{"id":2602,"date":"2019-09-11T09:19:06","date_gmt":"2019-09-11T07:19:06","guid":{"rendered":"https:\/\/www.portraits-hellerau.com\/?page_id=2602"},"modified":"2025-06-29T10:20:17","modified_gmt":"2025-06-29T08:20:17","slug":"prizewinners","status":"publish","type":"page","link":"https:\/\/www.portraits-hellerau.com\/en\/prizewinners\/","title":{"rendered":"Prize Winners"},"content":{"rendered":"\n

Prize Winners<\/h1>\n\n\n
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2025<\/p>\n <\/div>\n<\/div>\n\n

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1st Prize<\/strong>
Gloria Oyarzabal
\u00bbUSUS FRUCTUS ABUSUS_La Blanche et la Noire\u00ab<\/p>\n\n\n\n

“The Spanish photographer Gloria Oyarzabal explores power structures and stereotypes in her photo series Usus Fructus Abusus_La Blanche et la Noire<\/em>. Her work revolves around museums as instruments of national identity formation and the colonial origins of many collections; around publications that cemented notions of \u201cBlack and White\u201d; and especially around colonial depictions of women in Western art\u2014sexualized, submissive, and available. These long-established historical narratives clash with current efforts to reassess, confront prejudice, and revise historiography.<\/p>\n\n\n\n

Oyarzabal\u2019s perspective draws on the Roman legal concept of ownership: Usus<\/em> as the right to use an object according to its purpose; Fructus<\/em> as the right to benefit from it; and Abusus<\/em> as the right to dispose of it\u2014that is, to alter, sell, or destroy it. Oyarzabal asks: \u201cOwnership, restitution, reparation, recontextualization\u2026 Who has agency to give, return, adjudicate, rename?\u201d<\/p>\n\n\n\n

We consider this multi-layered series\u2014interwoven through visual dialogues with the history of museum and artistic representation\u2014to be prizeworthy for the way it translates conceptual complexity into consistently outstanding visual form.” (Prof Angela Matyssek)<\/em><\/p>\n\n\n\n

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2nd Prize<\/strong>
Michel Kekul\u00e9
\u00bbMutterland\u00ab<\/p>\n\n\n\n

Mutterland<\/em> is a fragmentary documentary photography project in which Michel Kekul\u00e9 explores the social and personal fractures left by German reunification in East Germany. The personal dimension is deeply embedded in Kekul\u00e9\u2019s own family history: his grandfather, a knife-maker whose craft disappeared after the fall of the GDR; his mother, who left East Germany in 1990 and returned to the region in the 2010s. The area had some of the highest unemployment rates in the former East. The people Kekul\u00e9 documents bear witness to ongoing struggles over identity and belonging in a system that dismantled long-standing structures.<\/p>\n\n\n\n

The deliberately chosen black-and-white aesthetic places the work in the tradition of documentary photography, evoking classic social-documentary work of the 20th century. The absence of color intensifies the emotional resonance of the photographs: loss, alienation, and uncertainty emerge more starkly, as the reduced aesthetic draws focus to the essential.<\/p>\n<\/div>\n\n\n\n

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3rd Prize<\/strong>
Ashima Yadava
\u00bbPapa’s Hand\u00ab<\/p>\n\n\n\n

Ashima Yadava is a conceptual and documentary photographer and curator. Her work merges artistic expression with social engagement\u2014particularly around gender equity, racism, and social justice. Born in New Delhi, she now lives in San Francisco and works with both analog and digital techniques. She is currently a Fellow of the California Arts Council and a Director\u2019s Fellow at the International Center of Photography in New York.<\/p>\n\n\n\n

Her project Papa\u2019s Hand<\/em> explores familial myths and rituals. The photographic silhouette of the artist\u2019s father, along with his handwriting and handprint, serve as vessels of personal meaning and memory. They question the notion of the traditional family album and raise the broader issue of how much space remains for personal freedom and self-realization\u2014within the framework of inherited family legacies.<\/p>\n<\/div>\n<\/div>\n\n\n

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Residency Prize<\/strong>
Pasha Kritchko
\u00bbMap of Memories\u00ab<\/p>\n\n\n\n

Pasha Kritchko is a former civil engineer and commercial photographer from Belarus who turned to photojournalism during the 2020 presidential election and mass protests. Using his camera, he documented state violence and human rights abuses following the rigged vote\u2014an act of resistance that eventually forced him into exile. His project Map of Memories<\/em> addresses the ongoing Belarusian crisis: repression at home, life in exile, and the stories of Belarusian volunteers fighting in Ukraine.<\/p>\n\n\n\n

Kritchko photographs out of a deep sense of responsibility, aiming to make visible what the regime seeks to erase. Since 2020, more than 35,000 people have been arrested, and over 400,000 have fled the country. Even in exile, many remain at risk. Those who stayed in Belarus live under fear and isolation; even the smallest acts of defiance are punished. Yet Kritchko refuses to give up hope for a future in freedom. His work is part of a broader struggle for democracy and human rights in an increasingly authoritarian world.<\/p>\n\n\n

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2024<\/p>\n <\/div>\n<\/div>\n\n

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1st Prize<\/strong>
Frank Krems
\u00bbSpezial Operation\u00ab<\/p>\n\n\n\n

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2nd Prize<\/strong>
Anja Engelke<\/a>
\u00bbSleeping By the Dataflow\u00ab<\/p>\n<\/div>\n\n\n\n

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3rd Prize<\/strong>
Huseyin Ovayolu
\u00bbUPROOTED\u00ab<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Residency Prize<\/strong>
Nazanin Hafez
\u00bbDiscrete\u00ab<\/p>\n\n\n

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2023<\/p>\n <\/div>\n<\/div>\n\n

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1st Prize<\/strong>
Sebastian Wells (GER) \/ Vsevolod Kazarin (UA)
\u00bbPortraits from Kyiv, Ukraine, April and May 2022\u00ab<\/p>\n\n\n\n

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2nd Prize<\/strong>
Aaron Ricketts<\/a> (US)
\u00bbA Serious Case of Something That Should Probably Be Checked Out But In Reality You\u2019ll Just Try To Sleep It Off (RED)\u00ab<\/p>\n<\/div>\n\n\n\n

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3rd Prize<\/strong>
Ivonne Thein (GER)
\u00bbdisobedient bodies\u00ab<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Residency Prize<\/strong>
Sitara Thalia Ambrosio
\u00bbFragile as Glass\u00ab<\/p>\n\n\n

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2022<\/p>\n <\/div>\n<\/div>\n\n

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1st Prize
Hannah Altman<\/a><\/strong> (US)
\u00bbA Permanent Home in the Mouth of the Sun\u00ab<\/p>\n\n\n\n

“I was immediately impressed by Hanna\u2019s images. The powerful aesthetic and the profound, symbolic message her work conveys are a fresh, unexpected narrative that immediately leads to a tale of tradition and contemporary. Her poetic language tells us about the yiddish diaspora through staged portraits, rituals and symbols that re-elaborate old experiences, deeply rooted in the past yet extremely present. There is a kind of silence that flutters through the pictures, we tend to feel the same respect we have in front of a sacred image and at the same time we recognise the tangible sensuality of bodies, with a focus on the female figures. The wonderful use of light and the simple but effective scenes reveal how the experience of exile contain both grief and resilience, a strong identity with a special code that is still relevant today, a treasure of symbols that gives nourishments and stability through the ages.”<\/em>
(Francesca Cesari, 2022 PORTRAITS jury)<\/p>\n\n\n\n

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2nd Prize<\/strong>
Alexander Komenda<\/a><\/strong> (CA\/PL)
\u00bbJove\u2019s Palace\u00ab<\/p>\n<\/div>\n\n\n\n

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3rd Prize<\/strong>
Daniel Seiffert<\/a><\/strong> (DE)
\u00bbTRABANTEN\u00ab<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Residency Prize<\/strong>
Svante Gullichsen<\/a><\/strong> (FI)
\u00bbHanging On\u00ab<\/p>\n\n\n

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2021<\/p>\n <\/div>\n<\/div>\n\n\n

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1. Prize<\/strong>
Rafael Heygster & Helene Manhartsberger<\/a><\/strong> (DE)
\u00bbCorona Rhapsody\u00ab<\/p>\n\n\n\n

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2. Prize<\/strong><\/strong>
Tim Franco<\/a><\/strong> (KR)
\u00bbUnperson I Portraits of North Korean Defectors\u00ab<\/p>\n<\/div>\n\n\n\n

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3. Prize<\/strong><\/strong>
Manuel Frolik<\/a><\/strong> (DE)
\u00bbPolaroids and Daguerreotypes\u00ab<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Residency Prize<\/strong><\/strong>
Natalia Kepesz<\/a><\/strong> (PL)
\u00bbNiewybuch\u00ab<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Catalogue 2021<\/a><\/div>\n<\/div>\n\n\n\n

<\/p>\n\n\n

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2020<\/p>\n <\/div>\n<\/div>\n\n\n

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1. Prize
Rosa Mariniello<\/a><\/strong> (IT)
\u00bbVITILIGO\u00ab<\/p>\n\n\n\n

<\/div>\n\n\n\n
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2. Prize<\/strong>
Ingar Krauss<\/a><\/strong> (GER)
\u00bbWanderarbeiter\u00ab<\/p>\n<\/div>\n\n\n\n

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3. Prize<\/strong> (two winners)
Milan Gies<\/a><\/strong> (NL)
\u00bbState of Identity\u00ab<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
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3. Prize<\/strong> (two winners)
Raul Ariano<\/a><\/strong> (CN)
\u00bbLGBT in China\u00ab<\/p>\n<\/div>\n\n\n\n

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Residency Prize<\/strong>
Agata Wieczorek<\/a><\/strong> (PL)
\u00bbFetish of the Image\u00ab<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
Catalogue 2020<\/a><\/div>\n\n\n
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2019<\/p>\n <\/div>\n<\/div>\n\n\n

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1. Prize
Snezhana von B\u00fcdingen<\/a><\/strong> (GER)
\u00bbPermer Frost\u00ab<\/p>\n<\/div>\n\n\n\n

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2. Prize
Kurt H\u00f6rbst<\/a><\/strong> (GER)
\u00bbPeople Scans\u00ab<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
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3. Prize
Sara Swaty<\/a><\/strong> (USA)
\u00bbHarrison: In Transition\u00ab<\/p>\n<\/div>\n\n\n\n

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Residency Prize
Mary Gelman<\/a><\/strong> (RUS)
\u00bbSvetlana\u00ab<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
Catalogue 2019<\/a><\/div>\n\n\n
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2018<\/p>\n <\/div>\n<\/div>\n\n\n

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1. Prize
Matthew Hamon<\/a><\/strong> (USA)
\u00bbThe Gleaners\u00ab<\/p>\n<\/div>\n\n\n\n

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2. Prize
C\u00e9sar Dezfuli<\/a><\/strong> (ES)
\u00bbPassengers\u00ab<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
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3. Prize
Paul Damen<\/a><\/strong> (NL)
\u00bbJapan Up Close\u00ab<\/p>\n<\/div>\n\n\n\n

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Residency Prize
Robin Yong<\/a><\/strong> (AUS)
\u00bbFlowers of Ethiopia\u00ab<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
Catalogue 2018<\/a><\/div>\n\n\n
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2017<\/p>\n <\/div>\n<\/div>\n\n\n

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1. Prize & Residency Prize
Sadegh Souri<\/a><\/strong> (IRN)
\u00bbWaiting Girls\u00ab<\/p>\n<\/div>\n\n\n\n

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2. Prize
Stefan Krauth<\/a><\/strong> (GER)
\u00bbin Amerika\u00ab<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
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3. Prize<\/strong> (two winners)
Sonja Hamad<\/a><\/strong> (GER)
\u00bbJin \u2013 Jiyan \u2013 Azadi: Women, Life, Freedom\u00ab<\/p>\n<\/div>\n\n\n\n

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3. Prize<\/strong> (two winners)
Jens Juul<\/a><\/strong> (DNK)
\u00bbSix degrees of Copenhagen\u00ab<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
Catalogue 2017<\/a><\/div>\n\n\n
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2016<\/p>\n <\/div>\n<\/div>\n\n\n

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1. Prize<\/strong>
Elena Anosova<\/a><\/strong> (RUS)
\u00bbSection\u00ab<\/p>\n<\/div>\n\n\n\n

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2. Prize<\/strong>
Thomas Bachler<\/a><\/strong> (GER)
<\/a>\u00bbphotoshooting\u00ab<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
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3. Prize
Anja Bohnhof<\/a><\/strong> (GER)
\u00bbBahak \u2013 Die Last der Dinge\u00ab<\/p>\n<\/div>\n\n\n\n

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Residency Prize<\/strong>
Stefanie Minzenmay<\/a><\/strong> (GER)
\u00bbProtected Privacy \u2013 Protect Yourself\u00ab<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
Catalogue 2016<\/a><\/div>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

\nPrize Winners 1st PrizeGloria Oyarzabal\u00bbUSUS FRUCTUS ABUSUS_La Blanche et la Noire\u00ab “The Spanish photographer Gloria Oyarzabal explores power structures and…\n<\/div>\n
Continue reading “Prize Winners”<\/span>…<\/a><\/div>\n","protected":false},"author":1,"featured_media":3362,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"class_list":["post-2602","page","type-page","status-publish","has-post-thumbnail","hentry","entry"],"acf":[],"featured_image_urls_v2":{"full":["https:\/\/www.portraits-hellerau.com\/wp-content\/uploads\/bb1c6331e991262283857cfdc101ad67-e1576750621582.jpg",1555,873,false],"thumbnail":["https:\/\/www.portraits-hellerau.com\/wp-content\/uploads\/bb1c6331e991262283857cfdc101ad67-e1576750621582-420x236.jpg",420,236,true],"medium":["https:\/\/www.portraits-hellerau.com\/wp-content\/uploads\/bb1c6331e991262283857cfdc101ad67-e1576750621582-744x418.jpg",744,418,true],"medium_large":["https:\/\/www.portraits-hellerau.com\/wp-content\/uploads\/bb1c6331e991262283857cfdc101ad67-e1576750621582-768x431.jpg",768,431,true],"large":["https:\/\/www.portraits-hellerau.com\/wp-content\/uploads\/bb1c6331e991262283857cfdc101ad67-e1576750621582-1200x674.jpg",1200,674,true],"1536x1536":["https:\/\/www.portraits-hellerau.com\/wp-content\/uploads\/bb1c6331e991262283857cfdc101ad67-e1576750621582.jpg",1536,862,false],"2048x2048":["https:\/\/www.portraits-hellerau.com\/wp-content\/uploads\/bb1c6331e991262283857cfdc101ad67-e1576750621582.jpg",1555,873,false],"modern-intro":["https:\/\/www.portraits-hellerau.com\/wp-content\/uploads\/bb1c6331e991262283857cfdc101ad67-1920x1080.jpg",1920,1080,true],"mailpoet_newsletter_max":["https:\/\/www.portraits-hellerau.com\/wp-content\/uploads\/bb1c6331e991262283857cfdc101ad67-e1576750621582.jpg",1320,741,false]},"post_excerpt_stackable_v2":"

Prize Winners 2025 1st PrizeGloria Oyarzabal\u00bbUSUS FRUCTUS ABUSUS_La Blanche et la Noire\u00ab “The Spanish photographer Gloria Oyarzabal explores power structures and stereotypes in her photo series Usus Fructus Abusus_La Blanche et la Noire. Her work revolves around museums as instruments of national identity formation and the colonial origins of many collections; around publications that cemented notions of \u201cBlack and White\u201d; and especially around colonial depictions of women in Western art\u2014sexualized, submissive, and available. These long-established historical narratives clash with current efforts to reassess, confront prejudice, and revise historiography. Oyarzabal\u2019s perspective draws on the Roman legal concept of ownership: Usus as…<\/p>\n","category_list_v2":"","author_info_v2":{"name":"p260004","url":"https:\/\/www.portraits-hellerau.com\/en\/author\/administrator\/"},"comments_num_v2":"0 comments","yoast_head":"\nPrize Winners - PORTRAITS \u2013 Hellerau Photography Award<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.portraits-hellerau.com\/en\/prizewinners\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Prize Winners - PORTRAITS \u2013 Hellerau Photography Award\" \/>\n<meta property=\"og:description\" content=\"Prize Winners 1st PrizeGloria Oyarzabal\u00bbUSUS FRUCTUS ABUSUS_La Blanche et la Noire\u00ab “The Spanish photographer Gloria Oyarzabal explores power structures and… Continue reading “Prize Winners”…\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.portraits-hellerau.com\/en\/prizewinners\/\" \/>\n<meta property=\"og:site_name\" content=\"PORTRAITS \u2013 Hellerau Photography Award\" \/>\n<meta property=\"article:modified_time\" content=\"2025-06-29T08:20:17+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.portraits-hellerau.com\/wp-content\/uploads\/bb1c6331e991262283857cfdc101ad67-e1576750621582.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1555\" \/>\n\t<meta property=\"og:image:height\" content=\"873\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"15 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.portraits-hellerau.com\/en\/prizewinners\/\",\"url\":\"https:\/\/www.portraits-hellerau.com\/en\/prizewinners\/\",\"name\":\"Prize Winners - 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