Category Archives: Webzine


Tianqi Song | Cub

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Tianqi Song | Cub


There are seven dimensions in my dream

Dancing with fire

You floating in the black

All my dreams falling from your shoulder


Look. Here

Look. I am already gone

My work base on my memory and situation. I am keep wandering around, I aim for nothing, but for aimless experience and self atonement. I hope from my works, at least on my image perception, is worthy of being accepted and respected. I prefer to feel more than express. That is why I choose to use camera, photography is my language. Life is a trip for illusory. Wait for the lost time. I just found out that emptiness and loneliness is the true significance of life. I show my sense of alienation and loneliness in my work. In photography, things could not be changed into another thing, time, chance, or real stuff. I can say, photography is physical chemistry for reality. But to photographers, are opposites. It is more connect to emotion, photos are just like lonely fragments, to prove everything has been lost. The image in photos are lifeless, but people’s intention, memory make these image alive. Sometimes, we use our imagination to got some image, they are much more clear than what we see in the real world. We feel we use our eyes to watch, but actually we use our experience and imagination to watch. Foundation determines the situation. Maybe we have a standard way to talk about photography and art. But we don’t have a standard way to talk about emotion and feelings. When images in life are more and more impactful on people, and even play a leading role, we have to express some emotion through images, or we have to hide them in the bottom of our hearts; additionally we can review the truth, because the image is more like our emotions. It plays an important role.

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Antonia Messineo | Pasta e Patate

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Antonia Messineo | Pasta e Patate

CDP Zine Contest – Castelnuovo Fotografia 2017

Primo premio con la seguente motivazione:

La veste editoriale corrisponde esattamente all’idea della fanzine. La trama familiare lega in modo coerente immagini d’archivio, personali ed elementi grafici.


Pasta e Patate arises from the special relationship I have with Elisa, my maternal grandmother. When we are together she tells me stories of her life that fascinate me, and some of these are left unfinished like a mystery. This photographic collection consists of archival photos and pictures taken in our everyday life. The fanzine is a four-handed work created by me and Elisa, who machine bound it.

Pasta e Patate nasce dal rapporto speciale che ho con Elisa, la mia nonna materna. Quando siamo insieme vengono fuori racconti della sua vita che mi affascinano, alcuni rimangono a metà come un mistero. La raccolta fotografica si compone di foto d’archivio e foto scattate nella nostra quotidianità. Le fanzine è stata realizzata a quattro mani, da me, ed Elisa, che si è occupata della rilegatura a macchina.


Antonia Messineo studia presso la Scuola Romana di Fotografia nel 2013, frequenta corsi di foto giornalismo, story telling e workshop a stampo editoriale. Dal 2014 al 2017 collabora con un’agenzia di servizi fotografici in Calabria.

Adesso è una fotografa freelance e  nel tempo libero si dedica alla stampa in bianco e nero in camera oscura.

Antonia Messineo (Rc 1992)

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Stefania Orfanidou | Cold Turkey

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Stefania Orfanidou | Cold Turkey

Cold Turkey: The unpleasant state that drug addicts experience when they suddenly stop taking a drag; a way of treating drug addicts that makes them experience this state. // I quit smoking cold turkey. source: Oxford Advanced Learner’s Dictionary


Silence. The steep naked mountains mesmerize me. I stay still. My thoughts get paralyzed. Frozen images from the past cross my mind. Everything seems like a well-orchestrated theater in an irrational show that never ends. I feel uncomfortable out there. I am hiding under a mask, shivering in sheer pain. My skin is dry, ready to smash into pieces. The darkness becomes my refuge, the place of oblivion. I watch the world through a distance as if it was a fish tank a colorful place made of a different substance than me. I try to escape. I run away. An invisible cloak surrounds me. Beneath it, an eerie luminous place dazzles me. I am drifting away.

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Tytia Hading | Zero

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Tytia Habing | Zero

When my son was three and a half, my family was living in the Cayman Islands. Because of rising costs, an uptick in crime and the fact that we had no family nearby, my husband and I decided to pick up and move back to southern Illinois among sprawling corn and bean fields and near my family. I was back to where I started, and only a quarter mile down the road from where I grew up and where my parents still live on the family farm. Immediately upon our arrival, I began photographing this series of images of my son living the ‘mid-west dream’ and I continue to photograph for this project today. In the beginning, I was simply documenting my child’s life like any other mother would. It was a big, new, and exciting change for him. After a year of photographing his everyday life I realized I had the beginnings of an ongoing project. In making these images, it’s my intention to not only document my son’s childhood, but to highlight a lifestyle that seems to be fading away all too quickly. Only fifteen percent of children in the United States now live in rural areas, and my son is one of these declining numbers. Not only that, but even rural children are staying indoors much more than children did in the past. Having wide-open spaces to explore, living close to nature and being afforded a modicum of independence as a young child was the norm for me growing up, so not only am I photographing my son’s present, I am photographing my past. As a child I played on the same land, swam in the same river, and walked the same dirt roads as he does now. This collection of images, and future images I make for this project, will take on new meaning as time progresses and the statistics of rural populations versus urban populations changes even more drastically. It is my hope to create an intimate and captivating record of rural life in Illinois as it is now, and hopefully encourage parents and their children to get out and connect with nature and the great outdoors no matter where they live. 

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Bianka Schumann | Arkhai

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Many of us got through this. We got line of sight for this period. We could be young or old people but who are already grown they are hankering. Hankering for the past. We look this ages and almost craving for their physical and psychical chastity. We used to say that the adolescence is the „no- man’s land” between the childhood and the maturity. This may be because this is the period when our relationship is changing with the outside world and the reality. There is a double feeling in us, we would be child and grown in the same time. It is hard to get close while we are brimming with secrets and hiding, and all of these are connected to the construction of MY. The secrets raise wall which is important to strengthen us to have a separate existence. Writing a diary, locked memory books and group secrets are all things like that. There are secret books which if would be read by an outsider than it would come the question: why are these things are secrets? The power of MY is being trialled with these secrets. The big questions of the life are being dissected. Is it indeed real that I am alive? The world, the Earth, the other planets and the whole solar system are really existing? And why got the chair the name of chair or the table the name of table? I deal with this transition state through the relationship of my brother and his best friend. They often live for the nature and got away from the surrounding people to deal with their own small and secret businesses. I was striving to find and display these moments on my pictures, parallels in the continuously changing and evolving nature. They exist the fragile, clean, unprotected and honest phenomena in their. They do not comprehend the world like it could be certainly defined but like it could be uncertainly undefinable. This is an album about the intimate relationship of two child- grown, grown-child, a main secret book which tells their ordinary and extraordinary world in pictures and I could be a little part of it.

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Florian van Roekel | Le Collège

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Le collège

Le Collège is a documentery about the experience of high schools from the perspective of students. Adolescence is a period of hormonal bursts and intense inner changes, often resulting in inner conflicts leading to outer conflicts and insecurity.
The school system on the other hand is an environment keeping those bursts and conflicts under control. This leads to friction and misunderstanding resulting in students seeking relief in friendships and different forms of escapism.

This feeling of longing to be somewhere or sometime else, is a recurrent theme in my work. By using certain visual references I steer the interpretation of the viewer to certain time periods or types of media. Documentary work is coloured by the photographer, and this is something that I see as a valuable aspect. What I felt roaming the school halls, sitting in the back of the class room again, having lunch in the cafetaria, will be recognised and felt by many others who experienced the same.

Florian van Roekel (1980) works and lives in the Netherlands. Before he graduated in 2010 from the Royal Academy of Art in The Hague with a special distinction, he studied social work. In 2011, Martin Parr voted van Roekels’ book of photography How Terry likes his Coffee one of the best books of the decade. In addition, van Roekel was nominated for the International Center of Photography Infinity Award. Le Collège was mentioned as one of the best photo books of 2016 by Markus Schaden.


Sissel Thastum | I am here when you are here

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I am here when you are here

Throughout the making of I am here when you are here, returning to my home time after time to photograph my mother, stands as an act with direct reference to what the photographs hold: The consequence of time passing in the absence of one another, my mother and my home, and the photographic confrontation of each return.

The act of photographing my mother and my home has become ‘nostologic’. Nostology stems from gerontology, which comes from the Greek word notos; to return home. It has a reference to aging and a state of second childhood.


It is through existing memories and feelings towards my home and my mother, implicit as well as explicit, that I have created this work. They have enabled recognition, clarification and emotional response, which has made it possible to continue the project, the search and the identification. My mother has let me do this. She has let draw on our relationship, she lets me show her and photograph her, so I can search for identity through her, and through our relationship.

The photographs also contain an uncanny feeling, which holds the known and comfortable on the one hand, and the hidden and concealed on the other. It is this feeling of attraction and estrangement towards the known and the unknown, that is key to the development of identity. In this sense the work is both a return to the ‘chora’; the home, and a departure towards autonomy.


– Sissel Thastum


Claus Lucas | Wozu

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– Human struggle in our daily life like a war

I am using photography to confront the inner psychological struggle that many and most human beings endure.
I want to reflect ourselves through these works and intend to find ourselves confront and overcome this situation.
As seen in Plato’s allegory of cave, all of us are constantly caught between fictions and realities, battling on the thin line between pleasure and pain.
“Wozu” is a series that shows the state of inner collisions among scared
egos—individuals that want to look away from the truth and who, despite the clamor of voices around them, remain largely silent.

I pay attention to human basic and animal instinct to express these states.
We maybe evolved, but deep down we are still animal.
The progress of civilization gave us many changes and convenience.
But we pay attention to gradually vanishing basic instinct by that.

We, the defective human beings, live by floating the world of chaos.
The incessant questions derived from chaos might be the reason or signification of our existence.

“Wozu” is a german word which means “what for”

These sentences written right after sudden awaken from sleep, opened the starting point of my work.

I reflected myself in water and there was a stranger.
I wish he disappeared tomorrow


Jagoda Wisniewska | Czarna Madonna

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Czarna Madonna

Czarna Madonna is a photographic project that I realised within one year of working intimately with my subjects, to through their presence depict harmful sides of love. The aim through this project for me was to examine the conflicting dynamics of the mother-child relationship and the fantastical aspects of family environment.

I am very fascinated with mental maps and personal geographies and how they are translated and passed on in form of stories. During the development of this work I have been extensively inspired by my grandmother’s stories that she shared with me. They are based on very mysterious events that she had experienced during her own childhood. Accordingly, her stories became a certain mood-setters for me to work around, and a perfect background on which I linked my reflections on the topic I am exploring in this body of work.

Through this series of photographs that are translated into a photographic book I hoped to represent the duality that family life and family relationships have: the very simple division between good and bad, the real and the imaginary, and this constant flow and circulation of those forces in our life.

In this project nature plays an important role and images of nature are kept, through their aesthetic, in an oneiric way through the use of colour and light.
The idea behind mixing two languages of images in the project was to highlight this duality in the representation of my topic – play with imaginative language of colour and abstraction of black and white that allows the photographs to speak in more symbolic way.

Working within a book form for me was an idea that made sense for the project I was exploring. The book form allows the dialog for the images and highlights what photography revels and what does it hide, where the frame ends and what can be excluded from the it, and why.

I worked closely with my subjects who represent generations from a newborn to elderly and thus their age diferences touch on the aspects of time passing and the very photographic power to preserve what is about to be lost.

For me photography itself as a medium is really so much about separation as much as it is about capturing a moment, its about separating that moment. Photographs in Czarna Madonna deal exclusively with this concept of separation, of loss, of letting go of that what is familial to us. This ever lasting relationship to the maternal is always connected with the act of “splitting”. We grow to learn to leave the maternal body. Dividing ourselves – we become fully, by detaching ourselves from that what is known. Thus my photographic practice has been largely influenced by the representation of the familial and my own challenges were to experiment with approaches of how else the familial should be depicted and why.

Through this body of work I explored my interests in aspects of photographic performativity. I have imported crucial elements of gesture, the pose, the movement extensively from performance art and I tried to translated them into my images.

The photographic attempt to depict the mother-child relationship was a challenge on its own, due to the subject’s universal meaning and weight. Thus the figure of the mother that was my starting point for the development of this body of work, became a metaphorical symbol linked with loss and the act of preservation thought photographic practice.

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Farhad Rahman | Neverland

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“All children, except one, grow up.” ― J.M. Barrie, Peter Pan

A fictional story about a 17 years old boy who has a own childish fantasy world and a way of survival through escapism. Super Hero’s not only live in tv and computer they are now belong to the world of “Himu” a young boy who loved to consider a virtual world with fictional characters as his own surroundings. From his early age due to his less eyesight and continuous social isolation headed him to refused to grow up and reject the real world. His regular day start with playing a fictional role in his own imagination after spending lot of times with computer games and watching science fictional movies. As a part of his recreation and mental diversion he put himself into a mysterious role for patronizing himself and full fill his all desires virtually.