The appearance of Cia de Foto in Brazilian photo graphy in the last decade brought with it discussions that helped us to reflect upon taboos so far considered untouchable. The three photographers of the collective created proper ethics and aesthetics, causing endless polemics and then, a great number of followers in Brazil and abroad.

Some of the group beliefs are not to sign their works individually and aggregate references of publicity and movies to the photodocumentaryism, breaking the compromise to realism and expanding the reportage beyond the limits of fiction. Even keeping the field of reportage, the themes should have priority over the author. Cia de Foto incorporate the idea that subjectivity and the perception of who relates the fact has forcefully to transpire on the surface of the image. This way they created an aesthetic that dialogues with many authors of photography history as well as with painting tradition in a profound and delicate study of light. These visual metaphors urge the viewer to try to find a more efficient way of mechanical devolution of the appearance of the real, as well as unique moments of photographic ecstasy.

In the series Caixa de Sapato (Shoe Box) the collective transits from the family private world to the public sphere with sensibility. Photographing without dogma and censorship, the body of work laid a vigorous poetic on the familiar routine and results in a universal code. In Caixa de Sapato, in which video format reaches its best narrative, the cycles of life and the effective liaisons that grow among people who live or visit the authors houses blossom into a vital force of unique beauty. Caixa de Sapato enables us to realize that the most compulsive beauty is enclosed in what we insist in daily ignoring. Hopefully photography in the future may teach us, surrounded by technological evolution, to look more humanistically and intensely at our surroundings.

selected by

Eder Chiodetto

All images Cia de Foto, 2006 ongoing

Cia de FotoCaixa de Sapato

What is commonly understood as art has become a mere genre of culture, a genre aimed at the production of artistic merchandise and ruled by the laws of the marketplace and the entertainment industry. It is a genre in the way that any other cultural form such as de sign, fashion, film, advertising, or the circus might be.

There is another art which doesnt draw the spotlight or walk the red carpet but which, from the most clandestine dissidence, proposes to fight the laws of the marketplace and the entertainment industry at precisely the same time as it reinvents itself as art. Its an art which rejects the splendour of the museums and biennials and any other efforts at subjugation. I want in fact only to talk of the future of this type of confrontational guerrilla art because the social chronicles and cultural anthropologists already take care of the other.

We live in a world saturated with images: we live in the image and the image lives in us and makes us live. Since McLuhan in the 1960s, the preponderant role of the mass media has been confirmed and the iconosphere can be considered the model of the global village. What change has brought now is not the immer sion in new communication frameworks (digital formats, internet, social networks) but the degree to which this extraordinary flow of images is found accessible to everyone.

We are therefore passing through an age of access. It is an era that crowns a process of secularization of the visual experience: the image ceases to be the domain of magicians, artists, spe cialists or professionals. We all produce images as a natural way of interacting with others. On the other hand, the consolidation of new work and behavioural habits (such as cloud computing) will catalyze many more dynamic cultural stages on a large scale (cloud imaging, cloud living).

This situation implies substantial changes for photography and the image in general that in the near and medium term will only increase.

berTA

JOAN

FON

Tcu

joa

n fo

ntcu

be

rta

203

This will be its

decalogue:

4On

the

fun

ction

of im

ag

es:

the

circula

tion

an

d

ma

na

ge

me

nt o

f the

ima

ge

w

ill pre

vail o

ver th

e co

n

ten

t of th

e im

ag

e.

7

On

th

e d

iale

ctic

of

the

so

cia

l:fu

rth

er

ad

van

ces

in o

verc

om

ing

th

e t

en

sio

n b

etw

ee

n t

he

pri

vate

a

nd

th

e p

ub

lic.

9On the experience of art:creative practices whichaccustom us to dispossession will be privileged: it is better to share than to own.

3On

the

artists re

spo

nsib

ility:

an

eco

log

y o

f the

visu

al w

hich

w

ill pe

na

lize sa

tura

tion

an

d

en

cou

rag

e re

cycling

.

1On the role of the artist:no longer a case of producing works but of prescribing meanings.

6On

the

dia

lectic o

f the

sub

ject:

we

will fi

nd

gre

ate

r cam

ou

fla

ge

o

f the

au

tho

r an

d re

form

u la

tio

n o

f the

mo

de

ls of a

uth

orsh

ip

(coa

uth

orsh

ip, co

llab

ora

tive

crea

tion

, inte

ractiv

ity, strate

gic

an

on

ym

ities a

nd

orp

ha

n w

ork

s).

204

foa

m m

ag

azi

ne

#2

9 w

ha

t's

ne

xt?

5On the philosophy of art:discourses of originality will be delegitimized and appropriationist practices will be normalized.

8On

arts h

orizo

n:

mo

re p

lay

will b

e

give

n to

the

lud

ic a

spe

cts an

d le

ss to

the

sole

mn

an

d th

e b

orin

g.

In short, it is a matter of greeting a new visual culture able to prepare us for resistance,

which trains us not justto live in the image but to

survive the images.

10 On the polit

ics

of

art

:n

ot

to s

urr

en

de

r to

g

lam

ou

r a

nd

co

n

sum

pti

on

bu

t ra

the

r to

em

ba

rk o

n t

he

a

ct o

f a

git

ati

ng

co

nsc

ien

ces.

2On the artists behaviour:the artist merges with the curator, with the collector, with the teacher, with the art historian, with the theorist... (all facets of art have become chameleon like and authorial).

205

joa

n fo

ntcu

be

rta

206

cont

ribut

ors

Andy Best (1975, Australia) is a multidisciplinary artist, working primarily in painting, sculpture, photography and works on paper. Exhibitions include Primavera at the Museum of Contemporary Art, Sydney (2009), and 2004: Australian Culture Now at the National Gallery of Victoria, Australia. He was awarded an Anne & Gordon Samstag International Visual Arts Scholarship in 2006. Andy Best is represented by Greenaway Art Gallery, Adelaide, Australia.

Adam Broomberg (1970, South Africa) and Oliver Chanarin (1971, England) are artists living and working in London. Their latest book War Primer 2 is published by MACK (2011) and interrogates the nature of the images of conflict that have proliferated since 9/11. They have exhibited widely and produced seven monographs. Broomberg and Chanarin are Visiting Fellows at the University of the Arts London.

Arnold van Bruggen (1979, the Netherlands) is a writer and filmmaker based in Amsterdam. Together with Eefje Blankevoort he founded and runs Prospektor, a company focused on the production of documentary practices. He is currently working on the Sochi Project with photographer Rob Hornstra.

Bruno Ceschel (1976, Italy) is a writer and curator; he lectures in photography at the Camberwell College of Arts, London. In 2010 he founded Self Publish, Be Happy an organization promoting and studying self-published photobooks. He has organized events at The Photographers Gallery, ICA Institute of Contemporary Arts and Whitechapel Gallery in London, OffPrint in Paris and at Flash Forward Festival in Toronto and Boston.

Cia de Foto is a photography collective based in So Paulo, Brazil, founded in 2003. It recently exhibited Histories of Maps, Pirates and Treasures in the Ita Cultural institute (So Paolo), an individual exhibition Entretanto at the Galeria Vermelho and the series Carnaval at the New York Photo Festival. The collective participated at the 3me biennale des images du monde Photoquai 2011 in Paris. Cia de Foto is represented by Galeria Vermelho, So Paolo, Brazil.

Clment Chroux (1970, France) is a curator at the Centre Pompidou / Muse National dArt Moderne. A historian of photo graphy with a doctorate in art history, he is also the editor of the journal tudes

Photographiques. He was one of the five curators of the exhibition From Here On as part of Les Rencontres d Arles (July 2011).

Eder Chiodetto (1965, Brazil) is an independent curator of photo-graphy and video, a journalist, photographer and photography critic based in Brazil. He is Professor of Photojournalism and Photogra-phy Essay at Museum of Modern Art of So Paulo.

Jrg Colberg (1968, Germany) is the founder and editor of Conscien-tious, a widely read weblog dedicated to contemporary fine art photography. He is a faculty member of the MFA Photography programme at Hartford Art School (Northampton). His writings have appeared in international maga-zines and he has contributed introductory essays to monographs by various photographers.

Lauren Cornell (1978, United States) is Executive Director at Rhizome and Adjunct Curator at the New Museum of Contemporary Art in New York, where she oversees and develops Rhizomes pro-grammes, all of which support the creation, presentation and preservation of art engaged with technology. In addition to her curatorial work at the New Museum, Cornell organizes the monthly New Silent Series, featuring screenings, events and performances by emerging artists.

Charlotte Cotton (1971, United Kingdom) is the Creative Director of the National Media Museum in Bradford, England. She is the author of Imperfect Beauty (2000), Guy Bourdin (2003), Then Things Went Quiet (2003) and The Photograph as Contemporary Art (2005 and 2009). She is also the founding editor of wordswithout-pictures.org.

Nickel van Duijvenboden (1981, the Netherlands) investigates forms of writings that border on visual art. In 2003 he published a collection of essays, The Grand Absence, and graduated as a photographer without photographs at the Royal Academy of Art, The Hague (NL). He teaches at the Photo Depart-ment of the Gerrit Rietveld Academie in Amsterdam and supervised the second years photography students taking part in the Whats Next? project initiated by Foam.

Constant Dullaart (1979, The Netherlands) is a Berlin-based artist and curator who works primarily on and with the world

wide web. His work is shown internationally at places such as the Centre Pompidou in Paris; Art in General and MWNM galleries in New York; the ICA in London; NIMk, de Appel, W139 and the Stedelijk Museum in Amsterdam.

cole Nationale Suprieure de la Photographie/ The National School of Photography (ENSP), founded in 1982 in Arles (South France), is a higher education establishment under the general supervision of the French Ministry of Culture. The Schools principal mission is to train artistic photographers, who acquire both solid theoretical knowledge and in-depth technical skills. It is also actively involved in organising exhibition while contributing to various publications, and publishing its own journal Infra-Mince.

Hasan and Husain Essop (1985, South Africa) are two brothers and photographers based in Cape Town. Their exhibitions include Powerplay (2008), Halaal Art (2010) at the Goodman Gallery, the Havana Biennial (2009) and DakArt Biennial, Dakar (2010), the V&A Victoria and Albert Museum, London (2011) and the Gallery Isabelle van den Eynde in Dubai (2011). Hasan & Husain Essop are represented by Goodman Gallery, South Africa.

Fantom Photographic Quarterly is an international publication about the uses and abuses of photo-graphy published by Boiler Corpora-tion s.r.l., Milano, Italy. A voyage into photography, first and foremost Fantom features the voice of photographers, in interviews, portfolios, and statements. Fantom is edited by Cay Sophie Rabinowitz (New York, USA) and Selva Barni (Milano, Italy).

Joan Fontcuberta (1955, Spain) has had his work exhibited globally, including at MoMA in New York and the Art Institute in Chicago. He is the founder and editor of the magazine PhotoVision and has written several books about the history, aesthetics and the teaching of photography.

Gerrit Rietveld Academie is a university of applied sciences for Fine Arts and Design in Amsterdam. After a general first year, called the Foundation Year, the student continues with a three year long in-depth study within one of the twelve specialisations. By specialis-ing in Photography at the Rietveld Academie, students are trained as autonomous photographers, creating conceptual work in which photography serves as a catalyst.

The university offers also four master degree programmes in partnership with the Sandberg Institute.

Foam Lab is a special activity created by Foam in 2007. A group of ambitious youngsters heading towards a career in the creative industry develop different projects and events based around photo-graphy during the run of one year. For its third edition that started in February 2011, the FoamLab participants are Jerry Celie, Liset van der Laan, Fenna Lampe, Eelke Mol, Hugo van de Poel and Rosa Ronsdorf.

Frits Gierstberg (1959, the Nether-lands) is an art historian and critic. He has worked as Head of Exhibi-tions and curator at the Nederlands Fotomuseum in Rotterdam since 2003. He is co-editor of a number of books on photography and visual culture, among them The Image Society. Essays on Visual Culture (2002), Documentary Now! Contemporary Strategies in Photography, Film and Visual Arts (2005) and The Dutch Photobook 1945 - 2010 (upcoming).

Jefferson W. Hack (1971, Uruguay) is a journalist and magazine editor. He co-founded Dazed & Confused with photographer Rankin in 1991. Hack has been a contributor to The Daily Telegraph on mens style and has guest-edited The Independent. He sits as a judge on the panel for the Paris ANDAM fashion award.

Rob Hornstra (1975, the Nether-lands) is a documentary photo-grapher. In 2009, together with the writer and filmmaker Arnold van Bruggen, he started the Sochi Project. He is co-founder of FOTODOK Space for Documentary Photography in Utrecht (NL). Rob Hornstra is represented by Flatland Gallery, Utrecht (the Netherlands).

David Horvitz (1982, USA) is a photographer, writer and perform-ance artist from Los Angeles. He is currently based in Brooklyn. He has published several books. His works have been exhibited in various galleries and museums, including Galerie West (The Hague, NL), Art Metropole (Toronto) and the New Museum (NYC). Last summer he was nominated for the Discovery Prize at the photography festival Les Rencontres d Arles.

Max Houghton (1970, United Kingdom) is editor of 8 magazine and foto8.com. She is Course Leader of the MA in Photojournal-ism at Westminster University. Based in Brighton, she writes about photography and the media on a

207

contributorsfreelance basis for a variety of international publications.

Michiel van Iersel (1978, the Netherlands) co-founded Non-fiction, an Amsterdam based office for cultural innovation, in 2008. He speaks and writes about art and culture on a regular basis and has hosted or co-hosted conferences on museum innovation, including McMuseum (2002), Open Museum (2008) and Curating the City (2009).

The Impossible Project was initiated by Dr.Florian Kaps (CMO), Andr Bosman (COO) and Marwan Saba (CFO) in 2008. Its mission was not to re-build Polaroid film but to develop a new product with new characteristics. In 2010 Impossible introduced its first, brand new analog Instant Film materials. Impossible initiated also several projects dedicated to support and promote Instant Photography amongst artists and photographers. Impossible Project Spaces have opened in New York City (USA), Tokyo (Japan) and Vienna (Austria).

Anne-Celine Jaeger (1975, Germany) is a British-based journalist and critic. Among her books is Image Makers, Image Takers: The Essential Guide to Photography by Those in the Know. She has written for many publica-tions, including The Guardian, The Sunday Times, Foam Magazine and Wallpaper* as well as Sddeutsche Zeitung and Du magazine.

Michael T. Jones (1960, United States) is Googles Chief Technology Advocate. He was previously Chief Technologist of Google Maps, Earth, and Local Search. He has developed scientific and interactive computer graphics software and has used a home-built 4-gigapixel camera made with parts from the U2/SR71.

JR (1983, France) is an artist describing himself as a photograf-feur. His artistic research involves photography, street art and participatory art. His first exhibition, Expos 2 Rue, was held in the streets of Paris in 2001. With the project Face2Face (2007) he made portraits of Palestinians and Israelis and pasted them up in huge formats on both sides of the wall. After winning the TED Prize in 2011 he started the project Inside Out, a large scale participatory project about identity. His current project Unframed reinterprets in huge formats photos from important photographers taken from the archives of muse-ums. JR is represented by Galerie Perrotin in Paris.

Erik Kessels (1966, the Netherlands) is a founding partner and creative director of KesselsKramer, an international communications agency based in Amsterdam. He has curated numerous photography exhibitions such as USE ME, ABUSE ME at the New York Photo Festival 2010 and most recently From Here On at Les Rencontres dArles, France.

Kadir van Lohuizen (1963, the Netherlands) is an independent photojournalist. He has covered conflicts throughout the world, but he is probably best known for his projects on the seven rivers of the world and the diamond industry (published as photobooks Diamond Matters, the diamond industry and Aderen). In Via PanAm Van Lohuizen brings the focus back to Latin America, which is hardly visible in todays news coverage. He has received numerous prizes for his work, and established with ten others the photo agency NOOR images (Amsterdam).

Flora Lysen (1984, the Netherlands) is an independent writer, curator and researcher, currently teaching at the Master program in Artistic Research at the Royal Academy of Art, The Hague. In 2010 she was the curator of The Smooth and the Striated, an exhibition in collabora-tion with the University of Amster-dam, showing the work of eight contemporary artists.

Lev Manovich (1960, Russia) is professor in the Visual Arts Department of the University of California, San Diego, director of the Software Studies Initiative, and a professor at the European Graduate School (EGS). He focuses on developing analytical tools that can model new patterns and trends within web-based cultural produc-tion and social media.

Anne Marsh (Australia) is Director of the Art Theory Program and Associate Dean Research at Monash University in Australia. Her research areas include photo graphy, performance art, feminism, postmodernism and psychoanalysis. Her books include Look: Contemporary Australian Photo graphy since 1980 (Macmillan Publishers, 2010).

Lesley A. Martin (1970, United States) is publisher of Aperture Foundations book program. She was one of the inaugural curators of the New York Photo Festival in 2008. In 2006 American Photo named Martin one of the Innovators of the Year, for breaking the mold for iconic photography books with her

cadre of conceptually oriented books that have added a fresh vision to the photography world.

Nicholas Mirzoeff (United Kingdom) is Professor of Media Culture and Communication at New York Univer-sity. His publications and projects contributed fundamentally to the general development of Visual Culture as a field of study and a methodology. He wrote and edited An Introduction to Visual Culture (2nd ed. 2009) and The Visual Culture Reader (3rd ed. forthcoming 2012). His very last book just came out: The Right to Look: A Counterhis-tory of Visuality (2011).

Alison Nordstrm (1950, United States) is Senior Curator of Photographs and Director of Exhibitions at George Eastman House International Museum of Photography and Film in Rochester. In 2011 she curated a major retrospective of more than 150 photographs by Lewis Wickes Hine at the Fondation Henri Cartier-Bresson in Paris.

Sean OToole (1968, South Africa) is a Cape Town-based journalist and writer. His writings on South African photography have appeared in the magazines Art in America, Camera Austria, DAMn Magazine, eye Magazine, Frieze and Kyoto Journal; and in the books Alias (2011) and Ghetto (2004), both by photogra-phers Adam Broomberg and Oliver Chanarin, Joburg Circa Now (2004) by Terry Kurgan and Jo Ractliffe, and Positions (2010), which included an essay on Guy Tillim.

Marisa Olson (1977, Germany) is a visual artist based in New York. Her work combines video, perform-ances, drawing and installations. Her research focuses on the cultural history of technology, the politics of participation in pop culture and the aesthetics of failure. She is Assistant Professor of New Media at the Purchase College State University of NY and was previously Editor & Curator at Rhizome.

Paulien Oltheten (1982, the Netherlands) is an artist/photo-grapher that focuses her research on prolonged observation of the public sphere, documenting the fleeting human situations. She was resident artist at the Rijksakademie van beeldende Kunsten (the Netherlands) and ARCUS project in Japan. Her work has been exhibited widely and its part of several collections, including the Stedelijk Museum in Amsterdam. Paulien Oltheten is represented by Galerie Fons Welters, Amsterdam, the Netherlands.

Lisa Oppenheim (1975, United States) lives and works in New York City. Her films and photographs have been recently been exhibited at the Guggenheim Museum in New York and Bilbao, the New Museum, and at the Museum of Fine Art, Houston, as well as in many gallery exhibitions through-out the United States and Europe. Recent solo exhibitions include Blood to Ghosts at Galerie Juliette Jongma (Amsterdam) and at Klosterfelde; and Invention without a Future at Harris Lieberman.

Arthur Ou (1974, Taiwan) is an artist and writer based in New York. His writings have been published in Aperture, Artforum.com, Afterall.org, Bidoun, Fantom, X-Tra, and Words Without Pictures (Aperture: 2010). He is currently the Director of the BFA Photography Program at Parsons the New School for Design. Ou co-organized the conference The Photographic Universe together with the Aperture Foundation, The Shpilman Institute, and the Vera List Center for Art and Politics.

Outlook Magazine is Chinas leading original creative lifestyle magazine. It covers content ranging from fashion to architec-ture, from travel to art, and from culture to design. Outlook has been published in Shanghai continuously since October 2002. The editor-in-chief is Jiaojiao Chen and the art director is Peng Yangjun, both them used to be authors of COLORS magazine during 2006 to 2008.

Asmara Pelupessy (1981, United States/ the Netherlands) is an independent curator, researcher, writer, editor and project organizer in photography and visual culture. Together with Sara Blokland she is the co-founder of UNFIXED Projects, a non-profit organization aimed at creating platforms for dialogue between photography, contemporary art and theory.

Willem Popelier (1982, the Nether-lands) is a Dutch visual artist who uses photography. In 2011 he was granted a special mention at Dutch Doc Awards. He exhibited his works at Foam Amsterdam, the Stedelijk Museum Amsterdam and at Les Rencontres dArles. His work is centred on photographic represen-tations of identity.

Laurel Ptak (United States) is a curator who has been based in New York City for the last ten years. She is the founder of the blog about contemporary photography iheartphotograph.com. Recently

208

cont

ribut

ors

& su

ppor

tshe relocated to Stockholm where she serves as curator at Tensta Konsthall and will teach the workshop Towards a History & Philosophy of the Online Image at the photo department of Konstfack University College of Arts, Crafts and Design in spring 2012.

Ramesh Raskar (India) is head of the Camera Culture research group at MIT Media Lab in Boston, where he is associate professor. Some of his recent innovations include a way to perform an eye test in three minutes using a cell phone, a camera based on transient imaging to see around the corner and imperceptible markers for motion capture. Raskar also holds the position of Co-Director at the Center for Future Storytelling.

Timm Rautert (1941, Germany), studied photography under Otto Steinert at the Folkwang School of Design in Essen from 1966 to 1971. Rautert has been one of the most important teachers of young photographers in Germany when working as professor of photo graphy at the Hochschule fr Grafik und Buchkunst / Academy of Visual Arts in Leipzig, between 1993 and 2007.

Ilse van Rijn (1975, the Netherlands) is a Dutch writer and art critic. She contributes to magazines such as Metropolis M, Open, Mister Motley and Foam Magazine, as well as to individual artists publications and curatorial projects. She is currently working on her PhD, in which she researches contemporary autono-mously produced artists writings.

Fred Ritchin (United States) is Professor of Photography & Imaging at New York Universitys Tisch School of the Arts, where he also co-directs with Susan Meiselas the NYU/Magnum Foundation Photo-graphy & Human Rights educational program. He is also director of PixelPress an organization that works at the intersection of new media, documentary and human

rights. Ritchin is the author of After Photography (2008, with transla-tions in Chinese, French, Korean, Spanish and Turkish), and of In Our Own Image: The Coming Revolution in Photography (1990, 1999).

Brett Rogers (1954, Australia) has been the Director of The Photo-graphers Gallery since November 2005. She previously worked at the Visual Arts Department of the British Council where she held the joint positions of Deputy Director and Head of Exhibitions. She is the Chair of the Jury for the annual Deutsche Brse Photography Prize.

RongRong (1968, China) and inri (1973, Japan) have been working together since 2000 in Beijing. In 2007 RongRong and inri established the Three Shadows Photography Art Centre, the first contemporary art space solely dedicated to photo-graphy and video art in China.

Thomas Ruff (1958, Germany) is an internationally renowned photo-grapher who lives and works in Dusseldorf. Having studied photography from 1977 to 1985 with Bernd Becher at the Kunstakademie Dusseldorf, he developed his method of conceptual serial photography. Between 2000 and 2005 he taught at the academy in Dusseldorf.

Joachim Schmid (1955, Germany) is a Berlin-based artist. He has been working with found photo-graphs since the early 1980s; his works have been shown and published internationally and are included in numerous collections. In 1990 he founded the Institut zur Wiederaufbereitung von Altfotos (The Institute for the Reprocessing of Used Photographs).

SeeSaw Magazine is an online photography magazine dedicated to work that successfully captures, represents and encourages acute observation via the photographic medium. Aaron Schuman is the

director and editor of SeeSaw since its inception in 2004. Schuman, who is an American photographer and writer based in the United Kingdom, regularly contributes to Foam Magazine as writer.

Lieko Shiga (1980, Japan) gradu-ated at Chelsea College of Art and Design in BA Fine Arts New Media in 2004. She is a recipient of the Kimu-ra Ihei Award and the Young Photographer ICP Infinity Award. She has released two books, Lilly and CANARY in 2008. In 2009 she started the project called KITAKA-MA, which will be exhibited at the end of 2012. Lieko Shiga is repre-sented by Galerie Priska Pasquer, Cologne, Germany.

Stefano Stoll (1975, Switzerland) is the Director of the Festival IMAGES in Vevey (Switzerland), focussing on monumental photography and outdoor exhibitions (next edition September 2012). During his studies of art history and economics, he co-founded and co-directed the first photography festival in Switzerland: les Journes Photo-graphiques de Bienne. He is also head of the cultural department of the City of Vevey.

Sam Stourdz (1973, France) became Director of Muse de LElyse in Lausanne (Switzerland) in 2010. In 2011, he launched ELSE, the Swiss magazine of photography. His research activity focuses on the circulation of images, both still and moving, and the production and interpretation of photographs. As a curator he organized several exhibitions including retrospectives of Dorothea Lange, Tina Modotti, Chaplin and Fellini.

Mariko Takeuchi (1972, Japan) is a photography critic, an independent curator, and associate professor of Kyoto University of Art and Design. She is a guest researcher at the National Museum of Art, Osaka. She was a guest curator for the Spotlight on Japan exhibition at

Paris Photo 2008.

Jordan Tate (1981, United States) is an Assistant Professor of Art at the University of Cincinnati. Tates work is currently held in collections nationwide, including Rhizome at the New Museum, the Museum of Contemporary Photography and the Museum of Fine Arts, Houston. Tate is the founding editor of the contemporary art blog ilikethisart.net.

Penelope Umbrico (1957, United States) is an artist/photogra-pher who often re-uses published images from magazines, ads or internet, attempting to redefine questions of subjectivity and authorship. She has shown internationally, and her work is included in major collections such as the San Francisco Museum of Modern Art in California, and the Museum of Modern Art in New York. She currently lives and works in New York.

Anne de Vries (the Netherlands) is a Dutch artist based both in Amster-dam and Berlin. His work has been shown in a wide range of museums, artist spaces, galleries, online and printed matter: including Rhizome (New York), Foam (Amsterdam), Villa Noailles Hyres (France) and The Armory (New York). He has been organizing various events in collaboration with other artists of which BYOB Bring Your Own Beamer nights. De Vries graduated from the Gerrit Rietveld Academie and is currently an artist in residence at the Rijksakademie van beeldende kunsten in Amsterdam.

Waterfall Magazine is a bi-annual independent art and photography magazine, which makes connec-tions between art, daily life, and common experiences. Based in Taipei (Taiwan) its designers and editors are Ho-Teng Chang and Shauba Chang. Waterfall Magazine is self-published in Chinese and English.

What's Next? has been made possible with the support of: AgentschapNL, Amsterdam Fund for the Arts, Beamsystems, Dienst Maatschappelijke Ontwikkeling, Eizo high-end-monitors, Igepa, Ministry of Foreign Affairs, Mondriaan Foundation, Oschatz Visuelle Medien, Prins Bernard Cultuurfonds, Gerrit Rietveld Academie, robstolk, SNS Reaalfonds, Sony Ericsson and VSBFonds.

foam am

sterdam

Foam enables people all over the world to experience and enjoy photography, whether its at our museum in Amsterdam, on the website, via our internationally distributed magazine or in our Editions department.

The heart of Foam is located in the centre of Amsterdam, in the museum on the Keizersgracht. Here we schedule a varied programme of exhibitions including world-famous photographers as well as young or undiscovered talent. Large-scale exhibitions alternate with small, quickly changing shows. We also organise a dynamic programme of lectures, discussions, guided tours, workshops and special events.

foam

mag

azin

e #

29 w

hat'

s ne

xt?

210

Foam presents the first major retrospective exhibition in the Netherlands of the work of Joel Sternfeld (1944, New York), one of the pioneers of colour photography, showing more than one hundred photos from ten different series in an exhibition spanning two floors. A highlight is Sternfelds early work from the 1970s that has never previously been exhibited. A large selection from such famed series as American Prospects, the result of his legendary journey through the United States, and Stranger Passing will be on show. A constant factor in his work is his native land America, its inhabitants and the traces left by people on the landscape. With a subtle feeling for irony and an exceptional feeling for colour, Sternfeld offers us an image of daily life in America over the last three decades.

Along with William Eggleston and Stephen Shore, Sternfeld saw to it that colour photography became a respected artistic medium in the 1970s. Until that time, colour was used widely in advertising and amateur photography, but had rarely been seen in museums and galleries. Sternfeld was influenced by the colour theory of the Bauhaus and by the work of William Eggleston, whose exhibition in MoMA in 1976 signalled the official start of colour photography being accepted in the art world.

Summer Interns Having Lunch, Wall Street, New York, 1987 Joel Sternfeld and Luhring Augustine, New York

Joel Sternfeld :Colour photographs since 1970

16 December 2011 14 March 2012

foam am

sterdam

211

What's Next?The Future of the Photography Museum Guest curators: Jefferson Hack, Lauren Cornell, Erik Kessels, Alison Nordstrm

5 November 7 December 2011

Four different concepts, four different guest curators, four visionary presentations and one museum that offers them a stage. Foam, celebrating its tenth anniversary, has invited four different experts from the cultural field to realize a challenging proposal on how photo graphy can be presented in a museum. By doing so Foam specifically addresses the issue of its own future and how a museum can do justice to a medium as versatile and varied as contemporary photography.

The four invited guest curators are Jefferson Hack (UK, cofounder and EditorinChief of Dazed & Con-fused), Alison Nordstrm (US, Director of Photographs, George Eastman House), Erik Kessels (NL, cofounder of Kessels Kramer, curator, collector and specialist in vernacular photography) and Lauren Cornell (US, Deputy Curator of the New Museum, NY).

The FuTuRe OF

The

PhOTOgRAPhyMuSeuM

07 Dec

until05 Nov

2011

Blue Paper, 2010 from the series In A World Without Words Ina Jang

Talent 2011 14 October 15 December 2011

In the fifth annual Talent issue Foam Magazine highlights work from fifteen young talents in a diverse range of photographic work. The shortlist was selected from over 800 portfolio submissions to this years Talent Call by Foam Magazine. For the first time in five years there is an extensive exhibition in Amsterdam presenting this exceptional and yet undiscovered work. With work by photographers: Renato Abreu (Brazil), Lucas Blalock (USA),Raphal Dallaporta (France), Fleur van Dodewaard (the Netherlands), Jessica Eaton (Canada), Mayumi Hosokura (Japan), Alessandro Imbriaco (Italy), Ina Jang (South Korea), Mirko Martin (Germany), Ivor Prickett (Ireland), Florian van Roekel (the Netherlands), Gosha Rubchinskiy (Russia), Alberto Salvn Zulueta (Spain), Katrien Vermeire (Belgium) and Ester Vonplon (Switzerland).

foam

mag

azin

e #

29 w

hat'

s ne

xt?

212

Stanley Greene : Black Passport 16 December 2011 5 February 2012

I think you can only keep positive for eight years. If you stay at it longer than that, you turn. And not into a beautiful butterfly. Black Passport is the biography of war photographer Stanley Greene (1949, New York). It presents Stanleys war images alternated with private images. Like Stanley himself, the viewer experiences being tossed to and from between the safe Western life and the horrors of wars elsewhere.

Foam 3h :Sara-Lena Maierhofer Dear Clark, 15 December 2011 1 February 2012

In Dear Clark, SaraLena Maierhofer seeks rapprochement to a fraudster, a crook whose life consists of adopting and abandoning different identities. When she fails to arrange a meeting with the person in question, she decides to study him from a distance. Step by step, the artist comes closer to getting to know her subject; his appearance, his peculiarities, his intentions. How can one construct a profile of someone who constantly readjusts himself? What characterizes a man who systematically defies character? How do you grab someone who constantly aims to breakaway?

Foam 3h :Pavel ProkopchikRussian Alternative 2 February 14 March 2012

Pavel Prokopchik has been following a group of people in Russia that choose an alternative lifestyle. Away from all the politics and materialistically driven society. A new generation that is still in search for the escape from the grips of our society.

Stanley Greene / NooR

Junger Mann, 2011 SaraLena Maierhofer

Lama and at that moment his girlfriend Nastya. Sleeping after arriving to Utrish. Krasnodarsky kray, Russia Pavel Prokopchik

foam am

sterdam

213

Les vacances de Monsieur Grunberg 10 February 18 March 2012

Summer holidays and photos are interconnected: the first thing you pack after passports, tickets and money is the camera. In Foam the project Les vacances de Monsieur Grunberg by Dutch novelist Arnon Grunberg and artist Wendela Hubrecht is on show. Les vacances is a continuation of Grunbergs embedding with several families in the Dutch city of Utrecht. Embedded meant staying over and taking part in the family life. Grunberg wanted to research the family by going on holiday with them. A family on holiday is a family in a warzone, or rather, in a war situation. Thats how I see it.

It began in 2010 with an ad in the papers in Holland. After a twoday audition with thirty families in the Holiday Inn Hotel in Amsterdam Grunberg chose the family of Maud and Nick van der Poel, who took him to the Greek island of Lefkas. His report was published in the NRC Handelsblad. Wendela Hubrecht took photos of the audition and of the families on holiday with, and without Grunberg. The families also received throwaway cameras to take photos themselves. A selection of these photos, texts and film are on show in the exhibition. Material that raises many questions: Why do families want to be watched? Grunberg studies them but is also studied himself. What is a family? What is private? Where is the limit?

2010 Wendela Hubrecht

Vlada in the Kitchen Kazan, 1992 Bertien van Manen

Bertien van Manen : Lets Sit Down Before We Go 23 March 24 June 2012

Before leaving for a long journey, Russian people sit down for a moment and think about where they will be going and why. The atmosphere in the pictures of Bertien van Manen is like this. Together with photographer Stephen Gill she made a selection of pictures she took in Russia between 19912009 and which have never been on show before.

New York Times Magazine 23 March 30 May 2012

For over thirty years, the weekly New York Times Maga-zine has shaped the possibilities of magazine photography, through its commissioning and publishing of photographers work across the spectrum of the medium, from photojournalism to fashion photography and portraiture. In this exhibition, focusing primarily on the past fifteen years, longtime New York Times Magazine Photo Editor Kathy Ryan provides a behindthescenes look at the collaborative, creative processes that have made this magazine the leading venue for photographic storytelling within contemporary news media.

Also in Foam Editions:Danille van Ark, Karl Blossfeldt, Kim Boske, Hans van den Boogaard,Mitch Epstein, Marnix Goossens, Pieter Hugo, Johan van der Keuken,

Marcus Koppen, Marrigje de Maar, Awoiska van der Molen, James Nachtwey, Sanne Peper, Misha de Ridder, Thom van Rijckevorsel, August Sander,

Jaap Scheeren, Malick Sidib and Raimond Wouda

Anton CorbijnLucian Freud

36 36 cm, edition of 15, 1250,-

FOR SALE ON FOAM.ORG

Keizersgracht 6091017 DS Amsterdam +31 20 5516500 www.foam.nl roderick@foam.org

Open:Wed - Fri: 1 pm - 6 pmSat - Sun: 11 am - 6 pmand by appointment

editions

working

closely together

with

artists

and designers

www.lecturis.nl www.lecturisbooks.nl

The Prins Bernhard Cultuurfonds supports Foam

The mission of the Prins Bernhard Cultuurfonds is to support cultural and nature preservation projects in the Netherlands. The foundation emphasizes artistic excellence and educational initiatives. Each year, over 3.500 projects and people receive foundation support. Musicians, artists, photographers, museums, monuments, theatre and dance ensembles all benefi t.

Support us for 4,00 per month.

www.cultuurfonds.nl/information

(C) Maarten Brinkgreve - Tuinzaal 4 - Foam

DIRK BRAECKMAN

WWW.MLEUVEN.BE

M - MUSEUM LEUVENL. VANDERKELENSTRAAT 28, B-3000 LEUVENT. 0032 16 27 29 29 | E. BEZOEKM@LEUVEN.BE

06.10.11 >< 08.01.12

Ale

xia

2010

D

irk

Bra

eckm

an, C

ourt

esy

Zen

o X

Gal

lery

Ant

wer

pen

Optimistic Branding Visit vandejong.com

The paper used in this magazine was supplied by paper merchant Igepa. For more information please call +31 344 578 100 or email skirschner@igepa.nl

Foam Magazines choice of paper

Hasan & Husain Essop is printed on Profibulk 1.1, 115g/m2, wood-free white bulky design paper FSC

Andrew Best is printed on heaven42 135g/ m2, absolute white coated paper softgloss FSC

Magazine contributions are printed on Magno Gloss 90g/m2, wood-free triple-coated gloss paper, a Sappi product

Cia de Foto is printed on heaven42 135g/ m2, absolute white coated paper softgloss FSC

Lieko Shiga is printed on heaven42 115g/ m2, absolute white coated paper softmatt FSC

The cover is printed on Lessebo Design smooth bright 300 g/m2, CO2 neutral FSC

The text pages are printed on Maxi Offset 120g/m2, wood-free offset paperEU Flower awarded

Paulien Oltheten is printed on Profibulk 1.1, 115g/m2, wood-free white bulky design paper FSC

Jordan Tate is printed on heaven42 115g/m2, absolute white coated paper softmatt FSC

1312

inde

pend

ent

interview w

ith JR

JR was born in the street and raised with the need for freedom. By play. By love. JR moves about disguised. He runs over the rooftops. He jumps the turnstiles. He shakes off the police. JR is energetic. Whether in the banlieues of Paris, Jerusalem, Rio, Nairobi or New Delhi. He runs around the world, floating like a super-hero. JR is a gang. Self-taught, he surrounds himself with passion, curiosity and generosity. With his close companions, he plots his route, worldwide. Searching for the right cause. JR avoids the sun. The shadows are a resource. Light slows him down. And yet, he exposes himself to danger, to the media. In the street. And then in the museums. His exhibition is global. From virtual networks online to the brick walls of Shanghai, the largest gallery on earth is at his disposal. The street is his media. He knows no limits but his own. He is at once the artist, the curator, the museum, the gallery. Independence is his fuel.

Interview with

JRby Stefano Stoll

Outside the

Box 28 Millimetres, Face 2 Face, Pasting on the Separation wall, Security Fence, Palestinian side, Bethlehem, march 2007 JR / Agence VU

Issue #29, winter 2011/2012

Editor-in-chiefMarloes Krijnen

Creative DirectorPjotr de Jong

EditorsCaroline von Courten, Marcel Feil, Pjotr de Jong, Marloes Krijnen

Managing EditorCaroline von Courten

Editorial InternElisa Medde

Magazine ManagerNiek van Lonkhuijzen

Communication InternLotte van den Hout

Project ManagementFemke Papma, Betty Man

Art DirectorVandejong: Hamid Sallali

Design & LayoutVandejong: Hamid Sallali, Kalle Mattsson, Ayumi Higuchi

TypographyVandejong: Kalle Mattsson

Contributing Photographers and ArtistsAndrew Best, Hasan and Husain Essop, Cia de Foto, David Horvitz, Paulien Oltheten, Lieko Shiga, Jordan Tate

Cover PhotographNew Work #43, 2010 Jordan Tate

Contributing WritersEva Bremer, Adam Broomberg & Oliver Chanarin, Bruno Ceschel, Eder Chiodetto, Jrg Colberg, Charlotte Cotton, Caroline von Courten, Nickel van Duijvenboden, Marcel Feil, Joan Fontcuberta, Max Houghton, Kim Knoppers, Flora Lysen, Lev Manovich, Anne Marsh, Lesley A. Martin, Nicholas Mirzoeff, Sean OToole, Colette Olof, Marisa Olson, Arthur Ou, Asmara Pelupessy, Laurel Ptak, Timm Rautert, Ilse van Rijn, Fred Ritchin, Brett Rogers, RongRong & inri, Stefano Stoll, Sam Stourdz, Mariko Takeuchi, Anne de Vries

Copy EditorsRowan Hewison, Annemarie Hoeve

TranslationKaren Gamester, Iris Maher, Gillian Morris, Liz Waters

Lithography & PrintingLecturis PrintingKalverstraat 72 5642 CJ Eindhoven -NL

BindingBinderij HexspoorLadonkseweg 75281 RN Boxtel NL

PaperIgepa Nederland B.V.De Geer 104004 LT Tiel - NL

Editorial AddressFoam MagazineKeizersgracht 6091017 DS Amsterdam NLT +31 20 551 65 00F +31 20 551 65 01editors@foam.org

AdvertisingNiek van LonkhuijzenFoam MagazinePO Box 922921090 AG Amsterdam NLT +31 20 462 20 62F +31 20 462 20 60niek@foam.org

Subscriptions Hexspoor Support CenterLadonkseweg 95281 RN Boxtel NLT +31 41 163 34 71subscription@foam.org

Subscriptions include 4 issues per year 70, excluding VAT and postageStudents and Club Foam members receive 20% discount

Single issue 17,50Back issues (# 2 28) 12,50Excluding VAT and postageFoam Magazine # 1 is out of printwww.foam.org / shop

PublisherFoam MagazinePO Box 922921090 AG Amsterdam NLmagazine@foam.org

ISSN 1570-4874ISBN 978-90-70516-24-6

photographers, authors, Foam Magazine BV, Amsterdam, 2011.All photographs and illustration material is the copyright property of the photographers and /or their estates, and the publications in which they have been published. Every effort has been made to con-tact copyright holders. Any copy-right holders we have been unable to reach or to whom inaccurate acknowledgement has been made are invited to contact the publis-hers at magazine@foam.orgAll rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photo-copy, recording or otherwise without prior written permission of the publishers. Alt-hough the highest care is taken to make the information contained in Foam Magazine as accurate as possible, neither the publishers nor the authors can accept any responsibility for damage, of any nature, resulting from the use of this information.

DistributionThe NetherlandsBetapress BVT + 31 16 145 78 00

Great BritainCentral Booksmagazine@centralbooks.com

colo

phon

218

#29 W

hats Next?

Winter 2011/2012

17,50