From themes of mythologised memories and ancestral resistance to decolonial archives, this year’s edition of the world’s biggest photography festival centres global narratives| 1854 Photography
“This is an ambitious, multilayered project,” says Nathalie Herschdorfer, director of Photo Elysée and Jury President of the Lausanne museum’s biennial prize for a mid-career photographer, commenting on the latest recipient, Hannah Darabi’s Why Don’t You Dance?| 1854 Photography
Hannah Darabi is the winner of the 2025 Prix Elysée with her powerful project ‘Why Don’t You Dance?'| 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
Tangerine Dreams is an honest look at the many lives across the British isles and the different communities who call it home – the same communities affected by the current hostile environment| 1854 Photography
The founder of PRESSURE presents glossy fashion photography with the texture of everyday life in his zine ΧΑΟΣ| 1854 Photography
We sit down with Slidefest organiser and Gulf Photo Plus Director Mohamed Somji to hear about the motivations behind the event and this year’s theme, Diaspora| 1854 Photography
Bound by Two Homes blends Iranian cultural iconography with quintessentially British spaces to dissect identity| 1854 Photography
People of My Time at Hannah Traore Gallery brings together 50 works spanning two decades, celebrating the intersection of tradition and pop-culture| 1854 Photography
Margarita Galandina and Alice Poyzer are the series winners of BJP’s 2024 Female in Focus; and this year, BJP is introducing a People’s Choice category for one outstanding image in the award| 1854 Photography
The Italian photographer spent years in Iraq focusing on its Shia communities and complicating the idea of ‘social Islam’| 1854 Photography
Creative duo and club stalwarts Martin Green and James Lawler take a utopian yet realistic look at 90s Queer nights in Britain, at Open Eye Gallery| 1854 Photography
A rich family history of political struggle and personal responsibility, diverging paths and roads left untrod inform Thero Makepe's We Didn't Choose to be Born Here| 1854 Photography
How to Unname a Tree dismantles the notion of trees as static symbols, revealing them as beings that blur the lines of identity| 1854 Photography