 in 2013. Using duratrans print in light box as the medium, the artwork is displayed at 100 x 55 x 5 cm.

22.12.2013, from the series All Year Round, 2013

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

In 2013, the camera of Ola Lanko took 2,000 automated pictures of the IJ every day from the window of her apartment. These pictures were organised in chronological order, creating panoramic ribbons of the passage of time. The start and end of the day mark the frame of the image, producing what looks from a distance like strips of tone and colour that vary depending on the time of day. Close up, however, the details of what has passed before the camera become apparent. The works 22.06.2013 and 22.12.2013 from the overall project All Year Around include all photographs that Ola Lanko took on 22 June and 22 December 2013 - the longest and shortest day of the year.

22.06.2013, from the series All Year Round, 2013

22.12.2013

22.06.2013

 in 2016. Using burned inkjet print as the medium, the artwork is displayed at 150 x 220 cm.

White Charcoal, 2016

Borges experimented with the destructive power of fire in relation to imagery. She burned the photographic surface of a large-format print, a way of exploring what happens to the meaning of an image when it is burned. Does the piece lose its signification by being damaged or does it acquire a different sense?

Borges portrays objects and artefacts to free them from their specific meaning, to let them stand by themselves. She strives to show us that even photography, a medium bound up with reality by definition, can let go of reality, as happens in a painting or sculpture. In her work, she investigates what representation is, and what a photograph can be. Myths, fabulous creatures and philosophical questions about representation, mimicry and imitation play a major part in her work.

White Charcoal

, 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

During summer 2016, visual artist Olya Oleinic went on a journey through China, motivated by her fascination for the aesthetics of advertising and the fact that China is one of the countries producing most of the objects we use in our daily lives, all around the world. 

Aike, 2016

From Beijing, Shanghai, and Taipei to Hong Kong, she focused on the consumer culture she encountered on every corner of the cities’ streets.

Back in her Amsterdam studio, she started recreating her impressions and sentiments about this confusing contact with China’s consumerism and produced another reality of this phenomenon. Playing with the stereotypes of mass consumption, famous Western labels, and dozens of counterfeit brands such as Aike, Nkie or Calvim Klain, Oleinic constructed a deformed yet meaningful visual impression of consumer culture.

Aike

 in 2010. Using c-print as the medium, the artwork is displayed at 60 x 40 cm.

Paper Girl 2, from the series World, 2010

A frail and twisted female body dissimulated behind pieces of paper: profoundly influenced by fashion and design, Ina Jang’s images are unconventional and light. She creates a complex and multidimensional world in which reality and fiction are intertwined using different surfaces and layers.

The base of Jang’s work is her experimental curiosity. Many of her images start with drawings or figures, which become obscured in surreal, hyper-stimulated environments. Jang’s goal is to find new perspectives in photography: "Coming up with something that completely breaks the boundaries might be impossible, but I think it’s always nice to try to break personal boundaries." With her conceptually and aesthetically playful approach to photography, Jang crafts her own visual language and creates light-hearted and poetic work.

Paper Girl 2

 in 2012. Using C-type as the medium, the artwork is displayed at 73,3 x 93,4 cm.

Pink Ladies and Pear, 2012

Daniel Gordon’s work displays a kaleidoscope of colours, forms, and textures. Gordon uses his own photographs alongside images that he finds on Internet to construct three-dimensional still lifes. Although familiar with Photoshop, he mostly physically cuts and pastes in the studio. Daniel Gordon does not hide the construction behind his work but rather emphasizes it. The paper structure of the fruit is distinctly visible. A drop of glue remains visible on the rim of the fruit bowl, a silent witness of his creative practice.

Pink Ladies and Pears

 in 2014. Using inkjet print as the main medium, the artwork is displayed at 120 x 90 cm.

Maldoror #6, 2014

When Jean-Vincent Simonet came across the book 

 (The Songs of Maldoror), he felt hugely attracted to the dark, theatrical and transgressive character. The cutting-edge book praising youth revolt, blasphemy and the victory of dream over reality was published in 1869 by Comte de Lautréamont. Simonet decided to revive the literary enigma. His photographs are based on the atmosphere it evokes: gothic angels provided with dramatic blue photoshopped skies full of stars and dead branches merged into pink and blue shapes that look like hairs. The eclectic style inspired him to shift between analogue and digital, using digital techniques to glitch and merge photographs. This enables the mysterious atmosphere of the book to become tangible in the pictures. That the book was once banned because of its blasphemous character, comes as no surprise.

Maldoror #6

Created by Nerhol (Yoshihisa Tanaka & Ryuta Iida) in 2015. Using stacked inkjet print as the medium, the artwork is a sculpture displayed at 23 x 20 x 4,5 cm.

w Face, 23 March, Tokyo, Japan, 2015

Nerhol (Yoshihisa Tanaka & Ryuta Iida), 2015

Nerhol is a collaboration between graphic designer Yoshihisa Tanaka and sculptor Ryuta Iida since 2007. Together they explore the concept of the photographic image. Traditionally, a photograph presents a depiction of a person’s three-dimensional face on a flat plane. The work 

, however, is a time-lapse portrait consisting of numerous photographs taken over a three-minute period, a process which captures each and every small, involuntary movement of the subject. Subsequently, Nerhol meticulously scoops out and carves the faces in their photographs, combining a layering of the multiple images with reductive carving. By merging many images into a single picture, the artists unveil the small, ever-present alterations within a photograph. In an ingenious way, the duo questions the genre of photographic portraiture and photography as a snapshot of 'reality': every single, minimal movement can already produce a different representation of the sitter.

w Face, 23 March, Tokyo, Japan

 in 2008. Using C-type as the medium, the artwork is displayed at 150 x 120 cm.

Bouquet V, 2008

 by Maurice Scheltens and Liesbeth Abbenes looks like a typical Dutch seventeenth-century still life. But like most floral still lifes from that time, this carefully arranged bouquet is far from realistic. Many seventeenth-century painters assembled bouquets in their paintings with an assortment of seasonal flowers, which could never flourish at the same time. Bouquet V is also an artistic construction: the duo cut all parts of the flower arrangement from books, magazines, and catalogs, which were accurately combined into a balanced composition. This two-dimensional construction was then photographed in a three-dimensional setting, distorting the viewers’ gaze and perception of reality. The still life we see is fake and real at the same time: although not quite what it seems, it is a true creation, not a digital tableau.

Bouquet V

. The artwork uses C-type digital photo, wood, paper, ink and pigments as the medium.

The Crossroads from the series My Life in the Bush of Ghosts, 2014

Using unorthodox materials, Paul Bogaers tries to avoid the conventions imposed by photography: the flat surface and documentation of reality. He combines various media in an attempt to push the absolute limits of photography as an artistic medium. At first glance, the sculptural form of The Crossroads seems to suggest real, three-dimensional depth but is, in fact, a photograph. This work is part of the series 

 (taken from the acclaimed 1981 album by Brian Eno and David Byrne, who in turn borrowed it from a novel by Nigerian author Amos Tutuola written in 1954), with which Bogaers refers to the ‘Bush of Ghosts’ that he visits in his studio daily.

The Crossroads

Foam Collection

Mariage á Loèche-les-Bains (Marriage in Leukerbad), from the series Ekaterina, 2012-16

Current Study #3, 2013

#14 from the series Sun Set, 2011

Boys of Walthamstow, 2018

Cosmic Chakra, 2016

Pat Blake for Vogue NY 1954

Deborah, from the series Week– End, 2009

Collection

From the series I Do Miss Hospital Visit

Installation view 'I Do Miss Hospital Visit' by Shwe Wutt Hmon in Foam Talent 2024-2025

Initiated in 2020, during the pandemic and the isolation it brought along with it, 'I Do Miss Hospital Visit' is an artist's reckoning with her lifelong health condition and the psychological impact of not being able to access healthcare because of Covid-19-related restrictions.

Foam Talent Digital 2024-2025

Shwe Wutt Hmon

Together, Foam and Paris Photo present a brand-new season of the podcast series Foam Talks: Talent Edition. This series presents eight talented image-makers from both the fair's Curiosa Sector and Foam Talent 2021. Each of the episodes welcomes two photographers, one of each organisations' talent programme. Brought together by a common theme and approach, the photographers speak about their projects and motivations, as well as the challenges they encounter.

from the series Rasmi

Foam Talks x Paris Photo - Sarker Protick & AnaMary Bilbao

Podcast

Sunny Day Flooding, Hollywood, Florida, 2019

Foam Talks x Paris Photo - Igor Tereshkov & Anastasia Samoylova

Smoke Me, 2019

From the series The Mind is a Voice, the Voice is Blind

Paris Photo x Foam Talks: Talent Edition

Though almost half a century has passed since the Franco Dictatorship (1939-1975) ended in Spain, the wounds this period left behind are very much open. Young imagemakers, born after the death of Francisco Franco, address this complicated collective past in their work. In this article, we explore the topic through the work of three contemporary artists. One of them is Bebe Blanco Agterberg, whose work was exhibited in Foam 3H.  

from the series a mal tiempo buena cara

from the series A mal tiempo, buena cara

I was taught that photography is inherent with truth. A picture could be constructed, but it could not lie. When I start learning to take pictures something about this perception changed. (...)  I started to see all
the gaps where manipulation in and around
the image could appear and how this could
effect people’s memories. 

The Spanish flag on a flag pole, torn in half, from the series Nadar y Guardar la Ropa (2010 - ongoing) 

The Spanish flag above a massage center, hung from a balcony together with laundry, from the series Nadar y Guardar la Ropa (2010 - ongoing)

The Spanish flag as a curtain in front of a door window, from the series Nadar y Guardar la Ropa (2010 - ongoing) 

The Spanish flag covering a satellite dish on a brick balcony, from the series Nadar y Guardar la Ropa (2010 - ongoing) 

from the series Todo (2021 - 2022)

Link Room Spain Under Franco

The work of Vasantha Yogananthan as shown at Galerie Mercatorplein 2018

Installation shot of the works by Vasantha Yogananthan in the exhibition Foam Talent in London

Cover of Foam Magazine #48: Talent issue. 

In The Myth of Two Souls, Yogananthan tells the story of The Ramayana by juxtaposing three formally unique sets of images: landscapes, hand-painted staged portraits, and illustrated black-and-white photographs.

Vasantha Yogananthan

 as they share their unique perspectives on Tina Modotti's current exhibition 

. As part of the Modern Perspectives series, the two will delve into the intersections between Modotti's artistry and activism, and explore how her work relates to van Haver's creative practice.

L’enyin ise aye lo ku, 2018

Foam

Men reading “El Machete.”, c. 1927, photo by Tina Modotti / Colección y Archivo de Fundación Televisa, Ciudad de México.

Canana, sickle and guitar, 1927, photo by Tina Modotti / Colección y Archivo de Fundación Televisa, Ciudad de México.

Man with log, 1928, photo by Tina Modotti / Colección y Archivo de Fundación Televisa, Ciudad de México.

Woman of Tehuantepec (carrying jicalpextle), 1929, photo by Tina Modotti / Courtesy Throckmorton Fine Art, New York.

Forgotten stories and histories through a feminine lens

Modern Perspectives: Tina Modotti with Raquel van Haver

The multi-year project Kısmet delves into the diverse and complex facets of Turkish visual culture, seen through the lenses of different generations of image-makers. Artists Olgaç Bozalp, Ece Gökalp and Gülşah Bayrak will show different views of contemporary Turkey through their work. By bringing them together within Kısmet, we aim to present diverse perspectives on Turkish identity and show how identity can be expressed through photography.

Dad and his Indian Friends, April 2017

MAQAM

Dad And Omani Friends, November 2018

Image from the series After Anahit

The start of something

Kısmet: New Perspectives on Turkish Visual Culture

Opening Galerie Mercatorplein 2023: Olgaç Bozalp

Foam Talent 2020: Hola Mi Amol by Karla Hiraldo Voleau

To define Voleau's work as simply a deconstruction of masculinity overlooks the strong performative elements of her projects. By subjecting herself to the camera lens, she is consciously instigating a gaze that firmly reminds us who is in charge.

exhibitions

Rebellious Intimacy: Subverting the Gaze

Karla Hiraldo Voleau about her artistic practice

Karla Hiraldo Voleau

Spread from Foam Magazine #52: Talent - Carmen Winant

Foam Magazine #52 Talent

Watch: Carmen Winant in conversation with Laia Abril

Carmen Winant

Foam is pleased to host an online Zoom conversation between artists Laia Abril and Carmen Winant on 10 February. The conversation will follow-up an expansive email conversation between the two, discussing their work.

-&gt;&nbsp;<a href="/book-a-visit/public/hidden-realities-a-conversation-between-laia-abril-and-carmen-winant/10-02-2021">Sign up</a> to receive the link to the talk (pay as you want). All contributions go towards our public programme.
Laia Abril and <a href="https://carmenwinant.com/" target="_blank" rel="noopener">Carmen Winant</a> both use in-depth research and mixed-media installations to develop projects around underexposed phenomena, mostly related to current and historical feminist ideals. The online Zoom conversation will examine their methods of storytelling, the position of the artist relating to their subject and questions the relationship between art and activism.
<img src="https://a.storyblok.com/f/113697/595x893/df0356e72a/595_shrinky_recipe__2019__on_rape_c_courtesy_laia_abril__amp__galerie_les_filles_du_calvaire_2.jpg" alt="" width="595" height="893" />Shrinky Recipe, 2019, On Rape &copy; Courtesy Laia Abril &amp; Galerie Les Filles du Calvaire.⁠
ABOUT LAIA ABRIL Abril is the fourteenth winner of the Foam Paul Huf Award, an annually awarded price for young photographers. Her multidisciplinary practice includes photography, text, video and sound. Her solo exhibition at Foam,&nbsp;<a href="/museum/programme/laia-abril-on-rape-a-history-of-misogyny-chapter-two">On Rape: A History of Misogyny, Chapter Two</a>,&nbsp;presents a series of conceptual portraits and testimonies that together symbolise the current impunity of institutional rape.&nbsp; ABOUT CARMEN WINANT <a href="https://carmenwinant.com/" target="_blank" rel="noopener">Carmen Winant</a> is a writer and visual artist who works with collage, mixed media and installations. She explores the representation of women and the potential of feminism through her work. Winant received her Master in Fine Arts from the California College of the Arts. Alongside two solo exhibitions in New York and Los Angeles, she participated in multiple group exhibitions and has published two books: My Life as a Man (2015) and My Birth (2018). The event will be introduced by Claartje van Dijk, curator of the exhibition at Foam. Afterwards, a written exchange between the two artists will be featured in Foam Magazine #58: Talent. The online conversation will take place via Zoom and will be followed by a Q&amp;A and the possibility for the audience to ask questions via the chat function.&nbsp;
The exhibition is made possible with the support of the Tim Hetherington Trust and the Magnum Foundation, and is a collaboration with Galerie Les Filles du Calvaire.
The Foam Paul Huf Award is made possible with the generous support from an anonymous partner.
Foam collaborates with Centrum Seksueel Geweld. For help or questions, please reach out to&nbsp;<a href="https://centrumseksueelgeweld.nl/" target="_blank" rel="noopener">www.centrumseksueelgeweld.nl</a>.⁠
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, City of Amsterdam, Foam Members, Olympus and the VandenEnde Foundation.&nbsp;
In 2021 Foam receives additional support from Kickstart Cultuurfonds and the Mondriaan Fund.&nbsp;

<div class="sidebar__content">EVENT INFO 
10 February 2021
&nbsp;
TIME
19.00 hrs CET
&nbsp;
PRICE
Pay as you like
&nbsp;
PLEASE NOTE
This is an online event. Sign up to get a link to the online Zoom conversation.</div>

Hidden Realities: A conversation between Laia Abril and Carmen Winant

Through a student workshop and an exhibition of powerful, diverse talent, the Red Hook Labs experience comes to The Garage, in conjunction with the <a href="https://www.unseenamsterdam.com/">Unseen Photo Fair and Festival</a>.

Labs at The Garage nurtures and&nbsp;showcases the&nbsp;new generation of photographers.&nbsp;This project is a first step in the renewed collaboration between Red Hook Labs and Foam to engage with Amsterdam and share the positive creative &amp; social benefits of their outreach &amp; activities. At the heart of Labs at The Garage is a two-day film and mixed-media workshop between Red Hook Labs peer educators Donjai Gilmore &amp; Bashira Webb and a group of Amsterdam students selected by Foam. Donjai &amp; Bashira, both former students of the International Centre for Photography at the Point in South Bronx, NY, and now accomplished artists, will team up with a Dutch instructor to help the students learn to tell meaningful visual stories of their choosing.
On Thursday&nbsp;22 and Friday 23 September students will work together to produce stories in still &amp; moving image, with the resulting film &amp; posters presented at a festive&nbsp;reception&nbsp;on the evening of Saturday&nbsp;24&nbsp;September at The Garage Amsterdam, situated in Amsterdam City Centre.
<img src="https://a.storyblok.com/f/113697/595x396/d33954d498/595px_201510_de_nieuwe_school_voor_parool_14.jpg" alt="" width="595" height="396" />workshop result&nbsp;&copy; Foam
RED HOOK LABS x FOAM Both cultural institutions worked together before in on a photography exchange project for youth from Amsterdam-Noord, The Netherlands and Brooklyn, New York, U.S.A. The exchange project entitled Look across the water! introduced them to the power of photography and allowed them to meet peers from beyond their national borders. Red Hook Labs focuses on connecting education and&nbsp;continuous skills training to mentorship, internships and job placement. Foam and Red Hook Labs will continue their collaboration into 2017, of which Labs at the Garage is the first milestone.
<a href="https://www.unseenamsterdam.com/">Unseen Photo Fair and Festival</a>&nbsp;is taking place from 16 to 25 September 2016.
Labs at the Garage is organized in collaboration with The Garage Amsterdam, ROC van Amsterdam and initiated by Red Hook Labs, New York and Foam, Amsterdam.

<div class="sidebar__content">EVENT INFO 
Saturday 24 September 2016 17.00 - 20.00 hrs.
&nbsp;
The Garage Brouwersgracht 75h Amsterdam
&nbsp;
Admission: free</div>

Mixed media

22.12.2013

22.06.2013

White Charcoal

New Arrivals

Aike

Paper Girl 2

Pink Ladies and Pears

Maldoror #6, 2014

w Face, 23 March, Tokyo, Japan

Bouquet V

The Crossroads from the series My Life in the Bush of Ghosts

Collection

Paris Photo x Foam Talks: Talent Edition

Link room
Spain under Franco

Forgotten stories and histories through a feminine lens

Kısmet: New Perspectives on Turkish Visual Culture

Hidden Realities: A conversation between Laia Abril and Carmen Winant

Labs at The Garage

Mixed media

22.12.2013

22.06.2013

White Charcoal

New Arrivals

Aike

Paper Girl 2

Pink Ladies and Pears

Maldoror #6, 2014

w Face, 23 March, Tokyo, Japan

Bouquet V

The Crossroads from the series My Life in the Bush of Ghosts

Collection

Paris Photo x Foam Talks: Talent Edition

Link roomSpain under Franco

Forgotten stories and histories through a feminine lens

Kısmet: New Perspectives on Turkish Visual Culture

Hidden Realities: A conversation between Laia Abril and Carmen Winant

Labs at The Garage

Link room
Spain under Franco