Vivian Wan’s family cut out memories from their archives; she had to fill the gaps in herself| 1854 Photography
In Aldershot, a town in Hampshire, England, there is an old 1930s Art Deco theatre called the Empire. Since its renovation several years ago, it operates mainly as a Nepalese community centre. On the top floor there is a restaurant and a temple; downstairs is a function room, where groups of Nepalese men meet up every so often to play xbox, table tennis and traditional Asian games like carrom.| 1854 Photography
“Melancholy and instinct”: Abeer Khan draws our attention to trafficking, pollution and grief in India| 1854 Photography
Vivian Wan’s family cut out memories from their archives; she had to fill the gaps in herself| 1854 Photography
Vivian Wan’s family cut out memories from their archives; she had to fill the gaps in herself| 1854 Photography
Liz Johnson Artur’s workbooks reveal her experimental drive| 1854 Photography
Daegu Photo Biennale tackles the Anthropocene| 1854 Photography
Fantasy Island is a collective publication from both Northern Ireland and the Republic that addresses some of the longest persisting ideas around the nation| 1854 Photography
A photo festival in Istanbul boasts a female-led festival team and a dynamic discovery approach| 1854 Photography
“Letting oneself be photographed is highly courageous”: A retrospective of Paz Errázuriz’s intimate gaze| 1854 Photography
Carte Blanche Students 2025: Emerging European photographers take the spotlight| 1854 Photography
His photographs of Birmingham’s late-1960s housing crisis transformed how the urban poor were visualised in the UK. We catch up with the veteran documentarian| 1854 Photography
Vivian Wan’s family cut out memories from their archives; she had to fill the gaps in herself| 1854 Photography
