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The destruction of forests has long-term impacts: loss of biodiversity, depletion of water resources, soil erosion, and worsening air quality. Forest fires release vast amounts of carbon dioxide, intensifying the greenhouse effect. This, in turn, accelerates climate change and increases the likelihood of new fires creating a dangerous “feedback loop” between fire and climate.",[],{"_key":443,"_type":401,"children":444,"markDefs":448,"style":409},"ad024873d5a9",[445],{"_key":446,"_type":405,"marks":447,"text":416},"ce3bfd56101c0",[],[],{"_key":450,"_type":401,"children":451,"markDefs":456,"style":409},"965654ff1f5e",[452],{"_key":453,"_type":405,"marks":454,"text":455},"7eb5ee8547890",[],"Anna Perepechai: My practice brings together photography, text, archives, and material processes to explore how war, migration, and time transform the relationships between people, objects, and landscapes, as well as our very capacity to remember. When I came to Germany eleven years ago, following the Revolution of Dignity, I was a young journalist with a varied professional background and I had no intention of staying or of developing an artistic practice. Yet living between different cultural contexts gradually shaped the questions that continue to influence my work today. Distance became an important part of this process. Learning another language and trying to find my place in a new society compelled me to observe more closely. At the same time, I became increasingly aware of how limited the understanding of Ukraine and other formerly Sovietized countries remains outside the region – and how often it is still shaped by reductive political narratives and inherited imperial perspectives. This played a role in my decision to remain abroad for a while and influenced not only the subjects of my work, but also my understanding of photography: not simply as a means of recording what is visible, but as a space of engagement with memory, materials, and places. Gradually, this also transformed the way I worked. I became increasingly interested in photography as a material process that extends beyond image-making, opening up possibilities for working with archives, found objects, text, and cameraless approaches. “Tears of Things” began unexpectedly in July 2022, while I was on the bus from Kyiv back to Leipzig with two suitcases filled with my family archive: photographs, textiles, small objects from my home, and fragments of everyday life. I took them with me to keep them safe in case Russian troops returned to our region in northern Ukraine, which borders both Russia and Belarus. It was on that bus that I heard the phrase “the tears of things” in a podcast and suddenly realized that these objects carried far more than memories and personal attachment: they held relationships, family histories, and the uncertainty of whether I would ever see the places they came from as they had once been. Inside the suitcases, they received temporary physical protection while, at the same time, becoming detached from the context to which they belonged. Later, I created “Tears of Things” – two glass suitcases whose contents remain unchanged, although with each new installation only parts of them become visible. Over time, I realized that several other works created after 2022 also belonged to Tears of Things. In this way, two suitcases carried across a border developed into an ongoing body of work composed of different chapters. It allows me to return to questions that continue to accompany me: home, memory, migration, distance, care, and the fragile connections between people, landscapes, and objects that may outlive us.",[],{"_key":458,"_type":401,"children":459,"markDefs":463,"style":409},"8c1933738181",[460],{"_key":461,"_type":405,"marks":462,"text":416},"e4fe41a6a95a0",[],[],{"_key":465,"_type":401,"children":466,"markDefs":471,"style":426},"a9c283472ab2",[467],{"_key":468,"_type":405,"marks":469,"text":470},"c114ad87131c0",[],"IS: How do you relate to each other’s practice?",[],{"_key":473,"_type":401,"children":474,"markDefs":478,"style":409},"b9b3c3c2f6b5",[475],{"_key":476,"_type":405,"marks":477,"text":416},"7246b328fff60",[],[],{"_key":480,"_type":401,"children":481,"markDefs":486,"style":409},"b75f2ca894e4",[482],{"_key":483,"_type":405,"marks":484,"text":485},"61f9e3e264080",[],"RK: What first drew me to Anna's project, “Tears of Things,” was the richness of its visual language and its multimedia approach. It is highly polyphonic, bringing together documentary material with experimental forms of expression. Despite this diversity of media, the work feels remarkably coherent. It conveys the all-encompassing nature of war and the way it infiltrates every aspect of everyday life. Rather than presenting a single perspective, it allows multiple voices, emotions, and temporalities to coexist, making the experience of war feel both deeply personal and broadly collective.",[],{"_key":488,"_type":401,"children":489,"markDefs":494,"style":409},"021fe2ffff5f",[490],{"_key":491,"_type":405,"marks":492,"text":493},"30e810e574830",[],"AP: When I first encountered Ruslana’s work, I felt an immediate connection, even before I knew who had made the photographs or where they had been taken. It was one of those rare moments when images seem to speak a language that you feel you can, at least partly, understand. What moves me is not only what Ruslana addresses, but how she approaches it. She works with places that often remain outside dominant narratives without turning them into symbols or spectacles. Her photographs do not reduce to illustrations of war. Instead, they allow everyday life to remain visible despite constant uncertainty. Perhaps this feeling of closeness also comes from our shared experience of growing up outside major cultural centres. Ruslana works in the Sumy region, which borders my native Chernihiv region. I grew up in a similar landscape and on a similar scale, among fields, forests, and rivers. Provincial places are often perceived as peripheral, even though they shape countless lives and preserve forms of knowledge that rarely become visible. I deeply value Ruslana continues to return to her hometown and the consistency and care with which she keeps documenting it. In a reality where war continually transforms familiar places, every return carries the awareness that they may be different the next time – or that returning itself may no longer be possible. Although our artistic languages differ, I feel close to the way we both relate to place. Despite our different distances from home, neither of us works from the position of an outside observer; we work from within our own experience. That is what creates a genuine sense of kinship for me.",[],{"_key":496,"_type":401,"children":497,"markDefs":501,"style":409},"ffa717d89592",[498],{"_key":499,"_type":405,"marks":500,"text":416},"45e97f91df260",[],[],{"_key":503,"_type":401,"children":504,"markDefs":509,"style":426},"923bd3401199",[505],{"_key":506,"_type":405,"marks":507,"text":508},"50b40eca16ab0",[],"IS: I think what connects both of your practices is that you are working with landscape in a way that goes much deeper than a traditional subject-photographer relationship and subverts colonial logics of place representation. I would love to hear more about how you each approach that.",[],{"_key":511,"_type":401,"children":512,"markDefs":517,"style":409},"5a50287ef5a2",[513],{"_key":514,"_type":405,"marks":515,"text":516},"9f02ec3afbb20",[],"AP: Landscape has never been merely a backdrop or a territory for me but an active participant in memory, history, and everyday life.. In the 90s, my family (as dozens other Ukrainian families) cultivated the land. As children, we helped our parents after they had finished their shifts at their regular jobs because it was necessary for our survival during the economic crisis. From an early age, I had my hands in the soil of our vegetable garden and came to experience landscape as a space of coexistence rather than observation. We still plant vegetables on the same plot of land: it has become a relationship with a long history. And relationships entail responsibility: not the responsibility to speak on behalf of a place, but the responsibility to remain attentive to it. This understanding also shapes my practice of cameraless photography. Working without a camera means relinquishing a certain degree of control because, at that moment, I let go not only of the photographic subject but also of the apparatus itself. I can only create the conditions in which an image may emerge, but I cannot fully determine its final form. Light, time, humidity, soil, photographic paper, and the material itself become active participants in the process. Over time, I came to understand this not merely as a technical process, but as a form of interaction and an ethical position, an attempt to allow what quietly exists to reveal itself without coercion. For me, it is not about fixing an image, but about sustaining relationships with places whose futures cannot be predicted, with myself, and with collective memory. Perhaps another way of seeing emerges from these relationships. When landscape ceases to be an object of observation, the way it is represented changes as well. I am interested in how photography might relinquish the logic of appropriation of territory, material, or even another person's experience. Perhaps this is why my works do not so much represent a place as seek to build a relationship with it.",[],{"_key":519,"_type":401,"children":520,"markDefs":524,"style":409},"a51475df3e82",[521],{"_key":522,"_type":405,"marks":523,"text":416},"2299bad078130",[],[],{"_key":526,"_type":401,"children":527,"markDefs":532,"style":409},"f275de141425",[528],{"_key":529,"_type":405,"marks":530,"text":531},"82210734c1320",[],"RK: Landscape is probably the central subject of my artistic practice. I am fascinated by the existence of nature beyond the human gaze: cracks, thickets, ravines, trees, overgrown places, and fragility itself. At the same time, I am interested in landscapes as territories that are constantly shaped and defined by human perception and intervention. My work explores how landscapes are transformed through political and economic forces, questioning ideas of centre and periphery, ownership, and environmental change. For centuries, nature has been treated as something external to us – something to exploit, commercialize, fetishize, and ultimately colonize. Every landscape is shaped, in one way or another, by human activity. I am interested in asking how we might imagine different forms of coexistence with the more-than-human world. In my work, landscape is no longer a silent backdrop. It does not merely reflect social and political processes – it reacts to them, participates in them, and ultimately becomes an agent of history itself. The context of war makes this even more urgent. Today, the enemy targets not only people but also the environments that sustain them. At the same time, what often appears to be a local ecological catastrophe is never purely local. 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You both draw from a shared context, though you each engage with it from different distances. How do you see that distance shaping the way you perceive and process information?",[],{"_key":726,"_type":401,"children":727,"markDefs":732,"style":409},"41d0f1d2ee91",[728],{"_key":729,"_type":405,"marks":730,"text":731},"fe230180fffb0",[],"RK: I am very aware that I work from an extremely close distance to the events I depict. That is both a strength and a limitation. War interferes with one's capacity for reflection. It destroys the space necessary for contemplation and critical distance. You are forced to resist from within the war itself and to be part of it while simultaneously trying to make sense of it. When war becomes total, it becomes increasingly difficult to function as an artist rather than simply as someone trying to survive. As a civilian, I also recognize that I have not witnessed the war in its most extreme form. My experience is a mixture of war and ordinary life. The war is constantly present through air raids, destruction, anxiety but everyday routines continue alongside it. At the same time, I feel an incredibly strong attachment to my home, even though it has become part of the combat zone. These landscapes deserve to be seen again. These people deserve to be met again. Moving from the position of an outside observer to that of a witness allows for a much deeper engagement with the context and, perhaps, gives me a greater moral responsibility when speaking about war. The war is still ongoing. Neither Anna nor I have the temporal distance necessary to fully understand the scale of what we are living through. We are still inside the event. I believe that some of the most significant artworks about this war will be created after it ends, when there is finally enough distance for reflection rather than immediate response.",[],{"_key":734,"_type":401,"children":735,"markDefs":740,"style":409},"b62ea2c7dbd0",[736],{"_key":737,"_type":405,"marks":738,"text":739},"e35e2094b9d80",[],"AP: Distance shapes my work not only as a physical separation from home, but also as the time required to make sense of experience. My photographs, notes, and ideas often need time to settle before I can return to them, unfold them, and understand how to continue working with them. Over the past eleven years, I have taken the same road between Germany and Ukraine more than one hundred times, mostly by bus and train. The distance in kilometres hardly changes, yet each passage has a different duration, a different rhythm, and an entirely different emotional weight. Some of the most significant moments of recent years have taken place on this road. Over time, I came to understand that this route – through a small part of Germany, all of Poland, and almost all of Ukraine – is no longer simply a means of getting from one country to another. It has become a place in its own right, shaped by transformative memory. For me, distance is therefore not simply separation, but a condition for understanding. It allows me to return – not in order to repeat the past, but to encounter it differently. Each return takes place from a different point in my life, and change within this process is inevitable. Today, my practice exists somewhere between Ukraine, Germany, and the road that connects them. 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She contends this violence is always political, generated when the gap between viewer and image is erased. What is your take on this? I see both your works carefully creating a space for distancing the image level from reality, although they still firmly cling to it.",[],{"_key":1049,"_type":401,"children":1050,"markDefs":1055,"style":409},"6f1e9125881e",[1051],{"_key":1052,"_type":405,"marks":1053,"text":1054},"89ce5569b2650",[],"AP: Immediacy often creates the illusion that seeing automatically means understanding. I do not believe that it does. Images can bring us closer to events, but seeing is not the same as understanding. For me, distance is not the opposite of empathy. On the contrary, it can make both empathy and understanding possible by leaving room not only for reaction, but also for attentive presence. It is not about moving away from reality, but about resisting the pressure to reach certainty too quickly. I suspect this is one of the reasons why I gradually moved towards cameraless photography and material processes. They slow down not only the making of the work itself but also the way a viewer encounters it. Rather than reproducing reality, I try to create a space in which it can be experienced with greater attention. For this reason, materials are never merely carriers of an image for me. They have their own time, their own memory, and their own agency, and the work emerges not in spite of them, but together with them. In a time when images are expected to produce immediate evidence, immediate emotion, and immediate certainty, I am more interested in photography's ability to sustain attention without rushing towards conclusions. Perhaps this, too, is a form of care: allowing simplicity to remain simple, complexity to remain complex, and creating the conditions for a different kind of relationship with images and, perhaps, with reality itself.",[],{"_key":1057,"_type":401,"children":1058,"markDefs":1063,"style":409},"4bc0ef5005ed",[1059],{"_key":1060,"_type":405,"marks":1061,"text":1062},"d418616d44be0",[],"RK: Today humanity produces more photographs in a matter of minutes than were created during the entire nineteenth century. Smartphones have become an inseparable part of social life, where millions of images dissolve into digital noise. War, weddings, death, holidays, famine, selfies, revolutions: everything appears within the same endless visual stream. Not because these events are equally important, of course, but because the medium trains us to encounter them in the same format: fragments competing for our attention. When violence is endlessly reproduced through news images, do these events become more real for viewers in other countries? Or does the sheer abundance of images risk turning war into a normalized domestic spectacle? Eventually, even the most graphic photographs lose part of their capacity to shock not because they become less horrific, but because repeated exposure creates familiarity. Media research repeatedly shows that sustained attention is finite. Viewers become exhausted. It is easier to move on than to remain focused on one tragedy for years. I don’t believe it is possible, or even desirable, to represent the total horror of war. But perhaps it is possible to create an image that holds someone's attention just a little longer. Sometimes that small delay is enough to resist the speed at which images disappear.",[],{"_key":1065,"_type":401,"children":1066,"markDefs":1071,"style":426},"be9f5978c33b",[1067],{"_key":1068,"_type":405,"marks":1069,"text":1070},"8f2c4f40fbc30",[],"IS: What's the reflection you want to convey on what it means to experience war? Images are indeed not just means of representation...",[],{"_key":1073,"_type":401,"children":1074,"markDefs":1079,"style":409},"fbc3f84a53c2",[1075],{"_key":1076,"_type":405,"marks":1077,"text":1078},"41fc122925b20",[],"RK: My project “Feedback loop” is not primarily about the human experience of war; it is about how war transforms the environment. It suggests that landscape is not merely a passive setting but an active participant in war. I think of it as a triangle: landscape, war, and people. None of these elements can be understood in isolation. If I were to describe what it means to experience war, I would probably speak about what Ukrainians call the \"new normal.\" The new normal is hearing drones and missiles overhead, going to bomb shelters, making sure you return home before curfew, carrying a tourniquet in your bag. It is seeing destroyed buildings every day, losing familiar places, losing people, and still making breakfast, going to work, meeting friends, opening exhibitions, swimming in the river, continuing to be a human being.",[],{"_key":1081,"_type":401,"children":1082,"markDefs":1087,"style":409},"32f3b4426736",[1083],{"_key":1084,"_type":405,"marks":1085,"text":1086},"9157fdbb579a0",[],"AP: I don’t think it is possible to fully convey what it means to experience war – even while being a collective experience, it is still very much personal. Images can bring us closer, but they can never replace lived experience. What they can do is create a space for attention, where we can begin to recognise the complexity of what war changes. For me, war is not only the moment of violence. It continues to reshape relationships: between people and places, between objects and memory, between the past and the present. Many of these changes are quiet and almost imperceptible, yet they continue long after the immediate event has passed. Perhaps this is why I keep returning to materials, archives, and ordinary objects. They cannot explain war, but they carry traces of the lives that have been changed by it. They remind us that history is not only recorded in images, but also in the fragile relationships that survive within things, landscapes, and people. I do not believe photography can make someone fully understand another person's experience. But I do believe it can create the conditions for a more attentive encounter with it. For me, that is both an ethical responsibility and an act of care.",[],{"_key":1089,"_type":401,"children":1090,"markDefs":1095,"style":409},"72a943b59d7f",[1091],{"_key":1092,"_type":405,"marks":1093,"text":1094},"ab46f7d142100",[],"RK: As I answered this question, I kept thinking about my documentary project “The Grey Zone, “which consists of photographs I make during my trips back to my hometown of Khutir-Mykhailivskyi. One of the most defining experiences of the war for me is going home on a motorbike through the forest because the trains no longer run and the main road is under constant threat of shelling. I make that journey to visit my ninety-year-old grandparents, who refuse to leave because they want to take care of their garden. I eat fresh currants straight from the bushes, listening to FPV drones flying overhead and occasionally hiding from them, and return to Kyiv carrying a few jars of homemade jam. 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open call for ",{"_key":1229,"_type":405,"marks":1230,"text":1232},"b3b0f9e3e0c7",[1231],"8a40abbf8636","“Sisterhood in Practice,” online exhibition",{"_key":1234,"_type":405,"marks":1235,"text":1236},"7694402a811c",[]," launched for International Women’s Day, inviting artists to reflect on solidarity, process, and collective growth. We are extending this initiative and continuing our “Spread the Dialogue” series by bringing selected artists into conversation, creating a space where practices can meet, challenge one another, and unfold through exchange. In this edition, Karla Hiraldo Voleau and Nyo Jinyong Lian reflect on collaboration, intimacy, and the ethics of representation across different cultural contexts.",[1238],{"_key":1231,"_type":1239,"button":53,"newWindow":72,"url":1240},"annotationLinkExternal","https://dergreif.org/pulse/sisterhood-in-practice",{"_key":1242,"_type":401,"children":1243,"markDefs":1248,"style":409},"87676f7b6108",[1244],{"_key":1245,"_type":405,"marks":1246,"text":1247},"048faaaaef560",[],"Jinyong Lian's \"I Hope Someday You’ll Join Us\" unfolds from lived experiences of displacement and queer identity, where intimacy is shaped by negotiation and where trust is continuously constructed through game-like play within shifting social and cultural environments. Hiraldo Voleau’s \"Doble Moral\" centers on abortion access in the Dominican Republic, developing through extended conversations with participants whose experiences are often silenced, and through a sociological process that prioritizes story telling. Together, their dialogue considers photography as a tool to form relationships and engage with the issues they see affecting their communities most.",[],{"_key":1250,"_type":401,"children":1251,"markDefs":1256,"style":426},"5753c7b07f37",[1252],{"_key":1253,"_type":405,"marks":1254,"text":1255},"2e1da0db31d10",[],"Francesca Hummler: To begin, I would love for each of you to introduce yourselves and your practice.",[],{"_key":1258,"_type":401,"children":1259,"markDefs":1264,"style":409},"598f46a3f837",[1260],{"_key":1261,"_type":405,"marks":1262,"text":1263},"2c3179dde02c0",[],"Nyo Jinyong Lian: I am a visual artist originally from China, and I am currently based in Paris, where I completed both my bachelor’s and master’s degrees. My work moves between Paris, Shanghai, and New York, and I think this constant movement between places really shapes how I see people and how I approach photography. I often collaborate with friends, but also with people I find through casting or online. I am usually drawn to individuals who have a strong presence, or who seem to carry something within them that they want to express, especially through their body or through performance. I think I am interested in this space where something is not fully articulated yet, where there is still potential or tension.",[],{"_key":1266,"_type":401,"children":1267,"markDefs":1272,"style":409},"e071b8e0adc5",[1268],{"_key":1269,"_type":405,"marks":1270,"text":1271},"3c553dcb97b10",[],"Karla Hiraldo Voleau: I am a French Dominican artist. I was born in Santo Domingo, but I grew up mostly in France, and now I have been based in Switzerland for about ten years. At the same time, I travel a lot for work, residencies, and long-term projects, so I do not feel completely fixed in one place. My work is rooted in what I call performative and participatory photography. I am interested in intimacy, gender, the body, and questions around women’s rights, and my projects often begin from something very personal, something that I have experienced or struggled with myself. From there, the work expands outward, from the “I” to the “we,” and becomes a way of addressing something more collective or societal.",[],{"_key":1274,"_type":401,"children":1275,"markDefs":1280,"style":426},"cc181a3854f1",[1276],{"_key":1277,"_type":405,"marks":1278,"text":1279},"c5ca4f14ab1f0",[],"FH: I think what connects both of your practices is that you are working with people in a way that goes much deeper than a traditional subject photographer relationship. There is something about trust, but also something about vulnerability and collaboration that feels very central. I would love to hear more about how you each approach that.",[],{"_key":1282,"_type":401,"children":1283,"markDefs":1288,"style":409},"4f514ed1edec",[1284],{"_key":1285,"_type":405,"marks":1286,"text":1287},"9560b8d3eca70",[],"KHV: For me, honesty is really the foundation of everything. I work with themes that can be very sensitive, so it is important that the people I collaborate with understand the intention behind the work. At the same time, even though my practice is collaborative, it is also quite solitary. I handle everything from the conceptual stage to the final presentation, so I am always carrying the project myself. What I call collaboration happens in fragments, almost like satellites around the work. There are moments of exchange, but ultimately I am the one holding everything together.",[],{"_key":1290,"_type":401,"children":1291,"markDefs":1296,"style":409},"d598b2fcbf1e",[1292],{"_key":1293,"_type":405,"marks":1294,"text":1295},"6a84f49a56fe0",[],"NJL: For me, collaboration works in a slightly different way. I often think of it as a kind of game. When I invite someone to participate, I do not explain everything in detail. There is always something that remains unknown to them. I think this is important, because it creates a space where something unexpected can happen. I might propose a simple action or a small challenge, something that feels playful, and from there we build something together. Sometimes people feel a bit lost in the beginning, but I actually think this is a good thing. It allows them to enter the process without too many expectations.",[],{"_key":1298,"_type":401,"children":1299,"markDefs":1304,"style":409},"25a4b69ed8e6",[1300],{"_key":1301,"_type":405,"marks":1302,"text":1303},"d47b46dc069d0",[],"KHV: I think that is very interesting, because it connects to vulnerability in a different way. When people are not fully in control, or when they do not know exactly what will happen, they have to let go of something.",[],{"_key":1306,"_type":401,"children":1307,"markDefs":1312,"style":409},"865c810ae57a",[1308],{"_key":1309,"_type":405,"marks":1310,"text":1311},"05a9eb32721d0",[],"NJL: Yes, exactly. And I think vulnerability is often misunderstood. It is usually associated with weakness or failure, especially in a more patriarchal way of thinking, but I see it as something that can open new possibilities. When you allow for uncertainty, you allow for something real to emerge. You cannot fully control emotions or stories, and I think that is where the work becomes alive.",[],{"_key":1314,"_type":401,"children":1315,"markDefs":1320,"style":409},"b68f495e8892",[1316],{"_key":1317,"_type":405,"marks":1318,"text":1319},"e84f7c0fe8ce0",[],"KHV: I agree, although I also feel that in the art world there has been a shift. Vulnerability is no longer necessarily seen as something negative. In some ways, it is even being used or capitalized on. But within the process itself, it still holds something genuine, something that cannot be fully instrumentalized.",[],{"_key":1322,"_type":401,"children":1323,"markDefs":1328,"style":426},"ea5126c04f16",[1324],{"_key":1325,"_type":405,"marks":1326,"text":1327},"3af4fe290df40",[],"FH: I would love to shift slightly toward the question of context, because both of you are working across different cultures, and often in places where you are not entirely fixed. Photography has such a complicated history when it comes to representation, so I am curious how you navigate making work in and between these different environments.",[],{"_key":1330,"_type":401,"children":1331,"markDefs":1336,"style":409},"ed3d19206abb",[1332],{"_key":1333,"_type":405,"marks":1334,"text":1335},"085e899c20270",[],"KHV: For me, this is something I think about constantly. Being bicultural means always feeling a bit split, like you are not fully one thing or the other. There is also a kind of guilt that comes with making work about a place while benefiting from another. For example, when I worked on a project about abortion in the Dominican Republic, I had to question my legitimacy all the time. My personal experience was not the same as the people I was working with, so I had to be very aware of that gap. At the same time, I came to understand that being between cultures can also be a strength. It gives you a different perspective, and perhaps a more complex one.",[],{"_key":1338,"_type":401,"children":1339,"markDefs":1344,"style":409},"6da41694acf8",[1340],{"_key":1341,"_type":405,"marks":1342,"text":1343},"1ef9038af0dd0",[],"NJL: I feel something similar. Moving between different places has a big impact on my work. It changes how I see people, but also how I connect with them. In New York, for example, I found it very easy to connect with communities, especially within Asian and LGBTQ groups. There was a kind of openness. In Paris, it felt very different. People were more reserved, and it was harder to build those connections. I had to find different ways of approaching people, sometimes by explaining a very strong vision of what I wanted to create, almost like proposing a future that does not yet exist.",[],{"_key":1346,"_type":401,"children":1347,"markDefs":1352,"style":409},"afb5f55e494c",[1348],{"_key":1349,"_type":405,"marks":1350,"text":1351},"8044767640ea0",[],"KHV: I also think that where you start a project from is very important. I try to avoid what is often called parachute documentary photography, where you arrive somewhere, take images, and then leave. I prefer to work with people and places that I already have some connection to, whether through my personal life or through networks that I trust. 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It feels like this approach becomes a kind of counterweight to that history, a way of grounding the work in relationships rather than distance.",[],{"_key":1462,"_type":401,"children":1463,"markDefs":1468,"style":409},"e8e042a8794b",[1464],{"_key":1465,"_type":405,"marks":1466,"text":1467},"1c84ce0381fe0",[],"JLN: Yes, and I think the process of reaching out to people is already part of that. For me, contacting someone online, inviting them into a project, and then building something together is already a form of connection. I try to present it as something playful, like a game, so that it feels open rather than formal.",[],{"_key":1470,"_type":401,"children":1471,"markDefs":1476,"style":409},"54e312a7db74",[1472],{"_key":1473,"_type":405,"marks":1474,"text":1475},"6c3ad1afe0770",[],"KHV: I also use social media a lot, especially Instagram, and sometimes open calls within feminist networks. My work is very much rooted in a sociological approach. I am interested in understanding people through their lived experiences and emotions, and photography becomes a way to explore that.",[],{"_key":1478,"_type":401,"children":1479,"markDefs":1484,"style":426},"780960afc1f3",[1480],{"_key":1481,"_type":405,"marks":1482,"text":1483},"d064cf71a5ba0",[],"FH: I think what you are both describing also connects to something political, even if it is not always explicitly framed that way. The act of reaching out, of involving yourself in someone else’s life, of building these relationships, it feels like a form of community building.",[],{"_key":1486,"_type":401,"children":1487,"markDefs":1492,"style":409},"8ca0948c6b02",[1488],{"_key":1489,"_type":405,"marks":1490,"text":1491},"86b6ade081b70",[],"NJL: I agree. For me, the intimate space is already political. Even when the work is very personal, it is still connected to larger systems and structures.",[],{"_key":1494,"_type":401,"children":1495,"markDefs":1500,"style":409},"862bd7506b84",[1496],{"_key":1497,"_type":405,"marks":1498,"text":1499},"700acd8dbaa40",[],"KHV: Yes, I think everything is political, whether we acknowledge it or not. There is sometimes this idea that art can be apolitical, but I do not believe that. Saying that something is not political is already a political position. At the same time, I think it is important for artists to choose their focus carefully. We cannot respond to everything. 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There is also this strange tension where artists are expected to respond to very large societal issues, while at the same time being told to stay within certain boundaries or to only speak from their own position.",[],{"_key":1802,"_type":401,"children":1803,"markDefs":1808,"style":409},"4ba3606fff5d",[1804],{"_key":1805,"_type":405,"marks":1806,"text":1807},"c7748a937a5f0",[],"KHV: Yes, and that can create a kind of pressure or even a paralysis. But I think the key is to remain conscious, to keep questioning your position and your legitimacy, without letting that stop you completely.",[],{"_key":1810,"_type":401,"children":1811,"markDefs":1816,"style":409},"e2a126220e78",[1812],{"_key":1813,"_type":405,"marks":1814,"text":1815},"708371f3142b0",[],"NJL: I also think that the current moment has changed how people relate to these questions. There is a lot of instability, and people are losing trust in institutions, in media, in authority. But at the same time, this creates space for something new.",[],{"_key":1818,"_type":401,"children":1819,"markDefs":1824,"style":409},"acbfa895c149",[1820],{"_key":1821,"_type":405,"marks":1822,"text":1823},"0da0e26ce9930",[],"KHV: I have noticed that as well, especially when speaking with younger people. There is almost a default distrust. They question everything, which can be difficult, but also very important.",[],{"_key":1826,"_type":401,"children":1827,"markDefs":1832,"style":409},"24158607b1cd",[1828],{"_key":1829,"_type":405,"marks":1830,"text":1831},"75f496b88d550",[],"NJL: For me, this instability is something I try to work with. I think of my projects as a kind of rehearsal, a way to imagine different systems or different ways of being together. The present is already political, and the images we create are part of that.",[],{"_key":1834,"_type":401,"children":1835,"markDefs":1840,"style":426},"079d88b9ef5d",[1836],{"_key":1837,"_type":405,"marks":1838,"text":1839},"e54dcc303d5b0",[],"FH: To close, I would love to ask each of you what you hope your work can offer moving forward, especially in relation to this idea of collective growth.",[],{"_key":1842,"_type":401,"children":1843,"markDefs":1848,"style":409},"9c06e5545727",[1844],{"_key":1845,"_type":405,"marks":1846,"text":1847},"aa06408c77c20",[],"KHV: For me, the goal is to create connection. I want the viewer to feel something, to enter into an introspective space where they can reflect on themselves and their relationship to others. I think that is how change can begin, not necessarily through direct statements, but through emotional resonance.",[],{"_key":1850,"_type":401,"children":1851,"markDefs":1856,"style":409},"b70048829369",[1852],{"_key":1853,"_type":405,"marks":1854,"text":1855},"2eca82d4918b0",[],"NJL: I want to create what I call speculative rehearsals. Images that allow people to imagine futures that do not yet exist, especially in times of uncertainty. I believe that the future is built through acts of trust, even when trust feels fragile. Through these small acts, through these collaborations, we can begin to imagine new systems, new ways of living together that are more open and more playful.",[],"2026-03-27T08:22:52.738Z",{"_type":8,"asset":1859},{"_ref":1860,"_type":11},"image-d6769e5800afbe174f88608eaa08fb711d7ed9f6-3333x2500-png","spread-the-dialogue-maryam-touzani--mauro-macchioni-in-conversation-with-caroline-von-courten",{"_type":1863,"description":1864},"seo.noImage","A conversation between Nyo Jinyong Lian and Karla Hiraldo Voleau on trust, vulnerability, and photography as a space for collective rehearsal.",{"_type":1140,"current":1133},"Spread the Dialogue: Karla Hiraldo Voleau and Nyo Jinyong Lian in conversation with Francesca Hummler",{},1786086125060]