The theme for the 15th edition of Turkey’s Bursa International Photography Festival is “Time of Fracture.” This year’s festival is an invitation to pause—to rethink photography through the lenses of memory, resistance, hope, and new ways of seeing. Every image and every word presented in the festival will become a tool to capture, recall, and sometimes tenderly mend the fractures of our time.

Esperanza Concreta | Concrete Hope brings together thirty-eight emergent photographers and lens-based artists from Southern California who explore an assortment of installation media as materiality for the photographic depictions.

Nurturing Masculinities is Juan Manuel Valenzuela’s blueprint and aesthetic exploration of the soft margins of intergenerationally inherited masculinity, visually juxtaposing what Valenzuela learned from his elders with the type of nurturing he aims to bestow upon his son.

In her series In the LBC (2022—ongoing), photographer Aydinaneth Ortiz focuses on the complexity of Long Beach’s geography and social environment; from its lush greenery to the docked cargo ships circumambulating beyond the breakwater; from its seascapes to its beach fronts and suburban sprawls, from the serenity of its parks to the vibrancy of the people who inhabit this location for work and play.

Based on historical images from the Rautenstrauch-Joest-Museum archive in Cologne, Germany, visual artist and photographer Jimmi Wing Ka Ho examines the traces of the violent transformation of the city and the associated narratives that have survived to this day.

Julia Chambi fue, probablemente, la primera mujer fotógrafa peruana con ascendencia indígena quechua. Nacida en 1919 en la localidad cusqueña de Sicuani, hija del aclamado fotógrafo Martín Chambi, se inició en la práctica fotográfica de muy joven participando en diversas tareas del estudio fotográfico familiar en el que creció. Durante toda su vida sacó fotos, no solo en el horario laboral del estudio del que más tarde se haría cargo, sino también en su tiempo libre y en sus excursiones alrededor de Cusco y todo el Perú. Fue una mujer persistente en su práctica, volviendo a los mismos sitios cada año para registrar aquellas festividades y celebraciones que tanto disfrutaba. Julia, como fotógrafa y artista visual, fue no solo en una creadora inagotable y multidisciplinaria, sino también en una gestora cultural y política que participó activamente en la promoción de las artes del Sur de Perú.

Mariette Pathy Allen’s exhibition, Breaking Boundaries: 50 Years of Images, showcases her career photographing transgender and gender-expansive communities with compassion and dignity. Beginning in 1978, Allen’s intimate portraits challenged harmful stereotypes and offered a humane view of gender diversity. As political threats to transgender rights persist, Allen’s work stands as both powerful art and vital historical record, capturing love and resilience across generations.

In I Want to See How Things Play Out, Jesse Egner uses humor and absurdity to navigate themes of queerness. Working with familiar everyday objects, he co-creates moments that blur fantasy and reality with his collaborators. Rooted in Egner's experiences with body shaming and marginalization, these photographs subvert conventional norms and empower queer dynamism.

More Is More: Reinventing Photography Beyond the Frame presents singular works of art created from multiple photographs. Set in the experimental time of the mid-1960s to 1980s, the exhibition features artists who deconstructed, reconstructed, and multiplied photographs, playfully pushing photography’s physical boundaries and conceptual limits.

In the late 1990s, a new generation of Chinese artists, many initially trained as painters, revolted against traditional academic definitions of photography. Building on the work done in the previous decades by Western artists, they dissolved the boundaries between photography, performance art, conceptual art, and installation. In so doing, they brought photography into the foreground in Chinese contemporary art. This exhibition presents works from the museum’s collection by eight key artists from that generation.

What do photographs and jokes have in common? Funny Business is about the mechanics and stakes of photographic humor: how it works, and why artists have turned to it as a strategy over time. Drawn primarily from the collection of the Center for Creative Photography, the exhibition explores how artists have used visual humor not only to provoke laughter and delight, but also as a means of resistance, coping mechanism, and way to interrogate norms and subvert hierarchies.

The Centre Pompidou gives carte blanche to German artist Wolfgang Tillmans, who has come up with an original project to round off the program at the Paris building before a five-year renovation. Tillmans takes over 65.000 sqft of level 2 of the Bibliothèque publique d'information (Bpi) and transforms the space that brings his work into dialogue with the library, conceived both as architecture and as a place for the transmission of knowledge.

Recuerdo—which in Spanish can mean both “memory” and “I remember”—presents a cross-section of art from and of Latin America. Interweaving works by foundational Latin American image-makers, the exhibition combines both collective and personal stories as it considers photography’s role in shaping memory and identity.

Zig Jackson: The Journey of Rising Buffalo bridges the performative and observational practices of Zig Jackson, a photographer whose work is concerned with the everyday experience of Native American life and culture, with a focus on community, sovereignty, and respect for the land.

The place where the creek goes underground presents a series of newly commissioned works that form an archive of place-knowing, belonging, and kin-making. The project began with a series of conversations Anthony Romero held with brown and Indigenous artists, activists, and theorists on subjects of decolonial methodologies, gentrification, displacement, and food sovereignty. This exhibition offers an opportunity for Romero and his collaborators Deanna Ledezma and Josh Rios to create a body of work emerging from intergenerational kin-based research situated within South-Central Texas and Northern Mexico—the region the artists and their relatives call home.

FotoSoCal is a constellation of exhibitions bringing together over twenty community college galleries and affiliated spaces across Southern California, including Los Angeles, San Bernardino, Riverside, San Diego, and Orange counties. FotoSoCal’s axis are the shared experiences of brown individuals whose ancestral ties link them beyond the borders of the United States. Individuals often deemed Latinx. This project centers Latinidad as an ethnorace and seeks to linguistically acknowledge that Latine and Chicanx are loaded projects that weigh heavily upon our communities.