From the series Monuments

Douglas Mandry

 in 2018. The artwork is an ice photogram digitally printed on glass, and is displayed at 33 x 40 cm.

System 8, from the series Kosmos, 2011

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In an attempt to minimize the devastating effect of global warming on the glaciers of the Swiss Alps, each summer they are covered with geotextile blankets that are designed to keep the ice cool. Douglas Mandry journeyed his native country, intrigued by this desperate attempt to prevent the receding glaciers from further melting. The artist collected disused pieces of geotextile from the mountains, and later processed them as a base for found photographs of early twentieth-century alpinism in the region. Mandry also took bits of broken ice from the glacier with him in a cool box. In the darkroom, he put the ice in the enlarger, where it started to melt and drip onto the photo paper, creating a colourful aura of the glacier. Mandry then reproduced these photograms on glass plates. 

could be considered an index of the vanishing glaciers of Switzerland: frozen time, captured in an instant by the principles of photography.

Monuments, Aletsch #2, 2018

Joris Jansen

 in 2011. Using c-print as the medium, the artwork is displayed at 99 x 129 cm.

 is reminiscent of outer space; it is a familiar picture  of the infinite, of the unknown and total chaos that surrounds us. The photographs in the series 

 by Joris Jansen refuse the reading of the medium of photography as a method to make things visible. His photographs rather make things invisible. Jansen rephotographs the surface of an analogue photograph. By doing so he creates an imaginary universe full of milky ways and swarming planets. This new universe is far removed from the initial photograph and thus only the materiality of the analogue photograph seems to be relevant for the creation of a completely new universe. 

System 8

Kardeşlik from the series Turunç

Kardeşlik from the series Turunç

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Solène Gün

 in 2020. Using photography printed on transparent fabric  as the medium, the artwork is displayed at 250 x 203 cm.

Evimde from the series Turunç

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 (Bitter Orange) records the daily lives of young men with a Turkish background in the suburbs of Paris and Berlin. Solène Gün, herself a child of Turkish immigrants and raised in a Parisian suburb, captures the fraternity and strong mutual solidarity that can also go hand in hand with a lack of perspective.

The work is named after an orange commonly found in Turkey. The fruit is a metaphor for the bittersweet existence of a community that is frequently the target of negative stereotyping. Torn between the conflicting urge to hide and the wish to be heard, these men are portrayed faceless. Gün’s focus is on the symbols and gestures through which their identities are expressed, such as a necklace, a prayer rug or the silhouette of a brotherly handshake.

Evimde from the series Turunç

 in 2020. Using photography printed on satin paper as the medium, the artwork is displayed at 110 x 90 cm.

. Through this image, the symbol of fraternity is placed at the forefront in order to escape the stereotypes people may have on suburbs and young from the Turkish community.

Lilac from the series Flamboya

Viviane Sassen

 series. Using C-print on  as the medium, the artwork is displayed at 80 x 65 cm.

Codex from the series Parasomnia, 2010

Foam is supported by the VriendenLoterij, Foam Members, De Brauw Blackstone Westbroek, the VandenEnde Foundation and the City of Amsterdam.

In 2021 Foam receives additional support from the Mondriaan Fund and Kickstart Cultuurfonds

 shows a young Kenyan man standing in a white shirt with a pink book on his head. He's looking up, but his face is not visible. The photograph is part of the 

 series, which for a large part consists of portraits of young Africans in Zambia, Kenya, and Tanzania. They were often constructed as part of an intuitive collaboration with the subject. Remarkably, it is often impossible to see the subject’s expression: the face and parts of the body tend to be wrapped within a shadow, turning away from the viewer or only display the lower half of the body. This makes it hard to identify with the subject in the photo. The (in)ability to properly register a person’s identity, the limitations preventing the viewer from forming an accurate picture, and the role of photography are recurring themes in Sassen’s work. She plays an intriguing game with perception, undermining our assumptions and stereotypes.

Codex from the series Parasomnia

Untitled, from the series The Afronauts, 2012

Cristina de Middel

Created by Cristina De Middel in 2013. Using inkjet on cotton paper as the medium, the artwork is displayed at 100 x 100 cm. The work explores genres such as the 

The portrait potrays a Zambian man in a space uniform. The work is part of the series 

The starting point for the project The Afronauts is derived from the history of Zambia. A space program started by a school teacher suddenly enlisted Zambia to join the United States and Russia in the space race. The hoped-for outcome was the first African on the moon. However, a lack of financial aid meant that this ambitious initiative was doomed to fail. Fifty years later, De Middel reconstructs this story, using her own imagination.

Untitled from the series Afronauts

Current Study #3, 2013

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Sjoerd Knibbeler

 in 2013. Using inkjet print as the medium, the artwork is displayed at 120 x 96 cm. The work explores genres such as the 

Current Study #3 is an experiment to photograph something that normally cannot be documented visually: air. 

The work of Sjoerd Knibbeler focuses on visualising invisible natural phenomena such as the wind, air movement and climatological conditions. His work could be defined as ‘constructed photography’ – the construction of all sorts of self-imagined and created objects mostly takes place in the studio. There he simulates wind, clouds or a tornado, and he experiments with fragile constructions in a variety of materials such as plastic, paper and fiberboard. Knibbeler explores the paradoxical relation between the still, two-dimensional character of photography and his often transparent, moving, voluminous subjects. He uses photography as a means of visualising his ideas, but everything he photographs is real. Through his artistic practice, he proves the camera to be able to reveal processes that wouldn’t be noticed otherwise.

Current Study #3

Anne de Vries

 in 2009. Using c-print with an epoxy-layer as the medium, the artwork is displayed at 10 x 15 cm.

Waves from the Web, 2009

 is derived from the internet. Inspired by 'The Age of Aquarius,’ the astrological belief that the world has entered a new cycle in which love, light and humanity play an important role, the element of water is often used as a metaphor. De Vries has searched for the different ways that water has been represented in different cultures, from Japanese wood engravings to Bob Ross. De Vries brings the variety of collected images together by making collages and presenting them in a new way.

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