The winners of the student open call will exhibit their work at Paris Gare du Lyon train station, as well as in a dedicated space at Paris Photo
Now in its sixth year, Carte Blanche is an open call that seeks to uplift emerging talent, forging connections between students and the often impenetrable world of art photography. Initiated by Paris Photo in partnership with Picto Foundation and SNCF Gares & Connexions, the award is open to all MA and BA students throughout Europe.
Today, four laureates have been announced as the winners of this year’s call-out. Sumi Anjuman, Jérémie Danon, Alessandra Leta, and Philip Tsetinis will exhibit their work at Paris Gare du Lyon train station, as well as in a dedicated space at Paris Photo, throughout November.
Here, we introduce each of the winners.
Sumi Anjuman Royal Academy of Art, The Hague
Raised in northern Bangladesh, Sumi Anjuman’s work is charged by her experiences of being a woman in an Islamic orthodox society. The discrimination experienced by Anjuman’s LGBTQ friends motivated her first project, Somewhere Else Than Here. “I felt that I should speak out for them,” says Anjuman, in an interview with BJP from 2020. Despite its political motivations, Anjuman’s work is poetic and abstract, rather than straightforward documentary. Her collaborative process is rooted in ideas of inclusivity, and her images invite a curiosity to find out more.
Jérémie Danon’s practice exists between fiction and documentary. He is interested in the relationships between bodies and spaces, the imaginary, the notions of territory, and intimacy. For his project Plein air Plein air, Danon photographed individuals who have left prison and are now in rehabilitation. The participants are pictured against green screens and placed in otherworldly environments. They now find themselves in a different kind of freedom than the one they knew before their detention,” writes Danon, in his artist’s statement. “[The green screen] allows me to present their testimonies while decontextualizing them from reality, through imaginary spaces.”
In The Unmovable Mover Alessandra Leta investigates the power dynamics within the infrastructure of the factory. The project began with the discovery of an image in a Swiss antique shop. It was made in 1972, and depicted the desk that belonged to an unidentified director of a local factory. The project combines visual references directly adopted from archeology and museography, as well as reflecting on the image as a document of both truth and fiction.
Philip Tsetinis University of Applied Arts, Vienna
Philip Tsetinis’ staged images intend to “captivate the viewer emotionally”. His series Unknown Polyphenism, is composed of 16 staged images that propose a hypothetical insight into how subsequent generations may adapt to new realities. “Polyphenism describes the visually perceptible change of a living being through the adaptation to changed environmental conditions like food, temperature, population,” he explains, in an artist’s statement.
Marigold Warner joined the British Journal Photography in April 2018, and currently holds the position of Online Editor. She studied English Literature and History of Art at the University of Leeds, followed by an MA in Magazine Journalism from City, University of London. Her work has been published by titles including the Telegraph Magazine, Huck, Gal-dem, Disegno, and the Architects Journal.