What does it mean when you have to develop yourself as an image-maker in a world that has been dominated by restrictions for 1.5 years? How can you share important image stories with others in times of and after corona? And how do you finance that? Supporting emerging image-makers, including photographers, is important to keep feeding ourselves with new perspectives.
Therefore, FOTODOK’s talent program Lighthouse offers 10 emerging photographers the opportunity to develop their ideas into a compelling project plan. All 10 of them have a lot of motivation and affinity for socially urgent themes. For six months, a large group of experts from the field, the FOTODOK team, and each other will help them with the content, the practical, and the financial aspects. All participants receive feedback on their visual and textual project proposals and get the unique opportunity to pitch their projects to experts, funds, and new cooperation partners.
The jury of this 3rd Lighthouse edition consists of three photographers and previous participants of the Lighthouse programme: Michelle Piergoelam, Ilias Bardaa and Naomi Kok. Also, head of the talent programme at FOTODOK Lisanne van Happen and director of FOTODOK Femke Rotteveel are part of the jury in this edition.
There are 30 entries, all image-makers who want to make the world a little better with what they do. Even while living in a pandemic, or perhaps because of it, they are now highly motivated to take a new step in their creative lives. The final selection was made with the aim that the group is more than the sum of its parts. It is based on the diverse talents of the makers, with the intention that every maker can make a contribution to the program and also get something in return. The jury has every confidence in this group of makers and celebrates the diversity of backgrounds, themes, strategies, cultures, and visual languages that come together in this Lighthouse edition. All makers were first selected based on motivation, but of course, artistic quality and professionalism were also considered.
The jury finds the focus of Rens de Vries on the abundance of media and its influence on people very relevant, and finds his experimental techniques to visualise this very inspiring. Lena Holzer, with her background in graphic design and product design, is relatively new to the world of photography. Her vision on the value of collaborations and exchange is highly appreciated. Peter Pflüger‘s work focuses on intergenerational traumas and family secrets. He knows how to make personal stories universal. Daniël Lokerse examines how we as a society deal with loss and parting. It is striking how effortlessly he seems to move between various media, including a video game, animation, found-footage and photography. The jury supports Marvel Harris in his desire to actively participate in a more inclusive and understanding world, and appreciates how he uses photography to understand his own complex identity. Katharina Siegel captivated the jury because of her background in sociology, anthropology, and philosophy. Her visual work also shows her graphic influence. Chris Becher takes a critical look at class differences in his work. The jury appreciates his drive to offer new perspectives to counterbalance the dominant academic view. Nastassja Nefjodov makes work in which she is inspired by family stories. Often related to war traumas and issues of identity, in which politics influences the personal. Mirre Korevaar-Wijnja makes work about national identity, social (family) ties, and exclusion. The jury sees the integrity with which she approaches her subjects as a great strength. Sana Mulay’s work focuses on migration and identity, giving a new look at the past, the present, and the future.
