Open Call provides an opportunity for visual artists and photographers from all over the world to exhibit their work at the next edition of Landskrona Foto Festival 6-22 of September 2024.

The jury, made up of Lisa Springer, Karin Andreasson, Jenny Lindhe and Jenny Nordquist, selected from the works submitted three bodies of work that will be presented in large scale outdoor installations during our festival.


Chloé Milos Azzopardi (FR) – Non technological devices

Federico Estol (UY) – Shine Heroes

Emma Sarpaniemi (FIN) – Two Ways to Carry a Cauliflower

©Chloé Milos Azzopardi

Chloé Milos Azzopardi is a visual artist living on an island in the outskirts of Paris. She works on long term projects mixing photography, performance and installation. Her research revolves around ecology, new technologies and the construction of post-capitalocene imaginaries.

Non technological devices are composite tools made from gleaned natural elements, assembled to mimic the technological devices that populate our daily lives. Between rudimentary productions and science-fiction creations, these objects are as much prolongations of bodies as they are hindrances. Associated with invented artefacts whose use remains to be discovered, they create together a fictional universe that functions as a mirror held up to our fantasies of the future.

With this project the artist wishes to create new desires, to generate images that can be resources for our imaginaries. How can we show an alternative future in the face of our dreams of a hyper- artificialized and technologized world? Using fiction and play, Azzopardi seeks other ways of imagining augmented lives, creating organic cyborgs whose aim would be to inscribe the body differently in the environment.

©Federico Estol

Federico Estol is an Uruguayan artist and photographer. Currently working as a social visual storyteller in the Latin American region, also as the artistic director of SAN JOSÉ FOTO festival and as editor of El Ministerio Ediciones publishing house.

Shine HeroesThere are 3000 shoe shiners who go out into the streets of La Paz and El Alto suburbs each day in search of clients. They are from all ages and in recent years have become a social phenomenon in the Bolivian capital. What characterizes this tribe is the use of ski masks so they will not be recognized by those around them. They confront the discrimination they face through these masks; in their neighbourhoods no one knows that they work as shoe shiners, at school they hide this fact, and even their own families believe they have a different job when they head down to the center of the city from El Alto. ​ The mask is their strongest identity, what makes them invisible while at the same time unites them. This collective anonymity makes them tougher when facing the rest of society and is their resistance against the exclusion they suffer because they carry out this work. ​

For three years Federico Estol collaborated with sixty shoe shiners associated with the NGO “Hormigón Armado”. They planned together the scenes during a series of graphic novels workshops, incorporating the local elements of the urbanity of El Alto and producing photographic sessions with them as co-authors of a photoessay to fight against their social discrimination.

©Emma Sarpaniemi

Emma Sarpaniemi is an artist based in Helsinki. In her practice, Sarpaniemi explores the concept of femininity through collaborative and performative self-portraits. Her work challenges traditional ideas surrounding femininity and through play, she envisions possibilities for new ways of existence and influence.

Two Ways to Carry a Cauliflower (2021-ongoing) is a performative photography series exploring women’s self-portraiture through play. To free the subject and the gaze from certain patriarchal ideals of femininity, the character depicted in the images is portrayed playfully and tenderly as a woman who behaves, looks, and performs on her terms and rules. Identity, reality, and imagination become blurred in the world created by Sarpaniemi. Often, playfulness can be perceived as naivety when associated with a female artist. However, in this project, Sarpaniemi employs it as a source of power. Through play, she envisions possibilities for new ways of existence and influence.