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Through her deeply intimate visual language, photographer Linda Zhengová explores these temporary architectures of home, offering a profound counter-narrative to the highly polished, homogenized images that dominate our digital feeds. In this conversation, we feature Zhengová’s work to go deeper into tracing her view on analogue aesthetics and emotional affect when portraying life and encounters in search of belonging.",[],{"_key":665,"_type":330,"children":666,"markDefs":671,"style":338},"5179183ace31",[667],{"_key":668,"_type":334,"marks":669,"text":670},"12a1400e28690",[],"Zhengová is a Czech-Chinese photographer, writer, and curator based in Paris. Her work is rooted in an exploration of human emotions, ranging from vulnerability and trauma to the search for happiness. Through photography and interdisciplinary methods, she strives to capture fleeting emotional states, the intimate connections between strangers, and personal transformation. Her imagery, evocative of a bygone era, suggests that memory is the space where love most vividly resides. By confronting viewers with moments of vulnerability and intimacy, her work invites a deep reflection on the intensity of human relationships. Through this, she challenges us to reconsider how we connect with both ourselves and others, offering a delicate balance between discomfort and empathy.",[],{"_key":673,"_type":330,"children":674,"markDefs":679,"style":680},"7cba8ebf2739",[675],{"_key":676,"_type":334,"marks":677,"text":678},"f469e96814e90",[],"Ilaria Sponda: I am really interested in how you moved away from your home country. That transition seems to be a powerful element of your work, especially in “Maybe, Happiness Is…” project. It touches on this freedom of being able to move, but also raises the question: what do you do when you don’t have a fixed home? How do you make sense of your relationships and build a sense of place through photography?",[],"intro",{"_key":682,"_type":330,"children":683,"markDefs":688,"style":338},"177d2cd3aaf4",[684],{"_key":685,"_type":334,"marks":686,"text":687},"f724bd02c80b0",[],"Linda Zhengová: I really love this question. It’s not something people usually ask me in relation to ‘home.’ The truth is, this nomadic identity hasn't really ended for me. Even now, living in Paris, it still feels very temporary. I’m there for two weeks, then I’m somewhere else. It still doesn’t feel like a static, permanent location.",[],{"_key":690,"_type":330,"children":691,"markDefs":696,"style":680},"b44eeb0dfd01",[692],{"_key":693,"_type":334,"marks":694,"text":695},"193b2c2cad740",[],"IS: It feels like a generational question that is coming up more and more: trying to make sense of what ‘home’ actually means. Some people say home is a feeling, others say it’s where their friends are. I often find myself questioning where home is for me, too. How do you define it?",[],{"_key":698,"_type":330,"children":699,"markDefs":704,"style":338},"a3f2ed30adb1",[700],{"_key":701,"_type":334,"marks":702,"text":703},"fe060f66afa70",[],"LZ: I relate to that a lot, especially the idea of home being a feeling.",[],{"_key":706,"_type":330,"children":707,"markDefs":712,"style":338},"d1ab526cd92a",[708],{"_key":709,"_type":334,"marks":710,"text":711},"fb21c88a886b0",[],"In my work, I often invite myself into people’s homes, and for me, it’s about creating a temporary sense of home through those encounters. My idea of home is less about a physical, fixed place and more about the people I meet who share similar experiences of constant relocation and movement. I’ve realized that I photograph a lot of people who have mixed roots like me, or who don’t feel they belong to just one place. For me, home is something I co-create with those people in a specific moment.",[],{"_key":714,"_type":330,"children":715,"markDefs":720,"style":680},"b055c9fa6d70",[716],{"_key":717,"_type":334,"marks":718,"text":719},"a4d75b590b400",[],"IS: Did this search start when you first moved to the Netherlands? Was that your first time living outside your home country?",[],{"_key":722,"_type":330,"children":723,"markDefs":728,"style":338},"5b01ae2f957a",[724],{"_key":725,"_type":334,"marks":726,"text":727},"ca9500e9c34f0",[],"LZ: I first moved to The Hague, where I studied at an art school for four years and then I lived in Amsterdam for two years. While I was in The Hague, I developed this nomadic urge to question everything and search for what was out there. That urgency is how the project “Maybe, Happiness Is…” started. From one day to the next, I realized it made no sense for me to just stay in that apartment; there was so much more beyond it. That feeling shaped the next five years of my life.",[],{"_key":730,"_type":330,"children":731,"markDefs":736,"style":680},"5f3db2b2f537",[732],{"_key":733,"_type":334,"marks":734,"text":735},"772b6000957c0",[],"IS: How did not having a fixed home during those years affect you, both personally and artistically?",[],{"_key":738,"_type":330,"children":739,"markDefs":744,"style":338},"9750513d1c35",[740],{"_key":741,"_type":334,"marks":742,"text":743},"3bfbc29499e70",[],"LZ: Not having a physical home had a massive mental impact on me, and I think that reflected heavily in my images. Without a permanent space, ‘home’ became about the small things like sharing a dinner with someone while crashing on their couch, where maybe the food reminded me of something I ate as a child. In a way, the absence of home became my only permanent state, while the feeling of home became something incredibly fleeting. Photography became my way of holding onto both: the brief moments where I feel a sense of belonging, and the lingering moments when I feel its absence, all at the same time.",[],{"_key":746,"_type":330,"children":747,"markDefs":752,"style":680},"f5c956064907",[748],{"_key":749,"_type":334,"marks":750,"text":751},"729a949019980",[],"IS: Do you photograph people you already have a relationship with, or is it complete strangers you connect with along the way?",[],{"_key":754,"_type":330,"children":755,"markDefs":760,"style":338},"430b14623d47",[756],{"_key":757,"_type":334,"marks":758,"text":759},"dfe36632f39f0",[],"LZ: It’s a bit of both, but for this project in particular, it was almost entirely strangers. I photographed people I had met maybe once or twice at most. I think that was the magic of those encounters; neither of us knew anything about the other. 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Sexuality, intimacy, and erotics play a major role in your work. You also turn the camera on yourself sometimes. How do you navigate self-portraiture in relation to these themes?",[],{"_key":1220,"_type":330,"children":1221,"markDefs":1226,"style":338},"28f4d6831fbb",[1222],{"_key":1223,"_type":334,"marks":1224,"text":1225},"4b7332ceb98c0",[],"LZ: To be honest, I initially didn't want to include self-portraits in my book “Oxymoron”. But my editor, Lucia Černá, insisted that they were vital to the narrative. At first, looking at myself in those vulnerable states was incredibly painful, but eventually, I realized she was right. I tend to take self-portraits during moments of intense emotional overwhelm. They serve as a marker of where I was and who I was at that point in time. They don't necessarily document the objective past, but they preserve the raw feeling of the space I occupied.",[],{"_key":1228,"_type":330,"children":1229,"markDefs":1234,"style":338},"14a94c8d2aa1",[1230],{"_key":1231,"_type":334,"marks":1232,"text":1233},"188d745a00990",[],"Regarding sexuality, I view erotic energy as a highly active, powerful force. Growing up with a dual background, being both Chinese and Czech, female desire was treated as a major taboo in both cultures; it was always something to be hidden or controlled. In my work, I want to explore what happens when that energy is simply allowed to exist freely. Releasing that taboo energy is an incredibly healing and liberating experience, not just for me, but also for the women I photograph.",[],{"_key":1236,"_type":330,"children":1237,"markDefs":1241,"style":338},"4e6f4156042d",[1238],{"_key":1239,"_type":334,"marks":1240,"text":646},"1050495328430",[],[],{"_key":1243,"_type":330,"children":1244,"markDefs":1249,"style":680},"9d69ef697ba7",[1245],{"_key":1246,"_type":334,"marks":1247,"text":1248},"a389049cf61b0",[],"IS: Your book “Oxymoron” is out, and you are working on releasing “Maybe, Happiness Is…” as a photo book soon. What is on the horizon for you now?",[],{"_key":1251,"_type":330,"children":1252,"markDefs":1257,"style":338},"9384f17931fd",[1253],{"_key":1254,"_type":334,"marks":1255,"text":1256},"67509b4cdb420",[],"IS: Yes, it’s currently being turned into a photo book, which we are hoping to release in September with Lucia's publishing house, “Untitled”. Meanwhile, I’m in the research and production phase of a new project exploring the concept of transcendence in relation to creativity, sexuality, and madness. I’ve been collaborating with dancers, musicians, painters, and people who want to explore their sexuality in front of the lens. I actually began this project in Brazil last autumn, and I’ve been floating around developing it ever since.",[],{"_key":1259,"_type":330,"children":1260,"markDefs":1265,"style":680},"8c594b07300d",[1261],{"_key":1262,"_type":334,"marks":1263,"text":1264},"5336eabc73900",[],"IS: How do you approach the research for a new project like this? Is it highly structured, or do you let things happen spontaneously?",[],{"_key":1267,"_type":330,"children":1268,"markDefs":1273,"style":338},"08f3ae58dc91",[1269],{"_key":1270,"_type":334,"marks":1271,"text":1272},"2572702985610",[],"LZ: It’s a mix of both. I always start by reading heavily on the topic. 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Alumni and emerging practices at the 57th edition of the festival",[],{"_key":1663,"_type":330,"children":1664,"markDefs":1687,"style":338},"7338d7a3f917",[1665,1669,1674,1678,1683],{"_key":1666,"_type":334,"marks":1667,"text":1668},"7a7d9c6da7bd0",[],"The opening days of the 57th edition of Les Rencontres d’Arles have begun. Running under the theme “Des mondes à relire” (“Worlds to Reread”) and directed by Christoph Wiesner, the 2026 festival focuses on visual complexity, transmission, and nuanced representation in contemporary photography. A central point for emerging work is the Louis Roederer Discovery Award exhibitions at the Espace Monoprix. Among the featured artists are ",{"_key":1670,"_type":334,"marks":1671,"text":1673},"a1468655ad95",[1672],"d09b3afbbf0e","Charlotte Yonga",{"_key":1675,"_type":334,"marks":1676,"text":1677},"ea0a458edc9f",[]," and ",{"_key":1679,"_type":334,"marks":1680,"text":1682},"d1197e34a173",[1681],"2a1b0a9c08fb","Souleymane Bachir Diaw",{"_key":1684,"_type":334,"marks":1685,"text":1686},"096c05815957",[],". For us at Der Greif, their presence in Arles holds a distinct significance, as both artists are alumni of our platform. Seeing their practices evolve onto this global stage provides a concrete entry point into the festival's broader critical framework.",[1688,1691],{"_key":1672,"_type":1689,"button":53,"newWindow":72,"url":1690},"annotationLinkExternal","https://dergreif.org/search?result=Charlotte+Yonga",{"_key":1681,"_type":1689,"button":53,"newWindow":72,"url":1692},"https://dergreif.org/search?result=Souleymane+Bachir+Diaw",{"_key":1694,"_type":330,"children":1695,"markDefs":1700,"style":338},"a5cfa46c6f3c",[1696],{"_key":1697,"_type":334,"marks":1698,"text":1699},"2a0d0a2e0ff00",[],"The festival’s prompt to reread the world is an explicit rejection of the fast-paced, highly consumed, and often flattened imagery that defines contemporary digital culture. To reread implies that a first reading is insufficient. It suggests that prevailing dominant narratives, whether shaped by colonial histories, Western-centric archival gaps, or algorithmic filters, require systematic deconstruction. Visual complexity, in this context, is not merely an aesthetic choice; it is a political and ethical necessity. When an image is too easily understood, it frequently relies on preexisting stereotypes or simplified tropes. By introducing ambiguity, layered references, and deliberate formal constraints, photographers compel the viewer to slow down. This shift alters the spectator from a passive consumer of information into an active participant in meaning-making.",[],{"_key":1702,"_type":330,"children":1703,"markDefs":1708,"style":338},"3f4874ad044d",[1704],{"_key":1705,"_type":334,"marks":1706,"text":1707},"afb5a4730cc60",[],"The work of our alumni directly addresses this need for visual complexity by challenging how specific communities and identities are documented. In her series “(Tsy) Possible,” Yonga presents a collaborative approach to portraiture that disrupts the traditional, external gaze often directed at Madagascar. Working within the framework of fitiavana, a Malagasy concept encompassing love, kinship, and attachment to life, Yonga respects local codes of modesty. Her images do not aim for total exposure. Instead, by utilizing co-created stagings inspired by vernacular family photo albums and regional folklore, she builds layers that resist immediate consumption. The title itself, combining the Malagasy negation with the French possible, creates a linguistic and visual hybridity. It forces a rereading of youth in the Indian Ocean region, positioning them between ancestral traditions and modern aspirations without succumbing to exoticism.",[],{"_key":1710,"_type":330,"children":1711,"markDefs":1716,"style":338},"d87fe6672a92",[1712],{"_key":1713,"_type":334,"marks":1714,"text":1715},"18fadb0292720",[],"Similarly, Diaw uses his project to investigate identity, masculinity, and cultural heritage, specifically focusing on the social constructions surrounding men. In works such as Sutura (the silent voice of men), Diaw employs specific textures, precise compositions, and traditional garments like the grand-bubu to manage what is revealed and what remains hidden. The visual complexity here lies in the tension between visibility and secrecy. By refusing to deliver a singular, easily digestible definition of contemporary African masculinity, Diaw requires the viewer to engage with the subtle nuances of performance, privacy, and heritage. Both alumni demonstrate that rewriting narratives requires an internal perspective grounded in mutual trust rather than detached observation.",[],{"_key":1718,"_type":330,"children":1719,"markDefs":1741,"style":338},"c6055e93c43b",[1720,1724,1729,1732,1737],{"_key":1721,"_type":334,"marks":1722,"text":1723},"30dd94f3764f",[],"In “CTRL,” a group exhibition curated by Nicolas Giraud and his class at the Ecole Nationale Supérieure de la Photographie analyzing the mechanics of the digital image itself. By deconstructing how technological alteration and algorithmic generation dictate what we perceive as ‘real,’ the artists expose the invisible power structures embedded in modern image-making tools. Concurrently, “L’image cannibale” (\"The Cannibal Image\"), curated by Alessandra Chiericato at the Chapelle de la Charité, addresses the medium through the lens of the 2024 Curatorial Research Fellowship, including our alumni ",{"_key":1725,"_type":334,"marks":1726,"text":1728},"7e2f67542163",[1727],"eed12a8cf7f8","Henriette Sabroe Ebbesen",{"_key":1730,"_type":334,"marks":1731,"text":1677},"244f0bb8c9d5",[],{"_key":1733,"_type":334,"marks":1734,"text":1736},"9541a16249c2",[1735],"12264345b2c4","Dune Varela",{"_key":1738,"_type":334,"marks":1739,"text":1740},"9f857156499d",[],". The group exhibition positions the photograph not as a passive mirror of reality, but as an active agent that shapes, and occasionally distorts, human perception. By featuring works that process, deconstruct, and re-frame the real, the exhibition argues that images have the capacity to consume our understanding of existence if left unexamined.",[1742,1744],{"_key":1727,"_type":1689,"button":53,"newWindow":72,"url":1743},"https://dergreif.org/search?result=Henriette+Sabroe+Ebbesen",{"_key":1735,"_type":1689,"button":53,"newWindow":72,"url":1745},"https://dergreif.org/search?result=Dune+Varela",{"_key":1747,"_type":330,"children":1748,"markDefs":1753,"style":338},"86f90e1fb72a",[1749],{"_key":1750,"_type":334,"marks":1751,"text":1752},"abd71c1e0cf1",[],"In a joint initiative to extend these critical frameworks into the public sphere, in collaboration with the Manuel Rivera-Ortiz (MRO) Foundation, we are hosting an evening of collective looking and conversation: a screening community event today, July 10, from 7:00 pm to 9:00 pm. This gathering grounds the very questions of visual literacy and institutional representation explored by our alumni in the main program back into a collaborative space. The screening and gathering act as a horizontal application of the festival’s broader mandate, presenting works by international artists selected through our open call alongside the material outcomes of the \"Read Against the Machine\" editing workshop developed at MRO Foundation on July 8th. By bringing together diverse photographic practices from around the world, the screening echoes the defiant stances of Yonga and Diaw by prioritizing images that demand active interpretation rather than offering comfortable certainty, consciously embracing ambiguity, dialogue, and multiple entry points of seeing.",[],{"_key":1755,"_type":330,"children":1756,"markDefs":1761,"style":338},"9269e12135f0",[1757],{"_key":1758,"_type":334,"marks":1759,"text":1760},"b664c9cbc261",[],"The screening features works by Amelie Sachs, Amir Rad, Anna Aicher, Anne Mocaër, Anya Tsaruk, Ariana Zukowski, Athul Prasad, Áron Tóth-Heyn, Bob Jones, Caroline Ruffault, Caroline Suzman, Chiara Capobianco, Ewelina Bialoszewska, Fabrizio Bilello, Flavia Piola, Francesco Giordano, Gui Christ, Hannah Cauhépé, Jesus Degollado, Joel Jimenez Jara, Josefine Rauch, Julia Briend, Kim Oppermann, Laetitia Vançon, Laura Anna Rossa, Laurie Broughton, Luciana L. Schütz, Ludovica Limido, Mariam Ghalim, Masoumeh BahramiGorji, Monique van de Wijdeven, Nadege Mazars, Nicolas Reinhart, Noa Perez, Olivia de Villaine, Raul Guillermo, Sara Giuliani, Scarlett Coten, Sofia Pratas Morais, Theresa Wißmann, Tim Gassauer & Manu Gruber, Vanessa Lucrezia Francia, Vedad Divovic, and ZDULSKY.",[],"2026-07-10T07:00:00.000Z",{"_type":8,"asset":1764},{"_ref":1503,"_type":11},"the-second-glance-a-conversation-about-images-perspectives-and-what-connects",{"_type":1767,"description":1768},"seo.noImage","Explore how Les Rencontres d’Arles theme “Worlds to Reread” confronts visual complexity.",{"_type":386,"current":1326},"Rereading worlds at Les Rencontres d’Arles 2026",{},1786086123665]