2018

Adél Koleszár: 2017 Women In Photography (WIPNYC) Grant Short-List

 
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Wounds of Violence
The series deals with geographical sites of Mexico where illegal, contemporary mass graves have been discovered, contrasting the local landscape that has been violated by these graves with the mental, physical consequences that these extremes has on women in the area. The photos portray women who have been subjected to these conditions, so searching for relief in alternative religions, drugs or the abuse have left visible marks on their bodies.                                                                                                              

The focus of my work in the past years has been human violence and its impact on society and individuals. I have been working and living in Mexico in the past years with the aim of completing my visual research on this subject. Although I present the places where horrible events have occurred, my aim is to experiment with a more metaphorical way of visualizing the level of cruelty that has occurred at these sites. To create an ominous atmosphere, a sense of conflict, to refer to the events, to leave space for the viewers to be able to submerge into that distant reality where extreme violence has become a daily norm. I utilized different image-making processes including filters to create a monochromatic depiction of the landscapes and by using the color of red, the symbol of blood and tension.

The fact that I am a woman, living and working in a country dominated by institutions of male power, has made me even more sensitive towards the fate of the local women who are exposed not only to institutional violence of the local government, narcos and criminals, but also gender violence and repression from their own families and lovers. Just as the sites of mass graves in Mexico have suffered a significant violation of the physical geography, so too the bodies of the women in these areas have suffered physical and mental abuse as well.

Bio
Adél Koleszár (1986) is originally from Hungary, where she graduated with a Masters in Fine Art Photography at the Moholy-Nagy University of Fine and Applied Arts, after receiving a BA degree in Social Sciences in Budapest. In the past three years, she has been working and living in Mexico, where she works with the aim of completing her visual research on human violence and repression. In 2013  she arrived to the country thanks to a Mexican Governmental Artist Residency Program, in 2014 her project on contemporary religions in Mexico was selected as finalist by Magnum Photos & Ideastap Photography Award, in 2015 she was the winner of the Budapest Portfolio Prize, in 2016-17 receiver of the Pécsi József Scholarship which supports the work of young Hungarian photographers.  Between march and may of 2016 she taught locals in several cities along the US/Mexican border as part of a self initiated, open and free to everyone workshop project, Vision del Norte, with the aim to teach the participants how to use the visual language of photography to express their thoughts about the reality they are living in, and share it with a wider public in a form of a book which compiled the vision of each participants. The same year she was the solo exhibitor of the Discovery Show section of the Fotofestiwal Lodz, and her book „New Routes of Faith” was shortlisted on the Unseen Photography Dummy Award. Her work was exhibited and published widely in her country and internationally, amongst in Berlin, Mexico City, New York, Arles, Vienna, and featured on Foam Spotlight, Vice Mexico, Fotografia Magazine, Der Grief. Currently she keeps working on new projects, as well as continous the investigation on the alternative religious forms in Mexico. adelka.tumblr.com

Lisa Lindvay: 2017 Women in Photography (WIPNYC) Grant short-list

 

I began making photographs of my father, two brothers and sister ten years ago when I moved away from my family for the first time to attend graduate school. My mother has always struggled with her mental health, in 2006 she sunk into a deep depression causing our family to unravel. For almost three years my mother was a ghost of herself, often locked in her bedroom not to be bothered. Unable to care for herself or all three of my siblings, my father took guardianship of my brothers, who are not his biological children, while my sister stayed with my mother and stepfather. This entropic period changed everything from our financial stability to our physical and mental health and understanding of ourselves. I felt an urgency to be at home - making photographs is my way of understanding the complexities of our situation.

The photographs are glimpses into the lives of my family members and our homes, of the private moments shared between my father, sister, brothers, and myself in the wake of my my mother’s deteriorating mental health. They depict our history and provide insight into our future. The photographs reveal our tenacity as we come to terms with our shifting family dynamic and home life and as my siblings transition into adulthood, while my father struggles to hold everything together.

In a wider context, my photographs are a portrayal of the inner workings of the American family navigating its way through instability, financial adversity, and the growing pains of adolescence. While my story is specific, the themes resonate across diverse cultural and economic lines.

Bio
Lisa Lindvay was born in 1983 in Erie, PA and currently resides in Chicago, IL. She earned her MFA in Photography from Columbia College Chicago (2009) and BFA in Applied Media Arts from Edinboro University of Pennsylvania (2006). Lindvay’s photographs have been exhibited in Chicago at Aspect/Ratio Projects, Johalla Projects, Weinberg/Newton, Hyde Park Art Center; nationally at Smithsonian National Portrait Gallery, Washington (DC); Addison Gallery of American Art, Andover (MA); Weatherspoon Art Museum, Greensboro (NC); and Internationally at Turner Contemporary, Margate (ENG); among others. She is the recipient of the 3Arts Artist Award (2011) and Chicago Artadia Award (2012). See more at lisalindvy.com.

Cristina Velásquez: 2017 Women in Photography (WIPNYC) Grant short-list

 

Montañera
My recent work is motivated by my interest in photography as a way to push documentary conventions into the realm of pictorial depiction. Starting from observations of the human experience and life in my country, I reinterpret reality using elements of fiction and artifice to animate underlying power structures, confound assumptions, and question conventions. I am interested in borrowing narrative structures from Latin American literature, while at the same time questioning the very nature of narration and representation. Who is the narrator? Who is the reader? What is, and what is not part of the narrative?

Constructed photographs, formal portraits, and purely documentary still lifes, present an experimental counterpoint with the intention of transforming the way the reader generates meaning. Each image is embedded with its own logic of confrontation or avoidance. I believe there is a power in asking people to respond to images that might reroute what they think they know, or reveal something about their own misinformation.


Bio
Cristina Velásquez (Colombia) is an artist working mainly in photography and paper weavings. Her recent work investigates the role of representation and translation in the context of transcultural relationships. She is interested in the way cultural identity is constructed, defining shared notions of value, such as, race, beauty and class. Cristina received an MFA degree in Advanced Photographic Studies from Bard College and The International Center of Photography (New York, 2017), where she was awarded the ICP Director’s Scholarship. Velásquez currently lives and works in New York. cristinavelasquez.com