EXIT MAGAZINE - Issue#91
Taking up the idea of the album, issue 91 of EXIT focuses on its expansion beyond family memories and individual photographer's memories. We explore the collective, others' memories, the memory of others that somehow becomes familiar, one's own. From archives and found photographs, the artists presented here recover forgotten memories, project their own desires, and portray the everyday, turning specific times and places into shared, common, collective experiences.
EXIT 91 Album II – Collective Memories brings together the work of fifteen photographers who, from different perspectives, are representative of the theme. The central text, written by researcher and artist Nicky Bird, takes the album as a resource that many photographers access to investigate broader cultural meanings, detached from the autobiographical, relying on the works of artists such as Tuan Andrew Nguyen, Sarah Tulloch, Simon Norfolk, or Tayo Adekunle. In the dossier section, we present the work of eleven photographers. Carmela García leads the way with an exercise in desire and speculation; Marcelo Brodsky traces the memory of his classmates and those who disappeared; Alberto Flores Varela, Tom Wood, Julian Germain, and Dario Mitidieri explore factories, neighborhoods, schools, families, and refugee camps, respectively, to generate collective portraits of specific moments and spaces; through found photographs, Santu Mofokeng confronts us with the history of South African colonial memory, Munemasa Takahashi with the recovery of personal memory after a tsunami, Melanie Manchot with the transformation of a city over time, and Paco Gómez and daniela franco delve into the intimacy of unfamiliar families and learn to know them through their albums.
In addition to these fifteen photographers, we have those featured in Portfolio, a section that, apart from the central theme, showcases the work of emerging photographers or those who are establishing their careers. This time, we present Alba Serra Ferrer, Eleonora Agostini, Jacob Burge, Sissi Kaplan, and Federico Estol.
Editorial:
Rosa Olivares. We all form part of the same story.
Texts:
Nicky Bird. From clipping to colonialism: photographic practice and collective memory.
Central theme artists: Carmela García, Marcelo Brodsky, Julian Germain, Alberto Flores Varela, daniela franco, Melanie Manchot, Paco Gómez, Dario Mitidieri, Santu Mofokeng, Munemasa Takahashi, Tom Wood.
Portfolio artists: Eleonora Agostini, Alba Serra Ferrer, Sissi Kaplan, Federico Estol, Jacob Burge.
Taking up the idea of the album, issue 91 of EXIT focuses on its expansion beyond family memories and individual photographer's memories. We explore the collective, others' memories, the memory of others that somehow becomes familiar, one's own. From archives and found photographs, the artists presented here recover forgotten memories, project their own desires, and portray the everyday, turning specific times and places into shared, common, collective experiences.
EXIT 91 Album II – Collective Memories brings together the work of fifteen photographers who, from different perspectives, are representative of the theme. The central text, written by researcher and artist Nicky Bird, takes the album as a resource that many photographers access to investigate broader cultural meanings, detached from the autobiographical, relying on the works of artists such as Tuan Andrew Nguyen, Sarah Tulloch, Simon Norfolk, or Tayo Adekunle. In the dossier section, we present the work of eleven photographers. Carmela García leads the way with an exercise in desire and speculation; Marcelo Brodsky traces the memory of his classmates and those who disappeared; Alberto Flores Varela, Tom Wood, Julian Germain, and Dario Mitidieri explore factories, neighborhoods, schools, families, and refugee camps, respectively, to generate collective portraits of specific moments and spaces; through found photographs, Santu Mofokeng confronts us with the history of South African colonial memory, Munemasa Takahashi with the recovery of personal memory after a tsunami, Melanie Manchot with the transformation of a city over time, and Paco Gómez and daniela franco delve into the intimacy of unfamiliar families and learn to know them through their albums.
In addition to these fifteen photographers, we have those featured in Portfolio, a section that, apart from the central theme, showcases the work of emerging photographers or those who are establishing their careers. This time, we present Alba Serra Ferrer, Eleonora Agostini, Jacob Burge, Sissi Kaplan, and Federico Estol.
Editorial:
Rosa Olivares. We all form part of the same story.
Texts:
Nicky Bird. From clipping to colonialism: photographic practice and collective memory.
Central theme artists: Carmela García, Marcelo Brodsky, Julian Germain, Alberto Flores Varela, daniela franco, Melanie Manchot, Paco Gómez, Dario Mitidieri, Santu Mofokeng, Munemasa Takahashi, Tom Wood.
Portfolio artists: Eleonora Agostini, Alba Serra Ferrer, Sissi Kaplan, Federico Estol, Jacob Burge.
Taking up the idea of the album, issue 91 of EXIT focuses on its expansion beyond family memories and individual photographer's memories. We explore the collective, others' memories, the memory of others that somehow becomes familiar, one's own. From archives and found photographs, the artists presented here recover forgotten memories, project their own desires, and portray the everyday, turning specific times and places into shared, common, collective experiences.
EXIT 91 Album II – Collective Memories brings together the work of fifteen photographers who, from different perspectives, are representative of the theme. The central text, written by researcher and artist Nicky Bird, takes the album as a resource that many photographers access to investigate broader cultural meanings, detached from the autobiographical, relying on the works of artists such as Tuan Andrew Nguyen, Sarah Tulloch, Simon Norfolk, or Tayo Adekunle. In the dossier section, we present the work of eleven photographers. Carmela García leads the way with an exercise in desire and speculation; Marcelo Brodsky traces the memory of his classmates and those who disappeared; Alberto Flores Varela, Tom Wood, Julian Germain, and Dario Mitidieri explore factories, neighborhoods, schools, families, and refugee camps, respectively, to generate collective portraits of specific moments and spaces; through found photographs, Santu Mofokeng confronts us with the history of South African colonial memory, Munemasa Takahashi with the recovery of personal memory after a tsunami, Melanie Manchot with the transformation of a city over time, and Paco Gómez and daniela franco delve into the intimacy of unfamiliar families and learn to know them through their albums.
In addition to these fifteen photographers, we have those featured in Portfolio, a section that, apart from the central theme, showcases the work of emerging photographers or those who are establishing their careers. This time, we present Alba Serra Ferrer, Eleonora Agostini, Jacob Burge, Sissi Kaplan, and Federico Estol.
Editorial:
Rosa Olivares. We all form part of the same story.
Texts:
Nicky Bird. From clipping to colonialism: photographic practice and collective memory.
Central theme artists: Carmela García, Marcelo Brodsky, Julian Germain, Alberto Flores Varela, daniela franco, Melanie Manchot, Paco Gómez, Dario Mitidieri, Santu Mofokeng, Munemasa Takahashi, Tom Wood.
Portfolio artists: Eleonora Agostini, Alba Serra Ferrer, Sissi Kaplan, Federico Estol, Jacob Burge.