eva nielsen captures the camargue’s changing landscape in BMW’s INSOLARE exhibition

the exhibition takes place inside the Cloître Saint-Trophime

INSOLARE: EVA NIELSEN & MARIANNE DERRIEN AT LES RENCONTRES D’ARLES

In INSOLARE, Franco-Danish artist Eva Nielsen and curator Marianne Derrien reflect on the evolving landscape of the Camargue, a coastal region south of the city of Arles where the Rhône River meets the Mediterranean Sea. Undertaken as part of the BMW ART MAKERS initiative, the project is currently on view at Les Rencontres d’Arles, the photography festival taking place every summer in the French city. Between the vaults of the Cloître Saint-Trophime, a Roman cloister designated as a UNESCO World Heritage Site since 1981, the exhibition presents a series of works that take on a transformative quality by blending photography, silk-screening, painting, and printing. Through an approach that is both poetic and scientific, Nielsen and Derrien highlight the environmental changes that are leading to the disappearance of certain urban, industrial and natural landscapes, where the human footprint is always in question.

‘With INSOLARE, Eva Nielsen takes optical and hydro-geological phenomena and combines them with a technical gesture, that of exposure, used in particular in screen-printing,’ curator Marianne Derrien explains. ‘A spectrum of both rural and industrial reality, this project crosses the artist’s trajectories with those of the territories at the gateway to Arles, where the Camargue begins.’

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Artist Enhances His Original Drawings by Openly Embracing AI as Creative Tool [Interview]

While many artists are running from AI, digital artist Cy Teh has embraced its creative possibilities. By blending his digital drawings with AI, he’s creating unique mixed-media artworks that have taken his artistry to a new level.

As opposed to some creators who have hidden their use of this technology, Teh is very transparent about his creative process. Even his Instagram bio says: “Digital Artist + AI.” Additionally, all of Teh’s posts are accompanied by a caption that clearly explains that the images are a combination of his hand-drawn work and AI.

“I will keep moving forward and learning the good parts of each field,” the captions continue. “I hope to share the fun with you through this platform. If it offends you. I sincerely apologize to you here.”

Teh’s evocative work speaks to the best of AI and the way it can be used by people to enhance creativity rather than to steal ideas or fool the public. His haunting portraits of young and old men and women are mesmerizing, making the viewer wonder what the story is behind the artwork.

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In ‘An Unflinching Look,’ Benjamin Dimmitt Bears Witness to the Ecological Disaster of Florida’s Wetlands

“Blue Ruin Still Life 2” (2020)

In one photo, dead palm leaves dangle from a desiccated trunk and skim the surface of a creek, making the crispy, lifeless fronds soggy with water. In another, a diptych highlights the same shoreline photographed 18 years apart, the latter sparse and sickly in comparison to its thriving predecessor.

Taken in stark black-and-white, these scenes are a few of many captured by Benjamin Dimmitt during the last three decades. They document the immense ecological changes of Chassahowitzka National Wildlife Refuge, approximately 70 miles north of Tampa on Florida’s Gulf Coast, and are now compiled in a forthcoming book that approaches the climate crisis with raw, unwavering honesty.

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Landscape Trauma

In recent years, the art world seen an increased curatorial focus on creatives engaging with the climate emergency. In London, Dear Earth: Art and Hope in a Time of Crisis at Hayward Gallery and Saatchi’s Civilization: The Way We Live Now have put image-makers reckoning with environmental change front and centre. Now, Landscape Trauma adds to the ongoing discourse around ecology and crisis. The multi-artist display, at the Centre for British Photography, examines our impact on the landscape, reinforcing the belief that “nature cannot be viewed without considering our relationship to it.” The exhibition coincides with the 25th anniversary of Nigerian-British landscape photographer Simon Norfolk’s seminal book, For Most of It I Have No Words (1998), and is divided into two themes. Natural Histories looks at landscape as a site of history and conflict, whilst Human Natures is a contemporary exploration of our relationship to land through means including farming, industrialization, tourism and even terrorism.

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Jonas Kulikauskas Reimagines the Ghetto

Projection of “Rūdninkų Street No. 6, Vilnius, Lithuania, (Former Judenrat Headquarters, Vilna Ghetto 1)” (2021), gelatin silver print, 8 x 10 inches

LOS ANGELES — In Jonas Kulikauskas’s black and white photographs, the peaceful streets of Vilnius, Lithuania, hide a dark secret. The cobblestones trace the footprint of the Vilna Ghetto, where nearly 40,000 Jews lived during the Holocaust.

In I Often Forget, Kulikauskas’s solo exhibition at California State University, Los Angeles, the photographer illuminates a history that, until recently, has been obscured by scholars. In 1941, thousands of Jews were forced to live in the Vilna Ghetto, and by 1943, about 95% of them had been murdered or relocated to concentration camps. With the community decimated, Jewish stories nearly vanished. After the fall of the Soviet Union, the Lithuanian government reopened its Jewish museum and erected memorials, but contemporary life still paid little attention to the Jewish culture that once thrived in their neighborhood. With a World War II era lens mounted to a modern, 8 x 10 large format camera body, Kulikauskas recreated the archival aesthetics of the ghetto with modernity shining through his subjects: a cafégoer typing on their laptop, a delivery driver with their COVID-19 facemask pulled over their chin, and a wedding party celebrating their union on haunted grounds.

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Channeling African Heritage and Fairytales, CreativeSoul Photography Empowers Black Children in Captivating Portraits

Ten years ago, Atlanta-based photographers Kahran and Regis Bethencourt of CreativeSoul Photography noticed a lack of diversity in the industry, and they seized the opportunity to represent and celebrate the myriad styles and stories of African heritage. In their ongoing AfroArt series, the Bethencourts embrace the versatility of Black hair by sweeping it into towering updos and beaded braids. Young models are bedecked in sequins, ruffles, and shells that are often paired with elaborate garments made of vibrant Dutch wax fabric.

As the series evolved, CreativeSoul dug deeper into fairytales and folklore—some traditional and some of their own imagining—inspiring a collaboration with Disney for a collection of dolls that reframes classic princesses as African royalty. Replete with gowns made of brightly patterned textiles, iconic characters like Snow White and Cinderella wear colorful bows in their long braids and afros.

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Brendon Burton Captures Moments of Nostalgia and Wonder in North America’s Most Isolated Places

Image © Brendon Burton

Growing up in an isolated community, photographer Brendon Burton developed an eye for the way decaying buildings nestle into the landscape or punctuate vast expanses. Now based primarily in Portland, Oregon, he travels around the U.S. in search of rural places that are culturally worlds apart from major urban centers, seemingly existing on their own timelines. Like his series Thin Places, his recent body of work titled Interstices—to which some of these images belong—emphasizes the notion of liminality, advancing time, and spaces for passing through.

Utilizing drones to achieve dramatic aerial views in addition to intimate perspectives shot from ground level, Burton highlights the relationships between the built environment and wilderness, ancestry and life cycles, and presence and local traditions.

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Fluorescent Photographs by Tom Leighton Highlight the Remarkable Complexities of Plants After Dark

Image © Tom Leighton

“Plants are incredible stores of energy,” says photographer Tom Leighton, whose fluorescent-tinged images of foliage highlight the incredible night life of plants in his ongoing Variegation series. He explores the detailed colors and textures of leaves and stems, accentuating an important counterpart to the complex daytime process of photosynthesis, which creates chemical energy and oxygen from sunlight, water, and carbon dioxide. “After the sun fades, the process of photosynthesis stops and respiration begins,” he says. “Plants begin to burn their stored sugars and breathe back in some of the precious oxygen they have created.”

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A Stunning Timelapse of Ice Melting Ties the Climate Crisis to an ‘Eternal Spring’

Melting mounds of snow, icicles dripping from gutters, and morning frost quickly disappearing from the grass are all telltale signs that spring is near. But what happens when the landscape is suspended in a perpetual state of thaw not tied to the change of the season? Christopher Dormoy wades into this question in “Eternal Spring,” a mesmerizing short film that magnifies the properties of melting ice.

Shot with a macro lens, the timelapse zeroes in small frozen pockets that appear like cavernous landscapes and vast tundras, tying the film to its large-scale concerns. “Melting ice is beautiful and symbolizes spring, but it can also symbolize the problematic aspect of our climate,” the Montreal-based art director says.

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Photographer admits prize-winning image was AI-generated

Boris Eldagsen’s award-winning picture.

A photographer is refusing a prestigious award after admitting to being a “cheeky monkey” and generating the prize-winning image using artificial intelligence.

The German artist Boris Eldagsen revealed on his website that he was not accepting the prize for the creative open category, which he won at the Sony world photography awards.

The winning photograph depicted two women from different generations in black and white.

In a statement on his website, Eldagsen, who studied photography and visual arts at the Art Academy of Mainz, conceptual art and intermedia at the Academy of Fine Arts in Prague, and fine art at the Sarojini Naidu School of Arts and Communication in Hyderabad, said he “applied as a cheeky monkey” to find out if competitions would be prepared for AI images to enter. “They are not,” he added.

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