What kept me inspired in 2024
In 2024, I consumed a considerable number of films, books, exhibitions, theater and dance performances, music albums, and photography books.
I forgot about some of them already, but there are some that will stay with me for a long time, if not forever.
Below, there’s a selection of those that left the greatest impression on me and will likely remain visible in my photography and other creative work.
The meaning in the making - book
Over the past two years, I’ve watched on You Tube several of Sean Tucker’s videos covering wide topics in photography. He’s provided me with a bunch of theory and inspiration. I decided to buy his book in return for all the free knowledge I gained from his channel (I highly recommend supporting creators in this way). But I also had a feeling that the book would be worth it - and I wasn’t wrong.
It reached me at a perfect moment when I started having doubts about whether my photography had any meaning at all. Would I ever find an audience interested in it? Would I ever reach a level where sharing my photos (beyond Instagram) would make sense in a broader context?
I recommend this book to all creators, established or not. Regardless of the creative work you do, there will come a moment when you question whether it’s all worth it. This book, on many levels, proves that no matter what art form you pursue, you’re doing it well as long as you stay true to yourself and create out of a need to express yourself (rather than for instant gratification or external rewards).
Shortly after reading the book, I rebuilt my website, highlighting my documentary and artistic projects. I also began working conceptually, which led to several ideas evolving into long-term projects. In short, Tucker struck the right chords within me, for which I’m very grateful.
This will not end well - exhibition
Nan Goldin's exhibition took place at the Stedelijk Museum in Amsterdam between 2023 and 2024. It was her first solo exhibition as a videomaker. Rather than traditional prints, her photographs were presented as a series of videos.
To be honest, I wasn’t aware of this beforehand, and at first, I was slightly disappointed by the format. However, it quickly became clear that such a vast number of photographs (we’re talking thousands of photos) couldn’t have been showcased in print all at once.
Some of Nan Goldin’s most famous photographs were familiar to me from art magazines I used to buy during my university years - though, shame on me, that’s where my knowledge of her work ended. Here, I could explore her work from the 1970s to today.
Being used to photography dominated by precise framing and technical perfection, Goldin’s snapshots opened my eyes to a completely different dimension of documentary photography. Photography that captures real life as it unfolds. Life filled with life-and-death struggles (addiction, illness, violence), socially difficult topics (transgender identity, AIDS, drugs), love, sex, lifelong friendships, hatred, destruction, and death.
The cocktail of Goldin’s New York, Berlin, and London life and work, presented through several video cycles, left me watching with my jaw dropped.
After viewing the exhibition, I felt an even deeper connection to Goldin, especially because of her outspoken support for the Palestinian people under Israeli occupation and her criticism of genocide - a remarkable fact given that she comes from an Orthodox Jewish family.
Sometimes I am fourteen - photobook
Of all the photo books I purchased this year, this is the one I return to most often, for several reasons.
Sometimes I Am Fourteen by Eliza-Sophie Sekrève is a story about growing up, constantly crossing - there and back - the thin line between childhood and adolescence. It’s also an intimate portrait of a close relationship between siblings.
What fascinated me about these photographs from the very beginning is how simple they are, yet remarkably insightful. Lawrence’s portraits are quite classic - no fancy tricks and techniques, very little to no studio lighting, slightly desaturated colors, clean compositions, no visual fireworks. The emotions portrayed are strongly present and complex, but they don’t overpower the story as a whole.
Flipping through these photos, it’s impossible not to feel a deep sympathy and affection for Lawrence, the book’s main character, and to feel as though you’re fourteen again - an age that is anything but easy. Useful when you’re reaching the age where casually dropping “back in my day” becomes a habit.
This is something I would ultimately like to achieve in my own portrait photography - learning to create a connection between the subject of the photo and the viewer. To evoke emotions we all know and have been through, preferably using simple means of expression.
No gimmicks or sophisticated techniques over the top. Stories that, when viewed from a broader perspective, anyone can relate to.
The Basement - performance
The Basement, photo: Karin Jonkers
I saw The Basement, a performance by Daniel Mariblanca, founder of the 71 Bodies collective, at the Korzo theater in The Hague a few weeks ago.
From the first to the last second, it kept my pulse at an almost life-threatening level - a rare occurrence, I must admit.
The topic of The Basement is not only socially important but also deeply personal to me: gender, transition, social expectations, and the need to normalize non-cisgender forms of gender expression.
Given that it features sex, nudity, genitalia, violence, and blood, it’s easy to get the impression that these elements are there to spark unnecessary controversy for the sake of attention. This narrative might indeed evoke comparisons to over-the-top groups of gay activists from Pride parades, whose aesthetics bear little resemblance to the average gay, lesbian or trans person.
However, later on I concluded that each of these elements is actually justified. And - what’s more important, the precision with which the creator steers the audience’s emotions - from a very beginning until the end - is nothing short of masterful.
I regret not being able to stay for the after-talk to thank the artist personally for his work for LGBTQ+ community. I must admit, his courage boosted my own confidence. Photo series I love him, created together with a fellow photographer Raoul, was made shortly after that and will remain one of the most remarkable (because one of the first ones) steps I took regarding expressing myself and my gender identity through photography/art.
The Outrun - movie
The Outrun, director: Nora Fingscheidt
The storytelling itself in this movie is excellent, that’s one thing. The film boldly breaks the strong taboo about alcoholism among women and talks about the consequences and layers of childhood trauma.
But the cinematography - oh, oh! It’s another level. From sweeping wide shots of stunning, raw landscapes (a must-see Scotland!) to deeply intimate handheld close-ups of the main character. Attention to detail, natural beauty of the character and her surroundings, and raw emotions left me speechless.
A strong, beautifully acted story, stunning cinematography, great soundtrack, and authentic, moving emotions - these are, for me, the essential ingredients of an outstanding film and The Outrun has it all.
Shortly after watching this movie, I had an outdoor portrait session. For the first time ever I think, I photographed from very close, taking tightly framed shots. During post-production, I also dared to crop the portraits and, for the first time, used a cinematic aspect ratio. Which, in my opinion, worked very well.
It turned out to be one of those portrait sessions that I’m particularly proud of, which brought me immense joy - from the conceptual work to the on-location execution and finally, the editing process. Soon I will share some results.
Tip: This film is still in theaters and is absolutely worth watching, whether you're into photography or not.
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