Foam is supported by the VriendenLoterij, Foam Members, De Brauw Blackstone Westbroek, the VandenEnde Foundation and the City of Amsterdam.

In 2021 Foam receives additional support from the Mondriaan Fund and Kickstart Cultuurfonds.

Untitled from the series Dildo, 2008 © Momo Okabe, courtesy of the artist

Untitled from the series Dildo, 2008 C Momo Okabe, courtesy of the artist

Untitled from the series Bible 2013 © Momo Okabe

Untitled from the series Bible 2013 C Momo Okabe

Untitled from the series Dildo 2007 C Momo Okabe

Untitled from the series Dildo 2008 © Momo Okabe

Untitled from the series Dildo 2009 © Momo Okabe

Untitled from the series Dildo 2009 C Momo Okabe

Untitled from the series Bible, 2008-2014

view the works in the Foam Collection

A conversation with Momo Okabe: transmuting life into a beautifully coloured world

A conversation with Momo Okabe

Momo Okabe

Foam proudly presents Bible and Dildo, an exhibition of the work of Momo Okabe (Tokyo, 1981). Okabe was chosen by an international jury as the winner of the Foam Paul Huf Award 2015. She won the prize for her two remarkable projects about Japanese society and her intimate relationships with two transgender lovers, whom she followed during their processes of transition.

Bible and Dildo revolves around the struggles of Momo Okabe's lovers and friends, who are outsiders in Japanese society. Experiencing Japanese society as overly systematic, constantly imposing its restrictive views on every aspect of their lives, they are severely impacted by this environment. The people captured in the photographs in these two series suffer from consequences stemming from drug overdoses or the difficulties of achieving acceptance in society. Bible and Dildo portray their complicated and courageous lives in this harsh environment.
Along with nude images, Bible and Dildo also includes photographs of chaos and destruction. For example, the Bible series includes pictures taken in Miyagi after the Fukushima earthquake struck Japan in 2011. These photographs are shown alongside the documented struggles of Okabe's lovers and friends. For Okabe, destruction and devastating feelings are related. She avoids making photographs in a conceptual way, instead always aiming to make work about her actual experiences, and her feelings of loss and sadness.
FOAM PAUL HUF AWARD The Foam Paul Huf Award, which is awarded annually to talented international photographers under the age of 35, includes a cash prize of &euro;20,000 and an exhibition at Foam Photography Museum Amsterdam. The jury has chosen Momo Okabe as the winner out of 100 nominees from 26 countries. Previous winners include Taryn Simon (2007), Alex Prager (2012) and Daniel Gordon (2014).
<a href="/talent/foam-paul-huf-award">&gt; Read more</a>
ABOUT THE EXHIBITION At first, both Bible and Dildo appear to be primarily documentary photography. Dildo begins with images of Okabe's relationship with Kaori, a woman with gender dysphoria. After her break-up with Kaori, Okabe followed the relationship with her new lover, Yoko, which eventually resulted in documenting Yoko's trip to Thailand for sex reassignment surgery, during which Yoko&rsquo;s uterus was removed. The series title, Dildo, refers to how, for some transgender people, a dildo can represent a body part transgender people may or may not ever actually have. In addition, the Bible series comprises a selection of images that, for Okabe, functions as a very final and definitive body of work, as reflected in the title.
However, beyond their documentary aspect, these photographs depict universal stories of sex and death for Okabe. She blends tenderness with a raw intimacy, which becomes visible through her specific use of color, the diversity of her topics and the sensitive manner in which she addresses the important and complex social issue of transsexuality. Working within a wider context of the internationally very highly regarded Japanese photographic tradition, Okabe creates an aesthetic that is uniquely her own.
The Foam Paul Huf Award and this exhibition are made possible by JTI.&nbsp;The prints in the exhibition are produced by Kleurgamma.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, Delta Lloyd, Gemeente Amsterdam, Olympus and the VandenEnde Foundation.

<div class="sidebar__content"> Conversation with Momo 
Learn more about the artist's practice, life and exhibition.</div>

What's Ours, 2019

Award prize

Selection criteria

Winner Foam Paul Huf Award 2025

Myriam Boulos

Jury 2025

We feel her presence in these images, where gentle interactions and encounters of vulnerability burst into power. We sense her deep connection to those she photographs. We feel her entanglement with the complexity of the situation.

Most recent exhibitions

All winners

About Paul Huf

Foam Talent Call

Foam 3h

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Other talent inititatives

Foam Paul Huf Award

Created by Muyiwa Osifuye (Olumuyiwa Osifuye) in 2007. The artwork is a diptych of two c-prints on aluminum, each image displayed at 75 x 100 cm.

In 2021 Foam receives additional support from the Mondriaan Fund and Kickstart Cultuurfonds

A diptych is a type of artwork that consists of two parts, for instance two photographs combined within a single frame. This informs the viewer that there is some relationship between the two images. The top image is a portrait of Oba Abdul-Wahab Kayode Adedeji Oyedotun, a Yoruba king in Nigeria, seated on his throne in traditional dress. The photograph underneath offers a view across his domain, the city that falls under his rule. The work is part of the series 

, in which the photographer  Olumuyiwa Osifuye examines the role of traditional leaders in Nigeria and Benin. Although their domains continue to play an important historical and religious role, their political power has largely faded away. Today these leaders find themselves in a complicated split between tradition and modernity. The ‘Kaabiyesi!’ greeting is exclusively used for the Yoruba king and is used as a tribute when greeted by his underlings, acknowledging that his words and decisions are inviolable.  

The Orangun of Ila, Oba Abdul-Wahab Kayode Adedeji Oyedotun (Arutu-Oluokun Bibiire I) from the series Kaabiyesi: Courts of Influence

The Orangun of Ila, Oba Abdul-Wahab Kayode Adedeji Oyedotun (Arutu-Oluokun Bibiire I)

Created by Thomas Hauser in 2015. The artwork is a pigment print on argentic photo paper (Ilford RC Deluxe) and displayed at 60 x 50 cm.

visible in

As time passes by, our memories of the past fade and distort. Some disappear for ever, while others can remain with us for a long time. In his series 

, Thomas Hauser explores the notion of memories and the role that photography plays in this. This reference to nostalgia and impermanence not only concerns the image itself, but also the photograph as an object. This photograph is the result of a complex silkscreen printing process, in which Hauser prints the photograph on silver paper using glue and toner (the powder used in laser printers). Vulnerable as it is, with the passing of time the photograph undergoes changes. The faded effect resulting from this process infuses Hauser’s images with a certain nostalgia, which is further enhanced by the handprint visible above the boy’s head. 

The Wake of Dust (Hugo)

Hugo (Figure #2), 2015.

Created by Valentine Bo in 2018. The artwork is a c-print and displayed at 164 x 124 cm.

While some artists rediscover analogue techniques, others experiment with the very latest technological developments. The futuristic images by the Ukrainian artist Valentine Bo seamlessly blend into the science fiction genre. Inspired by a present-day religious movement called Raëlism, the series 

Your Next Step Would Be To Do The Transmission

 imagines a future where this ideology prevails. Followers of Raëlism believe that life on earth was created by an extraterrestrial race named the ‘Elohim’. It seems appropriate for Bo to use the most advanced technology available to present such a story. Although the 3D print of the face in 

 is sufficiently realistic to create a sense of unease, viewers soon enough realise that it isn’t a real face. 

The Element, 2018 from the series Your Next Step Would Be To Do The Transmission

The Element, 2018

Created by Florian Amoser. The artwork is a color photo on Hahnemühle matt paper on dibond 2 mm and displayed at 110 x 137.5 cm.

What technique did the photographer use to create this image? In his series 

, the Swiss photographer Florian Amoser bridges the gap between two extremes: wild nature on the one hand, and data-driven technology on the other. Amoser is known for his conceptual approach to photography, and in this series, he creates works that combine landscape photography with data visualisation and manipulation, resulting in a new perspective on nature. Think back to your last experience of nature. Was that truly, physically, in the open air? Or was it mediated by a screen? Amoser took this photograph with an analogue camera. Inside underground caves he traced the outline of the rock wall using a laser. While the laser drew contour lines on the walls, the camera recorded the emerging line drawing for hours on end. The result catches the movements of the laser in a single photograph. 

Quantified Landscape 3 from the series Quantified Landscape

Quantified Landscape 3

Created by Gregory Eddi Jones in 2017. The artwork is an inkjet print of a digital collage constructed from appropriated images and digital drawings, displayed at 91.44 x 76.2 cm.

As a ‘post-photographic’ artist, Gregory Eddi Jones composes works that he did not necessarily create himself using a camera. Instead, he works with existing, edited or found digital images which he collects and combines to build a digital photo montage. Take some time to discover all the elements used in this playful still life. What do you see? The title of the series, 

, is an ironic reference to the political situation of 2016, when Donald Trump won the American presidential elections. With this collection of collages, Gregory Eddi Jones comments on the chaotic political climate of that period and the sensational reporting in American media. Notice how Jones deliberately includes a piece of the photo editing software Photoshop in the background, as if to underline how manipulable and changeable photographs are in the digital domain. 

Flowers for donald #20 (channel surfing [with a flock of birds and some good dogs]), 2017 from the series Flowers for donald

Flowers for donald #21 (talent show [in 3-d])

In the early 20th century, artists associated with the Dada movement experimented with politically charged photo montages for which they cut and pasted existing materials. This technique is still used in today’s digital era, but then applied using computer screens and mouse clicks. For his series 

, the American post-photographic artist Gregory Eddi Jones created such photo montages using both digital and digitalised visual materials, and applying photo editing software. More than ever before, the 2016 American presidential race between Donald Trump and Hillary Clinton played out in digital space, ranging from social media platforms to news media TV programmes. With his artificial flower still lifes, Jones offers a playful take on the American elections. Using screenshots and collected materials plus some of Trump’s visual cues and slogans, Jones creates a collage that shows his experience of this chaotic time. 

Flowers for donald #20 (channel surfing [with a flock of birds and some good dogs])

Politics is a frequent subject for the arts, often a means to come to grips with a certain situation or to express critical views. This also applies for the American presidential elections of 2016, when Donald Trump added a wholly new dimension to the political battlefield. Drawing on the traditional art genre of flower still lifes, Gregory Eddi Jones’ series 

 reflects on these notorious elections. A recurrent element in the series are the references to Donald Trump and his supporters. In photo montage number 

, Trump’s characteristic red tie hangs on a vase that shows a black-and-white image of what appears to be a demonstration. The work is a digital collage, composed by Jones using different digital ‘materials’ and techniques, including images taken from the internet. Can you discover what else he uses for his collages?  

Flowers for donald #13 (artificial flowers [with power tie]), 2017 from the series Flowers for donald

Flowers for donald #13 (artificial flowers [with power tie])

Created by Christto & Andrew in 2014. The artwork is a print mounted on pvc and displayed at 68 x 100 cm.

In an image full of opulence, we don’t find intestines or plastic inside this fish’s belly, but pearls and gems. The artist duo who created this photograph, Christto & Andrew, use an exaggerated and surrealistic visual language to tell a satirical story about their adopted home of Qatar. The staged images are full of symbolism and references to Qatar’s history, which in this way is reinterpreted to offer a contemporary alternative. This image specifically refers to Qatar’s long history with pearls. Before the discovery of oil in the region, the local economy revolved around pearls. The gems also refer to extreme luxury, and at the same time to the huge inequality to be found in this Gulf state. 

Mimetic advent of historical repetition, 2013 from the series Liquid Portraits, 2013

Mimetic advent of historical repetition, 2014

Created by Christto & Andrew in 2014. The artwork is a print mounted on pvc and displayed at 100 x 75 cm.

A smartly dressed lady with an eye-patch, who appears to be serving her own eye on a dish. It is an absurd image, comical and horrifying at the same time. The portraits in the series 

 stand out for their bold use of colour and overall exaggeration. As the series title suggests, the duo sees identity as something you can shape, and that morphs and changes. The vivid monochromatic background further enhances the woman’s presence. 

 is a critical reflection on Qatari society, depicting an ultramodern and extravagant life on the one hand, and extreme inequality on the other. 

Wakeful Dreams, 2013 from the series Liquid Portraits, 2013

Wakeful Dreams, 2014

Created by Christto & Andrew in 2014. The artwork is a print mounted on pvc and displayed at 100 x 70 cm.

What started as an attempt to create a contemporary portrait of Qatari society turned into a series of extravagant portraits that document the personal experiences of photographer duo Christto & Andrew during their visit to the Gulf state. As the series title suggests, the duo approaches identity as something you can shape, and that morphs and changes. Their visual language is expressive of the so-called pop-propagandistic style, which combines elements from pop culture with politically charged symbols. The use of colour and the simplicity of the image in 

 call to mind the iconic pop art created by artists like Roy Lichtenstein and Andy Warhol. At the same time, the lively aesthetics camouflage a political and social message about the current situation in Qatar. 

Mimetic Gestures, 2013 from the series Liquid Portraits, 2013

Mimetic Gestures, 2014

Created by Ilona Szwarc in 2015. The artwork is an inkjet print on Hahnemuhle gloss baryta warmtone inkjet paper and displayed at 90 x 115 cm.

How well do you know yourself and do you express your identity? Inspired by the make-up tutorials from the theatre world, Ilona Szwarc models her own face on the back of another person’s head, who is also her lookalike. As a result, this photograph hovers halfway between a portrait and a self-portrait, and it remains unclear exactly who is who. Ilona Szwarc likes to play with the idea of identity and how we present ourselves to the outside world, but also with how women tend to be depicted and how gender is a social construct. She stresses how much we are often strangers to ourselves. The result is an absurdist image that may call to mind some scene from a scary movie.  

Untitled #21, 2015 from the series I am a woman and I cast no shadow, 2015

Untitled #21 from the series I am a woman and I cast no shadow

Created by Ilona Szwarc in 2015. The artwork is an inkjet print on Hahnemuhle gloss baryta warmtone inkjet paper and displayed at 45 x 56 cm.

How do you present yourself to the world around? Which part of you, seen by society, is a truthful reflection of who you are, and which part is shaped by external expectations? The image of an anonymous hand measuring the circumference of the subject’s skull evokes a sense of tension and unease. The subject’s empty eyes, fixed on something far off in the distance, reinforce the sense of absence. What lies behind her empty gaze? Note how the framing of the image leaves out both the model’s mouth and the owner of the hand. How does that affect your experience of this image? 

 by Ilona Szwarc is a portrait of the ‘self’, without being a self-portrait. As it happens, the portrayed person is a lookalike of the photographer. The series title, 

, could refer to the women in Szwarc’s work that are not entirely present within their own story, but are trapped in between their true identity and the roles imposed on them from outside.

Untitled #4, 2015 from the series I am a woman and I cast no shadow, 2015

Untitled #4 from the series I am a woman and I cast no shadow

Created by Daniel Everett in 2013. The artwork is a print mounted on dibond and displayed at 68.8 x 54.9 cm.

In his practice, Everett examines how the idealised image of progress differs from the reality of the resulting objects. One of his main themes concerns the ‘by-products’ of the digital and technological innovations: for his series 

 he uses images of old-fashioned office items, modernist high-rise buildings and surveillance equipment, as once-upon-a-time symbols of order, efficiency and technological advancement. Everett also like to explore the three-dimensional aspects of his work, made clearly visible in this work by stretching blue tape across the printed image. The physical, tangible nature of the tape contrasts vividly with the sterile, uniform background. The work emphasises the question whether objects, such as telephones that have been optimised for user experience or buildings designed for maximum efficiency, still retain an individual identity, or instead succumb to the uniformity generated by a digital world.  

Untitled, 2013

Untitled, 2013 from the series New Existence 1

Created by Momo Okabe in 2008-2014. The artwork is an inkjet print on semi-glossy paper, matt quality, and displayed at 25.4 x 20.3 cm.

 describes the various romantic relationships of photographer Momo Okabe over a period of seven years. Among others, the series tracks the gender confirmation surgery of her lover Yoko, who had her uterus and breasts removed in Thailand. The title of the series refers to an object that is easy to buy and to use, but also represents something that some transgenders may feel they can never truly possess. This portrait in a domestic setting provides an intimate glimpse into Okabe’s private life. The surroundings are bathed in a warm, pinkish glow that characterizes the entire series. Bringing to mind historic images from old photo albums, this colour tone evokes a sense of nostalgia. By documenting her personal story in her work, Okabe manages to evoke universal feelings about sex, transsexuality and love. 

Untitled, 2008-2014 from the series Dildo, 2008-2014

Untitled from the series Dildo 2

 describes the various romantic relationships of photographer Momo Okabe over a period of seven years. Among other things, the series tracks the gender confirmation surgery of her lover Yoko, who had her uterus and breasts removed in Thailand. The intimate portraits that Okabe creates reflect the challenges and vulnerabilities that transgender people must cope with, in the face of the often discriminatory and conservative views that exist in Japanese culture. In terms of form and lighting, this portrait appears to be a spur-of-the-moment shot, but at the same time it shows a strong, determined person. By documenting her personal story in her work, Okabe manages to evoke universal feelings about sex, transsexuality and love. 

Untitled from the series Dildo 1

 between 2008 - 2014. Using inkjet print on semi-glossy paper as the medium, the artwork is displayed at 190 x 150 cm.

more from the series

 expresses the complexity of the lives of her friends and lovers struggling with issues of gender identity, several of whom have already undergone gender reassignment surgery. Okabe juxtaposes images of underground Tokyo nightlife and the emotional quakes of her and her friends with the destruction wrought by the heavy earthquake and the subsequent tsunami in 2011. Both Okabe’s loved ones and their surroundings are connected in their struggle to overcome the long and difficult struggle out of their traumatic past, in order to (re)construct an identity for themselves.

Untitled from the series Bible 3

Untitled from the series Bible 2

Untitled from the series Bible 1

In conjunction with Pride Amsterdam 2019, Foam presents the work of Momo Okabe (1981, Japan) from the museum's collection.

The photos are a selection from the series Bible and Dildo, which tell the story of Okabe&rsquo;s lovers and their struggles with gender dysphoria, identity disorders and social isolation. In Dildo, Okabe documents relationships with Kaori, a woman with gender dysphoria, and Yoko, a lover she followed to Thailand during gender reassignment surgery. The series title, Dildo, refers to how, for some transgender people, a dildo can represent a body part transgender people may or may not ever actually have.
<img src="https://a.storyblok.com/f/113697/595x753/8ec3328fc1/momo-okabe-bible-pride-amsterdam-foam-595.jpg" alt="" width="596" height="753" /> Untitled, from the series Bible, 2008-2014 &copy; Momo Okabe
Bible expresses impressions of the complexity of the lives of Okabe&rsquo;s friends and lovers dealing with issues of gender identity and social isolation. Okabe juxtaposes images of underground Tokyo nightlife and her own community&rsquo;s vulnerability, with the destruction wrought by the heavy earthquake and subsequent tsunami in 2011.
ABOUT MOMO OKABE Momo Okabe received a BFA in Photography from Nihon University of Art in 2004. In 1999 her work was selected by Nobuyoshi Araki for the prestigious New Cosmos of Photography Award and in 2015 she won the <a href="/talent/foam-paul-huf-award" target="_blank" rel="noopener">Foam Paul Huf Award</a>. The same year, the solo exhibition <a href="/museum/programme/momo-okabe">Bible and Dildo</a> was presented at Foam and works from the series became part of the museum&rsquo;s collection. Her photobooks Dildo and Bible are published by Session Press. Raised in France, she lives and works in Tokyo.
Visit and revisit&nbsp;Momo Okabe - Bible and Dildo,&nbsp;other <a href="/museum/programme/exhibitions">exhibitions</a> and&nbsp;<a href="/nl/museum/programma/voor-leden">events</a>&nbsp;as a&nbsp;<a href="/nl/over-ons/lidmaatschappen">Foam Member</a>.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, City of Amsterdam, Foam Members, Olympus and the VandenEnde Foundation.

Bible and Dildo

In his work across eastern Congo, Richard Mosse focused on capturing the disturbing images of rebel groups fighting as they move from one place to another. The work displays the devastation brought about by the war, such as massacres, refugees, and systematic sexual violence.

The entire journey across the country took four years – from 2010 to 2014. The international press usually ignores the conflict in the eastern Democratic Republic of Congo, making Mosse’s work even more valuable and important.

Vondelpark

I fell in love with the process of taking pictures, with wandering around finding things. It feels like a kind of performance. 