SATHRON SUNSET by Miti Ruangkritya (Thailand)
The work features sunset scenes taken in and around Sathorn Unique Tower from January 2018. The luxury condominium began being built in 1990 but remains unfinished after the Asian financial crisis in 1997 put a halt on funding and construction.
LANDSCRAP AND MINDSCAPE by Wenni Zhen (China)
Landscrap and Mindscape is a group of photographic nature-scape fully constructed and fabricated by repurposing daily scraps. By using photographic language, imageries in this series try to fool viewers’ eyes and simultaneously provide clues to expose the trick.
LOVE FOR MOTHERLAND by He Fei (China)
Over 100 soldiers who fought in WWⅡ in China’s battlefield, were included in works, some of them have passed away, some of them still living among us. No matter how many changes they go through and how their living condition are, the spirit is still the same.
CALL ME HENNA by Shahria Sharmin (Bangladesh)
Hijras are people designated male or intersex at birth who adopt a feminine gender identity. Often mislabeled as hermaphrodites, eunuchs, or transsexuals in literature, Hijras can be considered to fall under the umbrella term transgender, but many prefer the term third gender. The project features Hijras in Bangladesh, as well as a number of Hijras who migrated to India. While Hijras continue to face discrimination once in India, some have found greater social acceptance than in Bangladesh. At the same time, many Hijras in Bangladesh and other South Asian countries have stood up for their rights and gained at least limited legal recognition for a third gender.
WHAT REMAINS OF THE DAY by Gesche Würfel (US)
Memories of World War II grapples with time and memory in contemporary Germany through images of places and people. Photographs taken in 2016 (71 years after the end of WWII) were overexposed for 71 seconds. Portraits and interviews of war witnesses: (Holocaust) survivors, German Nazi supporters and bystanders, and Allied veterans present personal perspectives on the war and the Hitler regime.
BEING THERE by Adisa Chocksongsaeng (Thailand)
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