Deze fotos toont de locaties waar een transgender persoon is vermoord en zijn een eerbetoon aan degenen die zijn vermoord / This series shows different locations where transgender people have been murdered, paying homage to those who have lost their lives
In conservative Indonesia, transwoman community multifaceted struggles are being affected by the outbreak of covid-19, including the risk of Covid-19 infection, difficulty to access social assistance from the government, job loss, and the damaging effects of long-term stigma and discrimination.
Samantha Flores - now 84 - came out as a transgender woman in Mexico City 23 years ago, though she wasn’t able to officially change her gender identity until recently. In 2015 she was baptised as Samantha Aurelia Vicenta Flores García, a lifelong dream.
I started taking pictures of Eli when she was 10 years old. I came back in Madrid in 2015 and for two weeks I have lived in close contact with Eli. We developed a strong and sincere bond, also with her family, based on the awareness of our common battle for the right of being yourself.
In Peru and especially in the provinces, being gay is a taboo, there is a lot of discrimination, so in 2005 I was able to travel to Buenos Aires. Since 2017 I have been photographing boys residing in Buenos Aires, mostly from bordering countries and Latin America, their stories have similarities to mine ... we all arrive in search of freedom.
Friends Chotu and Rajan leaving the temple Soon after beginning my research to prepare 'Jugaad-Of intimacy and Love' I realised that my attempts to locate familiar identities in the public gestures rooted in India's homosocial culture would only stand in the way of embracing the many subtle layers of intimacies my collaborators eventually began sharing with me. QUOTE: “ What we feel is, when we hold hands and walk, the love that we have gets strengthened even further. Our love becomes deeper and we establish trust in each other and build upon it through this." Gaurav. For 'Jugaad-Of Intimacy and...
The project is about women’s prisons is a part of a trilogy that is centered around the lives of women in closed institutions. The impulse of research of such communities arose in a reflection of my teenage period spent at the closed rehabilitation boarding school. I spent a few months, working in several prisons for women in the Siberia.
Androgyny scares, baffles and fascinates at the same time. Androgynous people live between the polarities of a binary society: visually they fit neither the female nor male stereotype. Their dual natures coexist in each world like cross-faded images contained in one frame. Separating them into two classic genders makes this polarity visible and present while mirroring back the viewer's norms and stereotypes.
Chameleon is a photo essay about visibility and stands as a conversation between masculinities and spaces. Looking beyond heteronormative confines the still frames evoke the love, fear, joy and safe environments of people that exist outside these sometimes suffocating constructs.
Mélanie is posing with her boyfriend, her father, her step-mother and her sister. She's in the middle of a sexual reassignment. She is highly supported by her family, her friends and her boyfriend. She accepted to participate in this project as an activist gesture to put in the light the life of transgender people.
In Kigali, B., transexual and transvestite opens the shutter of her room of this tiny house. Her livelihood comes from prostitution, and often takes different narcotics which help her to cope with her marginalised existence During a party in the lounge of a girlfriend's house, C. dances while sipping a Primus, while A. watches upon them. The two friends survive in Kigali thanks to prostitution as it is extremely difficult or even impossible to find a job as soon as you are identified as LGBT. "I don’t sleep with anyone for money but for pleasure. This is what makes me...
During a two-month backpacking trip through Europe in the spring of 2018 Mickey Aloisio photographed over 50 men in six cities. He found himself stepping in front of the lens with them as a way of visually documenting and reflecting on these immensely intimate first encounters.