The Cinemas Project visually traces the lives of Bombay’s disappearing single-screen cinema halls.
Once symbols of modernity, the relationship that many of these halls share with the city has changed significantly as colonial Bombay metamorphoses into an increasingly post-industrial Mumbai.
On the one hand, this collection of images is a repository of the architectural form and interior detail of these buildings that range from the classic to the idiosyncratic. These buildings seem to exist today in defiance of the generic aesthetic and cultural experience of the city’s new multiplexes.
However, to view these halls merely nostalgically — and to cast them off to history — would be to deny them a place in the present; our lived present that is in constant play with time past and pending.
As I explored these cinemas, which are simultaneously spaces of dwelling, labour and spectatorship, they revealed themselves to be sites of deep affective investment, traces of which are evident in every nook and corner.
— Zubin Pastakia was awarded an Honorable Mention in the 2009 Lens Culture International Exposure Awards.
For one year, Siberian photographerlived with, and documented, five nationalities of nomadic reindeer herders — a way of life unchanged for centuries.
A new book reveals 64 images of the much-censored public protests that took place at Tiananmen Square on June 4, 1989 — however, to "see" the real images you must use your smartphone or tablet to invert the colors of the printed images so the negatives are seen in "real" colors. Thus, this art book has multiple dimensions and layered meanings.
Artful, behind-the-scenes photographs of nude models before, during and after posing for Life Drawing classes at an art school — where the surrounding details intertwine the mundane trappings of day-to-day reality with loftier visions celebrating the varieties and beauty of the human form.
These photographic "interventions" into abandoned houses in rural Ireland force us to rethink our nostalgic, romantic associations with derelict spaces and make us confront them as they are, in the present.