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Win a Solo Exhibition in April 2026 + An Exclusive Interview!
Win a Solo Exhibition in April 2026 + An Exclusive Interview!
Lorenzo Meloni
Lorenzo Meloni

Lorenzo Meloni

Country: Italy
Birth: 1983

Lorenzo Meloni (born 1983) is an Italian Photographer. He joined Magnum Photos as a nominee member in 2015. Meloni is known for his searing, artfully drawn photography covering conflicts in the Middle East. Though he is often working on the frontline—he has covered some of the most pivotal battles in the war against the Islamic State—he is also concerned with deeper themes, such as history and post-colonialism.

In 2011, he finished his photography studies and immediately joined Contrasto, a major Italian photographic agency. He lived in Beirut from 2012 to 2014 and dedicated himself to long-term projects regarding the aftermath of the fall of Gaddafi in Libya, the conflict in Syria (specifically the area of Rojava) and its impact in Lebanon, between 2014 to 2016. His work currently focuses on the consequences of the Sykes-Picot agreement and the military and political intervention of the West in the Middle East.

Meloni’s work has been exhibited in festivals worldwide including the Venice Biennale, Visa pour L’Image, Les Rencontres d’Arles, Boutographies and Fotoleggendo and has been featured in global publications including The Telegraph, TIME, Le Figaro, Vanity Fair, Internazionale, L’Espresso, La Repubblica.

Source: Magnum Photos


When proclaimed in June 2014 in Mosul, the Caliphate was then at the height of its power. The Jhiadists controlled a territory that was as big as the United Kingdom and were in charge of a significant arsenal captured from the Iraqis army, composed of volunteers coming from all over the world.

Lorenzo Meloni has documented this conflict, getting the exclusive opportunity to cover the battles of Kobane, Palmyra, Sirte, Mosul and Ragga. Five major battles for the same war, a huge number of actors: locals, regional, international ones; a sole enemy: the Islamic State. Each of these five cities embodies a distinct symbolic aspect of this global war against the Islamic State.

Kobane, a Kurdish-Syrian stronghold, pro-PKK, was the first great defeat for the Jihadists and the beginning of the intervention of the coalition led by the United States in Syria. The battle of Palmyra is representative of the destruction of archeological sites committed by the Islamic State.

Meloni is one of the few photographers to travel there in April 2016 to record the liberation of the city by the Syrian regime and its alleys. Sirte, in Lybia, went from being Gadaffi’s birthplace to the African capital of the Islamic State. Mosul, the jewel in the crown of the Jihadists. The biggest urban battle after World War II and the capital of the Islamic State in Iraq.

And ultimately Ragga, an important administrative headquarter and capital of the Islamic State in Syria, liberated by the Kurdish and Arab forces in Syria.

Lorenzo Meloni, covering these five battles, offers a unique perspective of five echoes of the same war. He shows the fighting and the ruins, the fury and the silence. The silence of these places where war has estranged life.

Source: IMP Festival


 

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More Great Photographers To Discover

Lee Friedlander
United States
1934
Lee Friedlander (born July 14, 1934) is an American photographer and artist. In the 1960s and 70s, working primarily with 35mm cameras and black and white film, Friedlander evolved an influential and often imitated visual language of urban "social landscape," with many of his photographs including fragments of store-front reflections, structures framed by fences, posters and street-signs. Friedlander studied photography at the Art Center College of Design located in Pasadena, California. In 1956, he moved to New York City where he photographed jazz musicians for record covers. His early work was influenced by Eugène Atget, Robert Frank, and Walker Evans. In 1960, the Guggenheim Memorial Foundation awarded Friedlander a grant to focus on his art and made subsequent grants in 1962 and 1977. Some of his most famous photographs appeared in the September 1985 Playboy, black and white nude photographs of Madonna from the late 1970s. A student at the time, she was paid only $25 for her 1979 set. In 2009, one of the images fetched $37,500 at a Christie's Art House auction. Working primarily with Leica 35mm cameras and black and white film, Friedlander's style focused on the "social landscape". His photographs used detached images of urban life, store-front reflections, structures framed by fences, and posters and signs all combining to capture the look of modern life. In 1963, the International Museum of Photography at George Eastman House mounted Friedlander's first solo exhibition. Friedlander was then a key figure in curator John Szarkowski's 1967 "New Documents" exhibition, at the Museum of Modern Art in New York City along with Garry Winogrand and Diane Arbus. In 1973, his work was honored in Rencontres d'Arles festival (France) with the screening "Soirée américaine : Judy Dater, Jack Welpott, Jerry Uelsmann, Lee Friedlander" présentée par Jean-Claude Lemagny. In 1990, the MacArthur Foundation awarded Friedlander a MacArthur Fellowship. Friedlander now works primarily with medium format cameras (e.g. Hasselblad Superwide). Whilst suffering from arthritis and housebound, he focused on photographing his surroundings. His book, Stems, reflects his life during the time of his knee replacement surgery. He has said that his "limbs" reminded him of plant stems. These images display textures which were not a feature of his earlier work. In this sense, the images are similar to those of Josef Sudek who also photographed the confines of his home and studio. He was awarded The Royal Photographic Society's Special 150th Anniversary Medal and Honorary Fellowship (HonFRPS) in recognition of a sustained, significant contribution to the art of photography in 2003. In 2005, the Museum of Modern Art presented a major retrospective of Friedlander's career, including nearly 400 photographs from the 1950s to the present. In the same year he received a Hasselblad International Award. The retrospective exhibition was presented again in 2008 at the San Francisco Museum of Modern Art. Concurrent to this retrospective, a more contemporary body of his work, America By Car, was displayed at the Fraenkel Gallery, also in San Francisco. "America By Car" was on display at the Whitney Museum of American Art in New York City in late 2010. He is the father of cellist Erik Friedlander, and Anna Friedlander. Source: Wikipedia
Matthew Pillsbury
United States / France
1973
Matthew Pillsbury is a French-born American photographer, living in New York City. The Screen Lives series, inspired by Sugimoto's movie theater photos, features black and white, long-exposure photographs of family and friends sitting in their apartments interacting with their computer and television screens. In 2004 The New York Times Magazine commissioned him to do a portfolio of photos of New York museums after hours. One such photo was taken at the Guggenheim Museum: An installation in progress in the Ronald O. Perelman Rotunda (Oct. 1, 2004.) In addition to New York, he continued to shoot within museums in both London and Paris, including the Musée du Louvre. At the Louvre he photographed the Mona Lisa. The New York Times and the Aperture Foundation published New York Times Photographs in the fall of 2011, featuring one of his photos of the American Museum of Natural History's Rose Center For Earth and Space. In the Dec 11, 2011 issue of New York Magazine, Pillsbury's works were published as part of their "Reasons to Love New York 2011" feature. The photos included four shots from City Stages, which included Occupy Wall Street protesters in Zuccotti Park, as well as Jing Fong dim sum, Fausto in Washington Square Park and High Line. His series, City Stages initially ran from February 23, 2012 to April 28, 2012 at the Bonni Bunrubi Gallery in New York City. The exhibition opened in Atlanta, GA on September 13, 2012 and ran until November 17, 2012 at The Jackson Fine Art gallery. In September 2013, the Aperture Foundation published a monograph that includes a retrospective of his works, titled, City Stages. The New York Times Magazine published one of Pillsbury's City Stages photos as part of their Manhattanhenge feature in July 2013. Art Relish conducted an interview in October 2012 with him discussing his City Stages works. In the Oct 1, 2012 edition of Time Magazine, High Line photo, featuring a park in Manhattan constructed of abandoned train tracks, was highlighted as part of his exhibit at the Jackson Fine Art gallery. The Screen Lives series, inspired by Sugimoto's movie theater photos, features black and white, long-exposure photographs of family and friends sitting in their apartments interacting with their computer and television screens. On the CNN Photos Blog, Pillsbury's Screen Lives series was featured in a post about the School of Visual Arts "Myths & Realities" show, which took at the Visual Arts Gallery in New York, Aug 29-Sept 29, 2012. On November 27, 2011, New York Times Magazine featured two of Pillsbury's photos of Jane's Carousel from "City Stages." In April 2014, Pillsbury was one of 11 photographers awarded with the John Simon Guggenheim Memorial Foundation Fellowship. Approximately 200 Fellowships are awarded each year through two annual competitions that receive between 3,500 and 4,000 applications. Guggenheim Fellowships are grants awarded to "advanced professionals in mid-career" who have demonstrated exceptional ability by publishing a significant body of work within the fields of natural sciences, social sciences, humanities and the creative arts, excluding the performing arts. In 2014, Pillsbury photographed various cities in Japan, with the focus being in and around Tokyo. Recent photographs from his work in Tokyo were revealed in a photo essay published on July 18, 2014 in The New York Times Magazine and include images from Tokyo Disneyland, Robot Restaurant and the CupNoodles Museum in Yokohama. In April 2014, The New York Times Magazine first ran a photo essay of Pillsbury's work that centered around the hanami parties that occur during the week when the cherry blossoms are at peak bloom. An exhibition of His new Tokyo work opened Sept 10, 2014 and closed November 15, 2014 in New York City at Benrubi Gallery. A portfolio of Pillsbury's new images was featured in The New Yorker in September 2015, and showcased locations that include the High Line, the American Museum of Natural History, Astoria Park Pool and the Coney Island Boardwalk. He has also widened the project's focus to include locations outside of Manhattan, after a move to Brooklyn in January 2015 that inspired him to shoot urban life in the outer boroughs. In a redesign and relaunch in the February 22, 2015 issue, The New York Times Magazine published a photograph Of his on its cover. The long exposure image featured an illuminated spinning globe, which he took in his basement. He is represented exclusively by Edwynn Houk Gallery in New York.Source: Wikipedia
Nakaji Yasui
Japan
1903 | † 1942
Nakaji Yasui was one of the most prominent photographers in the first half of the 20th century in Japan. Yasui was born in Osaka and became a member of the Naniwa Photography Club in 1920s and also became a member of the Tampei Photography Club in 1930. His photographs cover a wide range from pictorialism to straight photography, including photomontages. He appreciated every type and kind of photograph without any prejudice and tried not to reject any of them even during wartime. Source: Wikipedia Nakaji Yasui was born in 1903 in Osaka and passed away in 1942. From the 1920s on, Yasui was an active photographer in the Kansai region of Japan; he is now seen as one of the most prominent Japanese photographers of the prewar period. At the very beginning of an era in which Japanese photography would express itself in a way that was both more international and more in step with the times, Yasui produced his photographs while enthusiastically incorporating many new theories of art into his work—and thinking extremely carefully about how these theories might impact his own development within the context of that time in Japan. Although Yasui’s career was short, his work has influenced Daido Moriyama and many other important contemporary Japanese photographers. In 2010, His major photography publications include the essay Landscape Photography in Practice (1938) and the photography book Nakaji Yasui photographer 1903-1942 (2004). Taka Ishii Gallery produced “Nakaji Yasui Portfolio” (a set of 30 modern prints in a limited edition of 15). Source: Taka Ishii Gallery
Francis Meslet
France
1963
A graduate in Design from the Fine Art School of Nancy in 1986, early in his career Francis Meslet was a designer, but soon turned to advertising when he joined several agencies as an artistic director. After 30 years spent questioning the creative concept and studying images in all his compositions, he is now a creative director. Francis does not hesitate to roam the world in his spare time, searching for abandoned sites, sanctuaries where time seems to have stopped after humans have evacuated them. He thus brings back captivating and melancholic images of his travels to the other side of the world... Like time capsules, testifying to a parallel world and perfect for enabling the mind to wander and ponder, Francis Meslet’s melancholic images brave the passage of time, making way for silence after the memories left behind by human inhabitation. In these deserted places, no more than the rustling of the wind can be heard through a broken window or the sound of water dripping from a dilapidated ceiling. These silences nonetheless invite the spectator to slip into these well-guarded and mysterious places captured by the photographer and attempt to bring to life that which has been forgotten. In this power station orders were shouted in German, in this French Catholic school the cries of children resounded to the sound of the bell but who can imagine the sounds hidden behind the walls of this old psychiatric asylum in Italy or on the docks of this abandoned island off Japan? From these silences, everyone can imagine their own interpretations, ...reinterpretations.
Jan Saudek
Czech Republic
1935
Jan Saudek is an art photographer and painter. He and his twin brother Kaja Saudek are holocaust survivors. Jan Saudek's art work represents a unique technique combining photography and painting. In his country of origin, Czechoslovakia, Jan was considered a disturbed artist and oppressed by authorities. His art gained more prominence during the 1990s, thanks to his collaboration with the publisher Taschen. During the 2000s, Saudek lost all his photo negatives in a matrimonial dispute and his pictures are now displayed on the internet for free. Jan claims they were stolen from him. Jan is the author of many “mise en scene” that were re-taken and copied by other artists. The cliché of a naked man holding a naked newborn baby with tenderness became a picture that was reproduced so many times that the composition became as commonplace as posing for a graduation picture. I still dream of the day when I will take a photograph so beautiful that it can be called love. -- Jan Saudek During his life in communist Czechoslovakia, Jan was labeled by the totalitarian regime as a pornographer. He lived in poverty using the only room in his basement as his studio. A disintegrating wall and a window giving a glimpse into the backyard became the witnesses of his fantasies and collaborations with models of all different sizes and origins. Jan Saudek and his twin brother Karel (also known as Kája) were born to a Slavic (Czech) mother and Jewish father in Prague in 1935. Their mother's family came to Prague from Bohemia, and their father from the city of Děčín in the northwest part of that area. During World War II and after the invasion of the German Nazis, both sides of his family were racially persecuted by the invaders. Many of his Jewish relatives died in the Theresienstadt concentration camp during the war. Jan and his brother Karel were sent to a children's concentration camp for Mischlinge (mixed-blood in German, as Nazis classified Jews as a race distinct from "Aryans"), located in Silesia near the present Polish-Czech border. Their father Gustav was deported to Theresienstadt concentration camp in February 1945. Although their mother and many other relatives died, both sons and father survived the war. A Communist-dominated government gained power after the war to rule the country, enforced by the Soviet Union and considered to be behind the Iron Curtain. According to Saudek's biography, he acquired his first camera, a Kodak Baby Brownie, in 1950. He apprenticed to a photographer, and in 1952 started working in a print shop; he was restricted to this work by the Communist government until 1983. In 1959, he started using the more advanced Flexaret 6x6 camera, and also engaged in painting and drawing. After completing his military service, he was inspired in 1963 by the catalogue for American photographer Edward Steichen's The Family of Man exhibition, and began to work to become a serious art photographer. In 1969, Saudek traveled to the United States, where he was encouraged in his work by curator Hugh Edwards of the Art Institute of Chicago. I have no way of portraying the lives of others. I portray my own. -- Jan Saudek Returning to Prague, Saudek had to work on his photography clandestinely in a cellar, to avoid the attention of the secret police. With his work turning to themes of personal erotic freedom, he used implicitly political symbols of corruption and innocence. In the late 1970s, he became recognized in the West as the leading Czech photographer, and also developed a following among photographers in his own country. In 1983, the first book of Saudek's work was published in the English-speaking world. The same year, he became a freelance photographer; the Czech Communist authorities allowed him to stop working in the print shop, and gave him permission to apply for a permit to work as an artist. In 1987, the archives of his negatives were seized by the police, but later returned. His best-known work is notable for its hand-tinted portrayal of painterly dream worlds, often inhabited by nude or semi-nude figures surrounded by bare plaster walls or painted backdrops. He frequently re-uses elements (for instance, a clouded sky or a view of Prague's Charles Bridge). In this his photographs suggest the studio and tableaux works of mid-19th century erotic photographers, as well as the works of the 20th-century painter Balthus, and of Bernard Faucon. Saudek's early art photography is noted for its evocation of childhood. His later works often portrayed the evolution from child to adult (re-photographing the same composition/pose, and with the same subjects, over many years). Religious motifs and the ambiguity between man and woman have also been some of Saudek's recurring themes. During the 1990s, his work at times generated censorship attempts in the West because of its provocative sexual content. Saudek's imagery has sometimes had a mixed reception internationally. He gained early shows in 1969 and 1970 in the United States and in Australia. In 1970 his work was shown at the Australian Centre for Photography and was welcomed by curator Jennie Boddington at the National Gallery of Victoria. Decades later, by contrast, his photograph Black Sheep & White Crow, which features a semi-naked pre-pubescent girl, was removed from the Ballarat International Foto Biennale in Victoria, Australia just before the opening on 21 August 2011; objections had been made related to allegations of child prostitution for his subject. Saudek's photographs have been featured as covers for the albums of Anorexia Nervosa (New Obscurantis Order), Soul Asylum (Grave Dancers Union), Daniel Lanois (For the Beauty of Wynona), Rorschach (Remain Sedate), and Beautiful South (Welcome to the Beautiful South). Saudek lives and works in Prague. His brother Kája Saudek was also an artist, the best-known Czech graphic novelist.Source: Wikipedia Saudek's pictures display a fondness for sequences that can be traced back to his childhood appreciation of comic books. More obviously, his work is often inspired by the nineteenth-century tradition of photographs of large women posed in lingerie reproduced as postcards (quite possibly also the source of inspiration for Saudek's collection 30 Postcards). His formal training occurred from 1950 to 1952, when Saudek attended Graphic Arts school and took a photography class. Saudek first exhibited in Prague in 1963 at the Hall of the Theatre on the Balustrade; though he continues to show work in his home country occasionally, Saudek's pictures are most widely exhibited in the United States. His work is held by such institutions as the Art Institute of Chicago; Museum of Fine Arts, Boston; The Bibliothèque nationale de France, Paris; Musée Nicephore Nièpce, Chalon-sur-Saone, France; National Gallery of Victoria, Melbourne, Australia; and Photo Art, Basel, Switzerland. Saudek continues to live and work in the Czech Republic.Source: Museum of Contemporary Photography
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