368-44c9-bcc8-86946c1d36d7

16 - Video Still_ „Recovery_ - 160543e3-81f1-4ac0-a889-fc60495536a6

Short Bio

Mafalda Rakoš (*1994, AT) is a visual artist based between Austria and the Netherlands. Educated at the Royal Academy of Art (KABK) in The Hague and Academy of Fina Arts in Vienna, she also holds a BA in Anthropology from Vienna University. Her projects often move along the intersection of art, documentary and journalism and attempt to dive deep into protagonist’s stories around safety, pain and trauma. Since 2013, she has been researching eating disorders through a collaborative and research-based practise rooted in documentary photography and cultural anthropology. The main platform of her work are books which gained attention in contests such as Kassel Dummy Award and the European Publishers Award for Photography; furthermore, it is regularly shown in international exhibitions and other contexts such as congresses for eating disorders (2016), or a hospital (2017). It was recognized by Awards such as c/o Berlin New Documentary Talent, the Steenbergen Stipendium and the Documentary Project Fund Emerging Vision Award.

Chris Donovan – The Cloud Factory

电脑怎么上国外网站

The Cloud Factory

[ FUJIFILM/YOUNG TALENT AWARD 2019 FINALIST ]

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12 - Untitled - 154f9da0-4025-4fbb-ae62-5133f30f844f

赚钱的游戏软件-钻石级网站:2 天前 · 赚钱的游戏软件介绍。。。。。。。。。。。有手炉、文。房四宝、酒具、花瓶、笔筒、香。炉、如意、首饰、烟具、首饰盒、长命锁等如何连通古今、扬弃继承、转化创新，是传承和弘扬传统文化最难的一关，也是。最。需要的一环 ...

14 - Untitled - 886b68d1-f142-4bc0-aa17-b9353380b06c

15 - Untitled - a42760de-9c53-4217-b162-f31014db829f

17 - Untitled - 2535a150-83a7-47f3-b651-1e104ca6b96d

19 - Untitled - b880aae5-7754-4e5f-878c-efb44bf3a8af

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24 - Untitled - d7c77bc5-f56f-4736-ad71-3b73d42dd689

Short Bio

Chris Donovan (b. 1995) is a visual storyteller based in Toronto, Canada. Hailing from a small industrial city on Canada’s east coast, most of his work focuses on the interplay between industry and community. Chris’ work has been recognized by POYi, the Sony World Photo Awards, and the Canadian Pictures of the Year – including being named Photojournalist of the Year in 2017 and 2018. Hi clients include The New York Times, The Washington Post, The Globe and Mail, Maclean’s Magazine, Reuters and others.

怎样才能浏览国外网址

chrisdonovan.ca

墙后你懂得的app

FujiFilm_Basic-Black

Published on February 25, 2020 by burn magazine. comments closed.

Ute Behrend – Bear Girls

Ute Behrend

Bear Girls

[ EPF 2019 FINALIST ]

How do young girls become strong women? Adolescence is the theme of my new book. At the beginning I tell a story about a fictional “Indian tribe” that separates its pubescent girls and dresses them in bearskins. In this way they are protected from premature sexualisation. The result is a shelter that gives the girls the opportunity to develop freely and self-determinedly in this important phase of their lives. I call these girls “bear girls” and draw parallels in our society, where free spaces for adolescent girls become less and less. Many young women try to evade the stereotypes of sexualised identification that are shaped by society and the media. This is often evident in similar behaviour patterns, e.g. wearing very large sweaters that girls like to “borrow” from their father’s wardrobe.

4 - „Girl with fur & Tepee rack“ - 7a2e954e-f6a4-47a1-bc79-805aff71d806

5 - „Wisent & Bathing sheep“ - 0cd22a45-8184-4386-bc6b-02bfdda01435

7 - „Homage to Meret Oppenheim & poisonous mushrooms“ - a0790c26-9d97-482b-a0d5-53e499a89491

8 - “Sleeping girl & Feather on red earth” - 56559e7e-35bd-4578-b6ad-47411aa24b8a

9 - „Seawater & Amalia” - 2e2d03a5-0986-416a-b93f-3aab1fdfaacc

11 - “Superman & Stork” - be879339-d924-4ef9-b4ba-f08d3aabd1e0

In “Smart Girls, Gifted Women”, Barbara Kerr examined the similarities that later became strong women. She found that all girls had time for themselves, the ability to fall in love with an idea, and a “protective cover”. None was particularly popular and most remained relatively isolated in their age group. Interestingly, this rejection gave them a free space in which they could develop their uniqueness. Parallel to the portraits of the girls I take photographs with a focus on nature, wild animals and the concept of distance and closeness. I then work on combining these single images to final pairs. The references between the pictures are intended to stimulate the viewer to link the content of what he has seen. Out of one’s own memory and also out of cultural memory.

13 - “Lina & Autumn scrub” - 62360414-3965-4b8c-a257-91475b3cd927

14 - “Birch forest & Ear of a deer” - 5289e25e-eb35-4879-8695-e04af515aba2

15 - “Girl in evening dress & Dark trees” - 6a257dc2-b0fd-4db0-a6dc-2eadacaa79e0

16 - “Fire & Hunters vest” - 6a1980c5-de61-4664-831d-d217b456b68b

17 - “Daya and Mila & Scull” - 40f8f458-4fa5-4d14-a4a3-181dcb980175

19 - “Girl with beard & Girl with pink wig” - e1846aa2-e4d8-41b0-a97a-03c9b0ad21ee

20 - “Indian shadow & Hair on red carpet“ - 726be193-ac47-4678-ae81-4e301a3e6607

23 - “Recumbent eight & Bear´s Portrait” - b727f114-c3e4-43bb-be83-28ed93686515

Short Bio

Biografie 2019 Artist Book, Bear Girls, (artists‘ book) Publisher: BummBumm Books, Cologne, Germany 2015 Teaching assignment, Academy for Communication Design, Cologne, Germany 2011 The Last Year of Childhood (artists‘ book) Publisher: POWERSHOVEL.BOOKS, Tokio/New York 2009 The Door Behind the Wall | Project with handicapped and non-handicapped inhabitants of the Dr. Dormagen-Guffanti foundation, Cologne, Germany 2008 – 09 Teaching assignment, College of Higher Education Bielefeld, Germany 2008 Zimmerpflanzen (artists‘ book), publisher: Snoeck Verlag, Cologne, Germany 2007 Teaching assignment for Visual Communications Merz Akademie,Germany 2006 Mermaids, video Galerie 11, in the Gruner + Jahr publishing house, Hamburg, Germany 2005 Teaching assigment, College of Higher education Voralberg, Austria Märchen, Fairy Tales (artists‘ book) Publisher: Verlag der Buchhandlung Walter König, Cologne, Germany 2004 Observer and Indoor Plants (booklet) latent, aristotelean mimesis within the thriller genre | label: www.bold-dvd.de 2002 Art goes School | State Chancellery, Saarland, Germany 2001 kunstKöln special edition 1996 Girls, Some Boys and Other Cookies (artists‘ book) Publisher: Scalo Verlag, Zürich, Switzerland 1987-93 Academic studies: Photographic Design University of Applied Sciences and Arts, Dortmund, Germany 1985-87 Academic studies: Communication Design 1979-82 Apprenticeship as a carpenter

翻到外国的网站加速软件

Alexander Bronfer

Floating

This project is about the tight bonds connecting us to The Dead Sea, in the face of ecological catastrophe threatening the future of this unique natural treasure.

People are always fascinated by the Dead Sea. This place was always a refuge for messiahs, zealots, martyrs, kings, and ascetics. People prayed, sinned, healed and kill each other on these yellowish shores. They built dams and plants, drilled wells, cut the sea from any source of freshwater and left it to die. And meanwhile, we continue praying, sinningand killing each other, moving our beach chairs and sunshades deeper and deeper, silently following the disappearing sea

翻到外国的网站加速软件

Alexander Bronfer is an Israeli photographer. Born in Ukraine and studied in Saint Petersburg (Russia). His main interest is the connection between street and fine art photography. After arriving to Israel, Alexander lived in Kibutz in South Israel where he fell in love with the Dead Sea region. He is a finalist of multiple international and Israeli photography festivals. Recently he spends a good amount of time on personal projects mainly in Israel and Eastern Europe.

怎么进入国外的网页

Anniina Joensalo

Tender

[ FUJIFILM/YOUNG TALENT AWARD 2019 FINALIST ]

“Tender” is an exploration into the contradictions inherent in queer lives and loves. I want to explore all aspects of intimacy in a non-normative way and in non-normative settings. In this series I’ve captured the people around me, my friends, partners and lovers. I’m inspired by the space queer people take up everyday, and the work they undertake in love and friendship. I am compelled to get as close to people as possible. My objective was to portray power balances between subject and photographer, to show the juxtaposition of tenderness and violence. “Tender” aims to bring up questions of intimacy and consent within these queer relationships where individuals are often pushing the boundaries of love and sex in anarchic ways.

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6 - Cold and Tender - 24c6920c-1f51-472b-a333-5ec7acadf2ed

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8 - Forest Animal in Ferbruary - 14aeccaf-a323-4e33-8c92-0b700183e88e

Queer people are often subject to violences in their early lives, forced to fight for an identity and to push against binaries. Often through these hardships they become more in touch with their narratives and their needs. Their paths are sometimes beautiful, sometimes sad. Usually consisting of polarizing extremities, from anxiety to pure bliss. What lies between these tensions is calmness; a moment of reaching peaceful intimacy with another after a long wait of uncertainty. These moments of tenderness are full of power, where queer expression is encouraged and accepted. These are portraits of queerness I want to showcase.

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18 - Oily - 47c12c2e-c4a3-48d2-841b-537f0c5944fa

Short Bio

Careers like a photographer didn’t exist where I grew up. The world around me and the people in it were executing a perfect working class life of teachers, nurses, and factory workers. I was watching them in awe: they were on autopilot; blissfully unaware. Go to school, find a boy, get married, have a nice house and kids. This was the narrative I was given and it was supported by all the stories I was exposed to. In the abundance of visual storytelling my responsibility as an artist is to give emphasis to the meaningful ones. I should find and bring out the stories that wouldn’t be heard otherwise, to this audience that wouldn’t be exposed to them. My mission as a photographer is exploring stories in which the identities of different kinds of people are represented. My objective is to explore and portray a lifestyle outside of the patriarchal, capitalist and heteronormative structures of couples, romance and religious norms. I want our identity to be represented to the future queer generation growing up. I want our love stories. This “Queer Way of Living” is my own personal utopia that I chose to believe in.

怎么爬墙外国

anniinajoensalo.com

—–

The Fujifilm/Young Talent Award is supported by Fujifilm

FujiFilm_Basic-Black

Published on January 28, 2020 by burn magazine. 怎么爬墙外国

Jaakko Kahilaniemi – 100 Hectares of Understanding

Jaakko Kahilaniemi

100 Hectares of Understanding

[ EPF 2019 FINALIST ]

It’s impossible to overstate the significance of forests for Finland, both historically and economically. 71,6 % of the total area of the country is covered by forests – that’s over 26 million hectares. I own 100 hectares. 100 Hectares of Understanding is my attempt to understand the forest area I inherited 1997. Throughout adulthood my relationship with the forest has been somewhat discordant and attitude towards my inheritance has been indifferent. Recent explorations in the forest, and in the world of forestry have managed to provoke my interest towards unfamiliar inherited property of mine. I study what nature has to offer to urbanized people and I will try to create new ways of thinking and ways to experience and feel the forest. I capture nature through my lens before applying the alchemical process that makes art out of the familiar. I arbitrarily mix various types of pictures with each other, and define them as part of a larger visual entity. I am working with the method of deconstruction, but rather than creating physical work out of the results of my private rituals in the forest, I unveil the result through the medium of photography. For the unknown to become familiar requires both physical and delicate acts: to nurture and to tame, to master and to yield. My photographs are testimonial, traces of my aspirations towards understanding and awareness. Photography, for me, is a gateway to the very core of my thoughts and imagination. II see similarities between my acts in the forest and walking artist Hamish Fultons walks, which he records with photographs and poems. Taking inspiration from Fluxus and the traditions of Arte Povera, I seek to encounter the forest with a playful and open approach. 翻到外国的网站加速软件 consists of the objects that I’ve found, the acts that I’ve photographed, the sculptures I’ve made and visual secrets that I have created.

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10 - Colliding Generations - 3c414bd4-b27f-47e4-929f-ed36f3df848c

Short Bio

Kahilaniemi was born in 1989 in Finland. He earned his BA in Photography from Turku Arts Academy (FI) in 2014 and his MA also in photography from Aalto University, the School of Arts, Design and Architecture (FI) in 2018. Kahilaniemi is a recipient of the ING Unseen Talent Award (NL, 2018) and the Backlight Price (FI, 2017). He got chosen as one of the eight finalists for the Tokyo International Photo Contest in 2019. Kahilaniemi was one of the selected Lens Culture Emerging Talents in 2017, and he also was one of the ten finalists in Hyéres Photo Festival and in Fotofestiwal Łódź in 2018. Kahilaniemi has exhibited at Denver Art Museum the US, Voies Off Arles, Benaki Museum Athens, Klompching Gallery NYC, Robert Capa Center in Hungary, FOTOFLUSS Wolkersdorf, Fotografisk Center Copenhagen, Tampere Art Museum, Organ Vida Festival Zagreb, , Unseen Amsterdam, Noorderlicht Photofestival, Northern Photography Center Oulu 33rd Festival de Photographie Hyères, Fotofestiwal Łódź, Kunsthalle Memmingen, Kunstverein Ludwigshafen, Potentiale Festival Austria, OFF_Festival, Photo Is:rael, the Latvian Museum of Photography, the Finnish Museum of Photography, Kunst Haus Wien and others. Kahilaniemi’s work has been featured in many publications, including Fisheye Magazine, Das Magazin, Eikon Magazine, Europe Now Journal, Fotografi Norway, GUP magazine, Greenpeace Magazine, Der Greif and HANT Magazine.

Luis Cobelo – Chas Chas

Luis Cobelo

Chas Chas

30 years ago, I came across a story in a comic book called “Parque Chas”, about a mysterious neighborhood in Buenos Aires, Argentina. The comic reveals the adventures of a writer who was told that fantastic and extraordinary things happen there. A place where wonderful mystical people live.

The reason such unusual things can take place there is because the center of the neighborhood was architecturally constructed similar to a spiderweb or a labyrinth. That’s why they say (the ‘chas chasians’) that if you enter into that concentric form, you may never leave, and magical things can happen to you. Many say that this is the true reality. Essentially, in Parque Chas everything is possible.

All these years later, I decided to travel thousands of kilometers to see for myself. But what really led me there was to discover if there was truth in their claim: “Everything you ever lost in your life, exists in Parque Chas”. And yes, I found it.

The project “Chas Chas” is an intangible exploration of the intricate myths and amazing lives of this neighborhood.

Short Bio

Born in Venezuela, Luis Cobelo took his philosophical studies as a warm coat to Galicia, Spain, where his family’s roots grew. Working independently across borders, Luis develops documentary projects in America, Asia and Europe, and has been published in many magazines and newspapers. His Latino soul brings him back to South America very often, where he created his first book “Zurumbático” and “Chas Chas”, (both self-published) to reveal the magical spirit of this part of the world. “Zurumbático” book has fascinated people all over the world and the exhibition of this work has traveled across oceans: Italy, México, Miami, Madrid, Costa Rica, Portugal and Venezuela. Now, he’s presenting “Chas Chas” the second second part of a collection of fantasies, mysteries and magical stories of the Latin American continent.

怎样处理国外网页打开慢的方法-百度经验:2021-12-23 · 怎样处理国外网页打开慢的方法,这个问题公代表本人所遇到的奇葩问题。拿出给大家分享让碰到类似问题的朋友做为参考。因本人在外企工作领导经常访问韩国网站，一天领导突然说网站特别慢，有时还打不开。我看了以后果然是这样，除了韩国网站国内的都正常并且速度还哇哇的快。

电脑怎么上国外网站

Ana Zibelnik

手机翻国外网站教程

[ FUJIFILM/YOUNG TALENT AWARD 2019 FINALIST ]

The series is a reflection on something we all grapple with: dying. To make sense of what is constantly there – somewhere, sometimes latent, sometimes not so much – to better understand and bear the “possibility of impossibility” we tend to listen to those more experienced, similarly or more troubled than us. We read books and watch films and lend an ear to the occasional wise man speaking. My own idea of how we encounter the constant presence of death is greatly indebted to some of those who examined the infinitely compelling and defining nature of mortality in detail and put it down in ink. One of those who mark the conceptual backbone of my series is Martin Heidegger, who accurately noted that the paramount difference between man and everything else that lives, lies not in the ratio, but in mortality: “mortals are those who experience death as death”. In this sense, human beings are identified by the great absence. Not necessarily by fear of it or permanent anticipation, but by mere awareness of the fact – an awareness we are born with and is reinforced and revisited simply by living. My series is an exploration into the subtle encounters with death during lifetime. I wish to construe a vast and and intense fictional narrative that zooms in on what it means to be running out of time.

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13 - But at least he didn't feel a thing - ae48f0e9-3daa-4dbb-9e7f-b2ce1eead624

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17 - A guiding metaphor - 7f9b5b7b-1c1c-4667-b914-0aea2d90a4e9

18 - We are the ones turning IV - f5d6faa6-683e-4f65-b189-7a2112e1682c

如何越狱上国外网站

Ana Zibelnik (b. 1995) is a photographer currently living and working in Leiden, Netherlands. After graduating summa cum laude from the Academy of Fine Arts and Design in Ljubljana with the thesis “Moment and Duration,” she decided to further pursue her studies in film and photographic theory at Leiden University. During the period between 2015 and 2018 she was part of the If Slovenia Were project, an intense mentorship programme led by a renowned French-Slovenian photographer Klavdij Sluban. In May 2018, she was selected as an emerging artist to participate in the second cycle of PARALLEL – European Photo Based Platform (founded by Procur.arte). The project she created in the scope of the programme (We are the ones turning, 2019) won the Verzasca Nera award. She has been dealing extensively with the topic of death and time consciousness in photography, often incorporating literary works into her practice. Following her thesis project, she self-published a book “As if you could kill time without injuring eternity…” where her photographs are presented in dialogue with the lines of Vladimir Nabokov. Aside from the artistic work, she has been exploring and documenting Blue zones (longevity hotspots) in a long-term collaboration with the writer and philosopher Jaka Gerčar.

翻到外国的网站加速软件

anazibelnik.format.com

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乘“新基建”东风 5G确定性网络加速发展:20 小时前 · 当前，我国明确提出加快5G网络、数据中心等新型基础设施建设（以下简称“新基建”）进度，“新基建”迅速刷屏。作为“新基建”之首的5G不负众望，在网络建设、应用创新、产业支撑等方面取得了积极进展，基础电信企业建成5G基站超过25万个。

如何越狱上国外网站

Published on December 29, 2019 by burn magazine. comments closed.

怎么进入国外的网页

Mariia Ermolenko

Flow

[ FUJIFILM/YOUNG TALENT AWARD 2019 FINALIST ]

In my project I research time. Man is in perpetual search. In Japanese philosophy, there is the concept of “Fueki Riuko”. This is about form of the eternal and continuous, which are associated with the current and instant. These pictures were taken in different places that I visited. During travels, I take a very clear view of what is happening. And I do not want this to end. Life is fragile, and our stay in it is fleeting as a journey. My series is about the impression, about the moment, about life and death. Often, when my eyes are closed, memories pop up in my head. A person becomes a memoryless person. Memories are like a mosaic that constitutes man. As long as I remember, I am who I am. I’m afraid of losing memories. To forget is to die.

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18 - 18 - f2621cdd-aaa8-49e0-b238-07ddc8db45a0

翻到外国的网站加速软件

Mariia was born in St. Petersburg (Russia) in 1995. She studied at the restoration of painting. She studied painting with masters from the Academy of Arts. Now studying at the Academy of Documentary Photography. Mariia is interested in exploring the themes of memory, time, the boundaries between sleep and reality, the themes of myths, as well as themes of ecology and the state of the environment. Lives and works in St. Petersburg.

怎么进入国外的网页

mariiaermolenko.com

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最近网传近期外国疯狂印钞票，来购买全世界的物资，可以说 ...:今天 · 一定程度上确实可以这么说，外国当前的财政赤字金额已经达到了23万亿外元，就从今年新型冠状病毒在外国的爆发开始，6万亿外元来救市。其中有接近7000多亿外元是直接发放给外国民众的，根据当前外国民众在外国一定时

FujiFilm_Basic-Black

Published on December 19, 2019 by burn magazine. comments closed.

Sathish Kumar – Town Boy

墙后你懂得的app

Sathish Kumar

Town Boy

[ EPF 2019 FINALIST ]

These are images from as early as my teens to this day. The essence of every new experience as I was growing up was recorded with my camera – roaming around the neighborhood, meeting old friends, most times making new ones. At some point, I had to move to a large city for work. As the life in a large city got suffocating, I began to seek relief by going back to my town or by going on treks, to take a deep breath, to be back to the demands of the city. Town Boy is an observation of this gradual transformation into who I am today. These string of images are about my coming of age, my movement from a small town to a cosmopolitan city, to somehow fit into this contemporary world. (ongoing work)

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25 - Town Boy_Sathish Kumar_25 - a96ad277-a7a8-4016-846d-a64ad01083b9

怎么进入国外的网页

Sathish Kumar, born in 1986 in Kanchipuram, India. A large part of my school vacations was spent at my uncle’s photo studio which became an inspiration for me to pursue photography. I got a point and shoot film camera from my uncle as a gift which I always carried around to school picnics, cricket grounds shooting my friends and everything around. With photography, I want to record my everyday existence, of all encounters and journeys to create an expression of myself, of my life, of the world around. Currently, I am working as a freelance photographer and as an artist pursuing personal works from Chennai, India.

Lavinia Parlamenti & Manfredi Pantanella – An Atlas of Countries that Don’t Exist

出售翻墙软件账号等广东警方破获网络黑灰产业链案_新闻 ...:2021-9-3 · 广东湛江市公安局3日向媒体披露，当地网警近日在“净网2021”专项行动中，破获一起网络黑灰产业链案。原标题：中新社湛江9月3日电 (梁盛钟涛)广东湛江市公安局3日向媒体披露，当地网警近日在“净网2021”专项行动中，破获一起网络黑灰产业链案。

如何越狱上国外网站

怎样才能浏览国外网址

Political charts of the world are very fluid realities. Countries are created and countries die. In today’s world, globalization hasn’t killed the concept of Nation-State, but has certainly tore down its importance. A world once defined by borders and supervised by the static power of national governments, has been replaced by a more dynamic kind of transnational reality, in which the power is no longer connected to a single State, but takes the form of NGOs, banks and societies who rule by collecting global data. In this ever-changing scenario, little attention is paid to the fact that the map of the world is still hiding today a huge number of unrecognized States.

2 - ParlamentiPantanella_Atlas_Burn02 - 1a16cdaf-3923-49b6-9fb1-54c29c0289e8_1

4 - ParlamentiPantanella_Atlas_Burn04 - 05881456-4274-4e53-b224-ea9092ac16e5

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11 - ParlamentiPantanella_Atlas_Burn11 - 88acc597-2b3b-4cb4-bebc-e6be54d7c0f0

Our “Atlas of Countries that Don’t Exist” is an imaginary journey in real territories that uses documentary photography to show the paradox of those portions of the world that self-declared their independence but – for different reasons – haven’t been recognized by the UN. By documenting and conceptualizing some aspects of the reality of these places,our work in progress aims at stimulating a reflection on the subject of personal and national identity, at a time in which this seems to us more than necessary. The physical place where one is born, where one is guarded after death, the family; these are elements defining our personal identity. On the other hand, the culture of a place (arts, monuments, traditions, food), its history and politics, the fauna and the flora, make up the identity of a “Nation”. That’s why we are dealing with tracing these elements in the 12 territories we have chosen to portray: Transnistria, North Cyprus, Catalunya, Republic of Artsakh, Isle of Man, Iraqi Kurdistan, Greenland, Somaliland, Sahrawi, Lakota, Taiwan and Ryukyu. Having already visited the first 3 territories, the Burn Emerging Fund would allow to carry on our research including the maximum variety of global situations into the Atlas, which we hope will take the form of a book and an interactive exhibition.

12 - ParlamentiPantanella_Atlas_Burn12 - ab063f7d-39cb-403f-a06b-d06b2adae907

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22 - ParlamentiPantanella_Atlas_Burn22 - 7631dc7f-2823-49c9-ae62-5a717dd6041f

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Short Bio

Lavinia Parlamenti and Manfredi Pantanella met each other in Tahrir Square at the end of 2011, during the second wave of the so called Egyptian Revolution. Their collective research mainly focuses on geopolitical paradoxes and aims to combine documentary photography with the dimension of surreal and fantastic. Meeting point of their different personalities is, with no doubts, a common ironical approach to life (therefore to photography) and the great value that they give to imagination inside reality. Their first collective project, “Roundabout#Cyprus” (2012), has been transformed into a book and self-published in 2013. In the last years, Lavinia and Manfredi also realized several editorial works in Italy, Europe and the Middle East, collaborating with newspapers and magazines as LaRepubblica, Le Monde, The New York Times, Time, Internazionale, IoDonna, Vanity Fair, Panenka football magazine.

Daniel Kovalovszky – An Infernal Play

Daniel Kovalovszky

大陆怎么浏览外国网站

[ EPF 2019 FINALIST ]

In 1945 Mátyás Rákosi, the leader of the Hungarian Communist Party, following the Soviet example, introduced a new Stalinist dictatorship in which human rights were severely violated. As a result of show trials, several hundred thousands of political convicts were sent to forced labor camps, were imprisoned and hundreds were executed based on fictional charges. In most cases the charges consisted in supplying data to western powers and secretly organizing a revolt against the people’s power. Having found the memoirs of the political prisoner a very dreadful and unknown world opened up for me. I decided to start a visual collection to shed light on a segment of what was happening during these obscure years that is unknown to many but still significant: the world of prisons in Hungary between 1945 and 1963.

1 - Forced labor camp in Recsk, Hungary. „Nothing else remains for you who enter, only hope!” - f4082675-1161-4874-8653-bae6174ba0fc_1

3 - Dark cell. - af8965e6-4f2b-4014-ab87-fdf910fc24ce_1

7 - Forced labor camp in Recsk, Hungary. - 1406998d-9332-4417-a158-409336fe72d6_1

This world is disappearing unnoticed, and with the last old surviving witnesses and scenes. There is a time pressure for my work as there are fewer and fewer former prisoners who are still alive, and the places themselves also continuously disappear or change their function. The scenes will be holding the remembrance of the physical and mental suffering of thousands for a long time. This is the time to record what happened in the past for the next generations, because it will not be possible to do this in 3-4 years.

9 - Internment camp in Kistarcsa. - e7de50fb-04ac-4f42-91d3-e0364c578861_2

10 - Portrait of Árpád Halász. - 3d9cecf5-288f-4ddf-bf57-97741dc6a559_2

12 - Portrait of István Válóczy. - f42e2201-6b2f-4aab-aa15-7f26ffcbbb5c_2

13 - The inner facade of the Budapest Metropolitan Prison Service in Markó Street. - 64244bf7-2321-4359-8609-5ac4438afe55_2

14 - Boots. - 2125a782-5047-4722-bc65-947989e10544_2

16 - Portrait of János Straub. - 40cf54ef-3187-408c-8498-eb9fa53dea29_2

My work (2016-2019) is about the old survivors who spent long years in the ‘darkest’ prisons and labor camps of the dictatorship I documented. They live privately, hidden from publicity, carrying this heavy historical burden for which they no time left in their lives to process and they still haven’t received proper moral or financial compensation for their sufferings. I made long interviews with the old political prisoners which have significantly changed my personal approach to the 20th century history of Hungary. I hope my work will also become historically meaningful at one point and can show something to the future generations.

18 - Pieces of the fence of the prisoners’ camp in Csolnok. - 86f712cf-1afa-4847-b0a1-83db2368b878_2

19 - Portrait of Ottó Koós Békei. - 5e88c373-061a-411f-93b8-440fe4ba7314_2

21 - Toilet bowl in one of the cells of Small Prison. - 6a91c250-8322-46e9-86fb-1c9f5b7ccae9_2

22 - Portrait of József Vidi. - 53ae3bab-c370-473a-af66-90a8f5de3967_2

24 - Portrait of Ferenc Balogh. - 40f14c3d-269f-45ad-bb4d-549f8886791e_2

25 - Lower camp in Recsk, Hungary. - ef688194-8fb3-46a0-bc31-cb22a6fdcbc9_1

Short Bio

puffin浏览器_360百科:2021-10-24 · 软件特点 1.透过云端运算加速技术、快速的显示完整版本的网页 2.支持大部份的Flash网站 3.可播放网络上大部份的Flash影片[1] 4.在全屏幕模式观看Flash影片可更加顺畅(实验中、尚未支持一部份影片) 5.多卷标接口 : 多卷标接口使您容易切换不同的网页 6.书签

Ingmar Björn Nolting – Somaliland

Ingmar Björn Nolting

Somaliland

[ FUJIFILM/YOUNG TALENT AWARD 2019 FINALIST ]

The Horn of Africa is regarded as one of the continent’s most war-torn regions. Somalia in particular crashed into an ever deeper chaos of civil war and terror after the disempowerment of the Somali dictator Siad Barre in 1991. There is still no end in sight. Despite all resistance, however, an island of peaceful coexistence emerged in the north of the country. Somaliland. The borders of Somaliland go back to the area of the former British protectorate, which united with Italian-Somaliland to Somalia in 1960. Under the dictatorship of Barre, who seized power through a putsch in 1969, the inhabitants of the north felt increasingly deprived. The resulting fights of the guerilla group “Somaliland National Movement” against the Barre regime culminated in the overthrow of the Barre regime, the adoption of a declaration of independence and the founding of the Republic of Somaliland on 18 May 1991.

Zuhaib (16) and Zakiriye (16) pose on the training grounds of the New Somaliland Circus in Hargeisa, Somaliland. Since there is no circus culture in Somaliland, the shows of the young artists attract a lot of attention, especially in rural areas. The circus group performs in all regions of the country and uses the audience’s attention to educate about HIV, malaria, female genital mutilation and the risks of migration to Europe. Every year, young men die on the way, in the Mediterranean or are kidnapped in Libya. The circus thus becomes a tool of education and gives the young artists self-esteem and a mission.

A street scene in Boorama, Somaliland.

Ahmed (29) poses in the living room of his house in Hargeisa, Somaliland. He grew up in America and decided to return to the country of his parents two years ago in order to learn Somali and contribute to the development of the country. He met his wife in Hargeisa, married her and they had a child. Today he can no longer imagine moving back to America. Ahmed volunteers as a teacher in the “Family, career and community leaders of Somaliland” (FCCLS) project. FCCLS has made it its mission to educate young men and women beyond regular, often inadequate schooling to become responsible leaders who will later change and develop the country.

Nomads at an oasis near Biyo-Guure southeast of the port city of Berbera. Muna (11) and Mohamed (12), left in the picture, lead the 50 goats of their family every day to this small creed. In the aridity of the last years the creek dried up, 50 of their goats died. Approximately half of the inhabitants of Somaliland live as nomads outside the towns and villages, the livestock is their most important living basis. The continuing droughts of recent years have killed about 70 percent of Somaliland's livestock and forced tens of thousands of families to flee to the cities' IDP camps. Climate change has led to temperature changes in the Indian Ocean, pushing the wind and humid air that usually brings rain away from the mainland. The effects of climate change are increasingly affecting the entire Horn of Africa, leading to water scarcity, starvation and flight.

中国的外挂已经悄悄“出海”东南亚甚至卖到了西班牙… - 游戏 ...:2021-6-15 · 下图为小 Z 向外国代理展示外挂界面小 A 这边有渠道可以直接联系外挂作者，所以能以很低的价格拿到外挂，按照 “ 批发价 ” 拿货，他的外挂成本大概在 1 - 3 元一张（天卡，只能用一天）。而他把外挂卖给代理商，都是原价卖的。

Moneychangers are preparing their stand in downtown Hargeisa, Somaliland for the day. The currency of Somaliland, the Somaliland Shilling, is not internationally recognized and cannot be changed or traded outside the country. During the noon prayer the moneychangers leave their stand to pray in a nearby mosque, leaving the money unattended. Due to the social control by the clan system, the country is largely safe. Thieves are usually quickly identified and arrested by the police, who have a strong presence in the city.

A street scene in “Istanbul” IDP camp on the outskirts of Hargeisa, Somaliland. More than 560 families live here, more than 200 of them used to live as nomads in the rural areas until the droughts of recent years destroyed their livelihoods. The IDP camps around Hargeisa are mainly supplied by international NGOs, but there are often shortages, too little access to water and food.

Mohamed Arab Geele (52) posing for a portrait in the Veteran Association in Hargeisa, Somaliland. At the age of 18 he joined the guerilla group “Somaliland National Movement” (SNM) and fought against the troops of Siad Barre. The inhabitants of the north felt strongly disadvantaged under his dictatorship, in the north there was too little water, little food and no university. More and more inhabitants of the villages occupied by the SNM joined the SNM. In 1988, after a three-month fight for Hargeisa, Mohamed was injured by a bomb splinter in his knee. Barre’s troops bombed Hargeisa with fighter jets starting from the airport on the outskirts of Hargeisa. Since the clan elders proclaimed Somaliland’s independence in 1991, Mohamed has been hoping for international recognition.

A landscape near Laaleys, Somaliland. Due to the droughts, the soil hardens and the water can not be absorb by the soil when it rains. The water masses flow through the city and block roads.

Abdizamad (19) poses together with his mother Qali Rooble (50) in their room in Hargeisa, Somaliland. Abdizamad began his journey to Europe in July 2017 without telling his mother. He paid smugglers who gave him instructions by telephone, guided him through Ethiopia to Sudan and from there to Libya. In Libya, he was kidnapped, beaten and held in a house with other refugees. The traffickers demanded a ransom of 5500 dollars from his family. 15 of his family members joined forces and bought him free after five months. Abdizamad got on a boat that was supposed to take him across the Mediterranean to Europe after all. After two days at sea, the refugees were taken on board of an NGO ship and brought back to Libya. There he was detained for three months and then returned to Hargeisa. His family raised 2,000 dollars and he opened a small shop. Many of the young people in Somaliland do not see any perspective in their homeland. Unemployment, poverty and the hope for a better life drive them into the arms of the traffickers on their way to Europe.

During Ramadan, young men sit on the banks of the Gulf of Aden in Berbera, Somaliland, waiting for breaking the fast at sunset. Somaliland’s largest source of income comes from the port of Berbera. Somaliland mainly exports livestock to the Arab Gulf states.

During my work in Somaliland, I have focused on issues of migration, climate change and aspects of democracy and state-building to create a portrait of the often overlooked region, which has been seeking international recognition for 28 years and where nothing seems more important than the young peace. The project is ongoing.

Asiya kayd Zandan (56) poses on the grounds of the IDP camp of "Norwegian Refugee Council" in Burao, Somaliland. Asiya belongs to the minority group "Gabooye", which is a kind of work caste. People who are attributed to the minority often work in manual, lower professions and are affected by discrimination. Asiya is divorced from her husband, who now lives in Mogadishu and does not support her.

Hassan (23), Abdiadiqadir (20) and Mohamed (19) pose on the campus of the Faculty of Agriculture and Environment of Amoud University in Boorama, Somaliland. The university was the first in the country and opened in 1998. Before independence, there was no university in northern Somalia. The university writes about its faculty in brochures: „At the moment, Agriculture in our country is subsistence agriculture (the production of enough food to meet just the needs of the farmer/agriculturalist and his/her family). Amoud university with the establishment of the faculty of agriculture wants to transform the current agricultural system into that of industrial agriculture, (often referred to as factory farming) long prevalent in “developed” nations and increasingly so elsewhere, which consists of obtaining financial income from the cultivation of land to yield produce, the commercial raising of animals (animal husbandry), or both.“

The military parade to celebrate the 28th year of Independence on 18 May 2019 in Hargeisa, Somaliland. On 18 May the city is in a state of emergency. All shops are closed and the people meet to celebrate together. Although the independence is not internationally recognized, the majority of the inhabitants support the separation from Somalia and are proud of their still young nation.

In this building in Burao, Somaliland, the clan elders met on 18 May 1991 to declare Somalilands independence from Somalia. Today this historic place is lying in ruins.

Viewers at a football match at the Djigdjiga Yar Stadium in Hargeisa, Somaliland.

Hinda Abdi Moamoud (23) poses on the site of the “Family, Career and Community leaders of Somaliland” (FCCLS) project. FFCCLS has made it its mission to educate young men and women beyond regular, often inadequate schooling to become responsible leaders who will later change and develop the country. Hindi wants to become a journalist and help improve the role of women in Somaliland.

A young man crosses the dried-up riverbed that divides the Somali capital Hargeisa into North and South.

WIN10电脑如何访问外国的网站-百度经验:2021-12-24 · WIN10电脑如何访问外国的网站,很多人都想看看国外的新闻或者消息什么的，但是国内是不能进入国外的网站的，这个时候就需要翻墙了，今天我就和大家分享一下应该怎么做。

怎样才能浏览国外网址

私自研发售卖“翻墙”软件29岁硕士男子面临牢狱之灾 - 网络技术 ...:2021-1-1 · 高某为研究生学历，2021年下半年以来，通过租赁境外服务器等手段搭建VPN，后研发出4个版本的加速器软件并出售相关账号。截至案发前，高某累计提供相关账号2.8万余次，违法所得合计人民币1100万元，12月27日该案开庭，高某悔罪认罪，法院未当庭宣判。

Turjoy Chowdhury – Genocide ’71- A Memory Map

如何越狱上国外网站

Turjoy Chowdhury

Genocide ’71- A Memory Map

[ EPF 2019 FINALIST ]

如何选择国外的服务器？ - 知乎 - Zhihu:2021-5-3 · 大家好，我在做一个公司网站。网站为了好看，用了非常多javascript代码。在选服务器的时候为了避免复杂而… 选择海外服务器无非以下三种情况： 1、业务布局全球，有大量的海外客户，为了保障海外用户良好的访问效果，一般的用户都会选择在海外和内地都部署业务系统，利用云解析DNS来均衡 ...

Bengali victims were hog-tied and thrown into the Rupsha river from the Custom Ghat jetty by Pakistani soldiers and Bihari collaborators stationed at the nearby Khulna Circuit House, as reported by survivor and eyewitness Shakti Pada Sen.

The Khulna Railway Station was the only way to go to North Bengal for thousands of people from Khulna, Faridpur and Barisal. Pakistani soldiers lay waiting for passengers, robbed them of valuables, cut their stomachs open and dumped them into the river from the attached steamer jetty. On 5th April 1971, Bihari collaborators killed railway station guard Bari and 5 others. Workers of the railway station and the steamer jetty were killed as well and skeletons were later found at an abandoned storage behind the railway station. Women were raped at the storage house, which was used as a torture cell as well.

Resident Bengalis of Khulna Rail Colony were killed by Pakistani soldiers and non-Bengali collaborators and their bodies buried here and there. The Railway Colony served as a killing field and mass grave. Khulna Station Road was a popular place for people to buy kerosene from – during an air-raid in December, passerby and kerosene buyers took shelter in the railway colony. Soon after, Pakistanis captured and killed them, dumping their bodies. One melted body was later identified to be that of detective Abul Kashem of Khulna Police Station.

The Hayne Railway School, adjacent to the Khulna Railway Station, was used as a torture cell and a killing field, with classrooms in the old building used in the torturing and killing of Bengali victims passing through the railway station. The pond inside the school premises were used to dispose of the bodies.

Charer Haat has a jetty on the Bhairab river that was an important part of commerce and transport for the area. After 26th March, there was a drastic drop in the number of people traversing the waters around Charer Haat – till 8th May, when a launch carrying hundreds of passengers set off for Khulna from Narail. On board was Muslim League General Secretary Advocate Md Ayub Hossa and his family. When the launch neared the Charer Haat jetty, two gunboats took up position under Pakistani naval commander Gulzar’s command, and forced the passengers to disembark and line up. Under the pretense of checking for arms, the people on the jetty were robbed of their valuables – Ayub Hossain tried to convince the soldiers to not fire on innocent civilians, but the Pakistani soldiers shot and killed every single person. A further five launches were stopped in a similar fashion, and nearly 600 people were killed. Eyewitness Masud somehow managed to escape and inform his relative Jalal Akbar, who was in the Navy at the time – Jalal took locals and dug a mass grave for the people killed at the Charer Haat jetty. The Charer Haat story was published on The Daily Bangla on 17th February 1972.

Forest Ghat was a jetty next to Rupsha river. People usually never moved around the area at night, only a few people used it during the day – during the liberation war use of this jetty was stopped out of fear of the Pakistanis and their local collaborators. As a result this jetty was always under control of the Pakistanis. Everyday, around 20 people were beheaded, gutted and thrown into the river. Near the jetty was a ration store maintained by the local police – around 30 policemen and their office help were stationed here. Kamrul Haque Chowdhury, then an employee of the office, said that the Pakistanis would frequently force the people stationed there to collaborate in killing their victims – they would grasp the arms of the victims tightly while the Pakistani soldiers bayonetted them, kicking them into the river after they were done. Abdur Rob and Shahadat, employees of the police ration store, recounted details of the killings when they returned to office – during the day, at least 6-7 people were killed, the numbers going up many-fold during the night. The horrific killings rendered the wooden jetty slick and slippery because of the blood of victims – eyewitnesses report countless sandals and shoes scattered about the jetty, with countless bodies floating in the river like weeds. The blood-curdling sound of the people being killed and the dying screams of the Pakistanis’ victims were heard by Judge Khondoker Nessarul Haque, resident of a nearby bungalow. Upon requesting the commanding officer to not kill people near the courthouse, Judge Nessarul Haqye was threatened and his request denied - he fell seriously sick and died of a heart attack on 30th May. The next day, his employee Syed Kaiser Ali died in a similar fashion – peon Abdur Rouf died of a heart attack as well a few days after that.

电脑怎么浏览国外网站:2021-6-13 · 用VPN.在我的百度空间有一款,你看看,个人一直在用,速度不错,有6个IP可选,建议先不买,免费用用先,好的再买.包年的话会比包月划算好多,电脑,手机IPHONE,上Facebook,推特等国外网站或者国外游戏服务器加速都可以了上.当然免费的也可以用到手机上的.呵呵

Maqsudur Rahman is an eyewitness and a survivor of Forest Ghat mass killing.

在国外可以访问国内的网站吗？ -CSDN论坛:2021-6-6 · 只要不被封就可以访问，但基本上都是龟速。如果你照顾境外用户的话，图片，效果，动画可免则免。如果要其他系统看中文网页的话，必须使用支持的字符集，一般可以用utf-8，英文版本的XP一般可正常显示，其他没试过。

11 - Genocide '71-11 - 909a159d-9008-4441-ba22-d86af0c0769e

These killing sites, mass graves and torture cells are scattered all over the country. Unfortunately, very few obvious visual evidence of this horrors have been documented, as foreign journalists were forced to leave the country and most of the prominent local journalists were killed or were forced to go in hiding. After independence, only some of the major mass graves were protected and declared as part of national heritage and other places have changed drastically. This project reveals those horrific stories by exploring these mass graves, killing fields and torture cells through visuals, captured of their present condition with the goal of finding traces of the past in a conceptual manner and mapping the genocide. Portraits and testimonies of eyewitness and survivors, archival letters, documents, articles, family and other artefacts or objects connected directly or indirectly to the genocide is also included as authentic evidence.

Munshi Siddiqur Rahman was an influential person with political affiliations with the Awami League party, and as such, his family home – widely known to locals as “Munshibari” – was a place of interest in the Goalkhali region. Located east of the Jessore-Khulna highway and next to the railway, Munshibari was one of the most important incidents of mass killings in Khulna. Munshi Siddiqur led the Bengalis in the region through the communal violence that broke out during March 27 – the Biharis in the region, led by Motiullah, wanted to punish Siddiqur for his role in organising the Bengalis in the region. Motiullah thus devised a plan – since Siddiqur was the only politically involved Bengali who did not flee after Khulna fell in the hands of the Pakistanis, Motiullah approached him on the morning of 6th April with a proposal of keeping the peace in the locality. Accompanying Motiullah was Mohammad Ali, Farid Miah, Musgunni Ghulam. In the meeting, both parties agreed to keep the peace and Siddiqur was put in charge of distributing and storing wheat as relief for the affected people of the area. Siddiqur then met with locals loyal to him on the 7th of April in order to devise a distribution plan. Around 3 PM, alerted by the sound of approaching soldiers, Siddiqur took some people and escaped out of the back of the house. Under command of Major Babar, the Pakistani soldiers surrounded the house with their vehicles – sitting in those vehicles were Motiullah, Ezaz, Tofayel and Harun. Upon entering the house and being unable to find Siddiqur, the Pakistanis started killing the people they found inside – they bayonetted Christian caretaker Shontu in a balcony and bound everyone else. The 12 people who were found inside were marched to the pond beside the house and killed by firing. The Munshibari family graveyard lists all the casualties of 7th April.

Letter signed by Sheikh Mujib sent to Ataur Rahman, father of Munshibari victim Habibur Rahman, acknowledging the contributions of the victim towards the liberation of Bangladesh and his loss of life. The only document acknowledging the Munshibari killing, the letter, issued on 6th April 1972, also contains proof of financial compensation provided to the victim’s family, amounting to 2000 Taka.

The Khulna Newsprint Mill was established by the Pakistan Industrial Development Corporation in 1959 on 53 acres of land in Khalishpur and was the first newsprint mill in what is now Bangladesh. The mill served as a killing field for the Pakistani military junta. 28th March onwards, most of the workers and their families living in the mill colony left the area, but were urged to come back and continue working through radio broadcasts that assured workers that the mill was safe and secure. The radio broadcasts were part of a trap set by the Pakistanis to try to lure as many people to the mill as possible – soldiers lying in wait picked off the returning workers one by one and killed them, some of the bodies were dumped in an identified mass grave at the mill colony and in the nearby Bhairab river. Soldiers from the adjacent Titumir Naval Base were involved in the killing – the isolated mill later served as an extended base of operations for the Pakistanis. Eyewitness account by Abdul Malek Sardar.

Established on 55 acres of land in Khalishpur, Khulna, in 1954, the Platinum Jubilee Jute Mill was the scene of a horrific ritual perpetrated by the Pakistani military and their local collaborators in 1971. Similar to the trap set by the Pakistanis at Khulna Newsprint Mill, workers were lured back to the area by radio broadcasts asking people to return to their posts – once caught, the Bengali workers were forced to sit in front of the boiler as they were tied and bagged by their captors. With the fire of the boiler burning in front of their eyes their last sight, the workers were shoved into the same pit they themselves had once fed with coal – feet first, with the rest of their bodies following suit. The Pakistani soldiers made sure the deaths of those 56 workers, some named Harun, Hemayet and Aziz among others, were slow and painful – their screams reverberating around the factory. The gruesome story of what happened at the Platinum Jubilee mill was published in The Daily Bangla newspaper on 17th February, 1972.

The Pakistani military turned the Crescent Jute Mills into a killing field like they did with other factories in Khulna. People brought in trucks to the jute storage facility in trucks were led, blindfolded and hands tied, to the jute cutting machines inside. They were beheaded at these machines, some impaled on spikes used to tear jute apart. The body of the Central Excise Inspector was cut into pieces and hung visibly. The Customs Officers Quarters were turned into torture cells, the drains beside the building used to take the blood away to the Bhairab river, in which most of the bodies were dumped. Later on, after the war, skeletons were discovered in the mill area. Ferdousi Priyobashini witnessed the massacre of Bengalis at the hands of the Pakistanis and their collaborators, and compared the beheading of workers with the jute cutting machines to death by guillotine.

The Peoples Jute Mill was a killing field operated by the Pakistani military where factory workers were lured back in a similar fashion to other instances. They were tied, bagged in jute, and tortured to death. Abdul Khalek Hawlader bore witness to the atrocities at the Peoples Jute Mill.

19 - Genocide '71-18 - cfa3a107-5652-44ec-b44c-69dd6c9c5324_1

The photograph is of a recent grave in the local graveyard, in a place that is suspected to be the old mass grave. 300 Biharis lived in Deara village and was a prominent spot for anti-Bengali collaborators. A Rajakar camp was established here in August 1971 with Shawkat as the commander. Around the end of August, the Rajakars and the Biharis, commanded by Shawkat, perpetrated vicious attacks against the people of the village. Houses were looted, people killed and the village was set on fire. After the killings, the surviving locals buried the bodies scattered around the place in a mass grave.

Chuknagar is located west of Dumuria upazila – adjacent to Khulna, Shatkhira and Jessore, with highways from all three regions meeting at Chuknagar. Chuknagar bazaar was a common transit point for people going to India – the adjacent Bhadra and Ghangrail rivers, now dried up, were commonly used waterways as well. Between 19th May night and 20th May morning, around a hundred thousand religious minorities gathered at Chuknagar as a result of vicious attacks by the Pakistanis on 19th May at the nearby Botiyaghata locale. On 20th May two trucks arrived down the highway from Shatkhira and the mass killings at Chuknagar started around 10-11 AM.

Sundari was a three month old infant found by Ershad Ali Morol between the dead bodies in the Chuknagar killing field, crying and trying to suckle on her dead mother’s breast. She is the only person to have survived in the Pakistani’s line of fire, later adopted and raised by a local Hindu couple.

People killed at the bazaar and inside Chuknagar village were dumped in the now dried up Bhadra river, along with the people killed on the shores of the Bhadra.

25 - Genocide '71-25 - 45e8fe31-3cdd-457a-9900-b2265640e922

Short Bio

Turjoy Chowdhury is an independent Documentary Photojournalist and Multimedia Artist from Dhaka, Bangladesh. He works internationally mostly on humanitarian issues and crisis. He did his graduation in Architecture. His work has been exhibited globally and published in National Geographic, The Guardian, The Sunday Times, The Wall Street Journal, The Huffington Post, BBC, CNN, MSN, Al Jazeera, WNN, Feature Shoot, Life Force Magazine, Zone Zero, Foto8, Feature Shoot, Ethic Magazine, Aksgar magazine, Foto Evidience, Fotovisura, ND Magazine, Private Magazine, Dodho Magazine, CFYE Magazine, Fotoritim Magazine, F- stop Magazine, The Alternative, etc. He also got several awards and honors : UNICEF photo of the Year 2018 (2nd Prize), Joop Swart Masterclass nomination 2018; IPA (Invisible Photographer Asia) award finalist, 2018; NPPA (National Press Photographers Association) Award 2018; LensCulture Emerging Talent Award 2017; Picture of the Year International 2016; Mro Foundation Grant Finalist 2016; Photography Grant Finalist 2016; Ian Parry Scholarship 2016; Lucie Foundation Scholarship 2015; Eye Time photo competition winner 2015; Future Voices Jury Award 2014; Jessica Lum Award 2014; Photocrati Fund Finalist 2014; Photophilanthropy Activist award 2014; Carnegie Council’s International Student Photo Contest 2013.

大陆怎么浏览外国网站

Giovanni Coco

墙后你懂得的app

The Garbatella and its flora are a well-kept Roman secret. It is an exotic and unique neighbourhood – founded in February 1920, so next to its centenary – known for its architecture based on lots, a particular kind of public housing with buildings designed according to “Barocchetto romano” style and to English Garden City Movement model.

The neighbourhood is an un-imitated little urban island, with the highest ratio, in Italy of those years, between built-up surface and “private” green spaces, that are, for generations, social sites and still live on only thanks to the care of its residents.

With this series I want to offer a glimpse of this treasure unveiling the neighbourhood’s flora and vegetations – its enthralling green spaces. Trying to preserve its mystery while giving movement to still life.

如何越狱上国外网站

Born in Sulmona, Italy, 1973.

I started to take pictures because my father was an amateur photographer. His photos surrounded me since I was a kid – they were everywhere, on the tables, in the closets, in the bookcases. He used to bring me in his dark room and he encouraged me to use it and his cameras. It was inevitable to approach photography so I started taking pictures very soon. It was like a game, for years, but in 2004, when I started to confront myself with a story which involves me in an emotional way, the Monia’s project, I realized that the camera was a powerful medium to observe and get in touch with the world and a tool to communicate my own view of the world around me in the most immediate way.

Lyu Geer – The Mountain of Qiang

Lyu Geer

The Mountain of Qiang

[ FUJIFILM/YOUNG TALENT AWARD 2019 FINALIST ]

“The Mountain of Qiang” is a plan based on Lyu Geer’s hometown, Wenchuan, Qiang ethnic minority. The construction after the 2008 earthquake has accelerated the process of modernization in the mountains, and the regional communication became more intense and the boundary became blurred. He went through a similar field work to the local area in the early days in a process of “re-familiarity”, the anxiety about identity gradually amplified. So he took this question to the behavior of “Finding the sea up the mountain”(Chapter 2). During the Triassic period, the Wenchuan area was in the coastal environment, he asked if the Qiang people had memories of Wenchuan and the sea. He also went up the mountain to find traces left by the sea. On the way, he met snowmen with arms open, painted white stones, fake horses, pandas……These scenes have a subtle connection with the first chapter, “The mountain of Qiang”. “Finding the sea up the mountain”, this pointless behavior seems to be like climbing trees to catch fish. Beginning to turn to more poetic, the search for geographical and identity images. After that, he collected sand from the mountains, sprinkled on film in dark room. Getting the original image of “Star sea” (Chapter 3). And referring to large number of images of the stars, he painted a color that looks as real as possible for “Star sea”. He also seems to find the answer.

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23 - Shibi WangFushan NO.2 - 86f93847-2f3d-44a0-a65e-ed139550995d

Short Bio

Lyu Geer, b.1995, Sichuan,China, graduated from Lu Xun Academy of Fine Arts, majoring in digital media art at BUPT. His works focus on the exploration of boundaries, identity and history. He has been awarded the Sony Young Photographer Program Award, New Talent Award, The Young Photographer Growth Plan of China Photographers Association, China Photography Annual List. On the shortlist of the Lucie Foundation Emerging Artist scholarship, Magnum Foundation’s Abigail Cohen documentary photography.His Self-published “The mountain of Qiang” awarded the Best Chinese Photography Books in 2018.

Janne Korkko – The Song of the Riverside

Janne Korkko

怎么进入国外的网页

[ EPF 2019 FINALIST ]

We need to understand where we are and how we got here. Once we are clear on these issues we can move forward…. (Thomas Berry) Rivers have river rights as well as humans have human rights. People, communities, environments, and nature have deep interrelated connection. A connection that is more complex than an ownership of land, a fishing permit, a cottage on the riverside, or a beautiful sundown on the opposite shore of the river. The name of the river in these photos is Iijoki. The name comes from an ancient word of Sami (’iddja’, ’ijje’), which means ’night’. So, the name of this river is Night. Night- River flows through Yli-Ii, the riverside village, which belongs now to bigger city of Oulu. It means that there are no public services any more. The village is disappearing. Night-River is full of songs of memories, and its riverbanks are full of people with these memories. Some of them are sacred, silenced, or even untold. Usually it seems that nobody wants to remember the song of the unforgotten village – and the blocked river. But some of the songs are still alive, or they are waking up through the people, who are starting to re-member the song of the wild, free-flowing river.

You need a light to walk along the unknown path to your dream.

A man has heard the river singing a sad song.

A surge tank for the thousands smells, and a listening dog – it’s that time of the year.

This landscape gives you a permission to be who you really are. But it’s only the landscape, not the people.

The last wild ones – a ringer man and a young Ural owl.

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墙后你懂得的app

Looking for habitants of the wilderness.

This is the back part of my next Metamorphosis – ready to flow with the river. Its teardrops have covered my back.

Ludicrous droll family, who does whatever it will.

Stolen dreams.

There’s a dark land in the North, where people can create their own light – when it’s the darkest time of the year.

The landscape of the village, and the diversity and ecology of native nature, changed totally during the 1960s, when the river was dammed – and there were built many hydroelectric power-plants in it. The damming of the river was one of the biggest eco catastrophes in the area of North Finland. But it was also catastrophic for the whole society of the village and its families in many – maybe still unidentified and unconscious – ways. Nowadays the eco catastrophes is still going strong – in clearcutting and swamp ditching. But the second longest river in Finland – with its 150 rapids – is still alive under all the constructions, destructions of riverbeds, and hydroelectric dams. It lives also in peoples’ minds and bodies, in their eyes and destinies.

What more should I need? Everything is here, near. Simple life – fresh bread and catch of the upcoming summer makes you happy.

One light in the dark is the light of the belief system. But a Spirit of Riverside does not know any systems, because it’s the system itself. Natural system.

One of the Riverside Factories of Today. Unnatural System.

Why did you have to go? Where did you go? I do not recognize your shape any more, it has disappeared into the shadows. I still miss you.

I used to know this wilderness, this riverside, and all the birds and fish of it. I used to know all the paths. Now I am just standing here and looking at the devastated landscape. They have blocked the flow of water, logged the growth of trees. What can I do?

The Fall.

Please, forgive me, what I have done. Forgive all my sins, A Holy Spirit of the Swamp.

You do not want to know anything of my life under the red lights. Anyway, this is not Pigalle, or Reeperbahn. This is the red life of the livestock.

如何越狱上国外网站

The Earth gives you what you want, but it also leaves you addicted to it.

At some night, in some of my dreams, I am still traveling through the riverside. It can’t get me from its grip, It has decided to take me home. I am almost there. When I will raise my eyes to look the whole view, I may see where I am, who I am.

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Once upon a time there was a huge, long river, which was full of big salmons, who swam up the river every summer. When people blocked the river, and the salmons could not gain, and they changed themselves to rainbows. Sometimes, somewhere, in the riverside of some wild little river, which still exists, you could trap a fish called rainbow trout. She will tell you the ancient love story of the big wild rivers and salmons.

Short Bio

Photography means more to me than just doing it: it is as important as breathing and living. I switched in documentary shooting seven years ago. Image has always been an important form of narrative but I wanted it to show the touch of life and humanity that define my ideas. Socially important and difficult topics that are approachable make me work. I feel I have a mission. I’ve been professionally acclaimed for my work. For example my photo was chosen in The European photography 100 book in 2016. I am proud and humbled as well as grateful. Things that have touched me, touched them, too. That is the stories, the interaction with people that developed to the eye to see. I have received more than one project to photograph the New York Times, LES JOURS Magazine, Suomen Kuvalehti, Kaleva.

怎样才能浏览国外网址

www.jannekorkko.com

—–

The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Published on October 22, 2019 by burn magazine. comments closed.

Robin Friend – Bastard Countryside

Robin Friend

Bastard Countryside

[ EPF 2019 FINALIST ]

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怎样才能浏览国外网址

Since graduating from the Royal College of Art in 2009 I have been practicing full-time producing, work in London, where my studio is located. In 2012 I spent a year in the USA meeting and photographing a hundred of the nation’s most prominent artists for the Thames & Hudson’s book ‘Art Studio America’. I got to photograph one of my heroes, Hiroshi Sugimoto. In spring 2018, the National Gallery staged MANOD, an exhibition of my work. This explored the remarkable wartime history of the Gallery’s history when the national art collection was stored in a disused slate mine in Wales. In parallel the BBC commissioned me to write and direct a 30 minute film in which I collaborated with Wayne Macgregor, the UK’s leading contemporary choreographer, to create an immersive dance narrative of moving images illuminating the MANOD story. In December last year, my monograph Bastard Countryside was published by Loose Joints. This series of work explores the edgelands of the United Kingdom, dramatising the beauty, mystery and sublime elements of its 21st century backwaters. I would love dearly to exhibit this project in the USA some day. My latest project Blink of an Eye explores the knife epidemic and unprecedented level of youth violence that is currently happening in London. The subject is often discussed using generalizations – this work will blend personal, real-life testimonies of those affected with analysis of many different causes and issues. It will take me a year to make.

Jansen van Staden – Microlight

怎样才能浏览国外网址

Jansen van Staden

Microlight

[ EPF 2019 FINALIST ]

After the death of my father in 2011, I discovered a letter, written to his psychotherapist, about his time in the Border War. He dedicated his life to sustainable projects and education in African countries, and what I read in the letter took me by surprise. It was not the man I knew. The letter detailed horrific incidents he took part in, as a 17 year old boy.

One paragraph from the letter, bothered me the most: “…she stated that I joined and did what I did, because I wanted to kill people. It is truer than true.”

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3 - Jansen van Staden - Untitled - 03 - d256a19a-3d63-4495-aa88-ae78aeb398de

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Through this journey, I discovered just how much my life has been influenced by my father’s trauma. How my father’s siblings are still affected by the ideologies of their father. Generations of trauma, ignorantly passed on, even through our genes. My generation, is the first of South Africans not to experience war. We have the opportunity and the responsibility to observe all this within ourselves. To ensure that it does not continue.

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After the war, my father turned against everything the knew. He left his father, and family. He craved resolve. He wanted so badly, to be free from his shadows. But the consequences of his actions haunted him his whole life. He tried his best to keep it from his children, and his wives. Ultimately, it slipped though the cracks. Microlight is a collection of anecdotes. And through telling these stories, I hope to open this discussion. I yearn for healing. I want to understand, so that I can accept, and move on.

Short Bio

b.1986 Potchefstroom, South Africa Strongly influenced by his skateboarding background, Van Staden uses street photography as a conceptual entry point to reflect on personal imaginaries and social constructs of belonging and disconnect. Van Staden became a fellow at the Photographers’ Masterclass of the Goethe Institut in 2017 and graduated in 2018. His work was shown in Cities and Memory at Brandts, Odense as part of the Photo Biennale in Denmark (2016) and in Nimes, France as part of the South African show “Resiste” at NegPos gallery (2017). He recently received the CAP prize (2019) for his series “Microlight”, and the concurrent exhibitions and screenings have started traveling Europe and Africa. He lives and works in Cape Town. Represented by From here on, Johannesburg.

Eleana Niki Konstantellos André – The Art of Memory

Eleana Niki Konstantellos André

The Art of Memory

[ FUJIFILM/YOUNG TALENT AWARD 2019 FINALIST ]

Memory is the faculty by which the mind stores and remembers information. Dementia is a set of symptoms that may include memory loss and difficulties with thinking, problem-solving or language. Experience changes in their mood or behavior. Dementia can be caused by Alzheimer’s disease or a series of strokes. This project started in 2015 when my grandfather, Alfonso, passed away. He and my grandmother, Esther, had shared their life together. I started photographing her to understand her grief. It would be extremely difficult for her to overcome this event as she was suffering from an important memory and eyesight loss. It was my way to accompany her and get to know her better. I found that in 1998 she had an important pool accident which led her to a severe memory loss. The family archive endowed me lots of photos, poems, diaries, and letters. I discovered her love, her dreams, and, her fears. The mechanisms of the memory and the materials I had found became detonators in a creative process: the reconstruction of my roots and my grandmother’s history.

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8 - Unconscious Inheritance (self-portrait) - 20fb1b75-ca14-45d4-ada9-01939fa5e5f1

9 - Que oscura esta la noche - eb140947-af26-4c9f-a6f1-7948ecdfd99e

To finish this project I would use this Found to continue a series of photographs with my grandmother in the places that were important through her life (Cocoyoc, Morelos; Acapulco, Guerrero; Colonia del Valle, Mexico City; etc). I want to revisit those places to talk about the “role” women are supposed to adopt. I would merge past and present, as I did in my self-portrait wearing her wedding dress. It would be a contemporary interpretation of her life. A photo book would be the ideal way to share this project. Music helps to minimize some of the symptoms of dementia. That is why I will integrate -through a QR code- her voice and the songs she remembers and sings. It would be as if the viewer could transport his-self to my grandmother’s home to spend some time with her. Our memory belongs inseparably to oblivion. We need to forget in order to live, to learn and create our memories.

13 - Fragmented memories - add338da-225f-4686-80ff-99a611065d45

14 - Cappuccino and aging. - 30ee28fe-f4e8-42e5-b59d-c454d3f0e550

19 - Lupita - 4016a275-bfef-43b3-a674-18c9f7810318

20 - Everything's gonna be alright now - aab469c7-c8e2-46fa-85c4-e0ac7e9d47b0

Short Bio

Eleana Konstantellos André is a Franco-Greek-Mexican photographer born in 1995 in Paris, France and currently living in Mexico City. She graduated from the Active School of Photography (2013/2015) in Mexico City. In 2016 she worked three months with the Greek non-governmental company ARSIS doing field work, research and photographing refugee families from Syria, Pakistan and Iran in Athens. In 2017 she collaborated photographing the action of Operation Blessing International in Juchitan, Mexico, after the earthquake of Septembre, 8th. In 2017 she participated in a workshop on documentary photography and travel photography in Oaxaca, given by Brett Gundlock and Linsday Lauckner. In 2018 she was selected for a portfolio review from TransEurope Photo that took place in Athens, Greece. She was also selected to take part in a photographic clinic with the photographer Francisco Mata Rosas given in the UAM in Mexico City. That same year she received a scholarship to attend the fifth Boreal Bash in San Luis Potosi, Mexico. She has been adviced and her work has been curated by Martine Ravache, a well known French curator. Her work has led her to exhibit in different places in Mexico and Greece.

在国外能访问国内的网站吗？_百度知道:2021-1-3 · 如果你的网站主 1653 要是针对国外用户访问的话，可以选择把网站放在国外机房的服务器上即可。除了在国内可以访问以外.在国外也可以访问的。而且在国外访问的速度很理想。其实不全是国内限制了国外的IP，有很多程度是因为国内的网络太差。

Matt Eich

怎么爬墙外国

[ EPF 2019 FINALIST ]

In 2019-2020 I will be commuting from Charlottesville, Virginia to Washington, D.C. via train on a weekly basis. I also intend to walk the train line in intervals, photographing the scenes I encounter on its peripheries. I view the train line as an artery between my home in Charlottesville (where my heart stays), and Washington, DC, the seat of power in the United States. During my days in Washington, DC I will document the dichotomy between the powerful and the powerless. During my days in Charlottesville, I will photograph my own family, and my community. The background for these images are the final days of Trump’s first term in office, and the lead-up to the next Presidential elections. By juxtaposing powerful circles in Washington, DC with the recovering community of Charlottesville, VA, and the largely rural area in between, I will attempt to put my finger on the pulse of our country during this critical time.

2 - Untitled (Hold) - 1bd41a0f-8130-49ff-97b8-a7681ac1be7c

3 - Barbershop on Election Day - df0d94e4-7077-4fb2-b572-e6a2a9d2fa5b

4 - Nazeer pointing - 26db5886-6146-4db3-81a7-26ac0cf00e43

7 - Untitled (Embrace) - 8bae0b03-401e-4089-a1ee-a9747a2579f6

9 - Silver Man at the RNC - aec25356-ff9a-44d8-9a4f-d1eeb0c2c2ec

This work will be absorbed into a larger series called “Say Hello to Everybody, OK?”, which looks at America in the years surrounding Trump’s time in office, beginning in 2014. The series will either conclude in 2020 or 2024, likely resulting in a monograph and exhibitions, but my primary intention is to disseminate the work through widely distributed free newsprint publications and pop-up installations in underserved communities. My goal is to find, or create, a connective visual tissue throughout our country during this divided time. With my work I am looking for the threads that connect us as families, as communities, as Americans and as humans. If we are at risk of forgetting too much of our world, and ourselves, photography is an antidote.

11 - Larry - 2b4ab510-e8d8-4ebf-9917-4c37be6ceb8e

12 - Milk on the James River - fb2d42d1-883d-47c2-9b89-e57063fec4a7

13 - Bathroom - 4cb79af6-ac61-47ed-b4e0-dd2e9e80fdb0

16 - Smokestacks - e3b4f0ed-639c-485d-b304-47ffb4fe7838

17 - Watermen - f3d9b059-82b4-48d9-9af5-9a837e0a06b0

20 - Playground - 88192712-3ba3-402d-ac99-2d3c4c387dc1

21 - Untitled (Rock) - 2f39581d-0f0a-43b3-9fba-6f17a7027384

23 - Forms in the Forest - 17bb9ddf-6a8a-42fc-be71-4fdcd2527485

25 - Underwater implosion - bf61ca3c-f7c3-4048-8a43-7e63059a2a4f

Short Bio

如何能浏览国外的网站？ _网络资源_互联网_网络 ...-天涯社区:2021-10-11 · 想浏览国外网站，无论手机端和PC端都需要VPN支持。这时候需要有VPN软件才行，免费的都渣，收费的好用的也不多。目前最好用的是一款软件是逐影VPN ，效果相当不错！

Eva O’Leary – Happy Valley

怎样才能浏览国外网址

Eva O’Leary

手机翻国外网站教程

[ EPF 2019 FINALIST ]

I grew up in a central Pennsylvanian town, nicknamed Happy Valley. It is home to Penn State University, a big ten party school that dominates the culture both economically and geographically. The town is homogeneous, 71% of the inhabitants are between the ages of 18-24 and 83.2% of the population is white. It is made up of two main streets, and prides itself on housing the forth largest stadium in the world. In 2008, it was named the largest party school in America by the Princeton review, and in 2012 it had the highest number of reports of forcible sex offenses on any campus in the nation (partially related to a child sex abuse scandal that made international headlines). My childhood and teen years were spent on the edge of Penn State’s campus, our home was down the street from the stadium and surrounded by student rentals. As a teenager, I had easy access to the campus and local party culture. My first experiences of adulthood were heavily impacted by the normalization of binge drinking, gendered power dynamics, patriotism and hook-up culture. For the last five years, I have been making photographs that reflect on my experiences growing up in this environment. In making this work, I’m referencing a personal archive of journals and documents from my young adult years and using this material as a conceptual map.

6 - Polar © Bears - 661ca93f-24f3-48dc-a3db-9a60609a0092

11 - No Whip - e844cd8e-1f4c-47e1-88d2-77ea21ef8520

12 - 2 Brothers - 8b60a8fd-56a7-4436-ba4d-4b22cac310ff

13 - Solo Cup - c348329b-e183-40a1-bdec-4c0f4567aa6a

19 - Redhead (Amie) - 0d9931b1-d558-4499-9ced-f32f39c0f431

25 - Elijah - 8f94d959-a164-46ce-bbe9-f81d6b841d15

Short Bio

Eva O’Leary graduated from Yale University’s masters of Fine Art program in 2016 and received a BFA from California College of the Arts in 2012. O’Leary is a recent winner of the Outset Unseen Exhibition Fund, which resulted in an exhibition at Foam, Amsterdam in 2019. She was the recipient of the Hyères Festival Photographie Grand Prix in 2018, The Vontobel Contemporary Photography Prize in 2017, and was named a Foam Talent in 2014. Her work has been featured in a range of publications, including ArtForum, Aperture, 1000 Words and The New Yorker. Her work has been exhibited in numerous solo and group shows both within the United States and abroad, including the CAFA Art Museum (Beijing), LTD Los Angeles (LA), Villa Noailles (Hyeres, France), l’Atelier Néerlandais (Paris), Benaki Museum (Athens), and Aperture Foundation (New York).

Pieter Bas Bouwman – Human & Wildlife Conflict

电脑怎么上国外网站

Human & Wildlife Conflict

[ EPF 2019 FINALIST ]

出售翻墙软件账号等广东警方破获网络黑灰产业链案_新闻 ...:2021-9-3 · 广东湛江市公安局3日向媒体披露，当地网警近日在“净网2021”专项行动中，破获一起网络黑灰产业链案。原标题：中新社湛江9月3日电 (梁盛钟涛)广东湛江市公安局3日向媒体披露，当地网警近日在“净网2021”专项行动中，破获一起网络黑灰产业链案。

2 - The history of the bow and arrow is the history of mankind Fred Bear - 7726b0ae-1db3-4f1a-90a2-e3a9ceafd67f

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12 - Aftermath - 85489d8c-733a-4425-9404-0837d1d1a634

14 - Human & Wildlife - c2ffe859-7a4a-4f76-afb1-826d8eb3459c

16 - Protection - d4bca0bc-8832-4d3c-9b50-39a8d47467a3

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18 - Wrong Turn - 2f1c6ca7-f99f-4429-bde6-8c96d25cbe6b

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25 - Maasai - f27d24dc-e26f-473f-a0cf-f5955f9eb0d7

By spending time in Kenya I understand the actions of both the tribesmen and the anti-poaching units. I am not approving these actions, but as an outsider I feel their burden which is partly a result of Western paternalism. The tribesmen haven’t changed their attitude towards wildlife whilst the West has caused damage over the years and tries to resolve that now. The anti-poaching units have the luxury to worry for elements in life which are secondary in nature to survival. This make the perspectives and perceptions completely different and hard to unify.

墙后你懂得的app

A central theme often explored in Pieter Bas his photos is the balance and imbalance between humans and nature. It often appears in his photographs of animals, destroyed or decayed surroundings and any other traces of human intervention. This strongly relates to the transience and fleeting character of things. More specifically, it grasps a tiny piece of the most fundamental aspects of life, involving the passage of time, of nature and the world as a whole, that is slowly disappearing due to human intervention. Contrasts become more obvious under tense circumstances. By showing the effects on a micro level, the wider imprint feels more present. The transience and fleeting characters are visually translated by a blurry suggestion of movements and dynamics. Confronted with these impressions often goes together with a certain nostalgic and melancholic feeling about everything that’s lost, and for everything that will be lost… His images are slowly and carefully composed. Compositions are attentively considered, using colors and shapes while trusting basic intuition. Although, impressions appear to be seemingly perfect, they never fully are. To Pieter Bas, beauty is to be found in the imperfection of life.

大陆怎么浏览外国网站

怎么进入国外的网页

Paul Guilmoth and Dylan Hausthor are the recipients of the 2019 Fujilm/Young Talent Award for the essay. This honor recognizes photographers 25 and under, granting them $10,000 from Fujifilm to continue the work.

Paul Guilmoth & Dylan Hausthor

电脑怎么上国外网站

[ FUJIFILM/YOUNG TALENT AWARD 2019 RECIPIENT – $10,000 ]

Sleep Creek is a landscape filled with trauma and beauty. It’s a place where animals are only seen when they’re being hunted and humans balance between an unapologetic existence and an abyss of secrecy. These images manipulate a landscape that is simultaneously autobiographical, documentary, and fictional: a weaving of myth and symbol in order to be confronted with the experiential. Following the rituals of those within it, Sleep Creek is an obsession between the subject and the photographer—a compulsion to reveal its shrouded nature.

1 - Caretaker At Black Pond - 5c30e8ba-18e0-4079-9f75-64c56368889e

2 - Smoke Hole - 5ea78a03-96ac-489f-8bb0-d8236b61740b

3 - Web Submerged In MIll River - eefe4c80-bdaf-43b6-bdd1-c1779a0daf6c

4 - Ann - d78785d4-f92b-44ba-9398-42a6806a8687

5 - Bats - f0034b65-661f-429f-9eaa-3c105496d77d

9 - Dead Men, Look At Me - 7c48509a-41b4-4405-b7cb-8d4ad741dc6a

10 - Shedding - c3407096-7ec2-4a74-b1b7-fd3946777413

12 - Snake - 5c1507fb-fb77-4bc7-98d1-89389deca952

13 - River - 3dd1f937-8751-4240-b6d0-ca1a5363effc

15 - Grass At Night - 6bbf78aa-c54b-4299-abc8-b2891cd63f6d

手机翻国外网站教程

Paul Guilmoth and Dylan Hausthor are a collaborative artist duo based in rural New England. Their practice is primarily focused on photographic and bookmaking art; experimenting with the boundaries of both. They co-founded the publication studio Wilt Press in the winter of 2015. Both graduated from Maine College of Art in that same year and together make work that centers around the myth of place and the complexity of image-based narrative. Hausthor and Guilmoth search for the sparkling beauty found in performances given for nothing and nobody amidst the intense silence of snow-covered spruce trees. Their work is simultaneously autobiographical, documentary, and fictional : weaving together staged portraits, manipulated natural and man-made environments, and tradtional photographic documentation.

电脑怎么上国外网站

Azadeh Besharati is the recipient of the 2019 Emerging Photographer Fund and has been granted $10,000 for this essay. Burn Magazine revolves around the EPF and it is our most important curatorial contribution to the oftentimes chaotic landscape of photography today. Most importantly, our mission is to give recognition to the finest emerging authors out there and to provide some funding to keep going and to continue making a mark.

Azadeh Besharati

手机翻国外网站教程

中国的外挂已经悄悄“出海”东南亚甚至卖到了西班牙… - 游戏 ...:2021-6-15 · 下图为小 Z 向外国代理展示外挂界面小 A 这边有渠道可以直接联系外挂作者，所以能以很低的价格拿到外挂，按照 “ 批发价 ” 拿货，他的外挂成本大概在 1 - 3 元一张（天卡，只能用一天）。而他把外挂卖给代理商，都是原价卖的。

Shima and Shiva, they fight to have a happy life, though happy life is hard to be achieved. Shima and Shiva are twins. They are 23. They were born in Masal in Guilan province, Iran. When they were one, their convulsions started because of genetic problems. They were unable to walk since then. At the same time, they lost their father in an accident. As they became older, their mother was unable to look after them so they were delivered to a nursing house for elderly and disabled. Shima and Shiva are very welcoming and friendly with the visitors because they need their help to leave the nursing home temporarily as the visitors’ guest and to see more of this world. These twins are not friendly with the staff of the nursing home because they can’t understand one and other. The nurses and the other patients can’t understand these twins because they are always planning to have fun. In addition, these twins don’t neglect their wishes and they try to fulfill them. They don’t understand the rules of the nursing home. They like sleeping late at nights and they believe this is their right to fall in love, travel, swim and ride their wheelchairs around the city in bazaars and streets. Authorities in Iran only pay attention to the basic needs of the handicaps such as food, clothing and shelter. This is the reason why these children and other handicapped babies are reluctant to think about their future. They can’t dream or enjoy their lives. Shima and Shiva are in that critical period of their lives that people become emotionally sensitive and they look for love all the time. They know that living is their obvious right and because they are twins they resist more severely not to let others topple their right. They are a combination of loneliness and togetherness. They are a combination of happiness and sadness…

On the beach, 2018 from "Shima & Shiva" - © Azadeh Besharati

2 - Documents - 1b1ff7cf-2ca5-480d-a8a2-1ca0cde05bcf

3 - At grandfather's house - 53844ae5-6ca2-4d7f-b0bf-420eab395560_1

4 - Their toothbrush - d1ddc594-7cae-4083-bb6b-84fd4266a422_1

5 - Their friend's birthday party - d5bf48cb-35df-4130-b532-1540ee52792b_1

6 - Shima and shiva's BD - caeb26df-0d37-4381-9907-5cd50b11664c_1

7 - love story - 411b6c50-9be9-4113-97b8-bd0f6c4496d5_1

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12 - The Room - d160916e-2aa6-4a35-a466-6587b65c10d9

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16 - The Yard of Nursing-house - 64c484f3-7097-4af4-8582-612ccf2a60bd

19 - Father - 7c52d8b5-8ea0-4ccb-b2a7-494bbf2eb4c7

21 - Bathroom - cbcc0e7b-94b4-4f5a-9933-34ac867894cc

23 - Boocia - 702f0fbf-c4f6-4c37-aff1-b11fcca4a6b7

24 - The Yard of nursing-house - ca42e064-7682-4ef9-b45a-5d1f337930ee

25 - On the beach - 0368ca83-7845-45b2-8f47-3eb990c1174f

翻到外国的网站加速软件

Azadeh Besharati is a documentary photographer and poet, living in Rasht, Iran.

电脑怎么上国外网站

azadehbesharati.com

—–

The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Published on September 16, 2019 by burn magazine. 1 电脑怎么上国外网站

怎么进入国外的网页

就爱加速官网 app

如何越狱上国外网站

翻到外国的网站加速软件

EPF 2019 WINNER – $10,000

Shima & Shiva speaks about two twins who suffer from a genetic disorder and are fighting for a happy life in Iran.

—

就爱加速官网 app

电脑怎么上国外网站

Paul Guilmoth & Dylan Hausthor

电脑怎么上国外网站

FUJIFILM/YOUNG TALENT AWARD 2019 WINNER – $10,000

Sleep Creek manipulates a landscape that is simultaneously autobiographical, documentary, and fictional. As described by the artists, it “is an obsession between the subject and the photographer—a compulsion to reveal its shrouded nature.”

—

手机翻国外网站教程

Ute Behrend

怎样才能浏览国外网址

Pieter Bas Bouwman

Andrés Cardona

Turjoy Chowdhury

Matt Eich

Robin Friend

Jaakko Kahilaniemi

Janne Korkko

Daniel Kovalovszky

Eva O’Leary

Lavinia Parlamenti and Manfredi Pantanella

Sathish Kumar

Jansen van Staden

The full essays of all winners and shortlisted entries will be published here on BURN magazine.

—

如何越狱上国外网站

Chris Donovan

如何越狱上国外网站

Mariia Ermolenko

Lyu Geer

Anniina Joensalo

Eleana Niki Konstantellos André

Jimmy Lee

手机翻国外网站教程

Andrea Orejarena & Caleb Stein

Mafalda Rakoš

Ana Zibelnik

Their full essays will be published on BURN magazine.

—

Emerging Photographer Fund 2018 – Judges:

(in alphabetical order)

Alfredo De Stéfano | Director of the photography festival Luz del Norte

NayanTara Kakshapati | Curator, co-founder of the Nepal Picture Library and the photography festival Photo Kathmandu

Kosuke Ohara | Photographer

Kathy Ryan | Director of Photography for The New York Times Magazine

Kevin Wy Lee | Photographer, founder of Invisible Photographer Asia (IPA)

—

Previous EPF Winners

The 2008 Emerging Photographer Fund grant was awarded to
Sean Gallagher for his essay on the environmental Desertification of China.

The 2009 Emerging Photographer Fund grant was awarded to
Alejandro Chaskielberg for his 8×10 format essay on the Parana River Delta ‘The High Tide’.

The 2010 Emerging Photographer Fund grant was awarded to
手机翻国外网站教程 for his essay ‘Northern Caucasus’.

The 2011 Emerging Photographer Fund grant was awarded to
Irina Werning for her essay ‘Back to the Future’.

In 2012 three Emerging Photographer Fund grants were awarded:
one major to Matt Lutton for his essay ‘Only Unity’ and
two minors to Giovanni Cocco for his essay ‘Monia’ and to Simona Ghizzoni for her essay ‘Afterdark’.

In 翻到外国的网站加速软件 four Emerging Photographer Fund grants were awarded:
one major to 怎么爬墙外国 for her essay ‘My Father The Stranger’ and
three minors to Iveta Vaivode for her essay ‘Somewhere on Disappearing Path’,
Oksana Yushko for her essay ‘Balklava: The Lost History’ and
如何越狱上国外网站 for his essay ‘Under The Skin; Photographs From Brzeska Street’.

In 2014 two Emerging Photographer Fund grants were awarded:
one major to Alessandro Penso for his essay ‘Lost Generation’ and
one minor to Birte Kaufmann for her essay ‘The Travelers’.

In 2015 the Emerging Photographer Fund was awarded to Danila Tkachenko for ‘Restricted Areas’, and
the Fujifilm Young Talent Award to Sofia Valiente for ‘Miracle Village’.

In 2016 the Emerging Photographer Fund was awarded to Annie Flanagan for ‘Deafening Sound’, and
the Fujifilm Young Talent Award to Aleksander Raczynski for ‘Views’

In 2017 the Emerging Photographer Fund was awarded to Antoine Bruy for ‘Outback Mythologies’, and
the Fujifilm Young Talent Award to Aleksey Kondratyev for ‘Ice Fishers’

In 2018 the Emerging Photographer Fund was awarded to Shadman Shahid for ‘No Quarter’, and
the Fujifilm Young Talent Award to Tabitha Barnard for ‘Cult of Womanhood’

—

大陆怎么浏览外国网站

I cannot express my thanks enough to Alfredo, Nayantara, Kosuke, Kathy and Kevin. They worked together to finely tune their choices, looked at the finalists from every angle and awarded the EPF grants to the photographers they felt most deserving. Of course, once it got down to the finalists, choices became extremely difficult, but that is a given… and they did an admirable job. Thank you.

A heartfelt thank you also to Fujifilm for making it possible for the EPF to keep the focus on the future generations, the young ones, the ones with a vision already making a mark now… and just might make another jump soon.

FujiFilm_Basic-Black

Burn Magazine revolves around the EPF. Our most important curatorial contribution to the oftentimes chaotic landscape of photography today. By choosing a jury whose lifetimes have been spent in looking at photographs and making photographs, we try to give our Burn readers a distilled version of the best work of all that flows before their eyes every day.

Most importantly our mission is to give recognition to the finest emerging authors out there and to provide some funding to at least a few to keep going and to continue making a mark. Our previous winners prove this is not in vain.

Many thanks especially to my EPF team Anton Kusters, Diego Orlando, and Mallory Bracken. First off, they must deal with me!! Never easy. In all seriousness, they all show amazing dedication to the spirit of doing something which just feels good. To provide a platform for the up and coming.

如何越狱上国外网站

Special thanks to Susan Meiselas of the Magnum Foundation. Nobody on the planet is more dedicated to allowing new talent to develop.

Special thanks also to Michael Loyd Young, EPF funder and BURN Magazine board member.

-dah-

—

The Emerging Photographer Fund was created and is directed by David Alan Harvey,
curated and produced by Anton Kusters & Diego Orlando.

Published on September 15, 2019 by 如何越狱上国外网站. comments closed.

Yael Martinez – La casa que sangra

电脑怎么上国外网站

怎么进入国外的网页

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Bio

Related Links

Giorgio Bianchi – Donbass Stories

怎么爬墙外国

Giorgio Bianchi

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就爱加速官网 app

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大陆怎么浏览外国网站

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Joel Pulliam – Springtime Nightmare

Joel Pulliam

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Bio

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墙后你懂得的app

Irina Werning

怎么爬墙外国

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Gianmarco Maraviglia – Winter Came in Spring

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Winter Came in Spring

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Sissie Chang – Don’t Throw Away Your Daughters

Sissie Chang

Don’t Throw Away Your Daughters

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Mafalda Rakoš

A Story to Tell

[ FUJIFILM/YOUNG TALENT AWARD 2019 FINALIST ]

Short Bio

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Chris Donovan – The Cloud Factory

电脑怎么上国外网站

The Cloud Factory

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