29 May 2018

Humanity is at a breaking point where seismic change seems inevitable. In the face of heightened global challenges – from climate change to the refugee crisis and political turmoil to cyberattacks and the threat of terrorism – the medium of photography is able to place a visual focus on such issues. The exhibition [ENTER] presents 15 artists whose work deals intensively with the social, political and ecological narratives of our world. Her works vigorously question social structures and abuse of power.

Valentina Abenavoli
Mathieu Asselin
Mandy Barker
Ewa Ciechanowska and Artur Urbanski
Lucas Foglia
Nick Hannes
Tamara Kametani
Katrin Koenning
Gábor Arion Kudász
Sarker Protick
Claudius Schulze
Martin Errichiello and Filippo Menichetti
Salvatore Vitale

We hope to enter into a progressive intercultural dialogue through the presentation of these works during the 7th Triennial of Photography Hamburg, as we see the festival as a focal point for a broad discussion and as a place where current behaviors are discussed and challenged can. “- Emma Bowkett, curator.

[ENTER] serves as an introductory exhibition to the 7th Triennial of Photography Hamburg 2018 and is part of the Container Festival Center on the square of the Deichtorhallen.


28 May 2018

‘The return of Bernardo Soares’ Stills and sound 8:34 Min.

Inspired by Fernando Pessoa’s ‘The book of Disquiet’ my work ‘The return of Bernardo Soares’ is now showing at Collectors Marvila, Lisbon presented by Barbado Gallery and Vintage Department.
Special thanks to Boris Eldagsen and Ayesha Sultana.


14 May 2018

Scene from ‘Monsoon watch’, shown in Hamburg Triennial
Single-channel video installation, 16:9, Duration: 07:30 Minutes
Sound: Synth and ambience.



15 April 2018

‘Exodus’ on display at the Singapore Art Week 2018

6 April 2018

From Bangladesh’s rising Padma River to Switzerland’s obsession with security, we explore change and sustainability in our special issue on the Hamburg Triennial of Photography

In a first for BJP we have partnered with the Hamburg Triennial of Photography this issue, catching up with the festival’s artistic director Krzysztof Candrowicz and examining the festival’s theme Breaking Point: Searching for Change. “For Krzysztof, photography provides a pertinent tool for examining these big subjects,” writes BJP’s editor Simon Bainbridge, “not just as a visual document of environmental emergency or hi-tech Armageddon, but as a tangible, thought-provoking exploration of transition.”

From the 320 artists included in the festival’s open submissions, we bring you our favourites – including Salvatore Vitale and his project on Switzerland’s obsession with security, which scrutinises the ways in which it shapes not only the environment, but also the Swiss mentality. Sarker Protick draws our focus towards Bangladesh’s Padma River, offering a stark warning of rising water levels, while Gábor Arion Kudász’s Human is a study of mankind via the metaphor of a humble brick.

9 February 2018

Salvatore Vitale & Sarker Protick – The Narrative Impulse

“Word, image, and sound all must have primacy in the development of the narrative.” – Fred Ritchin

The workshop is open to photographers and artists interested in exploring the varied possibilities of storytelling and the use of photography combined with other media. In the era of so-called democratization of the media and the overabundance of visual content, it’s important to reflect on the necessity and strategy of telling a certain story. Each story presents different possibilities of language and narrative suggested both by its context and the author’s influences.The participants will be invited to explore, research, produce and present a narrative using the environment and resources available at the campus or surrounding territories. Drawing inspiration from the different backgrounds and approaches of the workshop tutors, the participants will be encouraged to start from their intuition and arrive at a structure through research and the production process. Together, we will discuss the choice of best possible methodologies, strategies and tools to define the chosen subject and articulate a coherent narrative. The possibilities are many and include working with sound, text, archive, etc.The works produced during the workshop will be presented as part of the final exhibition. Along with the photographic material, the form of installation will be treated as a key part of the process.


14 January 2018

The Life of Things (Jan – Apr 2018)

Kevin Fee (Singapore), Lim Sokchanlina (Cambodia), Phan Thao-Nguyen (Vietnam), Sarker Protick (Bangladesh), Sim Chi Yin (Singapore), and UuDam Tran Nguyen (Vietnam)

Objects and places are repositories of history and conduits of memory, associated with experiences both personal and collective. While they are material things with physical attributes, they also have symbolic qualities that represent abstract ideas, signal emotion, and in the case of animistic belief systems, possess energies that people powerfully relate to.

In three exhibitions around Esplanade, artists from Singapore and the region present new and recent photographs, paintings, sculpture, video and installations. Broad in historical and geographical scope, these artworks uncover ways that colonial legacies, geopolitical tensions, and urban development leave material traces of their existence on things and places. In these exhibitions, objects and landscapes become discursive sites for the expression and interpretation of competing historical narratives and the complexities of contemporary experience.


8 January 2018

The Life of Things (Jan – Apr 2018)

Kevin Fee (Singapore), Lim Sokchanlina (Cambodia), Phan Thao-Nguyen (Vietnam), Sarker Protick (Bangladesh), Sim Chi Yin (Singapore), and UuDam Tran Nguyen (Vietnam)

The works in this exhibition engage with the colonial legacies and independence narratives of the region to draw attention to obscured histories and landscapes, while imagining alternatives to accepted truths. Sarker Protick has been exploring and photographing regions that witnessed extensive migration of minority populations after the 1947 partition of India and the 1971 Bangladesh Liberation War. His series Exodus focuses on the little-documented districts abandoned during that time by Hindu landlords who left East Pakistan (present-day Bangladesh), in part due to confiscation of their properties via controversial land acts. These derelict, once-monumental feudal buildings have now been taken over by nature and enveloped into the daily life of the villages that surround them.

Public Programmes
Join the artists of The Life of Things as they speak about their work and practice in this series of talks, moderated by curator Sam I-shan.

Artist Talk by Sarker Protick (Bangladesh) for Relics
20 Jan 2018, Sat
2 – 3pm
Jendela (Visual Arts Space)

2 August 2017

‘Astres Noirs’ exhibition at Paris Photo 2017.


1 August 2017

Der Greif has been selected by curator Lars Willumeit and Unseen’s artistic director Emilia van Lynden as one of 13 international organisations to participate in this year’s new section CO-OP at Unseen Amsterdam (22-24 September 2017).

Taking the jubilee issue #10 of Der Greif as the starting point, a selection of 24 photographers shown in the issue was asked to invite a photographer of their choice to submit a photograph that ‘reacts’ to theirs. This started a chain of invited photographers whose work responded to the previous image shown, and so forth. This chain reaction prompts photographers to interact with one another and for the audience to be able to visualise this dynamic ‘network’ of image threads developing.

For CO-OP, Der Greif brings this thread of images into the physical space, making it fully accessible for the audience to interact with. The images are presented in a grid, produced as blocks of postcards in A5 size. The images are positioned centrally on the paper in such a way that both landscape and portrait formats work within the grid. Visitors are, depending on certain conditions, allowed to take one (or more) image with them. Thus, the project creates a juxtaposition between the ‘virtual space’, a “market” where the image threads are produced and the physical space where the collection of images are displayed, but where certain images will diminuish according to how many are taken away by visitors. Each image is printed 25 times and remains visible until all 25 copies have been removed by the audience. A removed image creates an empty space within the grid-hanging that still refers to the once physically present image. Once an image has been removed completely in the physical space, it will also marked as being removed on the website, thus the online space ‘reacts’ to the physical space and viewers online can see the audience’s reactions in the space. The images’ presentation clearly engages with the photograph as a reproducible medium and simultaneously questions the different “values” of a photographic image. The project wants to foster this discussion, especially during a photography fair.