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Articles from GUP Magazine
Bangkok-based photographer Giorgio Taraschi (b. 1986, Italy) photographed the residents of a house of transgender sex workers in Indonesia, discovering there a familial community amidst uncanny bright colours. The owner, “Mami” Joyce, opened the house after watching many colleagues fall victim to AIDS and other fatal diseases, and now hosts 20 younger transgender sex workers. Taraschi’s project was published by GUP in July 2013, and since then, went on to win 2nd prize for the PX3 award, and 1st prize at this year’s Pride Photo Awards in the documentary section. He was in Amsterdam to collect his prize, and sat down for this interview to talk about Hotel Waria and what has happened with the work since the publication with GUP.
Arts consultant Johan Idema (1973, The Netherlands) has just released the book How to Visit an Art Museum, a light-hearted guide aimed towards the bemused museum-goer. Including 32 tips for tactics to employ while touring a museum to get more out of your visit, the book is practical as well as fun-spirited. We spoke with Idema about the challenges of visiting art museums, viewing artworks slowly and ways of approaching art on your own terms.
For her series BOY, Parisa Taghizadeh photographed a young boy and the fairy-tale world he’s created for himself, filled with things that are typically associated with girls: glitter, nail polish, jewelry, pink. Having not yet reached the age when he’s concerned with gender roles and gender politics, the boy plays within the liberty of childhood – a liberty that will all too soon be shaped by external expectations. Taghizadeh recently won first prize at Pride Photo Award 2014 for her project BOY, and she speaks here with Katherine Oktober Matthews about the baggage and complications of photographing your children, and pride of all kinds.
Australian photographer Louis Porter documents evidence of urban unrest in his project The Small Conflict Archive. We interview him on failed attempts at improvement, the transition of an object from usefulness to uselessness and the way that city streets show evidence of those who live there.