BRASIL, 1988


Artista brasilera. Descubre la fotografía en el año 2006, como autodidacta. En 2012, completa el Máster Internacional de Fotografía Conceptual y Artística en EFTI, Madrid - España. Actualmente, además de continuar fotografiando, produce trabajo basado en fotografías correspondientes de otras personas a través de intervenciones con productos químicos y costuras.

©Thaisa Figueiredo


Cada parte se identifica con la otra y con ella se confunde.

Estamos tan entrelazados, conectados con la otra parte que no es posible percibir dónde termina una y empieza la otra. O lo que es genuinamente una característica mía. O del otro.

Estamos unidos por vínculos invisibles, pero no inexistentes. Somos fruto del mismo árbol, pero no iguales. Somos diferentes, pero nuestras diferencias, así como todo lo que nos rodea, resultan en el intercambio, en la construcción, la deconstrucción, el conocimiento y el reconocimiento del mundo y de nosotros.

Nos identificamos en las diferencias y similitudes del otro y confundimos a nosotros en una persona que podría ser nosotros mismos..

GREECE, 1981

Studied photography in Athens, Greece.
Working as a professional photographer since 2004, cooperating with major Greek magazines and published in national and international press.

©Petros Koublis


The images of this series are exploring the landscape through small individual fragments, each one of them describing a state of transformation. Those miniature scenes are approached as if they were completely independent existences, released from their actual surrounding space and identity. Thus, they can be openly interpreted, as bearers of symbols and equivalents.

Every landscape can be decomposed in an infinite number of minor ones, progressively increasing their introversion, as their actual nature seems to be replaced by a more abstract one.

When we abandon our perception that is based on knowledge and familiarity we find ourselves disorientated, trying to rely only in our senses. The narrative of the project is based on this disorientation. The images try to examine the limits of a Landscape, moving inwards, in a process that looks both perpetual and enchanted.

The interpretation of the images as individual fragments remains open, but in the same time it aims to maintain a certain obscurity. This is the second element of the series' narrative, the Mystique, an unenforceable transformation that take place beneath the surface of things.

Inlands is the area that lies on the opposite of the horizon;
it's part of the land the lies inside us..
ITALY, 1981

©Pietro Paolini

ECUADOR 2011-2013

Caminando sobre la línea ecuatorial las fuerzas centrífugas que empujan por el Norte y el Sur son las mismas, por eso es muy difícil mantenerse en equilibrio. La condición de Ecuador, como muchos países de América Latina, recuerda este precario equilibrio.

Por un lado, la nueva constitución escrita con el presidente Rafael Correa, la nacionalización de los recursos petroleros y las grandes inversiones en infraestructuras empujan el país a lo largo de un cambio cultural y económico sin precedentes. Por otra parte las consecuencias de la centenaria explotación de los recursos, los intereses internacionales y las fuerzas conservadoras están aún presentes en el país.

En este equilibrio entre el pasado y el futuro que se está construyendo una nueva identidad, aún no bien definida, rica de tradiciones y de miradas contemporaneas, que se esfuerza de contribuir al desarrollo de todo el continente Latinoamericano..

Pietro Paolini.

©Sebastian Gherrë | GÄG-BÄLL

GÄG-BÄLL is the alias for Sebastian Gherrë, musician and visual artist, born in Buenos Aires in the late Golden years of the 80’s. He later moved to the capital of Chile with his mother, becoming an earnest student of the Municipal Theatre in Santiago from 1997 a 2003. But it was only on 2009 when the character of GÄG-BÄLL emerges from the floors of the great Santiago, where Gherrë gain swift popularity in the Gay art circle by means of his explicit photographs revolving around sex.

With a particular seal, Gherrë uses Polaroid pictures where cum-shot and close-ups of the body are featured by Young male prostitutes – whom Gherrë himself admits to have recruited-, building up a double-edge game, where he seeks satisfaction as well as a concrete means..

Valentina Flamini

©Albert Elm


HERE Dummy book / ACÁ Libro maqueta
CHILE, 1986

©Daniela Contreras


Narra a través de muros, pisos, techos y ruinas un recorrido por el más grande campo de concentración y exterminio humano de la segunda guerra mundial: Auschwitz-Birkenau. En esta sucesión de fragmentos se expone a la materialidad de las edificaciones en una doble condición, como huella de lo que aconteció, testigos mudos de la catástrofe. Al mismo tiempo, como superficie de inscripción del tiempo, en la degradación e intervención posterior de su uso como campo de exterminio (tanto al ser ocupada por los ejércitos soviéticos pero también en su condición de museo y la intervención que han hecho algunos visitantes).

Estos extractos visuales van construyendo un recorrido visual que sigue al recorrido que actualmente está abierto al público y lo convierte en una recuperación de la memoria vigente en sus instalaciones..

Daniela Contreras
JAPAN, 1982

©Hajime Kimura


I have no memory of my grandparents. I heard from my father that my grandmother lived until I was three years old.

My father was a bit plump; he looked grumpy and didn’t laugh much in front of me. As time passed by, he became smaller and smaller. Long after I left home to live on my own, my father bought a black dog.

Its belly was partly white, which contrasted with its body.
The doggy’s name is Kuro that means “black” in English.
Every time my father opened the door of the garden, the dog would stick out its tongue and wag its tail because it understood that it was going for a walk.

However I’ve actually never seen my father walking his dog.
But if the dog wasn’t around, then neither he was.
Every day, walking the dog took him about two hours. Now that my father passed away, I do it in his stead. Whenever I walk the dog, I have flashes of memories of my father by speaking to the people with whom he used to chat.

Much to my surprise, that was the side of my father that I never knew..

Hajime Kimura
SPAIN, 1987

©Laia Abril


(...)In 2010, after leading a year in recovery to overcome ten years of bulimia, I decided to document the struggle of girls battling the same disease. My mission is to bring awareness about the existence of new triggers for Eating Disorder's in our society; recognize the collateral victims affected by the illness; clarify taboos and misconceptions about these diseases; and, create a better informed community capable to deal with eating disorders and its victims.

Although the project as a whole remains untitled, it is focused on Eating Disorders. So, far the project is divided into three chapters. Chapter One: 'A Bad Day' portrays the daily life struggles of a girl with bulimia to clarify the misunderstandings that surround the disease. Chapter Two: 'Thinspiration' presents photographs of self-portraits taken by Pro-Ana bloggers to motivate other women to be thin; this chapter is an introspective journey across the nature of obsessive desire and the limits of self-destruction to denounce the disease’s new risk factors and motivators, like social networks and photography.

For more than two years, I worked on Chapter Two: 'Thinspiration', a documentation of the Pro-Ana community members, who started to take self portraits of their thin bodies, and a portrayal of their obsession with their bodies having to be a certain way, like knees apart, sharp clavicles or highlighted ribs and spine bones. The images in this chapter are the result of photographs that I took of the computer screens depicting thousands of vernacular self-portraits taken by Pro-Ana members and shared on their blogs and websites. I re-take their self-portraits, photographing and reinterpreting their images from the screen, resulting the visual response to the bond between obsession and self-destruction; the disappearance of one’s own identity.

The project is a personal and introspective journey across the nature of obsessive desire and the limits of auto-destruction, denouncing disease’s new risk factors: social networks and photography..

Laia Abril.


©Laia Abril
ITALY, 1984

©Valerio Polici


Becoming an adult, it is a complex and sometimes very painful process. The responsibility, the renunciations, the loss of the wonder are not always easy to accept.

Terrorized from this transition some kids decide to stop for a while in a halfway stage to take their "out of cell time", before that the tranquillity and the carelessness will vanish forever.

I decided to tell this suspension through the community of the graffiti writers, that in this activity they find the perfect tool for such evasion. In the obsessive research of a momentary freedom, they tend to substitute the real world with their micro-reality, to which they feel to belong much more.

For this reason, their existences got catapulted in this limbo populated by myths legends and heroic deeds, where often they remained locked for the entire life.

(...)In the last two years i followed several groups of graffiti writers between Europe and Argentina.

Among intrusions, climbing, infinite running and a lots of adrenaline, this is the story of their escape and to a certain extent also about mine.

Valerio Polici
BRAZIL, 1982

©Adelaide Ivánova


Michael and Kai are two transgender boys living in Berlin. They were born in a female body. They have barely left puberty when started another changing process, with hormone therapy. They are a couple. They also try to look as similar as possible to one another. And they are punks.

All these aspects made Michael and Kai extremely mysterious for me. I was never able to fully understand what it feels like, to carry this duality within oneself and, moreover, to live as a couple under those circumstances. For months, I struggled to explain, through photography, what I was seeing – trying to be a neutral observer. But when I accepted I would never be able to catch, in pictures, their complexity, it was when this series was actually born. I started to use my confusion as a narrative tool, trying to work with the questions that would arouse in me, during our interaction.

This project is my attempt to talk about being transgender, with my nontransgender perspective. Above all, it is my attempt to investigate the body while a tool for self-understanding.

Adelaide Ivánova
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