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VERSION:2.0
PRODID:-//PRL - ECPv4.6.22.1//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:PRL
X-ORIGINAL-URL:https://parallelplatform.org
X-WR-CALDESC:Events for PRL
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210909
DTEND;VALUE=DATE:20211122
DTSTAMP:20260501T160713
CREATED:20210728T125310Z
LAST-MODIFIED:20220506T151458Z
UID:5923-1631145600-1637539199@parallelplatform.org
SUMMARY:Parallel Review Lisboa 2021
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text] \nPARALLEL REVIEW 2021 stems from the idea of creating an anchor for analysing\, discussing and producing photography\, not only to acknowledge the importance of image as a contemporary document\, but also as a form of promoting dialogue\, between all its actors: the artists\, the public and the city. \nSince 2017 Parallel Platform have been showcasing in several exhibitions\, more than 100 contemporary photographers from all over Europe. More than 4 years later\, the project continues to break new ground in contemporary photography. \n[/vc_column_text][vc_single_image image=”5939″ img_size=”large”][vc_column_text] \nExtended Atlas\nCurated by Sandra Vieira Jürgens \nThis year’s exhibition is located outside the Local Market situated in the neighborhood of Alvalade in Lisbon. Produced in a large mural\, the exhibition reunites a selection of artworks from several photographers\, who participated in PARALLEL’s national and international exhibitions and initiatives\, since 2017. \nThe idea for the exhibition\, according to the curator Sandra Jürgens\, results from the rescue of several narrative proposals from the PARALLEL photographic archives. Almost as an archaeological work\, the exhibition wants to show the nature and permanent challenges of photography\, highlighting the potential of images and their ability to create dialogues\, between past and present\, reality and imagination\, objects and geographies. \nSome of the participating artists in this exhibition are George Selley\, Negar Yaghmaian\, Emanuel Cederqvist\, Anka Gregorczyk\, Cian Burke\, José Alves\, Sinead Kennedy\, among other great ones distinguished by a richness and diversity artwork body of languages ​​and aesthetics. \n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text][/vc_column_text][vc_column_text]With: \nAna Zibelnik \nAndrej Lamut \nAnka Gregorczyk \nAntonina Gugała \nCaroline Kolman \nCharlotte Mano \nCian Burke \nDániel Szalai \nDiego Ballestrasse \nEmanuel Cederqvist and Axel Hamberg \nFederico Ciamei \nGeorge Selley \nGeorgs Avetisjans \nGlorija Lizde \nHannamari Shakya \nInês Marinho and Negar Yaghmaian \nJessica Wolfelsperger \nJoachim Bøgedal \nJohanna Karjalainen \nJosé Alves \nJoséphine Desmenez \nLouisa Boeszoermeny \nMark McGuinness \nMateusz Kowalik \nNuno Barroso \nRocco Venezia \nSinead Kennedy[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_separator][/vc_column][/vc_row][vc_row][vc_column width=”1/2″][vc_single_image image=”5941″ img_size=”large”][vc_column_text] \nChanging Times Talks\nCurated by Mafalda Duarte Barrela \nSeptember 11th\nPátio das Tílias\, Museu de Lisboa | Palácio Pimenta\n2pm-6pm \nIn the Changing Times Talks\, it is intended to question the origin of the metamorphosis of a permanently mutable and changing world. What will happen to places that are now like they never were? What experience is this passage of time and the abrupt anguish that comes with the awareness of its fictitious measurability? Who are the people\, existing in their inconstancy and volatility or in their new thesis and certainties. \nThe talks are part of the 4th cycle of PARALLEL – European Photo Based Platform and aim to promote the debate on the potential of contemporary photography\, in its various aspects\, as a catalyst for the exploration of the aforementioned themes. \n14h00 – 15h00 \nWho?: On subjectivity\, limits\, and portraiture \nIlios Willemars\, Ph.D. – Leiden University\nLouisa Boeszoermeny – Artista PARALLEL\nJessica Wolfelsperger – Artista PARALLEL \n15h30 – 16h30 \nLocal-ities: the plasticity of memory-based and archival artistic practices\nColectivo 249\, Torres Novas\nInês Marinho – Artista PARALLEL\nFábio Cunha – Artista PARALLEL \n17h00 – 18h00 \n(In)habiting: on the spatiality of being\nDiana Gonçalves\, Ph.D. – FCH-Católica\nJordi Barreras – Artista PARALLEL\nDániel Szalai – Artista PARALLEL \nMandatory registration  \n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_single_image image=”5940″ img_size=”large”][vc_column_text] \nWorkshops – Alternative processes in Photography\nWith Tira-Olhos \nSeptember 11th\nMuseu de Lisboa | Palácio Pimenta\n \n\nRecycled Paper Manufacturing\nSession 1\, from 10 am to 1 pm\nSession 2\, from 2:30 pm to 5:30 pm \nCyanotype Panel\nSession 1\, from 10 am to 11:30 am\nSession 2\, from 2:30 pm to 4:00 pm \nLuminogram\nSession 1\, from 12:00 pm to 1:30 pm\nSession 2\, from 4:30 to 6 pm \nAntitype:\nSession 1\, from 12:00 pm to 1:30 pm\nSession 2\, from 4:30 pm to 6 pm \nSessions in Portuguese\nMaximum 6 people per session\nOpen to all\nMandatory enrollment  \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid grid_id=”vc_gid:1651849723203-507627b2-de05-5″ include=”6211\,6212\,6213\,6214\,6215\,6216\,6217\,6218\,6219\,6220\,6221\,6222\,6223\,6224″][vc_masonry_media_grid grid_id=”vc_gid:1651849723203-c632601f-d658-8″ include=”6225\,6226\,6227\,6228\,6229\,6230\,6231\,6232\,6233\,6234\,6235\,6236\,6237\,6238\,6239″][vc_masonry_media_grid grid_id=”vc_gid:1651850046312-40d5fae6-87b3-5″ include=”6240\,6241\,6242\,6243\,6244\,6245\,6246\,6247\,6248″][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/parallel-review-lisboa-2021/
LOCATION:mercado de alvalade\, Lisboa\, Portugal
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2021/07/DSC01524.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210907
DTEND;VALUE=DATE:20210912
DTSTAMP:20260501T160713
CREATED:20220506T153600Z
LAST-MODIFIED:20220506T153600Z
UID:6250-1630972800-1631404799@parallelplatform.org
SUMMARY:Photobook Dummy Workshop - NIDA
DESCRIPTION:[vc_row][vc_column][vc_column_text]Photobook Masterclass for PARALLEL Creators coordinated by Kaunas Photography Gallery. \nThe results were later presented in Nida Photography Symposium September 15th 2021. \n  \nArtists\nŠARŪNAS KVIETKUS\nRAMONA GÜNTERT\nIDA NISSEN\n \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid item=”153″ grid_id=”vc_gid:1651850388147-e5ecfd0b-9415-0″ include=”6272\,6270\,6269\,6268\,6262\,6264\,6257\,6258\,6260\,6261\,6267\,6266\,6265\,6253\,6251″][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid grid_id=”vc_gid:1651850835869-96f335ce-cd08-7″ include=”6273\,6271\,6263\,6259\,6256\,6255\,6254\,6252″][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/photobook-dummy-workshop-nida/
LOCATION:Kaunas Photography Gallery\, Kaunas\, Lithuania
CATEGORIES:Masterclass,Talks
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2022/05/243156476_4296009113770056_5315970103374910843_n.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210818
DTEND;VALUE=DATE:20210920
DTSTAMP:20260501T160713
CREATED:20220506T150609Z
LAST-MODIFIED:20220506T150645Z
UID:6193-1629244800-1632095999@parallelplatform.org
SUMMARY:A Forged and Delicate Future
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text] \n\n\n\n\nOut of the chaos the future emerges in harmony and beauty.\n– Emma Goldman (1869 – 1940)\, anarchist political activist and feminist writer \nA Forged and Delicate Future highlights five international artists — Gustavo Balbela\, Elsa Gregersdotter\, Andrej Lamut\, Ida Nissen and André Viking — who reconstruct past-and-present-day ephemera in order to navigate the world’s fragile state and propose alternative futures. In this exhibition\, contemporary artists frequently combine disjointed text and image fragments against the backdrop of countries and homes infiltrated by rising authoritarian governments\, disinformation campaigns\, and ecological disasters. By twisting\, stretching\, and rearranging archival combinations of media\, a more precarious and nuanced reality emerges. \nA medium of found documentation\, the archive can take the form of newspapers\, family photo albums and even invasive plant species. Rather than submit to a chaotic and absurdity filled status quo\, these artists dive headfirst into the disorder\, treating each item they discover as a wholly formed piece of artistic material. Each shard of content can be reconfigured in each artist’s own image as a way to make sense of the world and\, ultimately\, of themselves. \nWhile some artists reflect on the external world\, others turn inward. Some focus on personal memories\, while others question whether the archive can fully encapsulate truth. As family narratives and stories pass down through generations\, they often shift and mutate as time progresses. Ultimately\, the works reflect an ambiguity of possibility\, casting aside notions of absolute truth in favor of liminal realms punctuated by questions without answers. \nBrazilian artist Gustavo Balbela juxtaposes found text and images from Brazilian newspapers in his series Nothing Will Be As Before. Constructed in the shadowed rise of an authoritarian and denialist Brazilian government\, foreboding headlines are paired against disconnected\, banal images from local print media. The resulting form highlights a chaotic arrangement where seemingly rigid news frameworks fall apart and leave the viewer reckoning with fragmented absurdities. Physical collages expose this new reality of living in an age defined by a lack of objectivity and collapsing certainties such as freedom and health. In an environment where truth and reality seem to lose all consciousness\, Balbela further dissects the content\, assigning meaning to a world that doesn’t seem to have any meaning at all. \n\n\n\n\nIn the film Your Ears Are So Cute\, Swedish artist Elsa Gregersdotter explores the intimacy of female friendship by interspersing footage of older women in mid-conversation with subtitles crafted from backhanded compliments Gregersdotter has received over the course of her life. For example\, one woman comments to the other\, “It’s strange that someone as beautiful as you\, can be so ugly at the same time.” This forced pairing bridges the divide between her authentic experiences as a younger woman and the interpretations staged in a cross-generational context. Meaning can shift depending on the perspective and age of the recipient\, as well as the viewer\, as they reflect upon their own memories and conversations. These negative-positive criticisms about the female body reveal the oscillation of language and its dual ability to be both cruelly absurd and humorous at the same time. \n\n\n\n\n\n\n\n\n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \nSlovenian artist Andrej Lamut considers environmental destruction as a catalyst for sustainability by combining paper made from invasive plant species with various analog film techniques\, including liquid emulsion\, in his series Invasive Alien Species. Lamut recontextualizes the subject matter of invasive foreign plants\, known for destroying native ecosystems\, as a medium from which to build upon new strange abstract forms. The ensuing works showcase harmful plants like Japanese Knotweed and Canadian Goldenrod\, by revealing their true character\, reminiscent of otherworldly alien forms. Additionally\, in the physical act of removing invasive plants from their destructive environment\, Lamut actively supports the rehabilitation of his native environment. \nIn her series\, Compile Your Inventory\, Danish artist Ida Nissen constructs physical collages by cutting up\, transforming\, and glueing together photograms — camera-less images created in a dark room by exposing light directly onto light sensitive paper without the use of a negative. The combination of tactile symbols interwoven across colorful abstract emulsions acts as a response to the slippery\, complex undertaking of facing an ever-changing world. Thematic and poetic symbols emerge\, such as the orchid\, a reference to Nissen’s South-Korean heritage and name. Situated on the boundary between the familiar and unknown\, the works offer clues pointing towards Nissen’s own personal quest for truth\, without necessarily providing any clean answers or resolutions. \nDanish artist André Viking employs his own family archive to rebuild fragmented domestic narratives in his series\, Hello “Soul Mate”. Combining photos from family albums with letters his father wrote to his family while incarcerated\, Viking considers how identities can shift depending on the coupling and decoupling of visual and textual content. The subtlety of photography can only offer so much precision whereas text\, especially primary source material\, can extend the clarity of intention. Scenes which could be interpreted as melancholy suddenly become humorous and vice versa. The series also spotlights the connection and interplay between memory and identity as seen through the lens of the family archive. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid item=”153″ grid_id=”vc_gid:1651849572843-a28bf95c-e85e-6″ include=”6194\,6195\,6196\,6197\,6198\,6199\,6200\,6201\,6203\,6204\,6205\,6206″][vc_column_text] \nArtists\nGUSTAVO BALBELA\nELSA GREGERSDOTTER\nANDREJ LAMUT\n
IDA NISSEN
\nANDRÉ VIKING  \nCurator\nERIC LAWTON \n[/vc_column_text][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/a-forged-and-delicate-future/
LOCATION:Robert Capa Contemporary Photography Center\, Budapest\, Hungary
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2022/05/parallel_enterior_3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210818
DTEND;VALUE=DATE:20210920
DTSTAMP:20260501T160713
CREATED:20220506T144533Z
LAST-MODIFIED:20220506T145438Z
UID:5973-1629244800-1632095999@parallelplatform.org
SUMMARY:Of This World – Envisioning Alternative Cartographies
DESCRIPTION:[vc_row][vc_column][vc_column_text]“I like maps\, because they lie.
\nBecause they give no access to the vicious truth.
\nBecause great-heartedly\, good-naturedly
\nthey spread before me a world
\nnot of this world.”\n— Wisława Szymborska \nMaps are frequently accused of reinforcing the power of those who produce them. Throughout history\, cartography has been inextricably tied to imperialism\, with maps defining the limits of territories and asserting the legitimacy of borders. However\, as a creative practice\, mapping also holds the potential to disrupt commonly-held beliefs about the spaces we inhabit. It can highlight difference and subjective experience\, drawing attention to the constructed nature of the world in which we live\, and the social\, environmental\, and political relations that shape our everyday reality. Mapping—both literally and metaphorically—offers the opportunity to chart complex and overlooked terrain\, revealing new layers of meaning and modes of interpretation. \nThrough their work\, the artists in Of This World reimagine our geopolitical landscape by producing alternative cartographies. They draw upon personal and political histories to trace the interconnectedness of subjectivity and geography. Probing private and public spaces\, their work explores how identities are continually negotiated through contact with space and place. Each artist approaches maps as living documents in continual evolution\, subject to scrutiny and revision. Collectively\, their work reveals how cartographic practices might foster new forms of knowledge and systems of meaning-making.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid item=”153″ grid_id=”vc_gid:1651848335877-e75aa498-3358-10″ include=”6186\,6187\,6188\,6189\,6190\,6191″][vc_column_text] \nArtists\nYUXIN JIANG\nGLORIJA LIZDE\nMARK MCGUINNESS\nGEORGE SELLEY & MARGHERITA MURITI\nSHELLI WEILER \nCurator \nLEXINGTON DAVIS \n[/vc_column_text][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/of-this-world-envisioning-alternative-cartographies/
LOCATION:Capa Center\, Budapest\, Hungary
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2022/05/parallel_enterior_17.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210707
DTEND;VALUE=DATE:20210711
DTSTAMP:20260501T160713
CREATED:20220531T113750Z
LAST-MODIFIED:20220531T122153Z
UID:6342-1625616000-1625961599@parallelplatform.org
SUMMARY:PARALLEL Chez Arles
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text] \nPARALLEL chez Arles Talks “CHANGING TIMES: Art facing a new world” \nThe Eyes Talks are the Main Talks programme of Les Rencontres d’Arles and are curated by The Eyes  and supported by PARALLEL. \nTook place July 7\, 8\, 9 and 10 at Cour Fanton. \nWednesday July 7\n11h30 – 12h30\nEmergences : responsible practices. Committed Artists ? \nPanel discussion The Eyes Talks\nLed by Véronique Prugnaud and Vincent Marcilhacy\, associate directors of The Eyes\, with Sonia Voss\, curator of the 2021 Louis Roederer Discovery Award; Almudena Romero\, visual artist\, laureate 2020 of the BMW Residency; and photographer Cédrine Scheidig. \nThursday July 8\n11h30 – 12h30\nAppropriating a new world put to the test by change  \nPanel discussion The Eyes Talks\nLed by Vincent Marcilhacy\, associate director of The Eyes\, with Andrea Giunta\, curator of the exhibition Rethink Everything; Juliette Agnel\, artist and videographer\, curator of the exhibition Thawra! رةثو Révolution!\, and Agata Wieczorek\, Changing Times\, Art Facing a New World project photographer \n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \nFriday July 9\n11h30 – 12h30\nMasculinities : accuracy of the gaze. Liberation of the vision  \nPanel discussion The Eyes Talks\nLed by Véronique Prugnaud\, associated director of The Eyes\, with Alona Pardo\, curator at the Barbican Art Gallery\, curator of the exhibition Masculinities\, Tarrah Krajnak\, photographer (Master Rituals II: Weston’s Nudes\, presented as part of the 2021 Louis Roederer Discovery Award)\, Ivan Jablonka\, historian and writer\, and Laura Lafon\, member of the Lusted Men collective. \nSaturday July 10\n11h30 – 12h30\nCosmic vision\, political gaze \nPanel discussion The Eyes Talks\nLed by Tous Dahmani\, historian and content advisor for The Eyes.\nWith SMITH\, artist-researcher\, project Desideration (Anamanda Sîn)\, Nadège Piton\, curator and performer\, member of the project Desideration (Anamanda Sîn). \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid item=”153″ grid_id=”vc_gid:1653997279843-dc78363e-b9e6-8″ include=”6349\,6350\,6348\,6347\,6346\,6345\,6343″][vc_column_text]Changing Times: Art Facing a New World – Atlas launch \nEdited by The Eyes with the work produced by emerging artists and curators Glorija Lizde (HR)\, Thomas Wynne (UK)\, Agata Wieczorek (PL)\, Ana Zibelnik (SI)\, Cihad Caner (TR)\, Inês Marinho (PT)\, Laura Konttinen (FI)\, Seda Yildiz (TR) and Negar Yaghmaian (IR)  and launched during Les Rencontres d’Arles July 2021.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid grid_id=”vc_gid:1653997279845-811423c1-79c6-1″][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/parallel-chez-arles/
LOCATION:Les Rencontres d’Arles\, Cour Fanton\, Arles\, France
CATEGORIES:Publication,Talks
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2022/05/225122178_6013749712033063_607525276541809909_n.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210304
DTEND;VALUE=DATE:20220101
DTSTAMP:20260501T160713
CREATED:20210302T234700Z
LAST-MODIFIED:20220512T122653Z
UID:5007-1614816000-1640995199@parallelplatform.org
SUMMARY:Parallel Review Lisboa 2020
DESCRIPTION:[vc_row][vc_column][vc_column_text]PARALLEL REVIEW LISBOA stems from the idea of creating an anchor for analysing\, discussing and producing photography\, not only to acknowledge the importance of image as a contemporary document but also as a form of promoting dialogue between all its actors: the artists\, the public and the city. \nThis year the REVIEW will present 6 exhibitions produced in the framework of the third cycle of PARALLEL in a digital format. Each exhibition was designed and produced separately in 6 European cities where the members are based (Lisbon\, Łódź\, Maribor\, Modena\, Odesa and Zagreb)\, but due to the COVID-19 pandemic that had us all staying home and transforming everything their “venue” is now the internet\, so\, each curator developed one website that is their blank wall\, their gallery. \nThe PARALLEL REVIEW LISBOA will be a momentous opportunity for appreciating all the artwork\, the exhibitions launch\, talks with special guests and the exhibition catalogues created by artists and curators during 2020. \n  \nJoin us for the public launch Thursday March 4th 2pm WET  and check the exhibition website here. \nPARALLEL Review Encarte[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid element_width=”12″ item=”153″ grid_id=”vc_gid:1614864281921-108961bc-2d0b-3″ include=”5900\,5916″][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/parallel-review-lisboa-2020/
LOCATION:ONLINE
CATEGORIES:Online Exhibition
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2021/03/Thumbnail_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20201015
DTEND;VALUE=DATE:20210101
DTSTAMP:20260501T160713
CREATED:20201217T173257Z
LAST-MODIFIED:20220509T113012Z
UID:5172-1602720000-1609459199@parallelplatform.org
SUMMARY:Parallel Award 2019
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text] \nUrgent Arts of Living aims to create a space where both artists and audience can imaginatively and critically engage in constructive debate about the ecological and social crisis that surrounds us today. The series of photographs compiled in this exhibition exemplifies an emerging form of narrative where images are seen “not as objective representations of reality\, but as little arguments.”* These introduce us to immediate ways of experiencing and understanding our role in nature\, and our relationship with both natural and social resources. We might discover a better life than what we know now. \n*Max Pinckers\, quoted from Matthew Ponsford\, “Max Pinckers tracks the Margins of Excess between truth and fiction”\, in: British Journal of Photography\, July 2018\, p. 67. \n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \nUrgent Arts of Living\, winning exhibion of the PARALLEL Award 2019\, was supposed to be presented at the Neimënster Cultural Center\, in Luxembourg. Due to the Corona Virus pandemic\, the exhibition had to be adapted to an online format. \nCurated by Cale Garrido\, the exhibition brings together the work of three artits: Ana Zibelnik\, Fábio Cunha and Marie Lukasiewicz. \n  \n  \nCheck the exhibition here:\nhttps://urgentartsofliving.parallelplatform.org/[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid item=”153″ grid_id=”vc_gid:1608643589816-c922c792-c54d-6″ include=”5183\,5182\,5181\,5185\,5184\,5187″][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/parallel-award-2019-urgent-arts-of-living/
LOCATION:Procur.arte\, Online
CATEGORIES:Online Exhibition
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2020/12/x3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200917
DTEND;VALUE=DATE:20210101
DTSTAMP:20260501T160713
CREATED:20200902T194117Z
LAST-MODIFIED:20220509T113036Z
UID:4994-1600300800-1609459199@parallelplatform.org
SUMMARY:To see our common/place
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text] \nThe aim of To see our common/place is to attempt to defy the implausibility of the environmental crisis by dissecting its dominant socio-political structures through the lens of local and personal experience\, and thus ask if it is possible to overturn its characterisation as hyperobject. As we are embedded in abstract\, global power structures\, it is the personal\, local\, and banal construction of everyday life that may constitute the only means by which the individual can connect to wider systems. To see our common/place aims to reclaim an awareness of our own political voice and our personal agency in the shaping of our societies and the environment. \n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \n While it does not deny that positive change on a global scale will come in the form of structural change\, it will reflect on the ways in which individuals may become aware of the existing socio-political systems\, so that it is possible to transform or dismantle them. The exhibition also seeks ways to step out of the dominant framework of these oppressive structures\, in order to grapple with the seemingly ungraspable nature of the environmental crisis and encourage us to look for solutions that may contribute to the global picture. Only by dissecting the crisis can we step out of the ecological paralysis\, foster a discussion around it\, and hopefully\, rise above it in the near future. \n  \nCheck the online exhibition: \nhttp://toseeourcommonplace.parallelplatform.org \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid grid_id=”vc_gid:1611154577300-c7b27bee-d6e7-0″ include=”5197\,5200\,5202\,5198″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nArtists \nGustavo Balbela \nJohanna Karjalainen \nIndrė Urbonaitė \nShelli Weiler  \nDomonkos Varga \n  \nCurator \nEszter Erdősi \n[/vc_column_text][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/to-see-our-common-place/
LOCATION:UGM Maribor\, Online\, Online
CATEGORIES:Online Exhibition
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2020/09/Common_06.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200915
DTEND;VALUE=DATE:20201001
DTSTAMP:20260501T160713
CREATED:20201210T154546Z
LAST-MODIFIED:20201210T154601Z
UID:5074-1600128000-1601510399@parallelplatform.org
SUMMARY:Photobook Workshop at Kaunas Gallery
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nEmerging Lithuanian photographers created photobook dummies during a Photobook Masterclass with Rafał Milach and Ania Nałęcka.\nThis activity was held by the Kaunas Photography Gallery\, in Lithuania. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid grid_id=”vc_gid:1607614441492-bdcdbb0e-6b63-2″ include=”5102\,5103\,5112\,5104\,5113\,5105\,5106\,5109\,5110\,5116″][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/photobook-workshop-at-kaunas-gallery/
LOCATION:Kaunas Photography Gallery\, Kaunas\, Lithuania
CATEGORIES:Workshop
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2020/12/120066818_3257352777635700_6057126281887665676_n.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200910
DTEND;VALUE=DATE:20210101
DTSTAMP:20260501T160713
CREATED:20200902T190704Z
LAST-MODIFIED:20220509T113048Z
UID:4973-1599696000-1609459199@parallelplatform.org
SUMMARY:Broken Secrets
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text] \nBroken Secrets examines public and private conversations. Drawing from historical and contemporary narratives\, the exhibition investigates distrust and deception\, showing the fragility of institutional and personal connections and questioning the line between truth and falsehood. \nThe project understands that there are undisclosed political operations at work\, but also that these are accompanied by clandestine movements. How do secrets prevent freedom? How are we incarcerated\, not only by what we know but by what we don’t know\, by what is omitted? \n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \nIn the realm of intimacy\, Broken Secrets probes the self and associated relationships. It questions the role of fidelity or its absence. It looks at personal ties and family secrets by framing domestic spaces as ones that both liberate and constrict. \n  \nCheck the online exhibition: \nhttp://brokensecrets.parallelplatform.org \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid grid_id=”vc_gid:1608643637928-e94ada88-f2ea-2″ include=”5206\,5207\,5208\,5209\,5214\,5210\,5211\,5213″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nArtists \nGeorgs Avetisjans \nGeorge Selley \nNegar Yaghmaian \nYuxin Jiang \n  \nCurator \nJaviera Cádiz \n[/vc_column_text][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/brokensecrets/
LOCATION:Fondazione Modena Arti Visive\, Online\, Online
CATEGORIES:Online Exhibition
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2020/09/Broken07.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200904
DTEND;VALUE=DATE:20200921
DTSTAMP:20260501T160713
CREATED:20201126T152712Z
LAST-MODIFIED:20201126T153141Z
UID:5027-1599177600-1600646399@parallelplatform.org
SUMMARY:Parallel Intersection Landskrona
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nThe PARALLEL Intersection 2020 took place in Sweden\, during the Landskrona Foto festival. This was the closing moment of the 3rd cycle where\, among other activities\, all the creators were presented together in the exhibition Under (De)construction\, curated by Jenny Lindhe. \nJust as the prefix de- denotes removal or reversal\, the artists in this exhibition investigate the nature of the photographic medium by taking it apart. Ultimately it is existence itself that is analysed and transformed into new structures\, shapes and ideas. Although Under (De)construction presents works by 28 artists\, all of them working with different forms of artistic expression\, one can discern a common method: to go beyond “the photographic framework” itself. Perhaps one can see this as a search for other structures to relate to\, at a time when we are approaching the end of the world as we know it. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/2″][/vc_column][vc_column width=”1/2″][vc_column_text] \nUnder (De)construction\nAnka Gregorczyk (PL)\, Anna Siggelkow (DE)\, Carola Lampe (DE)\, Caroline Kolkman (NL)\, Cecilie Nicoline Rasmussen (DK)\, Cian Burke (IE)\, David Barreiro (ES)\, Diego Ballestrasse (AR)\, Domonkos Varga (HU)\, Elsa Gregersdotter (SE)\, George Selley (UK)\, Georgs Avetisjans (LV)\, Gustavo Balbela (BR)\, Indrė Urbonaitė (LT)\, Joachim Bøgedal (DK/SE)\, Johanna Karjalainen (FI)\, Jordi Barreras (ES)\, Joshua Tarplin (US)\, Jošt Dolinšek (SI)\, Margherita Muriti (IT)\, Negar Yaghmaian (IR)\, Sara Perovic (HR)\, Sara Wu (TW)\, Shelli Weiler (US)\, Simone Sapienza (IT)\, Søren Lilholt (DK)\, Theo Ellison (UK)\, Vitaliy Galanzha (UA)\, Yushi Li (CN)\, Yuxin Jiang (CN) \n[/vc_column_text][/vc_column][vc_column][vc_masonry_media_grid item=”153″ grid_id=”vc_gid:1606394129665-460470be-cfb1-3″ include=”5049\,5034\,5053\,5038\,5036\,5064\,5050\,5037\,5054\,5039\,5040\,5052\,5041\,5042\,5046\,5055\,5057″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nUnder (De)construction Curator \nJENNY LINDHE \n  \nProject Coordinator \nRAFFAELE PIANO \n[/vc_column_text][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/parallel-intersection-landskrona/
LOCATION:Landskrona Foto Festival\, Landskrona\, Sweden
CATEGORIES:Intersection
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2020/11/119253650_1633913483446744_940962645265077385_o-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200827
DTEND;VALUE=DATE:20210101
DTSTAMP:20260501T160713
CREATED:20200804T152626Z
LAST-MODIFIED:20220509T113057Z
UID:4947-1598486400-1609459199@parallelplatform.org
SUMMARY:The Future is (not) Guilty
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text] \nThe Future is (not) Guilty explores the concept of future-oriented archive by questioning its different aspects. What\, how and why does the archive contain? What meaning does it have in the perspective of future? Can we explain the future within this archive? What is the language of the archive and how is it constructed? How do different elements of an archive (and within this exhibition – different projects) construct meaning/knowledge? How do we deal with this knowledge? \nOne of the key ideas of this exhibition is that an archive is never neutral and is always multilayered (visually\, conceptually\, through interconnections of different materials)…  \nFive artists develop this idea through their projects\, creating interactive display\, like a playground for visitors to experience the future through the activation of artistic projects: manipulating images\, creating their own narratives\, experiencing artistic installations. \n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \nIn the heart of this project is a collaborative process-based practice that allowed us to conduct a collective object that is in  constant transformation (exactly as an archive and the knowledge is!) regarding the different contexts for its presentation/activation.  \nThe world pandemic crisis during spring 2020 transformed our exhibition in a multilayered project with three parts: digital project\, catalogue and exhibition. Our group reflexions about the message in a bottle for the future got another meaning – the lockdown made our future more uncertain and fragile\, created a worrisome atmosphere and anxiety\, that are often related to reflexions on future. Suddenly\, the process became a message itself\, a statement\, an engagement: initiating discussions and reflexions through a collaborative curatorial practice became an answer and a solution. It became our message in a bottle for the future.  \n. \nCheck the online exhibition:\nhttps://future.parallelplatform.org \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid grid_id=”vc_gid:1608643656340-f55b9aed-f5a6-9″ include=”5217\,5218\,5219\,5220\,5221\,5222″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nArtists \nCAROLA LAMPE \nGEORGE SELLEY \nJOACHIM BØGEDAL \nSØREN LILHOLT \nMARGHERITA MURITI \n. \nCurator \nYULIYA RUZHECHKA \n[/vc_column_text][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/the-future-is-not-guilty/
LOCATION:Organ Vida\, Online
CATEGORIES:Online Exhibition
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2020/08/carola_lampe_CD3A7745-liquify3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200820
DTEND;VALUE=DATE:20210101
DTSTAMP:20260501T160713
CREATED:20200804T105341Z
LAST-MODIFIED:20220509T113105Z
UID:4930-1597881600-1609459199@parallelplatform.org
SUMMARY:Notes On Space
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text]We create\, rearrange and destroy spaces we inhabit\, throughout our whole life. Houses\, workplaces or streets and public squares are the material environment we influence on. However\, they also shape our behaviour: tell us where and how to go\, teach us values and hierarchies dominant in a society or a class we belong to. In that terms\, it is no surprise that the notions of ‘building’ and ‘construction’ are never limited to  physical matter. We build houses and relationships\, monuments but also identities\, spatial order and political order. We built past memories and will build the future ones.[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \nNotes on Space aims to shed light on different elements of this entangled relation. From the playfulness and creativity of children\, creating imaginary spaces from given elements\, to the very instrumental role subscribed to the construction workers. And from the abstract interactions with surroundings\, to the ideologically saturated\, artificial suburban neighbourhoods. Space was and is politicised\, gender-biased\, and might be even more so in the future\, if we fill it with artificial intelligence\, fuelled by biased data collected in the past and present. But even today we see our cities\, towns and villages changing due to politicians’ will\, ideology or huge private investments\, tearing apart what was once public and common. Is it the time to take back our own creative forces? \n. \nCheck the online exhibition:\nhttp://notesonspace.parallelplatform.org \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid grid_id=”vc_gid:1608643676551-dc90fd44-5de7-7″ include=”5228\,5229\,5230\,5231\,5232\,5233″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nArtists \nCAROLA LAMPE \nCAROLINE KOKLMAN \nDAVID BARREIRO \nGUSTAVO BALBELA \nSARA PEROVIC\n. \nCurator \nTYTUS SZABELSKI \n[/vc_column_text][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/notes-on-space/
LOCATION:Odesa Photo Days\, Online
CATEGORIES:Online Exhibition
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2020/08/notes00.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200813
DTEND;VALUE=DATE:20210101
DTSTAMP:20260501T160713
CREATED:20200803T170143Z
LAST-MODIFIED:20220509T113113Z
UID:4919-1597276800-1609459199@parallelplatform.org
SUMMARY:Ugga
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nUGGA is an exhibition about ugly people\, objects\, and places. When one thinks about ugliness\, it is not immediately apparent that by ascribing the label “ugly\,” for example\, to an individual\, one is always already conditioning the person’s life possibilities. Their existence ceases to be regarded as valuable as their counterpart. The ugly’s right to exist is probed from the moment they are deemed unsightly\, unworthy of being viewed by others. The norm is blind to ugliness\, only paying attention to those that live up to its expectations of hegemonic beauty. That being said\, the works portrayed in UGGA question the inherently negative connotation of ugliness\, as they explore the ontology of the concept and its necessarily political consequences. \n.Chec \nCheck the online exhibition:\nhttp://ugga.parallelplatform.org \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid grid_id=”vc_gid:1608643702008-66c360a9-2b7a-1″ include=”5236\,5238\,5239\,5240\,5241\,5242″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nArtists\n\nANNA SIGGELKOW\n \nINDRĖ URBONAITĖ \nJOSHUA TARPLIN \nMARGHERITA MURITI \nSARA WU \nSHELLI WEILER \nTHEO ELLISON \n  \nCurator \nMAFALDA DUARTE BARRELA \n[/vc_column_text][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/ugga/
LOCATION:Procur.arte\, Online
CATEGORIES:Online Exhibition
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2020/08/Ugga02.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200806
DTEND;VALUE=DATE:20210101
DTSTAMP:20260501T160713
CREATED:20200803T161545Z
LAST-MODIFIED:20220509T113120Z
UID:4871-1596672000-1609459199@parallelplatform.org
SUMMARY:Some-Bodies; Narratives around the other body
DESCRIPTION:[vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column width=”1/2″][vc_column_text] \nThe distinction between the “self” and the “other” has always been created through a “body” and its apparently differentiating peculiarities. The body\, notwithstanding the fact that it carries such differentiations\, can at the same time tie the “self” to the “other”. Because of the perception we possess on the environment within which we live\, and precisely due to the ties between such surroundings and the “body”\, the ruptures between the two can increase or even decrease\, while at the same time connections or ties between them can deepen or loosen. Therefore\, from this perspective\, what has actively played a role in the actualization of hierarchies between the human-being and its surrounding environment would not simply become an ineffective entity in making distinctions between the “self” and the “other”. Encountering this cycle of “othering”\, hence\, is based on knowing the “self” and the “other”. As the closest entity to “us”\, the body would therefore play a “mediating role” in such transformations. \n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \nSome-Bodies; Narratives around the Other Body is an invitation to pay close attention to the ties that connect the “body” to the “other”\, whether the “other” is a part of our-“selves” or what has been projected as the “other” within sociopolitical hierarchies. \nAlthough the initial idea of this exhibition was born a long time ago\, reflecting on the “self”\, the “other” and the “body” within the context of the Covid-19 pandemic and the ongoing global protests against racism can bring new insights to this field. \n. \nCheck the online exhibition:\nhttp://some-bodies.parallelplatform.org \n.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid grid_id=”vc_gid:1608643722856-0ad47ba0-5a54-7″ include=”5244\,5245\,5247\,5246\,5248\,5249″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nArtists \nANKA GREGORCZYK \nELSA GREGERDOTTER \nJOSHUA TARPLIN \nYUSHI LI \nYUXIN JIANG \n  \nCurator \nZOHREH DELDADEH \n[/vc_column_text][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/some-bodies/
LOCATION:Fotofestiwal Łódź\, Online
CATEGORIES:Online Exhibition
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2020/08/somebodies03.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200606
DTEND;VALUE=DATE:20200615
DTSTAMP:20260501T160713
CREATED:20201210T163015Z
LAST-MODIFIED:20201210T163015Z
UID:5067-1591401600-1592179199@parallelplatform.org
SUMMARY:Photobooks & Zines Masterclass by ISSP
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nDuring this online masterclass organized by the ISSP Gallery\, Void founders Myrto Steirou\, João Linneu and Sylvia Sachini helped the participants to conceptualise\, edit and produce a unique publication with their artistic work. From the storytelling to the book design and physical production\, the participants went through the entire process of transforming their voices into a printed matter. \nThe workshop will took place online and connected the tutors in Athens and Lisbon with the participants in Riga through series of Zoom lectures\, group discussions and tutorials; the books were printed between the authors in Riga and by Void in Athens. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid item=”153″ grid_id=”vc_gid:1607615242906-f64ee141-db8c-1″ include=”5126\,5134\,5128\,5130\,5129\,5136\,5131\,5133\,5139\,5141\,5142\,5144\,5143\,5145\,5069″][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/photobooks-zines-masterclass-issp/
LOCATION:ISSP Gallery\, Riga\, Latvia
CATEGORIES:Masterclass
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2020/11/VOID-web1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200224
DTEND;VALUE=DATE:20200228
DTSTAMP:20260501T160713
CREATED:20200323T155255Z
LAST-MODIFIED:20200323T155255Z
UID:4763-1582502400-1582847999@parallelplatform.org
SUMMARY:Curatorship Dublin
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text] \nThe 3rd Cycle’s PARALLEL Curatorship was organized by PhotoIreland and took place at The Library Project\, in Dublin. During 4 days\, the 29 artists and the 6 curators presented the work and the curatorial proposals they have been developing with the guidance of their tutors\, since the first meeting\, in September 2019. \n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \nThe event resulted on the preparation of the PARALLEL Intersection Landskrona\, the Parallel Atlas and the exhibitions at Fodazione Modena Arti Visive\, Łódż Fotofestiwal\, UGM Maribor Art Gallery\, Organ Vida Festival\, Odessa Photo Days Festival and Tbilisi Photography & Multimedia Museum. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid grid_id=”vc_gid:1584972586259-7a0e3061-265e-4″ include=”4784\,4790\,4791\,4783\,4789\,4782\,4781\,4780\,4779\,4778\,4777\,4775\,4776\,4774\,4773″][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/curatorship-dublin/
LOCATION:The Library Project\, Dublin\, Ireland
CATEGORIES:Curatorship
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2020/03/BOR20_Dublin-25.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20191121
DTEND;VALUE=DATE:20191215
DTSTAMP:20260501T160713
CREATED:20191025T160908Z
LAST-MODIFIED:20200127T182030Z
UID:4575-1574294400-1576367999@parallelplatform.org
SUMMARY:Parallel Review Lisboa
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text] \nPARALLEL REVIEW LISBON stems from the idea of creating an anchor for analysing\, discussing and producing photography\, not only to acknowledge the importance of image as a contemporary document but also as a form of promoting dialogue between all its actors: the artists\, the public and the city.\n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \nThe Review will be the first comprehensive presentation of the 7 exhibitions produced in the framework of the second cycle of PARALLEL and which have been presented separately in 6 European cities. It will be a momentous opportunity for appreciating\, now in Lisbon\, all the artwork created by artists and curators during 2019. Several other contemporary photography events will complement the Lisbon Review.\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”50″][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid grid_id=”vc_gid:1579103972309-64b1bed7-a67f-4″ include=”4683\,4669\,4678\,4686\,4671\,4685\,4679\,4673\,4674\,4680\,4675\,4677\,4682\,4676\,4681″][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_column_text] \nEXHIBITIONS\nTUESDAY to SATURDAY\n12 PM – 8 PM \nURGENT ARTS OF LIVING \nAna Zibelnik\nMarie Lukasiewicz\nFábio Cunha\nCuratorship\nCale Garrido \n  \nVALLEY OF THE STRANGE \nAna Zibelnik\nCihad Caner\nFederico Ciamei\nEla Polkowska\nJosé Alves\nRocco Venezia\nCuratorship\nEric Lawton \n[/vc_column_text][/vc_column][vc_column width=”1/4″][vc_column_text] \n  \n  \n  \nTHING\, AURA\, METADATA: \nA POEM ON MAKING  \nCihad Caner\nDries Lips\nRóisín White\nJessica Wolfelsperger\nCuratorship\nSeda YΙldΙz \n  \nSTAGED SALVATIONS  \nAndré Viking\nRocco Venezia\nNils Stelte\nCuratorship\nLovro Japundzic \n[/vc_column_text][/vc_column][vc_column width=”1/4″][vc_column_text] \n  \n  \n  \nCURRENTS SHIFT\nTHE LIVESTREAM OF REASON PRODUCES MONSTERS \nCihad Caner\nJessica Wolfelsperger\nCuratorship\nJon Uriarte \n  \nTHE LIGHT FROM OUR SIDE \nSHINES DIFFERENTLY  \nDániel  Szalai\nFederico Ciamei\nRóisín White\nCuratorship\nLeanna Teoh \n[/vc_column_text][/vc_column][vc_column width=”1/4″][vc_column_text] \n  \n  \n  \nOUT OF SIGHT: \nPICTURING THE UNSEEN  \nRóisín White\nAgata Wieczorek\nSinead Kennedy\nCihad Caner\nCuratorship\nLexington Davis \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid grid_id=”vc_gid:1579106928295-e3bb9a82-e261-3″ include=”4692\,4688\,4690\,4689\,4691\,4687″][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_column_text] \nTALKS\nCurated by Sandra Vieira Jürgens \nNOV 22 – FRIDAY \n  \n3.00PM – 4.30PM \nPHOTOGRAPHY:\nFROM THE SCHOOL TO THE ART SYSTEM \nModerator\nFilipa Valadares | STET \nSpeakers\nAna Zibelnik | Artist\nFábio Cunha | Artist\nPaulo Catrica | Artist/Professor\nRodrigo Peixoto | Artist/Professor\nNathalie Vigini | Artist \n  \n5.00PM – 7.00PM \nWAYS OF EXHIBITING:\nPHOTOGRAPHY AND CURATORIAL PRACTICES \nModerator\nBruno Leitão | Curator \nSpeakers\nLouise Clements | FORMAT Festival\nMirjam Kooiman | FOAM\nTatiana Macedo | Artist\nSeda Yιldιz | Artist/Curator \n[/vc_column_text][/vc_column][vc_column width=”1/3″][vc_column_text] \n  \n  \nNOV 23 – SATURDAY \n  \n3.00PM – 4.30PM \nFORMS\, PRACTICES AND USES\nOF THE IMAGE IN THE 21ST CENTURY \nModerator\nSusana Mouzinho | Artist \nSpeakers\nLexington Davis | Curator\nMarc Lenot | Art Critic\nMonica Alcazar-Duarte | Artist\nRocco Venezia | Artist\nMarina Gadonneix | Artist \n  \n5.00PM – 7.00PM \nDISSEMINATION METHODS:\nEXHIBITING CIRCUITS AND PHOTOGRAPHY \nModerator\nPedro dos Reis | Artist \nSpeakers\nJenny Lindhe | Landskrona Foto\nJosé Pedro Cortes | Artist/Editor\nRui Prata | Curator\nVivien Boronyak | Capa Center \n[/vc_column_text][/vc_column][vc_column width=”1/3″][vc_column_text] \nGUIDED TOUR\n  \nNOV 23 – SATURDAY \n  \n7.00 PM \nGUIDED TOUR BY THE EXHIBITIONS’ CURATORS \n  \n12.00 PM \nGUIDED TOUR IN POLISH\nBY THE ARTIST ELA POLKOWSKA\n \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_column_text] \nOPEN CLASSES\n  \nNOV 6 – WEDNESDAY \n7.30PM – 8.30PM \nPRODUÇÃO ARTÍSTICA –\nREGISTO E DOCUMENTAÇÃO\nBRUNO PELLETIER SEQUEIRA \nAtelier de Lisboa: Rua João Saraiva\, 28A\, 2º \n[/vc_column_text][/vc_column][vc_column width=”1/3″][vc_column_text] \n  \n  \nNOV 15 – FRIDAY \n7.30PM – 8.30PM \nOPEN CLASS: WORK PRESENTATION\nRÓISÍN WHITE and LEXINGTON DAVIS \nAtelier de Lisboa: Rua João Saraiva\, 28A\, 2º \n[/vc_column_text][/vc_column][vc_column width=”1/3″][vc_column_text] \n  \n  \nNOV 29 – FRIDAY \n7.30PM – 8.30PM \nAULA ABERTA: APRESENTAÇÃO DE TRABALHO\nFÁBIO CUNHA e BRUNO HUMBERTO \nParallel Review Lisboa: Rua do Centro Cultural\, 11 \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/2″][vc_column_text] \nWORKSHOPS\n  \nNOV 30 – WEDNESDAY \n2.30PM – 6.30PM \nCYANOTYPE WORKSHOP\nPEDRO GIL \nParallel Review Lisboa: Rua do Centro Cultural\, 11 \n  \n\n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \n  \n  \nDEC 7 – WEDNESDAY \n2.30PM – 6.30PM \nCYANOTYPE WORKSHOP\nPEDRO GIL \nParallel Review Lisboa: Rua do Centro Cultural\, 11 \n  \n\n[/vc_column_text][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/parallel-review-lisboa/
LOCATION:Alvalade\, Lisboa\, Rua do Centro Cultural\, 11\, Lisboa\, 1700\, Portugal
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2020/01/©TUNA_PARALLELlisboa-8104.2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190911
DTEND;VALUE=DATE:20191007
DTSTAMP:20260501T160713
CREATED:20191009T155952Z
LAST-MODIFIED:20200127T182057Z
UID:4525-1568160000-1570406399@parallelplatform.org
SUMMARY:Parallel Intersection Budapest
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nThe Robert Capa Contemporary Photography Center\, in Budapest (HU) hosted PARALLEL Intersection in September 2019. This is the crossing point of the 2nd and 3rd cycle PARALLEL new artists\, as well as the 18 European institutions member of the Platform. Among other activities\, the event presented ‘Zeitgeist’\, the closing exhibition of the 2nd cycle artists\, and the Showcase of the 3rd cycle artists.\n\n\n‘Zeitgeist’: the exhibiting young contemporary artists created their works using the broadest range of the photographic toolkit and applying a diversity of techniques and new media. Their pieces deal with current issues and the problems of our environment as well as topics concerning their generational scope of interest. According to the curatorial concept\, the artworks within Zeitgeist are presented in a thematic order organized under four titles: Post-truth\, Anthropocene\, Mystique\, and Identity. The totality of the works together represent the Zeitgeist\, or the spirit of our times defining the way of thinking\, the aspirations\, and the objectives of people living in the first quarter of the 21st century.\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/2″][vc_column_text] \n2nd cycle artists: Agata Wieczorek (PL)\, Ana Zibelnik (SI)\, André Viking (DK)\, Christel Thomsen (DK)\, Cihad Caner (TR)\, Dániel Szalai (HU)\, Diogo Bento (PT)\, Dries Lips (BE)\, Ela Polkowska (PL)\, Fábio Cunha (PT)\, Federico Ciamei (IT)\, Garrett Grove (US)\, Hannamari Shakya (FI)\, Inês Marinho (PT)\, Jake Mein (NZ)\, Jessica Wolfelsperger (DE)\, José Alves (PT)\, Laura Konttinen (FI)\, Louisa Boeszoermeny (DE)\, Marie Lukasiewicz (FR)\, Martin Eberlen (UK)\, Mateusz Kowalik (PL)\, Matthew Thompson (IE)\, Nils Stelte (DE)\, Rocco Venezia (IT)\, Roisin White (IE)\, Sinead Kennedy (AU). \n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \n3rd cycle artists:  Anka Gregorczyk (PL)\, Anna Siggelkow (DE)\, Carola Lampe (DE)\, Caroline Kolkman (NL)\, Cecilie Nicoline Rasmussen (DK)\, Cian Burke (IE)\, David Barreiro (ES)\, Diego Ballestrasse (AR)\, Domonkos Varga (HU)\, Elsa Gregersdotter (SE)\, George Selley (UK)\, Georgs Avetisjans (LV)\, Gustavo Balbela (BR)\, Indrė Urbonaitė (LT)\, Joachim Bøgedal (DK/SE)\, Johanna Karjalainen (FI)\, Jordi Barreras (ES)\, Joshua Tarplin (US)\, Jošt Dolinšek (SI)\, Margherita Muriti (IT)\, Negar Yaghmaian (IR)\, Sara Perovic (HR)\, Sara Wu (TW)\, Shelli Weiler (US)\, Simone Sapienza (IT)\, Søren Lilholt (DK)\, Theo Ellison (UK)\, Vitaliy Galanzha (UA)\, Yushi Li (CN)\, Yuxin Jiang (CN) \nShowcase:  September 2019 was the begging of the PARALLEL journey for the 3rd cycle artists\, that showed their work for the first time within the platform. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid item=”153″ grid_id=”vc_gid:1570635549608-96ad4e7a-ee51-1″ include=”4527\,4529\,4530\,4531\,4532\,4533\,4534\,4535\,4536\,4538\,4539\,4540\,4541\,4542\,4543\,4544\,4545\,4546\,4547\,4548″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”50″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \n‘Zeitgeist’ Curator \nJUDIT GELLÉR  \nEMESE MUCSI \n  \n‘Showcase’ Curator \nISTVÁN VIRÁGVÖLGYI \n  \nProject Coordinator \nVIVIEN BORONYÁK \n[/vc_column_text][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/parallel-intersection-budapest/
LOCATION:Robert Capa Contemporary Photography Center\, Budapest\, Hungary
CATEGORIES:Intersection
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2020/01/Cover-4.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190814
DTEND;VALUE=DATE:20190929
DTSTAMP:20260501T160713
CREATED:20191008T162458Z
LAST-MODIFIED:20191008T163012Z
UID:4497-1565740800-1569715199@parallelplatform.org
SUMMARY:Valley of the Strange
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text] \nArt exists that one may recover the sensation of life; it exists to make one feel things\, to make the stone stony…The technique of art is to make objects “unfamiliar\,” to make forms difficult\, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged. \n(Viktor Shklovsky\, Art as Technique\, 1917) \nValley of the Strange highlights six emerging Pan-European artists — José Alves\, Cihad Caner\, Federico Ciamei\, Ela Polkowska\, Rocco Venezia and Ana Zibelnik — who use photography to explore the boundaries of time and the disruption of the ordinary. The exhibition considers the role of the image in navigating past and present\, while questioning how photography and film can defamiliarize our everyday encounters with the world. The works live in the hyperreal — zooming in and focusing on our innermost fears — blurring truth and fiction\, and everything else in between. \n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \nThe people\, places and things of this exhibition are depicted as strangely familiar\, illustrating Russian theorist Viktor Shklovsky’s concept of defamiliarization. Building on Freud’s writings about the uncanny\, Shklovsky asserts that when the intimate is rendered in an atypical light our overall perception is enhanced. This concept serves as a lens to examine the works in the exhibition. Commonplace scenes and scenarios\, when tilted slightly off kilter\, lay bare our own inherent apprehensions\, and with it\, a deeper understanding of the expected. To underscore this\, the installation emphasizes often overlooked physical elements of the gallery\, such as the floor\, in order to disrupt the habitual and conventional experience of looking at art. \nNostalgia\, superstition\, and the ephemeral coalesce to form an unsettling tension. Far from avoiding the uncomfortable\, these artists relish it\, embracing moments both typical and deeply alienating: an exposed eyeball\, cracked glass\, a haunting cry. It is specifically in these seconds of uncertainty and trepidation that our rich sensation of life is finally awakened. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid item=”153″ grid_id=”vc_gid:1570552136338-b7244005-375d-7″ include=”4502\,4503\,4504\,4505\,4506\,4507\,4508\,4509\,4510\,4511\,4512\,4513\,4514\,4515″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”50″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nArtists \nANA ZIBELNIK \nCIHAD CANER \nELA POLKOWSKA \nFEDERICO CIAMEI \nJOSÉ ALVES \nROCCO VENEZIA \n  \nCurator \nERIC LAWTON \n[/vc_column_text][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/valley-of-the-strange/
LOCATION:ISSP Gallery\, Riga\, Latvia
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2019/10/Cover.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190809
DTEND;VALUE=DATE:20190909
DTSTAMP:20260501T160713
CREATED:20191008T154804Z
LAST-MODIFIED:20191008T155734Z
UID:4477-1565308800-1567987199@parallelplatform.org
SUMMARY:Staged Salvations
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text] \nStaged Salvations explores the idea of rituals used as an attempt to overcome the reality that has suddenly become a burden. Our very fragility transforms itself in the productive force that enables separation from the previously practiced patterns. Twisting common modes of perception becomes possible thanks to newly found tactics that can easily disrupt the human mind. Previous belief systems can be replaced with new meanings derived from altered experiences that may provide security and optimism. A collective that shares this experience can develop into a community that strengthens each individual’s sense of belonging. In this view\, rituals can be both spiritual and profane\, emerging from the interplay between the external and internal world. Elements of material culture are turned into symbols and creative tools used in performance-like actions that initiate different ways of self-reflection within various communities enabling catharsis and fulfillment. In the quest for self-actualization and self-improvement the body is a primary medium through which a new level of consciousness becomes possible.  \nAndré Viking\, Rocco Venezia and Nils Stelte capture such embodiments of individual and collective rituals in the forms of symbols\, gestures\, expressions\, and rhythms. Their work reveals a universal quality in these embodied patterns communicated through performative actions. Rather than depicting clear\, linear narratives\, these artists introduce incomplete fragments\, expressing the liminal quality of rituals in which reality questions itself. Depicted objects and characters can be a part of staged experience or spontaneous and improvised actions that may seem fantastic and dreamlike but are still deeply rooted in common human reality. Performativity emphasized through photography is used as a way to understand the non-physical dimension of the body. The work of all three artists anticipates change and comes from the vulnerable position derived from personal experience. \nIn Kekulé’s Dream\, André Viking explores the holistic practices of African shamanistic healers called sangomas. The work is a result of his trips to the Free State province of South Africa and a visit to The Cave of Fertility where sangomas have lived for centuries. In their healing tactics they tend to unite mind and body\, focusing equally on physical and mental health. Slowly integrating with the community\, Viking himself engaged in ritualistic practices that use dreams as the main channel of communication.  \n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \n Through dreams\, healers are able to communicate with their ancestors who guide them to a state of trance where an unbounded spiritual self comes to life. In return\, dreams create a new basis for interaction with everyday life\, free from the meanings and interpretations that are often imposed on us.  \nA similar connection with mind and body can be found in the work of Nils Stelte. Renaissance is a series of photographs that consider different tactics used by urbanities undergoing a personal crisis\, enabling individual growth through the practice of mind-body medicine and the rejection of prescribed knowledge\, to emphasize alternative healing practices that question the Western separation of human spiritual and physical dimensions. Laughter yoga\, zen archery\, hypnosis and aikido are among different strategies Stelte has captured. Dramatic effect is built upon duality of equally present scientific and alternative symbolism.  \nThe receptive quality of symbols\, objects and gestures is also visible in the dreamlike scenes from the Mediterranean area represented in the work of Rocco Venezia. In the series Is Life Under The Sun Not Just A Dream materiality reveals its spiritual dimension. Within the context of southern European realities\, marked by cultural and economic crisis\, disruption is a source of creative potential. Arbitrary compositions emerge as sculptures or ambiguous objects waiting for meanings to be inscribed. Drawn out of the tradition of Arte povera and metaphysical painting\, Venzia manages to build a mysterious scenery in which time has stopped and silence becomes almost tangible. \nThe everyday pressures of practical and economic needs demand control of the idea of the self as a stable entity. The world we live in is constructed on rational patterns we perceive as our own personal truths\, yet each self is only the embodiment of the culture that surrounds it. Outside influences and new information make us the product of constant change\, in a world in which individual autonomy exists only as fiction. In the current social and political climate\, marked by tensions and transformations\, we can break under this rational world. Loss of meaning makes us seek an alternative\, because there is no stable self we can come back to. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid item=”153″ grid_id=”vc_gid:1570549692771-e54e2bf4-a1f8-0″ include=”4482\,4483\,4484\,4485\,4486\,4487\,4488\,4489\,4490\,4491\,4492″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”50″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nArtists \nANDRÉ VIKING \nROCCO VENEZIA \nNILS STELTE \n  \nCurator \nLOVRO JAPUNDŽIĆ \n[/vc_column_text][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/staged-salvations/
LOCATION:Galleri Image\, Aarhus\, Denmark
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2019/10/photo-credit-seedeich-9.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190704
DTEND;VALUE=DATE:20190705
DTSTAMP:20260501T160713
CREATED:20190723T120718Z
LAST-MODIFIED:20190723T123052Z
UID:3603-1562198400-1562284799@parallelplatform.org
SUMMARY:The Light from our Side Shines Differently
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text] \nAs part of the overarching theme of curatorship within YET Magazine\, The Light From Our Side ShinesDifferently reveals an anomalous aspect of curating\, the curator of the everyday. Light hereexpresses beyond its physicality but instead divulge in an intangible realm of existence. This Lightcarries around us\, the weight of society\, culture and history which in turn influences us in curation.In essence\, everyone is considered a curator of things\, and the method in which we employ ourcognizance\, consumption and reciprocation of our world heavily depends on this Light that which we‘see’ with\, that which is ingrained within. \n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \nIn this showcase in\, invited Parallel 2nd Cycle New Curator Leanna Teoh selected artworks by threeNew Artists\, Dániel Szalai\, Federico Ciamei and Roisin White\, revealing multifaceted truths of livedexperiences by each artist. The artworks selected reflects themes of society\, culture and politics thatsomehow necessitates the audience to delve beyond the content of the artwork to the socialcircumstances that led the artists to produce each of their artworks \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid item=”153″ grid_id=”vc_gid:1563884346746-26646b32-07d5-4″ include=”3676\,3677\,3678\,3679\,3680\,3681\,3682\,3683\,3684″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”50″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nArtists \nDANIEL SZALAI \nFEDERICO CIAMEI \nRÓISÍN WHITE \n  \nCurator \nLEANNA TEOH \n[/vc_column_text][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/the-light-from-our-side-shines-differently/
LOCATION:YET Magazine\, Arles\, France
CATEGORIES:Publication
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2019/07/COVER.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190704
DTEND;VALUE=DATE:20190729
DTSTAMP:20260501T160713
CREATED:20190723T111755Z
LAST-MODIFIED:20190723T142343Z
UID:3599-1562198400-1564358399@parallelplatform.org
SUMMARY:Thing\, Aura\, Metadata. A Poem on Making.
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text] \nThis is an exhibition with good intentions.  \nIt is about images and wonders how images of all kinds operate\noptically and psychologically. Beyond objecthood and materiality\,\nthe exhibition focuses on the process of meaning-making. \nThis exhibition uses form as an instrument\, a communication;\nrather than an object of contemplation. There’s no landing\, there’s no arrival; an image—like an exhibition—is not an end result. And there lies its charm. \nWhat would it mean to visit an exhibition on photography today\, when imagery is mostly\nproduced\,\ndistributed\,\ncirculated\,\nconsumed \nin digital environments? \nSpeeding up-Production-Commodification-Digitisation-Consumption-Production-Consumpt- \nThis exhibition believes in the urgency of slowing down.\nIt is a place for events rather than things.\nIt comes with a manifestation book\nYet it does not propose a fixed definition; in fact it is offended by any attempt to define itself.\nIt is an open manifestation that embraces ambiguity and the\ncontradictory.\n \n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \nThe exhibition speculates on versatility of the photographic medium\nand aims to provide multisensory experience to its visitors in an intimate setting. \nAnd let me finish with a sonnet; \nPhotography\, you inspire me to write. \nI love the way you struggle and survive\,\nInvading my mind day and through the night\,\nAlways dreaming about the forehand drive.  \nLet me compare to you a 3d balloon\,\nYou are neither real nor virtual\,\nGreat sun heats the formless peaches of July\,\nAnd summertime has the hieroglyphic.  \nHow do I love you? Let me count the ways.\nI love your ups and downs\, your past and future. \nThinking of your hectic life fills my days. \nMy love for you is the soft dentition.  \nNow I must away with a whirring heart\nRemember my words whilst we’re apart. \n \n  \nSeda Yildiz \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid item=”153″ grid_id=”vc_gid:1563891553461-e292b5b5-cb7c-0″ include=”3712\,3715\,3716\,3717\,3720\,3721\,3722\,3723\,3724\,3725\,3726\,3728\,3731\,3732\,3733\,3737\,3739\,3742″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”50″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nArtists \nCIHAD CANER \nDRIES LIPS \nJESSICA WOLFELSPERGER \nRÓISÍN WHITE \n  \nCurator \nSEDA YILDIZ \n[/vc_column_text][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/thing-aura-metadata-a-poem-on-making/
LOCATION:PhotoIreland Festival\, Dublin\, Ireland
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2019/07/Cover_01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190620
DTEND;VALUE=DATE:20190722
DTSTAMP:20260501T160713
CREATED:20190723T105945Z
LAST-MODIFIED:20191008T164316Z
UID:3271-1560988800-1563753599@parallelplatform.org
SUMMARY:Urgent Arts of Living
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text] \nReality is overrepresented\, and yet sometimes we lose it. Since the very first warnings of climate change at the end of the 1970s\, its causes and dangers have been mostly told through facts and data. Despite the growing evidence of its presence\, the concept remains intangible and\, in many parts of the western world\, is still not perceptible. Beyond the ecological emergency\, this applies to other complex events\, such as social inequality: Either they affect us directly\, or we tend to ignore them. We feel immune\, are addicted to our way of life and too lazy to give up some of our privileges for the good of the planet we live on. Are we reaching a point of no return? How can we communicate this urgency? How can we\, within society\, help it move towards an unanimous and effective response? \nHumans think in symbols. The arts can foster behavior change and engagement\, because they move us on a visceral\, more human level in a way that facts simply cannot. This exhibition\, featuring work by Marie Lukasiewicz\, Fábio Cunha and Ana Zibelnik\, reclaims metaphors as valid figures in our photographic language with a great capacity to shift deep-rooted mental conceptions. \n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \nWe need an imagery that affects us critically\, that makes as question reality\, that drives us into action. Urgent Arts of Living aims to create a space where both artists and audience can imaginatively and critically engage in constructive debate about the ecological and social crisis that surrounds us today. The series of photographs compiled in this book exemplifies an emerging form of narrative where images are seen “not as objective representations of reality\, but as little arguments.”* These introduce us to immediate ways of experiencing and understanding our role in nature\, and our relationship with both natural and social resources. We might discover a better life than what we know now. \n*Max Pinckers\, quoted from Matthew Ponsford\, “Max Pinckers tracks the Margins of Excess between truth and fiction”\, in: British Journal of Photography\, July 2018\, p. 67. \n  \nCale Garrido \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid item=”153″ grid_id=”vc_gid:1570552960101-ef596f7d-366f-9″ include=”3690\,3691\,3692\,3693\,3694\,3695\,3696\,3697\,3698\,3699\,3700\,3701\,3702\,3703\,3704\,3705\,3706\,3707″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”50″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nArtists \nANA ZIBELNIK \nFÁBIO CUNHA \nMARIE LUKASIEWICZ \n  \nCurator \nCALE GARRIDO \n[/vc_column_text][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/urgent-arts-of-living/
LOCATION:Kaunas Photography Gallery\, Kaunas\, Lithuania
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2019/07/cover.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190612
DTEND;VALUE=DATE:20190902
DTSTAMP:20260501T160713
CREATED:20190723T105549Z
LAST-MODIFIED:20210129T175017Z
UID:3593-1560297600-1567382399@parallelplatform.org
SUMMARY:Out of sight: picturing the unseen
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text] \nSeeing Through\, Seeing With \n“I am invisible\, understand\, simply because people refuse to see me\,” \nstates the nameless black narrator in Ralph Ellison’s 1952 novel Invisible Man\, who recounts his struggle for agency and acknowledgement in the highly racialized United States. “When they approach me they see only my surroundings\, themselves\, or figments of their imagination—indeed\, everything and anything except me.”[1] He relates his story from the basement of the whites-only building where he lives clandestinely\, hidden from view but insistently present\, embodying the buried conscience of those living above him. He reminds us that invisibility is not a fixed state of being\, but rather a condition actively and systemically imposed on those considered “Other.” The unseen is thus not something (or someone) we cannot see\, but rather something (or someone) we refuse to see\, look through\, reimagine\, ignore\, and forget. \nThe cultural production of the “Other” depends heavily on representational practices that transform subjects into images or texts. This process is never neutral. The same structures of power that operate in society are frequently reproduced and reinforced in the media\, whether consciously or unconsciously. It is not only a question of who is represented and how\, but also by whom. Judith Butler acknowledges this when she reminds us “to consider what forms of social and state power are ‘embedded’ in the frame.”[2] Butler’s argument could be extended beyond photography’s physical frame to many forms of representational media\, including video and computer-generated imagery. \nVisual media possesses a powerful ability to create subjects and define norms\, a fact recognized by many lens-based artists working in cultural climates where conversations about representation and identity have become central to public discourse. The exhibition Out of Sight: Picturing the Unseen highlights new work by four emerging interdisciplinary artists who question and explore the fraught relationship between visibility and the construction of “Otherness.” They approach the unseen as a process—an “unseeing”—in which certain groups of people are systematically erased\, silenced\, sidelined\, and recreated according to the needs of a dominant culture. They ask who remains unseen\, particularly in the West\, and how privilege directly influences one’s access to tools of self-representation. \nIn their work\, “out of sight” becomes both a social position and a place. Cihad Caner and Róisín White critically examine how “Othered” subjects have been routinely erased and reimagined as monsters and fairy changelings—invisible threats that serve to dehumanize individuals deemed different by the societies in which they live. Sinead Kennedy reveals how migrant detention centers are purposely concealed and difficult to access\, while Agata Wieczorek approaches the factory as a site of unseen\, gendered labor. The exhibition’s subtitle “picturing the unseen” likewise carries multiple meanings\, as it refers to “picturing” in the sense of both imagining and image making\, each of which has lasting social and political effects. Through photographic and video works\, the included artists show us how visibility is continually negotiated through discourse\, folklore\, governmental policies\, and the production and consumption of goods. They mine local histories\, draw from critical theory\, and engage with diverse communities in order to examine how marginalization operates and persists. Their subjects’ bodies emerge as sites where visibility can no longer be denied or suppressed. They show us that “unseeing” is not only a reductive act of erasure but is also productive\, leading to the creation of myths\, narratives\, alternative communities\, different temporalities\, and physical structures of confinement and survival. \n*** \nFor his work Demonst(e)rating the Untamable Monster\, Cihad Caner used motion capture technology to create computer-generated animated monsters\, who speak and sing to each other in a two-channel video installation. He made the work in response to the mainstream media’s persistent characterization of those considered “Other” as “monstrous.” Interested in language’s subject-producing power\, he traced the etymology of the word “monster” and found that the Latin verb—monstro—means to demonstrate\, while its noun—monstrum—refers to a divine omen or warning. The word thus possesses a deeply rooted connection to practices of signification\, and so it seems apt that the monster has proven such an enduring and meaningful symbol across different cultures. An object of fantasy\, the monster is understood and produced through the fear of that which is unknown and originates from outside. “Monsters provoke us to break down our built-in categories and rethink\,” states one of Caner’s unnamed beasts.[3] They are the aliens that dispute the unalienable. Because they can never be seen\, their bodies remain immaterial\, horrifyingly boundless and unfixed. \nPerhaps this is why the physicality of Caner’s monsters is so striking and\, at times\, humorous. Scarred and pockmarked\, with sagging\, wrinkled skin\, they seem strangely human\, which essentially they are. The artist created them by digitally recording the movement and expressions of performers—including himself—which he then animated. By using motion capture\, Caner effectively preserves the indexical; beneath the layers of computer-generated imagery are actual human faces\, forcing us to question the many ways that multidimensional subjects are reduced to caricatures. The artist is specifically interested in exploring the experience of inhabiting migrant\, female\, and queer bodies\, and the three performers thus identify with these groups. Caner draws from his own experiences as a Turkish national living in the Netherlands\, where the sizeable Turkish community is frequently targeted by right-wing politicians and subjected to microaggressions on a daily basis. Through his monsters\, Caner critically reflects on how stereotypes are generated\, and is particularly interested in their relation to image and text production\, as he points out that the word “stereotype” originally referred to the metal plate used to make prints. \nCaner’s work also considers the exclusionary potential of language\, particularly for those who are non-native speakers. He draws from Jacques Derrida’s writings on hospitality\, in which the author argues that the foreigner’s obligation to communicate in a language that is not their own represents “the first act of violence” against them.[4] This could be a reason Caner’s monsters frequently sing; in song—which is considered by many to be the most primeval and embodied form of speech—universal sounds often take precedence over specific words. The artist further engages with linguistic systems in his collection of clay tablets imprinted with self-created symbols comprising a fictional language of signifiers without signifieds. According to Stuart Hall\, “stereotyping…is part of the maintenance of social and symbolic order\,” to which language certainly contributes.[5] With his hieroglyphs\, Caner presents an alternative semantic order open to new possibilities for meaning making\, unburdened from the baggage of conventions and implicit hierarchies. \nUnseen creatures are also a central focus of Róisín White’s photographic series Cross the Child’s Palm with Silver. For this body of work\, the artist conducted in-depth research at the Irish National Folklore Archive\, where she discovered a trove of stories about changelings\, creatures believed to have been left in place of humans who were stolen by fairies. However\, it eventually became clear that those most often suspected of being changelings were children with disabilities. Already in 1911 the anthropologist Walter Wentz-Evans conducted a study of living children labeled changelings and discovered that many were so accused “merely because of some bodily deformity or because of some abnormal mental or pathological characteristics capable of an ordinary rational explanation.”[6] He noted that such children were often “the objects of systematic cruelty\,” and “cures” said to return the “healthy” child to their rightful place included subjecting the suspected changeling to beatings\, burnings\, exposure\, poison\, and drowning.[7] Adults too were sometimes charged with being changelings\, especially those who had mental illnesses or flouted the expectations of a patriarchal society. In certain cases\, the changeling myth may have been used to justify mistreatment and even murder\, as in the sensational 1895 case surrounding the death of Bridget Cleary\, whose killers were convicted only of manslaughter as the judge was convinced they truly believed she was a fairy imposter. \nIn her installation White mixes original and archival images\, resulting in a blurring of fact and fiction that has an unsettling effect. Her experiments with scale encourage us to continually adjust our proximity to the work\, and our gaze thus oscillates between one of intimacy and distance. The archival photos often feature noticeable halftone\, drawing attention to the images’ histories of reproduction and distribution in home medical guides and textbooks. Though the “rational explanations” of the medical community gradually displaced fantasy and superstition\, White’s work reminds us that photos produced as part of studies and experiments have their own legacy of “Othering” and inflicting violence on those who did not conform to scientific definitions of “normalcy.”  \nIn her work\, White reveals how the changeling’s body became a potential threat to social order and a site for confronting and negotiating difference. Because a person with disabilities or mental illness could indisputably claim membership to a community by virtue of being born into it\, the changeling myth became a way to effectively transform them into something originating from outside\, an infiltrator stripped of their humanity. Fear of the endemic “Other” was expressed in countless superstitious practices\, which White details in her work\, from hanging iron above the cradles of newborns to warning the fairies that their homes were aflame in order to trick them into fleeing. Belief in the power of the fairies also impressed itself onto the landscape\, as White shows us in her photos of rings of clover and trees believed to belong to “the good folk\,” which were—and still sometimes are—protected from destruction in order not to anger them. Through her exploration of the changeling myth\, the artist reveals how local beliefs have contributed to national history and shaped Irish identity\, determining which subjects are denied a place in the larger society.   \nSinead Kennedy’s photographic and video work likewise considers how national belonging is defined through exclusionary practices. In treading waters\, she relays the experiences of a group of refugees she befriended over the course of three years\, after meeting them while visiting the Broadmeadows Detention Centre in her hometown of Melbourne.  \n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \nShe was initially struck by how the center was purposely hidden from the main road and difficult to access; signage was painted over and visiting was highly restricted. At first her work on migration focused on the technologies and bureaucracies that structure the process of seeking asylum\, but as she came to know the men at Broadmeadows better her approach shifted. She began to make work in direct response to their daily lives\, in dialogue with them and with their participation and consent. \nWhile most images of refugees in the mainstream media tend to depict moments of great intensity and consequence—such as boats landing on beaches and the devastating separations of family members—Kennedy’s work focuses instead on the agonizing boredom\, uncertainty\, and endless periods of waiting that take place largely out of sight and characterize their everyday reality. She denies us the voyeuristic pleasure of beholding her subjects’ faces\, and offers instead austere\, calculated shots of the objects that feature in their stories. The images’ almost clinical aesthetic reflects the cold and dispassionate process of asylum seeking. They illustrate how life in detention breeds alternative\, extremely personal temporalities. “I have measured out my life with coffee spoons\,” wrote T.S. Eliot\, a reflection on time that becomes strikingly literal for Kennedy’s friend Moorthy* \, who made approximately 21\,840 cups of tea while in detention\, earning him his nickname “more tea.”[8] Her accompanying photograph of a sea of white disposable cups attempts to give visual form to that incomprehensibly large number and effectively reinforces the absurdity of a life lived in perennial waiting. \nKennedy began using video in order to experiment with time as a medium\, and to incorporate the physical presence and voices of the men into her work. In direct contrast to the immobility the asylum process imposes on refugees\, she depicts her subjects in continuous motion. They perform monotonous\, repetitive actions that poetically symbolize their current situation: Rujul pours tea back and forth between two cups. Vijee walks in place in a nondescript hallway. Farhan\, a bricklayer\, methodically constructs a wall as he discusses his past life in Afghanistan and hopes for the future over narration in his native Hazaragi dialect. “I am the only person from my boat who hasn’t received permanent residency\,” he says. “I don’t know why.”[9] This uncertainty has become a perpetual state of being for asylum seekers like Farhan\, who receive few answers and justifications from Australia’s conservative government. Like many Western countries\, Australia eagerly reaps the economic benefits of a globalizing world while closing itself off to the waves of refugees for whom migration is their only chance of escaping persecution. However\, by shutting men like Farhan\, Vijee\, Rujul\, and Moorthy away in purposely remote detention centers\, the government practices a policy of erasure that is itself oppressive and dehumanizing. \nAgata Wieczorek also explores how increased globalization and interconnectivity does not necessarily lead to equal access and visibility in her dual photo series Beauty Makers and Fetish of the Image\, which portray the producers and consumers of silicon female body masks. The two sets of photos are markedly different\, both aesthetically and in the way they position their subjects. In her photos of the Roanyer factory in Xuzhou\, China\, Wieczorek depicts a predominately female workforce as they produce costly skin suits for an overwhelmingly male-identifying international clientele. The employees do not look at the camera\, and are instead immersed in their daily tasks: trimming\, sewing\, airbrushing\, and compiling the suits. The images of the maskers are\, in contrast\, highly performative and carefully posed. Unlike the factory workers\, they stare directly into the lens of the camera\, demanding the viewer’s gaze. Though the maskers rarely wear their suits in public\, many of them enjoy producing and sharing images of themselves dressed in them. Posts on the subreddit r/FemaleMasking are almost exclusively photographs\, which other users upvote and comment on. \nHowever\, like most fetishes\, dressing in silicon skin suits is still widely considered taboo. The community of enthusiasts is thus pushed out of sight\, to the privacy of their homes or online safe spaces. Though the maskers’ desires are socially marginalized\, economically these desires are seen as a source of revenue and thus a specific market has emerged to fulfill them. Reflecting on the relationship between neoliberalism and LGBTQ commodity culture\, Ann Pellegrini wonders: “Might these consuming subjects also queer capitalism?”[10] But what does queering capitalism mean when expensive commodities are produced by an unseen “Third World” workforce and purchased by comparatively privileged Western consumers? Marina Gržinić argues that “global capitalism functions not with division but with entanglement\,” implicating and involving everything and everyone.[11] According to her\, this actively “conceals the global post-Fordist division of labor\, which can be best described as an international division of racialized labor between the first\, second\, and third worlds.”[12] As the margins are increasingly blurred\, marginalization becomes harder to qualify and protest. Difference is adopted a marketing strategy\, and queer desires are swiftly commoditized. \nAfter all\, what connects the people in these two sets of images other than the commodities exchanged between them? In photos of the factory workers\, the women handle the suits with care\, but indifference. For the maskers\, however\, they are sources of empowerment\, the means through which they enter and literally embody the “Other.” But as the majority of maskers identify as heterosexual men in their daily lives\, they do not have to experience the real consequences that come with living as a woman\, including lower wages\, limited opportunities\, and gender-based violence. The human “Other”—the flesh-and-blood woman producing the suits—remains distant and unknown. \n*** \nThe four artists included in this exhibition come from diverse backgrounds and work with vastly different subjects and communities. However\, their work all shares a commitment to re-centering marginalized groups who have been repeatedly de-centered and rendered invisible. They do not attempt to speak for their subjects\, but instead provide a context and framework through which the experiences of those who lack visibility can be acknowledged and confronted. Each artist critically examines the powerful and lasting effects of policies and cultural norms that cast aside certain people and treat difference as deviance. In a recent article\, Achille Mbembe reflects on the complexities of belonging in today’s deeply divisive “societies of enmity\,” speculating: \nPerhaps it has always been this way. Perhaps democracies have always constituted communities of kindred folk\, societies of separation based on identity and on an exclusion of difference. It could be that they have always had slaves\, a set of people who\, for whatever reason\, are regarded as foreigners\, members of a surplus population\, undesirables whom one hopes to be rid of\, and who\, as such\, must be left ‘completely or partially without rights’. This is possible.[13] \nYet it is the job of the artist to imagine alternative possibilities—to encourage audiences to see differently\, and more expansively and inclusively. For Caner\, White\, Kennedy\, and Wieczorek\, art is not just about showing or depicting\, but making visible\, a radical act with political impact. \nAfter a lifetime of being ignored and seen through\, Ellison’s invisible man asks: “But to whom can I be responsible\, and why should I be\, when you refuse to see me?”[14] The artists in Out of Sight: Picturing the Unseen respond to this question by taking this responsibility on themselves—by opening their eyes and refusing to look away. \n[1] Ralph Ellison\, Invisible Man (London: Penguin Modern Classics\, 2011 [1952])\, 3. \n[2] Judith Butler\, Frames of War: When Is Life Grieveable? (London: Verso Books\, 2009)\, 72. \n[3] Quoted in Cihad Caner\, Demonst(e)rating the Untamable Monster\, 2018-19. \n[4] Jacques Derrida\, Of Hospitality (Palo Alto: Stanford University Press 2000)\, 15. \n[5] Stuart Hall\, “The Spectacle of the ‘Other’” in Representation: Cultural Representations and Signifying Practices\, ed. Stuart Hall (Thousand Oaks: Sage Publications & Open University\, 1997)\, 258. \n[6] Walter Evans-Wentz\, the Fairy-Faith in Celtic Countries (1911\, Project Gutenberg\, 2011)\, http://www.gutenberg.org/ebooks/34853\, 440. \n[7] Ibid.\, 150. \n[8] T.S. Eliot\, “The Love Song of J. Alfred Prufrock” in The Waste Land and Other Poems (London: Faber & Faber 2002)\, 7. \n[9] Quoted in Sinead Kennedy\, treading water\, 2019. \n[10] Ann Pellegrini\, “Consuming Lifestyle: Commodity Capitalism and Transformations in Gay Identity” in Queer Globalizations: Citizenship and the Afterlife of Colonialism (New York: New York University Press 2002)\, 135. \n[11] Marina Gržinić\, Necropolitics\, Racialization\, and Global Capitalism (London: Lexington Books 2014)\, 85. \n[12] Marina Gržinić\, “From Biopolitics to Necropolitics: Marina Gržinić in conversation with Maja and Reuben Fowkes\,” interview by Maja and Reuben Fowkes\, ARTMargins Online\, October 9\, 2019\, https://bit.ly/2H4PJ2e. \n[13] Achille Mbembe\, “The society of enmity\,” Radical Philosophy\, no. 200 (November/December 2016)\, https://www.radicalphilosophy.com/article/the-society-of-enmity. \n[14] Ellison\, Invisible Man\, 14. \n  \nLexington Davis \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid item=”153″ grid_id=”vc_gid:1570553027039-9623ec21-f8d7-2″ include=”3628\,3630\,3636\,3637\,3638\,3639\,3640\,3641\,3642\,3643\,3649\,3645\,3653\,3655\,3660\,3662\,3665\,3667\,3671″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”50″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nArtists \nAGATA WIECZOREK \nCIHAD CANER \nRÓISÍN WHITE \nSINEAD KENNEDY \n  \nCurator \nLEXINGTON DAVIS \n[/vc_column_text][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/our-of-sight-picturing-the-unseen/
LOCATION:The Finnish Museum of Photography\, Helsinki\, Finland
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2019/07/IMG_1400.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190522
DTEND;VALUE=DATE:20190902
DTSTAMP:20260501T160713
CREATED:20190617T150214Z
LAST-MODIFIED:20190723T105046Z
UID:3136-1558483200-1567382399@parallelplatform.org
SUMMARY:Currents Shift
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text] \n\n\n\nTen years before photography was publicly presented as a new technology\, Le Château d’Eau started to filter and distribute drinkable water taken from the Garonne river through 90 public fountains of Toulouse. The iconic modernist tower was reconfigured as a photography gallery in 1974\, becoming one of the first institutions worldwide devoted to photography. Images replaced water as the subject to be distributed to citizens. This exhibition explores how photography and water are being critically reevaluated and influenced by the environmental\, economical\, cultural and social crisis of the present times. \nWater has been recognised as the origin of all life by mythology\, economics and science. Religious rituals and scientific methodologies turn to liquid as a symbol of purity and an essential matter for the development of all things living. The ocean was the last known border of the colonial western countries; even today the deep-sea remains largely unexplored. In recent years\, however\, issues surrounding water and the sea have dramatically shifted. New generations grow up with polluted waters that threaten to overflow. Extractivist methods rob rivers\, seas and oceans of their biodiversity and international waters are crossed daily by migrants risking their lives in the search of a better situation. Growing problems surrounding access to drinking water forced the recognition of water as a human right in 2010. \n\n\n\n\n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \nWhile photography was historically understood as an indexical tool linked to death by thinkers such as Roland Barthes\, the digital networked image has transformed the medium. The constant flux of photography production\, postproduction\, distribution and consumption fueled by cognitive capitalism has made the image volatile\, to go viral and to become alive. The impact of the visual content on society has dramatically increased in a world in which knowledge and experience is constantly mediated by images. Contemporary photographers acknowledge this new scenario widening and enriching the medium with a myriad of process’ and technologies that expand its limits and reveal its flaws. \nThis shared shift on the uses and understanding of both photography and water is exposed in this exhibition through the work of Diogo Bento\, Cihad Caner\, Garrett Grove\, Dries Lips\, Marie Lukasiewicz and Jessica Wolfelsperger using the possibilities that this new scenario offers\, while they also analyze and critique its impact on society. \nThe works and the curatorial project were developed in the frame of Parallel European Platform of Photography. \n\n\n\nJon Uriarte \n\n\n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid grid_id=”vc_gid:1563878815255-1b7b9c4a-7160-3″ include=”3230\,3231\,3233\,3244\,3235\,3236\,3238\,3243\,3237\,3240\,3241\,3246\,3242\,3245\,3248\,3249\,3251\,3252\,3262\,3261″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”50″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nArtists \nCIHAD CANER \nDIOGO BENTO \nDRIES LIPS \nGARRETT GROVE \nJESSICA WOLFELSPERGER \nMARIE LUKASIEWICZ \n  \nCurator \nJON URIARTE \n[/vc_column_text][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/currents-shift/
LOCATION:Le Château d’Eau\, Toulouse\, France
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2019/06/IMG_1044.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190517
DTEND;VALUE=DATE:20190531
DTSTAMP:20260501T160713
CREATED:20190604T120056Z
LAST-MODIFIED:20190604T120056Z
UID:3064-1558051200-1559260799@parallelplatform.org
SUMMARY:Masterclass Maribor
DESCRIPTION:[vc_row][vc_column][vc_masonry_media_grid item=”153″ grid_id=”vc_gid:1559648488535-794e5cd1-2344-4″ include=”3066\,3067\,3068\,3069\,3070\,3071\,3072\,3073\,3074\,3075″][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/masterclass-maribor/
LOCATION:UGM Studio\, Maribor\, Slovenia
CATEGORIES:Masterclass
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2019/06/Masterclass-Maribor_Cover.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190516
DTEND;VALUE=DATE:20190520
DTSTAMP:20260501T160713
CREATED:20190617T145732Z
LAST-MODIFIED:20190617T145732Z
UID:3110-1557964800-1558310399@parallelplatform.org
SUMMARY:Photo London
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text] \n“Acts of Disappearance”\, winning exhibition of the PARALLEL Award 2018\, was presented at Photo London Fair between May 16th and 19th. \nCurated by Bruno Humberto\, the exhibition brings together the work of six artists: Morten Barker\, Ida Nissen\, Nuno Barroso\, Joshua Phillips\, Emanuel Cederqvist and Thomas M Wynne. \nEach artist is concerned with the idea of subjective landscape: an impermanent and transitory vision that exists in the mind of the beholder only at the very moment it is seen\, before being then lost forever. \n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \nThe landscape has inspired artists for centuries to work directly from nature\, responding to what they perceive in front of them. But for a new generation of photographers observable and objective reality in landscape is a difficult and elusive idea\, always just out of reach. Instead they approach landscape as a fictional narrative surface onto which individual sensitivities are projected.\nEach of these photographers goes beyond simply documenting the world and considers our gaze as an act of interested observation. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid item=”153″ grid_id=”vc_gid:1560783341099-64194fe0-f736-1″ include=”3116\,3120\,3121\,3122\,3123\,3124\,3125\,3126\,3127\,3128\,3114\,3112\,3113\,3111\,3117\,3118\,3119″][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/photo-london/
LOCATION:Somerset House\, London\, United Kingdom
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2019/06/Cover_01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190502
DTEND;VALUE=DATE:20190505
DTSTAMP:20260501T160713
CREATED:20190604T122308Z
LAST-MODIFIED:20190604T125134Z
UID:3080-1556755200-1557014399@parallelplatform.org
SUMMARY:Masterclass Modena
DESCRIPTION:[vc_row][vc_column][vc_masonry_media_grid item=”153″ grid_id=”vc_gid:1559652581191-f7ad314e-e136-5″ include=”3100\,3101\,3102\,3103\,3104\,3105\,3106\,3107\,3108″][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/masterclass-modena/
LOCATION:Fondazione Fotografia Modena\, Italy
CATEGORIES:Masterclass
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2019/06/Cover_02.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190314
DTEND;VALUE=DATE:20190318
DTSTAMP:20260501T160713
CREATED:20190322T161100Z
LAST-MODIFIED:20190322T161352Z
UID:2996-1552521600-1552867199@parallelplatform.org
SUMMARY:Curatorship Derby
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text] \nThe Parallel Curatorship of the 2nd Cycle took place during the Opening weekend of FORMAT Festival\, where 28 artists and 7 curators selected from the open call presented their new work and curatorial proposals.\n[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text] \nThe process resulted in the preparation of the Parallel Intersection Zagreb\, the Parallel Atlas and the exhibitions at Le Château d’Eau\, Galleri Image\, ISSP\, Kaunas Photography Gallery\, The Finnish Museum of Photography\, PhotoIreland and YET Magazine. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_masonry_media_grid item=”153″ grid_id=”vc_gid:1553271174120-81180c84-03fd-3″ include=”3000\,3001\,3002\,3003\,3004\,3005\,3006\,3007\,3008\,3009\,3010\,3011\,3012″][/vc_column][/vc_row] \n
URL:https://parallelplatform.org/event/curatorship-derby/
LOCATION:QUAD/Format\, Derby\, United Kingdom
CATEGORIES:Curatorship
ATTACH;FMTTYPE=image/jpeg:https://parallelplatform.org/wp-content/uploads/2019/03/Cover.jpg
END:VEVENT
END:VCALENDAR