Some of these artists are still active today, others have passed away, but they are united by a desire to explore reality, translating suggestions and emotions into images. The spectrum is broad: from Christopher Anderson’s China, focusing on people’s faces rather than architecture, to Olivia Arthur’s Dubai, seen through the eyes of a castaway who returns after fifty years to a city that has grown from a village into a megalopolis; from Morocco by Bruno Barbey, a long tale of a country that has escaped modernity, to Werner Bischof’s New York, portrayed in color shots that immortalise its dynamism; from architecture seen as socio-political space by René Burri, to coasts seen as borders between land and water by Harry Gruyaert; from Martin Parr’s biting dissection of English life, to Tokyo and Venice captured by Gueorgui Pinkhassov through stolen shots and unexpected angles; from Iran depicted in its day-to-day life by Newsha Tavakolian, to the saturated colors of Latin America and the Caribbean as seen by Alex Webb.
Some of these artists are still active today, others have passed away, but they are united by a desire to explore reality, translating suggestions and emotions into images. The spectrum is broad: from Christopher Anderson’s China, focusing on people’s faces rather than architecture, to Olivia Arthur’s Dubai, seen through the eyes of a castaway who returns after fifty years to a city that has grown from a village into a megalopolis; from Morocco by Bruno Barbey, a long tale of a country that has escaped modernity, to Werner Bischof’s New York, portrayed in color shots that immortalise its dynamism; from architecture seen as socio-political space by René Burri, to coasts seen as borders between land and water by Harry Gruyaert; from Martin Parr’s biting dissection of English life, to Tokyo and Venice captured by Gueorgui Pinkhassov through stolen shots and unexpected angles; from Iran depicted in its day-to-day life by Newsha Tavakolian, to the saturated colors of Latin America and the Caribbean as seen by Alex Webb.