By submitting, you agree to our privacy policy
We are thrilled to announce the longlist of artists for the Form Photo Award 2025. This year, the standard of work is exceptionally high, reflecting the incredible talent and creativity of contemporary photographers from around the world. Each longlisted artist brings a unique perspective, a fresh aesthetic, and thought-provoking ideas that challenge and inspire.
The Form Photo Award, supported by Scope Miami Beach 2025, Picter, Photo Basel, and Form Magazine, is dedicated to discovering emerging voices in photography. It aims to foster global dialogue, intellectual exchange, and cross-cultural solidarity within the art community. Every submission represents a new vision, a story waiting to be shared, and the longlist is a testament to the vibrancy and diversity of contemporary photography today.
This year’s longlist demonstrates just how extraordinary the field of contemporary photography has become, and we are proud to celebrate the vision, originality, and skill of all the artists included.
The Form Photo Award, supported by Scope Miami Beach 2025, Picter, Photo Basel, and Form Magazine, is dedicated to discovering emerging voices in photography. It aims to foster global dialogue, intellectual exchange, and cross-cultural solidarity within the art community. Every submission represents a new vision, a story waiting to be shared, and the longlist is a testament to the vibrancy and diversity of contemporary photography today.
This year’s longlist demonstrates just how extraordinary the field of contemporary photography has become, and we are proud to celebrate the vision, originality, and skill of all the artists included.
Philip Tsetinis
Philip Tsetinis’ artistic practice centers on the staging of photographic images based on observations of sociocultural developments. He uses the photographic medium as a tool to construct fictional scenarios that simulate the dynamic and unpredictable nature of documentary imagery. Through speculative narratives drawing on hypothetical future events and autobiographical references, he creates visual worlds in which documentary aesthetics and surreal construction are carefully balanced. Tsetinis composes images that deliberately point beyond the captured moment, opening associative spaces that invite multiple interpretations. Philip Tsetinis was born in 1993 in Hallein (Salzburg, Austria). After completing an apprenticeship as a photographer, he studied at the University of Applied Arts Vienna in the department of “Applied Photography and Time-Based Media,” graduating in 2022. He lives and works in Vienna.
A Step Further Leads to Innate Instinct (2024–ongoing) This ongoing project explores instinctive human behaviour in extreme situations. At its core lies an investigation into so-called fixed action patterns—instinctive movements triggered by specific environmental stimuli, allowing humans to respond through innate mechanisms. Inspired by real-life observations in public space, the work unfolds as a fictional simulation of psychological responses—whether individual or collective—within moments of sudden disruption. These imagined scenarios are grounded in contemporary sociopolitical dynamics and act as visual studies of our primal behavioural architecture. To extract the relationship between key stimuli and the innate releasing mechanism (IRM), everyday situations are reconstructed and transformed into heightened, cinematic scenes. The project positions itself as a counterpoint to long-term, gradual adaptation processes by focusing on sudden, unfiltered moments of reaction—moments where human behaviour reveals itself with raw immediacy, before thought intervenes. (Each photograph is the result of over a year of preparation and was realised as a single analogue 4x5 inch exposure. While post-production was used to refine the Final image, no compositing or image merging was applied. The scene was entirely staged and captured as one cohesive moment.) For further insight into the production process, a behind-the-scenes video is available here: https://vimeo.com/1067271206
Olivier Lavenac
Project Heirs is ongoing series (2022–2025) explores adolescence—its fragility, intensity, and the way emotions are experienced with raw, unfiltered urgency. She believes that adolescent sensitivity shares something with artistic sensibility: everything is lived at 200%, as Québécois playwright David Paquet captures so powerfully in his work for young audiences. He has long admired the photography of Dawoud Bey, Gregory Halpern, Bryan Schutmaat, Yohanne Lamoulère, and Laura Pannack, particularly for the emotional depth and intensity of their portraits. She is fascinated by what youth reveals about contemporary life: how it reflects the present while simultaneously projecting into the future. He is drawn to photography for its radical silence. A photograph shows without speaking, preserving the mystery of each person’s inner life, revealing only the surface.
Olivier Lavenac began photographing teenagers in 2022. This ongoing series (2022–2025) explores adolescence—its fragility, intensity, and the way emotions are experienced with raw, unfiltered urgency. She believes that adolescent sensitivity shares something with artistic sensibility: everything is lived at 200%, as Québécois playwright David Paquet captures so powerfully in his work for young audiences. He has long admired the photography of Dawoud Bey, Gregory Halpern, Bryan Schutmaat, Yohanne Lamoulère, and Laura Pannack, particularly for the emotional depth and intensity of their portraits. She is fascinated by what youth reveals about contemporary life: how it reflects the present while simultaneously projecting into the future. He is drawn to photography for its radical silence. A photograph shows without speaking, preserving the mystery of each person’s inner life, revealing only the surface.
Cooper Inveen
The project Oceans Apart. There is a two-block stretch of Harlem’s 116th Street known as Petit Sénégal, where a tight-knit community of West African migrants has recreated a version of home - selling coffee and prayer beads, blasting mbalax, speaking Wolof in barbershops and on street corners. Many have only just arrived, undocumented, after surviving punishing journeys through South and Central America. Their stories of Dakar, and of towns farther inland, are fragmented echoes of what was left behind. These pictures, made over the course of a year in Senegal and a week in its Harlem satellite, are an attempt to hear those echoes across an ocean. They are a glimpse at how we hold on to ourselves, even when everything else has changed.
Cooper Inveen is a TV news producer based in Dakar, Senegal, covering politics, migration, and conflict across West Africa. Raised in an industrial town in Washington State, he became fascinated by migration, belonging, and the idea of America in the twenty-first century.
His interest in photography began during the 2014 Ebola outbreak in Sierra Leone, where a camera helped him process and connect with the world. Influenced by punk rock and DIY culture, he creates images rooted in reportage but open to ambiguity, atmosphere, and emotion, drawn to the space between clarity and confusion where he believes the most honest pictures live.
His interest in photography began during the 2014 Ebola outbreak in Sierra Leone, where a camera helped him process and connect with the world. Influenced by punk rock and DIY culture, he creates images rooted in reportage but open to ambiguity, atmosphere, and emotion, drawn to the space between clarity and confusion where he believes the most honest pictures live.
Lele Saporiti
Vertigo here does not evoke the fear of emptiness felt when looking down from a skyscraper, but rather the opposite: a positive, uplifting sensation when gazing upward at urban towers.
These Polaroid collages transform the act of looking at architecture from below into a dynamic experience—an encounter with forms stretching toward the sky and infinity. Through multiple exposures, fades, blurs, color shifts, and even expired films, the images reimagine skyscrapers in ways that amplify their structures rather than disorient.
From Raymond Hood’s Rockefeller Center in 1939 to contemporary towers by UN Studio, Hadid, Isozaki, Pei, and Gensler, the series revisits and reshapes iconic architecture. The result is a vision of cities where the photographic gaze magnifies and reinterprets buildings, generating a vertigo that exalts rather than unsettles.
These Polaroid collages transform the act of looking at architecture from below into a dynamic experience—an encounter with forms stretching toward the sky and infinity. Through multiple exposures, fades, blurs, color shifts, and even expired films, the images reimagine skyscrapers in ways that amplify their structures rather than disorient.
From Raymond Hood’s Rockefeller Center in 1939 to contemporary towers by UN Studio, Hadid, Isozaki, Pei, and Gensler, the series revisits and reshapes iconic architecture. The result is a vision of cities where the photographic gaze magnifies and reinterprets buildings, generating a vertigo that exalts rather than unsettles.
Born in Besnate, Italy, on May 1, 1961, he holds a PhD in Economics and is chairman of Saporiti Italia, the design and furniture company founded by his father Sergio in 1948. Passionate about photography since childhood, he long considered it a private pursuit rather than an artistic path.
Frequent travels for his furniture work allowed him to explore cities worldwide, capturing them through Polaroid cameras. Encouraged by designers and photographers he collaborated with professionally, he began to develop his Polaroid collages into a more deliberate artistic project.
His work focuses on the often-overlooked protagonists of urban life—both human and architectural—framed with the tangible immediacy of analog photography.
Frequent travels for his furniture work allowed him to explore cities worldwide, capturing them through Polaroid cameras. Encouraged by designers and photographers he collaborated with professionally, he began to develop his Polaroid collages into a more deliberate artistic project.
His work focuses on the often-overlooked protagonists of urban life—both human and architectural—framed with the tangible immediacy of analog photography.
Yvonne De Rosa
Inquisita began as a workshop with young people in the penal system and evolved into an independent project. Participants saw parallels between their experiences and those of Artemisia Gentileschi, the seventeenth-century painter and survivor of sexual violence who became an icon of resistance. The work inhabits a liminal space between archive and staging, document and invention. Re-photographed archival images from the 1970s reveal men speaking and listening, visualizing enduring structures of power across time and context.
Graduated in Political Science, she moved to London to study photography (PG in Photography at Central Saint Martins College and MA in Photo Journalism at the London College of Communication.) since then she lives and works between Italy and uk. In 2015 she founded "Magazzini Fotografici": no profit, urban regenerated space, dedicated to visual culture, while continuing her own personal photo researches.
Raphaël Garsault
Visual Fiction Scraps imagines a world without humans, where remnants of our lives are reassembled into hybrid forms between artifacts and organisms. The artist collects discarded city materials—textiles, industrial waste, bouquets—and lets light guide their transformation: some pieces favor the depth of black, others the exposure of white. Inspired by Issey Miyake’s philosophy of “listening” to matter, the process folds, stacks, and tests materials until they suggest their own form. Each piece carries traces of its origin, resisting instant readability and inviting tactile, experiential engagement.
Still life photographer working between Paris and Bourges, France. His work explores the tactile, ambiguous qualities of everyday materials, often assembling them into hybrid objects that seem to belong to no clear time or place. His background in fashion informs an almost forensic attention to texture and imperfection. His images resemble artifacts — strange specimens that evoke both memory and mutation. They form a taxonomy of the overlooked, where discarded materials take on the weight of something remembered but never known.
Aram Tanis
North of The Fortress, South of The Forest is a photo essay by Aram Tanis exploring the ephemerality of personal connection, reflecting on his birth mother and the softening of separation over time. Created during travels through Seoul, where his mother lived during pregnancy, the series meditates on memory, impermanence, and emotional distance.
Born in Seoul and raised in the Netherlands, Tanis grew up acutely aware of his Korean identity in predominantly white spaces. Returning to South Korea twenty years later, he found familiarity and a sense of home, which now deepens with fatherhood and informs both his life and work.
Born in Seoul and raised in the Netherlands, Tanis grew up acutely aware of his Korean identity in predominantly white spaces. Returning to South Korea twenty years later, he found familiarity and a sense of home, which now deepens with fatherhood and informs both his life and work.
Aram Tanis (Seoul, South Korea) studied photography at Gerrit Rietveld Art Academy (Amsterdam) and Kaywon School of Art and Design (Seoul), completing his Masters at De Ateliers under artists like Steve McQueen, Marlene Dumas, and Fiona Tan. He has exhibited internationally, including FOAM (Amsterdam), Witte de With (Rotterdam), Ginza Graphic Gallery (Tokyo), and Museum of Contemporary Art Erarta (St. Petersburg). Recipient of the Mondriaan Foundation Proven Talent Stipend, he also curates shows, designs websites, creates photobooks, and works on commissioned projects.
Jesús Umbría Brito
Retaguardia explores the intersection of gaze and otherness, following the tradition of photographers like Bruce Davidson, Larry Clark, and Mary Ellen Mark. The project focuses on post-pandemic youth aligned with punk counterculture, creating a mosaic of faces and expressions that connect past and present. Revisiting his own memories while engaging with a new generation, the artist documents and questions identity, belonging, and social transversality. Through portraiture, his camera becomes an active accomplice, forging a dialogue across time that engages both subjects and viewers in shared reflection.
Jesús Umbría Brito (Las Palmas de Gran Canaria, 1971) is a photographer whose work engages with both the world and the passage of time. Immersed in urban cultural life, he inhabits the spaces he documents, fostering dialogue and intergenerational connection rather than simply narrating. His projects explore identity, gender, and diversity, giving voice to often invisible stories. His work has been exhibited internationally, including PHotoESPAÑA, Bondi Pavilion, and the House of Lucie Athens, and recognized through awards such as the Gomma Grant and Head On Festival.
Alice Elizabeth Harris
Three photographs from Alice Harris' upcoming solo exhibition "The Show Must Go On", opening in London this October.
Alice Elizabeth Harris is an Oxford-born and California-raised artist, currently residing in London while working across London, New York, and Los Angeles. She credits her upbringing in both England and the United States as a key influence on her creative practice. Her work draws inspiration from her experiences living in the modern-day Western world, as well as from the film and television cultures of both countries, blending these influences into her distinctive artistic style.
Daura Campos
Cloud Watching explores on an international scale what happens when photography "fails" by producing abstracted, fragmented images that challenge our expectations of photographs as faithful representations of reality and their role in preserving memories. I gathered discarded negatives from various countries, including Brazil, Portugal, France, Turkey, Japan, and Morocco, by visiting flea markets, connecting with people online, and collaborating with processing laboratories. Afterward, I partially removed their emulsion, allowing new stories to emerge from glimpses of the memories of others. As society becomes increasingly saturated with images—through social media, advertising, and AI-generated content—we are conditioned to respond instantly, often without reflection. This project invites viewers to pause and reconsider their relationship with photography. Like pareidolia—seeing shapes in clouds—these images invite viewers to draw meaning from their memories and understanding of photography.
Daura Campos is a visual artist and photographer based in Belo Horizonte, Brazil. Her practice uses experimental analog techniques to examine social issues, treating film as an active medium to question how images are produced, remembered, and understood.
She has exhibited internationally at institutions including the CICA Museum (South Korea), MK Gallery (England), Rotterdam Photo (Netherlands), Pinakothek der Moderne (Germany), Museum of Art of Pereira (Colombia), Gallery 44 (Canada), and Open Eye Gallery (England).
Her work has earned recognition from the International Photo Awards (2024), Analog Sparks Awards (2nd Place, 2024), and The JUST Art Award (2023). A Film and Media graduate of PUC Minas, she also teaches workshops on historical and experimental photographic processes in Brazil and abroad.
She has exhibited internationally at institutions including the CICA Museum (South Korea), MK Gallery (England), Rotterdam Photo (Netherlands), Pinakothek der Moderne (Germany), Museum of Art of Pereira (Colombia), Gallery 44 (Canada), and Open Eye Gallery (England).
Her work has earned recognition from the International Photo Awards (2024), Analog Sparks Awards (2nd Place, 2024), and The JUST Art Award (2023). A Film and Media graduate of PUC Minas, she also teaches workshops on historical and experimental photographic processes in Brazil and abroad.
Eva Vei
“Present Griefs, Recent Disappointments” is a process of reconciling with my teenage self using the photographic practice as a therapeutic tool. By visually poeticizing feelings of self-doubt, insecurity and body discomfort, I am reconstructing aspects of my past with greater control and agency as an adult woman. Τhrough reshaping everyday objects, I explore the ways that texture, weight and placement can alter an object’s purpose. My main focus is placed on commonly used symbols of girlhood and on the awkwardness of the body during puberty. Through this process, my aim is to replace feelings of shame with a sense of (constructed) nostalgia over that period.
Eva Vei’s artistic practice focuses on themes of intimacy and self-reflection through non-linear visual narratives. By integrating photography with influences from painting and sculpture, she delves into everyday encounters, seeking to express and enhance her understanding of the emotional landscapes that shape interpersonal and intrapersonal communication. In 2022 she was one of the Fresh Eyes Talents by GUP Magazine and in 2023 she was nominated as a Futures Talent by Void, Athens. In 2024 she graduated from Valand’s Academy MFA on Photography in Gothenburg.
Valentin Fougeray
“Even the clearest of our memories have somewhat blurred edges.” Photography exists at the intersection of memory and truth, appealing to both individual and collective recollection. As memories fade, their contours blur—leaving only feelings, images, or atmospheres. What remains is guided by emotion, which preserves memory in fragmentary, imperfect form. Images absorb and reflect these details, stimulating thought and inviting personal interpretation. In this way, memory itself becomes an imaginative reconstruction of lived experience, shaped as much by perception and feeling as by fact.
Valentin Fougeray is a visual artist and photographer exploring a poetic language where color becomes both subject and vocabulary. Trained in architecture before studying photography at Gobelins, his work bridges structure and sensibility. Early series like Balance played with ephemeral installations and material ambiguity, while later work moves toward abstraction and suggestion. In 2023, Chantal honored his grandmother with Alzheimer’s, using blurred tones and fading floral forms to meditate on memory, loss, and what remains. Fougeray treats photography as a sculptural, sensory space, where color and form evoke emotion, memory, and personal projection.
Svitlana Zaritski
“Sculpture of Darkness: An Alternate Reality” is not the absence of light. It is a space where a different kind of vision is born — like in a dark room, where familiar objects lose their identity and become unrecognizable. Here, photography does not document reality — it breaks its habitual perception. Darkness becomes an active force, not merely a backdrop. Objects lose their natural form and transform into abstract sculptures. This project is about silence that speaks louder than color, and about beauty that can only be seen in the dark.
Svitlana Zarytska photographer from Kyiv, Ukraine. Educationuses photography to communicate with the world, sharing her visions and emotions through visual images. Her preferred genres are still life and landscape. Her work explores the delicate boundaries between photography, painting, and sculpture. Each image becomes a space for slow observation—a quiet encounter with form, silence, and inner reflection.
William Bigby
These are various selected works taken between 2023 and 2025. I am using this wide range of images to showcase my ability to provide strong portraiture, and compelling documentary-esq shots.
William Bigby is a 19-year-old self-taught photographer from Pasadena, California, currently studying at NYU Gallatin. He discovered photography in 8th grade during the Covid-19 pandemic, when his parents gifted him a camera to foster creative expression. Teaching himself portraiture, he quickly mastered lighting, composition, and conceptual image-making, often using himself as a subject.
Influenced by artists such as Andre Wagner, LaToya Ruby Frazier, Wolfgang Tillmans, and Tyler Mitchell, William creates work centered on self-expression, dismantling racial stereotypes, family, and the beauty of everyday life.
Influenced by artists such as Andre Wagner, LaToya Ruby Frazier, Wolfgang Tillmans, and Tyler Mitchell, William creates work centered on self-expression, dismantling racial stereotypes, family, and the beauty of everyday life.
Irina Cheremisina
In a world where beauty ideals are constantly shifting, thinness is often celebrated—until it isn’t. This photographic project confronts the paradoxical and often harmful standards imposed on women’s bodies, particularly those who fall on the slender end of the spectrum. Through a series of visual works, I document and interpret real phrases directed at me over the years—remarks like “Skin and bones!”, “Your face looks sunken”, “Get tested! Something is clearly wrong with you!”, “You’d be beautiful if you gained some weight.” Each image is a reflection of these unsolicited comments, which reduce a person’s appearance to a subject of public discussion and criticism. This project is not just about being thin—it’s about being scrutinized, misunderstood, and body-shamed. It’s about the emotional toll of constantly being told how to exist, how to look, and how to change. By bringing these statements out of the shadows of memory and into visual form, I aim to shed light on a rarely acknowledged side of body shaming. I invite viewers to question the toxic narratives we’ve internalized about beauty, and to see individuality—rather than conformity—as the most authentic expression of self. Ultimately, this work is a reclaiming of voice, body, and identity. It is a reminder that every body tells a different story, and every woman holds a unique truth worth seeing and honouring.
Irina Cheremisina (b. 1981, Ukraine) is a mixed-media artist based in Valencia, Spain. After leaving Ukraine in 2023, she fully dedicated herself to her artistic practice, combining photography with handmade techniques. Her work has been shown internationally at venues including the National Museum of Ceramics and Decorative Arts (Valencia), the National Etruscan Museum of Villa Giulia (Rome), Carignano Palace (Turin), and the DongGang Museum of Photography (Korea).
She has received numerous awards, among them the Black & White International Awards 2025 (Grand Winner), Monovisions Awards 2025 (1st Place), and Gold at TIFA and BIFA 2024. In 2024, her work appeared in 100 Contemporary Ukrainian Photographers (Form.Paris). A member of MYPH, she began her career as a mixed-media and conceptual artist in 2025.
She has received numerous awards, among them the Black & White International Awards 2025 (Grand Winner), Monovisions Awards 2025 (1st Place), and Gold at TIFA and BIFA 2024. In 2024, her work appeared in 100 Contemporary Ukrainian Photographers (Form.Paris). A member of MYPH, she began her career as a mixed-media and conceptual artist in 2025.
Kristina Mos
Where we are not. As a photographer, I work with my family archive to explore the theme of multigenerational migration. The story begins with my grandfather, who emigrated to Canada from Western Ukraine in the 1990s. I discovered this chapter of my family’s past through an old photo album and began piecing together the story through conversations with my mother. My grandfather had joined relatives who had fled during World War II—family members displaced and orphaned by war. Later, in 2007, my mother emigrated to Italy. And in 2022, I myself became part of this migration narrative. My project is titled Where We Are Not—a phrase frequently spoken in my family: “It’s always better where we are not.” I shortened and reimagined it as a quiet commentary on exile. Since I cannot speak directly to my grandfather, the project is built on recollections—stories told and retold—making it less documentary and more about inherited memory. It blends fact and fiction into a poetic reconstruction of belonging.
Kristina Mos (b. 1998, Ukraine) is a visual artist and photographer. She is a member of the Ukrainian Women Photographers Organization and currently lives and works between Ukraine and Poland. She studied at the MYPH School and Kyiv School Photography specializing in contemporary and conceptual photography. Her practice explores themes of mental health, vulnerability, corporeality, and personal memory, and is currently expanding to include questions of displacement and generational identity. Kristina works across various media, including photography, installation, object-based art, and alternative printing methods.
Levine Aronovich
Conventions are festive gatherings celebrating imaginary worlds. In France and Belgium, Japanese animation and manga dominate, but American comics, Korean pop, cinema, and video games also appear. Fans honor characters and artists through concerts, meetups, markets, and especially cosplay, where costumes turn the venue into a stage for homage, performance, and identity play. These events offer marginalized subcultures a space for expression and a joyful, chaotic carnival of references.
Often held in large, impersonal venues, conventions contrast starkly with the warmth of human energy inside. My photographic work explores this tension. Using a Pentax 67, I create black-and-white portraits that isolate individuals from the crowd, slowing the frenzy to capture raw presence. Rooted in documentary traditions, my images highlight faces, bodies, costumes, and props, documenting a vibrant culture where fiction shapes identity and community. These portraits honor both the imaginary worlds and the real people who bring them to life.
Often held in large, impersonal venues, conventions contrast starkly with the warmth of human energy inside. My photographic work explores this tension. Using a Pentax 67, I create black-and-white portraits that isolate individuals from the crowd, slowing the frenzy to capture raw presence. Rooted in documentary traditions, my images highlight faces, bodies, costumes, and props, documenting a vibrant culture where fiction shapes identity and community. These portraits honor both the imaginary worlds and the real people who bring them to life.
Born in Paris in 1993, he studied philosophy at the EHESS, earning a master’s degree in 2018, with a focus on theology and politics in the work of Foucault and Agamben. Simultaneously, he explored silver-based photography, particularly black-and-white film, influenced by his grandfather, the renowned cinematographer Ricardo Aronovich, who lent him his first Leica M3. After graduating, he spent a year in Buenos Aires studying film at FUC while continuing black-and-white photography. Returning to France in 2019, he acquired a Leica M2 and began a project examining religion in public spaces, shot exclusively on film—Ilford HP5 and Kodak Tri-X—developed personally.
Justin A. Carney
And the Disappearing explores what happens when memories fade after the death of a loved one and how forgetting shapes the living. After witnessing his grandmother’s death, the artist reflected on life’s impermanence and the fragility of memory. Using photography, mono-printing, and sandpaper erasure, he embodies the process of memories overlapping, obscuring, and fading. The work frames forgetting as a natural part of life, honoring loved ones who remain etched in our being. It is grief work—mourning and healing—offering a space for shared reflection and conversation about death and coping.
Justin A. Carney is an artist and educator who uses autobiographical photography to explore how death and grief shape familial bonds and individual experience. His work confronts grief to offer pathways for healing. Originally from Baltimore, Maryland, he teaches at Colorado State University and holds an MFA in Studio Art (Photography) from Indiana University Bloomington and a BFA from Pennsylvania College of Art & Design. Carney has received the Beckmann Emerging Artist Fellowship (2024), First Place Single Image Award from LensCulture (2023), and the Emerging Artist Grant from the Bloomington Arts Commission (2022). His work has been exhibited nationally and internationally, including in London, Catalonia, Canada, and across the U.S.
Hanna Lautreamont
This series of photogravures and silver gelatin prints traces the arc of fully hand-crafted image-making, from the alchemy of light on film to the tactile depth of the print on Fabriano paper. The processes reveal not just an image, but the ghost of its becoming. The grain on film becomes texture on paper, shadows become etchings, silver becomes memory. Within this handmade framework unfolds a theatre of mystery. Figures caught in poses that hover between reverie and performance, objects plucked from dreams, garments that may be costume and skin at once. The compositions evoke the chance encounters and disquieting beauty that Comte de Lautréamont likened to “the meeting on a dissecting table of a sewing machine and an umbrella”. They lean into the absurd yet elegant juxtapositions of surrealism. Each frame becomes a room in an uncharted hotel, its doors half-open to scenes both intimate and impossible. Time folds in on itself – the image is neither of the past nor the present, but a suspended moment. The viewer wanders as a guest might, moving from shadow to glare, from whispers to silence, collecting fragments of a story that can never be told in full.
Born in eastern Ukraine in 1991. Having graduated with a master’s degree in languages and the history of Western literature, I worked as a lecturer in Western literature at the university for three years before deciding to follow a childhood dream and lifelong hobby - photography. Due to the full-scale invasion of Ukraine in 2022 I relocated to London. Less than a month later, I started internship at a darkroom photo lab, where I acquired analogue skills such as darkroom printing and film processing. Currently working on personal projects and honing skills in photogravure, alternative printing, and other hands-on analogue techniques.
Lesya Kim
My dreamers are not kids anymore, but they are not adults yet either. They are making their first big decisions: - whether to stay in their hometown or move to a big city like Saint Petersburg; whether to start working right now or finish their university education first; - whether to live alone or continue living with their parents; - who to trust and what to believe. These youngers remind us of the challenges we face in life and give viewers a chance to reflect on their own experiences. I chose a snapshot-style approach to show my heroes in a natural and honest way. My dreamers are not kids anymore, but they are not adults yet either. They are making their first big decisions: - whether to stay in their hometown or move to a big city like Saint Petersburg; whether to start working right now or finish their university education first; - whether to live alone or continue living with their parents; - who to trust and what to believe. These youngers remind us of the challenges we face in life and give viewers a chance to reflect on their own experiences. I chose a snapshot-style approach to show my heroes in a natural and honest way.
Kim Olesia, based in Tyumen. She is a member of iN-PUBLiC//The home of street photography collective (London) and also has been studying in the Docdocdoc photography school (Saint Petersburg) since 2019. She finished the Visual Art School in Moscow (Maximishin course) in 2016. She has published the photography book "Tobolsk" in 2019. Awards (selected): Aussie Street Festival, 2023, winner London Street Photography Festival, 2021, 2022 winner Miami Street Photography Festival 2017, 2018, 2019, 2022 finalist Smithsonian Magazine, 2021 (winner) Italian Street Photography Festival, 2021 (winner) Siena International Photo Awards, 2020 (winner) The Independent Photographer, Street Photography Competition, 2020 (winner) Lensculture Awards, Street Photography Contest, 2020 (finalist)
Sally Smoker
Nine Lives explores loss, memory, and absence through the artist’s experience of her grandmother’s illness and death. Following her diagnosis in June 2024 and passing in November 2024, the project combines contemporary photographs with archival family images, using mixed media and film to document both physical decline and the solidification of memory. The work serves as a personal reflection and a meditation on how we grieve, remember, and carry forward the legacy of loved ones.
Sally Smoker is a photographer based in Kent, UK. Her work is inspired by her family, personal experiences and the stories behind found and archival objects. She also experiments with adding tactical elements to her photography through mixed media.
Lucie Schrag
“Ohnmacht” explores the experience of losing control over one’s body — a state of helplessness often overlooked or exploited. The series depicts women collapsing into themselves, their vulnerability heightened by soft fabrics and restrictive spaces that echo societal expectations of femininity.
The work references fainting women in classical painting and links them to modern research on mass hysteria, revealing how cultural narratives shape perceptions of powerlessness. Stark shifts between warm and cold lighting expose the emotional range of disempowerment, from fragile beauty to resistance.
In exhibition, the large prints were placed behind loose glass panes leaning against walls. The paper’s subtle sagging suggested both entrapment and display, evoking store windows and the invisible confines of patriarchy.
Ultimately, Ohnmacht is a quiet protest — a visual articulation of disempowerment and its many contradictions.
The work references fainting women in classical painting and links them to modern research on mass hysteria, revealing how cultural narratives shape perceptions of powerlessness. Stark shifts between warm and cold lighting expose the emotional range of disempowerment, from fragile beauty to resistance.
In exhibition, the large prints were placed behind loose glass panes leaning against walls. The paper’s subtle sagging suggested both entrapment and display, evoking store windows and the invisible confines of patriarchy.
Ultimately, Ohnmacht is a quiet protest — a visual articulation of disempowerment and its many contradictions.
Lucie Schrag is a photographer based in Lausanne, currently studying at ECAL. Her practice explores themes of love, oppression, loss, and grief, with a focus on how collective emotions surface in individual gestures and postures.
Working across analog photography, archival material, and staged scenarios, she examines the vulnerability and loss of control over the female body, with clothing as a recurring motif. Her works include 39 briefe, centered on personal traces of absence, and the video golden shower, which confronts bodily exposure in public space.
She has received support from the Department of Culture Basel-Stadt, GGG Kulturkick, and the GGG Women’s Fund, with exhibitions at KASKO Basel, the Olympic Museum Lausanne, and Jungkunst Winterthur.
Working across analog photography, archival material, and staged scenarios, she examines the vulnerability and loss of control over the female body, with clothing as a recurring motif. Her works include 39 briefe, centered on personal traces of absence, and the video golden shower, which confronts bodily exposure in public space.
She has received support from the Department of Culture Basel-Stadt, GGG Kulturkick, and the GGG Women’s Fund, with exhibitions at KASKO Basel, the Olympic Museum Lausanne, and Jungkunst Winterthur.
Christopher Berwing
This ongoing work reflects on the cultural and emotional landscape of Georgia in the context of its post-Soviet transition. The images capture the fragility and subtlety of change: an abandoned diving tower in a former swimming pool, a Karl Marx sculpture humorously tilted with a military hat, or the remnants of a restaurant resembling a crashed UFO. “Between” is composed as a collection of observations. It offers fragments of a landscape shaped by improvisation and unresolved histories. These places and objects carry the weight of a history that remains alive not only through buildings and sculptures but also in the atmosphere of forgetting and remembering. The images invite the viewer to engage with the tensions of transition: between past and present, absurdity and seriousness, resistance and transformation.
In Berlin, he grew up with photography – in his father’s darkroom, where his father worked as a journalist. He learned a lot from him and later pursued further education in Switzerland, Germany, and the UK. Today, he works on documentary and environmental projects, with a growing interest in experimental techniques.
Zillah Bowes
Green Dark captures the fragile rhythms of plant life and the landscapes of the Elan Valley near Rhayader, Mid Wales, offering a space to reflect on the relationship between humans, plants, and climate uncertainty. The series also documents the traditions of tenant farmers, whose open-hill sheep grazing fosters community and continuity amid environmental and economic challenges. Winner of the British Journal of Photography International Award (2022) and acquired by National Museum Wales, Green Dark has been exhibited at the Royal Academy of Arts, Welsh Parliament, Ffotogallery, and other venues.
Zillah Bowes is a multi-disciplinary artist working in photography, film, and writing, exploring the relationship between humans and the natural environment, with a focus on climate change and biodiversity. Her photographic series Green Dark won the British Journal of Photography International Award (2022), was acquired by Museum Wales, and exhibited at Ffotogallery, Royal Academy of Arts, and York Art Gallery. Her series and film Allowed won multiple awards, including British Journal of Photography Edition 365, Thomas Edison, and Zealous Amplify: Environment (2024). Bowes has undertaken residencies with Jerwood, Cove Park, and Hypha Studios, and was awarded the Future Wales Fellowship (2023–2025).
Lopez Josefina
As an artist and conservator, Lopez Josefinaexplores the image across drawing, painting, and photography. Her work combines visual research with projects linked to exhibitions and collections, using photography as both a method of observation and artistic expression. The ongoing series ''Arte y Parte'' examines the formal and institutional structures of the art world through a personal archive spanning decades of museum, gallery, and fair visits, subtly revealing its complex relationships and contradictions with wit and insight.
Josefina López (Santiago de Chile, 1981) is a photographer and fine art conservator exploring the intersections of image-making, institutional spaces, and archival practice. Since 2009, she has developed a photographic archive through visits to museums, galleries, and art fairs across South America, Europe, and the U.S., examining the often-invisible structures of the art world. López has contributed to projects at DIBAM and Tate, curated her first solo exhibition 1/15 de silencio(2017), managed a major private collection (2020–2025), and is pursuing a Master’s in Photography at PhotoEspaña.
Gregg Segal
The Sum of Us explores family, memory, and connection in response to the artist’s brother’s homelessness. Layering archival photos with urban textures and painted elements, the works—between photography, painting, and collage—form palimpsests that trace the threads binding loved ones across time, reflecting on identity, memory, and belonging.
Gregg Segal (USA) studied photography and film at CalArts (BFA), dramatic writing at NYU (MFA), and education at USC (MA). His photography has been recognized by American Photography, PDN, Lens Culture, the Magnum Photography Awards, and others, and he received the 2018 Food Sustainability Media Award. Segal’s portraits and photo essays have appeared in Time, GEO, Smithsonian, Le Monde, and National Geographic Adventure. His monograph Daily Bread (2019) has a German edition (2020). Recent exhibitions include The Meal (Dom Museum, Vienna), In Feast or Famine (Palo Alto Art Center), and Daily Bread (Seaport, New York).
Julia Parris is a Brooklyn-based multimedia artist working in cut-paper collage and photography. She creates surreal, layered worlds that explore the subconscious and the personal and global impacts of climate change. Using everyday objects and printed ephemera, Parris merges unexpected elements into vivid, dreamlike environments. Tearing and cutting add texture and movement, which she preserves through careful lighting and photography. Her work evokes symbolism, mortality, time, and fleeting moments of euphoria.
Dominique Teufen
Dreamscapes and Constructed Realities blends cut-paper collage with photography to create intimate, surreal landscapes. Julia Parris constructs imagined spaces as portals into the subconscious, reflecting how collective ecological grief shapes both inner and outer worlds.
Swiss artist Dominique Teufen completed her BFA in sculpture at Gerrit Rietveld Academy Amsterdam (2002) and her MFA at St. Joost Academy of Art and Design, Holland (2010). She has exhibited internationally, including at Kunstmuseum Chur, Image Vevey Photography Festival, NRW Forum Düsseldorf, Fotografie Museum Berlin, and the Photography Biennale in Bogotá. Teufen has received numerous awards, including the Vfg. Young Talent Award (2013), LensCulture Emerging Talent Award (2018), HSBC Photography Award (2019), and UBS Grant for Visual Artists (2022).
Attilio Fiumarella
What Remains When Everything Else Disappears began as a quiet practice, returning daily to gardens, studios, and patches of ground to work with overlooked fragments—stones, branches, tiles, dried flowers. Through assembling and balancing, temporary forms were created for large-format photography, capturing moments between presence and disappearance. The series emphasizes care, attention, and dialogue with materials, embracing fragility and the ephemeral, inviting viewers to linger, reflect, and see what can emerge from what remains.
Attilio Fiumarella (Naples, 1978) is a visual artist whose practice began to take shape in 2020 after winning the Portrait of Humanity Award (BJP + Magnum Photos). Trained as an architect at the Porto School of Architecture, he later shifted towards photography as a means to explore identity, materiality, and social landscapes. His work often emerges from performative processes and the use of large format, where found materials and daily rituals become sculptural gestures translated into images.
Yurii Naumovych
''Beyond" is a photographic project about the deepest corners of rural life. It explores various aspects of the countryside: from ancient houses preserving their history and soul, to portraits of residents who daily work in the fields and practice traditional crafts. Each frame reveals the uniqueness and distinctiveness of the village, its culture, and community. The discussion includes ethical, cultural, and ecological aspects of our coexistence with nature. "Beyond" is a place where time slows down, where nature preserves its wisdom, and people continue to live in harmony with their environment. Allow yourself to discover new perspectives on rural life and immerse yourself in its unique world. It is a true journey into a culture where every event, every object has its own history. "Beyond" points to what lies beyond what we usually see or understand in a village. Its goal is to uncover and analyze the emotions, thoughts, and internal states that may be hidden or not immediately apparent. Rural life is quite closed and stigmatized. Revealing the essence and showing another side, the depth of images is my task. "Beyond" indicates a search for identity and self-definition among village residents. It examines how the village influences personality development and relationships between people, as well as how residents perceive themselves and their surroundings. It serves as a means to explore the cultural and social aspects of village life that usually go unnoticed. Traditions, rituals, ways of life, and community values that form in the shadow of the widely recognized aspects of life.
Yurii Naumovych is a Ukrainian photographer born in 1985 in the village of Netreba, Rivne region. Currently based in Lutsk, he has been practicing photography since 2008. Working mainly in minimalist landscape and portrait genres, his work explores themes of memory, place, and the quiet dignity of rural life. Passionate about lifelong learning, Yurii continues to develop his craft through study, observation, and personal experience.
Alena Solomonova
This mixed-media project combines printed self-portraits with glass surfaces and dried plants. The plants symbolize natural withering, reflecting both physical and emotional aging, while the blurred glass evokes attempts to hide the passage of time—through social media filters, retouching, and masks. The work explores youth, impermanence, and transformation, finding beauty in fragility and in the traces of life that remain, much like a dried flower telling its own story.
Born in 1978 in Barnaul, USSR, Alena Solomonova initially pursued a career in economics before shifting her focus to psychology, earning a bachelor’s degree in 2018. That year, she moved to Slovenia, where the COVID-19 pandemic prompted a pause in her psychotherapy plans and led her to discover a passion for photography. Over subsequent years, she honed her skills through courses and in 2023 began formal studies at the Higher School of Photography. She now works as an art photographer, exploring creativity and self-expression through her lens.
Veronika Hudzenko
The series explores the inner world, capturing moments that reflect fragile, shifting states of the soul. The butterfly symbolizes rebirth and transformation, leaving behind its former self to embrace the unknown. Each photograph embodies the artist’s emotions—doubt, searching, and discovery—highlighting the balance between past and future. Through this lens, change is both inevitable and defining, and our essence emerges in the continuous flow of transformation experienced in the present.
Veronika Hudzenko is a visual artist from Kyiv, Ukraine. She began her photography practice in 2022, when she started studying at the Kyiv School of Photography. Veronika holds an academic background in graphic design, which deeply influenced her creative approach. Focusing on the relationship between color and shape, she tries to find new ways of depicting things around us. In 2024, her works were featured in a book “100 Contemporary Ukrainian Photographers”.
Xusha Chen
This body of work, begun in 2022, explores personal memory and the fragile terrain of survival. Between 2020 and 2023, amid the pandemic, the artist faced loss, illness, and upheaval, shaping a practice in which the body becomes both archive and witness. Through photography, she revisits the past from the stillness of the present, retelling stories that cannot be spoken aloud and reflecting on memory, grief, and resilience.
Xusha Chen is a photographer and PhD candidate in Fine Arts based in New Zealand, originally from Beijing, China. Her current research and creative practice explore autobiographical memory, trauma, and the embodied experience of post-pandemic life through performative photography. With a background in both theoretical inquiry and visual storytelling, Chen investigates how the body becomes a vessel of lived emotion and a site of silent resistance. Her recent works combine self-portraiture, symbolic props, and domestic environments to unravel personal narratives shaped by loss, anxiety, and cultural expectation—turning the photographic frame into a space of healing, reflection, and conceptual performance.
Rebecca Horne
Clay Feet is a photography collection that intertwines carefully composed still lifes with performative, intimate scenes to investigate and challenge traditional notions of the destructive and creative feminine. The project operates through two complementary lenses: the personal, examining the artist’s own experiences, memories, and identity, and the art historical, engaging with the visual and cultural legacy of femininity in art. Through this dual perspective, the series interrogates established tropes, offering a nuanced reflection on gender, power, and creativity.
Brooklyn-based artist working in photography. I have a BFA from the San Francisco Art Institute and a MFA from the Mason Gross School of the Arts at Rutgers University. My photography has appeared in publications and catalogs including The New York Times, Tèlèrama Magazine, FotoMagazine, Adbusters and my book Pseudologia. Exhibition history includes solo exhibitions at The Claude Cahun Center for Contemporary Photography, Roebling Hall Gallery in New York City, the Tyler School of Art in Philadelphia curated by Marlo Pascual, and group shows including San Francisco Arts Commission, and the Recontres Internationales de la Photographie d’Arles, France.
Sharon Draghi
Wilton Studio is a series of large-format photographs taken in a functioning gay porn studio in Wilton Manors, Florida—a city that markets itself as a queer utopia while sustaining a discreet economy of nightlife and erotic labor. Using a 4×5 camera, I photographed the sets—classrooms, bedrooms, jail cells, doctor’s offices—between shoots, when staged but empty.
The images highlight the infrastructure of queer desire: lights, cables, props, and traces of use. Drawing from architectural photography and tableau traditions, they reflect on the labor behind visibility and the tension between realism and simulation.
Presented as immersive dye-sublimation prints on aluminum, the series extends my practice of documenting queer spaces and archives. In a moment when LGBTQ+ spaces face renewed threats—particularly in Florida—Wilton Studio preserves a contested site of desire and asks what remains when the performance ends.
The images highlight the infrastructure of queer desire: lights, cables, props, and traces of use. Drawing from architectural photography and tableau traditions, they reflect on the labor behind visibility and the tension between realism and simulation.
Presented as immersive dye-sublimation prints on aluminum, the series extends my practice of documenting queer spaces and archives. In a moment when LGBTQ+ spaces face renewed threats—particularly in Florida—Wilton Studio preserves a contested site of desire and asks what remains when the performance ends.
Matthew Leifheit (B. 1988, Chicago) is an American photographer, magazine editor, and professor. A graduate of Rhode Island School of Design and the Yale School of Art, Leifheit is Editor-in-Chief of MATTE Magazine, the journal that supports emerging photography he has edited and published since 2010.
Sharon Draghi
This body of work explores the solitude of inner life and the tension between visibility and withdrawal. Using myself as a model, I reflect on feelings of erasure often experienced by older women, creating ambiguous narratives that invite broader interpretations around identity, aging, and the duality of public and private selves. Domestic spaces serve as both refuge and confinement, evoking timeless themes of isolation and introspection. Inspired by Hammershøi, Hopper, and Vermeer, as well as the performative self-portraits of Sherman and Wearing, these images transform personal experience into an act of empowerment and shared reflection.
Sharon Draghi is a graduate of the International Center of Photography's Creative Practices Program. Her work explores intimacy and the solitariness of one's inner world. By mixing candid and staged imagery, she creates open-ended narratives taken specifically from a woman's point of view. She is also interested in examining how environment contextualizes and illuminates our daily lives.
Elizabeth Pedinotti Haynes
Family Table is an analog hybrid of collage, sculpture, and photography in which the artist arranges domestic objects, trash, and photographic cutouts of her family. The series collapses time and space like memory, creating magical, mutable domestic landscapes that explore uncertainty, imagination, and transformation. Common objects—forks, food, and detritus—take on multiple forms and meanings, reflecting on memory, loss, and the possibilities of reconfiguring both material and emotional worlds.
Elizabeth Pedinotti Haynes is a lens-based artist and writer based in upstate New York. Her work explores the physical and metaphysical detritus of everyday life, blurring boundaries between memory and truth, domestic and wild, human and nonhuman. Her project Family Table was featured in a solo exhibition at Copenhagen Photography Festival (2025) and will be published by Saint Lucy Books (2026). Her work has been exhibited internationally and recognized with awards including the Saltonstall Foundation Fellowship (2024) and Encontros da Imagem Discovery Award (2022).
Mayuko Ukawa
In Portraits, Ukawa photographs beach debris with the same care and formal attention as human subjects. Captured using a 4×5 Linhof camera on color negative film and printed by hand, these images elevate discarded objects—tangled tape, broken electronics, weathered fragments—into quiet portraits, haunted by traces of human presence. Found along the tide, these fragments serve as silent remnants of anonymous lives and distant places. The choice of film was intentional: just as the debris resists clear temporal definition, so too does the medium of photography in this series evoke a sense of timelessness.
Mayuko Ukawa, born in Osaka, Japan, is a photographer based in Chigasaki, a coastal town in the Shonan region, while working primarily in Tokyo. Her work explores memory, time, and human presence through a poetic observation of everyday life. Professionally, she works as a portrait photographer for advertisements and magazines and serves as a reviewer and juror for photography events.
Ukawa has held solo exhibitions including Out of the Garden (2013), Rhapsody in Blue (2017), Laundromat (2021), Wonderlaund (2021–2022), Portraits (2023), Les Deux Crépuscules (2025), and Kumikyoku – La Suite de la Mer (2025). She has published two photobooks: Wonderlaund (2021) and Les Deux Crépuscules (2024), which she presented at Paris Photo 2024.
Ukawa has held solo exhibitions including Out of the Garden (2013), Rhapsody in Blue (2017), Laundromat (2021), Wonderlaund (2021–2022), Portraits (2023), Les Deux Crépuscules (2025), and Kumikyoku – La Suite de la Mer (2025). She has published two photobooks: Wonderlaund (2021) and Les Deux Crépuscules (2024), which she presented at Paris Photo 2024.
Emilia Martin
Hail Mary, Bobbin Lace, Serpent’s Thread (Netherlands, 2025)
This work interlaces personal memory with forgotten textile histories. As a child, I watched my grandmother’s hands weave threads—labors of care dismissed as domestic, soon discarded after her passing. I connect her story to the Andersson sisters in Sweden, who, at the turn of the 20th century, made textiles for wedding coffins that were never used, their work left as a haunting record of unrealized lives. Drawing on Rozsika Parker’s words that to know the history of textiles is to know the history of women, I trace these threads across generations, refusing their erasure. The work is ongoing.
This work interlaces personal memory with forgotten textile histories. As a child, I watched my grandmother’s hands weave threads—labors of care dismissed as domestic, soon discarded after her passing. I connect her story to the Andersson sisters in Sweden, who, at the turn of the 20th century, made textiles for wedding coffins that were never used, their work left as a haunting record of unrealized lives. Drawing on Rozsika Parker’s words that to know the history of textiles is to know the history of women, I trace these threads across generations, refusing their erasure. The work is ongoing.
Emilia Martin (Poland) is an artist and photographer based in The Hague. Drawing on ancestral storytelling traditions, she works across photography, writing, sound, and sculpture to explore myths, rituals, and the blurred boundaries of truth and fiction. A graduate of the Photography & Society Master’s program at the Royal Academy of Art (2022), she has exhibited internationally, including Rencontres d’Arles (2024, 2025), Fotofestiwal Łódź (2025), and Photo Museum Ireland (2025). Her book I saw a tree bearing stones in the place of apples and pears was published by Yogurt Editions in 2024. She also co-founded Radio Echo, a feminist radio collective.
Cinzia Laliscia
Finalmente posso andare (“Finally, I can go”) is a visual diary born from grief during Italy’s first COVID-19 lockdown, when I lost my grandmother and aunt yet was unable to say goodbye. Confined at home, I turned to my photographic archive as a way to reconnect with nature—a lifelong source of comfort—and to navigate absence. As restrictions eased, I continued the work in the landscapes of Loreno and Spoleto, crafting a suspended, dreamlike world where light became a witness to memory, loss, and transformation. Their absence endures, yet in remembering, I find solace.
Cinzia Laliscia (b. 1999, Terni) is an Italian photographer whose work explores intimacy, nostalgia, and the bond between humanity and nature. For her, photography is a cathartic act of reflection and self-exploration. A graduate in Visual Arts from IED Rome (2021), she was selected by Canon for the collective book Encourage during the pandemic. Her work has since been exhibited internationally and recognized by Vogue, The Guardian, and Vanity Fair. In 2024 she won first prize at the 212 Photography Competition (Istanbul), followed in 2025 by second place at the LanghePhoto Prize and a solo show at the Langhe Photo Festival.
Form Photo Award 2025 Jury
-
Darius Himes__________International Head of Photographs at Christie's Darius Himes oversees a global team in three locations producing auctions, exhibitions and catalogues as International Head of Photographs at Christie's. Prior to joining Christie’s in Fall 2014, Himes was director of Fraenkel Gallery, San Francisco from 2011–2014. In 2007 he co-founded Radius Books, a non-profit publisher of books on photography and the visual arts. While working with artists such as John McCracken and Lee Friedlander, he is most proud of publishing first monographs for over a dozen emerging artists.
-
Hayley SmithDirector of SCOPE Art Show and Sotheby’s Institute of Art alumna, leads the premier platform for international emerging contemporary art and multi-disciplinary creative programming. Hayley Smith is a prominent figure in the contemporary art world, best known for her role as the Director of SCOPE Art Show, a leading global platform for emerging contemporary art. Under her leadership, SCOPE has continued to expand its reach, showcasing a diverse array of artists and galleries from around the world. Her work emphasizes inclusivity, innovation, and the support of emerging talent
-
Sven Eisenhut-Hug__________Co-Founder and Founding Co-Director of Art Salon Zürich, and the Director and Co-Founder of photo basel GmbH—Switzerland's first international art fair dedicated exclusively to photography. Held annually during Art Basel week, photo basel features approximately 40 international galleries showcasing a wide range of photographic practices and artists. Under Eisenhut-Hug’s leadership, the fair has successfully expanded to Berlin and Miami, becoming a pivotal event on the international art calendar. Widely regarded as one of the most influential figures in photography
-
Virginia Damtsa__________Co- founded iconic gallery Riflemaker, counts Nick Rhodes from Duran Duran and Michael Seresin, cinematographer of Harry Potter, amongst her collectors. Annie Lennox has also been a long-standing enthusiast of the gallery’s representation of visionary powerful artists. Virginia Damtsa is also working with musician Peter Gabriel on a collaboration of art and music for his new i/o album, which features works by prominent artists such as Ai Weiwei, Nick Cave, Cornelia Parker, Olafur Eliasson, Annette Messager, Tim Shaw, David Spriggs, and others.
-
Dimitri Bogachuk__________Founder of Form. Gallery / Publishing / Magazine - co-founder of Photo Kyiv Fair, artist and curator he graduated from the National Academy of Culture and Arts in Kyiv, where he majored in art expertise. Numerous of photography educational programs he share his experience to audience and create a powerful base and ecosystem for young talented wave of young photographers - some of them now established photographers exhibited in galleries, museums, fairs around the world, including Fotografiska and Center Pompidou, Paris.