BRUNO OLIVEIRA
COENTRO E CACHORROS (2018)

“Cape Verde is true to its name. There, colour is a place, a room, a landscape, a person, a memory. It underscores the lives and stories of its inhabitants. When I travelled to my boyfriend’s native island, Santo Antão to visit his family in the summer of 2018, everything felt so familiar and yet so foreign. The scent of coriander perfumed the air and the local food. Its vibrant intensity, its green in my eye and its flavour on my palate, confused both my senses and my ideas. Across the island, I followed its colour and smell, like the street dogs that accompanied me and guided me to unexpected encounters in remarkable places. A journey between dream and reality, imagination and memory, an eternal moment in a suspended world.”

VÉRONIQUE KOLBER
AMERICAN DIORAMA – STREETS (2011)

“I capture and collect with my 35 mm lens. Spontaneously, mainly unnoticed, driven by instinct. Not just people in the streets, but people in ordinary street situations. I return home. I forget. Months, maybe even years later, I go through my archive, rediscovering my pictures. Time is not relevant. Or maybe it is and how it blurs my memory helps my imagination to see the many stories that emerge from my photographs. The contrast between the Clervaux arcades and the world depicted in in my pictures accentuates the tension and fictional element essential to my photographic work.”

MARIE CAPESIUS
HELIOPOLIS (2017 - 2019)

Heliopolis was the first naturist village in Europe, founded in the 1930s on the “Île du Levant” island in the French Mediterranean. In the 1950s the French military also began using the island and till this very day a fenced off missile testing base occupies 90% of its surface. Intrigued by these two opposite worlds existing side by side, Marie Capesius met the occupants of Heliopolis and explored its history. Inspired by the story of Adam and Eve, she questions the notion of paradise. In fact, did paradise ever exist? Or instead, has it been lost, and can it be regained?

BORIS LODER
PARTICLES (2016 - 2019)

Identities are complex – as is, quite often, their representation. However, considered as a container that can be filled with very different, even contradictory contents, the concept of identity takes on an aspect that is both tangible and abstract at the same time. “Particles” transforms this concept into a study of sculptural photography. The cubes contain found objects that reflect the character of various sites in Luxembourg in compressed form. In this way, assumptions about urban planning intentions are contrasted with actual use. Fast food on a sports field or a drug stash near a renowned bank allude to socio-geographical realities that rarely surface in popular notions of Luxembourg.

MARC SCHROEDER
CORONA 2020 – SCENES OF THE PANDEMIC (2020)

The eleven “tableaux”, composed of only architectural and urban details, were shot during the summer and autumn of 2020, following the end of the first Covid-related lockdown. The individual scenes impose a strict visual order by way of sharp geometrical forms, yet emanating from them is an air of both emptiness and sterility. They depict public spaces, devoid of any human presence, where our freedom of movement is hindered by various actual physical obstacles or shadows thereof. The series is hence intended as an abstraction of the 2020 general lockdown period.

JEANNINE UNSEN
I LOVE YOU BABY. PORTRAITS DE FEMMES RÉSILIENTES (2016 - 2018)

Jeannine Unsen’s images of women, often in static pose in carefully crafted settings, address questions of vulnerability, identity and representation. Indeed, the timeless contexts in which the figures appear seem to emerge from the photographer’s own inner journeying, or transport the viewer into a nether world between dream and reality. The work of this artist, elaborated with great sensitivity, focusses on portraits staged with an almost over-the-top love of detail.

(Press: Clervaux - Cité de l´image)