Exhibition: 9 June - 14 July 2012
Opening: Saturday 9 June, 4 pm
The Young talents in this exhibition are three recently graduated photographers from the HKU; Sanne Cobussen, Peter Lipton and Laura van Rijs and the young German photographer Malte Wandel from München. Their work Is not similar yet a binding factor is their social interest for situations and people.
Laura van Rijs has made a wonderful series of ‘head scarves’ on the heads of women, photographed from behind and arranged by colour, in order to dispel the stereotype of the head scarve as a black and inapproachable object. And, strangely enough, the head scarve portraits are indeed portraits, individuals, each colour and each image is specific, unique.
Sanne Cobussen shows a series of photographs portraying falling people. When you look a bit closer they appear to be elderly people, practising how to fall. Discomfiture is there but the image as form, the figure as sculpture is stronger than the shock reaction one feels seeing the photos. The discomfiture makes place for approval of these strange silent photos.
Peter Lipton and Malte Wandel have focused their cameras on social abuse in Ecuador (Lipton) and difficult social circumstances in Mozambique (Wandel).
Lipton followed the trail of the oil recovery in Ecuador in the area of the socially weak groups of Native Americans that live too close to the oil wells. Their environment is completely dominated by pipes, trucks, polluted air and soil and many miles of fence separating the oil company from the environment, the jungle and the villages of the inhabitants. The tension between the oil and the money and the poverty of the local inhabitants can be felt in Lipton’s photos. His amazement concerning this society shows in the series El via auca – The road of savages.
Malte Wandel discovered a group of people in Mozambique that have lived and worked in East Germany during the Communist period. After the Wende they returned to Mozambique, with ‘relics’ from East Germany, creating an odd streetscape. This series of photographs, entitled Einheit, Arbeit, Wachsamkeit binds the poverty in the African country with the German pragmatism, a rather bizarre combination.
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Fieke Ypma shows a series of drawings at the first floor of our house.
From each book in her bookcase, Ypma selected a line with text. By placing the selected lines behind each other, twelve chapters originated. She made an illustration for each chapter. The drawing is composed of already existing images, found on the internet using the line from the book to search Google.