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Finalists of the 4. Online Portfolio Walk

The applications for the fourth season of the Online Portfolio Walk of the German Photographic Academy have made it clear that there is a new diversity in the stylistic orientations of contemporary photography. Belief in the objectivity of the medium is waning and a free space for a broad spectrum of conceptual and experimental working methods is developing. It was not easy for the jury to select only five positions from this wealth of subjective perceptions of our life-world that could give new impulses to contemporary artistic photography.

The awarded photographers are: Carlos Barradas, Ksenia Kuleshova, Veronica Losantos, Patricio Cassinoni, Marylise Vigneau.

DFA press materials:

Carlos Barradas | Ferry Tales (2018 - 20)

Carlos Barradas | Ferry Tales (2018 - 20)

Jury member Andreas Langen about 'Ferry Tales': 'Few photographers cultivate a strong sense of language, Carlos Barradas does. The sophisticated handling of the abstract parallel medium to the visual is part of his biography: Before studying photography in Milan, the Portuguese Barradas graduated in anthropology and worked and published internationally in research, science and literature projects. So Barradas can write, you can easily convince yourself of that, by means of his self-inquiries and notes on the submitted work with the wonderful title "Ferry Tales" - which in the English original directly alludes to the concept of fairy tales; an elegant and meaningful play on words, read it yourself! What Barradas, for reasons of the self-evident modesty of a clever author, does not elaborate on is the effect his pictures have on the viewer: one feels almost disconcertingly placed in the front row of a theatre audience, where one watches the figures of a modern and yet timeless production from very close up; without, incidentally, getting too close to a single one - a further indication of how perfectly formed Barradas acts. People are waiting, dreaming, longing and embracing each other, keeping still and waiting for things to happen, the human drive of a velvet black night. This is eye candy and brain food at its best. Chapeau!' Barradas about his work: 'Ferry Tales is the sight of a place that is out of all places: the vision of a reality that represents at the same time the solitude and the immensity, a second and the eternity. The vision of something trivial that can acquire an exceptional quality in our daily life, a piece circulating, stopping, floating in space. The following work explores the departure, the journey and the arrival of a ship, offering a rough perspective of reality and the imaginary, trying above all to reflect on why the ship is the heterotopia par excellence, because, in the words of Michel Foucault, in civilizations without boats dreams mingle, adventure is substituted by espionage and corsairs by the police.' Short bio: Barradas is a photographer with a PhD in Anthropology. He has a European Master in Contemporary Photography at the European Design Institute in Madrid, to which he was awarded a merit scholarship. In his work he engages with ambiguity. He positions his photographs in a liminal state, an anthropological concept that refers to an intermediate phase or condition in a given rite of passage. His intention is that the photographs become a receptacle in which people deposit their narratives. In that sense, they are transformed into a habitable space, where emotional statuses, memories, and social and cultural values come into play, defining one’s interpretation of the image. www.barradascarlos.com

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Ksenia Kuleshova | Ordinary People [LGBTQ+ in Russia] (2018 - ongoing)

Ksenia Kuleshova | Ordinary People [LGBTQ+ in Russia] (2018 - ongoing)

Kulehsova about her work: 'The ban on "propaganda of non-traditional sexual relations" was signed into the Russian federal law by Vladimir Putin in June 2013. This law, also known as the “anti-gay law”, has strengthened the restrictions on the freedom of expression that can apply to all categories, from artistic expression to political discussion and has a serious impact on public debate on important social issues. For such a long time this topic has been a taboo. It’s no longer illegal to be gay (the restriction was lifted in 1993), a homophobic atmosphere is still there. I aim to document everyday life of couples of different ages, make (video-) portraits and to photograph private and hidden public venues. In my work I want to discover an ability of ‘ordinary people’ to enjoy the moment and value the happiness and joy of everyday life despite an open homophobia on the television, by politicians in the media and the Russian church. My protagonists still care about not showing their feelings in public but I am happy to say that they are not afraid to show their faces in my story.' Short bio: Ksenia Kuleshova is a photographer based in Germany, Belgium and her native Russia. Her work has been exhibited and published internationally, including in The New York Times, Wall Street Journal, DIE ZEIT, GEO France, and others. A participant in the Joop Swart Masterclass in 2018, Ksenia is studying photography in a graduate program at the University of Applied Sciences and Arts in Dortmund, Germany. www.kuleshova.de/

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Veronica Losantos | Archaia (2020)

Veronica Losantos | Archaia (2020)

Jury member Wolfgang Zurborn about 'Archaia': 'With her work "Archaia" Verónica Losantos questions the possibilities of the medium of photography to create documentary evidence of historical events. The location of her investigations is clearly defined. It is about the history of a village in northern Spain that was flooded and rebuilt elsewhere. By compiling image and text material from different sources, combining her own photographs and photographs from archives, the artist develops a kind of fictional science. Beyond the information content of the images, the visual interaction creates a complex network of associative references that goes far beyond the idea of creating a neutral document. Losantos rather creates a subjective construction of memory and research that awakens the viewer's interest in the subject matter dealt with and at the same time leaves room for individual interpretations.' Losantos about her work: '"Archaia" (from the Greek "ta archaia" = old things / antiquity / archives) examines the phenomenon of disappearance and the question of the role of the photographic medium as historical evidence and as a witness to the past. The story of a flooded village in northern Spain during Franco's dictatorship in the 1960s and its relocation to a new city (which also disappears due to rural depopulation) serves as the starting point for this photographic essay, which attempts to explore the connection between photography and archaeology, and between memory and the photographic process. For this purpose I put together all sorts of material such as archive pictures, original documents and letters as well as my own pictures, in a kind of fictional archaeological report that tries to prove or preserve the existence of this place as if it no longer exists, which will happen at some point.' Short bio: Verónica Losantos born in 1984, studied Audiovisual Communication at the University of Burgos and Photo Design in Berlin. With her dummy of "Mansilla" she would be selected this 2018 for the Dummy Award of the Fotobookfestival Kassel and her book would be shown in several international exhibitions. In 2014 she won the "Talents" competition at C/O Berlin, where she had an exhibition with her project "Screen Memories" from February to April 2016. In 2016 she also won the Berlin Brandenburg Lotto Art Prize for Photography and other awards in Spain. Her works would be exhibited at the Darmstadt Days of Photography 2016, as well as in Photoespaña in Madrid, the Deutsche Börse Photography Foundation in Frankfurt, the Contact Photography Festival in Toronto, the F5,6 Gallery in Munich and the Freies Museum Berlin, among others. In January 2020 she completed her Master in Photography and Design at the FH Bielefeld and she now lives and works in Berlin. www.veronicalosantos.com

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Patricio Cassinoni | Quarantine (2020)

Patricio Cassinoni | Quarantine (2020)

Jury member Jürgen Scriba about 'Quarantine': 'What does the surfer on the ironing board do? The lifeguard sits on a household ladder and does not make a particularly professional impression with brightly coloured children's swimming rings. The overly candid light suggests a trendy, ironic advertising campaign. But what is being sold here? The garden tools that appear as props in some of the pictures? Do we see a frantically original fashion line? Then breathing masks appear in one of the pictures, and the suspicion is confirmed by the text about the work: For his project 'Quarantine', the photographer Patricio Cassinoni has set himself the task of staging a new photograph every day in the absence of work opportunities. Other photographers had the same idea, but hardly anyone can keep up with this intensity and perfection. From the lockdown limited to the house and garden, Cassinioni detonates creative bombs in his corona protection enclosure, exploding its confinement. Thus, moving boxes and garden hose become a moon rocket shortly before take-off. The skilful paraphrase of Grant Wood's famous painting 'American Gothic' is already one of the less original ideas.' Cassinoni about his work: 'A new photo every day that represents life in quarantine. 70 photos in 70 days. Made entirely at home, these staged images portray the new reality we are all immersed in. As a photographer I have always been interested in our understanding of social experiences through images, with my work always being defined by its very precise and polished aesthetic. Quarantine aims to document the experience of life through this pandemic using carefully designed and staged images. It aims to capture the new behaviors this reality brings and reflect on the new ‘self’ attached to them, highlighting the new practical and emotional understanding of the space we occupy and our relationship with it. Just as the pandemic has done, I aim to subvert normal life through these precisely defined images, offering a visual representation of the profound effects of this crisis on even the simplest things. With the help and support of my partner Nyree we have found a way to create a good daily experience in such precarious times.' Short bio: Cassinoni is a visual artist born in Buenos Aires (Argentina). he studied photography with Filiberto Mugnani and Alberto Goldstein at the Centro Cultural Ricardo Rojas in Buenos Aires, Argentina. In 2007, he has established in Dublin. His work has been featured in collective and solo shows as well as in festivals in Buenos Aires, Dublin, Barcelona, Madrid, Edinburgh, Brussels, Berlin and Toruń. From his studio in Dublin he continues to develop his creative work and teaches photography workshops. www.patriciocassinoni.com/

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Marylise Vigneau | ABOUT TIME OR THE IMPOSSIBILITY OF AN ISLAND (2014 - 19)

Marylise Vigneau | ABOUT TIME OR THE IMPOSSIBILITY OF AN ISLAND (2014 - 19)

Jury member Ruth Stoltenberg about the work: 'The photographer Marylise Vigneau, who grew up in Paris, first studied literature before discovering photography as the better medium to tell her stories. As a setting, she usually chooses historical cities that have survived revolutions and communism and are now in a state of upheaval. Between 2014 and 2019 she created this great photo series about Havana. It impressively combines the former glory of completely run-down pre-revolutionary architecture with optimistic, happy people who playfully and with great ease defy the omnipresent heaviness: Be it a small ballerina posing in front of an ancient American street cruiser, a man juggling a balloon in the box of a theatre ruin or a woman turning a run-down swimming pool into a dance stage. It is important to Marylise Vigneau to mention that this woman is the Cuban actress Lynn Cruz, who is critical of the regime, and she thus draws the line back to the narrative of literature - her other great passion.' Vigneau about her work: 'In Havana time is an unavoidable character. Destructive or facetious, sardonic or nostalgic, political or imaginary, irreverent in any case, Time sprawls its texture and shadow all over the city. Half a century of defiant isolation and embargo has done its work. In the vale of years the revolution seems to have been confiscated, the superb and sensuous fabric of the city has crumbled beyond repair, people have gone into exile building a very vivid absence, heroes have aged, Fidel is dead, swimming-pools have been left empty and disbelief and reluctance towards propaganda are everywhere. Time has collapsed on this island-nation but time seems on the verge of unwrapping. Albeit scarce and expensive, the Internet has opened a window that cannot be closed anymore. The restrictions of the Trump administration may slow down the process but ineluctably the island will build bridges with the rest of the world. These pictures have been taken between June 2014 and September 2019 and are a melancholic homage to a revolution that once inspired so many hopes and has demanded so many sacrifices. There are about the impossibility of an island.' Short bio: Raised in a conventional Parisian family, Marylise Vigneau developed an early taste for peeping through keyholes and climbing walls. Her “Compared Literature” thesis, at la Sorbonne, was about cities as characters in Russian and Central-European novels; where and when the clearest narrative gets lost in a heady, haunting uncertainty. Despite her fascination with literature, over time her mode of expression has become photography, without her knowing precisely why - may be the mix of precision, immediacy, truth and lies which is behind every image. What attracts her first and foremost is how human beings are affected by borders both physical and mental, this fugitive space where an unexpected, bold and fragile act or glimpse of freedom can arise. She is represented by the Anzenberger Agency in Vienna www.marylisevigneau.com

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