Akerman, Chantal. Bruges (Belgium), 1950. She is considered one of the most important European experimental filmmakers. After shooting her first short film Saute ma ville (1968), in 1971, she made a conclusive journey to the United States where she was introduced to several experimental filmmakers and their work. This would greatly influence her first film Hotel Monterrey (1971). From 1974 to 1978 she made Je, tu, il, elle; Jean Dielman, 23 Quai du Commerce, 1080 Bruxelles; News from Home (1977), and Les rendez-vous d’Anna (1978). Four years of silence after the failure of several projects led to the most particular film she ever did: Toute une nuit (1982). Her work as a visual artist focuses on video and installation. She has also conducted several seminaries and lectures.

Allen, Terry. Wichita, Kansas (United States), 1943. An independent artist who, from 1966 on, has worked with a great variety of mediums, including musical performances and theatre, sculpture, painting, drawing and video, as well as installations, in which he incorporates all of these mediums. He has been awarded some of the most important prizes and grants for the arts in the United States, such as the National Endowment for the Arts Fellowship (in 1970, 1978 and 1985), the Guggenheim Fellowship in 1986, etc. He has had solo shows in galleries and private spaces throughout the United States, and among his museum exhibitions, most outstanding are those held at the Modern Art Museum of Fort Worth, the ICA of San Francisco and the Pittsburgh Center for the Arts.

Almeida, Helena. Lisbon (Portugal), 1934. She lives and works in Lisbon, where she studied painting at the Escola Superior de Belas-Artes. In her work she unites and juxtaposes photography, painting and performance. As the protagonist of her photographs, Almeida represents a constant fight between painting and color, between photography and black and white; between abstraction and figuration and between the levels of what is real and what is imaginary. Among her exhibitions, which go back to 1967, most outstanding was her presence at the Bienal de Venecia in 1982; Art Basel 84; Casa de America, Madrid, 1998; SITE Santa Fe, 1999; and Centro Galego de Arte Contemoránea, CGAC, Santiago de Compostela, 2000. Her work is included in collections such as the Bibliothéque National de Paris; Culturgest, Lisbon; Fundaçao Calouste Gulbenkian, Lisbon; Museu Fundaçao Serralves, Porto; MEIAC, Badajoz; MNCA Reina Sofía, Madrid.

Almodóvar, Pedro. Calzada de Calatrava, Ciudad Real (Spain), 1951. Considered one of the most revealing characters of the Spanish rebellion against the prevailing culture during the 80´s -“la movida madrileña”-, he moved to Madrid where he got his first serious work as an administrative employee at the National Spanish Telephone Company. After work he used to write scripts for comics while he collaborated with various underground magazines, he formed the music duo Almodóvar y Macnamara and acted with the band Los Goliardos. At the same time he started studying filmmaking on his own. After his first feature film Pepi, Luci, Bom y otras chicas del montón (1980), he shot Entre tinieblas (1983); ¿Qué hecho yo para merecer esto? (1984); Matador (1986) and La ley del deseo (1986). The tragicomedy film Mujeres al borde de un ataque de nervios (1987) and an Oscar nomination gave him international prestige that was confirmed by success of later films such as Átame! (1989); Tacones Lejanos (1991); Kika (1993); Carne Trémula (1997) and Todo sobre mi madre (1999), this one awarded with the Oscar for Best Film in a Foreign Language in 2000. He is currently preparing his next film Hable con ella.

Alvarez Bravo, Manuel. Mexico D.F. (Mexico), 1902. After studying literature and fine arts and working for the Mexican public administration in various jobs, Alvarez Bravo becomes interested in photography and begins to make photographs in 1923. In the beginning, he explores abstraction by way of ensembles of superimposed paper cuttings. Throughout his long career, he got to know and was influenced by different artists and movements, from German new objectivism to surrealism, from Atget to Breton and, of course, Diego de Rivera, Tina Modotti, Edward Weston, Paul Strand, Cartier-Bresson and Walker Evans, some of whom were exhibition companions. He was a teacher at the Escuela Central de Artes Plasticas in Mexico and in Chicago and he had ample experience in film, both in short and full length films, working as cameraman for Eisenstein and Buñuel. Deeply rooted in Mexican culture and society, he concentrated his attention on human relationships, especially those of the working classes, creating eloquent images of the peculiarities of their lives, of their dreams and frequently, of their deaths. His images of the Mexican society of his time, the window displays, murals as well as the popular and social manifestations, have become an iconographic representation of an entire society and epoch. He has exhibited in myriad museums and galleries since 1928 to this day. In Spain, his work has recently been seen at the IVAM in Valencia and at the Museo Reina Sofía in Madrid. At the Museo de Arte Contemporáneo in Mexico, there is an exhibition space wherein his work is exhibited on a permanent basis.

Araki, Nobuyoshi. Tokyo (Japan), 1940. After studying photography and film at the university, he  works as photographer  for the Dentsu agency until 1972, at which time he begins to work as a free-lance photographer. His first works are published and exhibited with the title “Sentimental Voyage”, which incorporates the images of his wedding trip. In 1990, his wife dies and, in 1994, he refuses to exhibit at the Venice Biennial. This independent and excessive personality leads him to explore the world of sex, with images resembling pornography, fetishism and sadism. He has a profound knowledge of Japanese culture and his photographs have dealt with very different subjects, most outstanding of which is his series about Tokyo and its underground, clubs, prostitution, etc. He has exhibited his work all over the world and it is included in the most important collections, both public and private. Among the entities that have shown his work, most outstanding are the Tokyo Metropolitan Art Museum; International Center of Photography, New York; Museum für Kunst un Gewerbe, Hamburg; XXV Bienal de São Paulo, Brasil; Museo Rufino Tamayo, Mexico; Museum of Contemporary Art, Chicago; Centre National de la Photographie, Paris; Deichtorhalle, Hamburg, etc. In Spain, he has exhibited in the Casa Elizalde of Barcelona and the Sala Parpalló of Valencia.

Avedon, Richard. New York (United States), 1923. Considered one of the best auteurs in the history of photography, Avedon is widely known for his images of fashion, a genre he revolutionised with his photographs on the streets and in all sorts of other ambiences, as well as with his portraits of famous personages. However, Avedon’s work is much richer and, above all, more varied. As a philosophy student at Columbia University, he opts for photography, which he learns auto-didactically. The innovative and, at times, absolutely revolutionary aspect he imprints on every genre he touches, has earned him a professional status beyond all doubt. What is most outstanding in his portraits, first of famous personalities from the worlds of politics, culture and entertainment, and later of anonymous people from all walks of life, is a potent symbolism, both in the gestures and in the way the characters are revealed in each image; to such an extent that the objective of his portraiture is not the recognition of the person but rather the personality of the individual. In addition to his multiple commercial publications and exhibitions, Avedon’s work has been exhibited at the MOMA, the Metropolitan and the Whitney Museum, all of which are in New York, and the Ludwig Museum in Cologne, in 1994.

Balcells, Eugènia. Barcelona (Spain), 1943. She studied Technical Architecture at the University of Barcelona. In 1968, she moved to New York, where she earned a Masters of Fine Art at the University of Iowa. Since then, she has been living and working between Barcelona and New York. She is one of the key artists of Spanish contemporary art, and work deals with human beings, consumer society and the effects of mass media on the culture of masses. In her works, different media and languages are mingled: audiovisual installations in which sound, light and movement coexist with memory, the history of the commonplace, the fusion of the mystery of the essential with the magic of creation. In recent years, she has exhibited in the Museo del Barrio, New York, the MNCRA Reina Soffía, Madrid, the Centro Cultural of Belém, Lisbon, and the MACBA and the Palau de la Virreina, in Barcelona, in addition to numerous group shows, video festivals, installations and performances throughout the world. Most noteworthy among her prolific work are From the Center (1987), Sincronías (1995), Veure la llum (1996), En el cor de las coses (1998), the films Boy Meet’s Girl (1978) and For/Against (1983), and the videos Indian Circle (1981) and Tomorrow’s Colors (1982). At present, she is preparing her first full length 35mm film.

Baldessari, John. National City, California (United States), 1931. He studies painting at San Diego State College. In 1953, he becomes the Director of the Fine Arts Gallery of San Diego, and between 1955 and 1968, he teaches art at various schools and universities in San Diego. His first exhibition dates from 1960, at the La Jolla Art Center, in California. Between 1962 and 1972, he returns to teaching, this time at the University of California and at Hunter College. It is from 1980 on that he focuses on photographic production, and his manipulations of photographic images and of film are categorised as criticism of the role of art and artists in society as well as of violence and its presence in the visual art of the century. He is considered one of the main conceptual artists from the United States. He has exhibited in myriad museums and events throughout the world, among which, particularly worth mentioning, are the V and VII Documentas in Kassel, the Museum of Contemporary Art in Lyon, in 1960 and, recently, at the Museo de Arte Contemporáneo in Barcelona.

Balen, Céline van. Amsterdam (Netherland), 1965. She belongs to a new generation of Dutch photographers who admire classical painting and the modern photographic school of The Netherlands. Her work has focused on portraiture and almost always  depicts young women and girls. These close-ups always focus on a small feature in the face of the model. Her depictions of female immigrants from Eastern Europe in Germany after the fall of the Berlin Wall and her images of muslim girls in The Netherlands are outstanding. She has exhibited in The Netherlands, Germany and the United States. Her work forms part of the most important collections of The Netherlands.     

Barclay, Per. Oslo (Norway) 1955. After finishing his art studies in Italy, Per Barclay has shown his work in collective and individual exhibitions since 1985.With his work he has travelled to Norway, Sweden, the Netherlands, Switzerland, Italy,France, Belgium, Germany, Denmark and Greece. Although he is not considered a photographer in the strict sense of the term, he has developed a whole new genre with the photographs of his installations and sculptures. He currently lives and works in Paris.

Barney, Tina. New York (U.S.A.), 1945. Born and raised in the bosom of an elite Long Island family, she has spent much of her artistic career portraying her intimate surroundings, family relations, friends and colleagues. Using a large format camera and brilliant colors, she produces luscious, larger than life images, branding her own form of contemporary realism, thus sharing a vision of an upper crust world that most people never even get a glimpse of. She studied at the Sun Valley Center for Arts and Humanities during the late 1970s. Her work forms part of numerous American photography collections including the Museum of Modern Art, New York; the Smithsonian Institution, the International Museum of Photography at George Eastman House and the Chase Manhattan Bank, among many others. She is represented by the Janet Borden Gallery in New York and the spaces where she has had solo shows include the Denver Art Museum, the Museum of Modern Art and the International Museum of Photography at George Eastman House, Rochester. In 1997, the German publisher Scalo published an exceptional monographic book, which takes a retrospective look at this very personal work, Tina Barney Photographs: Theater of Manners.

Barton, F.W. (Great Britain), second half of the XIX century. During his period as administrator of the British colony in the region of Papua New Guinea, he made a great quantity of images with a very anthropological interest in tattoos. But his work surpasses the limits of a scientific anthropological study to take on a composition more in accordance with the artistic traditions of the end of the XIX century, as well as a marked sexual interest in the young natives. The tattoos that Barton reflected were unusual and, customarily, their contemplation by foreigners was not  permitted, both facts which make evident his political importance as the administrator of the region.

Belin, Valérie. Boulogne-Billancourt (France), 1964. Vélerie Belin presents us with photographs in black and white where every detail, every shade of gray and every brutal contrast between shade and light reveal the very nature of the photographic image. The Mirror’s series bring out the complexity of the subjects composition and context. From a perfectly black background the transparencies and textures of shaped and designed glass are brought out. This series along with the "Automobile Wrecks" from 1998, can be considered as near to those diverse series of clothes, or suits, that use the same perspective artifice of overturning the frontal plan of the frame. Another common element to these photographs is the fact that they all are concerned with the representation of things that have been "lived in", be they clothes or automobile interiors, which give off a certain sense of death, or absence. These photographs perform a twofold function: that of representation, of the body in particular and in perspective; and that of evocation, or of memory. Some of her individual exhibitions include Showcase of the Museum of Decorative Arts, Paris; Musée de Picardie, Amiens; Gallery 21, Tokyo; Artothèque, Caen; Centre d’art contemporain de Vassivière en Limousin in 1999 and shows at the Galerie Xippas, Paris; Gallery Prinz, Kyoto in 1998. She has collectively shown her work in Un monde irréel, Galerie Thaddaeus Ropac, Paris; La Mariée/La novia, Yvonamor Palix, Mexico City; Le corps du visible, Rencontres Internationales de la Photographie, Arles; Mariage, une histoire cousue de fil blanc, Museum of Fashion and Costume, Palais Galliera, Paris, all in 1999.

Bertillon, Alphonse. (France) 1853-1914. In the year 1872 the first photographic service, based on the Bertillon method of criminal recognition, is created in Paris. This method is in essence a study and cataloguing of criminal types based on photographs taken of convicted criminals, and their anthropomorphic analysis. In 1882, Bertillon is nominated director of this service with his own photography studio. This was the origin of modern-day bureaus of identification employed by police. 

Billingham, Richard. Birmingham (England), 1970. He studies Fine Arts at the University of Sunderland. In 1995, he obtains the Felix H. Man Memorial Prize and, in 1997, the Citibank Private Bank Photography Prize. In 2001, he participates in the Artists Work Programme at the IMMA, Dublin. His photographs, initially taken as sketches or studies for future paintings, present domestic scenes of his parents, brother or house pets, in a faithful reflection of a commonplace aesthetic. Between document and fiction, between heroic and tragicomic, he treats social and psychological stereotypes pertaining to the British working class. Among his exhibitions, most noteworthy are his participation, in 1997, in Sensation, at the Royal Academy of Arts, London, together with other members of the contemporary generation of British artists. His work has also been on view at the Anthony Reynolds Gallery, London; National Museum of Film and Photography, Bradford; Luhring Augustine, New York; Galerie Monica Reitz, Frankfurt am Main; Ikon Gallery, Birmingham; Museum of Contemporary Art, Szombathely, Hungary; De Appel Foundation, Amsterdam; Museum Moderner Kunst Stiftung Ludwig, Vienna; Castello di Rivoli, Turin and in the 49 edition of the Venice Biennial, 2001.

Blanca, Paul. Willemstad, Curaçao (Holland), 1959. An autodidact, he has a professional relationship with Robert Mapplethorpe. He lives and works, as a fashion photographer, in Amsterdam. His personal work has been exhibited regularly since the 1980s in European and American galleries and museums, and his photographs belong to both public and private collections.

Boltanski, Christian. Paris (France), 1944. An autodidactic artist, in the beginning his work consists of objects and, since the late 60s, also of photographs, his own and those of others, used for the reconstruction of personal and collective memory. What, during a first stage, started as a search for his own childhood, for his origins, over time has become a substantial document of the history of oblivion and loss, especially that of segments of populations massacred in wars or by other circumstances. His photographs, currently mostly originating from archives, are exhibited in a scenic manner wherein they constitute authentic installations amidst lights and shadows. Boltanski has become a part of a public and historical conscienceness. He has participated on a number of occasions, since 1972, in the Documenta in Kassel, and has shown his work at the Museum of Modern Art and in the Centre Georges Pompidou, both located in Paris, and in Spain, at the Centro Nacional Museo Reina Sofia, in Madrid and the Centro Gallego de Arte Contemporáneo, in Santiago.

Bony, Oscar. Posadas, Misiones (Argentina), 1941. A fundamental name within the realm of conceptual Latin American art, Bony started out combining several media: painting, drawing, installation and performance. After dealing with censorship and with a serious questioning of the ethics of the art system, Bony decided to retire from the scene for a period seven years (1969-75) during which he travelled to Europe, finally settling for Milan where he would live between 1977 and 1988, only to later go back to Buenos Aires wher he currently lives and works. Throughout his artistic project, time, death, violence, identity and borders have been the reference subjects of his work. From the early nineties onward, the camera and his photographic vision of painting –already present in a series like  Cielos-, will become preeminent in his artworks. He will turn to making series of photographic self-portraits in color and in a big format that, once they’ve been framed, will be subjected to the impact of gunshots. An exemplary artistic suicide that could be seen in shows like El Triunfo de la Muerte (Museo Nacional de Bellas Artes de Buenos Aires) and Fuera de las formas del cine, Reconstrucción (Museo de Arte Moderno de Buenos Aires), both in 1998.

Bradley, Slater. San Francisco, California (USA), 1975. The artist lives and works in New York. He studied at the University of California in Los Angeles. He is both photographer and video artist. He is also interested in cinematography and curatorial work. His work, both as a photographer and film maker, focuses on certain idea of solitude and isolation present in daily environments. He started exhibiting his work at the end of the 1990s and, in just a few years, he has had shows in American and European galleries such as Team Gallery, New York; Art & Public, Geneve and Yvon Lambert, Paris. He has also exhibited his work at international fairs such as Art Basel.

Buetti, Daniele. Fribourg (Switzerland), 1955. He lives and works both in Zürich and Berlin. His work focuses on the stereotypes of beauty defined by the fashion and advertising world. Upon the images he takes from specialized magazines, Buetti writes and marks faces and bodies with messages and brand names, creating tattoos, a corporal writing that satirizes the media and humanizes the women and men, the models of beauty, who are marked by his intervention. He criticizes and rejects the image cult and transforms those symbols of glamour and sophistication into human beings. He has exhibited, among other places, at the Galerie arsFutura, Zürich; Espai Lucas, Valencia; ACE Gallery, Los Angeles; Maison Européenne de la Photographie, Paris; MNCA Reina Sofía; Fotomuseum, Winterthur; National Institute for Photography, Rotterdam; Musée Royal des Beaux-Arts, Amberes; Kunstmuseum, Biel / Akademie der Kunstmuseum Bern; Museum für Gegenwartskunst, Migrosmuseum, Zürich; Maison Européene de la Photographie, Paris; MNCA Reina Sofía, Madrid; Musée de l´Elsée, Lausanne; Kunsthaus, Bregenz; Museum für Gegen-wartskunst, Zürich; Villa Merkel, Esslingen.

Burden, Chris. Boston (United States), 1946. He studies art at the University of Irvine in California. He begins his artistic career as a sculptor, but the gigantic dimensions of his sculptures make them unviable, so he turns to body art, of which he becomes a maximum exponent. From 1971 on, he presents performances, events and videos that explore the extreme limits of physical and psychological resistance, from shooting himself with a gun and real fire, to inviting spectators to poke him with pins, or crucifying himself over an automobile. In 1977, he participates in the Kassel Documenta.

Cahun, Claude. [Lucy Renée Matilde Schwob] Nantes 1894-Saint Hélier, Jersey, English Channel Islands 1954. A photographer and writer, she began to create photographic self-portraits around 1912. In approximately 1917 she adopted the pseudonym Claude Cahun. She moved to Paris in 1922 with her stepsister, lifelong partner and sometime collaborator Suzanne Malherbe (who signed Marcel Moore). There, Cahun briefly engaged in theatrical pursuits, while continuing to contribute to literary journals. In 1930 she produced Aveux non avenus (Avowals not admitted), a book of prose poetry and photomontages made in collaboration with Malherve. Cahun espoused leftist politics and played a role in the Surrealist movement, probably joining the Association des Ecrivains et Artistes Revolutionnaires by the end of 1932. Along with André Breton and Georges Bataille she was a founding member of Contre-Attaque, a gropup established in 1935n in response to the threat of fascism. In her self-portraits Cahun frequently presented herself costumed, made up, or masked as various personae, including a life-size “doll” and a Turandot-like figure. There is no evidence that she ever exhibited any of these photographs so it is likely that they were made chiefly for her own personal use. It is only recently, through such publications as Edouard jaguer’s 1982 Les mystères de la chambre noire: Le Surréalism et la photographie and the 1985 exhibition L’amour fou: Photography and Surrealism at the Corcoran Gallery of Art (Washington D.C.) that Cahun’s virtually unknown photographs were rediscovered.

Capa, Robert. Budapest (Hungary), 1913 - Indochina, 1954. Endre Friedman was exiled to Hungary due to his communist beliefs and moved to Berlin in 1931, where he studied journalism and sociology while working as assistant in a photography laboratory and afterwards at the agency Dephot. The Nazi presence forced his move to Paris, where he worked for the magazine Vu. In 1936, he took on his professional alias Robert Capa and, while covering the Spanish Civil War, he took the groundbreaking and daring shots that are renowned for revolutionizing photography, especially war photography. He went on to cover the Japanese invasion of China, World War II and the creation of the nation of Israel as well as the revolts in Mexico, Palestine and Cambodia, where he died victim of a landmine. Having been a photojournalist for magazines such as Life and Collier’s, he became a United States citizen in 1946, and the following year he founded the prestigious Magnum agency, alongside his colleagues Cartier-Bresson, Seymour and Rodger. Capa’s work is a basic reference of documentary reportage, with a strength that resides in its invocation of the absurdity of war while simultaneously maintaining the intensity of hope. After the World War, he turned to making portraits of his distinguished friends such as Picasso, Hemingway, John Huston and Ingrid Bergman.  Retrospective exhibitions of his work have been shown in numerous museums around the world, most noteworthy of which were the International Center of Photography, New York, the MNCA Reina Sofía, Madrid, and his work has been published by publishers such as Aperture and Phaidon.

Carrera, José Antonio. Madrid (Spain), 1957. He elaborates documentaries and reportage for the Spanish public television station, TVE. This professional experience has permitted him an acquaintance with very different cultures and peoples and, in them, by way of his photographs, he has sought the ever similar essence of human beings. In America, Asia and Africa, he has photographed the hospitality and compassion demonstrated by those who have nothing, the elegance of those who adorn their naked bodies or the dignity shown by some people living with violence and injustice. He has published his work in newspapers and magazines such as Panorama Travel of Milan or in shows like ARCO or the Frankfurt fair, but also in group shows (FNAC-Madrid, Museo del Agua of Lisbon or The Paul Kopeinkin Gallery in Los Angeles) and solo shows (Círculo de Bellas Artes, Casa de America, Museo de La Ciudad -as part of PhotoEspaña, Galería Berini, Barcelona and Galería La Kábala, Madrid). He was awarded the Foto Press 97 scholarship for “The Yanomami Relatives”. The private Cualladó collection, which was acquired by the IVAM funds three years ago, includes works by José Antonio Carrera.

Cartier-Bresson, Henri. Chanteloup, Seine et Marne (France), 1908. A photographer classic, Cartier-Bresson studied literature and painting in Cambridge and participated in the surrealist milieu of the era before turning to the photographic language. Beginning with a small Leica, he had his first solo show in 1932 at the Julien Levy Gallery in New York. His forte was reportage and street photography, taking trips to Africa, Mexico and the United States. Always sharing experiences and apprenticeships with the giants of his time, he worked in filmmaking with Paul Strand, Jean Renoir and Jaques Becker, exhibited with Manual Alvarez Bravo and Walker Evans, and he joined the staff of several periodicals as a photojournalist. During the Spanish Civil War, he made a short film about the republican effort. Back in France, he was detained by the Nazis, although he managed to escape from the Wuttemberg prison and join the Resistance. After the liberation of Paris, he began to photograph the most outstanding artists, his peers. In 1946, he went to the US and showed up at an exhibition of his own work that the MoMA had designed believing him dead in the war. Again, he surrounded himself with artists and intellectuals such as William Faulkner, Alfred Stieglitz and Saul Steinberg. In 1947, he became co-founder of the Magnum Agency alongside Robert Capa, Seymour and Rodger and spent the next twenty years of his life traveling around the world to cover the most important current events with his ground-breaking pictures. Among the most important books about his work are Henri Cartier-Bresson: Photographer, 1979, published by the International Center for Photography and Henri Cartier-Bresson: The Early Work, by Peter Galassi in 1987.

Chang, Patty. San Francisco (United States), 1972. Chang pursued her artistic career at the University of Callifornia and at the Academy of Fine Arts in Venice. She has come to be known in the New York artistic scene through her performance work where she intertwines diverse resources from body-art with late nineties post-feminism. Her proposals delve around subjects like the body, identity, sex or sickness. Her works, both in video and in performance, have a remarkable visual impact underlined by a highly critical content.

Clark, Larry. Tulsa (USA), 1943. The artist lives and works in New York. He is both photographer and film maker. He became well-known in 1971 for his work Tulsa, in which through photographs and films made in 1963, 1968 and 1971 he explains the provincial life of his friends and of himself. Drugs, sex and violence are shown clearly. In his well-known series, Teenage Lust (1983), The Perfect Childhood (1993) and his controversial film Kids (1994-1995), his main interests are both adolescence and youth. He has exhibited his work at the Musée d´Art Moderne de la Ville de Paris, Kunstmuseum of Lucern, Switzerland, Sala Parpalló of Valencia, Spain, The Museum of Contemporary Art of Los Angeles, and in the Venice Biennale in the year 2001, among others.

Collishaw, Matt. Nottingham (United Kingdom), 1966. He belongs to a group of young British artists who earned international recognition during the decade of the 90s, after the exhibition “Sensation. Young British Artists from the Saatchi Collection” (Royal Academy of Art, London, 1997). Currently, his work is centred on digital imaging and the creation of alternative fantastic worlds. In 1993, he participated in the “Aperto” of the Venice Biennial and later in group shows at the Walker Art Center in Minneapolis, at the Musee d’Art Moderne in Paris and at the Serpentine Gallery in London, among others.

Constantine, Elaine. Manchester (United Kingdom), 1965. After working as a freelance photographer, photography technician and instructor at the Salford College of Technology (a position she held for five years), she moved to London in 1992 to work as first assistant to photographer Nick Knight. At present, she is one of the most important and acknowledged fashion photographers in the United Kingdom. As a photographer specialized in fashion for teenagers, her dynamic style, full of energy, has substantially changed the world of fashion photography. Her photographic work has gone beyond the pages of the magazines to become part of the art scene. Her photographs have been included in several exhibits of British photography such as Look at me and Imperfect Beauty, shown at the Victoria and Albert Museum (London). She collaborates regularly for Vogue Italy and The Face.

Contreras, Luis. Valencia (Spain), 1959. Like a contemporary landscape, Luis Contreras’ photography compiles visions and fragments of our most ordinary surroundings. In his work, he uses fragments of images taken from film, television and signs, with a method reminiscent of the channel flipping of a modern-day TV spectator. This utilisation of colour and of the agglomeration of messages, icons and visual cliches configure a very particular body of work in which texts in English and parallelisms between similar forms with quite different contents are frequent. The structure of his pieces remind us of video installations in which video screens are superimposed and all sorts of messages, texts, forms and colours are crisscrossed. He has shown his work in numerous galleries and participated in group shows at the Museo Reina Sofía in Madrid, at the Santa Mónica centre in Barcelona, the Foundation Arte y Tecnología in Madrid, etc.

Cotthingam, Keith. Los Angeles, California (USA), 1965. His educational background of drawing and photography is continued with further studies of digital photography and interdisciplinary arts at the University of California in San Francisco. His artwork focuses on the relationship between fiction and truth. His series of work brought out here were made in the early 1990s, and can be described as a series of fictitious portraits of non-existing individuals or groups made of real fragments. He has exhibited his work in the Kunsthalle of Krems, Austria; Arken Museum, Denmark; Los Angeles County Museum, USA, Foundation Cartier, Paris, and other private galleries in Europe and the USA.

Craig-Martin, Jessica. United Kingdom. Educated at New York University, The New School and the International Center of Photography, both also in New York, Craig-Martin has focused her lens close up on the party hearty jet set. Whether at Cannes benefit luncheons or high society celebrations in the Hamptons, her photographs portray all the typical frills and thrills, fashionable dresses, pricey jewels, designer hairdos and poised attitudes of the prestigious actors of this privileged stage, always using cropped compositions to protect the identity of her subjects while also amplifying and caricaturizing the symptoms and symbols of their identity. She is represented by the Artemis Greenberg Van Doren Gallery, New York. She has had solo exhibitions at the Marureen Paley/Interim Art gallery in London, at Fiction Inc. in Tokyo and the Colette in Paris and the P.S.1 Contemporary Art Center, New York. This year, 2002, the MNCA Reina Sofía in Madrid will be showing her work in an individual show.

Cruz Megías, Juan de la. Murcia (Spain), 1959. An autodidact, he started taking photographs at the age of eleven, when he was given his first camera. At fourteen, he took his first wedding pictures and at 19, he set up his first professional studio. Specializing in wedding photography, in which he reflects all the individual and collective ritual of this social event, showing the emotional and sexual intensity as well as the social and ritual characteristics of weddings in contemporary Spain. He has published the book Bodas 1979-1999, Barcelona, 1999. In 2000, he was the winner of the best portfolio in PhotoEspaña. This same set of works has been exhibited at the Centro Cultural Conde Duque, Madrid, 2001; at Forum de l'Image 2001, Galerie Kandler, Tolouse, and at the galeria H2O, Barcelona.

Darzacq, Denis. France, 1961. At present the artist lives and works in Paris. In the year 2000 the Centre National de la Photographie asked him to photograph the youth of France. As a result, Darzacq has photographed youngsters and teenagers, as groups, as couples… in their usual environments. This extensive work has been awarded an Altadis Prize and as a result has been on display in both Paris and Madrid. He has also exhibited his work on galleries and museums in France, Japan and Spain.

Delvoye, Wim. Gante (Belgium), 1965. He lives and works in Gante and New York. His work is characterized by the diversity of media and materials utilized and by the systematic irony he employs to topple stereotypes of art and society, and by a great interest in the biological processes of the human body. Regarding his expository activity, most worthy of mention are his shows at the MUHKA, Amberes; the Kunsthalle of Nürnberg, in 1990, he participated in the Aperto of the Venice Biennial, in 1992 in the IX Documenta in Kassel, in the Centro Cultural de Belem, Lisbon, the Museum of Contemporary Art of Helsinki, and MNCA Reina Sofía, Madrid, in the exhibition No es sólo lo que ves: pervirtiendo el minimalismo.

Desprez, Bertrand. France, 1963. The artist lives and works in Paris. He started working as a photographer in the United States in 1989. This project would be followed by a series of portraits of jazz musicians, of travel photographs and of the four seasons in Japan, as well as some commissioned work published in French publications such as Jazz Magazine, Libération, L’Express, Télérama and Géo. Between 1993 and 1996 he documented extensively certain aspects of adolescence with the collaboration of young students from Paris. Editions Actes Sud has published several monographs of his work. Furthermore, he has also been awarded several national and international prizes and has had shows in Arles, Paris, Tokyo, Kyoto, Florence and New York. Since 1999 is member of the Agence Vu, Paris.

Dijkstra, Rineke. Sittard (Netherland), 1959. The artist lives and works in Amsterdam. All her artwork, characterized by frontal portraits of individuals and groups, focuses on teenagers and youngsters depicted in different attitudes. Young women, Israeli soldiers, students, girls in gardens, boys and girls on the beach, near the sea… All these moments are out of all daily difficulty and worry; the artist looks for the intensity of their personality. It is worth mentioning her shows at MoMA, New York; Museum Folkwang, Essen; Sprengel Museum, Hannover; Boijmans Van Beuningen, Rotterdam; and Venice Biennale, among others. She has had also displays in several galleries in both Europe and the USA.

Divola, John. Los Angeles (United States). Centred on photography as a method of analysis, Divola has a long trajectory with subjects such as frontiers, transgressions and crimes, works which he has exhibited in many different places around the world such as Australia, Holland and Japan, both in privately run spaces and public centres, among which are the PhotoBiennale of Enschede, the Siebu Gallery in Japan, The Center for Creative Photography in Arizona, the Museo Carrillo Gil in Mexico D.F. or the Whitney Museum of New York. He has been awarded several prizes and grants for his work, among which are the National Endowment for the Arts Photography Fellowships of 1974, 1977, 1980 and 1991. At present, he is art professor at the University of California at Riverside.

Doherty, Willie. Derry (Northern Ireland), 1959. Doherty’s work, his photographs as well as his films and videos, have always been closely related to the social and political situation of violence and, on occasion, of outright war, that he has experienced ever since childhood in Northern Ireland. Terrorism and violence, and city streets where these things happen, constitute the axis of his photographs. He was nominated for the Turner Prize in 1994. Among his most recent exhibitions, most worthy of mention are those celebrated in the ICA in London, the Tate Gallery in Liverpool, the MoMa of Oxford, the Kunsthalle of Berna, the Kunstverein in Munich and the Musee d’Art Moderne in Paris; in Spain, his work has been seen in Barcelona, at the Palacio de la Virreina and in San Sebastián, at the Koldo Mitxelena exhibition space.

Doisneau, Robert. Gentilly, Val-de-Marne (France), 1912 - Paris, 1994. Robert Doisneau, one of the the most famous and prolific French reportage photographers, is known for his photographs that portray all sectors of French society, and which mix the most elite social classes with the eccentric characters in the streets and coffee shops of contemporary Paris. Influenced by the work of Kertesz, Atget and Cartier-Bresson, Doisneau presented, in more than 20 books, an attractive vision of human fatality and life in the form of a series of silent moments made eternal by photography. He himself wrote, “The marvels of daily life are exciting; no film director can recreate the unexpected things that can be found on the street”. He studied engraving at the Ecole Estienne in Chantilly, but found this training out-dated and useless. He learned photography in the advertising department of a pharmaceutical company. He began to photograph details of objects in 1930. He sold his first photographic story to the newspaper Excélsior, in 1932. He was the photographic assistant of the sculptor Andrei Vigneaux, and carried out his military service before accepting a post as commercial  photographer for the Renault factory in Billancourt in 1934. Fired in 1939, he set out to work independently. He worked for the Rapho agency for a few months until he was drafted by the army in 1939. He joined the Resistence as a soldier and photographer, and made use of his engraving skills to falsify passports and IDs. He photographed the Occupation and the Liberation of Paris. Immediately after the war, he went back to work on his own, collaborating with LIFE and other important international magazines. He joined the Alliance agency for a brief period and resumed a collaboration with Rapho, which lasted for almost fifty years. Not in keeping with his inclinations, he made fashion and high society photographs for Vogue between 1948 and 1951. In addition to his work as photojournalist, he made portraits of a large number of artists: Giacometti, Cocteau, Léger, Braque, Picasso, Jacques Tati. Doisneau won the Kodak prize in 1947 and the Niepce prize in 1956. His work has been the subject of numerous retrospectives, including those held at the Bibliothéque Nationale of Paris, the Art Institute of Chicago, the George Eastman House in Rochester and the Witkin Gallery, both in New York, as well as the Fundació “la Caixa”of Barcelona.  

Duchamp, Marcel. Blainville, Normandy, 1887 - Neuilly-sur-Seine, 1968 (France). Marcel Duchamp’s work and attitude mark not only the passage between centuries, but also a way of understanding art and creation, which, between the pleasure of living and the exercise of intelligence, leads to a fracture in the concepts and procedures of artistic production. Influenced during his early years by Cezanne, the fauvists, the cubists and the futurists, his work will later derive toward less formal, more intellectual and mental suppositions, as he becomes interested in optics, mechanics, chess and yet also in pleasure and desire, as he questions the bourgeoisie status of the work of art in its entirety, through pieces like The large glass or his famous ready mades. After his participation in 1913 in the “Armory Show” in New York, he founds in that city a pre-dadá group together with Many Ray, Picabia and Alfred Stieglitz. In 1936, he participates in the “Surrealist Exhibit” of London and the “Fantastic Art, Dadaism, Surrealism” at the MOMA in New York. His interest in the double personalities of artists, the questioning of traditional artistic concepts, the influence of fate, seduction, sex and the voyeuristic tendency of the glance, as well as an iconoclastic and ironic genius, convert him into one of the essential creators of the XX century, whose shadow is cast over posterior movements for he is to become an obligatory reference for many turn-of-the-century conceptual artists.

Egoyan, Aton. Cairo (Egypt), Screenwriter, producer and director, Egoyan, now a Canadian citizen, began his career as a young filmmaker shooting short films. He is considered one of the most avant-garde directors of modern Canadian cinema. He has directed suggestive films such as The Adjuster (1991), his first known work abroad; Exótica (1994); The Sweet Hereafter (1997), based on the novel by R. Banks, Felicia´s Journey, 1999…) or Ararat (2001). His artistic work is centered in the field of installation. They have been shown at the Irish Museum of Modern Art, Dublín, at Le Fresnoy, Francia, the Oxford Museum of Modern Art, Oxford and more recently at the Venice Biennale, 2001.

Elsken, Ed van der. Amsterdam (Holland), 1925-1990. Van der Elsken got interested in photography when he came to know the work of Weegee. in 1947. Settled in Paris, he started working at the Magnum Agency laboratory where he came to know MOMA´s curator Edward Steichen who selected his photographs for the Post-War European Photography (1953) and The Family of Man shows. From 1959 to 1969 and form 1967 to 1982 (then working for Avenue magazine) he traveled over the world shooting a great number of photographs and making several videos, activity that would lead to independent films and documentaries such as La cámara enamorada (1971) and Adiós (1990). The variety of his subjects range from classic photojournalism to love stories, bohemian life style, jazz music or instant photos taken in Amsterdam, Paris and Japan. He’s work has been shown in the Chicago Art Institute, 1955, the Stedelijk Musem, Amsterdam, in 1966, 1971, 1984, 1989 and 1991, at the Institut Neerlandais, París in 1986, in Bunkamura Gallery, Tokio, 1993, at the Konsthall, Rotterdam and the Photographers’ Gallery, London, both in 1996, at the Kunstmuseum, Wolfsburg, en 2000, and at the Fundació “la Caixa”, Barcelona, in 2001.

Euba, Jon Mikel. Bilbao (Spain), 1967. Especially interested in narrative mechanisms, Euba utilises photography, as well as video and drawing, to create discontinuous stories, whether upon photographic media or large murals. Existent in his work is a discourse on the limits between what is real and what is fictitious, rife with personal experience, both in the subjects dealt with and the way of exhibiting them. The mise-en-scenes he photographs maintain a subtle alignment with what is real, with what is plausible, while being mysteriously unreal. He has exhibited in privately run galleries and in group shows, especially in Euskadi, among which his projects at Arteleku, in San Sebastián, Bilbao Arte, and Imago 99 in Salamanca are most worthy of mention.

Faucon, Bernard. Apt, Provence (France), 1950. Although he studied Philosophy at the Université de la Sorbonne, Paris, he has worked as a photographer since 1975. After his first artwork, characterized by a staging quality and devoted to toys, he photographed subjects related to space, natural elements and, very especially, to youth and adolescence. He has exhibited in numerous galleries and museums on an international basis and his artwork is part of some of the most important photographic collections around the world.

Fellman, Sandi. Detroit, Michigan (United States). She studied at the University of Wisconsin, Madison. She lives and works in New York, combining a prolific career of commercial photography with work in the artistic arena. Her photographs revolve around diverse themes: flowers, abstract nudes of parents and children, her first child, fashion, dance, mural photography, and the compilation of a collection of photographs taken by women for the cosmetic company Avon. Her recent work, images of butterflies, beetles and other insects, demonstrates an entomological interest in the small wonders of nature. For the last twenty years, her photographs have been published and exhibited with regularity virtually all over the world. One of her most outstanding series is The Japanese Tattoo, which was part of the exhibition “Body Art”, in the American Museum of Natural History, in 1999. Her photographs can be found in numerous permanent collections, among which, most worthy of mention are those of the Metropolitan Museum of Art and the MOMA, both in New York; the Los Angeles County Museum, L.A.; the Museum of Fine Arts, Houston; the Bibliotheque Nationale, Paris and the Center for Creative Photography in Tucson. Sandi Fellman is represented exclusively by the Edwin Houk Gallery, New York.

Figgis, Mike. Nairobi (Kenya), 1948. Director, screenwriter and composer. He settled in London where, before making his mark as a filmmaker, he studied music, performed with the R & B group The Gas Board and started making pop videos. He was a member of the British experimental theatre group The People Show for many years, before plunging into theatrical productions and eventually directing The House, an acclaimed TV production that led to his feature debut, Stormy Monday  (1988), a very stylish film which he also wrote. This impressive debut won him an offer to work in Hollywood, where he directed Internal Affairs  (1990); Liebestraum (191) and Mr. Jones (1993). Honoring his musical roots, he composed the scores for Stormy Monday; Liebestraum and Internal Affairs. Leaving Las Vegas earned him a Gold Globe (Globo de Oro) and the Concha de Plata for best director at the San Sebastian Film Festival.

Formiguera, Pere. Barcelona (Spain), 1952. Graduated in Arts (Art History) at the Universidad Autónoma de Barcelona. For a long period of time he has been exploring the way time passes by as felt by different subjects. Thus, he has photographed certain individuals from their childhood to their maturity. He has focused particularly on his mother producing a series of systematic portraits of her. His portraits, close-ups and full-length, always depict naked bodies. Only time will leave its mark on the skin of the photographer’s models. In the 1980s he collaborated with Joan Fontcuberta in the series Fauna.

Frank, Robert. Zurich (Switzerland) 1924. In 1947 he settles in New York where he currently lives when he’s not spending time in Mabou (Canada). He studies in where in 1941 he starts doing still photography in the film industry, a job he would keep until 1945. In 1946 he publishes his first photography book. Once in New York he starts working for magazines such as Harpers’s Bazaar. After being fired he devotes himself completely to independent photography. He travels to Peru, Bolivia, Spain and other European countries. As an independent photographer he free lances for magazines and advertising. In 1958 he publishes he’s best known book The Americans, a very personal homage to the United States that was received both, with criticism and with the recognition of his photographic skills. After 1958 Robert Frank moves into cinema.  His relationship with Kerouac and Ginsberg leaves a strong influence in his work. In 1958 he shoots his first short film and in 1960 he creates the group New American Cinema alongside Peter Bogdanovich and Jonas Mekas, among others. That same year he shoots Sin of Jesus. Robert Frank is considered one of the most important authors in the realm of American experimental film. Among his films Life Dances on, 1980, C’est Vrai, 1990, Movig Pictues, 1994, Flamingo, 1996 and Fragments, 2000 are worth mentioning. His photographic work has been shown in the most important museums in the world, among them New York MOMA, the Whitney etc. In Spain his work has been shown at the Parpalló de Valencia and more recently at the Museo Nacional Reina Sofia.

Freixa, Ferrán. Barcelona (Spain), 1950. He began working with photography around 1968, by 1969 he had already set up a photography lab and graphic design studio. Ferrán Freixa is an artist who has been able to combine his professional work within the world of graphic and interior design and architectural and industrial photography with his personal trajectory as an artist-photographer.   His photographs are characterized by a surprising while commonplace gaze over the compositional aspects of architecture and space, light and shadow and objects found by chance, all of it debating between a somewhat surrealist  aesthetic and an exquisite and abstract use of black and white. He has been included in important collective contemporary photography shows in New York, Tucson, New Mexico, Londres, Tremoli, Mexico and Paris. His work was also represented in the traveling exhibition Cuatro Direcciones: 1970-1990. His photographs have been acquired by museums and institutions in Spain, France, Switzerland and Mexico.

García Rodero, Cristina. Puertollano, Ciudad Real (Spain), 1949. She studied painting at the University Complutense de Madrid and holds a degree in Studio Art. She is professor of Photography at the Escuela de Artes y Oficios de Madrid. Since the end of the 1960s she has worked as a professional photographer. She has undertaken several research projects on festivals, rituals and traditions in several countries: Spain, Cuba, Germany, Haiti… She has been awarded several prizes such as the Eugene Smith (New York, 1989), World Press Photo (1993),  Gellschaft Fur Photographie (Köln, 1990) and Premio Nacional de Fotografía in Spain (1996). Her work focuses on the exploration of festivals, rituals, and customs of very different societies as well as in their effects on ordinary people. She has exhibited in private galleries as well as in state institutions in Europe, the United States and Latin America. She has participated in the Venice Biennale.

García-Alix, Alberto. León (Spain), 1956. A photographer who is emblematic of an entire section of society and its attitudes, García-Alix is an autodidactic artist with a potent mixture of purity and classicism, a few drops of anxiousness for new forms and contents which stem from his own personal life. In 1967, he moves to Madrid to enroll in secondary school. Later, in 1975, he abandons his law studies to dedicate himself to a series of journeys and experiences that he will illustrate with photographs evolving from portraits of personages and urban tribes to more carefully contrived images, intimate narratives of sentiments and situations, which are prolonged throughout the decades, friends, couples, deaths and discoveries: an entire life. In 1999, he is awarded the National Photography Prize in Spain. Most well known are his portraits of characters from the ‘movida madrileña’ and other inhabitants of the night and the wild side of life, as well as his self-portraits and an extensive series of photographs about tattoos. In addition to his work as photographer, he participated quite actively in the publication of the magazine El Canto de la Tripulación, he has written scripts for films and documentaries and directed several films for television. His photographs have been exhibited in numerous spaces and galleries, among which is the Galería Moriarty, Galería Juana de Aizpuru, PhotoGalería and the Círculo de Bellas Artes, all in Madrid, and the the Tecla Sala, Hospitalet de Llobregat.

Geleynse, Wyn. Rotterdam (The Netherlands) 1947. Before his last show at the Galérie Antón Wéller (Paris, 2000), Wyn Geleynse who resides in Ontario, has had multiple individual exhibitions in Canada and elsewhere. Among them the one at the Centre d’Art Contemporain of Basse Normandie (France, 1997) and his participation at the Sao Paulo Biennale of 1987 stand out. His work is included in important public and private collections like the Musée d’Art Contemporain in Montreal, the Art Gallery of Windsor and the Fondazione Italiana per la Fotografía.

Genovés, Pablo. Madrid (Spain) 1959. In photographs and photo-montages, Pablo Genovés captures more than mere images. From behind their smooth, glossy surfaces there there emerges a dream vision of memory both fecund and personal. This is a reality encapsulated in the two distinct motifs running through his work: the human body and a celebration of food.

Giacomelli, Mario. Seningallia (Italy), 1925-2000. One of the central figures of Italian photography. In his youth, he studied typography and painting and wrote poetry. He began taking photographs in his thirties and his most important work dates from the 1950s. In his early work, a strong influence from the painting of Morandi as well as the poetry of Leopardi can be detected. His subjects, in highly contrasted black and white, demonstrate a kind of melancholy that is characteristic in all Giacomelli’s work. Although he took many trips to Tibet and Ethiopia, he lived almost his entire life in his home town on the coast of the Adriatic Sea, carrying out work based on the personages and landscapes of his environment. In 2001, shortly after his death, the first large scale retrospective show, La mia vitta entera, was shown at the Palazzo delle Esposizioni, Rome and exhibited his entire body of work for the first time. He had solo shows in galleries and museums all around the world, from the Pushkin State Museum in Moscow, in 1987 to the Ludwig Museum, Cologne, in 1995.

Glassford, Thomas. Laredo (United States), 1963. The artist, who lives in Mexico City, has shown individually in museums like the Museo de Arte Contemporáneo de Oaxaca and the Museo de Monterrey, besides the usual gallery and international fair shows. His work stands out in collective exhibitions like Erógena (Museo de Arte Carrillo Gil, México and Stedelijk Museum voor Aktuelle Kunst, Gent, 2000), InSite 97 (San Diego-Tijuana), Así está la cosa. Instalación y arte objeto en América Latina (Centro Cultural Arte Contemporáneo, ciudad de México 1997), Colección (MEIAC, Badajoz 1995) and the 5th Habana Biennale (1994).

Godard, Jean-Luc. Paris (France), 1930. A Swiss citizen he lives and works in Rolle. Director and screenwriter, Godard is considered one of the most singular filmmakers of the second half of the XXth century. At his beginnings around 1950, he was related to the French Nouvelle Vague alongside Truffaut, Rivette and Rohmer, and to the film magazines Gazette and Cahiers du Cinema, in which he published several theorical and critical texts. It is during these years that he makes movies of very different  genres like A bout de souffle, 1959, Le petit soldat, 1960, Une femme est une femme (1961), Les carabiniers, 1963, Pierrot, le fou, 1965, Week-End (1967) o La chinoise (1967), which will appear as the transitional movie to his more political and sociological period, a time in which he signed his works under the umbrella of the collective Dziga Vertov. From the seventies on the use of video will become a common resource in his films which range from the experimental to the more common structured pieces such as Tout va bien, 1972, Prénom: Carmen; 1983, Je vous salue Marie, 1985, Nouvelle Vague (1990). His passion for cinema, its history and the possibilities of editing with video and televisión will be a constant subject in his later work. His reflections are gathered in the book and film series Histoire(s) du Cinéma (1998).

Goicolea, Anthony. Georgia (USA), 1971. He has studied in Madrid as well as in the states of Georgia and New York. At present the artist lives and works in New York. He elaborates self-portraits that are included in the images he produces. These images are staged and include make-up work as well as light effects and digitization. In the staged scenes the photographer enacts characteristic scenes from puberty and adolescence: the first kiss, scatological scenes, games and fights… which appear to us as snapshots of incomplete stories. Between irony, horror and provocation, the cloning and multiplication of the ego, the vanity, producing provocative images which disturb the spectator despite their apparent innocence.

Goldin, Nan. Washington (U.S.A.) 1953. She lives and works in New York. Focusing on human relationships, fragile and demolishing at the same time, Goldin’s became one of the most internationally reputed bodies of work during the 1990s and one of the unquestionable references for young artists. She uses the photographic lens as a finger pointing to the wounds and the intimacy of a society marked by desolation and the effects of love and lack of love. Her close-ups, scant barriers and spurning of current morals and modesty make her photographs harsh and yet endearing documents gripping the viewers’ memory like parts of their own experiences. Her series on her friends, lovers and family members have become authentic symbols of sentimental relations at the turn of the century. Her most outstanding works include The Ballad of Sexual Dependency, 1981-1996 and I’ll be your mirror, which demonstrate her way of working: in series, photographs and projections at the same time, with musical accompaniment, which in her latest series have become short and medium length videos. She has exhibited in the most important centers around the world, most noteworthy of which are the Whitney Museum, New York, the Kunsthalle, Viena, and, in 2001, at the Pompidou in Paris, an exhibition that will travel to the MNCA Reina Sofia, Madrid, in 2002.

Gómez, Germán. Madrid (Spain), 1972. He holds a degree in Studio Art (Photography) from Universidad Complutense de Madrid. He has also graduated in Special Education. He combines his work as a photographer with his job as instructor in a school for disabled children. He has participated in several contests and one-man and group exhibitions. He has also been awarded several grants. In the year 2001 he has won the Injuve prize of photography for his series Yo, tú, él, ella, nosotros, nosotras... His artwork focuses on portrait photography and his best-known series depicts disabled teenagers.

Gonnord, Pierre. France, 1963. Has been living and working in Madrid since 1988. His work is centered on portraits of young men and women, in which the faces and a few other meaningful elements conform portraits that are cold and isolated from time and place. He has exhibited, for example, at the Galería Jauna de Aizpuru and the Canal de Isabel II, both in Madrid, and at the Filomena Soares gallery in Lisbon. His work is included in the following public collections: MNCA Reina Sofía, Madrid; Casa Europea de la Fotografía, Paris; Colección Comunidad de Madrid; Fundación de Fútbol Profesional, Madrid; Museo de Arte Contemporáneo of Alava. He was presented by the Juana de Aizpuru gallery at ARCO, Art Basel and Paris Photo. 

González Torres, Félix. Guáimaro (Cuba) 1957 - New York (United States) 1996. Belonging to Cuban emigration, he ends up in Spain first, then in Puerto Rico and finally in New York, with visits to Miami. His work, difficult to define, consists of installations, photographs, prints and videos, all with a powerfully subjective and autobiographical content. His work has recently been shown at the Sprengel Museum of Hannover, the Museum Moderner Kunst in Vienna, the MoCA of Los Angeles, the Musée d’Art Moderne de la Ville de Paris, the Guggenheim in New York and the Centro Gallego de Arte Contemporáneo in Santiago de Compostela.

González, Juan. Madrid (Spain), 1973. She lives and works in Valencia. Educated at the University of Alicante and at the Escuela de Artes y Oficios of Valencia with a specialty in Image and Sound, he has already received several grants and awards throughout his short but successful career. Inhabited or stripped spaces, from a vital, social or even intimate perspective, are the motifs of of his different series: Habitaciones, focusing on the empty rooms of cloister nuns, Valeriola, a sort of archeology and residue of the everyday in the deserted landscape of the street, or Salones, the representation of the ritual comedy of collective, depersonalized banquettes and luncheons, where all the facial features of the guests have been eliminated. His work has been exhibited in Spanish institutions such as the Canal Isabel II, Madrid (1999) or the IVAM, Valencia, in addition to international events such as the Miami Fair (2001), with the Luis Adelantado gallery, from Valencia.

Göttlicher, Björn. Bamberg (Germany), 1972. Trained as a photo-designer at the Fachhochscule of Dortmund and the Fine Arts College of Barcelona, where he was a student of Manolo Laguillo. For a time, he lived in Paris, where he worked as an intern in Gerhard Vormwald’s studio. His work Polaserien, an intimate series that robs very personal instants from unknown people,  earned him a name in the photography world. His latest project, carried out in 2000, In memoriam Barri X, is a series of analytical photos about a neighborhood in Barcelona. At present, he lives in Barcelona and works as an architectural and reportage photographer in Spain and Germany. He has published his work in several international magazines such as Merian, Spiegel Reporter, La Vanguardia, Altair and Camera Austria.

Graham, Dan. Urbana, Illinois (United States) 1942. Since the mid-1960s, Graham has produced an important body of art and theory that engages in a highly analytical discourse on the historical, social and ideological functions of contemporary cultural systems. Architecture, popular music, video and television are among the focuses of his provocative investigations, which are articulated in essays, performances, installations, videotapes and architectural/sculptural designs.  Graham began using film and video in the 1970s, creating installation and performance works that actively engage the viewer in a perceptual and psychological inquiry into public and private, audience and performer, objectivity and subjectivity. Restructuring space, time and spectatorship in a deconstruction of the phenomenology of viewing, his early installations often incorporate closed-circuit video systems within architectural spaces. The viewer’s perception is manipulated and displaced through such devices as time delay, projections, surveillance and mirrors. Graham has published numerous critical essays and is the author of Video-Architecture-Television (1980). His work is represented in the collections of numerous major institutions in the United States and Europe including the Moderna Museet, Stockholm, Centre Georges Pompidou, Paris and The Tate Gallery, London. He has had retrospective exhibitions in Eindhoven, Oxford, Berne, Chicago and Pert. He has been represented internationally in several group exhibitions, festivals and institutions. He currently lives in New York.

Greenaway, Peter. (England) His artistic studies are oriented toward painting and, in 1965, he starts working as a film editor. In 1966, he begins to make his own films, although, from this date on, he simultaneously fulfills the role of painter, novelist and illustrator. With the premiere of The Draughtsman’s Contract, 1982, he is acclaimed by critics around the world as one of the most original and outstanding creators of the contemporary film scene. His most worthy films include The Belly of an Architect, 1987; Drowning by Numbers, 1988; The Cook, The Thief, His Wife and Her Lover, 1989; Prospero’s Book, 1991; The Baby of Macon, 1993 and The Pillow Book, 1995. He has received several international cinematographic prizes. As a plastic artist, he has exhibited in both private and public galleries, the most outstanding of which are the shows held at the Palais de Tokio, Paris; the Australia Center for Contemporary Art, Melbourne; Museo Rufino Tamayo, Mexico D.F.; and the Cultural Center of the Bank of Brasil in Río de Janeiro. In Spain, he has exhibited at the Casa de la Parra in Santiago de Compostela. Of all his artistic activities, his role as curator is of utmost importance, as he has curated exhibits as relevant as that at the Boymans-van Beuningen of Rotterdam in 1991, The Physical Self; Watching Water at the Palazzo Fortuny of Venice; Flying Over Water at the Fundación Miró in Barcelona, and he is to carry out a curatorship at the Biennial of Valencia at 2001.

Grimonprez, Johan. (Trinidad Isles), 1962. He studied at the Akademie voor Schone Kunsten, the School of Visual Arts in New York, the Whitney Museum Independent Study Program in New York and the Jan Van Eyck Akademie of Maastricht. At present, he lives in Gent and New York. His works, in video, have been shown in the Georges Pompidou Centre in Paris, the Documenta X of Kassel, the Deste Foundation in Athens, the Kunsthaus in Zurich and, in Spain, at the Centro Gallego de Arte Contporáneo in Santiago de Compestela. His most known works, such as “Dial History”or the mobile video theatre “Prends garde! A jouer au fantôme, on le devient”, constitute a scheme of interrelations between visual language, cultures, history, politics, means of communication, irony and humour, wherein violence and fear are contemplated as everyday objects, demythologised and decontextualised into a dynamic collage of television sequences of documentaries and news broadcasts.

Gursky, Andreas. Leizpig (Germany), 1955. He grew up in Düsseldorf, where he lives and works. He took up photography thanks to his father, a successful commercial photographer. At school, he was a student of Otto Steinert, at the Folkwangschule de Essen, and of Bernd Becher at the Kunstakademie de Dusseldorf. His photographs of human or urban throngs, highways, colossal architecture, minimalist interiors, sports fields, and immense and sublime landscapes have characterized a good part of the German photographic tradition of the 1990s. His high quality works, in color and large formats, enter the world with close-ups that become opulent and spectacular reflections of the contemporary art scene and symbols of Western civilization. He is represented by the galleries Monika Sprüth, Cologne, and Mathew Marks, New York. Among his diverse exhibitions, well worth mentioning are those held at Portikus, Frankfurt, 1995; Kunsthalle, Düsseldorf, 1998; Serpentine Gallery, London, 1999; MoMA, New York, and Palacio de Velázquez, MNCA Reina Sofía, Madrid, in 2001.

Hilliard, David. In a selection of this individual and collective shows his intense presence in the Spanish circuit stands out since 1997 when he presented A Life in Progress at the Espai Fotográfic Can Baste in Barcelona. He has also had shows at the Patio de Escuelas de la Universidad de Salamanca and at the Centro de Fotografía de Tenerife. Colectivelly he has been included in 7 x 7 x 7 at the Sala Rekalde in Bilbao, Retratos de Todos los Días at the Canal de Isabel II and ARCO 98. His work has been featured in Blind Spot magazine and is part of private and public collections in the United States, Spain and France. In 1995 he was awarded a Fullbright fellowship.

Hilliard, John. Lancaster (Great Britain), 1945. At present, he lives in London and teaches at the Slade School of Fine Art. Hilliard’s work expounds a great variety of theoretical and formal options relating to representation, to the survival of memory, to the superposition and dialogue of surfaces and images. It is not a new formalism but rather profoundly theoretical expositions applied to the photographic image. Among his most outstanding themes are the limits of identity and representation, real and phantasmagorical, and, indeed, he creates a mise-en-scene that is sometimes violent and sometimes ironic, but always mysterious. He has exhibited, in addition to in dozens of privately run galleries throughout Europe, at the MOMA of Oxford, the Ikon Gallery of Birmingham, the Sprengel Museum in Hannover, the ICA of London, the Kunsthaus Dresden, Kolnischer Kunstverein in Cologne and, in Spain, in 1999, at the Centro de la Fotografía de Salamanca and at the Palacio de Revillagigedo in Gijón.

Hine, Lewis. Wisconsin (USA), 1874 - New York (USA), 1940. In 1900 he enrolled as a student of the Department of Sociology of Chicago University and, later on, at the Columbia University, New York. He starts taking photographs in 1904 although he would not photograph regularly until graduation. He became instructor and director  of a photo-club. From 1906 to 1917 he developed a project for the National Child Labour Committee (NCLC). Since his enrollment in the Red Cross he traveled to several European countries, such as France, Italy and Greece. His style evolves from a plain, objective documentary work to a more subjective style and interpretation of reality. His work Child Labour in Carolina was a determinant factor in a new labor law. In 1930 he was contracted to document the construction work of the Empire State Building of New York, his most famous work that he would define as “interpretations of industry”. He is considered the greatest exponent of social and documentary American photography, and his influence has been profound in social photography around the world. His work is part of the most important photographic collections of the world and has been exhibited on an international basis. In Spain, IVAM, Valencia, has organized a one-man exhibition of his photographs.

Hopper, Dennis. Dodge City, Kansas (United States), 1936. Currently living in Venice, California. Hired by Warner as an actor he played a series of minor roles in numerous films. In 1968 he wrote, directed and featured in the very successful Easy Rider that became a critical sensation. It was followed by The last movie (1971) and Out of The Blues (1980). He made important contributions as an actor in films like Der amerikanische Freund (W. Wenders, 1977) and Apocalypse Now (F.F. Coppola, 1979) or Blue Velvet (D. Lynch, 1986). His artistic work that goes back to 1961, is mainly photographic although he has made some paintings and performances. It has been shown at the Fort Worth Art Center, Texas; Tony Shafrazi Gallery, New York; Museum of Fine Arts, Houston; Kunsthalle Basel; Sala Parpalló, Valencia; Galerie Hans Mayer, Dusseldorf; Parco Gallery, Tokio. The Stedelijk Museum in Ámsterdam showed a retrospective of his work this year.

Illana, Fernando. Talavera de la Reina, Toledo (Spain), 1950. At present, he lives and works in Vitoria. In his work, the material and language employed spring from the conceptual objectives of the artist, who, despite the use of photography in some of his work, cannot be considered a photographer but an artist working from conceptual premises. Since 1974, he has achieved a solid preeminence with solo and group shows in Northern Spain and international fairs like ARCO and Art Basel, among others. His work has been present in exhibitions such as 40m2 Utiles 92, Grand Palais, Paris, 1992; Adentro Afuera, Galería Trayecto, Vitoria, 1996; Memoria y Topografía, Galería Vanguardia, Bilbao, 1998; Art Forum Berlin, 1999. 

Jaar, Alfredo. Born in 1956 in Santiago de Chile In his photographic installations, Alfredo Jaar offers a radical critique of the western conception of a world divided between the centre (the west) and the periphery (the others). By giving a face and a voice to populations which are still struggling for their recognition and dignity, he evokes a world in which we are all "others", and in which all faces have their own individual stories of oppression, resistance and march towards freedom. A selection of his recent exhibitions includes Francke and Schulte Gallery, Berlin and the Johannesburg Biennal in 1997, Happy End, Kunsthalle, Düsseldorf, Germany and Macht/Onmacht, MUKHA, Antwerp in 1996. He has publisehed more than 30 artists books that record his trips around the world. He currently lives and works in New York.

Jaar, Alfredo. Santiago de Chile (Chile), 1956. At present, he lives in New York City. He is a conceptual artist who habitually uses photography in his installations. In the entirety of his work, Alfredo Jaar offers a radical criticism of the Western conception of the world, which divides it into the center (the Western world) and the periphery (the others). By giving the peoples who are still fighting for recognition and dignity a voice, he evokes a world in which we are all ‘others’, and in which each face has its own individual history of oppression, resistence and march toward freedom. A selection of his recent exhibits includes the following: Francke and Schulte Gallery, Berlin; Johannesburg Biennial, 1997; Happy End, Kunsthalle of Dusseldorf; Macht/Onmacht, MUKHA, Amberes, 1996; and, most recently, the Centre d’Art Santa Monica, Barcelona. He has published more than 30 art books that register his artwork and his voyages around the world.

Kertesz, André. Budapest (Hungary) 1894 – New York (United States) 1985. While serving in the Austro-Hungarian Army in the Balkans, Kertész started taking pictures that documented the hungarian revolution of 1918. In 1917 he was already working as a commercial photographer for the newspaper  Erkedes Ujsag.  That same year he travelled to Paris where he set up his studio as a portrait artist and illustrator participating of the artistic circle in Montparnasse where he photographed various artists and writers. Alongside his independent work for several magazines he started showing his artistic work in 1927. He became a very popular photographer thanks to his urban images of Paris in the thirties. Taken with a Leica they came out with a kind of spontaneous air that was an audience pleaser. His Distortions date also from these years: photographs of bodies reflecting in distorted mirrors. He was an inspiration for Brassaï, Capa or Cartier-Bresson for his way of capturing the poetic side of Paris with his camera. In 1936 he moves to New York where he makes fashion and interior photography for Condé Nast publications. This city will also be continously captured through his lens. He was awarded several honors and prizes, in 1974 he received form the French government the title of Commendeur de l’Ordre des Arts et Léttres. His works have been shown around the world, from the MOMA, to the Bibliothèque Nationale in Paris or Kassel’s Documenta.

Kiarostami, Abbas. Teheran (Iran), 1940. He studied fine arts and worked as a painter, poster designer and advertising cinema technician. In 1969 he created the Cinematographic Department for the Intellectual Development of Children and Adolescence Institute; subsequently he shot several didactic short films and dedicated three feature films to the complicated educational situation in Iran. Zir e darakhtan e zeyton (1994), earned him the Espiga de Oro Award at the Valladolid Film Festival. However, for some critics, it is in the earlier film Zendegi Edameh Dara, (1992) were he reached the maximum expression of his creative work. His work is frequently present at art shows and exhibitions and it has been made known to art world mainly through his activities at La Galerie de France or his participation in collective shows like La ciudad de los cineastas, CCCB, in Barcelona this year.

Kubrick, Stanley. Manhattan, New York (United States), 1928 – Hertfordshire, London (United Kingdom), 1999. He began his work as a photographer for Look Magazine between 1945-1950 but he soon directs his attention to cinema. Gifted with an obsessive intelligence and the basic resources of the craft, he came to position himself as one of the best known directors of the second half of the XXth century through films that cover every film genre: The Killing, 1956; Paths of Glory, 1958; Spartacus, 1960; Lolita 1962; (Stop Worrying and Love The Bomb, 1963; 2001: A Space Odyssey, 1968; A Clockwork Orange, 1971; Barry Lyndon (1975); The Shinning, 1980); Full Metal Jacket, 1987. Eyes Wide Shut (1999), was his last and posthumous  movie.

Lehtola, Jouko. Helsinki (Finland), 1963. Studies art, design and photography at the University of Helsinki. His artwork has been extensively exhibited in his country (where he has been awarded the most important prizes and grants for young photographers). These pictures focus on youth from different points of view. His best-known series are Young Heroes (1995-1996),  Urban Youth (1997-2000) and Marked Skin (1999). His images of youngsters in parties, discos and meetings, and of young people drunk offer an accurate representation of some habits and customs of Western youth.

Leonard, Zoe. Liberty, New York (United States of America), 1961. Since the eighties  Zoe Leonard has been an active participant in the artworld and in various areas that go form photography to video, film and theater. Besides a prolific series of collective shows around the world (Israel, Croatia, Switzerland, Australia or Poland among others), she has recently showed individually at the Centre National de la Photographie (Paris 1998) and at the Philadelphia Museum of Art (Philadelphia 1998).  In 1997 she was included in the  Whitney’s Biennial at the Whitney Museum of American Art en Nueva York.

Lobato, Xurxo. A Coruña (Spain), 1956. He lives and works in A Coruña. With an undergraduate degree in Geography and History from the University of Santiago de Compostela, he has been a graphic reporter for several periodicals El País, Cambio 16, Der Spiegel  as well as the agency Cover. At present, he is director of photography and graphic archives at La Voz de Galicia. The contrasts and cohabitation in rural and vernacular contexts in Galicia and the penetrations and imbalances of urban post modernity characterize Lobato’s images, taken as representative fragments of a society in which kitsch and picturesque is blended with the tenderness and melancholy of the Atlantic landscape that flanks the “Camino de Santiago”. Among his numerous publications, most noteworthy are Imaxes da arte en Galicia, 1991, Foundation Barrié, A Coruña; La flecha amarilla, 1998, El País-Aguilar, Madrid; Compostela, tradición y vanguardia,  Pub. Lunwerg, 2000. His work has been shown, among other centers, at the Caixa Galicia Foundation, A Coruña, 1996; Círculo de Bellas Artes, 1997, yandPhotogalería, 2002, both in Madrid.

Lockhart, Sharon. Norword, Massachusetts (USA), 1964. At present she lives and works in Los Angeles, California. After completing her studies of Studio Art in San Francisco and being awarded various grants like the Rockefeller Foundation film/ video/ multimedia fellowship, she has developed a work based on photography and video. Among others, she has exhibited in the Museum of Contemporary Art of Chicago,  Boijmans van Beuningen of Rotterdam, Deichtorhalle of Hamburg as well as in the last edition of the Lyon Biennial. The influence of film classics and the constant reference to literature is profound. One of her most usual topics is adolescence and the transition from puberty to maturity. Her images have a strong psychological content.

Lüthi, Urs. Luzern (Switzerland) 1947. The artist who currently lives between Munich and Kassel in Germany, turns to all kinds of languages and supports in his work, photography being just one of them. His work is characterized  by the way in which it involves his own life and physical presence in each piece, giving it a dramatic weigh that contrasts with the apparent banality of a happy world and with certain surrealist aspects. The idea that the artist is “a mirror” for others is present throughout his work. He has exhibited individually and collectively in hundreds of cities around the world, in private galleries and museums as well as in public institutions. His last exhibit, Run For Your Life: Placebos and Surrogates, has been shown in the Swiss Institute in New York this year. He has been a professor in the Kunsthochschule at Kassel University since 1994.

Lynch, David. Missoula, Montana (United States), 1946. He studies art during the sixties. At first interested in painting, his film career begins with the disturbing Eraserhead, 1976 that would be followed by The Elephant Man, 1980 or the legendary Blue Velvet, 1986. He alternated his work between movies and TV and eventually gained massive recognition for his directing job in the series Twin Peaks. He won the Cannes Palm D’Or Wild at Heart, 1990 that would be followed by Lost Highway, 1997, The Straight Story, 1999 and Mulholland Drive (2001). Painting and photography stand side by side in his artistic work that has been shown in galleries and museums around the world, from the Leo Castelli Gallery, New York, to the Tokio Museum of Contemporary Art, Tokio, including the Sala Parpalló in Valencia.

Madoz, Chema. Madrid (Spain) 1958.His first photographic show in 1985 was followed by  several individual and collective shows in galleries and museums throughout Spain and other countries. His work revolves around the universe of objects and multiple appearances, games and associations in which the poetry of the thing  and the memory of surrealism are always present. His photographs, always in black and white, has helped to make way in national museums for the younger generations of photographers. Since1994 he’s always present at ARCO. Last year the MNCARS dedicated him an important exhibition where he showed his work from the last ten years. His photographs are included in important institutional collections that include: CGAC, IVAM, Fundación Juan March, Marugame Hirai Museum (Japan) and Fundación Telefónica.

Mann, Sally. Lexington, Virginia (USA), 1951. She lives in Lexington with her family, in the same house where she was born. She has been awarded several prizes and grants like NEA, NEH The Friends of Photography and the John Simon Guggenheim Foundation. Despite her  strong attachment to her native town she has exhibited her work and taught classes and seminars in the USA and Europe. Her best-known work focuses on growth, the childhood and puberty of Jessie, Emmett and Virginia, her offspring. Although her later work deals with the landscape of her native Virginia, her family portraits (Immediate Family) taken from the 1980s on have defined her work, often considered an affront to morality. Her work has become a symbol of contemporary photography.

Mar, Marina del. Almería (Spain), 1963. Her work as press photographer allows her to access the world of inaugurations and social events that have very diverse facets. Beyond the informative task, she develops a visual investigation of social aspects that are always very involved with the world of women. Families, leisure, consumerism and beauty in contemporary society and, indeed, high society cocktail parties, openings and public encounters are the themes most often touched on in her works. Most outstanding in them is the direct approach and the themes centered around the cinema world. She has exhibited in photography festivals such as PhotoEspaña, Madrid, 1999 and Encontros da Imagem, International festival at Prague, in 2000.

Marker, Chris. Neuilly-sur-Seine (France), 1921. Related since the fifties with the practice of modern documentary, the ample work of Marker –that includes classic and unclassifiable titles as La jetée (1962), Le joli mai (1963), Si j'avais quatre dromadaires (1966), Le fond de l’air est rouge (1977), Sans soleil (1982) or Le tombeau d’Alexandre/The Last Bolshevik (1993)- has sailed for decades between film, writing and photography. During the nineties  he also explored the fields of television, video-installation  (Silent Movie, 1995) and digital and interactive supports (Inmemory, CD-Rom, 1998, Editions du Centre Pompidou, Paris). His last film works are Level Five (1996) and Une journee d’Andrei Arsenevitch (2000), as well as the open work Roseware (since 1998), or the screenplay for Twelve Monkeys (1995), directed by Terry Gilliam. His screenings and video installations have been shown at the  Fundació Antoni Tápies, Barcelona, and the Centro Andaluz de Arte Contemporáneo, Sevilla, in 1999, as web as in collective shows like Video Spaces: Eight Installations, MOMA, New York, 1995, or Lugares de la memoria, EACC, Castellón, 2001.

Markus, Kurt. Roundup, Montana (United States), 1947. Kurt Markus has had various lives as a photographer, beginning with his notable work on jeans in the American West. Fashion photography is his most recent interest. Whatever the theme, he is most known for his sense of realism and his decidedly direct and not the least bit artificial approach to the creation of images. Kurt Markus’s photographs have appeared in a wide range of magazines and books, including the French, British and Australian editions of Vogue as well as Esquire, Mirabella, Travel & Leisure, New York Times Magazine, Elle, Men’s Journal, American Way, New Yorker Entertainment Weekly, Interview and Harper’s Bazaar. In 1994, Rolling Stone selected Markus as one of the five photographers to participate in a special 25^th anniversary edition presenting the living legends of rock-n-roll. Following his three books on jeans, After Barbed Wire (Twelvetrees, 1985), Buckaroo (New York Graphic Society, 1987) and Cowpuncher (Wild Horse Island Press, 2000), was a small monograph on fashion photography, Dreaming Georgia (Cut, 1994); and Boxers (Twin Palms, 1998). He has carried out advertising campaigns for clients such as Calvin Klein, Sony, Armani, Nike, AT&T, Perry Ellis, Sonia Bogner, Levi’s, BMW, Giorgio of Beverly Hills and Tommy Hilfiger. He has exhibited his work at the Staley-Wise Gallery, New York; Photology, Milan and Parco Gallery, Tokyo, among others. 

McAlinden, Mikkel. Oslo, (Norway), 1963. He studied at the National College of Art and Design in Bergen. Professor of photography at Kunsthogskolen, Bergen, he lives in Oslo. He has won a significant number of grants in his own country and his work forms part of many of Norway’s most important photography collections. In an effort to convey ideas on perception, he feels that computer-digital techniques permit him freedom to transcend the restrictions of the traditional analogue camera. Being the digital artist he is, his well honed website is a virtual gallery exhibiting several of his works, including Endgame. In this series, he explores the visual possibilities of a poker game as a pretext for the exchange of perceptual information. He has had solo exhibitions at the Ostfold Artist Centre, Fredrikstad, 1999; Rogaland Artist Centre, Stavanger, 1999 and Gallery K., Oslo, 1999.

Meene, Hellen van. Alkmaar (Netherland), 1972. The artist lives and works in Alkmaar. She is one of the most outstanding examples of renewal and power of contemporary Dutch photography. Her influence on the work of other photographers has been called “the Rineke effect”. Despite her age she has had one-man shows in London, Tokyo, Amsterdam, Los Angeles and Milano. In 1999 she was awarded the Charlotte Kohler Prize. Her photographs deal with female adolescents immersed in a process o