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Rain, St. Petersburg
▪️ Rain, St. Petersburg, 2015 Archival pigment print, numbered and authenticated- From €360
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Alignment, Saint-Tropez
▪️ Alignment, Saint-Tropez, 2018 Archival pigment print, numbered and authenticated- From €360
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Medina, Fes
▪️ Medina, Fès, 2023 Archival pigment print, numbered and authenticated- From €360
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Preparation, Virgen de los Desamparados, Valencia
▪️ Preparation, Virgen de los Desamparados, Valencia, 2018 Archival pigment print, numbered and authenticated- From €360
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Reality, Saint Petersburg
▪️ Reality, Saint Petersburg, 2016 Archival pigment print, numbered and authenticated- From €360
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Children of the world-Argentina
▪️ Children of the world-Argentina, 2015 Archival pigment print, numbered and authenticated- From €360
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Els Enfarinats
▪️ Els Enfarinats, 2017 Archival pigment print, numbered and authenticated- From €360
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Passage, Saint-Tropez
▪️ Passage, Saint-Tropez, 2018 Archival pigment print, numbered and authenticated- From €360
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Human in Geometry, Vienna
▪️ Human in Geometry, Vienna, 2012 Archival pigment print, numbered and authenticated- From €360
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The flying fish
▪️ The flying fish, 2016 Archival pigment print, numbered and authenticated- From €360
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Cometas-El Cabañal, Valencia
▪️ Cometas-El Cabañal, Valencia, 2019 Archival pigment print, numbered and authenticated- From €360
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Children of the world, Egypt
▪️ Children of the world, Egypt, 2014 Archival pigment print, numbered and authenticated- From €360
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Masters of Photography
▪️ Masters of Photography, 2014 Archival pigment print, numbered and authenticated- From €360
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Seeing what would otherwise pass unnoticed.
In Documentary Turn, Ivailo Stanev follows life as it unfolds, finding precise images in ordinary, unrepeatable moments.
Documentary Turn brings together photographs from Ivailo Stanev’s long-term documentary practice, made across different places and over many years.
At the centre of the collection is Stanev’s instinct for noticing what is easily missed. A passing gesture, an unexpected alignment, the distance between two people or a small shift in an otherwise ordinary scene can become the reason for a photograph. These are not exceptional events. Their significance lies in having been seen.
Stanev works without directing what happens before the camera. He follows situations as they unfold, attentive to the instant when separate elements form something precise and fleeting. Nothing is reconstructed, and each photograph retains the particular circumstances of the place and moment in which it was made.
Developed across different projects and periods of his work, Documentary Turn becomes a record of this way of looking: finding images within everyday life that were always there, but might otherwise have passed unnoticed.













