Julien Gremaud, from the series ‘Thatcher is Dead’, 2014
"Gremaud’s photography project ‘Thatcher is Dead’ alludes to the fact that there is a flipside to the expansion of credit, unyielding consumption and the hyperbolic rise in asset prices. While on one hand markets are exuberant, on the other hand, this economic system can only be propped up by the depletion of natural resources and the exploitation of labour. The trickle-down effect meanwhile is exposed as a myth: what is occurring instead is a tremendous transfer of wealth from the poor and the middle class to the rich. It is a system that simply cannot survive in its current form. To that extent the neoliberal project displays anthropophagic, or cannibalistic tendencies to destroy itself. The dichotomies addressed in Gremaud’s double images precisely signify the chaos, paradoxes, injustices and inequality caused by such a plutocratic economic system. Gremaud’s double images represent a world that is not freed or liberated by the markets, but rather is subservient to its destructive forces." - Marco Bohr
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Julien Gremaud, from the series ‘Thatcher is Dead’, 2014

"Gremaud’s photography project ‘Thatcher is Dead’ alludes to the fact that there is a flipside to the expansion of credit, unyielding consumption and the hyperbolic rise in asset prices. While on one hand markets are exuberant, on the other hand, this economic system can only be propped up by the depletion of natural resources and the exploitation of labour. The trickle-down effect meanwhile is exposed as a myth: what is occurring instead is a tremendous transfer of wealth from the poor and the middle class to the rich. It is a system that simply cannot survive in its current form. To that extent the neoliberal project displays anthropophagic, or cannibalistic tendencies to destroy itself. The dichotomies addressed in Gremaud’s double images precisely signify the chaos, paradoxes, injustices and inequality caused by such a plutocratic economic system. Gremaud’s double images represent a world that is not freed or liberated by the markets, but rather is subservient to its destructive forces." - Marco Bohr

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As the brutality and ugliness of the war in Gaza takes on a new dimension with every day passing, Western media outlets face a growing dilemma: how can they visually represent the horrors of war? It is quite clear that photo editors have a difficult task at hand because the pictures that they choose for their magazines and newspapers become representative for the conflict as a whole. Scanning through a variety of Western mainstream media reveals quite quickly that the photographs chosen for publication rarely, if ever, directly depict the true destruction in Gaza. In newspaper articles journalists consistently address this fact by speaking about images that are ‘too graphic’ to show in the publication. It’s as if they can’t burden the readers with what they have seen themselves. There is a growing sentiment that the viewer must somehow be protected from what is really going on. - Marco Bohr
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As the brutality and ugliness of the war in Gaza takes on a new dimension with every day passing, Western media outlets face a growing dilemma: how can they visually represent the horrors of war? It is quite clear that photo editors have a difficult task at hand because the pictures that they choose for their magazines and newspapers become representative for the conflict as a whole. Scanning through a variety of Western mainstream media reveals quite quickly that the photographs chosen for publication rarely, if ever, directly depict the true destruction in Gaza. In newspaper articles journalists consistently address this fact by speaking about images that are ‘too graphic’ to show in the publication. It’s as if they can’t burden the readers with what they have seen themselves. There is a growing sentiment that the viewer must somehow be protected from what is really going on. - Marco Bohr

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Saba Alizadeh, from the series ‘Light and Soil’, 2013
For his project ‘Light and Soil’, Saba Alizadeh has projected glorified propaganda images from the Iran-Iraq War onto domestic interior spaces. The project ostensibly alludes to the friction between emitting and receiving state-sponsored ideology. The banality of the living room spaces creates an eerie contrast to images that celebrate Iranian soldiers as heroes of the state. - Marco Bohr
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Saba Alizadeh, from the series ‘Light and Soil’, 2013

For his project ‘Light and Soil’, Saba Alizadeh has projected glorified propaganda images from the Iran-Iraq War onto domestic interior spaces. The project ostensibly alludes to the friction between emitting and receiving state-sponsored ideology. The banality of the living room spaces creates an eerie contrast to images that celebrate Iranian soldiers as heroes of the state. - Marco Bohr

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Morteza Khaki, from the series ‘Purse Snatching’, 2013
Morteza Khaki’s project ‘Purse Snatching’ which depicts the interiors of purses the artist had access to. Passport photographs on identity cards provide an insight into the public appearance of an individual, yet within the purse sometimes resides a tiny piece of individuality which is best kept away from the public eye. A case in point is a 50 US Dollar note, perhaps as form of security or as way to enter the black market, which is neatly tucked away in one purse. The Dollar note indicates a sense of duality which is explored in a whole variety of projects on display: the clear separation and also tension between the private and the public. - Marco Bohr
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Morteza Khaki, from the series ‘Purse Snatching’, 2013

Morteza Khaki’s project ‘Purse Snatching’ which depicts the interiors of purses the artist had access to. Passport photographs on identity cards provide an insight into the public appearance of an individual, yet within the purse sometimes resides a tiny piece of individuality which is best kept away from the public eye. A case in point is a 50 US Dollar note, perhaps as form of security or as way to enter the black market, which is neatly tucked away in one purse. The Dollar note indicates a sense of duality which is explored in a whole variety of projects on display: the clear separation and also tension between the private and the public. - Marco Bohr

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