This photoalbum contains the photographs of Jørgen. Jørgen was an amateur photographer operating in the late 1950´s in a small suburban neighbourhood outside of the danish capital of Copenhagen. These photographs were made long before the danish legalisation of porn in 1969.  In Jørgen´s surroundings, neighbours and friends came together for illegal "photographing" and "swinging" and afterwards it was very common to exchange photographs and share photoalbums. Since these gatherings were illegal and everything had to happen in mutual trust so police and suspicious neighbours would not interfere, the material contains a sincere and pure innocence all though the content can awoke some disturbing feelings for the viewer. The group had no previous knowledge in photography or in the making of porn, the material is somehow "clean" of the filthy  porn industry of today, instead we have   this little album with a small statement containing mutual trust and desire. The album is soon to become a book and the photographs are kindly borrowed by Jørgen. Portrait of Jørgen / by Jens Stoltze.  

Here are selected works from the series "Only for my friends" by the Bruxelles based photographer Vincen Beeckman. Enjoy his work. http://www.vincenbeeckman.be/

Words by Nick Geboers

A sense of entrapment and existential crisis radiates from the photographs in Going Nowhere. This refers to the outsider figure who sees too deep and too much. It's a way of looking at the world that comes from inner dualities. The title Going Nowhere by itself suggests a duality and offers multiple readings. It should go without saying that this is also the case when reading the images. A mixture of different photographic genres are placed in a dialectic order. For example by placing romanticism not against but in line with a form of realism. Most of the photographs were made on solitary walks and travels. By doing this, the image making becomes a way to open oneself for deeper, sublime experiences which often clash with a stark realism. Different perceptions and points of view are an important part of the process. Not only for the image maker, but also for the reader. Whose different interpretations and feelings eventually complete this lyrical document.

A little explanation by Tomas Leth himself, he studies painting under Prof. Daniel Richter at the Akademie Der Bildenden Künsten, Wien:

"I'm Danish, but grew up between Denmark and Haiti.

In Denmark, a Scandinavian country in the North of Europe, we prize ourselves on our similarity and cohesiveness. Our society is a society is built on the idea of an objective reality between humans. Of ‘objective’ and shared ideals and views.

In Haiti, a country shaped by the forced union of peoples with differing beliefs and religions from various different nations, there is a strong focus on the individual and the subjective. It's a place where there can be simultaneous explanations for the same things existing at the same time. The truth of existence is not necessarily viewed as either-or. This is something that I think Western thinking could gain a lot from.

In Brother I am looking for a mythical fraternity or a existential place to call home. It's a exists somewhere in a place of dream, endless miracles, magic and terror.

I am looking for the underlying connection between this place and reality, but the concreteness of it keeps evading me, fuzzy and murky like a dream long forgotten. My images are my ways of trying to manifest this place into concrete reality."