Vasantha Yogananthan was born in 1985 and lives and works in Paris, France. He is passionate about human stories and dedicates himself to long-term projects.

When he discovered Piemanson beach, and its occupants in 2009, he started to work on a documentary series that he finished in 2013. The series “Piemanson” is the result of these moments shared with the inhabitants of France’s last wild beach. “Piemanson” has been exhibited at the Bibliotheque Nationale de France (Paris, 2012), at the Albert- Kahn Museum (Boulogne-Billancourt, 2013), at the Maison de l’Image Documentaire (Sete, 2014), at the Photography Show (Birmingham, 2014). “Piemanson” has been published in Geo Travel (France, 2012), Le Monde (France, 2013), Nido (Germany, 2014), Marie-Claire Korea (2014).

In November 2012, Vasantha Yogananthan won the Bourse du Talent Landscape Picto – In March 2014, Piemanson’s dummy was selected among the 12 finalists of MACK First Book Award (UK). The same month, Vasantha Yogananthan was selected among the 30 photographers of the “Top 30 under Thirty” organized by Magnum Photos.

In January 2014, Vasantha Yogananthan received a contemporary documentary photography grant from the Centre National des Arts Plastiques (French Minister of Arts) to help fund a new project in India and Sri-Lanka about the epic, “The Ramayana”.

Along with his work as a photographer, Vasantha Yogananthan has co-founded a small publishing house named Chose Commune. He considers the photo book to be the primary medium for research into original narrative approaches. Piemanson book has been released in June 2014.


Ryan Bussard is a published artist from Los Angeles, California. When working with clients, his goals are making the client as comfortable as possible and providing high quality results.


Born in San Antonio, Chile (“The Betrayed City”). Celeste studied a science-related career at the Universidad de Chile for five years but never finish it. On those times she began making photos and on 2012 she decided to take a class of digital photography, in which develops her interest on film photography.

Since 2012 her photographs have been published in several blogs, fanzines, online and printed magazines. In 2013 she was part of the 2nd Cycle of National Workshops for Photography’s Day, dictated by the venezuelan photographer Nelson Garrido, which end up with the exhibition “Sangre en el Ojo” (Blood in the eye) presented at the Cultural Center of Los Andes, Valparaíso Cultural Park and for which she comes to have one of her photographs exhibited in one bus stop of Santiago’s (Chile) public transport system. In addition, in pass year she was part of the “2nd Anthology of Young Photography Fotoespacio Chile 2012-2013″. The beginning of 2014 find her working on her first project with instant format for Impossible Project Barcelona and she’s looking forward to keep experimenting with film photography.


She is called Christina Villamor and she is a photographer based in Los Angeles. Her photographs explore, represent, and dismantle Cuban traditions, rituals and ceremonies, as assimilated by Miami’s exile community. Intrigued by the immigrant’s translation and evolution of customs in a new country, she examines and dissects idiosyncratic practices that lead to social gatherings, specifically Miami’s youth culture, “Ventanita Culture,” Quinceañera parties and Santeria rituals.


Jordi Colomer was born in Barcelona in 1962. He presently lives and works between Barcelona and Paris. Enjoying a gifted and marked sculptural sense, his work spans many mediums, centring on photography, video and the staging of both in exhibition areas. Often the creation of situations -befitting a kind of “expanded theatre”- allows the spectator to assess his/her relationship with the productions and his/her role in and before these.

The variety of mediums called forth by Jordi Colomer’s work and the transversality of his judgement undoubtedly are linked to his fragmentary education as architect, artist and art historian in progressive 1980s’ Barcelona. Beginning with the “Alta Comèdia” (High Comedy) exhibition, performed in Tarragona in 1993, Colomer began to fuse his sculptural work, elements of theatre staging and architectural references. From those years on (in particular after he discovered the German avant-garde cinema of the thirties), video started to stand out as the main mediator in the relationship the artist had with performance art, theatre and sculpture. In 1997 he showed his first video work at a site-specific projection room built inside the Barcelona Museum of Contemporary Art (MACBA). This strategy enabled Colomer to superimpose theatrical space, the installation as an inhabitable sculpture and cinematographic micro-narration. That was how he produced pieces such as Pianito (The Little Piano, 1999), Les Jumelles (The Twins, 2000) or Le Dortoir (The Dormitory, 2001), which would complete a period marked by work in extreme film set constructions, where the set entirely determines the characters’ behaviour.

From 2001, Jordi Colomer’s staging investigation extends to urban space and an exploration of the different scenes of social life (neighbourhoods, streets, deserts, rooftops…). This phase of his work is determined by journeys -maybe because they allow him to keep a foreigner’s viewpoint of the different urban sets he is seeking or rediscovering. This is what led to works such as Anarchitekton (2002-2004), a travelling project involving four large global cities (Barcelona, Bucharest, Brasilia, Osaka), No? Future! (filmed in Le Havre, 2004) or Cinecito (Little Cinema, Havana, 2006), among many others. It is also behind his most recent works En la Pampa (In the Pampa, made in the Atacama desert, Chile, 2008), Avenida Ixtapaluca (houses for mexico) (Mexico, 2009) or The Istanbul Map (Istanbul, 2010). These are journey-works where the issue of movement keeps coming back, and where the isolated actions of a character condenses reflection (but not without a degree of absurd humour) on the possibilities of poetic survival offered by the contemporary metropolis.


jp carvalho is a photographer.
He sees landscape photography as a personal genre of self-expression with a simple desire to record the world and to make sense of what’s going on.
 Attracted to sublime mountains, he loves the romantic aspect of walking where every idea is a project, every project is a journey.


Alessandro Teoldi is a New York-based artist born in Milan, Italy in 1987. His work explores the failure of translation and the perceptions of the familiar by using the kaleidoscopic possibilities of photographic technologies.

He can best describe my work as a neat accumulation of unfinished fragments.

By taking apart a photograph in multiple fragments and then rearranging them, he wants to push my viewers to do a private exercise of re-composition. How we perceive images is one of my core concerns. He is interested in the shift that happens when we realize that what we look at has become something very different from its initial appearance. He is obsessed with analyzing the space between the original impulse and its physical materialization. It’s a linear process, a timeless transformation that takes place from my brain to his mouth, from a memory to a photograph, from a negative to a piece of paper. The results are shreds he obstinately tries to combine together in order to find the true picture he once had in his head. It is a utopian goal to achieve, a path that inevitably leads to failure.

He believes in science and in the specificity of materials. He prints the same image on different kinds of paper, using different printers in order to highlight the change in our perception and fruition of them. The variation of the support corresponds to the inconsistency of memory and its role in the construction of our own inclinations. By analyzing both the palpable and intangible grain of the negative he leds to find the connection between physicality and the innate process of remembering and forgetting. The result is a rhythm made by the interchanging of positive and negative spaces, in which the sequences of remembrances and repressions are hidden. Seriality and repetition are at the root of my work, which he often sees as a swing in a regular movement between revealing and obscuring.


“Photofit of an Elusive Infidel” (extract)

“Hypothesis: the works of Édouard Levé exhale/exalt the disturbing effect of a disappearance. A surreal atmosphere probing enigmatic absences. In Notes on the Cinematographer, Robert Bresson enjoined himself to “Apply myself to insignificant (non-significant) images” (1975). Common sense. Logic. Like the most uncertain openings. The doorway to a great desert, a long night or an endless journey. We need only recall certain images to feel their powerful siphon effect. An effect of suction. A kaleidoscope mechanism. Lying down on a sofa and remembering Levé’s images, his studio compositions and his daytime outdoor photos is a bit like closing your eyes, or boarding the train of your own fantasies and watching the scenery fly by. At other times one has the impression one is entering a maze. That is an effect of the serial images, and of the series of images. Their titles are: Angoisse, Amérique, Pornographie, Quotidien, Rêves reconstitués, Rugby, Actualités, Fictions, Homonymes, Transferts. Of course, we will never find out what it was that was eclipsed, for these are works without a punch line, happy ending or any other kind of salutary and reassuring revelation. What or who has departed here, other than the meaning? Is it a person, an object, a feeling or only a form of power? The artist’s power. The artist’s power in relation to the dull, incessant noise of the media. The great reservoir of images. Silos, vats, abysses. The artist no longer controls the making of images. However, he does still control the differentiation of reading, deconstruction and laceration. Making media fragments disappear. Covering them with saliva or juice. Assimilating them to another body. Dissolving textures and combinations. Swallowing up spatio-temporal indicators. Spewing original arrangements. It is the great metabolism of contemporary artistic activity”.

Emile Soulier
Excerpt from “Text(e)s, Loevenbruck editions, Paris, 2009


Todd Fisher has been around since early on, taking funny, weird, sometimes poignant pictures of people (and sometimes animals) doing things. We haven’t heard from him in a long time, but we’re glad he’s back in our collective lives. He sent us some new pictures, which you can see above. The beach ones make us miss the summer, and the others make us love the winter. Check more of his work out here.

(Source Vice – Written by: Christian Storm)


Starting in the mid-1990s, Joachim Koester (born 1962 in Copenhagen, lives and works in Copenhagen and New York) developed an oeuvre that could be described as a complex web in which journalistic and historical research fuses with personal and fictive narratives. He belongs to an artists’ generation whose practices are based on what Hal Foster once described as the “archival approach.” Balancing the thin line between documentary and fiction, Koester’s films, photos, and installations reexamine and activate forgotten histories, failed utopias, and the obsolete. In his work, bygone counter-cultural movements reemerge in the same way that geographical and spiritual journeys are retraced.