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An archive of inspiration, negotiating the world through artistic intervention

Christien Jaspars: Mali 

For this series Jaspars used a pinhole camera, a simple box without a lens. Since the exposure times are long, the passage of time is caught in the image. There is little control; you don’t actually make the picture, it is rendered by the time that elapses.  [This series] therefore is an attempt to capture time, while simultaneously highlighting the fact that we as human beings simply aren’t and never will be able to get a grip on this phenomenon. The series is also about moving on and the unbearable transience of life. The unity between the thoughts behind the photos and the method of photographing enhances the personal and intimate yet powerful character of her striking images -  GUP

Ilan Godfrey: Legacy of the Mine is a visual narrative of untold stories, exploring the consequences of mining on South Africa’s land and people. The objective was to reveal through the lens the forgotten communities that the mining industry has left behind. Godfrey’s subjects become symbols of the struggle for environmental and social justice in the country. 

The ‘legacy’ of mining is apparent in many ways – through land rendered unfit for alternative uses, public health crises, land and water pollution, and the impact of historical labour exploitation on family structures. Unveiling these stories through investigative fieldwork across the country, Godfrey delves deeper into the effects of the mine on local communities.

Ilan was born in Johannesburg in 1980. His personal work focuses on extensive issues that reflect South Africa’s constantly changing landscape, documenting the country with an in-depth, intimate and personal conscience. By conveying through long-term projects a process of exploratory narration with photography, he reveals varied aspects of societal change across the country.

Taysir Batniji: Bahrain

Born in 1966, Gaza, Palestine, Batniji lives and works between France and Palestine

Artist Statement: For Batniji, sand and water, are recurring elements and become common vectors throughout his images for Interface. Together, land and sea symbolize the shore, the border and the threshold. The sand is a metaphor for the continuous state of metamorphosis that the landscape of Bahrain is experiencing. The artist perceives the country to be in a state of perpetual transformation, reclaiming land from the sea to expand its borders, where sand connotes a work-in-progress.

By naming his series of images Interface, Taysir Batniji plays on the meaning of a word commonly used in the disciplines of geography and computing. Interface is also a reference to the place itself, Bahrain, translates literally to ’two seas’. Thus, the photo series appears as a documentation of  shapes that are often the contact of two distinct spaces within the landscape.

Peter Gould

1) Marrakesh

2) Jerusalem

3) Cordoba

4) Damascus

5) Muscat

6) Istanbul

7) Mecca

8) Beirut

9) Granada

10) Fes

Mustafah Abdulaziz: Water Scarcity in Ethiopia and Pakistan (2013)

Image 1: "Bringing the water is not a simple task,” says Mariam Bakaule of the mountaintop village of Jarso in southwest Ethiopia.. “This is the essence of women. Water and woman are synonymous here.”

Image 2: Women of Tharpakar in the southern Sindh Province of Pakistan work together to pull water from a well. Even when one person is done, they all remain at the well to share in the task.

Image 5: After reaching the dry riverbed, women must spend time scratching the dirt until brackish water appears, scoop it into their containers and carry the 20 kilograms back up the mountain.

Image 6: One of the effects of the flooding was salinity in the ground, which affected the ability for the agricultural region to support itself. Here, sheep graze on small shrubs that continue to grow.

Image 7: A grandmother comforts her great-grand child as he suffers from diarrhea, caused by the unsafe drinking water in the town of Thatta. Diarrhea is one of the leading causes of child mortality worldwide.

Women and young girls are responsible for the collection of water, four times a day, often at distances requiring them to trek across mountains in the morning dark and twilight.


A beautiful gesture from Lebanon - names of Palestinians killed by Israel in the last two weeks were hung on huge banners in Raouché, Beirut during a demonstration against the latest Zionist assault on Gaza, July 22, 2014. Protesters also threw flowers into the sea. Over 600 people have been killed (as of the morning of July 23, 2014), at least 25% of whom were children.

(Photos: Jamal Saidi / Reuters)

(Source: standwithpalestine, via arabstateofmind)

Misha Taylor

Born in South Africa and raised between there and Los Angeles, Misha now lives and works between Cape Town, Los Angeles, Paris and New York.

No Exit from Gaza: A New War Crime? | Global Justice in the 21st Century

[…] as the casualty totals continue to mount while the world looks on in stupefied inaction, the attacks go on; at the very least, from a humanitarian perspective,there should be a global outcry demanding that children, mothers, and those sick and disabled be allowed to leave the Gaza Strip until current hostilities end. Yet this is a gap in international humanitarian law, refugee law, and the moral sensibilities of the combatant states.

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