We are thrilled to announce the winners of 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.

The top five winners will have their projects exhibited at the SCOPE Art Fair in December 2025, during Miami Art Week, where they will be seen by over 80,000 visitors.

This project explores ephemeral, incidental objects that have lost their functional purpose – street debris, packaging fragments, and other remnants of everyday life. Through photography and scanning, I transform these fragile traces of the everyday into abstract, sculptural forms, exploring themes of connection, temporal space, and the sense of belonging. Due to frequent relocations, I can no longer accumulate physical objects – things that once became familiar “artifacts” of my past.

By preserving them in digital form, I began creating a temporary archive: a personal collection assembled not for practicality, but as a way of searching for meaning, establishing a connection with a new place, and regaining a sense of belonging. These fragments become a language through which I engage with the space I now inhabit.

This project explores ephemeral, incidental objects that have lost their functional purpose – street debris, packaging fragments, and other remnants of everyday life. Through photography and scanning, I transform these fragile traces of the everyday into abstract, sculptural forms, exploring themes of connection, temporal space, and the sense of belonging. Due to frequent relocations, I can no longer accumulate physical objects – things that once became familiar “artifacts” of my past. By preserving them in digital form, I began creating a temporary archive: a personal collection assembled not for practicality, but as a way of searching for meaning, establishing a connection with a new place, and regaining a sense of belonging. These fragments become a language through which I engage with the space I now inhabit.

If I Were a Woman is a visual narrative that merges photography, poetry, and film to explore and reclaim womanhood from the inside out. Told in five symbolic chapters—Innocence, Beauty, Submission, Desire, and Power—the story confronts the roles women are expected to perform, and reimagines them through a lens of strength, autonomy, and truth. The photo series, paired with a spoken-word short film, brings these themes to life with striking imagery and raw language. Each frame captures a version of womanhood imposed by societal norms—silent, flawless, desirable, obedient—and then shatters it. As the visuals unfold, the voice grows louder, fiercer, reclaiming every label, every scar, every stereotype. This is not just about what it looks like to be a woman, it’s about what it feels like to take that definition back. If I Were a Woman is a declaration. A disruption. A reclamation of the body, the voice, and the narrative.

›Filmfehler‹ (›Failed Film‹) is an ongoing artistic research project centered around a collection of photographic failure from the archive of the former film factory inWolfen, Germany. Starting in the early 20th century, film and photographic materials were produced in Wolfen under the label agfa, later orwo, until the factory stopped the production after the collapse of the GDR in the 1990s. During its operation, supervisors at the factories kept a collection of mistakes and failures that were made during the production cycle.

Official documents suggest that this material was collected to prevent making the same mistakes in the future, while handwritten notes by technicians foreshadow a fascination with the poetic quality of these mistakes. Parts of this collection remain in the archive of the former film factory, hitherto unseen. ›Filmfehler‹ (›Failed Film‹) is centered around fundamental questions about photographic failure, archives and their function and use in contemporary art practice. A core interest of the project is the examination of Wolfen’s “failed film” in regard to its visual potential. Using actual film material from the archive, the artist creates analog chromogenic and silver gelatin prints as physical interpretations of these mistakes.

other articles