Photography
DROP ENDED
TMRW (Tomorrow)
DER GREIF
Two years (and counting) of Covid and quarantine has allowed us to reevaluate the contours of our lives; where and with whom we live, what institutional systems do or don’t work for us, what we keep and what we discard, both materially and psychologically.
LAUNCH GALLERY VIEW
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The Artist
TMRW (Tomorrow), a collaboration between Quantum Art and the online photography platform Der Greif, comprises work by three artists whose work visualizes what an uncertain future may look like.
View artist's profile
The Story
Two years (and counting) of Covid and quarantine has allowed us to reevaluate the contours of our lives; where and with whom we live, what institutional systems do or don’t work for us, what we keep and what we discard, both materially and psychologically. Shaking off what was, and embracing what will be, is necessary.
A call for submissions was held and three artists were chosen to drop their collections. Marcin T. Jozefiak, Julia Kafizova, and Margaret Murphy.
Ukrainian photographer Julia Kafizova uses her body to contemplate physicality from the maker's and the observer's position. Self portraits allow us to meet ourselves, and others. We simultaneously move away from our body, looking at it from a distance and from the side, and approach it, seeing the smallest details perhaps for the first time. The near and far dialectic brings our understanding of our own body to a completely new contemplative and conceptual level.
Ukrainian photographer Julia Kafizova uses her body to contemplate physicality from the maker's and the observer's position. Self portraits allow us to meet ourselves, and others. We simultaneously move away from our body, looking at it from a distance and from the side, and approach it, seeing the smallest details perhaps for the first time. The near and far dialectic brings our understanding of our own body to a completely new contemplative and conceptual level.
Ukrainian photographer Julia Kafizova uses her body to contemplate physicality from the maker's and the observer's position. Self portraits allow us to meet ourselves, and others. We simultaneously move away from our body, looking at it from a distance and from the side, and approach it, seeing the smallest details perhaps for the first time. The near and far dialectic brings our understanding of our own body to a completely new contemplative and conceptual level.
