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The West Desert, located on the western shore of the Great Salt Lake in Utah (USA), is the ancestral home of the indigenous Goshute people. Though officially public lands, managed by the Bureau of Land Management, this area is largely used for various privatised or military purposes, ranging from mining operations, testing grounds for weapons and improvised gun ranges.  

, Jaclyn Wright visited these cluttered sites, full of discarded targets and shattered clay pigeons. The bullet-holed remains, which she collected, photographed and filmed, are pieced together into performative installations, that reflect on the colonisation of ancient lands by bureaucratic systems.  

By inserting herself into the scene, wearing a skintight bodysuit made out of orange clay pigeons, Wright comments on the hyper-masculine culture of land dominance and cowboy fantasies. The synthetic orange colour becomes symbolic: used to enhance visibility, it signifies the strong opposition and rejection of its natural environment. 

Untitled (BLM arrows I)

From the series High Visibility (Blaze Orange)

Antelope Island (Utah) Buffalo Hunt photograph collection, Digital MSSC782, No. 6, Altered

L. Clyde Anderson photograph collection (1910- 1959), P0158, Box 1, Folder 27, Altered

Charles James Neal photograph collection (1900 - 1920s), P0694, Box 1, Folder 4, Altered

The West Desert is located on the western side of the Great Salt Lake [UT, United States]. Historically, this area has been documented through photography and land surveys, supporting the violent exploitation of the landscape. 

Archives, II

Untitled (grid)

Nearly one-third of the West Desert's 7.7 million acres are used as biological and chemical weapons testing grounds. The remaining areas of the West Desert are open to various uses, including improvised gun ranges.

Collected Targets

Collected Targets, from the series High Visibility (Blaze Orange)

L. Clyde Anderson photograph collection (1910- 1959), P0158, Box 1, Folder 6, Altered

Stansbury Island, the second largest island in the Great Salt Lake, echoes with gunfire and is littered with bullet holes, clay pigeons and improvised targets. The Bureau of Land Management refers to this detritus as "trigger trash".

Found Clay Pigeons

Archives, V

Jaclyn Wright

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Opening Foam Talent | London, 2019

We can't live – without each other, 2019

Ka 2phisi yaka e pinky II, 2013, Her Story series

Tell the Trees to Smile

There Is Nothing New Under the Sun/See Daylight

The Act of Sitting

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Face As Mask II, 2018

Koraal Tabak, 2016

Foam Talent Call 2023 is closed

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Foam Talent Call

Dialect, 2020

An internationally acclaimed photography prize awarded to artists whose creative vision speaks to our current time.

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A fixed exhibition space in the museum that is exclusively oriented towards the innovative work of young talent from the Netherlands and abroad.

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Exhibition series that aims to introduce the public to innovative art created by young visual makers with ground-breaking use of photography.

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Foam 3h: Karolina Wojtas We can't live – without each other, 2022

Grant established in memory of Florentine Riem Vis with the goal of supporting young photographic talents.

Florentine Riem Vis Grant

Opening de Meervaart 

Youth development programme that focusses on up-and-coming talent within various cultural houses in Amsterdam.

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Untitled, GIF / video still, 2017

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Come and see the work of Sarah Amrani

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Foam was one of the founding partners of Unseen Amsterdam. Each year, Unseen is the place where many renowned galleries worldwide reveal artist's work

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Your Foam, 2021

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 Foam Magazine #65: Talent, 2024

Front cover: Faceless, 2023. Image from the series (Inter)Faces of Predictions

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Paolo Cirio

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Foam Magazine is an international award-winning photography publication.

Foam Magazine #64 Extremes - The Environmental Issue. Cover: Abundance, 2023

Cover image: Sunil and Sulbha Dhiwar, with Tanmay, Tejasvi, Sourabh, Prachi and Vivek from the Goody family archive, 2002. Image from the series Eat with Great Delight

Cover image: Untitled / After Courbet (L’origine du monde), 2004. Colour photograph, 46x55cm. Photograph: David Rych.

Foam Magazine 61 Talent. Image: Paintings, Dreams and Love © Yushi Li

Foam Magazine #60 Glyphs – The Image + Text Issue

Image from the series EIGHTEEN NINETY 2020 installation detail from the exhibition In Plain Sight

Foam Magazine is published two times a year. Each issue is dedicated to a specific theme that is explored through work by both world-renowned image makers and newer, emerging talents. Accompanying essays, interviews and opinions by experts in the field come together to shape an in-depth and critical conversation.

Crafted with distinct editorial choices, Foam Magazine has been the recipient of several awards for its high-grade graphic design and quality of content.

Phone showing Foam magazine

Image from the series Playing with Visual Fragments

Title

Foam Magazine #59: Histories - The Archival Issue, 2021 

Image from the series After Hours

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Image from the series Collection of Unjust Enrichment

Image from the series Where We ve Been, Where We re Going Why

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Pink Ladies and Pear, 2012

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Deborah, from the series Week– End, 2009

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Hiền Hoàng

Under an Ideology, part of Asia Bistro - Made in Rice, digital image, 2020

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Hoàng uses food symbolism and unconventional surfaces to demonstrate the stereotypes that exist in Western narratives with regards to Asian culture.

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Created by Clément Lambelet in 2016. The artworks are wooden light boxes (white) with plexiglass and duratrans, both displayed at 200 x 105 cm.

Maldoror #6, 2014

Foam is supported by the VriendenLoterij, Foam Members, De Brauw Blackstone Westbroek, the VandenEnde Foundation and the City of Amsterdam.

In 2021 Foam receives additional support from the Mondriaan Fund and Kickstart Cultuurfonds

visible in

Developments in image recognition systems are leading to more and more automated forms of surveillance and personal identification – but how reliable are these new systems? Clément Lambelet looks for the loopholes in this rapidly developing algorithmic ecosystem. The central piece of the 

 series is a variation on an engraving of the Biblical figures Adam and Eve made in 1504 by the German Renaissance artist Albrecht Dürer. Dürer was convinced that the ideal proportions of the human body could be captured in mathematical formulas. For his own interpretation, Lambelet used the kind of body scanner used by airport security. Through his works, Lambelet questions the reduction of human bodies to mere numbers, by showing that algorithms can be functionally biased. 

Adam & Eve from the series Collateral Visions, 2016-2017

Adam and Eve, 2016

Created by Wang Juyan in 2015-2017. The artwork comprises of four prints on Hahnemühle baryta paper (matte), mounted on aluminium boards, each displayed at 250 x 150 cm.

, shows a misty mountainous landscape divided across four panels. Wang Juyan’s mountainscape is reminiscent of the art of traditional Chinese painting, 

, but it was actually created through a complicated technical process. During his many travels between London and Beijing, Juyan took hundreds of aerial shots of Chinese mountain ranges. Using digital technology, he combined the images he captured over a period of two years to create a fictional landscape of steep mountains, valleys and rivers. The message behind the piece is as serious as the piece itself is magical: the collage refers to the political value of landscapes in both Eastern and Western history. Traditional Chinese scroll paintings, propagandist murals, cartography, surveillance material captured by airplanes or drones… The title of the series is a reference to George Orwell’s influential novel 1984 (plus 101 years) and the fear of being constantly watched by the authorities.

No 8. from the series Project 2085, 2015-2017

, Bruno Zhu transformed the Foam 3h space, which is also a library, into another reading room – albeit a two-dimensional one.

Foam: 3h Bruno Zhu - New Arrivals, 2015

 He filled the area with photographs of carpets, bookshelves, lamps, and phonebooks. As no actual reading could be done, Zhu rendered the room into a symbolic space that referenced the idea of reading.

Zhu light-heartedly explores his fascination for photography’s ambivalent nature as a symbol and an object in and of itself. One might be tempted to qualify Zhu’s work as post-digital, because of the influence of the technology and the Internet, but the artist insists not to be tied to one style. “Things are getting more awkward, more humorous, more visceral and more urgent, so why rely on a label to box all these things up?” His peculiar work invites the viewer into a world of brightness and positivity.

New Arrivals

Employing a technique that combines photography with installation art, Onorato & Krebs maintain a balance in their photographs on the edges of reality and fiction, without using any image editing software. 

Studio Universe 2 (Diptych), from the series Light of Other Days, 2011

more from the series

Their process of altering the visual product before instead of after the image is captured opens a new world of meanings and possibilities. In 

 the illusion of a fictional galaxy takes us far beyond the confines of the studio.

Studio Universe 2 (Diptych) from the series 

Studio Universe 2 (Diptych)

Studio Universe 1 (Diptych), from the series Light of Other Days, 2011

Studio Universe 1 (Diptych) from the series 

Studio Universe 1 (Diptych)

Chastity Belt, 2019, On Rape

Hidden Realities: A conversation between Laia Abril and Carmen Winant

Hidden Realities with Laia Abril and Carmen Winant

What selected artists receive

Meet the Foam Talents, 2022

from the series Quarantine Blues

From the series Family Album

authenticity (2 CHAINZ) from the series BLACK SNAFU, 2022

Sign up for Foam Talent related news, including updates about the upcoming Foam Talent Call in 2025. 

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From the series Frantz Fanon, Me, and The Questions

Fortune in My Thirties from the series Interfaces of Predictions, 2023

Discover the work of Foam Talent 2024-2025

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Beita Nablus, 2021

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Ramsey Nasr on Yawm al-Firak by Sakir Khader

Tracy in Camo, 2023

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Western Costume Jacket (Cheerleader), Skirt (Cheerleader) Showgirl (Bra Top, Long Fringe), 2023

Foam Talks about Pamcore, Fashion Trends and Meta Cringe with Sara Cwynar and Agustina Panzoni 

from the series Marble Ass

Foam produced a series of podcasts on the occasion of Foam Talent 2022. In this second episode, host and curator of this year's Foam Talent exhibition Mirelva Berghout speaks with Foam Talent Pavo Marinović and special guest Barbara Gregov.

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Adam and Eve, 2016

No 8.

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Studio Universe 2 (Diptych) from the series Light of Other Days

Studio Universe 1 (Diptych) from the series Light of Other Days

Hidden Realities: A conversation between Laia Abril and Carmen Winant

Foam Talent Call

A story of Palestine:
Ramsey Nasr on Yawm al-Firak by Sakir Khader

Foam Talks about Pamcore, Fashion Trends and Meta Cringe with Sara Cwynar and Agustina Panzoni

Talent Talks 2022 - Pavo Marinović & Barbara Gregov

Foam 3h: Sarah Amrani
Terror of Beauty

Paolo Cirio
Artist of the Post-Panopticon Era

Announcement Winner Foam Paul Huf Award 2024

In Search of Perfect Orange
About the work of Benjamin Li

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Objectives & articles of association

Jaclyn Wright

FAQ

Talent

Next Level

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Foam Paul Huf Award

Adam and Eve, 2016

No 8.

New Arrivals

Studio Universe 2 (Diptych) from the series Light of Other Days

Studio Universe 1 (Diptych) from the series Light of Other Days

Hidden Realities: A conversation between Laia Abril and Carmen Winant

Foam Talent Call

A story of Palestine:Ramsey Nasr on Yawm al-Firak by Sakir Khader

Foam Talks about Pamcore, Fashion Trends and Meta Cringe with Sara Cwynar and Agustina Panzoni

Talent Talks 2022 - Pavo Marinović & Barbara Gregov

Foam 3h: Sarah AmraniTerror of Beauty

Paolo CirioArtist of the Post-Panopticon Era

Announcement Winner Foam Paul Huf Award 2024

In Search of Perfect OrangeAbout the work of Benjamin Li

A story of Palestine:
Ramsey Nasr on Yawm al-Firak by Sakir Khader

Foam 3h: Sarah Amrani
Terror of Beauty

Paolo Cirio
Artist of the Post-Panopticon Era

In Search of Perfect Orange
About the work of Benjamin Li