Instagram story viewer> @mtjozefiak> Tagged
marcin t. józefiak(@mtjozefiak)'s profile avatar HD Profile

marcin t. józefiak

@mtjozefiak

8.7K
followers
3567
following
Visual Artist & Director
Berlin — Seoul
Represented in đŸ‡”đŸ‡± by @artfaceswarsaw
POSTS STORIES REELS TAGGED
INSIDE THE PROCESS · CHERYLE ST. ONGE - Part 1 á„‰á…„á†Żá„†á…§á†Œá„’á…Ąá†Ż ᄉᅼ á„‹á…„á†č는 ᄀᅄá†ș들 á„†á…©á„ƒá…łá†« ᄀᅄá†șá„‹á…” 변ᄒᅹ거는 á„‰á…źá†«á„€á…Ąá†«á„‹á…Šá„ƒá…© á„‹á…źá„…á…” 언ᄋᅊ 끝뉘 넘는 ᄀᅄá†ș은 ᄆᅟᄋᅄá†șᄋᅔᆯ꺼요? á„‰á…Ąá„Œá…”á†«á„€á…Ą Cheryle St. Onge우 『Calling the Birds Homeă€á„‹á…łá†« ᄋᅄᄆᅄᄂᅔ를 á„ƒá…©á†Żá„‡á…©á„†á…§ 보ᄂᅹᆫ ᄉᅔ건, ᄃᅼ 서럼 서ᄋᅔᄋᅎ ᄀᅔᇁ은 ᄋá…Č뒤, 그ᄅᅔ고 á„’á…”á†·á„ƒá…łá†« ᄉᅔᄀᅔ를 á„€á…§á†«á„ƒá…§á„‚á…ąá†Ż ᄉᅼ ᄋᅔᆻ도로ᆚ ᄋᅟᄅᅔ를 á„Œá…”á„á…ąá†Œá„’á…ą á„Œá…źá„‚á…łá†« á„‹á…šá„‰á…Ąá†Œá„Žá…” 모á†ș헌 ᄀᅄá†ș들오 ᄀá…Șᆫ헌 á„‹á…”á„‹á…Łá„€á…”á„‹á…”á†žá„‚á…”á„ƒá…Ą. L’Artiereᄋᅊᄉᅄ ᄎᅟᆯ건헌 á„‹á…” á„‰á…Ąá„Œá…”á†«á„Œá…”á†žá„‹á…łá†« á„‰á…Ąá„…á…Ąá†Œá„€á…Ș ᄀᅔᄋᅄᆚ, 그ᄅᅔ고 á„‹á…źá„…á…” 섦을 ᄋᅔᄅᅟ는 á„‰á…„á†Żá„†á…§á†Œá„’á…Ąá„€á…” ᄋᅄ려ᄋᅟᆫ á„‰á…źá†«á„€á…Ąá†«á„ƒá…łá†Żá„‹á…Š á„ƒá…Ąá†·á„‹á…łá†« á„Œá…”á„€á…łá†šá„’á…” á„€á…ąá„‹á…”á†«á„Œá…„á†šá„‹á…”á†« á„€á…”á„…á…©á†šá„‹á…”á†žá„‚á…”á„ƒá…Ą. SEON우 Inside the Process ᄋᅔᄇᅄᆫ á„‹á…Šá„‘á…”á„‰á…©á„ƒá…łá„‹á…Šá„‰á…„ Cheryle은 그 ᄉᅔ건 á„ƒá…©á†Œá„‹á…Ąá†« 쉬가 á„Œá…Ąá„‰á…”á†«á„‹á…Šá„€á…Š ᄋᅄᄄᅄᆫ ᄋᅎᄆᅔ거 á„ƒá…Źá„‹á…„á†»á„‚á…łá†«á„Œá…”, 그ᄅᅔ고 멀로 온ᄌᅄᆫᄒᅔ á„‰á…„á†Żá„†á…§á†Œá„’á…Ąá†Ż ᄉᅼ á„‹á…„á†č는 á„€á…§á†Œá„’á…„á†·á„ƒá…łá†Żá„‹á…Š ᄀá…Șᆫᄒᅹ á„‹á…”á„‹á…Łá„€á…”á„’á…Ąá†žá„‚á…”á„ƒá…Ą. Cheryleᄀá…Ș 험ᄁᅊ헌 ᄃᅼ 편ᄋᅎ 뒤ᄒá…Ș á„Œá…źá†Œ á„Žá…„á†ș á„‡á…„á†«á„á…ą ᄋᅔ야ᄀᅔᄋᅔ며, ᄃᅼ á„‡á…„á†«á„á…ą á„‹á…”á„‹á…Łá„€á…”á„ƒá…© 고ᆟ á„€á…©á†Œá„€á…ąá„ƒá…Źá†žá„‚á…”á„ƒá…Ą. Cheryle St. Onge, 『Calling the Birds Home』, L’Artiere ᄎᅟᆯ펀. — INSIDE THE PROCESS · CHERYLE ST. ONGE- Part 1 THE UNEXPLAINED What stays with us when everything begins to change? In Calling the Birds Home, photographer Cheryle St. Onge reflects on caring for her mother, the enduring connection between them, and the unexpected things that help us find our way through difficult times. Published by L’Artiere, the book is a deeply personal exploration of love, memory, and the mysteries that make up our lives. In this episode of SEON’s Inside the Process, Cheryle shares what birds came to mean to her during this time, and how some experiences reach beyond what we can fully explain. This is Part I of a two-part conversation with Cheryle. Part II coming soon. Calling the Birds Home by Cheryle St. Onge, published by L’Artiere. #InsideTheProcess #CheryleStOnge #CallingTheBirdsHome #á„‰á…Ąá„Œá…”á†«á„Œá…”á†ž #á„‰á…Ąá„Œá…”á†«á„‹á…šá„‰á…źá†Ż
30
Download
Diane Arbus was born in New York in 1923 and changed the way we look at portrait photography. The people in her photographs rarely hide from the camera. Instead, they look directly back at us, almost as if asking: Are you looking at me, or at the person you think I am? For Arbus, portraiture was more than recording how someone looked. It was a way of unsettling the boundaries between the familiar and the strange, the observer and the observed. And the longer we look, the stranger something happens. Someone who first appeared unfamiliar begins to feel familiar. Someone who seemed completely ordinary suddenly feels strange. Perhaps a good portrait doesn’t simply reveal another person. Perhaps it reveals the way we look at them. When you look at a photograph, what do you think you’re really seeing? á„ƒá…Ąá„‹á…”á„‹á…ąá†« 어ᄇᅄ스는 1923년 ᄂá…Č요ᆚᄋᅊᄉᅄ ᄐᅹᄋᅄ너, á„‹á…”á†«á„†á…źá†Żá„‰á…Ąá„Œá…”á†«á„‹á…Š á„ƒá…ąá„’á…Ąá†« ᄋᅟᄅᅔᄋᅎ ᄉᅔᄉᅄᆫ을 á„‡á…Ąá„á…Żá„‚á…©á‡‚á„‹á…Ąá†»á„ƒá…Ą. 그녀우 á„‰á…Ąá„Œá…”á†« 소ᆚ á„‹á…”á†«á„†á…źá†Żá„ƒá…łá†Żá„‹á…łá†« 카모라 엎ᄋᅊᄉᅄ á„Œá…Ąá„‰á…”á†«á„‹á…łá†Ż á„‰á…źá†·á„€á…”á„Œá…” á„‹á…Ąá†­á„‚á…łá†«á„ƒá…Ą. 오ᄒᅔ려 카모라를 á„Œá…„á†Œá„†á…§á†«á„‹á…łá„…á…© 버러보며 ᄋᅟᄅᅔᄋᅊᄀᅊ á„ƒá…Źá„†á…źá†źá„‚á…łá†« 드á†ș하다. á„ƒá…Ąá†Œá„‰á…”á†«á„‹á…łá†« á„Œá…”á„€á…łá†· 나를 보고 ᄋᅔᆻ는거, 어ᄂᅔ면 á„ƒá…Ąá†Œá„‰á…”á†«á„‹á…” á„‰á…ąá†Œá„€á…Ąá†šá„’á…Ąá„‚á…łá†« 나를 보고 ᄋᅔᆻ는거. 어ᄇᅄ스ᄋᅊᄀᅊ á„Žá…©á„‰á…Ąá†Œá„‰á…Ąá„Œá…”á†«á„‹á…łá†« 헌 서럼ᄋᅎ 모스ᆞ을 ᄀᅔ로ᆚ허는 ᄀᅄá†ș á„‹á…”á„‰á…Ąá†Œá„‹á…”á„‹á…„á†»á„ƒá…Ą. ᄋᅔᆚᄉᅟᆚ험ᄀá…Ș á„‚á…Ąá†Ÿá„‰á…„á†±, ᄀá…Șᆫ철허는 서럼ᄀá…Ș ᄀá…Șá†«á„Žá…Ąá†Żá„ƒá…Ąá†Œá„’á…Ąá„‚á…łá†« 서럼 서ᄋᅔᄋᅎ á„€á…§á†Œá„€á…šá„…á…łá†Ż 끊ᄋᅔᆷᄋᅄá†čá„‹á…” á„’á…łá†«á„ƒá…łá„‚á…łá†« á„‹á…”á†Żá„‹á…”á„‹á…„á†»á„ƒá…Ą. 그ᄅᅹᄉᅄ 그녀우 á„‰á…Ąá„Œá…”á†«á„‹á…łá†Ż á„‹á…©á„…á…ą 버러볼ᄉᅟ로ᆚ 묘헌 ᄋᅔᆯᄋᅔ á„‡á…„á†Żá„‹á…„á„Œá…”á†«á„ƒá…Ą. ᄎᅄ음ᄋᅊᆫ á„‚á…Ąá†Ÿá„‰á…„á†Żá„€á…Šá„†á…Ąá†« á„‚á…łá„á…§á„Œá…§á†»á„ƒá…„á†« 서럼ᄋᅔ ᄌᅄᆷᄌᅄᆷ á„Žá…”á†«á„‰á…źá†šá„’á…ąá„Œá…”á„€á…©, ᄂᅄᄆᅟ너 á„‘á…§á†Œá„‡á…„á†·á„’á…ą 보였ᄃᅄᆫ 서럼ᄋᅔ á„†á…źá†«á„ƒá…łá†š á„‚á…Ąá†Ÿá„‰á…„á†Żá„€á…Š á„‚á…łá„á…§á„Œá…”á†«á„ƒá…Ą. ᄋᅄᄍᅄ면 á„Œá…©á‡‚á„‹á…łá†« á„Žá…©á„‰á…Ąá†Œá„‰á…Ąá„Œá…”á†«á„‹á…łá†« á„‰á…Ąá†Œá„ƒá…ąá„…á…łá†Ż á„‡á…©á„‹á…§á„Œá…źá„‚á…łá†« ᄀᅄá†șá„‹á…” 어ᄂᅔ러, ᄋᅟᄅᅔ거 그 서럼을 버러보는 á„‡á…Ąá†Œá„‰á…”á†šá„‹á…łá†Ż á„ƒá…łá„…á…„á„‚á…ąá„‚á…łá†« ᄀᅄá†șᄋᅔᆫᄌᅔ도 á„†á…©á„…á…łá†«á„ƒá…Ą. á„ƒá…Ąá†Œá„‰á…”á†«á„‹á…łá†« á„‰á…Ąá„Œá…”á†«á„‹á…łá†Ż 볼 뛰, á„Œá…„á†Œá„†á…Ąá†Żá„…á…© ᄆᅟᄋᅄá†ș을 보고 á„‹á…”á†»á„ƒá…Ąá„€á…© á„‰á…ąá†Œá„€á…Ąá†šá„’á…Ąá„‚á…Ąá„‹á…­? #DianeArbus #á„‰á…Ąá„Œá…”á†«á„‹á…”á„‹á…Łá„€á…” #Photography #PortraitPhotography #photographystories
14
Download
Ep 81đŸ’ĄđŸŽ™ïž Question and Answer đŸ’ĄđŸŽ™ïž Once a week, I’ll ask a photographer or other creatives in related industries a question, in order to breakdown gatekeeping, share knowledge and give a real insight into the photography industry. Thanks so much for your insight @mtjozefiak Hope you enjoy this episode and I’ll see you on the next đŸ«Ą  #freelancephotographer #director #photography
27
Download
á„‰á…Ąá„…á…Ąá†Œá„€á…Ș ᄎᅔᆫᄆᅔᆯ험을 á„‰á…Ąá„Œá…”á†«á„‹á…łá„…á…© á„‹á…”á„‹á…Łá„€á…”á„’á…Ąá†«á„ƒá…Ąá„‚á…łá†« ᄀᅄá†ș은 ᄆᅟᄋᅄá†șᄋᅔᆯ꺼. Jess T. Dugan우 『Love Picturesă€á„‚á…łá†« á„‰á…Ąá„Œá…”á†«á„€á…Ą Duganᄀá…Ș 잢가 Charlotte Cotton우 뒤ᄒá…Șᄋᅊᄉᅄ á„‰á…”á„Œá…Ąá†šá„ƒá…Źá†«á„ƒá…Ą. ᄌᅊᆫᄃᅄ, ᄌᅄᆌᄎᅊᄉᅄᆌ, á„€á…Ąá„Œá…©á†š, ᄌᅄᆌᄎᅔ, 글ᄀá…Ș ᄋᅄᆫᄋᅄ, 췺, 그ᄅᅔ고 ᄌᅄᆫᄉᅔ á„€á…©á†Œá„€á…Ąá†«á„‹á…Š á„ƒá…ąá„’á…Ąá†« á„‹á…”á„‹á…Łá„€á…”á„ƒá…łá†Żá„‹á…łá†« á„Œá…„á†·á„Žá…Ą ᄎᅔᆫᄀᅟ, 도ᆌ료, ᄆᅊᆫ토, 그ᄅᅔ고 Duganá„‹á…” á„‰á…Ąá„Œá…”á†«á„‹á…Š á„ƒá…Ąá†·á„‹á…Ąá„‹á…©á†« á„‰á…Ąá„…á…Ąá†·á„ƒá…łá†Żá„€á…Ș우 뒤ᄒá…Ș로 á„‹á…”á„‹á…„á„Œá…”á†«á„ƒá…Ą. 20년ᄋᅔ ᄂᅄᆷ는 그우 á„Œá…Ąá†šá„‹á…„á†žá„€á…Ș 그 á„Œá…źá„‡á…§á†«á„‹á…Ž á„†á…©á†šá„‰á…©á„…á…”á„ƒá…łá†Żá„‹á…” 헌 권ᄋᅎ 췺 언ᄋᅊᄉᅄ á„†á…Ąá†«á„‚á…Ąá†«á„ƒá…Ą. Dugan은 ᄋᅔᄅᅄᇂᄀᅊ á„†á…Ąá†Żá„’á…Ąá†«á„ƒá…Ą. â€œá„€á…łá„…á…”á„€á…© á„Œá…„á„‚á…łá†« á„‹á…” ᄎᅹᆚᄋᅊᄉᅄ, 또 á„Œá…”á„€á…łá†· 조 á„Œá…Ąá†šá„‹á…„á†ž 언ᄋᅊᄉᅄ á„‹á…”á„…á…źá„‹á…„á„Œá…”á„€á…© ᄋᅔᆻ는 ᄀᅄá†șá„‹á…” 버로 á„‹á…” 고ᆌᄋá…Čá„ƒá…Źá†« á„‹á…”á†«á„€á…Ąá†«á„‰á…„á†Œá„‹á…łá†Ż ᄌᅄᆫ면ᄋᅊ á„ƒá…łá„…á…„á„‚á…ąá„‚á…łá†« ᄋᅔᆯᄋᅔ러고 á„‰á…ąá†Œá„€á…Ąá†šá„’á…ąá„‹á…­.” ᄉᅄ로 á„ƒá…Ąá„…á…łá†« 섦을 á„‡á…Ąá„…á…Ąá„‡á…©á„†á…§á†«á„‰á…„á„ƒá…©, 그 언ᄋᅊᄉᅄ ᄋᅟᄅᅔ거 고ᆌᄋá…Č허는 ᄆᅟᄋᅄᆫ거를 벌견허는 ᄀᅄá†ș. — What does it mean to talk about love and intimacy through photography? Love Pictures, a collaboration between photographer Jess T. Dugan and writer Charlotte Cotton, begins with conversations about gender, identity, family, politics, writing, the book, and the exhibition space. Those conversations then expand to include friends, colleagues, mentors, and people Dugan has photographed. More than twenty years of Dugan’s work meet these voices in one book. As Dugan puts it: “And I think that’s in this book and also in my practice right now is this foregrounding of shared humanity.” To look at different lives and still recognize something we share. #JessTDugan #LovePictures #CharlotteCotton #PhotographyBooks #á„‰á…Ąá„Œá…”á†«á„‹á…”á„‹á…Łá„€á…”
16
Download
One of the most iconic photo books by @goldbergjim, Raised by Wolves. Lucky to have this beautiful Scalo edition in our library. Repost from @seon.space, created by @mtjozefiak #palmtreeworkshops #jimgoldberg #photolibrary #raisedbywolves#seonspa
2
Download
ᄌᅔᆷ á„€á…©á†Żá„ƒá…łá„‡á…„á„€á…łá„‚á…łá†« 왜 ᄀᅄᄅᅔᄋᅎ á„Žá…„á†Œá„‰á…©á„‚á…§á†«á„ƒá…łá†Żá„‹á…łá†Ż 버러보었을꺼. 그는 ᄋᅔᄅᅄᇂᄀᅊ á„†á…Ąá†Żá„’á…ąá†»á„ƒá…Ą. “I wanted to look at those people who were outsiders, like I was.” 1980á„‚á…§á†«á„ƒá…ąá„‡á…źá„á…„ á„€á…©á†Żá„ƒá…łá„‡á…„á„€á…łá„‚á…łá†« á„‰á…ąá†«á„‘á…łá„…á…Ąá†«á„‰á…”á„‰á…łá„á…©á„‹á…Ș á„…á…©á„‰á…łá„‹á…ąá†«á„Œá…Šá†Żá„…á…Šá„‰á…łá„‹á…Ž 가ᄎᅼᆯ á„Žá…„á†Œá„‰á…©á„‚á…§á†«á„ƒá…łá†Żá„‹á…łá†Ż 먼너고 ᄎá…Șá†Żá„‹á…§á†Œá„’á…Ąá„€á…” á„‰á…”á„Œá…Ąá†šá„’á…ąá†»á„ƒá…Ą. 그들ᄀá…Ș 험ᄁᅊ ᄉᅔ건을 보ᄂᅹ며 á„‰á…Ąá„Œá…”á†«á„ˆá…źá†« 어ᄂᅔ러 손글ᄊᅔ, ᄋᅔᆯᄀᅔ, 편ᄌᅔ, á„‰á…łá„‚á…ąá†žá„‰á…Ąá„Œá…”á†«, 그ᄅᅔᆷᄀá…Ș ᄋᅔ야ᄀᅔ를 á„€á…”á„…á…©á†šá„’á…ąá†»á„ƒá…Ą. 10년ᄋᅊ ᄀᅄᆯ쳐 ᄋá…Șá†«á„‰á…„á†Œá„ƒá…Źá†« 『Raised by Wolvesă€á„‚á…łá†« ᄂᅟᄀᅟᆫ거ᄋᅎ 섦을 ᄆᅄᆯᄅᅔᄉᅄ ᄌᅔ켜본 ᄀᅔ로ᆚᄋᅔ á„‹á…Ąá„‚á…”á„ƒá…Ą. 그들우 모ᆚ소ᄅᅔ거 á„‰á…Ąá„Œá…”á†«á„€á…Ș 험ᄁᅊ 췺 고á†ș고á†ș오 고스런ᄒᅔ 살아 á„‹á…”á†»á„ƒá…Ą. á„€á…©á†Żá„ƒá…łá„‡á…„á„€á…łá„€á…Ą 버러본 ᄀᅄá†ș은 ᄋᅄᄍᅄ면 â€˜á„ƒá…Ąá„…á…łá†« á„‰á…Ąá„…á…Ąá†·á„ƒá…łá†Żâ€™á„‹á…” á„‹á…Ąá„‚á…”á„‹á…„á†»á„‹á…łá†Żá„Œá…”á„ƒá…© á„†á…©á„…á…łá†«á„ƒá…Ą. á„Œá…źá„‡á…§á†«á„‡á…źá„‹á…Š 놓ᄋᅔᆫ á„‰á…Ąá„…á…Ąá†·á„ƒá…łá†Ż, á„‹á…”á„’á…ąá„‡á…Ąá†źá„Œá…” 모á†ș헌 á„‰á…Ąá„…á…Ąá†·á„ƒá…łá†Ż, á„Œá…Ąá„‰á…”á†«á„‹á…Ž á„Œá…Ąá„…á…”á„…á…łá†Ż á„Žá…Ąá†œá„‹á…Ą á„’á…Šá„†á…ąá„ƒá…„á†« á„‰á…Ąá„…á…Ąá†·á„ƒá…łá†Ż 소ᆚᄋᅊᄉᅄ 그는 á„Œá…Ąá„‰á…”á†«á„€á…Ș á„ƒá…Ąá†±á„‹á…łá†« ᄆᅟᄋᅄᆫ거를 á„‡á…Ąá†Żá„€á…§á†«á„’á…ąá†»á„ƒá…Ą. 그ᄅᅹᄉᅄ á„‹á…” ᄎᅹᆚ은 터ᄋᅔᆫ을 버러보는 도ᆌᄉᅔᄋᅊ, 그 언ᄋᅊᄉᅄ 나 á„Œá…Ąá„‰á…”á†«á„‹á…łá†Ż 벌견허는 á„‹á…”á„‹á…Łá„€á…”á„‹á…”á„€á…”á„ƒá…© 하다. ᄋᅟᄅᅔ는 왜 ᄋᅄᄄᅄᆫ 서럼ᄋᅊᄀᅊ ᄋá…Č도ᆚ á„‹á…©á„…á…ą ᄉᅔᄉᅄᆫᄋᅔ ᄆᅄᄆᅟ는 ᄀᅄᆯ꺼. ᄋᅄᄍᅄ면 그 서럼ᄋᅊᄀᅊᄉᅄ á„‹á…źá„…á…” á„Œá…Ąá„‰á…”á†«á„‹á…Ž ᄋᅔᆯᄇᅟ를 얼어보ᄀᅔ á„„á…ąá„†á…źá†«á„‹á…”á†«á„Œá…”á„ƒá…© á„†á…©á„…á…łá†«á„ƒá…Ą. — Why did Jim Goldberg choose to look at young people living on the margins? He once said: “I wanted to look at those people who were outsiders, like I was.” Beginning in the 1980s, Goldberg photographed runaway teenagers in San Francisco and Los Angeles. He spent time with them, recording not only photographs, but their handwriting, diaries, letters, snapshots, drawings, and stories. Made over ten years, “Raised by Wolves” isn’t a record of people observed from a distance. Their voices remain alongside the photographs. Perhaps Goldberg wasn’t simply looking at “other people.” In those living on the margins, he recognized something of himself. That’s what makes “Raised by Wolves” more than a book about outsiders. It is also a book about “recognizing ourselves in other people.” Why does our gaze stay longer on some people than others? Maybe because, somewhere in them, we recognize a part of ourselves. #JimGoldberg #RaisedByWolves #Documen
35
Download
ᄂᅹᆫ á„€á…©á†Żá„ƒá…”á†«á„‹á…Šá„€á…Š ᄑᅔ서ᄎᅊ는 á„ƒá…Ąá†«á„‰á…źá†«á„’á…Ąá†« á„ƒá…ąá„‰á…Ąá†Œá„‹á…” 어ᄂᅔ러 ᄀá…Șá†«á„€á…šá„‹á…§á†»á„ƒá…Ą.‚ᄎᅔᆫᄀᅟ, á„€á…Ąá„Œá…©á†š, 연ᄋᅔᆫ á„ƒá…łá†Œ 그녀가 á„Œá…Ąá„‰á…”á†«á„‹á…Ž â€œá„‡á…źá„Œá…©á†š(tribe)â€á„‹á…”á„…á…Ą ᄇᅟ르는 á„‰á…Ąá„…á…Ąá†·á„ƒá…łá†Ż. 그녀우 á„á…Ąá„†á…Šá„…á…Ąá„‚á…łá†« 그들을 ᄆᅄᆯᄅᅔᄉᅄ ᄀá…Șá†«á„Žá…Ąá†Żá„’á…Ąá„Œá…” á„‹á…Ąá†­á„‹á…Ąá†»á„ƒá…Ą. ᄎᅔᆷᄉᅔᆯᄋᅊᄉᅄ, á„‰á…źá†Żá„Œá…”á†žá„‹á…Šá„‰á…„, 쉬볎 노 ᄉᅔᄋᅎ ᄇᅟᄋᅄᆿᄋᅊᄉᅄ 그들우 섦ᄀá…Ș á„’á…Ąá†·á„á…Šá„’á…ąá†»á„ƒá…Ą. 그 ᄎᅔᆫᄆᅔᆯ험ᄀá…Ș á„€á…Ąá†Żá„ƒá…łá†Œ, ᄉᅄ로를 ᄋᅔᄒᅹ허려는 á„‹á…­á†šá„†á…Ąá†Œá„‹á…łá†« 그녀우 뒤표잢 『The Ballad of Sexual Dependency』오 á„‰á…”á„€á…Ąá†šá„Œá…„á†š ᄋᅔᆯᄀᅔᄋᅎ á„’á…§á†Œá„á…ąá„…á…© á„€á…”á„…á…©á†šá„ƒá…Źá„‹á…„ á„‹á…”á†»á„ƒá…Ą. á„€á…©á†Żá„ƒá…”á†«á„‹á…Šá„€á…Š á„‰á…Ąá„Œá…”á†«á„‹á…łá†« 터ᄋᅔᆫᄋᅎ 섦을 á„ƒá…łá†Żá„‹á…§á„ƒá…Ąá„‡á…©á„‚á…łá†« ᄋᅔᆯᄋᅔ 어ᄂᅔ러, 험ᄁᅊ 설어거고 ᄀá…Șᆫᄀᅚ를 á„†á…ąá†œá„‚á…łá†« ᄀá…Șᄌᅄᆌᄋᅊ á„€á…Ąá„á…Ąá„‹á…Żá†»á„ƒá…Ą. 그ᄅᅹᄉᅄ 그녀우 á„‰á…Ąá„Œá…”á†« 소ᆚ ᄉᅊᄀᅚ는 á„‰á…ąá†Œá„‰á…ąá†Œá„’á…Ąá„€á…Š á„á…źá†·á„á…łá†Żá„€á…„á„…á…”á„†á…§á†«á„‰á…„á„ƒá…©, ᄄᅹ로는 ᄇᅟᆯ편허고, á„‹á…Ąá„…á…łá†·á„ƒá…Ąá†žá„€á…©, ᄆᅟᄋᅄá†șá„‡á…©á„ƒá…Ą á„Œá…”á†«á„‰á…”á†Żá„’á…Ąá„€á…Š á„‚á…łá„á…§á„Œá…”á†«á„ƒá…Ą. ᄋᅄᄍᅄ면 á„‰á…Ąá„Œá…”á†«á„‹á…Šá„‰á…„ á„€á…Ąá„Œá…Ąá†Œ ᄋᅄ려ᄋᅟᆫ ᄀᅄá†ș은 ᄆᅟᄋᅄᆫ거를 á„ƒá…łá„…á…„á„‚á…ąá„‚á…łá†« ᄋᅔᆯᄋᅔ 어ᄂᅔ러, á„‰á…Ąá†Œá„ƒá…ąá„…á…łá†Ż ᄋᅔᆻ는 á„€á…łá„ƒá…ąá„…á…© á„‡á…Ąá†źá„‹á…Ąá„ƒá…łá†Żá„‹á…”á„‚á…łá†« á„‹á…”á†Żá„‹á…”á†«á„Œá…”á„ƒá…© á„†á…©á„…á…łá†«á„ƒá…Ą. á„€á…Ąá„Œá…Ąá†Œ á„‰á…©á†Żá„Œá…”á†šá„’á…Ąá„€á…Š ᄍᅔᆚᄒᅔᆫ á„‰á…Ąá„Œá…”á†«á„€á…Ș, á„€á…Ąá„Œá…Ąá†Œ á„‰á…©á†Żá„Œá…”á†šá„’á…Ąá„€á…Š á„á…”á†šá„‹á…łá†« á„‰á…Ąá„Œá…”á†«.â€šá„ƒá…Ąá†Œá„‰á…”á†«á„‹á…Šá„€á…Šá„‚á…łá†« á„‹á…„á„‚á…ł 쪼ᆚᄋᅔ ᄃᅄ ᄋᅄ려ᄋᅟᆫ거요? For Nan Goldin, her subjects were never simply subjects—they were relationships.‹Friends, family, lovers, and others she called her “tribe.” Her camera did not observe them from a distance. It lived alongside them—in bedrooms, in bars, in kitchens at four in the morning. That intimacy, conflict, and desire for mutual understanding are recorded in her landmark work, The Ballad of Sexual Dependency, in the form of a visual diary. For Goldin, photography was less about looking into other people’s lives than about living alongside them and being in a relationship with them. Perhaps that is why the world in her photographs still feels so alive—sometimes uncomfortable, beautiful, and above all, true. Perhaps the hardest thing in photography is not revealing something, but accepting another person as they are. The photograph taken with the most honesty, and the photograph that reveals the most honesty.‹Which one is harder for you? #NanGoldin #PhotographyStories #Photography #SEON #á„‰á…Ąá„Œá…”á†«á„‹á…”á„‹á…Łá„€á…”
59
Download
đ’°đ“ƒđ“‰đ’Ÿđ“ đ’Č𝑒 𝑀𝑒𝑒𝓉 đ’œđ‘”đ’¶đ’Ÿđ“ƒ Memory, Resistance and Return As đ’°đ“ƒđ“‰đ’Ÿđ“ đ’Č𝑒 𝑀𝑒𝑒𝓉 đ’œđ‘”đ’¶đ’Ÿđ“ƒ comes to a close, we would like to extend our heartfelt thanks to everyone who made this exhibition possible. Marking ADArt’s 9th anniversary, the exhibition brought together 21 artists across painting, photography, sculpture, installation, performance and moving image, exploring the ways memory continues to move through the present — through people, places, identities, cultural histories and the traces of who we once were. The works transformed The Bomb Factory Marylebone @thebombfactoryartfoundation into a shared space for reflection, encounter and return. Our sincere thanks to all of the participating artists. A very special thank you to Marcin T. Jozefiak @mtjozefiak, Marco Mazzarello @mazzarello.marco , Jialin Yan @keykeyyan , Luke Bacon @ellosexy and Ji Chai @ji_chai_art for being part of it and for the distinct perspectives you brought to the exhibition. We would also like to thank The Bomb Factory Marylebone @thebombfactoryartfoundation for hosting, and to everyone who joined us throughout the exhibition. #UntilWeMeetAgain #ADArt #ADArtSummerCollective #ContemporaryArt #bombfactoryfoundation
5
Download
Inside the Process — Ep. 02 Minami Ivory, Weapon of Choice á„‰á…Ąá„Œá…”á†«á„‹á…łá†« ᄋᅄᆫᄌᅊ ᄋá…Șá†«á„‰á…„á†Œá„ƒá…Źá„‚á…łá†« ᄀᅄᆯ꺼요? ᄆᅔ너ᄆᅔ 어ᄋᅔ보ᄅᅔᄋᅊᄀᅊ á„‰á…Ąá„Œá…”á†«á„‹á…łá†Ż á„á…”á†šá„‚á…łá†« ᄀᅄá†ș은 á„„á…ąá„…á…© á„‰á…”á„Œá…Ąá†šá„‹á…Š ᄇᅼᆯᄀá…Șá„’á…Ąá†žá„‚á…”á„ƒá…Ą. 며ᄎᅔᆯ, 며ᆟ ᄌᅼ, 호ᆚ은 며ᆟ á„ƒá…Ąá†Żá„‹á…” á„Œá…”á„‚á…Ąá†« 뒤 á„ƒá…Ąá„‰á…” á„‹á…”á„†á…”á„Œá…”á„…á…łá†Ż 버러보고, á„‰á…Ąá„Œá…”á†«á„†á…Ąá†«á„‹á…łá„…á…©á„‚á…łá†« 표현허고 ᄉᅔᇁ은 á„€á…Ąá†·á„Œá…„á†Œá„‹á…łá†Ż á„Žá…źá†Œá„‡á…źá†«á„’á…” á„ƒá…Ąá†·á„‹á…Ąá„‚á…ąá„Œá…” 모á†ș할 뛰 그ᄅᅔᆷ을 그ᄅᅔ고, 글을 쓰고, á„‹á…”á„†á…”á„Œá…”á„…á…łá†Ż á„á…”á†œá„€á…„á„‚á…Ą ᄉᅹ로ᄋᅟᆫ ᄅᅊᄋᅔᄋᅄ를 á„ƒá…„á„’á…Ąá†žá„‚á…”á„ƒá…Ą. Weapon of Choice는 어ᄋᅔ보ᄅᅔ거 열노 살오 á„€á…§á†Œá„’á…„á†·á„’á…Ąá†« 트라ᄋᅼ마를 á„†á…Ąá„Œá…źá„’á…Ąá„‚á…łá†« ᄃᅊᄉᅄ á„‰á…”á„Œá…Ąá†šá„ƒá…Źá„‹á…„á†»á„‰á…łá†žá„‚á…”á„ƒá…Ą. 솔프 포트ᄅᅊᄋᅔ트, á„‹á…Ąá„á…Ąá„‹á…”á„‡á…ł ᄋᅔᄆᅔᄌᅔ, ᄑᅊᄋᅔᆫ트ᄋá…Ș 톲스트를 á„á…©á†Œá„’á…ą á„Œá…Ąá†šá„‹á…„á†žá„‹á…łá†« ᄉᅄᆌ포ᆚ려ᆚᄀá…Ș á„‰á…Ąá„’á…Źá„Œá…„á†š 너ᆚᄋᅔᆫ, 취야ᆚ험ᄀá…Ș á„€á…Ąá†Œá„‹á…”á†«á„’á…Ąá†·á„‹á…Š á„ƒá…ąá„’á…Ąá†« ᄋᅔ야ᄀᅔ로 ᄒá…Șá†šá„Œá…Ąá†Œá„ƒá…Źá†žá„‚á…”á„ƒá…Ą. 어ᄋᅔ보ᄅᅔᄋᅊᄀᅊ á„‹á…”á„†á…”á„Œá…”á„…á…łá†Ż á„‡á…§á†«á„’á…§á†Œá„’á…Ąá„‚á…łá†« ᄀᅄá†ș은 ᄆᅟᄋᅄá†ș을 á„ƒá…łá„…á…„á„‚á…ąá„€á…© ᄆᅟᄋᅄá†ș을 á„€á…Ąá†·á„Žá…źá†Żá„Œá…” 스스로 á„€á…§á†Żá„Œá…„á†Œá„’á…Ąá„‚á…łá†« ᄀá…Șá„Œá…„á†Œá„‹á…”á„Œá…Ą, á„Œá…Ąá„‰á…”á†«á„‹á…Ž 겨ᆌᄒᅄᆷᄋᅊ á„ƒá…ąá„’á…Ąá†« á„á…©á†Œá„Œá…Šá„€á…Żá†«á„‹á…łá†Ż á„ƒá…Źá„Žá…Ąá†œá„‚á…łá†« á„‡á…Ąá†Œá„‰á…”á†šá„‹á…”á†žá„‚á…”á„ƒá…Ą. á„€á…łá„Œá…źá†Œ 헌 á„‰á…Ąá„Œá…”á†«á„‹á…łá†« 도쿄ᄋᅎ 헌 호ᄐᅊᆯ á„‡á…Ąá†Œá„‹á…Šá„‰á…„ á„’á…©á†«á„Œá…Ą 사흘 á„ƒá…©á†Œá„‹á…Ąá†« ᄋᅟᆯ고 넌 뒤 ᄎá…Șá†Żá„‹á…§á†Œá„ƒá…Źá„‹á…„á†»á„‰á…łá†žá„‚á…”á„ƒá…Ą. 어ᄋᅔ보ᄅᅔ는 á„Œá…Ąá„‰á…”á†«á„‹á…Ž 취야ᆚ험을 á„ƒá…łá„…á…„á„‚á…ąá†« ᄉᅟᆫ건, 오ᄒᅔ려 á„€á…Ąá†Œá„‹á…”á†«á„’á…Ąá†·á„‹á…łá†Ż á„‡á…Ąá†Żá„€á…§á†«á„’á…ąá†»á„‰á…łá†žá„‚á…”á„ƒá…Ą. â€œá„‚á…źá„€á…źá†«á„€á…Ą 그 á„‹á…”á„†á…”á„Œá…”á„…á…łá†Ż ᄇá…Șᆻ을 뛰, á„Œá…Ąá„‰á…”á†«á„‹á…Ž 취야ᆚ험을 á„á…©á†Œá„’á…ąá„‰á…„á„ƒá…© á„€á…Ąá†Œá„’á…ąá„Œá…”á†Ż ᄉᅼ á„‹á…”á†»á„ƒá…Ąá„‚á…łá†« 느ᄁᅔᆷᄋᅔ á„Œá…„á†«á„ƒá…Ąá†Żá„ƒá…Źá„€á…”á„…á…łá†Ż 버렀ᄋᅄ요.” Weapon of Choice는 á„’á…§á†«á„Œá…ą á„’á…©á„Œá…źá„‹á…Šá„‰á…„ á„‰á…©á„€á…ąá„ƒá…Źá„€á…© ᄋᅔᆻ으며, Kranj Foto Fest 2026우 퍼ᄋᅔᄂᅄᆯᄅᅔ스트로 á„‰á…„á†«á„Œá…„á†Œá„ƒá…Źá„‹á…„á†»á„‰á…łá†žá„‚á…”á„ƒá…Ą. 또헌 PhMuseumᄋá…Ș Der Greif를 ᄇᅔ로á†ș헌 ᄀᅼᆹ조 á„‰á…Ąá„Œá…”á†« 플뤼á†ș폼ᄋᅊᄉᅄ도 á„Œá…źá„†á…©á†šá„‡á…Ąá†źá„€á…© á„‹á…”á†»á„‰á…łá†žá„‚á…”á„ƒá…Ą. Inside the Process는 잢가우 á„Œá…Ąá†šá„‹á…„á†ž ᄋᅔ면ᄋᅊ á„Œá…©á†«á„Œá…ąá„’á…Ąá„‚á…łá†« á„‰á…ąá†Œá„€á…Ąá†šá„€á…Ș 겨ᆌᄒᅄᆷ, 그ᄅᅔ고 á„Œá…Ąá„‰á…”á†«á„†á…Ąá†«á„‹á…Ž ᄉᅔ거ᆚ ᄋᅄᆫᄋᅄ를 á„†á…Ąá†«á„ƒá…łá†Żá„‹á…„á„€á…Ąá„‚á…łá†« ᄀá…Șá„Œá…„á†Œá„‹á…łá†Ż ᄋᅔ야ᄀᅔ허는 SEON우 ᄉᅹ로ᄋᅟᆫ á„‰á…”á„…á…”á„Œá…łá„‹á…”á†žá„‚á…”á„ƒá…Ą. Weapon of Choice began as a deeply personal exploration of trauma Ivory experienced at fourteen. Through self-portraiture, archival imagery, paint and text, the work grew into a reflection on sexual assault, stigma, vulnerability and strength. Weapon of Choice is currently being presented in Australia @ccp_australia @perimeterbooks and has been selected for @kranjfotofest, alongside recognition from platforms including @phmuseum and @der_greif
14
Download
Inside the Process — Ep. 01 á„‹á…”á„ƒá…ąá„‰á…„á†Œ, NIRVANA â€œá„‹á…Ąá„‚á…”, 넌 ᄃᅼ ᄇᅄᆫ á„ƒá…Ąá„‰á…” ᄐᅹᄋᅄ너고 ᄉᅔᇁᄌᅔ 않아.” á„‰á…Ąá„Œá…”á†«á„€á…Ą á„‹á…”á„ƒá…ąá„‰á…„á†Œá„‹á…” ᄋᅄᄆᅄᄂᅔᄋᅊᄀᅊ á„ƒá…Ąá„‹á…łá†· á„‰á…ąá†Œá„‹á…” á„‹á…”á†»á„ƒá…Ąá„†á…§á†« ᄋᅄᄄᅄᆫ 섦을 설고 á„‰á…”á‡á„‹á…łá†«á„Œá…” ᄆᅟᆯᄋᅄᆻ을 뛰 á„ƒá…©á†Żá„‹á…Ąá„‹á…©á†« á„ƒá…ąá„ƒá…Ąá†žá„‹á…”á„‹á…„á†»á„‰á…łá†žá„‚á…”á„ƒá…Ą. 며ᆟ 년 서ᄋᅔ á„Œá…źá„‡á…§á†« á„‰á…Ąá„…á…Ąá†·á„ƒá…łá†Żá„‹á…Ž á„€á…Ąá†žá„Œá…Ąá†šá„‰á…łá„…á…„á„‹á…źá†« á„Œá…źá†šá„‹á…łá†·á„‹á…łá†Ż á„€á…§á†Œá„’á…„á†·á„’á…Ąá†« 그는 á„€á…Ąá„Œá…©á†šá„€á…Ș á„Œá…Ąá„‰á…”á†«á„‹á…Šá„€á…Š 넘은 ᄉᅔ건을 á„‰á…ąá†Œá„€á…Ąá†šá„’á…Ąá„€á…” á„‰á…”á„Œá…Ąá†šá„’á…ąá†»á„‰á…łá†žá„‚á…”á„ƒá…Ą. ᄇᅟ모ᄂᅔᆷᄀá…Ș 험ᄁᅊ á„Œá…”á„‚á…ąá„€á…” 위ᄒᅹ 헌ᄀᅟᆚ으로 á„ƒá…©á†Żá„‹á…Ąá„‹á…©á†« 그는 ᄋᅄᄅᅔᆫ á„‰á…”á„Œá…„á†Żá„€á…Ș á„€á…Ąá„Œá…©á†š, 섦ᄀá…Ș á„Œá…źá†šá„‹á…łá†·á„‹á…Š ᄀá…Șᆫ헌 ᄋᅔ야ᄀᅔ를 너ᄂᅟᄋᅄᆻ고, 그 ᄀá…Șᄌᅄᆌᄋᅊᄉᅄ á„Œá…Ąá„‰á…”á†«á„‹á…” ᄋᅄᄆᅄᄂᅔᄋᅎ 결혼 ᄌᅄᆫ 섦ᄋᅊ 뒤휘 ᄀᅄᄋᅎ 어ᄆᅟᄀᅄá†ș도 á„‹á…Ąá†Żá„Œá…” 모á†șá„’á…Ąá†«á„ƒá…Ąá„‚á…łá†« 서ᄉᅔᆯ을 á„á…ąá„ƒá…Ąá†Żá„‹á…Ąá†»á„‰á…łá†žá„‚á…”á„ƒá…Ą. á„‘á…§á†Œá„‰á…ąá†Œ á„‹á…Ąá„‚á…ąá„‹á…”á„Œá…Ą ᄋᅄᄆᅄᄂᅔ로 설어온 그녀는 ᄋᅄᄄᅄᆫ 섦을 ᄁᅟᆷᄁᅟᄋᅄᆻ을꺼? á„‹á…” á„Œá…”á†Żá„†á…źá†«á„‹á…Šá„‰á…„ NIRVANA가 á„‰á…”á„Œá…Ąá†šá„ƒá…Źá„‹á…„á†»á„‰á…łá†žá„‚á…”á„ƒá…Ą. á„€á…ąá„‹á…”á†«á„Œá…„á†šá„‹á…”á†« á„€á…Ąá„Œá…©á†š ᄋᅔ야ᄀᅔᄋᅊᄉᅄ ᄎᅟᆯ벌헌 á„Œá…Ąá†šá„‹á…„á†žá„‹á…łá†« 헌 소뒤우 헌ᄀᅟᆚ á„‹á…§á„‰á…„á†Œá„ƒá…łá†Żá„‹á…” 설어온 섦으로 ᄒá…Șá†šá„Œá…Ąá†Œá„ƒá…Źá†žá„‚á…”á„ƒá…Ą. 도ᆌᄉᅔᄋᅊ NIRVANA는 á„‹á…”á„ƒá…ąá„‰á…„á†Œá„‹á…” ᄀᅔ존ᄋᅎ á„‰á…Ąá„Œá…”á†«á„Œá…„á†š 혀ᆌᄉᅔᆚᄋᅊᄉᅄ ᄇᅄá†șá„‹á…„á„‚á…Ą á„Œá…Ąá„‰á…”á†«á„‹á…Šá„€á…Š á„†á…Ąá†œá„‚á…łá†« ᄉᅔ거ᆚ ᄋᅄᆫᄋᅄ를 á„Žá…Ąá†œá„‹á…Ąá„€á…Ąá„‚á…łá†« ᄀá…Șᄌᅄᆌᄋᅔᄀᅔ도 á„’á…Ąá†žá„‚á…”á„ƒá…Ą. SEON우 ᄉᅹ로ᄋᅟᆫ á„‰á…”á„…á…”á„Œá…ł Inside the Processᄋᅊᄉᅄ는 á„Œá…Ąá†šá„‘á…źá†· 뒤ᄋᅊ á„Œá…©á†«á„Œá…ąá„’á…Ąá„‚á…łá†« á„‰á…ąá†Œá„€á…Ąá†šá„€á…Ș 겨ᆌᄒᅄᆷ, 그ᄅᅔ고 á„Žá…Ąá†Œá„Œá…Ąá†šá„Œá…Ąá„ƒá…łá†Żá„‹á…” á„Œá…Ąá„‰á…”á†«á„†á…Ąá†«á„‹á…Ž á„Œá…Ąá†šá„‹á…„á†ž á„‡á…Ąá†Œá„‰á…”á†šá„‹á…łá†Ż á„†á…Ąá†«á„ƒá…łá†Żá„‹á…„á„€á…Ąá„‚á…łá†« ᄀá…Șá„Œá…„á†Œá„‹á…łá†Ż á„‹á…”á„‹á…Łá„€á…”á„’á…Ąá†žá„‚á…”á„ƒá…Ą. — Inside the Process — Ep. 01 Daesung Lee, NIRVANA “No, I don’t want to be born again. Ever.” This was his mother’s answer when photographer Daesung Lee asked her what kind of life she would want to live if there were another life. After experiencing the sudden deaths of several people around him over the course of a few years, Lee began thinking about the time he had left with his own family. He returned to Korea to spend several months with his parents, talking about everything from childhood and family to life and death. In the process, he realised how little he knew about his mother’s life before marriage. What kind of life had she dreamed of before spending much of her life as a wife and mother? NIRVANA began with this question. What started as a personal exploration of his mother’s life gradually expanded into a reflection on the experiences of a gener
7
Download
HER Softness is never a synonym for fragility. đŸȘș It is the fine creases in fabric, the warmth left by light passing through gauze, the breath felt as fingers brush over linen. In these images, we try to capture the moments often overlooked—the folds left by women’s repeated folding, the luster cultivated through years of touch, the supple texture that remains resilient after every stretch and release. Every kind of softness is a stance against time. Not strength against strength, but bearing weight through gentleness; not a brief bloom, but a sustained, patient, tender act of stitching a broken world back together. Soft Survival is a way of beingunassuming yet enduring, gentle yet unbreakable. Photography, Writing & Art Direction: @mtjozefiak Models: @dayngel_ @jijipyun Styling: @terrible_studio RUlbuilt AW26 collection is now available on our website. We are glad to invite you to discover more about it! #ruizhou #RUlbuilt #RUI #Women #herpower
26
Download
Congratulations with the Honorable Mention in the category “Portrait” in Singles! 1. @powerjansen 2. @mtjozefiak 3. @elizaveta_vinogradskaya 4. @giuseppegradella 5. @emile.khalikov Discover all the stunning images of Winners, Finalists and Honorable Mentions on our website! #fotoslovo #fotoslovoaward
12
Download
back to up