Artist: Erin Mulvehill / New York USA

my work aims to explore the human connections and subtle nuances that whisper into the ear of our every day. much of my work is rooted in the ideas of mind, body, seamlessness, and time. this is largely because my deepest beliefs lie in the principles of buddhism, the integration of art and life, and the preservation of beautiful moments. i am nomadic by nature and am inspired each day by the nothingness that resides in all things.

Artist: Fie Tanderup / Denmark

The turning point in my artwork is transformation. As a photographer I try to push my photographs in another direction. For me photography is about entering a space and not just about a glossy surface. Painting with the eye is what I try to do in my photographs. The portrait and the self-portrait are examined in a new way of letting the spectator move into the unknown among

st embroideries and dark holes.

Letting dreams float which makes us ask a question to the world once more is occupying me as an artist. I circle around telling a mysterious story. It is like a still from a movie that does not exist anymore with persons caught in their own picture world. My photos are undermining the truth-value of photography in establishing another reality. A sort of parallel reality is created where new stories are about to happen in a circular time.

It is an open space vibrating between reality and dream. In my photos a kind of overlapping between past and present and a kind of displacement between time and memory are taking place. I am constantly exploring an area between reality and imagination – between the spectator and the place and at the same time it is a dramatization of the situation.

I am establishing a poetic universe based upon atmosphere. The persons in my photos are in a state of dreaming. The twilight is underlining the sense of a magical reality where the spectator is invited into a vibrating, poetical space as a co-poet inside the picture.

Cinema in Sudan

Artist: Frederique Cifuentes / France

The project is based on photographic research carried out in Sudan. This project explore the relationship between architecture and a cultural tradition as seen through the cinemas of Khartoum.

The project relied on my recent experience in Sudan covering the history of cinema through the life of the pioneer filmmaker Gadalla Gubara .

My portfolio shows how I conducted my work in Khartoum, Sudan. I was using the Mamiya 6 x 7 medium format, still camera.

Khartoum, in Arabic: al-Khartûm, meaning «the trunk of elephants», is the capital of Sudan, it stands at the junction of the White Nile, flowing from Uganda, and the Blue Nile, from Ethiopia. The city and its surrounding districts constitute an agglomeration of at least four million inhabitants. The city was founded in 1823 by Mehemet-Ali Pasha, viceroy of Egypt, to take advantage of a position considered to be of strategic importance. After being besieged many times by British and Egyptian forces involved in putting down local uprisings, the place was in a very poor state of repair. From 1910 onwards, it was entirely rebuilt to the plans of a British architect and became, from then on, the capital of Sudan.

What is Khartoum like today? What are the influences of British and other styles of architecture which contribute to Khartoum’s special character?

It is through the cinemas of the city that I have chosen to analyse the relationship between the physical environment and those who live there. Stepping through the doors of these historic buildings, the visitor can recognise social and cultural forms that stem from knowledge and technical means far beyond those of an Arab or African town.

Over the years Khartoum has become a city in perpetual evolution resulting from the interaction of people with their material environment. The cinema, considered as a representative form of the audio-visual arts and of architecture, is an element of urban life that can be seen to highlight both cultural heritage and collective memory.

Going to the cinema in Khartoum can be a journey in itself. The cinema can show us a world of its own, with performances in the open air beneath the stars; it’s a voyage of discovery into the history of the country; an encounter with a unique cultural experience.

Nowadays Khartoum cinemas offer mainly a selection of Indian, Bollywood films with the occasional American production thrown in. Set up in the 1940’s and 50’s by the British, cinemas were then frequented by the European population, by Sudanese Jewish families and by middle class Sudanese who were well enough off to do so. All the classic titles of the day passed on the silver screen, given two performances, one at 7pm and another at 9.30pm.

The external shape of these buildings varied according to the district and the year of their construction. Khartoum still has a dozen or so of these open-air cinemas still functioning mainly to provide entertainment. The facilities are used specifically to provide for a particular public.