• IN VIVO | The nature of nature

    International Photofestival 2018[June 23rd - Sept 23rd]

    The deadline for submission 'IN VIVO' is closed. We did receive an enormous amount of entries, thank you very much. We expect to finish the selections and answer everyone around 15th May at the latest. The first names will be shown at 10 May.
    The festival will take place from 23 June till 23 September at Museum Belvedere, Heerenveen.

    Photo: © Catherine Nelson, serie Unstill Life

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  • Meet the photographers at IN VIVO | extended

    [Saturday August 25th, from 2 pm]

    On IN VIVO | extended, the satellite exhibition of the 25th Noorderlicht International Photofestival, eleven Dutch photographers show their vision on the way we experience nature. Eight of these photographers are present on Saturday 25 August at the exhibition, on the first floor of Zaailand Leeuwarden (opposite the entrance of the Fries Museum) to tell about their work. So if you would like to see this free exhibition and talk to the photographers, you are more than welcome.

    photoshop: Luuk Huiskes


  • Ruben Terlou - Straight Through China

    [21 July -16 Sep 2018]

    Photographer Ruben Terlou has gained much praise with the VPRO documentary series ‘Through the heart of China’, in which he shows personal stories from today’s China close-up. With his photographs, he breaks through the clichéd image of China.


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  • BlogMikiko Kikuta
    Mikiko Kikuta

    For this 20th edition of European Eyes on Japan/Japan Today, Alexandra Pace from Malta and Alice Wielinga from the Netherlands turned their cameras on Aomori prefecture.

    To select a Dutch photographer, we sought help from the Noorderlicht, organizer of photo festival held every other year in Groningen and Leeuwarden in the northern Netherlands. Among the proposals, I saw a few aspects in Alice Wielinga’s ideas which I was not sure about, but more than anything, her unique visuals captured my eye. One of the reasons for my concern was the fact that she would focus on the Nebuta Festival, which all Japanese are familiar with. With the Nebuta Festival, even if you have not seen it for yourself, just hearing the name immediately conjures vivid images of festival floats moving in a procession through the darkness. Considering the brief shooting time frame, it seemed that it would not be very easy to show the Nebuta Festival from a new perspective. As I continued my research, however, I belatedly realized that what is “painted” through “Nebuta” are “still” scenes. The fusion of these picturesque and photographic elements is one of the characteristics of Wielinga’s pwork, even if the forms are totally different. I expected that these elements would synergize and cause a reaction.

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