Molayem ART Magazine International Art Magazine
Featuring obsolete technology, natural printmaking and African mythology, this year’s event repeats the radical experiment of the 2020 edition: it comes in a box!
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Felicity Hammond: Hidden Gems, 2022
This work has been developed for the Photoworks festival and is part of a series by Hammond on mineral extraction and mining the Earth’s resources. Photoworks festival returns in the format of the Festival in a Box, an experimental and decentralised festival model promoting accessibility, sustainability and agency where the audience becomes the curator. The festival (formerly Brighton Photo Biennial) will feature work by 10 international contemporary artists and photographers
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Mohamad Abdouni: Doris & Andrea, 2019
This series chronicles the lives of Doris and her genderqueer son/daughter, Andrea. Together, they challenge the heteronormative family unit, ultimately making us wonder what constitutes a family. The images document and offer an alternative to living under a patriarchal society and conforming to the alleged family values of a ‘Middle Eastern family’
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Diana Tamane: Half-Love, 2008
Half-Love explores the relationship between Diana Tamane and her younger half-sister Elina. It is a love letter, a chance to give advice and to relive some of her own childhood experiences from a different perspective
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Harit Srikhao: Incubus, 2020
Incubus layers facts, myths, gossip, propaganda, history and lore spoken by elders. The series explores the tensions between fantasy and reality by looking back on a tangled past to reinterpret what might be tomorrow
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Charlotte Yonga: Naam Na La, 2021
Naam Na La translates as ‘I long for you’, and the series centres on the theme of love. It focuses on warm yet authentic depictions of humans’ relationships with one another, and with nature. Naam Na La is paired with landscape images from the series Noun Valley, a declaration of love to Yonga’s paternal home, Cameroon
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Johny Pitts: Home Is Not a Place, 2022
Home Is Not a Place aims to build an archive for the future where images of everyday Black life are collected and inserted within today’s incomplete visual history. You can read more on Johny Pitts here
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Ebun Sodipo: Speak! 2022
Featuring the lips of singing and speaking trans women spewing what looks like fire, what we see here are in fact fragmentary images of burning police stations taken from the internet
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Anshika Varma: The Wall, 2020
The Wall combines photographs, close-ups, archival material, foraging, natural printmaking and drawings, and invites the audience to rethink their encounters with nature and how this forms who we become
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Josèfa Ntjam: Simulacre, 2022
Josèfa Ntjam weaves multiple narratives from African mythology, ancestral rituals, historical events (the wars of independence in Cameroon, Algeria and Burkina-Faso), anti-racist activism in the US and family archives to propose alternative technological futures and imagine new potential worlds while focusing on Black struggles
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Antony Cairns: CTY Mavica, 2022
Antony Cairns looks back through photographic technological history to produce 1024px images that live on a memory stick and can only be seen using the Sony Mavica FD200 viewing screen. This ongoing series enables the cameras to become mementoes of an unknown ‘city’, documented through obsolete technology
