Erik Vroons (1976, The Netherlands) holds an MA in Media Studies (University of Amsterdam) and an MA in Photographic Studies (University Leiden). From 2010-2014, he was the Chief Editor of international photography magazine GUP - based in Amsterdam, The Netherlands. Currently he functions as Editor-at-large for both GUP Magazine and Newdawn Paper – a bimonhtly 'freezine' on contemporary Dutch Photography, initiated by the GUP editorial team.
Besides the editorial work, he is active as a freelance writer/researcher/teacher in the field of photography.
Some ideas manage to survive in the gene pool of creativity, be it that they are continuously reissued to another form. Meanwhile, our vision thrives on a certain kind of ‘logical progression’. We see, we process, we learn, and we see again – with new eyes. To acknowledge this cultural form of evolution – so vividly present in contemporary photography – we prominently salute the Catalan artist Joan Fontcuberta (1955) on the cover of GUP #45 and discuss his work within a contemporary context in our long-read article, ‘So What Can We Believe in Now?!’
“Professionals or experts in the field – editors, curators, academics – that were once held responsible for creating a narrow perspective on the field of photography eventually gave way to a shift of paradigm which allowed a broadening interest on ‘forgotten’ elements. This is a tendency that has opened the possibility for overexposed snapshots, platitudinous pictures, or any ‘mundane’ image once thrown out because of its poor technique to be revalued as a quintessential forsaken object. How should this transfiguration be perceived? […]”
The full text of this article was published in the print edition of Photo Archivo, Winter 2014
KEEPING IT RAW: ALTERNATIVE STRATEGIES FOR DEPICTION OF THE EXCESS OF LIFE
The idea that ‘Beauty is the last veil that covers the Horrible,’ to paraphrase the great German poet Rainer Maria Rilke (1875-1926), clearly resonates in the twisted body shapes and the expressive line of his contemporary Egon Schiele (1890-1908) who, in his paintings and drawings, tried to come to terms with the rawness of human existence. To wit, Schiele was punk long before the word ‘punk’ even existed, drawing on his original vision and unflinching depictions of the naked figure. Today, more than a century later, we can recognize a somewhat similar raw, fleshy and determined report on the painful excess of life in the realm of photography; visual artists focusing on the grimy and libidinous aspects of reality, in their most rudimentary state or form