Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.The V&A Parasol Foundation Prize for Women in Photography has announced the four winners of its open call award, now in its third year. The theme of this year\u2019s prize, \u201cUnity\u201d, strikes a hopeful note following a year of international conflict and political elections across the globe. Each of the four artists \u2014 hailing from South Africa, India, the United States and Lebanon \u2014 expands the potential of the photographic medium in their reflections on the possibilities of a new and different world.The Johannesburg-based collage artist Tshepiso Moropa\u2019s series Ditoro (Setswana for \u201cdreams\u201d) began with a dream she had. In it Moropa was sitting with the grandparents she had never met, having a conversation. She translated the dream meeting into a potent collage, \u201cKe Go Beile Leitlho\u201d (I\u2019ve Got My Eyes On You). Inspired by folklore, Moropa\u2019s large-scale collages are spare and deceptively simple; photographs in black and white float in expanses of muted palettes, figures are doll-like. She invokes family members, present and passed on, in symbolic arrangements, and has described how the images \u201cbring them into a new narrative\u201d.Spandita Malik\u2019s J\u0101l\u012b \u2014 Meshes of Resistance also works into the surface of photography, in this case with sewing and textile. The series continues her years-long work with communities across her native India. Though the context is one of gendered violence, the images themselves are joyful. Malik\u2019s subjects embroider their portraits however they choose, adorning themselves and their environments with bright thread and delicate patterning. Even when they choose to obscure themselves, protecting their identity, they do so with vivid colour.\u201cThe project is a collaboration, not just in the process, but also in perspective,\u201d says Malik. \u201cEach surface is a shared story.\u201d She found the results of working together in this way were profound. \u201cWhen we started sharing stories with each other, we found that the taboo around talking about abuse was just gone,\u201d the artist reflects. The stitching and embroidery evoke ideas of repair as much as craft. \u201cIn coming together to work and to share our memories and traumas, we were able to heal ourselves,\u201d she says.Spark of a Nail by the Brooklyn artist Morgan Levy is a depiction of female labourers across the United States. \u201cI wasn\u2019t so much interested in women working in male-dominated spaces,\u201d the artist explains. \u201cI was really interested in women \u2014 and \u2018woman\u2019 is a very open, porous category for me \u2014 changing space.\u201d The photographs, striking and graphic in bleached-out black and white, blend documentary images with performative re-stagings, subverting the idea of the heroic white man as the symbol of American labour.\u201cIn this political climate, I needed a feminist world-building project, and I needed a scaffolding on which to climb out of the murk that we are living in,\u201d Levy says. For her, images depicting the workers at rest are as important as images of labour. \u201cIn any work of social justice, you have to work and you have to rest, and to me that makes sense as a way to build a world, both literally and metaphorically.\u201dTanya Traboulsi similarly presents rest and leisure as quietly revolutionary. Beirut, Recurring Dream, her work documenting the city where she was born and now lives, is far from the often romanticised media portrayal of a party-focused place, or indeed the besieged Lebanon of the recent war. Instead, her photographs are gentle, warm, quiet: images of people gathered at the water\u2019s edge in soft light. \u201cIn times of war and crisis, we are allowed to have pockets of happiness,\u201d Traboulsi says. \u201cIt\u2019s important to accept and allow that, in order to be able to cope with what\u2019s happening around you.\u201dIn their work, the four artists\u2019 emphasis on imagination or re-imagination opens a space where a unity that often seems unreachable feels tantalisingly possible. In this, Levy says the approach of US author and educator bell hooks is an influence. \u201cShe beckons you to come closer,\u201d Levy explains. \u201cIt\u2019s such a warm welcome, to have your mind changed or to see differently.\u201d The V&A Parasol Prize winners will be exhibited at Peckham 24, May 16-25Find out about our latest stories first \u2014 follow FT Weekend Magazine on X and FT Weekend on Instagram<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.The V&A Parasol Foundation Prize for Women in Photography has announced the four winners of its open call award, now in its third year. The theme<\/p>\n","protected":false},"author":1,"featured_media":308550,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-308549","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/308549","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=308549"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/308549\/revisions"}],"predecessor-version":[{"id":308551,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/308549\/revisions\/308551"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/308550"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=308549"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=308549"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=308549"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}