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“In all traditional Greenlandic houses, like Knut’s one, the walls display memories collected throughout his life: family photographs, trinkets and signs of national identity coexist and intermingle. While running water is still lacking from many houses in the far north, modernity is nonetheless making its presence felt: telephones and even televisions are now part of everyday life.

These radical and rapid changes raise questions about society and identity, and divide public opinion in Greenland. Its people are torn between a desire to catch up with the modern world, and a feeling that they are an ice population which, like the ice itself, is slowly melting away.”

Allanngorpoq by Sébastien Tixier (4/4)

“The towns in the north are cut off by the ice during winter. Containers are stored in the harbor and used for transporting merchandise in cargo ships. They are also used to deliver provisions to certain towns before they are cut off by the frozen sea in winter. Then boats are held prisoners, but life continues on the sea ice thanks to traditional sleds and, nowadays, snowmobiles.”

Allanngorpoq by Sébastien Tixier (2/4)

“One part focuses specifically on the mirror and the lens – the primary viewing components in both the camera and the telescope. Vision and intellect are turned upon themselves drawing attention to the act of looking and construction of knowledge. The mirror is a portal into other realms or worlds.

I want the viewer to become immersed or entranced in some way by the image so they might entertain the possibility of things beyond our immediate understanding and that what we think we know can be entirely fictional. I guess this is part of a larger overall strategy to critique bodies of knowledge and ways of understanding the world.”

Kosmos by Julie Hill (4/4)

“I playfully combined found images with those of historical artifacts to create a body of supporting evidence. This then started to form a pseudo-authoritative narrative that blurs fact and fiction.

This illustrates the research processes that underpin my practice. I spend a long time collecting information from a range of sources such as the Internet, literature, reference books, films and hearsay – or memory. I put this information together into new configurations to look at how knowledge is produced and history is constructed.”

Kosmos by Julie Hill (2/4)

“The most difficult part for me was to find girls who were willing to be photographed even though almost every woman or girl on the street wears the headscarf. I wanted to spend more time with them and become part of their cliques with my camera. I was successful when I started asking the girls if they would want to meet up with me on a later occasion instead of trying to putting them right on the spot.”

Skaarph by Yana Wernick (6/6)

“In 1953, the town of Qaanaaq and its inhabitants were relocated a hundred kilometers north to enable the U.S. Air Force to expand its military base in Thule. In “compensation”, the army built the first houses at the new location, which are now considered to be the historic houses of “new Thule”. With no running water, they are identifiable by their small surface areas, low ceilings and two sets of windows.

Allanngorpoq by Sébastien Tixier (3/4)

“I traveled to Greenland at the beginning of 2013, staying with the local inhabitants of the towns and the northernmost dwellings I encountered. I have been fascinated by those who choose to live in hostile environments, especially in the remote lands of the North, from as far back as I can remember. Some of my favorite childhood memories involve stories of Inuit men and women living on the ice, hunting seals using age-old techniques. Today’s reality is very different to these clichés, and far more complex. For a year and a half, I immersed myself in the country’s history and current affairs, and grappled with the charming grammar of the Inuit language, Kalaallisut. As time wore on, it became apparent that my growing fascination for Greenland was not solely down to my anticipation of its pure, white landscapes, but that the socio-economic questions currently rocking the nation had found some kind of personal resonance within me.”

Allanngorpoq by Sébastien Tixier (1/4)

“Parts of the series are photographic representations of ‘rituals’ using cosmetics and mirrors – referencing both personal beauty routines and astronomy equipment and methods. For example, mirrors are integral to personal grooming and also the light gathering component within most major reflecting telescopes, their highly polished surfaces allowing us to see into the farthest reaches of outer space.”

Kosmos by Julie Hill (3/4)

“These are images of an ongoing work called κόσμος that appropriates information from scientific cosmology, cosmetology and beauty magazines to create a fictitious archive that documents a ‘secret society’ of women who use cosmetic products and processes as a means of communicating with the cosmos. This pursuit draws from the etymology of the word cosmetics, which derives from the Ancient Greek word κόσμος or ‘kosmos’ – meaning orderly arrangement of both bodily adornment and the grand structure of the heavens. This duality of meaning became a starting point for the series.”

Kosmos by Julie Hill (1/4)

“I tried to capture how the scarf changed the girls. I felt like as soon as they wore it, they were bolder in their actions, more confident, more outgoing. Sometimes I would be surprised when a girl took off her scarf only to reveal a very shy and young girl.

What might be misperceived as a religious symbol in Pune serves as a fashionable means for female empowerment.”

Skaarph by Yana Wernicke (5/6)