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Last modified on Thu 19 Jan 2023 16.59 GMT
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Allegoria 6, from the series Allegoria, 2021Omar Victor Diop’s work focuses on ecological awareness, mobilising endangered animals in his imagery and indigenous inscriptions, through traditional African robes and vibrant tones. Mirror of Self, an exhibition created by Hangar for the seventh edition of PhotoBrussels festival, is on until 26 February. It is one of 35 photographic exhibitions open to the public
Photograph: Omar Victor Diop/Galerie MAGNIN-A,
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Possession #2355, from the series Possession, 2022Mari Katayama suffers from a congenital condition; at the age of nine, she had both legs amputated. In her work she stages herself with objects that she has created. She prompts the viewer to rethink the norms and standards of beauty: ‘No matter how much I hated how I was. I may too, have such beauty. I learned that I have within myself the same as you do. I am you’
Photograph: Mari Katayama
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From the series Eutierria, 2019Sanja Marušić and her husband are newly married and co-create this series. Somewhere between profound love and new beginnings, the couple slowly uncover the new dimension that marriage brings to their relationship. This series is about balancing, oneness, surrendering oneself to one another and nature
Photograph: Project 2.0/Gallery, The Hague/Sanja Marušić
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From the series My, Myself and I, 2021A series of metaphorical portraits in which Gabriel Dia’s figure is both spied upon and concealed. Made during lockdown, Dia fights against boredom and questions his individuality through his clothing style. ‘It seems to me that nowadays fashion is no longer just about clothes, but one of the strongest ways of expressing our personality, which confinement has deprived us of’
Photograph: Gabriel Dia
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Imaginary Burial Place 18, from the series Sebaldiana. Memento Mori, 2019Elina Brotherus was inspired by WG Sebald’s unfinished novel about Corsica. The artist went to the places the writer depicts: the forest of Aitone and the Bavella massif, the cemetery of Piana, the sculptural red cliffs. There, she staged herself in a range of scenery related to death, as a way of remembering her deceased loved ones. Brotherus’s mother died the same year as Sebald. ‘The series became a tribute not only to the Island of Beauty and to my favourite author, but also to my mother, Ulla Brita Brotherus’
Photograph: Elina Brotherus
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Pink Mattress, from the series The Tourist, 2019-2020Kourtney Roy’s individual filmic approach creates an atmosphere of fun and debauchery, transporting the viewer from reality to fiction and leaving them in a tangible state of confusion. What appear to be glamorous and aesthetically pleasing shots are rather a rendering of the reality of most people on a summer break. One-night stands, ice cream that melts on our counterfeit jewellery or boredom that makes us behave peculiarly. On the road to the unspoken, Roy triggers the limits of societal norms and raises questions about its relevance
Photograph: Project 2.0/Gallery, The Hague/Kourtney Roy
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Sara, France, 2011, from the series Khamsa khamsa khamsa, 2012-2022This series is the result of a 20-year process, begun by Julia Gat at the age of 14. Gat tells the story of her childhood and adolescence, growing up alongside her two brothers and two sisters. It is a visual autobiographical narrative in the form of a family archive. Her mother used to say ‘the archive keeps that world we lived in as a real place, which otherwise could be easily mistaken for a dream’
Photograph: Julia Gat
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Photogram from the series Corporis Antrum, 2021Skull, silhouette, intestine, cosmos and initiation ceremonies punctuate an introspective journey in which Romy Berger takes her body as a pillar of exploration. The photographer refers to herself as an archaeologist who scours grounds, ‘the digital tool enables the memory to be revealed and universal mental images to appear’
Photograph: Romy Berger
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Kneading II, from the series Series of Conversations, 2018 – ongoing Laura Hospes considers her skin a co-author of her work. At times skin and mind are interdependent and at others disconnected. ‘As I am focused on my bodily position, I disregard my psychical well being,’ she says. Having suffered sexual abuse, Hospes seeks coping mechanisms by assigning different roles to her skin. She creates a shield against the outside world by presenting her body as an independent entity
Photograph: Laura Hospes/LANGart, Amsterdam
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Le portrait, 2020, from the series Miroir miroir, 2020 – ongoingAuriane Kołodziej approaches self-portraiture in her practice as a way to prove that she exists. This series was born after a dream that deeply marked her. ‘Two years ago I had a dream. I was standing, fully naked, in an endless bright white room. It was just me, and a tiny mirror.’ For a long time, the artist suffered from anorexia, and she found art, particularly in the representation of herself in the mirror, a means of healing and accepting her condition
Photograph: Auriane Kolodziej
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Self-portrait as Walking Woman With Bag, from the series 1979: Contact Negatives, 2019 Tarrah Krajnak was adopted in the Peruvian capital Lima in 1979. This series is a way of imagining her body returning to Lima. She uses a temporary darkroom, multiple projections and large format cameras to intersect the turbulent history of the city and her own. ‘I am interested in the potential of the darkroom itself as a site of performance or spectro-poetics,’ she says
Photograph: Tarrah Krajnak/Galerie Thomas Zander
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From the series Until You Change, 2017Paola Paredes’ work focuses on issues facing the LGBT community in Ecuador. There are so called ‘cure’ centres here to treat men and women for homosexuality. Paredes collected testimonials and conducted a six-month interview with a woman who had experienced a stay in one of the above mentioned institutions. ‘The strict ban on using a camera inside these places made it impossible to tell this story using traditional documentation practices. These images allow us to see what was never meant to be seen’
Photograph: Paola Paredes
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From the series Me, Challenge, 2021After a severe car accident, Yunsoon Jeong’s artistic language takes a different path. The South Korean artist does not simply document the scars of his past, but the determination to overcome his physical suffering and trauma through scenarios in which he stages himself. His despair and painful experience are at the centre of his art process, which he considers even more important than the outcome: ‘My work is a metaphor for my strong desire to live’
Photograph: Yunsoon Jeong
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