Josephine van Bennekom
Teun Voeten belongs to the generation of young photographers working in the tradition of human interest and reportage photography. He is a distinctive and driven freelancer. Voeten’s photos convey a deep-felt empathy in relation to his subject and a personally involved perspective on events and people, whether it be the ‘tunnel people’ of New York, rebels in Sierra Leone, or Dinkas in Sudan.
Teun Adriaan (Teun) Voeten is born on 25 October in Boxtel, as the son of Adriaan Voeten, a veterinarian, and Marieke Voeten-van Rossum, a remedial education expert. He has a sister and two brothers.
Voeten follows the ‘Gymnasium Bèta’ course (a prep/grammar school), at the Jacob Roelands Lyceum in Boxtel, but completes the final exam for ‘Atheneum B’ (a similar programme as the Gymnasium, but excepting Latin and Greek).
Voeten attends Sparta High School in Sparta, New Jersey as an exchange student.
Voeten takes his first photos with a Mamiya 35 mm rangefinder camera. After several class excursions, Voeten becomes enthralled with New York City—an influence in the future course of his life.
Voeten studies biology at the University of Groningen. He spends his time fraternising in squatters’ and artists’ circles, thereby neglecting his studies. Voeten hitchhikes for weeks across Yugoslavia and Greece. He takes photos in depressing settings, e.g. the suburbs of Zagreb, abattoirs, and waste-processing plants. In and around Groningen, Voeten photographs old, dilapidated factory buildings.
Voeten prints his photos at the USVA cultural students centre in Groningen. Voeten’s first photography exhibit is held in the squatted Oude Politiebureau Groningen (‘Old Police Bureau Groningen’), entitled Asociale Fotografie (‘Asocial Photography’).
Voeten abandons his study and lives successively in the cities Amsterdam, The Hague, Rotterdam, and Antwerp, Belgium. He makes another attempt to study philosophy at the Erasmus University in Rotterdam, but quits this study as well after two months. Voeten subsequently takes a class in photography at ‘Lantaren/Het Venster’ in Rotterdam. He purchases a Pentax K1000 and receives further instruction from his uncle, the architectural photographer Sybolt Voeten. Teun Voeten works as an assistant for various advertising and architectural photographers: Jannes Linders, Chris Hutter, and Charles van Gelder. During intervening periods, he hitchhikes to destinations in France, Spain, Morocco, Yugoslavia, and Germany, working and photographing along the way.
Voeten earns money by working for Sybolt Voeten and acquires a Hasselblad and a Cambo 6/9 technical camera.
Voeten travels to Poland on his own initiative and takes architectural photos. He also photographs in Germany’s Ruhr valley. The owners of Mazzo, a trendy discotheque in Amsterdam, tell Voeten that his slide projections are ‘too depressing’.
Voeten studies cultural anthropology with a minor in philosophy at Leiden University. He ends his collaboration with Sybolt Voeten.
Voeten resides chiefly in New York, where he studies cultural history at the School of Visual Arts, as a second minor for his study in cultural anthropology in Leiden. He works as a photographer and journalist on the side for various New York magazines, including Details, Ear, and High Times.
For High Times, Voeten makes a photo reportage on the former members of the Provo movement. For this purpose, he interviews Jasper Grootveld and others. Following the death of his mother, Voeten decides to return to the Netherlands, though he still considers New York City as a second home.
In late December, Voeten hitchhikes to Bucharest, Romania, to photograph the aftermath of the Romanian Revolution.
In Nicaragua, Voeten takes a course in Spanish and shortly after makes a reportage about the country’s national elections. He also gathers material for his theoretical Master’s thesis, entitled ‘Discussie Kwalitatieve en Kwantitatieve Inhoudsanalyse door middel van een vergelijking tussen Nicaraguaanse berichtgeving Panama Invasie/Roemeense Revolutie’ (‘Discussion of the Qualitative and Quantitative Content Analysis by means of a Comparison of Nicaraguan Reporting on the Panamanian Invasion versus the Romanian Revolution’).
Voeten arrives in Tel Aviv, Israel, at the beginning of the year—one day before the outbreak of the Gulf War. He stays for ten days and photographs the Scud missiles coming down on the city. Voeten completes his theoretical doctoral exam in cultural anthropology. For his internship research project, entitled ‘De Grijze Hel: Participerend/observerend onderzoek in de goudzoekergemeenschap Bella Rica te Ecuador’ (‘The Grey Hell: Participational/Observational Research in the Gold-Seekers Community Bella Rica in Ecuador’), Voeten subsequently spends three months with gold-seekers in the Andes Mountains. Following the definitive completion of his university studies in October, he departs for several weeks to Croatia, where there is an ongoing war.
Voeten weds Charlotte Zwemmer, a philosopher and specialist in Dutch culture and language from Leiden.
Voeten en Zwemmer move and live together in Brussels, Belgium. Voeten travels frequently to Bosnia, where war has also broken out.
In Haiti, Voeten photographs boat refugees fleeing the country.
Voeten assumes an active role in the organisation ‘Nederlandse Fotografen voor ex-Joegoslavië’ (‘Dutch Photographers for Former Yugoslavia’). Voeten is the organisation’s coordinator in Flanders (Belgium), conducting all contacts with the press.
Voeten wins first prize at the Zilveren Camera (‘Silver Camera’) competition in the category Buitenlands Nieuws (‘Foreign News’), with a photo of Bosnian soldiers killed in action taken at the Kosovo Hospital mortuary in Sarajevo taken in July 1993. Voeten departs for Burundi and Rwanda—his first trip to Africa—and finds himself in a region where mass genocide is being committed. Voeten returns twice to Rwanda to photograph the refugee crisis.
Voeten trades in his Pentax cameras for Nikons and also acquires a Leica M6.
Voeten initiates the ‘Sarajevo Actie’ organised by the Belgian newspaper De Morgen, a campaign in support of the independent media in Sarajevo (Bosnia-Herzegovina).
Voeten does investigative work on the scene and arranges the reporting, organisation and transport of materials for local journalists and photographers.
For his anthropological/journalistic project ‘Tunnel People’, Voeten spends several consecutive months consorting with homeless people living beneath the ground in New York City.
Voeten is nominated in the category Foreign News for his series on Rwandan refugees in Goma (Zaire) from July 1994 at the Silver Camera competition.
Voeten works on his project ‘Tunnel People’, about homeless people in New York City.
Voeten travels to former Yugoslavia, Haiti, Chechnya, Afghanistan, Sudan, and Colombia, where he does journalistic work in the form of photographs, texts, and radio interviews on behalf of the Dutch and foreign press.
In late 1997, Voeten and his wife divorce.
Voeten’s book Tunnel People is published.
In February, Voeten goes missing in Sierra Leone. A search campaign is set up in the Netherlands. In early March, Voeten suddenly resurfaces, after fleeing from rebels for a period of two weeks. Voeten reduces his work pace for the remainder of the year, excepting one reportage on street children in Bucharest. At the end of the year, he carries out his first assignment in Peshawar, Pakistan, for the magazine Vanity Fair.
Voeten is nominated in the category Foreign News for his series about the civil war in Sierra Leone at the Silver Camera competition.
Voeten initiates the fundraising campaign ‘Help Alfred’s School’ in collaboration with Belgian school children, aimed to provide financial and logistical support to a school in Sierra Leone. Voeten returns to Sierra Leone two more times. Voeten’s photobook on Afghanistan, Sierra Leone, Rwanda, Sudan, and Bosnia is published under the title A Ticket To.
On assignment for Vanity Fair, Voeten and the writer Sebastian Junger travel to Kosovo.
How de body? Hoop en horror in Sierra Leone (‘How de body? Hope and Horror in Sierra Leone’, English title: How de body? One Man’s Horrifying Journey Through an African War) is published. Vanity Fair sends Voeten to Sierra Leone. Voeten moves from Brussels to New York City. For National Geographic, Voeten travels with the writer Andrew Cockburn to Sierra Leone, the Democratic Republic of Congo, and Angola to make a reportage on ‘conflict diamonds’
Voeten almost dies from an untreated attack of malaria in New York. In March, Voeten makes a photo reportage about paramilitary violence in Colombia. In Washington DC, Voeten and Jonger jointly receive the SAIS-Novartis Award for their work in Sierra Leone on behalf of Vanity Fair.
Teun Voeten refers to himself as a ‘turmoil photographer’. This word describes the scope of his work better than the term ‘war photographer’. The reality of the conflict regions he has visited in the 1980s and ’90s is less heroic than the latter title suggests. Voeten’s photography reflects intelligence and social engagement. Through images, words, and deeds, he shows his involvement with people, who—as a consequence of circumstances—are either perpetrators or victims. Voeten is well informed in advance before traveling to any specific war zone. He returns with complete reportages consisting of text and photos (so-called ‘package deals’, according to American standards), which he subsequently offers to the editorial boards of magazines and newspapers. He also does regular work on assignment. His background in cultural anthropology is what serves as a basis for Voeten, resulting in a distinctive and sometimes headstrong approach.
Voeten received a camera from his parents as a gift while still in secondary school. Part of this time was spent in the United States, where he attended Sparta High School in Sparta, New Jersey, as an exchange student. It was during this stay that he first became enthralled with the vibrancy of New York City. Voeten ventured out on his own into the city, equipped with his camera and gaining his first experiences with this medium. Upon returning to the Netherlands, Voeten tried out a number of different university studies. At this time, however, none captured his interest. Voeten’s real desire was to photograph. From the start, his preference was to focus his camera on society’s ‘flip side’. Voeten learned to master photography by taking a class in photography at Lantaren/Het Venster in Rotterdam, followed by internships with his uncle, the architectural photographer Sybolt Voeten, as well as Jannes Linders, Chris Hutter, and Charles van Gelder. The accent of his work, however, began shifting from architecture more and more in the direction of portraits and photo reportages. In his own words: ‘People are unpredictable, buildings are not. That makes photographing people always exciting. Much is dependent on chance.’ The academic subject that did manage to satisfy his intellectual curiosity in the end was cultural anthropology at Leiden University, with a minor in philosophy.
From the first moment he stepped foot in New York, Voeten was mesmerised by the city. In no time, he found himself interested in the city’s outcasts. Voeten began working as a reportage photographer for various magazines and newspapers in the city. He was also studying cultural history as a minor at the School of Visual Arts in New York City. Much later, in 2000, Voeten moved from Brussels to New York, after having previously traded in the Netherlands for Belgium as the country where he chose to live. He describes the Netherlands as excessively organised and stifling when it comes to social democracy. While doing business is more difficult in Belgium, Voeten feels life there is more bearable because of its friendlier atmosphere and more appealing, somewhat cluttered landscape. He greatly dislikes the moral consensus and the forced morality he encounters in in the Netherlands. He prefers anonymity to the ‘cocktail and subsidy’ circuit.
Restlessness and a desire to find news are factors that govern the course of Voeten’s endeavours. For this reason, he is always traveling, such as when, for example, he followed the dramatic developments running up to and during the 1990 elections in Nicaragua. This resulted in an article published in the New York magazine High Times. Voeten also did investigative work in the gold-diggers’ community of Bella Rica in Ecuador, a reportage that was published in the Dutch magazine Onze Wereld (‘Our World’). Voeten’s texts and photographs also served as his final report for his doctoral exam in cultural anthropology.
Voeten has been traveling to various war zones on a regular basis since 1991. He frequently does so of his own accord, but sometimes as well through the assistance of NGOs such as Doctors without Borders and the Red Cross. These organisations provide Voeten with access to the logistical resources and contacts he may require on location. His photos are sold through the Dutch press agency Hollandse Hoogte and other American press agencies. Voeten also sometimes works on assignment for a number of publications, including the Dutch weekly Vrij Nederland and the Flemish newspaper De Morgen. The choice of which countries are to be spotlighted is determined by Voeten’s personal interest, practical considerations, and those conflicts prevailing at any given time.
Over the years, Voeten has built up an impressive record. He has photographed in countries such as Panama and Ecuador affected by political unrest, as well as in war zones around the world, including former Yugoslavia, Haiti, Rwanda, Zaire, Chechnya, Afghanistan, Sudan, Colombia, and Sierra Leone. Voeten returns to most of these countries on a regular basis to keep up with the latest developments.
With the break-up of Yugoslavia, Voeten tracked the events that followed very closely. Directly after his graduation in 1991, he traveled to Croatia to make a photo reportage on the cities of Osijek and Vinkovci, two cities completely ravaged by shellfire. In early 1992, the war crossed over into Bosnia. The international community stood by helplessly as Serbs, Croats, and Muslims slaughtered each other. Concentration camps, the bombardment of civilian targets, mass murder, snipers, and endless queues of refugees were suddenly a daily occurrence in the heart of modern Europe. Voeten was there to witness all of it and was subject to the risks involved. At one point, he allowed a group of reckless, drunken, and drugged-up soldiers to take him to the front line. There he got shot in the leg by a Serb sniper, consequently ending up in the hospital. Voeten nevertheless relativises the danger: ‘In Sarajevo you knew there were certain streets where you shouldn’t go. You learned very quickly to recognise the sounds of mortar shells and whether they were coming your way or not. You also know that a mortar shell doesn’t bounce off a soft surface and that it does on asphalt. You can assess the risks. But this was a classic beginner’s mistake: going with drunken soldiers to places that are extremely dangerous.’
Following his return—at this time he was living and working alternatively in Brussels and Leiden—Voeten served as the Flanders coordinator of the campaign ‘Nederlandse fotografen voor ex-Joegoslavië’ (‘Dutch Photographers for Former Yugoslavia’) in 1993. One year later, he initiated a campaign of the Belgian newspaper De Morgen in support of an independent media in Sarajevo. Voeten conducted background research on location and took on the responsibility of organising and transporting materials to Sarajevo.
In late 1994, Voeten traveled to Burundi and Rwanda to photograph the steady flow of refugees taking place there. As it was his very first trip to Africa, it had been his specific intention to pick out a small and relatively safe country. After ten days in Burundi and South Rwanda, he arrived in the Rwandan capital, Kigali, where representatives of the United Nations told him that everything was calm, offering to take him the next day to the demilitarised zone. That same night, the airplane of the Rwandan president Habyarimana was shot down. Blamed as the perpetrators were the former colonial leaders (the Belgians), along with those who were perceived as their supporters: the Tutsis. The genocide began the following morning. Hutu death squads slaughtered hundreds of thousands of Tutsis. Voeten fled to a hotel—taking photographs on the street posed a life-threatening situation—and spent his time writing reportages for De Morgen and the Dutch newspaper De Volkskrant. After several days, he was evacuated along with other Belgians that were in the country.
The revenge of the Tutsis was not long in coming. From neighbouring Uganda, the resistance army RPF (Rwandan Patriotic Front) began invading Rwanda. Endless streams of Hutus fled to Tanzania and former Zaire. In several days time there emerged the largest refugee camp that had ever been witnessed. In the following and May and July, Voeten returned twice to Rwanda to photograph the dramatic events as they transpired.
In 1996, Voeten traveled to Afghanistan, where he photographed fighters of the Taliban, a movement of religious combatants originating in the refugee camps of Pakistan. Following a blitzkrieg that resulted in the capture of the cities Herat and Kandahar, the Taliban advanced towards the Afghan capital, Kabul, in 1996. In September of that same year, they captured the city. Voeten photographed the consequences of the war: cities that lay in total devastation, the wounded learning to walk again, and women on the street forced to veil their faces, according to strict Islamic law.
One year later, Voeten traveled to Sudan, where a civil war had been raging between the Arabic, Islamic regime in the capital Khartoum and the black, Christian and animistic peoples of the south since the country established its independence in 1956. As a result of the war, the Dinka people, one of the largest tribes in the south of the country, were forced to fall back completely on their traditional lifestyle. For the Dinkas, everything revolves around cattle. Cows are a currency, foodstuff, status symbol, a source of inspiration for poems and songs, and warmth on cold nights. Cow manure is used to light fires for preparing food, with the ash used to cover their faces. Not only for cosmetic reasons: it also functions to keep the vermin at bay. In Voeten’s dream-like photos, the cows—just as in Dinka life—are central to the image.
With the war in Sierra Leone, ideological motives are equally as elusive. Here the struggle concerns money and power. Because the eastern and southern regions of the country are rich in diamonds, it is here where the heaviest battles occur. In 1992, the rebel group RUF (‘Revolutionary United Front’) blew fresh life into the struggle, with the backing of the neighbouring country Liberia. In 1998, Voeten was present as West African peacekeeping forces of ECOMOG (Economic Community of West African States Monitoring Group) made their move against the RUF, driving the rebels out of the capital Freetown. Although the international peacekeeping mission again quickly gained control of most of the country, the rebels succeeded in retaking several important cities prior to Christmas 1998 during a surprise offensive. Voeten likewise fled in a panic and vanished from the outside world. When he failed to establish contact with his family and friends after several days, a search campaign was set up in the Netherlands. The NVJ (Nederlandse Vereniging van Journalisten, ‘Netherlands Journalists Association’) and its Belgian sister organisation were just about to send an investigative committee to Sierra Leone, when Voeten suddenly resurfaced in March 1998, unharmed after two frightening weeks of fleeing from the rebels. Back in Belgium, he started up a fundraising campaign for a school run by friends in Sierra Leone, a project that was coordinated in collaboration with Doctors without Borders and Belgian school children.
In 1994, Voeten’s discovery of people living under the streets of New York city inspired him to create the anthropological/journalistic project ‘Tunnel People’. For consecutive months, he consorted with homeless people. Voeten had learned about the tunnels during a conversation with the American ethnographer Terry Williams, whose own research into the crack houses and cocaine gangs had shifted to the ‘human moles’ living in the abandoned rail and subway tunnels of the city. Voeten described them as ‘(…) a new class of people cast off by society who have become essentially invisible. I want to give the invisible [people] a human face.’ As Henri Beunders (Professor of ‘History and Society, Media and Culture’) writes in the foreword of Voeten’s book Tunnel People, Voeten’s photo reportage appears to be a virtually literal repeat exercise of what the first [socially] engaged photojournalist, Jacob Riis, did in the slum neighbourhoods of New York a century earlier. Riis’ photobook, entitled How the Other Half Lives, caused a shockwave in the United States. In Beunder’s view, however, Voeten’s intentions are different than Riis’, whose aim was to improve the situation of those involved. Voeten, by contrast, has no such pretensions. His sole purpose is ‘(…) to provide insight into the soul of the tunnel people, and not to be a European teaching the Americans a moral lesson.’ Beunders believes that with Tunnel Poeple, Voeten is above all expressing precisely that which he was educated to be: an anthropologist.
This is also what distinguishes Voeten from Peter Martens, a photographer who shot dramatic images of homeless and displaced people in New York City during the 1980s. Martens saw these people as victims of an unjust system and condemned the situation in the form of raw black-and-white images. By contrast, Voeten observes people who, in spite of living conditions perceived by us as inhumane, manage to get by very well.
In his book How de body? Hoop en horror in Sierra Leone (English title: How de body? One Man’s Horrifying Journey Through an African War; ‘How de Body?’ is a form of greeting used in Sierra Leone, meaning ‘How are you?’) from 2000, Voeten gives a largely textual account of his travels in this country. Several photos are used to illustrate his story, which is based on his journalistic annotations and recollections of his travels in other war-torn regions. Voeten alternates his descriptions of blood-curdling adventures with laconic comments about the home front, his working method, and the photojournalistic profession. He writes that, in the eyes of an immigration officer, he probably comes across as an odd dock: ‘All of the foreigners are leaving the country—headed in the opposite direction is the heavy traffic of the aid workers in their jeeps—and here I come strolling along, instead wanting to get in.’
Voeten is very well aware that considerations of a business nature sometimes oblige one to cover news stories that are more current. His clients—the media—desire photos of conflict situations from around the world. Voeten keeps this in mind when determining his choice of subject matter. ‘As a photographer, you always have to have a bit of a shopkeeper’s instinct’, as he puts it. In his book How de Body he observes: ‘Child soldiers are photogenic. Black tykes parading around with tough-looking rifles and who look into the lens with big, serious eyes. (…) Sweet little rascals, war as children’s play, lost innocence, initiation rites to adulthood. Metaphors enough.’ The big difference with other news photographers, however, is that Voeten is often on the scene before anyone else, he stays around longer, and prefers to work alone. This gives him an opportunity to get acquainted with the situation, to establish the necessary contacts, and to increase his freedom of movement.
Through his work, Voeten experiences emotional events, which he preferably shares with other photographers. In How De Body, he describes his meeting with the former war photographer Corinne Dufka, who has won numerous World Press Photo competitions with her photos from Liberia. Dufka voiced Voeten’s biggest fear when telling him why she had once temporarily traded in her camera to do work as a human rights activist. ‘I was sick of racing from one hot spot to another’, she told him. ‘You’re only dealing with incidents, without any opportunity to delve deeper into your subject.’ Voeten remarks: ‘After years of war, many journalists have a tough layer around their soul that simply doesn’t wear off. Those who are most sensible decide to give it a break for a while.’ In How de Body he writes: ‘In our profession, it’s actually taboo to talk about these kinds of issues [fear] (…).’ Voeten is unhappy with the aura of the heathen lifestyle that surrounds the profession of war photographer. He contests the myth of drunken photographers ruthlessly sneaking up on their victims: ‘In the field, you stay away from alcohol as much as you possibly can. People like Sebastiao Salgado of James Nachtwey don’t touch a drop of alcohol, because they’re always on their qui vive [alert]. Very professional.’
Nevertheless, Voeten also finds himself getting caught up in career deformation on occasion, along with the ambivalent feelings that come with it: on one hand, he still wants to feel compassion, trying with every fibre not to become soft and cynical; at the same time, however, photography itself requires so much concentration that one automatically distances oneself. Voeten still has doubts with respect to his role as a photographer: is he an outsider or a participant? In How de Body he puts it as follows: ‘I’ve chosen for the cowardly profession of observer on the sidelines, only because I’m torn by the absence of any obligation and lack the desire to take action.’
Voeten spends a lot of time thinking about the role of photography in the current information era and about his own functioning in that world. As a result of commercialisation, globalisation, and cartel forming of the media, news is becoming increasingly consumer-oriented. World news is degenerating into a short-lived hype lasting only days, one in which the CNN circus—followed by all of the large press agencies—descends on a conflict zone for several days, only to disappear en masse, running off to the next sensational hot spot that comes along. Long-term and in-depth reporting are the exception. Zapping from one news story to the next is a more apt characterisation of the situation.
‘Sometimes’, Voeten relates, ‘you feel like a photographer on safari. This was especially the case in Sarajevo. During the beginning of the war, journalists were still being welcomed with open arms, because people felt that the world press could speed up the peace process. After a couple of years, people’s hope disappeared and photographers were treated with ridicule and scorn. During a meeting of Doctors without Borders, I was told by a “local” that it would be better if the press just disappeared out of the city, “so that we can die in dignity without any outsiders.”‘ Voeten respects this view. This is why he is more prone to frequent places that have not (yet) become world news as opposed to than war zones. But this is precisely where the dilemma lies. Because the home front pays for photos of newsworthy war situations and has virtually no interest in photos of places where people are living in peace. On the other hand, because there are fewer photos available of these so-called ‘forgotten wars’, Voeten still always manages to get his material published one way or another.
Voeten has ambivalent feelings when it comes to the latest ‘hot spots’. He occasionally allows himself to get swept up in a media hype, even though he despises it. ‘The rules, the incitement, and the high prices—there are always many people profiting from the war everywhere—I find it all repulsive.’ But at the same time: ‘Of course, you always hope to return in good health with nice work and then it’s sometimes handy to take advantage of the short-term comforts that come with the arrival of a convoy of aid workers and journalists.’
Voeten always does extensive preparatory work in advance by reading up on the history and the political situation in the country he plans to visit. He also speaks with colleagues and aid workers. Upon arriving on the scene, he evaluates the situation further. In most cases, Voeten speaks the main language of the country in question. In Yugoslavia, he learned the Serbo-Croatian language in order to conduct his work more independently. Voeten always has a couple of addresses already on him, and once he gets to where he has to be, he lines up the names of other reliable contacts. He acts on ad hoc situations, but preferably avoids the front lines. This is sometimes unavoidable, such as when the lines have unexpectedly moved much closer. One day things are calmer than expected, the next he encounters a situation more hectic or more dangerous than he had initially surmised. The circumstances in a war zone can change in an instant. This can also involve the infrastructure: roadways are accessible one day, the next day they are being bombed, as he experienced in former Yugoslavia. Voeten always tries to leave behind some kind of trail—in the form of an address, a telephone call, or an email—for people back at home. In reality, however, he enjoys being out of touch, being alone, working without anybody else around, so as to blend in with the local environment as much as he possibly can.
Voeten’s mastery of the various techniques in black-and-white photography is developed to such a degree that his photos are comprehensible, with stunning contrasts in light and dark and simultaneously interesting down to the finest detail. He succeeds at quickly distinguishing between the key aspects and matters that are secondary, and adjusts his camera angles, composition, light and dark contrasts, motion blur, grain, and fine gradation to tell ‘his own story’. When photographing a situation with a dead body lying in the street and he wants to include bystanders in the picture, then he takes a somewhat higher vantage point. When photographing children, he sometimes bends down on his knees to approach them as equals. In situations when children are clearly the victims of the grown-up world, however, he chooses a higher angle in order to emphasise their helplessness. Every decision he makes when shooting or printing a photo—whether it be the camera angle, the lens setting, or the frame—is highly conceived. It is precisely in these areas that his talent lies. Voeten’s photos were quite commonly published on the front pages of Dutch newspapers such as the NRC Handelsblad, Trouw, and Het Parool, as well as the Belgium newspapers De Morgen and De Standaard. This also says something about the quality of his images.
Voeten began taking photographs with a Pentax K1000. Later on, he purchased a Hasselblad and a Cambo 6/9 technical camera for his architectural photos. For reportages, Voeten uses a Nikon FM and a Nikon FE2-camera, as well as a Leica M6.
Voeten uses the Nikon FE2 most often, because it allows him to work quickly and effectively in difficult situations. The ‘Tunnel People’ series was produced with the Leica M6 camera because it gives the best results in conditions with little light, but also because of its handiness at times when speed is a necessity. Voeten finishes his black-and-white film rolls in his own darkroom. Sometimes a friend assists, when an assignment has to be completed urgently. At other times he takes his material to a photo lab.
The basis for Voeten’s work is and will always be his negatives. Even though he scans his prints, digital photography is simply not (yet) his thing. By no means is he computer illiterate. Voeten’s work is available for viewing on his self-made website: www.teunvoeten.com.
Voeten often writes stories to accompany his photos. The political context of some of his images is too complex to convey only with a photo. The written word offers a solution: ‘Photos are merciless, but a good quote can reflect the essence,’ as he puts it. Photos in combination with intriguing captions and a background story are still the best way to approach the complex reality. There are also cases when taking photographs is simply not possible. During the genocide in Rwanda, the situation was too dangerous; in Sierra Leone, his cameras were stolen by the rebels; and in Afghanistan under the Taliban, cameras were completely taboo. By contrast, conducting an interview under such circumstances rarely poses any problems.
Writing and shooting photos cannot be done at the same time. Both means of expression require their own form of concentration. Voeten places his emphasis on photography and conducts interviews, for instance, only as a second option.
In addition to writing stories, Voeten gives lectures and takes part in public discussions and panels. His lectures are on topics such as ethnography, the power of images, the current state of contemporary war photography, and matters important to him as a photographer, such as the homeless living in New York. In March 2001, Voeten participated in a panel discussion on the subjects of ‘forgotten wars’, organised by Doctors without Borders at the Fort Mason Center in San Francisco, as well as a panel on the ‘violations of the rights of humans and the role of the media’ at the School for International and Public Affairs of Columbia University in New York City.
Teun Voeten upholds the Dutch tradition of qualified and socially engaged photography. In this sense, he holds an important place alongside his illustrious predecessors in the photographic profession, such as Ad van Denderen, Koen Wessing, and Willem Diepraam. Together with a younger generation of freelance photographers—e.g. Kadir van Lohuizen, Leo Erken, Petterik Wiggers, Eddy van Wessel, and Jan Banning—he has never been afraid to get involved in the lives of those experiencing misfortune as a result of poverty and war. Unlike these other photographers, however, Voeten is more of a reportage photographer when it comes to his going after news. More so than a documentary photographer, i.e. someone who studies the various angles of a subject at his own steady pace. Voeten never gives himself that much time.
Voeten’s orientation is very international. His move to New York therefore suits him well. The same applies to his restless nature, which also fits the character of the city. Contrasting with these personal qualities is his ability to sense subtle, serene emotions, as revealed in his photos. Voeten’s intellectual baggage is reflected in his well-considered approach to the chosen subject matter, and a persistent healthy dose of questioning with regards to the utility and necessity of his work.
Dutch Provos, in High Times (januari 1990), p. 32-36, 64-73 (met foto’s).
Oud en nieuw in Roemenië, in Scipciki. Periodiek voor Leidse slavisten & Ruslandkundigen. 4 (februari 1990) 14, omslag, p. 6-14 (met foto’s).
Outlaw Nation. Special report from Nicaragua, in High Times (juli 1990), p. 24-26 (met foto’s).
De grijze hel. Goudzoekers te Bella Rica, Ecuador, z.p. 1991.
Interview with Eddy Engelsman, in High Times mei 1991, p. 13-17 (met foto’s).
Satan versus De Partybrekers, rock in Ex-Joegoslavië, in Oor 25 januari 1992, p. 54-57 (met foto’s).
Bella Rica. Schitterend, opwindend, spannend, goudzoekers in Ecuador, in Onze Wereld april 1992 4, p. 86-91 (met foto’s).
Haïtiaanse vluchtelingen teruggestuurd voor Bush’ herverkiezing. Een volk in gijzeling, in Vrij Nederland 30 mei 1992, p. 22-24 (met foto’s).
Clinton en de valse hoop voor Haïtiaanse vluchtelingen, in Status. Verenigingsorgaan van Vluchtelingenwerk 1 (januari 1993) 4, p. 10-11 (met foto’s).
New Yorkse stadsnomaden, in Markant 2 (2 juli 1993) 27, p. 4-6 (met foto’s).
Sarajevo: kunst als remedie tegen de waanzin, Sculpturen uit granaatscherven, in Markant 2 (14 oktober 1993) 40, p. 16-18 (met foto’s).
‘En het moorden gaat maar door.’ De onmacht van José Maria Mendiluce, topman van UNHCR over Bosnië, in Status 2 (november 1993) 3, omslag, p. 8-9 (met foto’s).
De oorlog is begonnen. ‘Bon Voyage’, klinkt het in Hotel des Mille Collines…, in De Morgen, 7, 8, 9, 13 april 1994, p. 1.
Weet de wereld wel wat hier gebeurt? (Kigali), in de Volkskrant 9 april 1994.
The countdown has started, in The Bulletin 14 april 1994, p. 20-21.
Bon voyage. On a one-way ticket out of Kigali, in The Bulletin 21 april 1994, p. 22-23 (met foto’s).
Ovo je gore od Bosne, in BH Dani 23 mei 1994, p. 32-34.
‘Het salon is vol’. Vluchtelingenbeleid in België, in Status. Verenigingsorgaan van Vluchtelingenwerk 3 (juli 1994) 2, p. 8-9.
Fotograferen in de lijkenvelden (Goma), in Markant 3 (11 augustus 1994) 30, p. 12-13 (met foto’s).
‘Bon voyage’: a one-way flight from Kigali. An eyewitness account of Rwanda’s descent into hell, in High Times september 1994, p. 26-27 (met foto’s).
Ontredderingsfotografie, in Feit en Fictie herfst 1994 (met foto’s).
Neo-vulturisme in contemporaine documentaire fotografie, oftewel: Do you remember Goma?, in Obscuur, blad voor fotografie [Gent] 1 (december 1994) p. 5-6, 12-13 (met foto’s).
Misschien over tien jaar. Gornji Vakuf, Centraal Bosnië, is het dorp van de trieste ontmoetingen, in De Standaard Magazine 3 (13 januari 1995) 2, p. 10-11 (met foto’s).
De praktijk is niet heroïsch. Ofwel: do you remember Goma?, in De Journalist 46 (24 februari 1995) 4, p. 18-19 (met foto’s).
Tunnelmensen, Amsterdam/Antwerpen (Atlas) 1996 (met foto’s).
Herren der Unterwelt, in Die Tageszeitung 21 augustus 1996, p. 18-19 (met foto’s).
De broederstrijd in Afghanistan, in De Standaard Magazine 6 september 1996 (met foto’s).
Ceux du tunnel, in Le Vif/L’Express 1 november 1996, p. 51-53 (met foto’s).
Living in a minefield. A report on the mine problem in Afghanistan, in AzGrenzen brochure mei 1997.
Laffe moordenaars. Landmijnen in Afghanistan, in Blikvanger 2 (mei 1997) 2, p. 8-10 (met foto’s).
Op stap met de Slager van het Volk. Verkiezingen zonder kandidaten, in De Morgen 23/25 oktober 1997 (met foto’s).
“Onze methoden zijn niet netjes” (Colombia), in Wordt Vervolgd november 1997 (met foto’s).
Wo die Guerrilla Langusten speist, in TAZ 23/24 januari 1998 (met foto’s).
‘Run, Tony, run!’, in De Morgen. Bijsluiter 21 maart 1998, p. 27-28 (met foto’s).
Het dagboek van Teun Voeten: op de vlucht in Sierra Leone, in Vrij Nederland 21 maart 1998, omslag, p. 26-29 (met foto’s).
A legacy of blood (Colombia), in High Times mei 1998, p. 44-48 (met foto’s).
17 heures de planque en Sierra Leone, in Saka Saka, Le magazine humanitaire des jeunes (mei/juni 1998), p. 4-5 (met foto’s).
De lijmsnuivers van Boekarest, in Reformatorisch Dagblad 24 december 1998, p. 37 (met foto’s).
Teun Voeten (tekst) en Henri Beunders (voorw.), A ticket to. Bosnië, Soedan, Rwanda, Afghanistan, Sierra Leone, Wageningen/Leiden (Veenman/Centrum Beeldende Kunst) 1999 (met foto’s).
Teun Voeten en Sabine Hirsch, Sierra Leone, in De Morgen 5 maart 1999, p. 61 (met foto’s).
Teun Voeten (tekst en omslagfoto), How de body? Hoop en horror in Sierra Leone, Amsterdam (Meulenhoff) 2000.
‘How de Body’: ontsnapt uit de hel van Sierra Leone. Op de grond, vuile blanke, we gaan je folteren, in HUMO januari 2000 (met foto’s).
Vrede in Sierra Leone, in De Morgen januari 2000 (met foto’s).
De bittere vrede van Sierra Leone, in Vrij Nederland 15 januari 2000, p. 17-19 (met foto’s).
De meest gewelddadige stad van Colombia. Moordstad Barrancabermeja, in De Morgen 28 april 2001 (met foto’s).
Diverse foto’s in publicaties van Artsen zonder Grenzen, Human Rights Watch, Caritas, UNHCR Internationale Rode Kruis Committee, Unicef.
IJzerbedevaart België, in Force Mentale 1984.
Details and Ear Magazine 1989.
De schoonheid van het verval, ghetto’s New York, in Man (november 1989).
In alle staten, presidentsverkiezingen US, in De Morgen oktober 1992.
Status 1 (januari 1993) 4, p. 3.
De Zilveren Camera 1994. Het beste werk van Nederlandse fotojournalisten, Utrecht (Stichting De Zilveren Camera) z.j. , p. 81.
Les Hommes Taupes, in Les Inrockuptables maart 1995.
Tsjetsjenië, in Frankfürter Allgemeine april 1995.
Verwoest Grosny, in De Standaard Magazine april 1995.
Afghanistan, in Frankfürter Allgemeine november 1996.
Sudan, in Frankfürter Allgemeine maart 1997-
De Zilveren Camera 1998. Overzicht van de Nederlandse fotojournalistiek, Den Haag (Sdu) 1999, p. 82-83.
Sudan, in New Yorker 15 januari 1999.
Letter from Kosovo, in Vanity Fair juli 1999.
Ondergronds uit noodzaak, in Ben Magazine herfst 1999.
Summer in the City, New York in de zomer, in De Morgen juli 2000.
The Terror of Sierra Leone, in Vanity Fair augustus 2000.
Sierra Leone, in GRANTA (winter 2000) 72, p. 113-139.
Een doorsnee weekend in Colombia, in NRC Handelsblad 26 april 2001.
Auteur onbekend, Exposities, in Leidsch Dagblad 15 juni 1988.
Nancy Stoop, Beelden jaren ’80 in fotoserie New York, in Leidsch Dagblad g augustus 1988.
Steve Hager, Editorial, in High Times januari 1990, p. 6.
Nicole Roepers, Fotoreportage van hoog niveau, in Leidsch Dagblad 22 januari 1991.
Pieter Evelein, Een losgeslagen bende op zoek naar Het Grote Geld. Student verbleef bij goudzoekers in ‘Grijze Hel’ van Ecuador, in Mare 14 november 1991, p. 9.
Auteur onbekend, ‘Wild West’ in De Kleine Klup, in De Leidse Post 22 juli 1992, p. 14.
Auteur onbekend, Fotowerk van Teun Voeten toont grote betrokkenheid. Oorlog Bosnië-Hercegovina vastgelegd, in Leids Nieuwsblad 16 (14 oktober 1992) 778.
Herman Hoeneveld, Teun Voeten, in P/F Professionele Fotografie. Vakblad voor visuele communicatie (1993) 2, p. 43-50 (met foto’s).
Auteur onbekend, Dagelijkse werkelijkheid van ex-Joegoslavië. Foto’s in de Kleine Klup, in Leids Nieuwsblad 17 (26 november 1993) 873.
Roos van Put, Pijnlijke foto’s uit ex-Joegoslavië, in Leidsch Dagblad 6 december 1993.
De Zilveren Camera 1993, Utrecht (Stichting De Zilveren Camera) 1994, p. 76-77.
Rob Ruggenberg, Teun Voeten, in Brabants Dagblad mei 1994.
Ruud Kagie, Signalement, in Vrij Nederland 20 augustus 1994, p. 22.
Bill Weinberg, Editorial, in High Times 6 september 1994, p. 6.
Auteur onbekend, Foto’s van Teun Voeten, in Leidsch Dagblad 7 september 1994.
Auteur onbekend, Foto-expositie Teun Voeten over Rwanda en Zaïre. In ontvangsthal Research voor Beleid, in Leids Nieuwsblad 18 (9 september 1994) 949.
Auteur onbekend, Rwandees drama gefotografeerd door free-lancer Teun Voeten, in Leids Nieuwsblad 18 (11 oktober 1994) 958.
Ton H., “Ik zit bij de locals.” Teun Voeten exposeert foto’s uit Grozny en omgeving, in Research voor Beleid 1995, p. 6-7.
Hans van der Beek, Trots is het probleem, in Het Parool 25 april 1996, p. 1, 9.
Auteur onbekend, Boeiende reportage over daklozen in New-York, in Brabants Centrum 2 mei 1996.
Jos van der Linden, Onderaardse hellekrochten, in de Volkskrant 11 mei 1996.
Auteur onbekend, Fotoserie ‘Tunnelmensen’ bij Research voor Beleid Holding. Teun Voeten verbleef vijf maanden bij daklozen, in Leids Nieuwsblad 20 (14 mei 1996) 1621.
Auteur onbekend, Foto’s van Teun Voeten, in Maters & Hermsen 2 (juni 1996) 1, p. 2.
Morene Dekker, Down Under, leven in een treintunnel, in Z-Daklozenkrant Amsterdam juni 1996, p. 10-11.
Rob van Scheers, De onweerstaanbare zelfkant, in Elsevier 8 juni 1996, p. 92.
Hanny van der Harst, “Het voelt goed om weer aan het leven boven de grond mee te doen”. Antropoloog woonde vijf maanden bij tunnelmensen, in Trouw 8juni 1996, p. 2.
Saskia Klaassen, Overleven in Newyorkse metrotunnels, in Mare 13 juni 1996, p. 19.
Jacqueline Maris, Een levende onderwereld, in NRC Handelsblad 13 juli 1996.
HV, Teun Voeten. Tunnelmensen (recensie), in De Nieuwe Amsterdammer oktober 1996, p. 11.
Rob Hammink, Wonen in de metrobuizen, in Weekeinde 26 oktober 1996, p.6.
Jaap Janssen Steenberg, Tunnelmensen door Teun Voeten, in Amerika Magazine oktober-november 1996.
Bram Fakkeldij, Het creperen wordt geaccepteerd. Antropoloog vijf maanden onder de grond, in Straatjournaal 1 november 1996, p. 15.
Auteur onbekend, Afghanistan in persfoto’s, in Leids Nieuwsblad 21 (7 januari 1997) 1686.
Auteur onbekend, Fotogenieke Dinka’s in Zuid-Soedan, in Leidsch Dagblad 23 september 1997.
Auteur onbekend, Dinka koeienkamp op foto, in Leids Nieuwsblad 21 (26 september 1997) 1761.
Auteur onbekend, Nederlandse journalist vermist in Sierra Leone, in Algemeen Dagblad 23 februari 1998.
Josje Spinhoven, De Dinka’s van Teun Voeten. ‘Beeld en tekst vullen elkaar aan’, in De fotojournalist 6 (februari 1998) 1, p. 10-12.
Auteur onbekend, Journalist uit Leiden zoek in Sierra Leone, in Leidsch Dagblad 23 februari 1998, p. 2.
Annemarie van Midden, Fotograafjournalist Teun Voeten veilig thuis, in P/F. Vakblad voor fotografie en imaging (1998) 3, p. 32-33.
Caroline Overbeeke, ‘Dit avontuur is me niet in de koude kleren gaan zitten.’ Teun Voeten doet het na Sierra Leone voorlopig rustig aan, in Kantlijn, Kroniek over Leiden 17 maart 1998, p. 13.
Herman Hoeneveld, ‘Ik dacht dat mijn laatste uur had geslagen’, in De Journalist 103 (20 maart 1998) 6, p. 24-25.
Auteur onbekend, Collega vermist. Ja, wat nu? Robert Dulmers, Gert van Langendonck, Kadir van Lohuizen, Linda Polman, in De Journalist 103 (4 april 1998) 7, p. 45-46.
Marieke Fontijn en Jolanda de Vries, ‘Zonder risico geen verhaal’, in Perstribune 8 (9 juni 1998) 11, p. 5.
Koen Stuyck, Teun Voeten op zoek naar de marges van het bestaan, in Amnesty Nieuws 25 (september 1998) 3, p. 8-9.
NB, Expo: foto’s van Teun Voeten, in Metro 16 december 1998, p. 4.
Auteur onbekend, Lijmsnuivertjes van Boekarest, in Leids Nieuwsblad 18 december 1998.
Auteur onbekend, Op weg naar muf en vochtig hol, in Leidsch Daglad 23 december 1998.
Pablo Cabenda, ‘Niets is zo anoniem als een berg lijken’ [interview], in Leidsch Dagblad 1 februari 1999.
Auteur onbekend, Teun Voeten, A ticket to, in Leidsch Niewsblad 19 februari 1999.
Cees van Hoore, Lichamen die geen ‘au!’ meer zeggen, in Leidsch Dagblad 22 februari 1999.
Auteur onbekend, Door de lens van Teun Voeten, in Brabants Centrum 25 februari 1999.
Casper Gijzen, Dokter zonder armen leert invaliden lopen, in Mare 25 februari 1999.
Auteur onbekend, Leidse fotograaf brengt ‘rauwe werkelijkheid’ in beeld, in Sleutelkrant 26 februari 1999.
Josephine van Bennekom, “Het is prettiger om in je eentje rond te scharrelen dan om mee te draaien in het mediacircus.” [interview], in Foto 54 (maart 1999) 3, p. 20-27 (met foto’s).
Michelle Middendorp, Teun Voeten. Sarcastische visie op leven, in Haagsche Courant 1 maart 1999, p. 2.
Dorine van Resteren, Onvergetelijke foto’s van Teun Voeten in het CBK. Fotograaf toont Bosnië, Rwanda, Afghanistan, Soedan en Sierra Leone, in Leidse Post en Zuid-Holland Post 3 maart 1999.
MR, ‘België wil wel diamanten maar geen vluchtelingen uit Sierra Leone’, in De Morgen 4 maart 1999, p. 11.
Corina Zuiderduin, Teun Voeten: nauwkeurig observator van oorlogsleed, in Leidsch Nieuwsblad 16 maart 1999.
Onno Havermans, Geen lijken op de voorpagina, in Leidsch Dagblad 17 maart 1999.
Auteur onbekend, A ticket to, in De Morgen 27 maart 1999, p. 35-36.
Arno Haijtema, Pianospel tussen het puin, in de Volkskrant 2 april 1999, p. 22-23.
Annemiek Horst, Sierra Leone. De dood in de ogen, in Onze wereld (juli/augustus 1999) 7/8, p. 53-55.
Auteur onbekend, Kosovo, juni 1999, in Inzicht 2 (augustus 1999) 10, p. 1-2.
Herman Hoeneveld. “Om nooit te vergeten”, in Metro 24 mei 2000.
Pol van Mossevelde, ‘Complete waanzin. Twee bevriende journalisten vermoord’, in Het Nieuwsblad/De Gentenaar 26 mei 2000.
Wim Bossema, ‘Jonge gastjes zijn een paar dagen losgeslagen beesten’. Fotograaf Teun Voeten beschrijft in zijn boek hoe hij twee jaar geleden bijna werd geëxecuteerd in Sierra Leone, in de Volkskrant 27 mei 2000.
Monique van de Sande, Ooggetuigeverslag uit Sierra Leone. Persoonlijk relaas Teun Voeten over verschrikkingen West-Afrikaans land, in Metro 9 juni 2000.
Jozefien Kiekens, De kunst kalm te blijven, in Knack 14 juni 2000.
Frits Baarda, ‘Voeten kon het navertellen’, in De Journalist 16 juni 2000.
Gertie Schouten, ‘Zwarte hummeltjes die met stoere geweren paraderen’, in Trouw 17 juni 2000.
René de Bok, “Nu gaat het gebeuren, nu gaan ze me afmaken. Teun Voeten over het inferno van de oorlogsjournalistiek”, in De Standaard Weekend 18 juni 2000.
Jan Meulemeesters, Jullie verkopen alle wapens aan ons. Fotograaf Teun Voeten verhaalt in boek over bedreigingen in Sierra Leone, in Brabants Dagblad 20 juni 2000.
Auteur onbekend, “Als de dag van Toen”. “Zonder het schoolhoofd had ik het niet gehaald”, in TV-Famüie België 22 juni 2000.
Graydon Carter, Editorial, in Vanity Fair juli 2000.
Kathleen Vereecken, “Zelfs de kinderen van Sierra Leone dragen wapens”, in Vlaamse Libelle 6 juli 2000.
Harm Ede Botje, Een ontgroening in Sierra Leone, in Vrij Nederland 22 juli 2000.
Sipke van de Peppel, Oorlog is geen grapje, in Onze Wereld september 2000.
Auteur onbekend, Elm Street, Sierra Leone, in Haagsche Courant 14 oktober 2000.
Maarten Rabaey, “Aantekeningen van een vermiste”, in De Morgen/Boeken 18 oktober 2000.
Arnold Karskens, Pleisters op de ogen, pleister op de mond. De geschiedenis van de Nederlandse oorlogsverslaggeving van Heiligerlee tot Kosovo, Amsterdam (Meulenhoff) 2001, p. 270, 275-276.
Jan Hoedeman en Remco Meijer, De koning is klaar, in Volkskrant Magazine (21 april 2001) 86, p. 24-31.
1992 LISF-prijs voor ‘beste verslag buitenlands studieverblijf van Leids Universiteitsfonds.
1992 Eervolle vermelding Speckmannprijs voor antropologisch veldwerk, Rijksuniversiteit Leiden.
1994 Eerste prijs categorie Buitenlands Nieuws, wedstrijd De Zilveren Camera 1993.
1994 Nominatie voor Master Class World Press Photo.
1995 Nominatie categorie Buitenlands Nieuws, wedstrijd De Zilveren Camera 1994.
1999 Nominatie categorie Buitenlands Nieuws, wedstrijd De Zilveren Camera 1998.
1999 SAIS-Novartis Award for International Journalism (samen met Sebastian Junger), John Hopkins University, Washington DC.
ca. 1983 (g) Groningen, Oude Politiebureau, Asociale Fotografie.
1988 (e) Leiden, Galerie De Kleine Klup, Teun Voeten ‘New York’.
1991 (e) Leiden, Galerie De Kleine Klup, Teun Voeten ‘Nicaragua 1990’.
1991 (e) Rotterdam, Galerie Fotomania, Teun Voeten.
1992 (e) Leiden, Galerie De Kleine Klup, Teun Voeten ‘BellaRica’.
1993 (e) Leiden, Galerie De Kleine Klup, ‘Ex Joegoslavië’.
1993 (e) Leiden, Pieter de la Courtgebouw, Faculteit Sociale Wetenschappen, Rijksuniversiteit Leiden, 3 maal Latijns Amerika. Foto’s van Teun Voeten. Nicaragua 1990 (verkiezingen). Ecuador 1991 (goudzoekers Bella Rica). Haïti 1992 (les boatpeople).
1994 (g) De Zilveren Camera 1993.
1994 (e) Brussel, Université Libre de Bruxelles, Le conflict dans Ie ex-Yugoslavia.
1994 (e) Leiden, Galerie De Kleine Klup, ‘Rwanda 1994’.
1994 (e) Leiden, Research voor Beleid Holding (Schipholweg 13-15), ‘Rwanda 1994’.
1995 (g) De Zilveren Camera 1994.
1996 (e) Antwerpen, Campus Sint-Lucas, Tunnelmensen.
1996 (e) Leiden, Galerie De Kleine Klup, Tunnelmensen.
1996 (e) Leiden, Research voor Beleid Holding (Schipholweg 13-15), Tunnelmensen.
1996 (e) New York, The Emerging Collector, Tunnel People. Photo’ sfrom New York’s Underground Homeless by Teun Voeten.
1997 (e) Leiden, Research voor Beleid Holding (Schipholweg 13-15), Afghanistan.
1997 (e) Leiden, Research voor Beleid Holding (Schipholweg 13-15), Dinka’s in Soedan.
1997 (e) New York, The Emerging Collector, Afghanistan/Sudan.
1998 (g) Perpignan, [presentatie ROPI Pressfoto] (Fotofestival Perpignan).
1998-1999 (e) Brussel, FNAC, Afghanistan, Einde of Kentering?
1998-1999 (e) Gent, Dr. Guislain Museum, Tunnelmensen. Dakloos in New York.
1999 (g) De Zilveren Camera 1998.
1999 (e) Amsterdam, De Kring, Teun Voeten/A ticket to.
1999 (e) Breda, Stima, Teun Voeten.
1999 (e) Leiden, Centrum Beeldende Kunst, Teun Voeten/A ticket to.
1999 (e) Wichelen (B), [Benefietfototentoonstelling/veiling Cultureel weekend Wichelen t.b.v. de ‘School van Alfred’ in Sierra Leone].
2000 (e) Amersfoort, Elleboogkerk (Fotoforum), Vergeten conflicten.
2001 (e) Leiden, Research voor Beleid Holding (Schipholweg 13-15), Colombia.
2001 (e) New York, Columbia University. School of International and Public Affairs, Photo’s from Afghanistan, Bosnia, Kosovo and Rwanda.
2001 (e) San Francisco, Fort Mason Center, Afghanistan: End or Renewal.
2001-2002 (e) New York, Soros Foundation/Open Society Institute, How the Body? Hope and Horror in Sierra Leone.
Radio and television programs
1999 (februari-mei) Diverse interviews op radio en televisie n.a.v. het verschijnen van het boek A ticket to.
2000 (april-juni) Diverse interviews op radio en televisie n.a.v. het verschijnen van het boek How de Body.
2000 (juni) Levensgevaar, documentaire (VTM, Brussel).
Leiden, Studie en Documentatie Centrum voor Fotografie, Universiteit Leiden.
New York, Teun Voeten.
Gent, Museum Guislain.
Rotterdam, Gemeentearchief Rotterdam.
Amsterdam, Hollandse Hoogte.
Freiburg, Ropi Pressefoto und Bildarchiv.
Londen, Panos Pictures.
New York, Impact Visuals.