 in 2011. Using c-print as the medium, the artwork is displayed at 99 x 129 cm.

System 8, from the series Kosmos, 2011

visible in

 is reminiscent of outer space; it is a familiar picture  of the infinite, of the unknown and total chaos that surrounds us. The photographs in the series 

 by Joris Jansen refuse the reading of the medium of photography as a method to make things visible. His photographs rather make things invisible. Jansen rephotographs the surface of an analogue photograph. By doing so he creates an imaginary universe full of milky ways and swarming planets. This new universe is far removed from the initial photograph and thus only the materiality of the analogue photograph seems to be relevant for the creation of a completely new universe. 

System 8

 in 2013. Using inkjet print as the medium, the artwork is displayed at 120 x 96 cm. The work explores genres such as the 

Current Study #3 is an experiment to photograph something that normally cannot be documented visually: air. 

Current Study #3, 2013

The work of Sjoerd Knibbeler focuses on visualising invisible natural phenomena such as the wind, air movement and climatological conditions. His work could be defined as ‘constructed photography’ – the construction of all sorts of self-imagined and created objects mostly takes place in the studio. There he simulates wind, clouds or a tornado, and he experiments with fragile constructions in a variety of materials such as plastic, paper and fiberboard. Knibbeler explores the paradoxical relation between the still, two-dimensional character of photography and his often transparent, moving, voluminous subjects. He uses photography as a means of visualising his ideas, but everything he photographs is real. Through his artistic practice, he proves the camera to be able to reveal processes that wouldn’t be noticed otherwise.

Current Study #3

 in 2009. Using c-print with an epoxy-layer as the medium, the artwork is displayed at 10 x 15 cm.

Waves from the Web, 2009

 is derived from the internet. Inspired by 'The Age of Aquarius,’ the astrological belief that the world has entered a new cycle in which love, light and humanity play an important role, the element of water is often used as a metaphor. De Vries has searched for the different ways that water has been represented in different cultures, from Japanese wood engravings to Bob Ross. De Vries brings the variety of collected images together by making collages and presenting them in a new way.

Waves from the Web

 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

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 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

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

#14 from the series Sun Set, 2011

Boys of Walthamstow, 2018

Maldoror #6, 2014

Cosmic Chakra, 2016

Pat Blake for Vogue NY 1954

Deborah, from the series Week– End, 2009

Collection

For more information and visual material, login to access the press kit of this exhibition.




Note to editors

more at Foam

Foam Talent 2022

 in Amsterdam? We are thrilled to announce that the exhibition will continue at The Cube in Frankfurt/Main, the exhibition space of Foam Talent sponsor 

. The show contains works from a new generation of visual artists from 14 different nations, selected through the Foam Talent Call.

The Cube

Trust, 2018. Image from the series Inner Journey, 2014–ongoing.

Image from the series Malign Influences The Holy Mountains

The Death of Actaeon, from the series Paintings, Dreams and Love

Image from the series There Is Nothing New Under the Sun See Daylight

Malign Influences/The Holy Mountains

Foam Talent 2022 | Frankfurt

Foam proudly presents the work of a new generation of artists in the group exhibition 

. The 20 participating artists look closely at both the world around us, and the one within - without shying away from discomfort or pain. Climate change, political conflict, discrimination, displacement, and social justice issues: the works address the pressing problems of our times and remind us that photography has the potential to capture the unspeakable.

The Feast Inside, from the series Paintings Dreams and Love

Foam

Home/Leaving One for Another

Languor

Le Grand Voyage – Version Courte

Image from the series Inner Journey

Opening Foam Talent, 2022

Impression Foam Talent 2022

Impression of the exhibition

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

Foam Magazine #61: Talent, 2022

Featured in Foam Magazine #61

Grant Willing depicts the shadowy, rebellious, and occult world which is at the heart of Scandinavian Black Metal.

The Svart Metall series by Grant Willing (United States, 1987) is the result of an investigation into the Scandinavian &lsquo;Black Metal&rsquo; subculture. This subculture, inspired by Pagan and Satanic ideologies, was mainly associated with violence, murder and church burnings in the 1990s &ndash; although much of this was unjustified. This is not, however, what Willing shows us in Svart Metall.
In Svart Metall, his graduate work, Willing focuses on the primary themes of the Black Metal culture such as Norse mythology, rugged nature, winter and the occult. Willing translated these themes into a series of carefully constructed images: a knife stuck into a cold, bare wall, a white tree against a pitch-black sky, a dark silhouette against a light, nondescript landscape. With this body of work, Willing has succeeded in placing the obvious association with violence in the background and returned to the subculture&rsquo;s tenebrous origin. ABOUT GRANT WILLING Grant Willing graduated from the Parsons New School for Design in New York in 2009. He has taken part in exhibitions including The Show Must Go On in the Capricious Gallery in Brooklyn, New York (2011) and Self Publish, Be Happy in the Photographers&rsquo; Gallery in London (2010). Willing recently co-curated an exhibition, Finished, in New York City and has worked on several projects with Fjord and Humble Arts Foundation. In 2009, he published his book Svart Metall.
This exhibition was made possible with support from Van Bijlevelt Stichting and &amp;Samhoud.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, City of Amsterdam, Delta Lloyd, Olympus and the VandenEnde Foundation.