Ecosystems is the last part of Les formes qu’ils habitent en temps de crise.

It’s a futuristic fable, a research about how we can imagine new interspecies relationships in a post-capitalocene era.

For a long time, Western philosophy has done everything to distinguish human from animal to the point of thinking we were outside the sphere of the living.

The term Capitalocene refers to a geological era the Earth entered in the 19th. It designates the unprecedented environmental transformations triggered by human activity in overdeveloped countries.

In this work, I project myself after this era, to create imaginaries able to go beyond the objectification of the livings and to repair our relationship with them.

Website: chloemilosazzopardi.com

Aïcha Fall, Jiggen Jiggen – Learn More
Mandana Mahdavi, ÂME – Learn More
Dominic Whisson, Epicinium – Learn More

2020-2023 Cyprus, still reeling from the effects of the 1974 Greek-led coup and the subsequent Turkish invasion that divided the island into two communities, Greek, and Turkish-Cypriots must now deal with an influx of refugees that threatens to change the island’s demographics.

With a population of around 850,000, Cyprus holds the largest share of asylum-seekers per capita, 3.5%, in all of Europe. The influx of Syrians fleeing the war, the largest group of refugees, is slowly giving way to a host of asylum seekers from Africa.

The arrivals, along with an already broken system, threatens to upend the fragile peace that has been holding since 1974. As one side tries to derail the other by sending them across the border, migrants suffer while waiting in limbo, victims of racism, extortion by landlords and employers, with no prospects for a better life.

I am currently in the final stages of the project (after 2 trips), but I am missing an essential component to this story: the lives of African migrants in TRNC, on the other side of the island, when they first arrive there.

I plan to document their conditions, how they must either decide to stay and work and try to make a living or cross the “border” and become a refugee in the Republic of Cyprus (RoC).

Website: radudiaconu.com

Hailey Sadler, Missing Home – Learn More
Aaron Hammond Duncan, Habeas Corpus – Learn More
Rebecca Conway, Aftermath, Nepal – Learn More

In Water Is Thicker Than Blood (2021-present), my photographs and archive-based art attempt to illuminate the ignored and forgotten history of the Los Angeles Aqueduct, a story of greed, violence, oppression, and disastrous environmental consequences. By the mid-1920s, Owens Lake was drained by Los Angeles, and toxic dust storms swept across the dry lakebed; the Owens Valley was financially and ecologically destroyed, farms and ranches abandoned; furious Owens Valley residents repeatedly dynamited the Aqueduct; in 1928, the St. Francis Dam Disaster killed more than 400 people; even today, Owens Valley residents have to deal with the environmental consequences of the Aqueduct. In addition to my analog photographs and archive-based art, I also used a projector to cast newspaper headlines, texts, historical photos, and maps onto the surfaces of ruins, monuments, landscapes, and engineering features along the 338-mile Los Angeles Aqueduct.

Website: photoguo.com

Diana Cheren Nygren, Life on Mars – Learn More
Bethany Hucks, How to deal with the idea of going to hell – Learn More
Owen McCarter, The Three Eyed Fish – Learn More

David Campany

Writer, Curator and Educator

David Campany is a writer, curator and educator. He has worked with many institutions including The International Center of Photography, MoMA New York, the Centre Pompidou and Tate. He is the author of over twenty books including On Photographs 2020, A Handful of Dust 2015, and Art and Photography 2003.

Aldeide Delgado

Women Photographers International Archive, WOPHA, Founder & Director

Aldeide Delgado is the founder and director of Women Photographers International Archive (WOPHA). She has a background in consulting and presenting at art history forums based on photography including lectures at the Tate Modern, Perez Art Museum Miami, CalArts, and The New School. Delgado is a recipient of a 2019 Knight Arts Challenge, the 2018 School of Art Criticism Fellowship, and a 2017 Research and Production of Critic Essay Fellowship. Her areas of scholarly interest include a feminist and decolonial re-reading of the history of photography and abstraction within Latin American, the Caribbean and Latinx contexts. She is an active member of PAMM’s International Women’s Committee, IKT International Association of Curators of Contemporary Art, US Latinx Art Forum, Art Table and the steering committee of the Feminist Art Coalition.

Amanda Hajjar

Founding Director of Exhibitions of Fotografiska New York

Amanda Hajjar is the Founding Director of Exhibitions of Fotografiska New York. Hajjar collaborates with world-renowned artists to bring their exhibitions from initial concept to final reality. Prior to Fotografiska, she worked at Gagosian Gallery where she organized more than 50 exhibitions with artists and their estates. Hajjar graduated with a B.A. from Johns Hopkins University and an M.A. from the Courtauld Institute of Art in London.