EXHIBITIONS 2024

1.REDES-SOCIAIS-ACAMPA-2024_MAJDI-FATHI
2.REDES-SOCIAIS-ACAMPA-2024_ANA-PALACIOS
3.REDES-SOCIAIS-ACAMPA-2024_RODRIGO-ABD
4.REDES-SOCIAIS-ACAMPA-2024_MARTA-MOREIRAS
5.REDES-SOCIAIS-ACAMPA-2024_PEDRO-ARMESTRE
6.REDES-SOCIAIS-ACAMPA-2024_BRUNO-THEVENIN
7.REDES-SOCIAIS-ACAMPA-2024_DIEGO-IBARRA
7.REDES-SOCIAIS-ACAMPA-2024_VINCENT-TREMEAU
About the author

Majdi Fathi Suleiman Qraiqea was born in Gaza, working for decades with the aim of showing the beauty and reality of his hometown. He is currently freelancing at Nurphoto, although he previously worked for various communication agencies, including Apollo. An expert in filmmaking and lighting, he is also a photography teacher.

He has covered the war in Gaza since 2008, exhibiting his work inside and outside Palestine (Lebanon, Jordan, Malaysia, Italy, France and now in Spain). Since last October 7, he has carried out an up-to-the-minute documentation of the destruction and devastation of the Strip under the Israeli bombings and siege.

He has won, among others, Turkey’s Anadolu Agency Award (2012), the Sharjah Arab Image Award (2014), the Press House Award (2019 ) and the Dar Al Kalima University Karima Abboud Photography Prize (2021).

Facebook: @majdi.fathi.5
Instagram: @majdi_fathi

Majdi Fathi fotografo acampa 2024

Majdi Fathi

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Majdi Fathi

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About the author

Majdi Fathi Suleiman Qraiqea was born in Gaza, working for decades with the aim of showing the beauty and reality of his hometown. He is currently freelancing at Nurphoto, although he previously worked for various communication agencies, including Apollo. An expert in filmmaking and lighting, he is also a photography teacher.

He has covered the war in Gaza since 2008, exhibiting his work inside and outside Palestine (Lebanon, Jordan, Malaysia, Italy, France and now in Spain). Since last October 7, he has carried out an up-to-the-minute documentation of the destruction and devastation of the Strip under the Israeli bombings and siege.

He has won, among others, Turkey’s Anadolu Agency Award (2012), the Sharjah Arab Image Award (2014), the Press House Award (2019 ) and the Dar Al Kalima University Karima Abboud Photography Prize (2021).

Facebook: @majdi.fathi.5
Instagram: @majdi_fathi

Majdi Fathi fotografo acampa 2024

Ana Palacios

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NIÑOS ESCLAVOS. LA PUERTA DE ATRÁS

What happens after a child has escaped from slavery?
How does one rebuild a broken childhood?

Thousands of minors are trafficked every year on the West African coast, sold by their families for ridiculous amounts, such as 30 euros, in exchange for a vague promise of a supposedly better life, which translates into a situation of slavery, physical and psychological abuse, working from sunrise to sunset, years away from their places of origin and families. The main cause for this calamity is rooted in extreme poverty and in the normalization of these behaviors due to ignorance of children’s rights.

This project, carried out in shelters run by Messengers of Peace, Salesian Missions and the Carmelite Vedruna Sisters in Togo, Benin and Gabon for 3 years, documents what it is like to return a child slave to society in the 21st century. It shows us that there is a “back door” that some of these thousands of child slaves find, open and successfully pass through in Sub-Saharan Africa, the region with the highest incidence of child exploitation on the planet, where one in four children live under some form of slavery.

About the author

Ana Palacios is a journalist and documentary photographer specialized in integral communication of projects with social impact linked to the third sector.

After more than fifteen years working in American film production, she radically changed her life and embarked on the path of documentary filmmaking connected to human, territorial and animal rights. She documents development cooperation projects promoted by foundations and NGOs in depth, with a “solutions journalism” approach. 

Her work has been awarded, published and exhibited in the five continents. She is a mentor for the Canon Europe Student Programme, a jury member for international photography awards and a lecturer at European schools and universities. She has published three books and has directed a documentary on child slavery available on Filmin.

Facebook: @AnaPalaciosPhotographer
Instagram: @anapalaciosphoto
X: @apalaciosrubio

fotógrafo Acampa 2024

INTERRUPTED CHILDHOOD

These photos do not document Afghans crossing fields, cities, or seas. Nor the unforeseeable risks they go through in the places where they being to reconstruct their lives. This work attempts, on the contrary, to portray the daily life of a population who resist in their own territory, two years after the Taliban takeover.

Teenage girls who are banned from studying—and who don’t even protest anymore, for fear of government retaliation—, adult women whose right to employment is increasingly restricted day by day; all amid a brutal financial crisis that forces thousands to undertake the tortuous migratory journey to seek refuge in neighboring countries or in Europe.

These were taken with a box camera, which there they call a kamra-e-faoree, a device that was very popular worldwide in the 60s, 70s and 80s, but which continued to be used in this Persian country until the early 2000s. It was at that time, while walking through the streets of Kabul as a correspondent for the Associated Press agency, that I met street photographers using this old thing to take portraits of those who needed instant ID photos for paperwork. They taught me how to use the camera and transmitted to me the love they felt for this completely artisanal craft.

The aim of this exhibition is to raise the awareness of a global audience that for decades had its eye on Afghanistan, a country that currently seems to have disappeared from the world agenda.

About the author

Rodrigo Abd was born in Buenos Aires on 1976. His career as a photographer began in the Argentinean newspapers La Razón and La Nación, between 1999 and 2003. Since 2003, he has been Staff Photographer for The Associated Press (AP). He was based in Guatemala until 2012, with the exception of 2006, when he was based in Kabul, Afghanistan. Between 2012 and 2020 he established himself in Lima, Peru. Since 2021 he is based in Buenos Aires, from where he continues to cover social conflicts worldwide.

Along with an AP photography team, they won the 2013 Pulitzer Prize for their work on the civil war in Syria and again in 2023 for their coverage of the war in Ukraine. Other major individual awards include: the World Press Photo in 2013, the Maria Moors Cabot award from Columbia University (for excellence in coverage of Latin America and the Caribbean), in 2016; and the GABO award (for his coverage in Ukraine), in 2022.

Instagram: @abdrodrigo

fotógrafo Acampa Rodrigo Abd 2024

Rodrigo Abd

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Rodrigo Abd

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INTERRUPTED CHILDHOOD

These photos do not document Afghans crossing fields, cities, or seas. Nor the unforeseeable risks they go through in the places where they being to reconstruct their lives. This work attempts, on the contrary, to portray the daily life of a population who resist in their own territory, two years after the Taliban takeover.

Teenage girls who are banned from studying—and who don’t even protest anymore, for fear of government retaliation—, adult women whose right to employment is increasingly restricted day by day; all amid a brutal financial crisis that forces thousands to undertake the tortuous migratory journey to seek refuge in neighboring countries or in Europe.

These were taken with a box camera, which there they call a kamra-e-faoree, a device that was very popular worldwide in the 60s, 70s and 80s, but which continued to be used in this Persian country until the early 2000s. It was at that time, while walking through the streets of Kabul as a correspondent for the Associated Press agency, that I met street photographers using this old thing to take portraits of those who needed instant ID photos for paperwork. They taught me how to use the camera and transmitted to me the love they felt for this completely artisanal craft.

The aim of this exhibition is to raise the awareness of a global audience that for decades had its eye on Afghanistan, a country that currently seems to have disappeared from the world agenda.

About the author

Rodrigo Abd was born in Buenos Aires on 1976. His career as a photographer began in the Argentinean newspapers La Razón and La Nación, between 1999 and 2003. Since 2003, he has been Staff Photographer for The Associated Press (AP). He was based in Guatemala until 2012, with the exception of 2006, when he was based in Kabul, Afghanistan. Between 2012 and 2020 he established himself in Lima, Peru. Since 2021 he is based in Buenos Aires, from where he continues to cover social conflicts worldwide.

Along with an AP photography team, they won the 2013 Pulitzer Prize for their work on the civil war in Syria and again in 2023 for their coverage of the war in Ukraine. Other major individual awards include: the World Press Photo in 2013, the Maria Moors Cabot award from Columbia University (for excellence in coverage of Latin America and the Caribbean), in 2016; and the GABO award (for his coverage in Ukraine), in 2022.

Instagram: @abdrodrigo

fotógrafo Acampa Rodrigo Abd 2024

Marta Moreiras

4.REDES-SOCIAIS-ACAMPA-2024_MARTA-MOREIRAS
Stronger than stigma

In Guinea Bissau, 70% of the population lives below the poverty line. The permanent political instability and scarcity of resources in the country have a catastrophic impact on education and childhood. Some indicators are alarming: 5% of children die before turning 5 years old and only one in two will finish primary education.

Being a child in Guinea Bissau is a real obstacle course. The situation becomes more complex for infants with functional diversity. 16% of children between 5 and 17 years old have some type of disability and they live with a strong stigma. The belief that they are not human beings, but an incarnation of the devil, is socially widespread. Many children in rural areas are abandoned by their families or even sacrificed due to superstition and fear.

Access to health, education, social assistance and other basic services is extremely limited. In this context, civil society associations and NGOs such as Humanity & Inclusion strive to promote the rights of people with functional diversity, and fight to combat stigma and discrimination.

Beyond statistics, people with disabilities are one of the most vulnerable groups in the world. Stronger than stigma documents the reality experienced by children with functional diversity in Guinea Bissau who, without the support and understanding of their families and the entire community, face enormous challenges in order to survive.

About the author

Marta Moreiras (Santiago de Compostela, 1981) is a documentary photographer and journalist based in Dakar (Senegal) since 2015. With a BA in Audiovisual Communications and studies in Philosophy, she completed her education at London College of Communication with a Master’s Degree in Documentary Photography and Photojournalism in 2009.

Based in London for 7 years, this experience transformed her perception of the world as well as her way of working, which since then is more collaborative and experimental. She combines her work as a photographer with teaching and participatory photography workshops for social transformation in the United Kingdom, Spain and Senegal for people with functional diversity, teenagers at risk of social exclusion, survivors of human trafficking, or African female photographers. Beside her journalistic work, she develops projects as an expert in visual communications with FAO, IOM, ONUDC and the EU.

Her work has been exhibited in the United Kingdom, USA, Spain, Portugal, France, Belgium, Germany, Argentina, Brazil, Morocco, Kenya, Guinea Bissau and Senegal. Some of her photographic reports have been published in El País, BBC, Der Spiegel, Euronews, Colors, Akzente Magazine, El Periódico, La Voz de Galicia, Luzes or El Salto, among others.

IG: @martamoreiras
X: @martamoreiras

Marta Moreiras fotografo acampa 2024

 

Unaccompanied minors. The hand that no one holds.

They are boys. And girls. That’s all. No matter how much we undress their childhood and blur them under that dehumanizing acronym MENA (unaccompanied foreign minor), we will not be able to erase them.

They are there, knocking on the door of Europe’s southern border. Drenched after swimming for hours to face a reception retinue that is not at all welcoming. Twisting their bodies until they fit into the narrow gap under a truck. Perched on a fence topped with barbed wire, like little Christs with their personal crown of thorns. Crouched in the forest. Concentrated by the breakwater barrier when night falls, warming themselves by an improvised fire. Alone. Hundreds or thousands of kilometers from that safety net that called family. Losing rights or moving further away from the possibility of having them with every step. Somewhere between sleep and nothingness. With no one, in short, to hold their hand.

About the author

Photographer of renowned work in the fields of environmental defence and Human Rights, professionally linked to Greenpeace, Save the Children or Alianza por la Solidaridad

Through his work, he has approached unaccompanied minors who knock on the door of Europe’s southern border several times. He has documented the largest Rohingya refugee camp in Bangladesh or the barbarity of child marriage in Sierra Leone. He has fixed his gaze on multiple humanitarian crises: Somalia, Niger, Moria (Lesbos), Macedonia, Serbia, Jordan, Turkey, Ukraine and Romania.

He has won several awards, including the King of Spain Prize for Journalism, the Pictures of the Year International POYi and the Ortega y Gasset Prize. He was also the only photographer with access inside the field hospital which IFEMA became when COVID-19 arrived in March 2020 and the pandemic devastated, astonished and paralyzed the entire world.

Instagram: @Pedro_Armestre
X: @PedroArmestre 

Pedro ARMESTRE fotógrafo Acampa 2024

Pedro Armestre

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Pedro Armestre

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Menores no acompañados. La mano que nadie sostiene.

Son niños. Y niñas. Solo eso. Por mucho que les desvistamos su infancia y les difuminemos bajo ese tan deshumanizador acrónimo MENA (menor extranjero no acompañado) no conseguiremos borrarlos.

Están ahí, llamando a la frontera sur de Europa. Calados después de nadar horas para enfrentarse a una comitiva de recepción nada acogedora. Retorciendo sus cuerpos hasta adaptase al angosto hueco que queda bajo un camión. Encaramados a una valla rematada con concertinas cual pequeños Cristos con su particular corona de espinas. Agazapados en el bosque. Concentrados en la escollera cuando cae la noche, al calor de un fuego improvisado. Solos. A cientos o miles de kilómetros de esa red de seguridad que es la familia. Perdiendo derechos o alejándose de la posibilidad de tenerlos a cada paso. Entre el sueño y la nada. Sin nadie, en definitiva, que sostenga su mano. 

Sobre el autor

Fotógrafo de reconocida labor en los campos de la defensa del medio ambiente y los Derechos Humanos, vinculado profesionalmente a Greenpeace, Save the Children o Alianza para la Solidaridad. 

Por su trabajo, se ha acercado en varias ocasiones a los menores no acompañados que llaman a la puerta de Europa en la frontera sur. Documentó el mayor campo de refugiados rohingyás en Bangladesh o la barbarie del matrimonio infantil en Sierra Leona.  Posó su mirada en múltiples crisis humanitarias: Somalia, Níger, Moria (Lesbos), Macedonia, Serbia, Jordania, Turquía, Ucrania y Rumanía. 

Varias veces premiado, destacan el Premio Rey de España de Periodismo, el Pictures of the Year International POYi o el Premio Ortega y Gasset. Fue, además, el  único fotógrafo que accedió al interior del hospital de campaña en que se convirtió el IFEMA cuando apareció el COVID-19, en marzo del 2020 y la pandemia asolaba, asombraba y paralizaba el mundo entero. 

Instagram: @Pedro_Armestre
X: @PedroArmestre 

Pedro ARMESTRE fotógrafo Acampa 2024

HIJACKED EDUCATION; UKRAINE

War does not end with the final sound of a bullet, an empty shell casing on the ground, a flag being raised. Open wounds write in blood the future of millions of children, and after-effects reverberate over time. The growing attacks on schools, the militarization of childhood, the use of educational centers by armed actors, as well as exile, put a lost generation at risk.

In Ukraine, thousands of schools bear the brunt of violence, many of them damaged or destroyed. There, education has been under attack since Russia first invaded Ukraine in 2014. The large-scale invasion in 2022 severely disrupted the education of Ukrainian girls and boys, who already suffered school closures due to Covid-19.

In 2018, in collaboration with NGO Right to Education, I spent two months tracking how the war affects children in Ukraine. When it was revived, in February 2022, I decided to return with the support of The New York Times, France 24 and Unicef. Since then, between 2022 and 2023, I have documented the attacks on education in different cities across the country. “Hijacked Education: Ukraine” is part of a photographic project started in 2012, in which I document the attacks on education and their consequences in countries such as Pakistan, Syria, Afghanistan, Nigeria, Nagorno Karabakh, Iraq, Lebanon, and Colombia.

About the author

With a degree in Journalism and a postgraduate degree in Photojournalism, Diego Ibarra Sánchez is an Aragonese photojournalist based in Lebanon since 2014 and specialized in long-term projects. He is a regular contributor to THE NEW YORK TIMES, starting to work with them in Pakistan in 2012, where he lived for 5 years. He has covered the death of Bin Laden, the floods in Pakistan, the fall of the caliphate in Mosul, the Yazidi genocide, the war in Ukraine or the rebirth of ISIS in Syria. In September 2022 he published his first book “The Phoenician Collapse”, a personal x-ray of Lebanon’s descent into chaos.

For more than ten years he has been working to show how war affects education. Turning away from media adrenaline, he seeks to show the consequences of violence, resilience and stoicism of the protagonists of his stories to highlight not only the ravages of war but also improvement and hope of survival.

He has received numerous international awards and exhibited his work in American, European and Asian galleries.

Instagram: @diego.ibarra.sanchez

Diego Ibarra Sánchez fotógrafo Acampa 2024

 

Diego Ibarra

7.REDES-SOCIAIS-ACAMPA-2024_DIEGO-IBARRA

Diego Ibarra

7.REDES-SOCIAIS-ACAMPA-2024_DIEGO-IBARRA
HIJACKED EDUCATION; UKRAINE

War does not end with the final sound of a bullet, an empty shell casing on the ground, a flag being raised. Open wounds write in blood the future of millions of children, and after-effects reverberate over time. The growing attacks on schools, the militarization of childhood, the use of educational centers by armed actors, as well as exile, put a lost generation at risk.

In Ukraine, thousands of schools bear the brunt of violence, many of them damaged or destroyed. There, education has been under attack since Russia first invaded Ukraine in 2014. The large-scale invasion in 2022 severely disrupted the education of Ukrainian girls and boys, who already suffered school closures due to Covid-19.

In 2018, in collaboration with NGO Right to Education, I spent two months tracking how the war affects children in Ukraine. When it was revived, in February 2022, I decided to return with the support of The New York Times, France 24 and Unicef. Since then, between 2022 and 2023, I have documented the attacks on education in different cities across the country. “Hijacked Education: Ukraine” is part of a photographic project started in 2012, in which I document the attacks on education and their consequences in countries such as Pakistan, Syria, Afghanistan, Nigeria, Nagorno Karabakh, Iraq, Lebanon, and Colombia.

About the author

With a degree in Journalism and a postgraduate degree in Photojournalism, Diego Ibarra Sánchez is an Aragonese photojournalist based in Lebanon since 2014 and specialized in long-term projects. He is a regular contributor to THE NEW YORK TIMES, starting to work with them in Pakistan in 2012, where he lived for 5 years. He has covered the death of Bin Laden, the floods in Pakistan, the fall of the caliphate in Mosul, the Yazidi genocide, the war in Ukraine or the rebirth of ISIS in Syria. In September 2022 he published his first book “The Phoenician Collapse”, a personal x-ray of Lebanon’s descent into chaos.

For more than ten years he has been working to show how war affects education. Turning away from media adrenaline, he seeks to show the consequences of violence, resilience and stoicism of the protagonists of his stories to highlight not only the ravages of war but also improvement and hope of survival.

He has received numerous international awards and exhibited his work in American, European and Asian galleries.

Instagram: @diego.ibarra.sanchez

Diego Ibarra Sánchez fotógrafo Acampa 2024

 

Bruno Thevenin

6.REDES-SOCIAIS-ACAMPA-2024_BRUNO-THEVENIN
They’re shutting us down

‘They’re shutting us down’ is a project that began at the end of 2020 when Naturgy, the energy provider, decided to cut off the electricity supply of 4,500 people who live in sector VI and V of La Cañada Real.

It’s easily said and harder to bear. When the lamps went out on October 2, 2020 in a large sector of La Cañada Real Galiana, no one thought it would be so long without a response from the authorities. Some looking the other way because it’s not their responsibility, others only visualising land for future brick-and-mortar businesses in the shadows of a precarious neighbourhood.

Gone are the winter holidays –never so wintry– and Christmas parties of lightless trees and unrefrigerated cider. Storm Filomena seemed to wake up the population of Madrid who, up to that point, were more willing to point their criminalizing finger than to empathise with the dramatic situation experienced by 4,500 people from sectors V and VI of La Cañada. In particular, with those 1,812 minors that not even the intervention of United Nations organizations has been able to protect.

About the author

Bruno Thevenin, a French-Spanish photojournalist based in Madrid. After completing his training in photography and journalism, he started working for international media in various conflict zones around the world.

In recent years he has focused on documenting political and social conflicts, publishing in various national and international media. From the uprising of native tribes in North Dakota (USA), to the occupied territories in the West Bank (Middle East), the Saharawi camps, the migratory routes in the Balkans and the Mediterranean Sea and the recent war in Ukraine.

Most of his work is focused on Palestine, and he has been travelling since 2017, documenting the increasing violence and insecurity in the region.

His work has been exhibited in several cities around the world and has been recognised by international competitions.

Instagram: @bruno_thevenin
X: @BrunoThevenin

Bruno Thevenin fotógrafo Acampa 2024

Vincent Tremeau

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One Day I Will

“One Day I Will” (ODIW) is a compelling art initiative by Vincent Tremeau, which captures the aspirations of children in crisis zones through photography. Children are photographed dressed up as their dream professions, offering a window into their hopes, despite their challenging circumstances. The project, documented in areas ravaged by conflict and natural disasters, showcases the resilience and dreams of children. Exhibited globally and recognized by prestigious outlets like National Geographic and CNN, it emphasizes the strength of the human spirit and the role of photography in fostering empathy.

Building on this, ODIW.org emerges as a non-profit organization which aims to transform these dreams into reality. It focuses on empowering these children through education, training, community art projects, and global awareness. By targeting children affected by conflict, poverty, and disasters, the organization seeks to provide the tools necessary for achieving their ambitions. With activities spanning educational funding, artistic initiatives, mentorship, and storytelling, ODIW.org not only aims to provide immediate aid but also to foster long-term resilience and leadership among the children it supports. The organization is maintained thanks to donations and the support of associations that strive to create a better future for children living in the shadows of crisis, through awareness, education and direct support.

About the author

French photographer. Graduated in Law, he has carried out several missions as a humanitarian worker in countries affected by crisis. Since 2014, Vincent Tremeau has worked as a freelance photographer, documenting various humanitarian crises in Africa, Asia, the Middle East and Latin America.

Facebook: @vtremeau
Instagram: @vTremeau
X: @VincentTremeau

Vincent Tremeau fotógrafo Acampa 2024