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Through her deeply intimate visual language, photographer Linda Zhengová explores these temporary architectures of home, offering a profound counter-narrative to the highly polished, homogenized images that dominate our digital feeds. In this conversation, we feature Zhengová’s work to go deeper into tracing her view on analogue aesthetics and emotional affect when portraying life and encounters in search of belonging.",[],{"_key":662,"_type":327,"children":663,"markDefs":668,"style":335},"5179183ace31",[664],{"_key":665,"_type":331,"marks":666,"text":667},"12a1400e28690",[],"Zhengová is a Czech-Chinese photographer, writer, and curator based in Paris. Her work is rooted in an exploration of human emotions, ranging from vulnerability and trauma to the search for happiness. Through photography and interdisciplinary methods, she strives to capture fleeting emotional states, the intimate connections between strangers, and personal transformation. Her imagery, evocative of a bygone era, suggests that memory is the space where love most vividly resides. By confronting viewers with moments of vulnerability and intimacy, her work invites a deep reflection on the intensity of human relationships. Through this, she challenges us to reconsider how we connect with both ourselves and others, offering a delicate balance between discomfort and empathy.",[],{"_key":670,"_type":327,"children":671,"markDefs":676,"style":677},"7cba8ebf2739",[672],{"_key":673,"_type":331,"marks":674,"text":675},"f469e96814e90",[],"Ilaria Sponda: I am really interested in how you moved away from your home country. That transition seems to be a powerful element of your work, especially in “Maybe, Happiness Is…” project. It touches on this freedom of being able to move, but also raises the question: what do you do when you don’t have a fixed home? How do you make sense of your relationships and build a sense of place through photography?",[],"intro",{"_key":679,"_type":327,"children":680,"markDefs":685,"style":335},"177d2cd3aaf4",[681],{"_key":682,"_type":331,"marks":683,"text":684},"f724bd02c80b0",[],"Linda Zhengová: I really love this question. It’s not something people usually ask me in relation to ‘home.’ The truth is, this nomadic identity hasn't really ended for me. Even now, living in Paris, it still feels very temporary. I’m there for two weeks, then I’m somewhere else. It still doesn’t feel like a static, permanent location.",[],{"_key":687,"_type":327,"children":688,"markDefs":693,"style":677},"b44eeb0dfd01",[689],{"_key":690,"_type":331,"marks":691,"text":692},"193b2c2cad740",[],"IS: It feels like a generational question that is coming up more and more: trying to make sense of what ‘home’ actually means. Some people say home is a feeling, others say it’s where their friends are. I often find myself questioning where home is for me, too. How do you define it?",[],{"_key":695,"_type":327,"children":696,"markDefs":701,"style":335},"a3f2ed30adb1",[697],{"_key":698,"_type":331,"marks":699,"text":700},"fe060f66afa70",[],"LZ: I relate to that a lot, especially the idea of home being a feeling.",[],{"_key":703,"_type":327,"children":704,"markDefs":709,"style":335},"d1ab526cd92a",[705],{"_key":706,"_type":331,"marks":707,"text":708},"fb21c88a886b0",[],"In my work, I often invite myself into people’s homes, and for me, it’s about creating a temporary sense of home through those encounters. My idea of home is less about a physical, fixed place and more about the people I meet who share similar experiences of constant relocation and movement. I’ve realized that I photograph a lot of people who have mixed roots like me, or who don’t feel they belong to just one place. For me, home is something I co-create with those people in a specific moment.",[],{"_key":711,"_type":327,"children":712,"markDefs":717,"style":677},"b055c9fa6d70",[713],{"_key":714,"_type":331,"marks":715,"text":716},"a4d75b590b400",[],"IS: Did this search start when you first moved to the Netherlands? Was that your first time living outside your home country?",[],{"_key":719,"_type":327,"children":720,"markDefs":725,"style":335},"5b01ae2f957a",[721],{"_key":722,"_type":331,"marks":723,"text":724},"ca9500e9c34f0",[],"LZ: I first moved to The Hague, where I studied at an art school for four years and then I lived in Amsterdam for two years. While I was in The Hague, I developed this nomadic urge to question everything and search for what was out there. That urgency is how the project “Maybe, Happiness Is…” started. From one day to the next, I realized it made no sense for me to just stay in that apartment; there was so much more beyond it. That feeling shaped the next five years of my life.",[],{"_key":727,"_type":327,"children":728,"markDefs":733,"style":677},"5f3db2b2f537",[729],{"_key":730,"_type":331,"marks":731,"text":732},"772b6000957c0",[],"IS: How did not having a fixed home during those years affect you, both personally and artistically?",[],{"_key":735,"_type":327,"children":736,"markDefs":741,"style":335},"9750513d1c35",[737],{"_key":738,"_type":331,"marks":739,"text":740},"3bfbc29499e70",[],"LZ: Not having a physical home had a massive mental impact on me, and I think that reflected heavily in my images. Without a permanent space, ‘home’ became about the small things like sharing a dinner with someone while crashing on their couch, where maybe the food reminded me of something I ate as a child. In a way, the absence of home became my only permanent state, while the feeling of home became something incredibly fleeting. Photography became my way of holding onto both: the brief moments where I feel a sense of belonging, and the lingering moments when I feel its absence, all at the same time.",[],{"_key":743,"_type":327,"children":744,"markDefs":749,"style":677},"f5c956064907",[745],{"_key":746,"_type":331,"marks":747,"text":748},"729a949019980",[],"IS: Do you photograph people you already have a relationship with, or is it complete strangers you connect with along the way?",[],{"_key":751,"_type":327,"children":752,"markDefs":757,"style":335},"430b14623d47",[753],{"_key":754,"_type":331,"marks":755,"text":756},"dfe36632f39f0",[],"LZ: It’s a bit of both, but for this project in particular, it was almost entirely strangers. I photographed people I had met maybe once or twice at most. I think that was the magic of those encounters; neither of us knew anything about the other. 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Sexuality, intimacy, and erotics play a major role in your work. You also turn the camera on yourself sometimes. How do you navigate self-portraiture in relation to these themes?",[],{"_key":1217,"_type":327,"children":1218,"markDefs":1222,"style":677},"f4ba2f532793",[1219],{"_key":1220,"_type":331,"marks":1221,"text":643},"31eaab4404200",[],[],{"_key":1224,"_type":327,"children":1225,"markDefs":1230,"style":335},"28f4d6831fbb",[1226],{"_key":1227,"_type":331,"marks":1228,"text":1229},"4b7332ceb98c0",[],"LZ: To be honest, I initially didn't want to include self-portraits in my book “Oxymoron”. But my editor, Lucia Černá, insisted that they were vital to the narrative. At first, looking at myself in those vulnerable states was incredibly painful, but eventually, I realized she was right. I tend to take self-portraits during moments of intense emotional overwhelm. They serve as a marker of where I was and who I was at that point in time. They don't necessarily document the objective past, but they preserve the raw feeling of the space I occupied.",[],{"_key":1232,"_type":327,"children":1233,"markDefs":1238,"style":335},"14a94c8d2aa1",[1234],{"_key":1235,"_type":331,"marks":1236,"text":1237},"188d745a00990",[],"Regarding sexuality, I view erotic energy as a highly active, powerful force. Growing up with a dual background, being both Chinese and Czech, female desire was treated as a major taboo in both cultures; it was always something to be hidden or controlled. In my work, I want to explore what happens when that energy is simply allowed to exist freely. Releasing that taboo energy is an incredibly healing and liberating experience, not just for me, but also for the women I photograph.",[],{"_key":1240,"_type":327,"children":1241,"markDefs":1245,"style":335},"4e6f4156042d",[1242],{"_key":1243,"_type":331,"marks":1244,"text":643},"1050495328430",[],[],{"_key":1247,"_type":327,"children":1248,"markDefs":1253,"style":677},"9d69ef697ba7",[1249],{"_key":1250,"_type":331,"marks":1251,"text":1252},"a389049cf61b0",[],"IS: Your book “Oxymoron” is out, and you are working on releasing “Maybe, Happiness Is…” asa photo book soon. What is on the horizon for you now?",[],{"_key":1255,"_type":327,"children":1256,"markDefs":1260,"style":335},"acf3c0114df1",[1257],{"_key":1258,"_type":331,"marks":1259,"text":643},"87f84d7ae19e0",[],[],{"_key":1262,"_type":327,"children":1263,"markDefs":1268,"style":335},"9384f17931fd",[1264],{"_key":1265,"_type":331,"marks":1266,"text":1267},"67509b4cdb420",[],"IS: Yes, it’s currently being turned into a photo book, which we are hoping to release in September with Lucia's publishing house, “Untitled”. Meanwhile, I’m in the research and production phase of a new project exploring the concept of transcendence in relation to creativity, sexuality, and madness. I’ve been collaborating with dancers, musicians, painters, and people who want to explore their sexuality in front of the lens. I actually began this project in Brazil last autumn, and I’ve been floating around developing it ever since.",[],{"_key":1270,"_type":327,"children":1271,"markDefs":1275,"style":335},"042847965a76",[1272],{"_key":1273,"_type":331,"marks":1274,"text":643},"e89387ae5ac90",[],[],{"_key":1277,"_type":327,"children":1278,"markDefs":1283,"style":677},"8c594b07300d",[1279],{"_key":1280,"_type":331,"marks":1281,"text":1282},"5336eabc73900",[],"IS: How do you approach the research for a new project like this? Is it highly structured, or do you let things happen spontaneously?",[],{"_key":1285,"_type":327,"children":1286,"markDefs":1290,"style":335},"f42e50794061",[1287],{"_key":1288,"_type":331,"marks":1289,"text":643},"4132f1d476a20",[],[],{"_key":1292,"_type":327,"children":1293,"markDefs":1298,"style":335},"08f3ae58dc91",[1294],{"_key":1295,"_type":331,"marks":1296,"text":1297},"2572702985610",[],"LZ: It’s a mix of both. I always start by reading heavily on the topic. Interestingly, once I immerse myself in the literature, I start \"seeing\" the project everywhere in my daily life. It’s like putting on a specific pair of glasses.",[],{"_key":1300,"_type":327,"children":1301,"markDefs":1306,"style":335},"a56b84e29910",[1302],{"_key":1303,"_type":331,"marks":1304,"text":1305},"1938e616ba210",[],"For example, just yesterday, I photographed my neighbor who is a painter. We only realized we were neighbors because we got off at the same metro station and walked the exact same path home. When you are deeply tuned into a subject, the right people and coincidences just seem to find you.",[],{"_key":1308,"_type":327,"children":1309,"markDefs":1313,"style":335},"2c6e2dc35b90",[1310],{"_key":1311,"_type":331,"marks":1312,"text":643},"c2cf2dfe8f7c0",[],[],{"_key":1315,"_type":327,"children":1316,"markDefs":1321,"style":677},"f3cac22bb776",[1317],{"_key":1318,"_type":331,"marks":1319,"text":1320},"868c65825bf70",[],"IS: I love that. 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joy and resilience across the passage of time shape Shirin Bhandari’s long-term documentary project \"This Is My Life.\" Over the course of a decade, Bhandari has documented the life of Rey Ravago, a 66-year-old drag queen, street sweeper, and activist navigating poverty and aging in Metro Manila. Against the backdrop of the Philippines' stagnant anti-discrimination legislation, Ravago channels the glamour and confidence of gay icons to champion LGBTQ+ issues. 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exhibition concludes with Yongjie Hu’s \"Cake Boy,\" a nuanced exploration of intimacy, displacement, and familial silence. Tracking his relationship with his partner as they relocated from China to London, Hu uses portraits, still lifes, and staged photographs to map the fluid emotional states of queer connection. The work navigates the liberating physical distance of a new environment alongside the enduring emotional weight of expectations from the families left behind. Ultimately, Hu positions the act of facing oneself honestly and celebrating a tender, everyday love as one of the most powerful gestures of contemporary queer 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