Photon News

Inside the secret cave settlements of the all-female Kurdish fighters of the Women’s Protection Forces (HPJ), solidarity, care and daily ritual sit alongside the stark reality of revolution.

Turning the lens on his adopted country, Ashkan Shabani embarks on a long-term investigation into the rise and normalization of far-right extremism in Germany.

Uncompromising, fiercely independent, and deeply personal, Blagovesta Semkova’s photography transforms a lifetime of adversity into images of remarkable emotional power.

Along East London’s River Lea, which was once a vibrant industrial artery, Mattia Corato traces a landscape where wild nature, urban history and unconventional ways of living quietly converge.

Horses, dust, strength and spectacle collide in Todd Antony’s visceral portrait of Buzkashi, Tajikistan’s ancient and fiercely contested national tradition.

Twenty international artists working with archival images come together to form a polyphonic reinterpretation of history, drawing out stories of belonging and identity that resist colonial-era narratives.

Beneath Bermuda’s image of paradise, Nicola Muirhead uncovers a complex inheritance of slavery, migration, resilience and community carried across generations.

A political exile from Belarus, Sasha Velichko uses uncanny staged photography and AI-generated visuals to tell the buried stories of everyday violence enacted by the dictatorship of her home country.

There is history, and there is geography. The former is a matter of passing time. It tells us about events of greater or lesser importance, set in motion and experienced by human beings. The latter is a matter of permanence. It describes the world through what it appears to offer as enduring.

“Fard” began in June 2024, with the urgent desire to return to my native village (Plombières, Belgium) to recharge, to fill up on “emptiness” after agitated weeks spent in the city. Armed with my camera and, above all, my flash, I roamed the countryside searching for a subject to document.

Azadi means “freedom” or “liberty” in Pashto. I began this project in September 2022. I met a group of young men from Jalalabad, Afghanistan, in Nangarhar Province, in the city centre of Brussels. They noticed my camera and asked if I could join them.

BOTH SIDES is an ongoing project in which I meet other photographers and we exchange portraits. Each exchange has a different dynamic, atmosphere, focus and outcome. The project began with the simple idea of stepping in front of the camera for a change.

Napaea is a series of black-and-white photographs in which I explore landscapes, trees, plants, and forests as places of silence, transformation, and uncertainty. Rather than documenting nature as it appears, I am interested in creating images that suggest another way of experiencing it—one in which time becomes fluid, familiar forms become ambiguous, and the landscape seems to exist somewhere between memory and reality.

Ólafsfjörður is a fishing village in northern Iceland. Like many Icelandic villages, it consists of houses with corrugated metal roofs, a church by the harbour, a few shops, a petrol station, a fish factory, a swimming pool, and a school.

A forest is not silent. Sometimes, it is afraid. A forest is often imagined as a place of tranquillity. A place where time slows down, where humans can escape the noise of everyday life and reconnect with something primordial. Trees, animals, light, and shadow become part of a seemingly timeless landscape.

National Character is a geographically broad rendering of social landscapes across the American Realm. These photographs inhabit the post-eclectic age, a current epoch bridging the gap between the culturally rich post-industrial era and the encroachingly antiseptic technological age.

As a species, we have become addicted to the spectacle of political theater. Events are organized to engage our sensitive minds in the furor of ideological division, and arguments become tribal tools meant to manifest the supposed will of Western democracy, though little of this exhibitionism uncovers the true vessel of political life, fueled by […]

The idea of the outsider is fascinating in photography. On one hand, the audience for photography loves a surprise story, one that challenges the canon and one that appears to materialize out of nowhere, without precedent, and shaped from the margins of conventions. What is fascinating is the tendency to think such things are less […]

To you, Beni Bischof may be a monster. To others, he is an unofficial unsyndicated scribe for the madness of the last half-century of consumer hell that we wade through. They drew first Blood; it wasn’t me. To give context to Bishof’s sprawling and prolific practice from the outside would be an exercise in deep-fried […]

In full declaration, as a fan of all parties involved, I hereby cannot deny my overwhelming urge to state that this book, in the canon of Raymond J. Meeks Esq., is hitherto unnecessary, but welcomed nonetheless. It is a compilation of misses, outtakes, and the unloved and weeded-out, minus one image of an alabaster girl […]

I was fortunate enough to interview Steven Shearer a few years ago for his exhibition at the Brant Foundation. Their publicity team had reached out to ASX, and I was perplexed that they found us, given how most of our reviewing happens predominantly within the realm of photography, with some emphasis on painting and video […]

If you grew up in a certain period, some of your first experiences with counterculture were inspired by the genius cover artwork of albums by various punk bands, notably Black Flag, by what appeared to be a deranged cartoon columnist. I vividly remember ducking in and out of head/record shops in the Midwest growing up […]

The Balkans are very hard to describe. Though I have spent an inordinate amount of time in Greece, mostly in its capital, having traveled through the Balkans to get there, I remember a sense of something enigmatic, misty, and compelling as we traveled to and from Greece. I remember thinking about it all on a […]

Street photography has always appealed to me because of its ability to visually document everyday life without a predetermined script. When I began taking a more serious interest in the…

“The modern art world can be divided into two groups: Izabella Barta and everyone else” – thus Helen Mirren, playing a television host, opens the mockumentary Waiting for the Artist,…

My first encounter with Ana Opalić’s work was not a direct encounter with her photography. As a child, I heard a story about an old maple tree in front of…

The black-and-white photograph is framed so that most of it is taken up by a high fence made of wooden slats. Our vantage point, just as that of the photographer…

I say: Whatever you do, as artists, be brave. But he says: This is not my world. Together, these catchphrases denote the content we fell into in the midst of…

Often in the evening, when everything is quiet and all the movement around me has died down, I look towards one of my living room walls. It took some time…

Contemporary Slovenian photography, or at least the selected fragment of it was presented to the domestic public in another exhibition of the Croatian Photographic Union, this time held in KlovićeviDvori….

In 1929, German photographer August Sander (1876-1964) published a book with sixty photographs portraying the people of his time. In genre terms, one might call these photographs portraits which either…