In this series of portraits, Camila Falcão researches gender and sexuality in an anti- patriarchal and collaborative approach. Her protagonists are members of a young non- binary community in Brazil. These Portraits are taken in home environments with natural light and always on eye level with both the protagnists and the audience. Camila Falcão shows a diverse range of queer people and bodies. Always in physical contact, embracing each other, mostly gazing directly into the camera. Due to the current queerphobic government in Brasil, the lives of queer people are in danger on many levels and in everyday life. In this series of images, the artist and her protagonists build a strong and assertive »chain of affection« emphasizing the empowering nature of human connections. »Strengthening ourselves with those we love is an act of resistance.«
In dieser Serie von Portraitfotografien erforscht Camila Falcão Gender und Sexualität in einem antipatriarchalischen und kollaborativen Ansatz. Ihre Protagonist*innen sind Mitglieder einer jungen nicht-binären Community in Brasilien. Die Portraits wurden in häuslichen Umgebungen mit natürlichem Licht und immer auf Augenhöhe – sowohl mit den Protagonist*innen als auch mit dem Publikum aufgenommen. Camila Falcão zeigt uns eine Diversität queerer Menschen und Physis, immer im Körperkontakt, sich umarmend, meist direkt in die Kamera blickend. Aufgrund der aktuellen queerphoben Regierung in Brasilien ist das Leben queerer Menschen auf vielen Ebenen und im Alltag in Gefahr. In dieser Bilderserie bauen die Künstlerin und ihre Protagonist*innen eine starke und selbstbewusste »Zuneigungskette« auf, die die ermächtigende Natur menschlicher Verbindungen betont. »Sich mit denen zu stärken, die wir lieben, ist ein Akt des Widerstands.«
In this series of portraits, Camila Falcão researches gender and sexuality in an anti-patriarchal and collaborative approach. Her protagonists are members of a young non-binary community in Brazil. These Portraits are taken in home environments with natural light and always on eye level with both the protagnists and the audience. Camila Falcão shows a diverse range of queer people and bodies.
Joey Solomon’s influences are both academic and medical. As an openly gay man with mental disorders who has survived an internal pelvic tumor, his images advocate for invisible, internal highs and lows.
Meghan Marin describes her work Thinking of U (2020-present) as a „testament to the love and strength my queer friends give to me and our chosen families.“ Her portraits are simple and intimate, their authenticity and warmth are fueled by a collaborative approach.
In Audiovisual Cuir, Mia Vasquez documents the lives and experiences of LGBTQ+ people as well as her own state of being. She shows us „what it means to exist and live in the social climate of Dominican Republic: Filled with religious and traditional views but slowly seeing a destabilization of the cis-heteronormative binary.
Sarah Mei Herman started this long-term project in 2014 during an artist residency on the Chinese coastal city island of Xiamen. Rather than focusing on cultural differences, Sarah Mei Herman explores aspects that are universally recognizable: the importance of friendship and love.
In a reduced aesthetic influenced by the new German photography, Sabrina Weniger lets us participate in a phase of her protagonist’s life. Through the collaborative approach, we feel Chieh’s calm determination to align the outer body with the inner body.
In her long term documentation, Shirin Bhandari makes friends with the Golden Gays, a group of elderly drag performers in Manila. Her intimate snapshot portraits and dressing room scenes initiate a visual and emotional understanding for the lives, relationships and community of her protagonists.
Simon Emond set out to meet queer communities living in remote areas far away from large cities. His grainy, blurred and almost abstract images illustrate a personal journey that leads in different directions at the same time: Outwards, inwards, into the dark and towards the light, up to the sky and down to earth.
Ziyu Wang questions the societal pressure on men to perform their masculinity. He skillfully accomplishes this through the staged visualization of expectations that his father has of him. In „Go get´em, boy!“ the audience takes on the role of the elders of the family to examine the images of manhood Ziyu Wang has created for his father.