Aleix Plademunt Perez: My work reflects on different social attitudes, analyzed through the landscape. I am interested in the landscape when it has a direct relationship with the social, with us. I’m interested in analyzing the landscape from a present perspective, from the moment of history in which I am living. I’m questioning why I have found the landscape in this way, how we use it, how we move about in it, and what we understand by the term ‘landscape’. Dubai has had the privilege of being able to create a city from scratch, from nothing. The city has the space and money to enable it to realize the dreams of a society. The city speaks of the desires, hopes and habits of today’s society. A city was built by appropriating Western symbols and taking them to the extreme, to the limit. The result is a thematic and fictionalized city which in many cases borders on the absurd.

Selected by Marta Daho on July 19, 2010

“In my photographs from the last few years, I have intervened upon the landscape, creating scenes or sets with a wide range of natural and manmade elements. In this way, amidst the sometimes oppressive vastness, I construct and photograph intimate spaces: some of them are metaphors for the painful desertification of the planet caused by man, while others work as ironic allusions to our relationship with the desert. The action I perform deals with reintegration: it’s a reflection on what the desert has lost, but also a way of restoring its ravaged memory through a personal intervention.”

Selected by Patricia Gouvea on June 1, 2010

Esteban Pastorino Díaz: “I wanted to create an ambiguous image that resembles the way we look at the scale models but which is actually a photograph of the real world. The main technical points that I defined for that were: the apparent short deep of field in the images, and the high point of view from which the images would be taken. The first effect is given by tilting the lens in relation to the film. For that I constructed a cardboard camera which has the lens in that position and fixed focus. To reach a high point of view, I use a kite that lifts the camera between sixty and four hundred feet up into the air.

Selected by Patricia Gouvea on May 31, 2010

This work uses an objective and detached photographic language about reality to form questions on abstraction. The order of artifacts is re-ordered and an emptied off-season location is further emptied of its overt meanings through photography under artificial light. It was realized through a visual exploration carried out exclusively on Susanoglu Beach. This choice was made because it had been the venue of an important part of my life, and the source of a personal obsession, yet this work has no place for nostalgia.

Selected by Sinem Yoruk on April 25, 2010

Selected by Jeong Kim on March 14, 2010

Selected by Marga Rotteveel on March 7, 2010

Exactly what is it you are looking at when viewing Kevin Rekkers’ photographs? Is it China in Orlando, Orlando in China? It is clear that this is a place where two cultures meet, symbolically. Kevin found a derelict amusement park named “Splendid China,” where visitors could marvel at the wonders of China without having to fly to Beijing. Splendid China closed its doors in 2003. Kevin climbed through a hole in the fence and found a small world invisible to many.

Selected by Marga Rotteveel on March 5, 2010

Alejandro Cartegena focuses his lens on the development in Northern Mexico in a series of projects from which this portfolio is drawn. The rapid modernization and quick pace of pre-fab construction threatens not only local natural resources but also the traditional culture of the region.

Selected by Michael Itkoff on February 20, 2010

Xiong Wenyun found the inspiration for her work “Moving Rainbow” as she passed by the humble houses sprinkled along the highways of Tibet. She incorporates the colors of Tibetan prayer flags into their structures, creating striking compositions whose simple beauty is endowed with a message of environmental activism. “I hoped very much that the moving rainbows would awaken people’s concern for the natural ecology and the human environment along these roads that run across the roof of the world,” says Xiong Wenyun.

Selected by Three Shadows Photography Art Centre on January 20, 2010

Zhao Liang’s photographs are abstract, beautiful landscapes which, upon closer inspection, depict the scenes that best represent the massive changes in Beijing: construction sites covered by green netting and drifting waste in rivers. With these photographs, Zhao Liang succeeds in creating subtle, yet powerful social commentary.

Selected by Three Shadows Photography Art Centre on January 16, 2010