under doc! photo magazine patronage:
1973-1989. Selected Photographs is a review of Chris Niedenthal’s (doc! #6) works taken between his arrival to Poland and democratic changes in this part of Europe. We can find there photographs taken in countries which then were called Polish People’s Republic, the Union of Soviet Socialist Republics, Socialist Republic of Romania, Hungarian People’s Republic, and German Democratic Republic. As a photojournalist working for Western magazines, Chris Niedenthal reported about political events happening in the Eastern Bloc. But there is something more than politics that keeps man alive. What is this? Come to the gallery and see it yourself!
Chris Niedenthal – 1973-1989. Selected Photographs
NEYGallery&Prints (7 Spokojna 2 St., Warsaw, Poland). Grand opening: January 10 at 6:00 PM. The exhibition will be open to the public until February 10, 2015.
Read the interview with Chris Niedenthal and see his material published in doc! #6 (pp. 33-69)
Open call for the 7th edition of the ShowOFF Section at Photomonth in Cracow continues! The contest is dedicated to debuting artists from Poland and CEE region. This year, all submissions will be evaluated by: Michael Ackerman, Marta Kolakowska, Martin Kollar, Anna Nalecka, and Igor Omulecki.
To submit your project (ready or ongoing, photographic or multimedia), send it along with the completed application form to email@example.com by midnight on January 18, 2015.
More info @ photomonth.com/en/show-off
China Dolls forms a body of work that serves as a perspective on the young women of China, struggling to find their identity in their rapidly changing country. Caught in a transitory state, the women are now uprooting themselves from their former constraints. Up until the Communist Revolution, there was a prominent male domination in Chinese society while women maintained a subservient, dutiful role. Despite Mao Zedong lifting the oppression of women during the tumultuous revolution, women’s liberation in China has remained very much an ideology as Confucian culture and its strict obligatory gender roles remain deeply rooted among the people. In this series of portraits Daoust has sought to pay homage to these women who have long remained in the shadows. The duplicitous elements indicative of her work are evident; strength/weakness, fantasy/reality, beauty/vulgarity, past/future – her subjects wrestle with both notions settling somewhere in-between…
doc! #27/28 (pp. 91-109)