Bøger udgivet af Studio Jurgen Maelfeyt en Art Paper Editions

Disruptive life events, devastating experiences of loss and harm, and human rights violations often urge to narrate and share these experiences. Yet, because of their painful and overwhelming nature, they can simultaneously hinder expression and communication in (exclusively) spoken or written language.In Shatila, a refugee camp in the South of Beirut, the language of embroidery has been present since it was established in 1949 to host Palestinian refugees. Embroidery is a day-to-day gendered activity rooted in the region's rich textile tradition. When the war in neighboring Syria sparked an influx of new refugees into the camp, embroidery practices increased to generate an income, to foster a new social network, to cope with trauma, and to tell stories about lived experiences.The book 'Migrating Heritage' stems from the artistic research project of Sofie Verclyte about embroidery's narrative function. It features individual embroidered stories of Syrian women living in Shatila, co-created embroidered collages, and photographs taken by photographer Aaron Lapeirre that visualize the (making) context.

Dorothy Sing Zhang unveils a compelling portrayal of humanity's vulnerable state during sleep. The scene is set in the bedrooms of others. One is asked to be asleep, a squeeze cable release is placed under the pillow. The chance of one's unconscious body rolling over and triggering the camera results in an exposure. Like Someone Alive expands these boundaries by withdrawing the traditional relationships between the photographer, the object and the camera. "About five years ago I was trying to realise a way where the approach towards the trigger would somehow be directly reflected in the image. How can the pressure craft the physicality upon the trigger that generates the exposure. I had this old exercise pull up bar. I would physically pull myself up while squeezing the cable release to make an image. A step further was to somehow dismiss the awareness of the approach, so sleep became the plot but photography is the story. "

With 'In Camera' Christiaens juxtaposes her own relationship, her own identity and her own images with those of her parents. In doing so, she calls into question the traditional relationship between men and woman and between photographer and model, both over time and within her own family history. Gazes cross and are reflected within the image, outside the image and through the image. It's about different perspectives in different times, about similarities and differences. It's about looking at ourselves, our bodies, our loved ones and others trough the eye of the camera. About exploring the different layers and histories these gazes hold-the gaze of the loved one, the gaze of an artist, the reflected gaze in the mirror-and how they help shape our identity, both within ourselves and through the other. (Stefan Vanthuyne)