New horizons: Paris Photo 2010 opens

The exhibition includes work by emerging photographers alongside that of pioneers such as Josef Sudek, Laslo Moholy-Nagy, Brassai and Poand's Witkiewicz Photograph: LUCAS DOLEGA/EPA Tereza Vlckova, Two 12 (2008) The popularity of portraiture is one of the dominant trends identified by curator Guillaume Piens in contemporary work. In this series, Two, Tereza Vlckova, a young Czech artist, presents identically dressed, unsmiling ‘twins’ in eerily claustrophobic natural environments. All is not what it seems: while some of the couples are genuine, others are manufactured via Photoshop Photograph: Copyright Tereza Vlckova, courtesy Leica Gallery, Prague Photograph: Action images Josef Sudek, from The Window of my Studio series (1950s) Josef Sudek first photographed from one of the windows of his Prague studio in 1940, and the pictorial possibilities he discovered were to engage him until the mid-1950s. Seasonal variations, compositional modifications and the behaviour of the glass exerted a fascination that endured. The series is often understood as a response to the difficulties of making meaningful art under German occupation and the subsequent Communist regime Photograph: Copyright Anna Farova, courtesy Robert Koch Gallery, San Francisco Uros Abram, Untitled. From the series Made in Me (2009) Photograph: Abram/Copyright Uros Abram, Courtesy Galerija Fotografija, Ljubljana André Kertész, Broken Plate, (1929/1960s) The countries of central Europe, Hungary amongst them, proved pivotal to the formation of the twentieth century avant-gardes. Like his compatriot Brassai, Kertesz was capable of combining in his work elements of both documentary and the surreal Photograph: Estate of Andre Kertesz 2010 / Courtesy Higher Pictures/ Vintage Gallery, Budapest André Kertész, Museum of Modern Art, New York (1965) Photograph: Copyright Estate of Andr Kert sz, Courtesy SAGE Paris Gabor Osz, Permanent daylight N 6, 12.1.2004–16.1.2004 (2004) This year’s BMW-Paris Photo prize, worth €12,000, has been awarded to Amsterdam-based Hungarian Gabor Osz, who submitted this image. He made the picture by converting a caravan into a camera obscura, which he used to photograph night-time greenhouses over a period of four days Photograph: Courtesy Galerie Loevenbruck, Paris Lise Sarfati, Christine #04, Oakland, CA (2005) Photograph: Courtesy of Brancolini Grimaldi Gallery, Rome Jan Dziaczkowski, Piccadilly Circus (2009) Dziaczkowski, a 27 year old from Poland, uses a series of wry photo-collages to imagine a transformed Europe in which the Iron Curtain falls across Spain, Portugal, or – in this case – London’s Piccadilly Circus Photograph: courtesy Laurence Miller Gallery New York Monika Wiechowska, Calvary Cemetary, 2007 Pole Monika Wiechowska, now resident in New York, uses a vantage point above the sprawling Calvary Cemetery in Queens to produce a sober view of her adopted home city. That most famous of skylines is relegated to a thin strip between the tombstones and the blandly neutral clouds Photograph: courtesy of the artist and Czarna Gallery, Warsaw Lucia Stranaiova , Intimacy II, 2009 Slovak artist Lucia Stranaiova’s latest work explores the use of collage to transform scenes of emotional or physical intimacy. ‘I use photography to depict objects and situations in their detailed physical form,' she says, 'however, I try to shift this reality into other levels when it comes to their meaning and content' Photograph: Courtesy Photoport Gallery, Bratislava Mona Kuhn, Lovers (2009) Photograph: Copyright Mona kuhn, courtesy Flowers Gallery, London Gabriella Csoszo, Free Copies 2 (2008) The Hungarian Gabriella Csoszo addresses the legacy of the Cold War in two new bodies of work – Free Copies, and Retransmission Timeout. This photograph shows a volume held in the Open Society Archives, the initiative committed to documenting and preserving a collection of primary sources relating to central Europe’s recent political past Photograph: Copyright Gabriella Csosz , courtesy courtesy Faur Zsofi-Raday Gallery, Budapest Gabriella Csosz , Retransmission Timeout 1 (2008) Photograph: Copyright Gabriella Csosz , courtesy Faur Zs fi-R day Gallery, Budapest Jean-Christian Bourcart, Stardust #73 (2010) Photograph: @Jean-Christian Bourcart,courtesy Galerie VU , Paris Brassaï, Soirée de gala chez Maxim's (1946) Photograph: Courtesy Galerie Fran oise Paviot, Paris Stephane Couturier, Melting Power Alstom # 6 (2009) Photograph: Courtesy Galerie Polaris, Paris Michel de Broin, Solitude (2002) Photograph: Copyright Michel de Broin, courtesy Toni T pies, Barcelone Polish artist Zbigniew Libera is best-known for his controversial LEGO Concentration Camp (1996). He courted controversy again with the subsequent Positive Proofs, in which he gaily re-staged iconic, and horrific, moments from the history of photojournalism. Sans Titre is one of a series of less contentious images in which he uses a macro lens to re-photograph ‘found’ pictures in magazines Photograph: Courtesy galerie Anne de Villepoix, Paris Krisztina Erdei, 2004. 10. 17. 14.32, Bordany, Hungary, from the series Formalities (2004) Photograph: Unknown Paris Photo runs until 21 November 2010 Photograph: Lucas Dolega/EPA